Full Bloom is a series, written by Patrick Holzapfel and illustrated by Ivana Miloš, that reconsiders plants in cinema. Directors have given certain flowers, trees or herbs special attention for many different reasons. It’s time to give them the credit they deserve and highlight their contributions to cinema, in full bloom.Illustration: Ivana Miloš, All My Life (2021), monotype, collage and gouache on paper, 33 x 24 cmIt never will rain roses: when we wantTo have more roses we must plant more trees. —George Eliot, "The Spanish Gypsy"A pan, a landscape, a song: this is all cinema needs. At least one is inclined to believe in such an assessment when confronted with the lush beauty of Bruce Baillie’s All My Life (1966). Recorded in a rush of inspiration at the side of a road in Caspar, California, the short consists of one continuous moving shot accompanied by Ella Fitzgerald singing “All My Life” on the soundtrack.
- 5/14/2021
- MUBI
By Todd Garbarini
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Laemmle’s Royal Theatre in Los Angeles will be presenting a 45th anniversary screening of Francois Truffaut’s 1973 film Day for Night. The 115-minute film, which won the Academy Award for Best Foreign Language Film and known in its native France as La Nuit américaine (The American Night), stars Jacqueline Bisset, Valentina Cortese, Dani, Alexandra Stewart, Jean-Pierre Aumont, Jean Champion, Jean-Pierre Léaud and François Truffaut and has been referred to as the most beloved film ever made about filmmaking. It will be screened on Thursday, May 10, 2018 at 7:30 pm.
Please Note: At press time, Actress Jacqueline Bisset is scheduled to appear in person for a discussion about the film following the screening.
From the press release:
Part of our Anniversary Classics series. For details, visit: laemmle.com/ac.
Day For Night
Part of our Anniversary Classics series. For details, visit: laemmle.
Normal 0 false false false En-us X-none X-none
Laemmle’s Royal Theatre in Los Angeles will be presenting a 45th anniversary screening of Francois Truffaut’s 1973 film Day for Night. The 115-minute film, which won the Academy Award for Best Foreign Language Film and known in its native France as La Nuit américaine (The American Night), stars Jacqueline Bisset, Valentina Cortese, Dani, Alexandra Stewart, Jean-Pierre Aumont, Jean Champion, Jean-Pierre Léaud and François Truffaut and has been referred to as the most beloved film ever made about filmmaking. It will be screened on Thursday, May 10, 2018 at 7:30 pm.
Please Note: At press time, Actress Jacqueline Bisset is scheduled to appear in person for a discussion about the film following the screening.
From the press release:
Part of our Anniversary Classics series. For details, visit: laemmle.com/ac.
Day For Night
Part of our Anniversary Classics series. For details, visit: laemmle.
- 5/2/2018
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Since 1989, the National Film Registry of the Library of Congress has been accomplishing the important task of preserving films that “represent important cultural, artistic and historic achievements in filmmaking.” From films way back in 1897 all the way up to 2004, they’ve now reached 675 films that celebrate our heritage and encapsulate our film history.
Today they’ve unveiled their 2015 list, which includes classics such as Douglas Sirk‘s melodrama Imitation of Life, Hal Ashby‘s Being There, and John Frankenheimer‘s Seconds. Perhaps the most popular picks, The Shawshank Redemption, Ghostbusters, Top Gun, and L.A. Confidential were also added. Check out the full list below.
Being There (1979)
Chance, a simple-minded gardener (Peter Sellers) whose only contact with the outside world is through television, becomes the toast of the town following a series of misunderstandings. Forced outside his protected environment by the death of his wealthy boss, Chance subsumes his late employer’s persona,...
Today they’ve unveiled their 2015 list, which includes classics such as Douglas Sirk‘s melodrama Imitation of Life, Hal Ashby‘s Being There, and John Frankenheimer‘s Seconds. Perhaps the most popular picks, The Shawshank Redemption, Ghostbusters, Top Gun, and L.A. Confidential were also added. Check out the full list below.
Being There (1979)
Chance, a simple-minded gardener (Peter Sellers) whose only contact with the outside world is through television, becomes the toast of the town following a series of misunderstandings. Forced outside his protected environment by the death of his wealthy boss, Chance subsumes his late employer’s persona,...
- 12/16/2015
- by Jordan Raup
- The Film Stage
The National Society Of Film Critics has voted Jean-Luc Godard’s Goodbye To Language best picture of the year 2014.
The group’s 49th annual poll (January 3) at the Film Society Of Lincoln Center in New York also brought joy for best director Richard Linklater for Boyhood, best actor Timothy Spall for Mr. Turner and best actress Marion Cotillard for Two Days, One Night and The Immigrant.
The 59 members voted via a weighted ballot process, without nominations, on any film or performance that opened in the Us in 2014. Scrolls are sent to the winners.
Scott Foundas of Variety was elected to succeed David Sterritt as chairman for 2015. Liz Weis remains executive director.
Full list of winners including votes:
Best Picture
*1. Goodbye To Language 25 (Jean-Luc Godard)
2. Boyhood 24 (Richard Linklater)
3. Birdman 10 (Alejandro G. Iñárritu)
3. Mr. Turner 10 (Mike Leigh)
Best Director
*1. Richard Linklater 36 (Boyhood)
2. Jean-Luc Godard 17 (Goodbye To Language)
3. Mike Leigh 12 (Mr. Turner)
Best Non-fiction Film
*1. Citizenfour 56 (Laura Poitras)
2. National Gallery 19 (Frederick Wiseman...
The group’s 49th annual poll (January 3) at the Film Society Of Lincoln Center in New York also brought joy for best director Richard Linklater for Boyhood, best actor Timothy Spall for Mr. Turner and best actress Marion Cotillard for Two Days, One Night and The Immigrant.
The 59 members voted via a weighted ballot process, without nominations, on any film or performance that opened in the Us in 2014. Scrolls are sent to the winners.
Scott Foundas of Variety was elected to succeed David Sterritt as chairman for 2015. Liz Weis remains executive director.
Full list of winners including votes:
Best Picture
*1. Goodbye To Language 25 (Jean-Luc Godard)
2. Boyhood 24 (Richard Linklater)
3. Birdman 10 (Alejandro G. Iñárritu)
3. Mr. Turner 10 (Mike Leigh)
Best Director
*1. Richard Linklater 36 (Boyhood)
2. Jean-Luc Godard 17 (Goodbye To Language)
3. Mike Leigh 12 (Mr. Turner)
Best Non-fiction Film
*1. Citizenfour 56 (Laura Poitras)
2. National Gallery 19 (Frederick Wiseman...
- 1/3/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Terry Gilliam’s second solo directorial effort, Time Bandits, remains an oddly hilarious bridge between his work with the Monty Python gang and his subsequent dystopian solo films like Brazil, Twelve Monkeys and even last year’s The Zero Theorem. Drenched in English dry wit and warped by the cartoonist’s soul that pervades all of Gilliam’s work, the film sees a gang of little people abandoning their posts as the creator’s right hand men to leap through the corridors of time pillaging as many treasures as they can drag with them, while a child gets wrapped up in the mischief along the way. Of its period in more ways that one, it feels a bit like a valiant attempt at emulating Spielberg with Gilliam-Goggles on.
With a stolen map of all time and space in hand, the little gang of burglars, led by Randall (played by a...
With a stolen map of all time and space in hand, the little gang of burglars, led by Randall (played by a...
- 12/16/2014
- by Jordan M. Smith
- IONCINEMA.com
Yes, it’s that time of the year again. That hectic time when you suddenly need to buy gifts for all your loved ones. Fear not! Cinelinx is here to help you with our holiday gift suggestions for both cinephiles and gamers.
The holidays are fast approaching and you need some suggestions as far as what gifts to give movie and game lovers. We admit, movie and game lovers are not always the easiest type of people to shop for, but you’re in luck! Our talented staff of cinephiles and gamers have come up with a Movie Buff Wish List of awesome movie and game related gifts we’d love to receive this holiday season. Allow us to help you find the ultimate gift for that media-obsessed person on your list!
Gifts For Cinephiles
Garrett
Time Bandits Criterion Edition Blu-Ray - Any cinephile worth their salt knows that the...
The holidays are fast approaching and you need some suggestions as far as what gifts to give movie and game lovers. We admit, movie and game lovers are not always the easiest type of people to shop for, but you’re in luck! Our talented staff of cinephiles and gamers have come up with a Movie Buff Wish List of awesome movie and game related gifts we’d love to receive this holiday season. Allow us to help you find the ultimate gift for that media-obsessed person on your list!
