With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
The Blackcoat’s Daughter (Osgood Perkins)
Osgood Perkins’ debut feature, The Blackcoat’s Daughter – originally known as February at its premiere at Tiff last year – is a stylish exercise in dread, teasing out its slow-drip horrors with precision, and building a deliriously evil presence that hovers along the fringes. However, there’s a thin line between mystery and vagueness in storytelling, and it becomes difficult to decide where a...
The Blackcoat’s Daughter (Osgood Perkins)
Osgood Perkins’ debut feature, The Blackcoat’s Daughter – originally known as February at its premiere at Tiff last year – is a stylish exercise in dread, teasing out its slow-drip horrors with precision, and building a deliriously evil presence that hovers along the fringes. However, there’s a thin line between mystery and vagueness in storytelling, and it becomes difficult to decide where a...
- 3/31/2017
- by The Film Stage
- The Film Stage
If Cleopatra signalled the demise of Hollywood epics, Heaven's Gate ended the reign of the all-powerful director. Should these films' reputations be rescued? And has the film industry lost its kamikaze tendency?
Sexual intercourse must have been invented earlier in New York than in Yorkshire because all that Robert Benton could think about in 1963 was movies. One movie in particular. But it was not Hollywood's current grandest offering, Cleopatra, which Joseph L Mankiewicz directed for 20th Century Fox, with Elizabeth Taylor in the leading role. Benton was thinking about another love story – another portrayal of a woman loved by two very different men. The director was François Truffaut. The star was Jeanne Moreau. Benton saw Jules et Jim 12 times after it was released in the Us, and his obsession was crucial to what happened next.
"You cannot see a movie that often without beginning to notice certain things about structure and form and character,...
Sexual intercourse must have been invented earlier in New York than in Yorkshire because all that Robert Benton could think about in 1963 was movies. One movie in particular. But it was not Hollywood's current grandest offering, Cleopatra, which Joseph L Mankiewicz directed for 20th Century Fox, with Elizabeth Taylor in the leading role. Benton was thinking about another love story – another portrayal of a woman loved by two very different men. The director was François Truffaut. The star was Jeanne Moreau. Benton saw Jules et Jim 12 times after it was released in the Us, and his obsession was crucial to what happened next.
"You cannot see a movie that often without beginning to notice certain things about structure and form and character,...
- 7/19/2013
- by Leo Robson
- The Guardian - Film News
I have to admit – somewhat sheepishly considering the outpouring of commemoratives since Nora Ephron died of myelodysplasia on June 26 – that I was never particularly a fan of her work. But as I’ve read those commemoratives, it’s come to me – another sheepish admission – how little I knew of her work.
Perhaps because I’d only initially become aware of her name through Sleepless in Seattle (1994), which she’d written and directed, that film forever colored my judgment of her work; a judgment reinforced by the fact that she happened to be working her way through a streak of similarly flyweight romances at the time including Michael (1986) – a bit of sugary goo about an unconventional angel (John Travolta) manifested on earth apparently for the sole reason of bringing tabloid reporters William Hurt and Andie MacDowell together – and You’ve Got Mail (1998), the thematic rom/com bookend to Sleepless starring the...
Perhaps because I’d only initially become aware of her name through Sleepless in Seattle (1994), which she’d written and directed, that film forever colored my judgment of her work; a judgment reinforced by the fact that she happened to be working her way through a streak of similarly flyweight romances at the time including Michael (1986) – a bit of sugary goo about an unconventional angel (John Travolta) manifested on earth apparently for the sole reason of bringing tabloid reporters William Hurt and Andie MacDowell together – and You’ve Got Mail (1998), the thematic rom/com bookend to Sleepless starring the...
- 7/5/2012
- by Bill Mesce
- SoundOnSight
To have one giant money-losing tentpole is unfortunate. To have two starts to look careless, and that's what's happened to Taylor Kitsch. The actor, who broke out on TV's "Friday Night Lights," was seen as Hollywood's next great hope, picked out to star in two great big blockbusters with a combined cost of half-a-billion dollars. But when "John Carter" arrived in March, the film wildly underperformed, with Disney taking a hit of at least $100 million on the project. And after this weekend, it looks that his other film, "Battleship," is going to lose similar amounts.
The film, Universal & Hasbro's adaptation of the board game, directed by "Hancock" helmer Peter Berg, had taken the unusual step of opening everywhere else in the world six weeks ahead of the U.S, in the hope of bagging lucrative foreign coin and building buzz for the U.S. release. But while the film did ok abroad,...
The film, Universal & Hasbro's adaptation of the board game, directed by "Hancock" helmer Peter Berg, had taken the unusual step of opening everywhere else in the world six weeks ahead of the U.S, in the hope of bagging lucrative foreign coin and building buzz for the U.S. release. But while the film did ok abroad,...
- 5/21/2012
- by Oliver Lyttelton
- The Playlist
We have to talk about the Zoe-Robot, because the way that Caprica is dealing with her(/it) is some combination of brave, stupid, lame, and brilliant. (I've watched last night's episode twice, and I'm still not sure how I feel about it.) In scenes featuring the Zobot, the camera constantly switches between showing her lumbering Cylon body and her Avatar-Zoe body, with Alessandra Torresani still wearing that purple club-kid dress. On a purely logistical level, I realize that this is just to keep Torresani in the show, and also to cut down on special effects costs. Shifting to a more thematic consideration,...
- 1/30/2010
- by Darren Franich
- EW.com - PopWatch
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