Gifts For Cinephiles
Garrett
Time Bandits Criterion Edition Blu-Ray - Any cinephile worth their salt knows that the...
- 12/1/2014
- by feeds@cinelinx.com (Jordan Maison)
- Cinelinx
Blu-ray & DVD Release Date: Dec. 9, 2014
Price: DVD $29.95, Blu-ray $39.95
Studio: Criterion
There's adventure and fantasy afoot in Time Bandits.
The 1981 adventure fantasy Time Bandits is a energetic and engaging voyage through time and space from Terry Gilliam (Brazil).
In the film, a boy named Kevin (Craig Warnock) escapes his gadget-obsessed parents to join a band of time-traveling dwarves. Armed with a map stolen from the Supreme Being (Ralph Richardson, The Four Feathers), they plunder treasure from Napoleon (Ian Holm, The Lord of the Rings trilogy) and Agamemnon (Sean Connery, The Man Who Would Be King)—but Evil (David Warner, Titanic) is watching their every move.
Featuring a darkly playful script by Gilliam and Monty Python’s Michael Palin (who also appears in the film), Time Bandits is at once a giddy fairy tale, a revisionist history lesson, and a satire on technology gone awry.
The film has been out in...
Price: DVD $29.95, Blu-ray $39.95
Studio: Criterion
There's adventure and fantasy afoot in Time Bandits.
The 1981 adventure fantasy Time Bandits is a energetic and engaging voyage through time and space from Terry Gilliam (Brazil).
In the film, a boy named Kevin (Craig Warnock) escapes his gadget-obsessed parents to join a band of time-traveling dwarves. Armed with a map stolen from the Supreme Being (Ralph Richardson, The Four Feathers), they plunder treasure from Napoleon (Ian Holm, The Lord of the Rings trilogy) and Agamemnon (Sean Connery, The Man Who Would Be King)—but Evil (David Warner, Titanic) is watching their every move.
Featuring a darkly playful script by Gilliam and Monty Python’s Michael Palin (who also appears in the film), Time Bandits is at once a giddy fairy tale, a revisionist history lesson, and a satire on technology gone awry.
The film has been out in...
- 9/17/2014
- by Laurence
- Disc Dish
It’s hard to overstate the shock waves that Lars Von Trier’s “Breaking the Waves” made when it was released in 1996. It’s not as if Lvt was a completely unknown commodity but this was a new level for the filmmaker in the way he both played with his form and embraced larger-than-life imagery. “Breaking the Waves” was both grounded in classic themes and felt like the coming-out party for Dogme, the movement founded by Lvt that embraced natural filmmaking techniques like handheld cameras and sunlight.
And yet it was also So theatrical with its melodramatic undertones that felt like Shakespeare and the flourishes that would come to define Von Trier as one of our most interesting filmmakers. He is one of the few who can go from a natural, human-driven moment to something so precisely artistic and auteur-driven and make them feel like they belong in the same piece.
And yet it was also So theatrical with its melodramatic undertones that felt like Shakespeare and the flourishes that would come to define Von Trier as one of our most interesting filmmakers. He is one of the few who can go from a natural, human-driven moment to something so precisely artistic and auteur-driven and make them feel like they belong in the same piece.
- 4/30/2014
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
In wake of the massive non-fiction success that was The Thin Blue Line, singular director Errol Morris really could have done any number of things with his new found critical clout and studio interest. Having been contacted by Steven Spielberg’s production company, Amblin Entertainment, who had purchased the rights to A Brief History of Time, Stephen Hawking’s pop-culture piercing piece of science literature, shortly after its release in 1988. The book, which attempted to explain the physics behind the history of our universe in terms digestible by anyone willing to waltz into an airport bookstore, was of philosophical interest to Morris, but it was the unimaginably brilliant man trapped within his own crippled body that the filmmaker found much more fascinating. How fascinating that the man to envision the cosmos as a thing with a lifespan like any other, a beginning and an end, expanding and collapsing, just as Hawking himself has,...
- 3/18/2014
- by Jordan M. Smith
- IONCINEMA.com
Blu-ray & DVD Release Date: April 15, 2014
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Emily Watson stars in Breaking the Waves.
Lars von Trier (Antichrist) became an international sensation with the 1996 drama Breaking the Waves, a galvanizing realist fable about sex and spiritual transcendence.
Emily Watson (War Horse) stuns, in an Oscar-nominated performance, as Bess, a simple, pious newlywed in a tiny Scottish village who gives herself up to a shocking form of martyrdom after her husband (Stellan Skarsgård, The Girl with the Dragon Tattoo) is paralyzed in an oil-rig accident.
At once brazen and tender, profane and pure, Breaking the Waves is an acclaimed examination of the expansiveness of faith and of its limits.
Criterion’s Blu-ray/DVD Combo pack of the film contains the following features:
• New 4K digital restoration, with 5.1 surround DTS-hd Master Audio soundtrack on the Blu-ray
• Selected-scene audio commentary featuring director Lars von Trier, editor Anders Refn, and...
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Emily Watson stars in Breaking the Waves.
Lars von Trier (Antichrist) became an international sensation with the 1996 drama Breaking the Waves, a galvanizing realist fable about sex and spiritual transcendence.
Emily Watson (War Horse) stuns, in an Oscar-nominated performance, as Bess, a simple, pious newlywed in a tiny Scottish village who gives herself up to a shocking form of martyrdom after her husband (Stellan Skarsgård, The Girl with the Dragon Tattoo) is paralyzed in an oil-rig accident.
At once brazen and tender, profane and pure, Breaking the Waves is an acclaimed examination of the expansiveness of faith and of its limits.
Criterion’s Blu-ray/DVD Combo pack of the film contains the following features:
• New 4K digital restoration, with 5.1 surround DTS-hd Master Audio soundtrack on the Blu-ray
• Selected-scene audio commentary featuring director Lars von Trier, editor Anders Refn, and...
- 1/16/2014
- by Laurence
- Disc Dish
Hail Mary
Written and directed by Jean-Luc Godard
France, 1985
When Jean-Luc Godard’s 1985 film Hail Mary was initially released, it set off a firestorm of protest. According to an article in a contemporary issue of Film Quarterly, the film was met with everything from “the Pope’s Vatican Radio denunciations and Italian magazine covers depicting barebreasted blondes on crucifixes, to Catholics lighting candles and shaking rosaries outside offending theaters.” The film was banned and was the subject of boycotts, and religious leaders worldwide deemed it blasphemous (a quote from Pope John Paul II, stating that the movie, “deeply wounds the religious sentiments of believers,” was displayed on a previously issued DVD almost as a badge of honor).
At the heart of the controversy, first and foremost, was the plot. Godard’s film is a modern-day retelling of the virgin birth. Here, Mary (Myriem Roussel) is a basketball-playing student who works...
Written and directed by Jean-Luc Godard
France, 1985
When Jean-Luc Godard’s 1985 film Hail Mary was initially released, it set off a firestorm of protest. According to an article in a contemporary issue of Film Quarterly, the film was met with everything from “the Pope’s Vatican Radio denunciations and Italian magazine covers depicting barebreasted blondes on crucifixes, to Catholics lighting candles and shaking rosaries outside offending theaters.” The film was banned and was the subject of boycotts, and religious leaders worldwide deemed it blasphemous (a quote from Pope John Paul II, stating that the movie, “deeply wounds the religious sentiments of believers,” was displayed on a previously issued DVD almost as a badge of honor).
At the heart of the controversy, first and foremost, was the plot. Godard’s film is a modern-day retelling of the virgin birth. Here, Mary (Myriem Roussel) is a basketball-playing student who works...
- 1/10/2014
- by Jeremy Carr
- SoundOnSight
What a great start to the year. We’ve got hot stars, big hit TV shows, an indie horror flick that you really must see, an Oscar winner, and two from a legend. Pick your favorites to start 2014. Here’s how I’d rank ‘em…
We Are What We Are
Photo credit: eOne
“We Are What We Are”
Jim Mickle’s Sundance hit is a dark, twisted gem, a film that plays more like a Gothic thriller than a modern horror flick. It’s a wonderful reimagining of the Mexican 2010 film that recasts the Parker clan as a family on the edge of collapse after the matriarch dies in a storm. Struggling to keep their family together, they face the inevitable decay of their disgusting traditions. Mickle takes a giant leap forward with this genre hit, finding a visual sense that has propelled him to the front of the list of young horror directors.
We Are What We Are
Photo credit: eOne
“We Are What We Are”
Jim Mickle’s Sundance hit is a dark, twisted gem, a film that plays more like a Gothic thriller than a modern horror flick. It’s a wonderful reimagining of the Mexican 2010 film that recasts the Parker clan as a family on the edge of collapse after the matriarch dies in a storm. Struggling to keep their family together, they face the inevitable decay of their disgusting traditions. Mickle takes a giant leap forward with this genre hit, finding a visual sense that has propelled him to the front of the list of young horror directors.
- 1/7/2014
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
The Coen Brothers’ take on the early 1960s New York folk scene was named Best Picture Of The Year 2013 by the National Society Of Film Critics on January 4.
The Society’s 48th annual awards voting meeting’s weighted ballot system also delivered the Coens the best director crown, named Oscar Isaac best actor and anointed Bruno Delbonnel best cinematographer.
Cate Blanchett won the actress award for Blue Jasmine, James Franco was voted best supporting actor for Spring Breakers and Jennifer Lawrence best supporting actress for American Hustle.
Before Midnight earned the best screenplay. Blue Is The Warmest Color was named best foreign film, while An Act Of Killing took the documentary prize.
Leviathan was named best experimental film. Stray Dogs by Ming-liang Tsai and Hide Your Smiling Faces by Daniel Patrick Carbone shared Best Film Awaiting American Distribution.
The following won the Film Heritage Award:
MoMA for its Allan Dwan retrospective;
the surviving reels of Orson Welles’ first...
The Society’s 48th annual awards voting meeting’s weighted ballot system also delivered the Coens the best director crown, named Oscar Isaac best actor and anointed Bruno Delbonnel best cinematographer.
Cate Blanchett won the actress award for Blue Jasmine, James Franco was voted best supporting actor for Spring Breakers and Jennifer Lawrence best supporting actress for American Hustle.
Before Midnight earned the best screenplay. Blue Is The Warmest Color was named best foreign film, while An Act Of Killing took the documentary prize.
Leviathan was named best experimental film. Stray Dogs by Ming-liang Tsai and Hide Your Smiling Faces by Daniel Patrick Carbone shared Best Film Awaiting American Distribution.
The following won the Film Heritage Award:
MoMA for its Allan Dwan retrospective;
the surviving reels of Orson Welles’ first...
- 1/4/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Coen Brothers’ take on the early 1960s New York folk scene was named Best Picture Of The Year 2013 by the National Society Of Film Critics on January 4.
The Society’s 48th annual awards voting meeting’s weighted ballot system also delivered the Coens the best director crown, named Oscar Isaac best actor and anointed Bruno Delbonnel best cinematographer.
Cate Blanchett won the actress award for Blue Jasmine, James Franco was voted best supporting actor for Spring Breakers and Jennifer Lawrence best supporting actress for American Hustle.
Before Midnight earned the best screenplay. Blue Is The Warmest Color was named best foreign film, while An Act Of Killing took the documentary prize.
Leviathan was named best experimental film. Stray Dogs by Ming-liang Tsai and Hide Your Smiling Faces by Daniel Patrick Carbone shared Best Film Awaiting American Distribution.
The following won the Film Heritage Award: MoMA for its Allan Dwan retrospective; the surviving reels of Orson Welles’ first...
The Society’s 48th annual awards voting meeting’s weighted ballot system also delivered the Coens the best director crown, named Oscar Isaac best actor and anointed Bruno Delbonnel best cinematographer.
Cate Blanchett won the actress award for Blue Jasmine, James Franco was voted best supporting actor for Spring Breakers and Jennifer Lawrence best supporting actress for American Hustle.
Before Midnight earned the best screenplay. Blue Is The Warmest Color was named best foreign film, while An Act Of Killing took the documentary prize.
Leviathan was named best experimental film. Stray Dogs by Ming-liang Tsai and Hide Your Smiling Faces by Daniel Patrick Carbone shared Best Film Awaiting American Distribution.
The following won the Film Heritage Award: MoMA for its Allan Dwan retrospective; the surviving reels of Orson Welles’ first...
- 1/4/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Blu-ray & DVD Release Date: March 18, 2014
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
The life and career of Steven Hawking is chronicled in A Brief History of Time
In the 1991 documentary film A Brief History of Time, filmmaker Errol Morris (The Fog of War) turns his camera on one of the most fascinating men in the world: the pioneering astrophysicist Stephen Hawking, who is afflicted by a debilitating motor neuron disease that has left him without a voice or the use of his limbs.
An adroitly crafted tale of personal adversity, professional triumph, and cosmological inquiry, Morris’s documentary examines the way the collapse of Hawking’s body has been accompanied by the untrammeled broadening of his imagination.
Telling the man’s incredible story through the voices of his colleagues and loved ones, while making dynamically accessible some of the theories in Hawking’s best-selling book of the same name, A Brief History of Time...
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
The life and career of Steven Hawking is chronicled in A Brief History of Time
In the 1991 documentary film A Brief History of Time, filmmaker Errol Morris (The Fog of War) turns his camera on one of the most fascinating men in the world: the pioneering astrophysicist Stephen Hawking, who is afflicted by a debilitating motor neuron disease that has left him without a voice or the use of his limbs.
An adroitly crafted tale of personal adversity, professional triumph, and cosmological inquiry, Morris’s documentary examines the way the collapse of Hawking’s body has been accompanied by the untrammeled broadening of his imagination.
Telling the man’s incredible story through the voices of his colleagues and loved ones, while making dynamically accessible some of the theories in Hawking’s best-selling book of the same name, A Brief History of Time...
- 1/2/2014
- by Laurence
- Disc Dish
News.
The Best-of-the-Year lists keep rolling in, so here's a batch of worthwhile entries unveiled in the past week: Film Comment - 50 Best Films | 20 Best Undistributed Films Indiewire - Critics Survey Glenn Kenny Scott Foundas Slant Magazine Michael Sicinski's "The Best of the Rest" Village Voice Film Poll The latest issue of Cineaste is on shelves now and includes, among other pieces, an article on rom-coms today by Adrian Martin, and a feature by David Sterritt on "Beats, Beatniks, and Beat Movies." Also make sure to look online for exclusive content from Aaron Cutler and Celluloid Liberation Front. Above: one of our favorite journals, La Furia Umana, is now shipping its fourth print edition, featuring multiple pieces on Nicholas Ray and Brian De Palma. The 18th online edition is due out by the end of the month, so we'll be checking up on Lfu again soon. On digital shelves is...
The Best-of-the-Year lists keep rolling in, so here's a batch of worthwhile entries unveiled in the past week: Film Comment - 50 Best Films | 20 Best Undistributed Films Indiewire - Critics Survey Glenn Kenny Scott Foundas Slant Magazine Michael Sicinski's "The Best of the Rest" Village Voice Film Poll The latest issue of Cineaste is on shelves now and includes, among other pieces, an article on rom-coms today by Adrian Martin, and a feature by David Sterritt on "Beats, Beatniks, and Beat Movies." Also make sure to look online for exclusive content from Aaron Cutler and Celluloid Liberation Front. Above: one of our favorite journals, La Furia Umana, is now shipping its fourth print edition, featuring multiple pieces on Nicholas Ray and Brian De Palma. The 18th online edition is due out by the end of the month, so we'll be checking up on Lfu again soon. On digital shelves is...
- 12/18/2013
- by Adam Cook
- MUBI
Chicago – John Frankenheimer’s “Seconds” with Rock Hudson was considered an unusual choice for The Criterion Collection when it was announced earlier this year. Never before available on Blu-ray and discontinued on DVD, the 4K restoration on this edition is the real draw, especially given that the film’s strength lies in its stunning visual compositions. With its canted angles and fish bowl aesthetic, Frankenheimer enhances what is actually a relatively weak script.
“Seconds” is a film that I want to adore given my love for the filmmaker’s other works (especially “The Manchurian Candidate,” another ode to ’60s paranoia) and how I love well-written “Twilight Zone”-esque tales, but repeat viewing of this release reveals the film to be thematically thinner than it should be. There are some great ideas here about personality, success, and apathy but they’re not explored and the final twist is one that modern...
“Seconds” is a film that I want to adore given my love for the filmmaker’s other works (especially “The Manchurian Candidate,” another ode to ’60s paranoia) and how I love well-written “Twilight Zone”-esque tales, but repeat viewing of this release reveals the film to be thematically thinner than it should be. There are some great ideas here about personality, success, and apathy but they’re not explored and the final twist is one that modern...
- 8/20/2013
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Selected for the Main Comp at the Cannes Film Festival in 1966, John Frankenheimer’s Seconds is a grim, nightmarish thriller that embodies many distinctive aspects of 1960s American cinema. Largely forgotten – one could argue for good reason – by all but the most devoted Frankenheimer fans, the film combines classic noir stylistics with the era’s emerging tremors of social revolution. Folded into the mix are elements of Sci-Fi and speculative fiction, creating a “what if” story filled with metaphors, meditations and mind-games.
The snappy plot begins with some odd occurrences in the quietly desperate life of Arthur Hamilton (John Randolph), a 50-ish, dry as toast bank manager who commutes into the city every day from his tidy colonial in leafy Scarsdale. Recently, the unnerved Hamilton has been receiving phone calls from an old college buddy long thought to be dead. This voice from the past entices Hamilton with vague promises...
The snappy plot begins with some odd occurrences in the quietly desperate life of Arthur Hamilton (John Randolph), a 50-ish, dry as toast bank manager who commutes into the city every day from his tidy colonial in leafy Scarsdale. Recently, the unnerved Hamilton has been receiving phone calls from an old college buddy long thought to be dead. This voice from the past entices Hamilton with vague promises...
- 8/13/2013
- by David Anderson
- IONCINEMA.com
After watching John Frankenheimer's Seconds (1966) for the first time with this Criterion Blu-ray, I couldn't help but think of several previous Criterion Blu-ray titles that came to mind. Films such as Alexander Mackendrick's Sweet Smell of Success, Roman Polanski's Repulsion and Robert Aldrich's Kiss Me Deadly. You could even through in the feel of a Samuel Fuller film and even a little of Ingmar Bergman's Persona. For anyone that knows these films, that's pretty high praise and while Seconds may be better than a couple and below the others, the mere fact this film put me in the mood and mindset to even consider the comparisons is enough for me to say you really ought to give this one a look. Based on the novel by David Ely, I can't remember if Seconds ever gives us a definitive date in which it's set, but suffice...
- 8/12/2013
- by Brad Brevet
- Rope of Silicon
Blu-ray & DVD Release Date: Aug. 13, 2013
Price: DVD $29.99, Blu-ray $39.99
Studio: Criterion
Rock Hudson gets more than he bargained for when he embarks on a new life in Seconds.
Rock Hudson (All That Heaven Allows) star in Seconds, a sinister, science-fiction-inflected thriller from the fractured 1960s directed by John Frankenheimer (Grand Prix).
The 1966 film concerns a middle-aged businessman dissatisfied with his suburban existence, who elects to undergo a strange and elaborate procedure that will grant him a new life. Starting over in America, however, is not as easy as it sounds, even if the new you looks like, well, Rock Hudson.
This paranoiac movie filled with canted camera angles (courtesy of cinematographer James Wong Howe of Sweet Smell of Success), fragmented editing, and layered sound design is a remarkably risk-taking Hollywood film that ranks high on the list of its director’s major achievements.
The DVD and Blu-ray editions of the film...
Price: DVD $29.99, Blu-ray $39.99
Studio: Criterion
Rock Hudson gets more than he bargained for when he embarks on a new life in Seconds.
Rock Hudson (All That Heaven Allows) star in Seconds, a sinister, science-fiction-inflected thriller from the fractured 1960s directed by John Frankenheimer (Grand Prix).
The 1966 film concerns a middle-aged businessman dissatisfied with his suburban existence, who elects to undergo a strange and elaborate procedure that will grant him a new life. Starting over in America, however, is not as easy as it sounds, even if the new you looks like, well, Rock Hudson.
This paranoiac movie filled with canted camera angles (courtesy of cinematographer James Wong Howe of Sweet Smell of Success), fragmented editing, and layered sound design is a remarkably risk-taking Hollywood film that ranks high on the list of its director’s major achievements.
The DVD and Blu-ray editions of the film...
- 6/4/2013
- by Laurence
- Disc Dish
1990’s Life is Sweet is generally considered – when it’s considered at all – one of the lesser lights in writer/director Mike Leigh’s constellation of films. The work’s underwhelming reputation was aided and abetted by the fact that for the last 20 years it’s been damn hard to see. With no official North American rental release, a purchase only, on demand DVD burn from Amazon has been the film’s only means of dissemination for much of the world. Fortunately, Criterion has stepped in to right this injustice with a gorgeous new Blu-ray edition, and life is once again sweet for the legions of Leigh.
In fact, Life is Sweet is the prototypical Mike Leigh film, embodying all that is right and good about the early phase of the director’s career. Before he branched into darker themes and period pieces, Leigh made his name with sharply observed...
In fact, Life is Sweet is the prototypical Mike Leigh film, embodying all that is right and good about the early phase of the director’s career. Before he branched into darker themes and period pieces, Leigh made his name with sharply observed...
- 5/29/2013
- by David Anderson
- IONCINEMA.com
Blu-ray & DVD Release Date: May 28, 2013
Price: DVD $29.95, Blu-ray $39.95
Studio: Criterion
Timothy Spall and Alison Steadman in Life Is Sweet.
Written and directed by Mike Leigh (Another Year), 1990’s moving comedy-drama film Life Is Sweet is an intimate but invigorating portrait of a working-class family in England.
The family lives in a suburb just north of London and consists of an irrepressible mum and dad (Alison Steadman and The Iron Lady‘s Jim Broadbent) and their night-and-day twins, a bookish good girl and a sneering layabout (Claire Skinner and Jane Horrocks).
In the movie, Leigh and his cast create, with extraordinary sensitivity and craft, a vivid, lived-in story of ordinary existence, in which even modest dreams (such as the father’s desire to open a food truck) carry enormous weight.
Perched on the line between humor and melancholy, Life Is Sweet is captivating, and it was British theater director and...
Price: DVD $29.95, Blu-ray $39.95
Studio: Criterion
Timothy Spall and Alison Steadman in Life Is Sweet.
Written and directed by Mike Leigh (Another Year), 1990’s moving comedy-drama film Life Is Sweet is an intimate but invigorating portrait of a working-class family in England.
The family lives in a suburb just north of London and consists of an irrepressible mum and dad (Alison Steadman and The Iron Lady‘s Jim Broadbent) and their night-and-day twins, a bookish good girl and a sneering layabout (Claire Skinner and Jane Horrocks).
In the movie, Leigh and his cast create, with extraordinary sensitivity and craft, a vivid, lived-in story of ordinary existence, in which even modest dreams (such as the father’s desire to open a food truck) carry enormous weight.
Perched on the line between humor and melancholy, Life Is Sweet is captivating, and it was British theater director and...
- 2/25/2013
- by Laurence
- Disc Dish
Chicago – “Brazil” is more than a movie. The story behind the film’s tumultuous production and release became nearly as essential to its history and arguably more so than the film itself. The special feature on the new Criterion release, “The Battle of Brazil” is a fascinating examination of expectation, ego, and commerce vs. art that all movie fans must see. And, of course, the movie is an undeniable sci-fi masterpiece.
Rating: 5.0/5.0
When “Brazil,” Terry Gilliam’s futuristic satire about bureaucracy, screened for audiences before its release, studio heads called it a disaster. They took it away from Gilliam and mangled it. And then the real fun began. Most of the special features on the Criterion version of “Brazil” center on the drama around its release. They even go so far as to include the “Love Conquers All” version of the movie, the 96-minute cinematic crime (Gilliam’s cut runs...
Rating: 5.0/5.0
When “Brazil,” Terry Gilliam’s futuristic satire about bureaucracy, screened for audiences before its release, studio heads called it a disaster. They took it away from Gilliam and mangled it. And then the real fun began. Most of the special features on the Criterion version of “Brazil” center on the drama around its release. They even go so far as to include the “Love Conquers All” version of the movie, the 96-minute cinematic crime (Gilliam’s cut runs...
- 12/19/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
A Planet Fury-approved selection of notable genre releases for December.
Beasts of the Southern Wild (2012) 20th Century Fox Blu-ray and DVD Available Now
Six-year-old Hushpuppy (fearless newcomer Quvenzhané Wallis) lives in the “Bathtub,” a southern Louisiana bayou community far removed from the civilized world. Her father Wink (Dwight Henry), a poor fisherman, keeps her at arm’s length but ensures her well-being within the cultural confines of their rough-and-tumble society. Seen through the eyes of the feisty Hushpuppy, the lines between myth and reality are blurred. An impending storm coincides with the melting of the arctic ice caps (and the thawing of some mythical creatures), which changes the world of the Bathtub forever. This heartbreaking little fable came out of nowhere last summer after building some positive buzz on the festival circuit. Shot on 16mm film for under $2 million, Beasts is a true independent film: a fiercely original and moving...
Beasts of the Southern Wild (2012) 20th Century Fox Blu-ray and DVD Available Now
Six-year-old Hushpuppy (fearless newcomer Quvenzhané Wallis) lives in the “Bathtub,” a southern Louisiana bayou community far removed from the civilized world. Her father Wink (Dwight Henry), a poor fisherman, keeps her at arm’s length but ensures her well-being within the cultural confines of their rough-and-tumble society. Seen through the eyes of the feisty Hushpuppy, the lines between myth and reality are blurred. An impending storm coincides with the melting of the arctic ice caps (and the thawing of some mythical creatures), which changes the world of the Bathtub forever. This heartbreaking little fable came out of nowhere last summer after building some positive buzz on the festival circuit. Shot on 16mm film for under $2 million, Beasts is a true independent film: a fiercely original and moving...
- 12/14/2012
- by Bradley Harding
- Planet Fury
In 1924, a title designer and budding writer/director named Alfred Hitchcock took the unpublished novel “Children of Chance” and adapted it into The White Shadow for director Graham Cutts. He had worked previously as assistant director and writer under Cutts for 1923′s massive success Woman to Woman, and it was these first in a handful of projects for Cutts that led to him directing his first feature in 1925. Until recently, The White Shadow was thought lost, but a discovery in New Zealand and arduous work from the National Film Preservation Foundation have made most of the print available. You can watch it here. Sadly, the print isn’t complete, but over 40 minutes have survived that show off the early promise that Hitchcock would later fulfill as a visual genius and a master of suspense storytelling. Plus, the online screening room comes with a ton of detailed information from critic David Sterritt about how the film came about...
- 11/15/2012
- by Cole Abaius
- FilmSchoolRejects.com
Chicago – In many ways, it’s easier to draw a direct line from 1997’s “The Game” to the work that David Fincher is doing today than it would be from “bigger hits” like “Fight Club” and “Seven.” Not only does “The Game” look strikingly similar to “Social Network” and “Girl with a Dragon Tattoo” in terms of the way Fincher and his amazing d.p. Harris Savides shoot board rooms and bad behavior but the film shares themes that still interest Fincher like obsession, ego, and deception. The Criterion edition of Fincher’s film makes the argument crystal clear that is one of the most underrated thrillers of the ’90s.
Rating: 4.5/5.0
Not only does “The Game” perfectly display Fincher’s obsessive level of detail in glorious HD but it features a confidence in storytelling that was not really appreciated when it came out as too many critics focused on perceived...
Rating: 4.5/5.0
Not only does “The Game” perfectly display Fincher’s obsessive level of detail in glorious HD but it features a confidence in storytelling that was not really appreciated when it came out as too many critics focused on perceived...
- 10/1/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
For some years now Tom Prasek and I have commiserated about the need for a serious networking solution and overview organization about (for lack of a better term) 'the film festival world'.
I think Ffa might be on to something and I am really glad to lend support. I urge filmmakers, market participants and festival folks and press to pay close attention.
Where: Amphitheater, Elinor Bunin Munroe Film Center, Lincoln Center, NYC
When: 27th/28th September 2012
As each industry event produced by the Film Festival Academy is specifically curated in light of the requirements of the hosting festival or organisation, the first theme of our event in New York is New York film programming, looking at all the very many different institutions – festivals, cinemas, museums, galleries – involved in programming specifically for New York audiences.
The second theme focuses on film festival form, and here again we're looking to kick-start a debate that will run on longer via the Film Festival Academy website and related blogs etc.
Confirmed speakers and timetable:
Thursday 27th – Focus on New York-specific Film Programming
09:30–10:00 Registration, coffee
10:00–10:15 Welcome
10:15–12:15 Mapping the Landscape of New York Programming and Connecting with Audiences
Comprising a panel of NYC-based film programmers and moving image museum/gallery curators discussing various aspects of their responsibilities programming specifically for NYC audiences, and the various institutional freedoms and constraints they have, ie a general introduction to the practical context of NYC-specific film programming.
– Scott Foundas (New York Film Festival)
– David Schwartz (Museum of the Moving Image)
– Thom Powers (Doc NYC)
– Cristina Cacciopo (92Y Tribeca)
– Jon Dieringer (Screen Slate)
12:15–13:30 Lunch (provided, for all participants/attendees)
13:30–14:45 A Detailed Look at New York Cinephilia
A moderated conversation between Richard Peña (New York Film Festival) and Lisa Schwartzbaum (Entertainment Weekly) discussing in greater depth the theory and practice behind NYC-specific programming and festival programming more generally, from viewpoints that encompass experience in actual programming as well as academia/film history and film criticism.
14:45–15:00 Coffee
15:15–16:45 Programming for Niche Audiences
A session focusing on the specific issues involved in programming for target constituents, and exploring issues of reach and retention of interest from core communities, whether 'genre' focused or more 'ethnically/culturally' defined.
– Chair: Brian Gordon (festival consultant)
– Lisa Vandever (CineKink)
– Basil Tsiokos (festival consultant)
– Stephen Kent Jusick (Mix)
– Bradford Nordeen (Dirty Looks)
16:45–17:00 Coffee
17:00–18:30 Exploring the Nature of Contemporary Scholarly Film Festival Studies
Comprising a panel of scholars working in the fast-growing area of academic film festival studies, providing an overview of their area of research and thereby shedding light on more theoretical, historical issues, and developing the specific focus on NYC back out to wider considerations; note, these will Not be academic papers in any conventional sense, but rather informal accounts given by people professionally engaged in researching this field, providing insight into what, and why, and so balancing the NYC-specific practical considerations above with more theoretical considerations of the nature and role of film festivals generally.
– Faye Ginsburg (New York University)
– Toby Lee (Harvard University)
– Dennis Broe (Long Island University)
Friday 28th – Focus on Film Festival Form
09:45–10:00 Coffee
10:00–12:00 An Interrogation of Film Festival Form
A focus on theoretical and practical considerations of film festival form; this will be instigated by a manifesto on film festival form proposed by Mark Cousins that will then responded to by a panel that, again, represents the various interested constituents from festival programming, film criticism, and academic film festival studies, but will very much be an open session.
– Chair: Sean Farnel (festival consultant)
– David Sterritt (Columbia University)
– Ingrid Kopp (Tribeca Film Institute Digital Initiatives)
– Dan Nuxoll (Rooftop Films)
12:00 Closing remarks
Free registration is available to all Premium Members of the Film Festival Academy. Places currently remaining:32
Attendees already confirmed include:
– Mitch Levine (The Film Festival Group)
– Peter Belsito (festival consultant)
– Claus Mueller (Hunter College, City University of New York)
– Jose Augusto Barriga (Boston Latino International Film Festival)
– Goran Topalovic (New York Asian Film Festival)
– Elizabeth Weatherford (Native American Film and Video Festival)
– Michal Chacinski (Gdynia Film Festival, Poland)
– Joe Bateman (Rushes Short Film Festival, London, UK)
– Bryce Renninger (Rutgers University, indieWIRE)
– Christina Marouda (Los Angeles Indian Film Festival)
– Miriam Bale (freelance film curator)
– Ania Trebiatowska (Off Plus Camera International Festival of Independent Cinema, Krakow, Poland)
– Sylvie Vitaglione (New York University)...
I think Ffa might be on to something and I am really glad to lend support. I urge filmmakers, market participants and festival folks and press to pay close attention.
Where: Amphitheater, Elinor Bunin Munroe Film Center, Lincoln Center, NYC
When: 27th/28th September 2012
As each industry event produced by the Film Festival Academy is specifically curated in light of the requirements of the hosting festival or organisation, the first theme of our event in New York is New York film programming, looking at all the very many different institutions – festivals, cinemas, museums, galleries – involved in programming specifically for New York audiences.
The second theme focuses on film festival form, and here again we're looking to kick-start a debate that will run on longer via the Film Festival Academy website and related blogs etc.
Confirmed speakers and timetable:
Thursday 27th – Focus on New York-specific Film Programming
09:30–10:00 Registration, coffee
10:00–10:15 Welcome
10:15–12:15 Mapping the Landscape of New York Programming and Connecting with Audiences
Comprising a panel of NYC-based film programmers and moving image museum/gallery curators discussing various aspects of their responsibilities programming specifically for NYC audiences, and the various institutional freedoms and constraints they have, ie a general introduction to the practical context of NYC-specific film programming.
– Scott Foundas (New York Film Festival)
– David Schwartz (Museum of the Moving Image)
– Thom Powers (Doc NYC)
– Cristina Cacciopo (92Y Tribeca)
– Jon Dieringer (Screen Slate)
12:15–13:30 Lunch (provided, for all participants/attendees)
13:30–14:45 A Detailed Look at New York Cinephilia
A moderated conversation between Richard Peña (New York Film Festival) and Lisa Schwartzbaum (Entertainment Weekly) discussing in greater depth the theory and practice behind NYC-specific programming and festival programming more generally, from viewpoints that encompass experience in actual programming as well as academia/film history and film criticism.
14:45–15:00 Coffee
15:15–16:45 Programming for Niche Audiences
A session focusing on the specific issues involved in programming for target constituents, and exploring issues of reach and retention of interest from core communities, whether 'genre' focused or more 'ethnically/culturally' defined.
– Chair: Brian Gordon (festival consultant)
– Lisa Vandever (CineKink)
– Basil Tsiokos (festival consultant)
– Stephen Kent Jusick (Mix)
– Bradford Nordeen (Dirty Looks)
16:45–17:00 Coffee
17:00–18:30 Exploring the Nature of Contemporary Scholarly Film Festival Studies
Comprising a panel of scholars working in the fast-growing area of academic film festival studies, providing an overview of their area of research and thereby shedding light on more theoretical, historical issues, and developing the specific focus on NYC back out to wider considerations; note, these will Not be academic papers in any conventional sense, but rather informal accounts given by people professionally engaged in researching this field, providing insight into what, and why, and so balancing the NYC-specific practical considerations above with more theoretical considerations of the nature and role of film festivals generally.
– Faye Ginsburg (New York University)
– Toby Lee (Harvard University)
– Dennis Broe (Long Island University)
Friday 28th – Focus on Film Festival Form
09:45–10:00 Coffee
10:00–12:00 An Interrogation of Film Festival Form
A focus on theoretical and practical considerations of film festival form; this will be instigated by a manifesto on film festival form proposed by Mark Cousins that will then responded to by a panel that, again, represents the various interested constituents from festival programming, film criticism, and academic film festival studies, but will very much be an open session.
– Chair: Sean Farnel (festival consultant)
– David Sterritt (Columbia University)
– Ingrid Kopp (Tribeca Film Institute Digital Initiatives)
– Dan Nuxoll (Rooftop Films)
12:00 Closing remarks
Free registration is available to all Premium Members of the Film Festival Academy. Places currently remaining:32
Attendees already confirmed include:
– Mitch Levine (The Film Festival Group)
– Peter Belsito (festival consultant)
– Claus Mueller (Hunter College, City University of New York)
– Jose Augusto Barriga (Boston Latino International Film Festival)
– Goran Topalovic (New York Asian Film Festival)
– Elizabeth Weatherford (Native American Film and Video Festival)
– Michal Chacinski (Gdynia Film Festival, Poland)
– Joe Bateman (Rushes Short Film Festival, London, UK)
– Bryce Renninger (Rutgers University, indieWIRE)
– Christina Marouda (Los Angeles Indian Film Festival)
– Miriam Bale (freelance film curator)
– Ania Trebiatowska (Off Plus Camera International Festival of Independent Cinema, Krakow, Poland)
– Sylvie Vitaglione (New York University)...
- 9/25/2012
- by Peter Belsito
- Sydney's Buzz
Blu-ray Release Date: Dec. 4, 2012
Price: Blu-ray $49.95
Studio: Criterion
Something nasty and futuristic is afoot in Terry Gilliam's Brazil.
The Criterion Edition of Terry Gilliam’s landmark 1985 cult, sci-fi-flavored classic movie Brazil, filled with its countless supplements and the infamous “Love Saves the Day” edition of the film, finally makes its Blu-ray debut!
Universal issued a no-frills Blu-ray edition of Brazil in July, 2011 which we favorably reviewed at the time, but we can’t deny that we’re pretty excited to check out Criterion’s Blu-ray version.. This new edition ports over all the materials from the company’s masterful, extras-laden 1999 multi-disc DVD release which was generally considered to be the godfather of all Criterion and studio special editions to come.
Written by Gilliam, Charles McKeown (both of The Imaginarium of Doctor Parnassus) and Tom Stoppard (Shakespeare in Love), Brazil remains Gilliam’s greatest directing/writing accomplishment, a perfect amalgam of his Monty Python roots,...
Price: Blu-ray $49.95
Studio: Criterion
Something nasty and futuristic is afoot in Terry Gilliam's Brazil.
The Criterion Edition of Terry Gilliam’s landmark 1985 cult, sci-fi-flavored classic movie Brazil, filled with its countless supplements and the infamous “Love Saves the Day” edition of the film, finally makes its Blu-ray debut!
Universal issued a no-frills Blu-ray edition of Brazil in July, 2011 which we favorably reviewed at the time, but we can’t deny that we’re pretty excited to check out Criterion’s Blu-ray version.. This new edition ports over all the materials from the company’s masterful, extras-laden 1999 multi-disc DVD release which was generally considered to be the godfather of all Criterion and studio special editions to come.
Written by Gilliam, Charles McKeown (both of The Imaginarium of Doctor Parnassus) and Tom Stoppard (Shakespeare in Love), Brazil remains Gilliam’s greatest directing/writing accomplishment, a perfect amalgam of his Monty Python roots,...
- 9/18/2012
- by Laurence
- Disc Dish
Blu-ray & DVD Release Date: Sept. 25, 2012
Price: DVD $29.95, Blu-ray $39.95
Studio: Criterion
Michael Douglas gets fed up with clowning around in The Game.
The 1997 thriller The Game is the second film by leading Hollywood filmmaker David Fincher (The Girl With the Dragon Tattoo) to receive a special makeover by Criterion, following his 2008 drama The Strange Case of Benjamin Button.
The film focuses on the enormously wealthy and emotionally remote investment banker Nicholas Van Orton (Michael Douglas, Traffic), who receives a strange gift from his ne’er-do-well younger brother ( Sean Penn, Fair Game) on his forty-eighth birthday: a voucher for a game that, if he agrees to play it, will change his life.
That’s the high-concept basis for story, which kicks off a trip down a rabbit hole that proves to be puzzling, terrifying, dangerous and exhilarating for Nicholas (and the viewers that join him for his game). Compared to other fincher films,...
Price: DVD $29.95, Blu-ray $39.95
Studio: Criterion
Michael Douglas gets fed up with clowning around in The Game.
The 1997 thriller The Game is the second film by leading Hollywood filmmaker David Fincher (The Girl With the Dragon Tattoo) to receive a special makeover by Criterion, following his 2008 drama The Strange Case of Benjamin Button.
The film focuses on the enormously wealthy and emotionally remote investment banker Nicholas Van Orton (Michael Douglas, Traffic), who receives a strange gift from his ne’er-do-well younger brother ( Sean Penn, Fair Game) on his forty-eighth birthday: a voucher for a game that, if he agrees to play it, will change his life.
That’s the high-concept basis for story, which kicks off a trip down a rabbit hole that proves to be puzzling, terrifying, dangerous and exhilarating for Nicholas (and the viewers that join him for his game). Compared to other fincher films,...
- 6/22/2012
- by Laurence
- Disc Dish
Editor’s note: Critical Consensus is a biweekly feature in which two critics from Indiewire’s Criticwire network discuss new releases with Indiewire’s chief film critic, Eric Kohn. Here, The Washington Post film critic Ann Hornaday and National Society of Film Critics chair David Sterritt take on Shirley Clarke's 1962 cult hit about a documentary filmmaker attempting to document a group of junkies in the West Village. Newly restored by UCLA and opening at New York's IFC Center this Friday, "The Connection" marks the first of several restored Clarke films set for theatrical and DVD releases this year. David, one of the interesting things about "The Connection" is that there are multiple angles for discussing it. It's a commentary on cinéma vérité, but also a portrait of the Beat Generation, as you point out in your book about the period. What do you think is the most essential aspect of the movie's lasting.
- 5/2/2012
- by Ann Hornaday, Eric Kohn and David Sterritt
- Indiewire
Last year, the New Zealand Film Archive and the National Film Preservation Foundation announced that they'd discovered a tinted print of The White Shadow (1924), "an atmospheric melodrama starring Betty Compson, in a dual role as twin sisters — one angelic and the other 'without a soul.' With mysterious disappearances, mistaken identity, steamy cabarets, romance, chance meetings, madness, and even the transmigration of souls, the wild plot crams a lot into six reels." As David Sterritt noted in that announcement, though he was only 24 at the time, "Alfred Hitchcock wrote the film's scenario, designed the sets, edited the footage, and served as assistant director to Graham Cutts, whose professional jealousy toward the gifted upstart made the job all the more challenging."
Today, Farran Nehme, Marilyn Ferdinand and Roderick Heath have announced that their third For the Love Film blogathon, running from May 13 through 18, will be a fund-raising drive to rouse up...
Today, Farran Nehme, Marilyn Ferdinand and Roderick Heath have announced that their third For the Love Film blogathon, running from May 13 through 18, will be a fund-raising drive to rouse up...
- 2/1/2012
- MUBI
Too bad the critical symposium in the new, Winter 2012 issue of Cineaste isn't online. Participants evidently include Gianni Amelio, Olivier Assayas, Costa-Gavras, Robert Greenwald, and Sally Potter, "among others," but until we get our hands on the print edition, we'll have to make do with what is online, which, after all, is plenty: Patrick Z McGavin on Dave Kehr's When Movies Mattered: Reviews from a Transformative Decade, Richard James Havis on Kyung Hyun Kim's Virtual Hallyu: Korean Cinema of the Global Era, Andrew Horton on New Zealand Film: An Illustrated History and Henry K Miller on Brutal Intimacy: Analyzing Contemporary French Cinema and The New Extremism in Cinema: From France to Europe. And that's just the book reviews.
Besides the interviews with Mona Achache and Charlotte Rampling and festival reports (Locarno, Toronto and Montreal), the 15 reviews include David Sterritt on Kubrick's The Killing (1956), Joseph Luzzi on Raffaello Matarazzo,...
Besides the interviews with Mona Achache and Charlotte Rampling and festival reports (Locarno, Toronto and Montreal), the 15 reviews include David Sterritt on Kubrick's The Killing (1956), Joseph Luzzi on Raffaello Matarazzo,...
- 12/13/2011
- MUBI
Ranked: Terry Gilliam Films From Worst to Best The American Python and visionary director gets his canon Ranked. By David Sterritt, author of Terry Gilliam: Interviews Terry Gilliam is one of cinema’s great fabulists. After emigrating to England in 1967, disgusted with Vietnam-era American values, he had a lengthy stint as animator-in-residence for Britain’s legendary TV show Monty Python’s Flying Circus, then made the leap to theatrical features in 1974. His breakthrough picture, Time Bandits, celebrated its thirtieth anniversary this week. Gilliam’s movies range from nearly sublime to utterly ridiculous, which makes his body of work perfect for ranking. 11. The Brothers Grimm (2005) Gilliam had a prolific but not especially successful year in 2005, producing two of his least interesting movies. The Brothers Grimm stars Matt Damon and Heath Ledger as the eponymous fairy-tale collectors, portrayed as con artists whose phony demon-slaying racket turns perilous when they enter a...
- 11/10/2011
- by David Sterritt
- Nerve
Chicago – One of the most remarkable things about Robert Altman was his refusal to give in to the pressures of pleasing an audience. He made films for himself. There may be no better example of this than “3 Women,” a film that defies too much examination in part because it’s purposefully vague as it was based on a dream of Mr. Altman’s. He had a dream, woke up, and turned it into a treatment, from which they shot the movie. It’s surreal, bizarre, and totally mesmerizing, and is one of the newest Criterion Blu-rays.
Blu-Ray Rating: 5.0/5.0
“3 Women” came in a period of transition for Robert Altman. In the late ’70s, he was already an internationally renowned director, having released “Mash,” “McCabe & Mrs. Miller,” and “Nashville” earlier in the decade. He would get more experimental in the ’70s (and then disappointingly less so in the ’80s), but a lot...
Blu-Ray Rating: 5.0/5.0
“3 Women” came in a period of transition for Robert Altman. In the late ’70s, he was already an internationally renowned director, having released “Mash,” “McCabe & Mrs. Miller,” and “Nashville” earlier in the decade. He would get more experimental in the ’70s (and then disappointingly less so in the ’80s), but a lot...
- 9/23/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
London, Sep 22: An Alfred Hitchcock film, which was found in a garden shed in New Zealand, has got a Hollywood showing after nearly 80 years.
Hitchcock was just 24 when he wrote, edited, designed and assistant-directed the silent film 'The White Shadow', the Daily Telegraph reported.
The film was being shown at the Academy of Motion Picture Arts and Sciences' Samuel Goldwyn Theatre.
David Sterritt, chairman of the National Society of Film Critics, described the discovery as 'one of the.
Hitchcock was just 24 when he wrote, edited, designed and assistant-directed the silent film 'The White Shadow', the Daily Telegraph reported.
The film was being shown at the Academy of Motion Picture Arts and Sciences' Samuel Goldwyn Theatre.
David Sterritt, chairman of the National Society of Film Critics, described the discovery as 'one of the.
- 9/22/2011
- by Amith Ostwal
- RealBollywood.com
Your Weekly Source for the Newest Releases to Blu-Ray Tuesday, September 13th, 2011
The 10th Victim (1965)
Synopsis: It is the 21st Century, and society’s lust for violence is satisfied by “The Big Hunt,” an international game of legalized murder. But when the sport’s two top assassins (Marcello Mastroianni and Ursula Andress) are pitted against each other, they find that love is the most dangerous game of all. As the world watches, the hunt is on. Who will become The 10th Victim? The 10th Victim is the international cult classic whose wild action and sexy style has influenced a generation of movies, from The Running Man to the Austin Powers series. Remastered from original archival negative materials, this outrageous satire is presented here in its original Italian language with optional English subtitles. — highdefdigest.com
Special Features:
Marcello: A Sweet Life (2006) (102 Mins.) Theatrical Trailer
3 Women: The Criterion Collection (1977)
Synopsis: In a dusty,...
The 10th Victim (1965)
Synopsis: It is the 21st Century, and society’s lust for violence is satisfied by “The Big Hunt,” an international game of legalized murder. But when the sport’s two top assassins (Marcello Mastroianni and Ursula Andress) are pitted against each other, they find that love is the most dangerous game of all. As the world watches, the hunt is on. Who will become The 10th Victim? The 10th Victim is the international cult classic whose wild action and sexy style has influenced a generation of movies, from The Running Man to the Austin Powers series. Remastered from original archival negative materials, this outrageous satire is presented here in its original Italian language with optional English subtitles. — highdefdigest.com
Special Features:
Marcello: A Sweet Life (2006) (102 Mins.) Theatrical Trailer
3 Women: The Criterion Collection (1977)
Synopsis: In a dusty,...
- 9/13/2011
- by Travis Keune
- WeAreMovieGeeks.com
According to New Zealand news website Scoop, three reels of The White Shadow, a silent feature film from 1923 have been discovered in the New Zealand Film Archive. What makes the discovery so special is that it is believed to be the earliest example of the work of legendary British director Alfred Hitchcock.
While he did not direct the film, the then 24 year old Hitchcock is credited as the assistant director and also wrote the scenario, designed the sets and edited the film. Author of The Films of Alfred Hitchcock and Chairman of the National Society of Film Critics, David Sterritt, said that;
“These first three reels offer a priceless opportunity to study his visual and narrative ideas when they were first taking shape. What we are getting is the missing link, one of those few productions where we are able to bridge that gap of Hitchcock, the young guy with all these ideas,...
While he did not direct the film, the then 24 year old Hitchcock is credited as the assistant director and also wrote the scenario, designed the sets and edited the film. Author of The Films of Alfred Hitchcock and Chairman of the National Society of Film Critics, David Sterritt, said that;
“These first three reels offer a priceless opportunity to study his visual and narrative ideas when they were first taking shape. What we are getting is the missing link, one of those few productions where we are able to bridge that gap of Hitchcock, the young guy with all these ideas,...
- 8/5/2011
- by Chris Wright
- Obsessed with Film
Alfred Hitchcock was one of the most talented filmmakers to ever come around, his films are incredible, but before he became the big brand name that he did the director had to start somewhere.
The National Film Preservation Foundation and the New Zealand Film Archive have discovered the first 30 minutes of a 1923 silent British film, called The White Shadow, which is considered to be the earliest feature film in which Alfred Hitchcock was given credit.
Hitchcock was 24 years old when this film was made and he served as the writer, assistant director, editor and production designer on the project. The movie starred Betty Compson who played twin sisters in the story. One was good and the other was bad. Clive Brook also starred in the film.
The actual director of the film was Graham Cutts who was described by National Society of Film Critics chairman and Hitchcock expert David Sterritt...
The National Film Preservation Foundation and the New Zealand Film Archive have discovered the first 30 minutes of a 1923 silent British film, called The White Shadow, which is considered to be the earliest feature film in which Alfred Hitchcock was given credit.
Hitchcock was 24 years old when this film was made and he served as the writer, assistant director, editor and production designer on the project. The movie starred Betty Compson who played twin sisters in the story. One was good and the other was bad. Clive Brook also starred in the film.
The actual director of the film was Graham Cutts who was described by National Society of Film Critics chairman and Hitchcock expert David Sterritt...
- 8/4/2011
- by Venkman
- GeekTyrant
[1] The New Zealand Film Archive and the National Film Preservation Foundation (Nfpf) announced this week that they had discovered the first 30 minutes of The White Shadow, a 1923 silent film considered to be the first credit by Alfred Hitchcock. Although Hitchcock did not direct the movie -- Graham Curtis did -- the now-legendary filmmaker, then 24, served as assistant director, editor, and production designer. The British melodrama follows twin sisters -- one evil, one good -- both played by Betty Compson, and co-stars Clive Brook. Read more details, including information on its American "re-premiere," after the jump. The La Times [2] reports that film was recently rediscovered when the Nfpf received a grant from the Andrew W. Mellon Foundation, allowing an archivist to sort through American films within the New Zealand archive's collection of nitrate prints. The White Shadow had been brought there in 1989 by Tony Osborne, grandson of New Zealand projectionist and collector Jack Murtagh,...
- 8/4/2011
- by Angie Han
- Slash Film
Los Angeles -- Alfred Hitchcock is still surprising his fans.
Film preservationists said Wednesday they've found the first half of the earliest known surviving feature film on which Hitchcock has a credit: a silent melodrama called "The White Shadow."
The first three reels of the six-reel film, made in 1923, were discovered by the National Film Preservation Foundation at the New Zealand Film Archive.
"The White Shadow" was directed by Graham Cutts, and the 24-year-old Hitchcock was credited as writer, assistant director, editor and art director.
Hitchcock made his own directing debut two years later with the chorus-girl melodrama "The Pleasure Garden." He went on to direct such suspense classics as "Psycho," "The Birds," "Rear Window" and "Vertigo."
"The White Shadow" is a "missing link, one of those few productions where we are able to bridge that gap of Hitchcock, the young guy with all these ideas, and Hitchcock the filmmaker,...
Film preservationists said Wednesday they've found the first half of the earliest known surviving feature film on which Hitchcock has a credit: a silent melodrama called "The White Shadow."
The first three reels of the six-reel film, made in 1923, were discovered by the National Film Preservation Foundation at the New Zealand Film Archive.
"The White Shadow" was directed by Graham Cutts, and the 24-year-old Hitchcock was credited as writer, assistant director, editor and art director.
Hitchcock made his own directing debut two years later with the chorus-girl melodrama "The Pleasure Garden." He went on to direct such suspense classics as "Psycho," "The Birds," "Rear Window" and "Vertigo."
"The White Shadow" is a "missing link, one of those few productions where we are able to bridge that gap of Hitchcock, the young guy with all these ideas, and Hitchcock the filmmaker,...
- 8/4/2011
- by AP
- Huffington Post
Betty Compson, The White Shadow About thirty minutes from the long thought-lost The White Shadow / White Shadows (1923), believed to be the earliest surviving feature with an Alfred Hitchcock credit, has been unearthed at the New Zealand Film Archive. Directed by Graham Cutts, and starring Betty Compson and Clive Brook, The White Shadow was found among a number of unidentified American nitrate prints safeguarded for more than two decades at the archive. Based on Michael Morton's novel Children of Chance, The White Shadow was written and edited by Hitchcock, who also served as assistant director and production designer. The future director of Blackmail, The Lady Vanishes, Rebecca, Lifeboat, Strangers on a Train, Rear Window, North by Northwest, Psycho, and The Birds, was 24 years old at the time. Three out of The White Shadow's six reels have been found. In the words of National Society of Film Critics Chairman David Sterritt,...
- 8/3/2011
- by Andre Soares
- Alt Film Guide
Great news for fans of cinema, namely the work of Alfred Hitchcock.
A New Zealand team of preservationists have announced the found the first half of one of Hitch’s earliest known works, in 1924′s White Shadow. As THR reports, Hitchcock is credited as assistant director, art director, editor and writer. He was 24 when he worked on the film; his feature directorial debut would come soon afterward on The Pleasure Garden (1925).
“These first three reels of The White Shadow — more than half the film — offer a priceless opportunity to study [Hitchcock’s] visual and narrative ideas when they were first taking shape,” said David Sterritt, chairman of the National Society of Film Critics and author of The Films of Alfred Hitchcock.
The film, which stars Betty Compson in a dual role as twin sisters — one angelic and the other “without a soul” — turned up among the cache of unidentified American nitrate prints...
A New Zealand team of preservationists have announced the found the first half of one of Hitch’s earliest known works, in 1924′s White Shadow. As THR reports, Hitchcock is credited as assistant director, art director, editor and writer. He was 24 when he worked on the film; his feature directorial debut would come soon afterward on The Pleasure Garden (1925).
“These first three reels of The White Shadow — more than half the film — offer a priceless opportunity to study [Hitchcock’s] visual and narrative ideas when they were first taking shape,” said David Sterritt, chairman of the National Society of Film Critics and author of The Films of Alfred Hitchcock.
The film, which stars Betty Compson in a dual role as twin sisters — one angelic and the other “without a soul” — turned up among the cache of unidentified American nitrate prints...
- 8/3/2011
- by Jon Peters
- Killer Films
It's been a big year for Hitchcock devotees. First, there was the latest unveiling of the 12-hour audio file from Hitchcock's famous interview with French critic and director Francois Truffaut. Now, the National Film Preservation Foundation and the New Zealand Film Archive have announced their discovery of the opening half-hour of The White Shadow, Hitchcock's first credited film. In 1923, a 24-year old Hitchcock served as the writer, director, editor and production designer for a melodrama starring Clive Brook and Betty Compson, who played two twin sisters, one good, one bad. Hitchcock scholar David Sterritt, chairman of the National Society of Film Critics, calls the find a "missing link" between the director's early years as a writer and his eventual rise as a major filmmaker. ...
- 8/3/2011
- Thompson on Hollywood
Now this is just the kind of news we like having on hump day (which by the way is nowhere near as fun as it sounds)! The earliest surviving film from the great Alfred Hitchcock has been found! Well, at least some of it has.
According to THR, just in time for the filmmaker’s 112th birthday, archivists and preservationists in New Zealand have announced the discovery of the first half of a 1924 film thought to be Alfred Hitchcock’s earliest surviving feature.
In 1924's The White Shadow, an atmospheric British melodrama picked up for international distribution by Hollywood’s Lewis J. Selznick Enterprises, Hitchcock is credited as assistant director, art director, editor and writer. He was 24 when he worked on the film; his feature directorial debut would come soon afterward on The Pleasure Garden (1925).
The film, which stars Betty Compson in a dual role as twin sisters — one angelic...
According to THR, just in time for the filmmaker’s 112th birthday, archivists and preservationists in New Zealand have announced the discovery of the first half of a 1924 film thought to be Alfred Hitchcock’s earliest surviving feature.
In 1924's The White Shadow, an atmospheric British melodrama picked up for international distribution by Hollywood’s Lewis J. Selznick Enterprises, Hitchcock is credited as assistant director, art director, editor and writer. He was 24 when he worked on the film; his feature directorial debut would come soon afterward on The Pleasure Garden (1925).
The film, which stars Betty Compson in a dual role as twin sisters — one angelic...
- 8/3/2011
- by Uncle Creepy
- DreadCentral.com
The only surviving copy of what is believed to be Alfred Hitchcock's first foray into filmmaking has been found halfway around the world from Hollywood.
The first 30 minutes of "The White Shadow," a story about two sisters -- one angelic, the other "without a soul" -- played by silent film star Betty Compson was apparently stored in the New Zealand Film Archive amongst a cache of early 20th century American film.
The footage will premiere on Sept. 22 at Academy of Motion Picture Arts and Sciences' Samuel Goldwyn Theater in Beverly Hills. So far only three reels of the six-reel feature film have been discovered.
Hitchcock was reportedly just 24 at the time the film was recorded. He's listed on the credits as assistant director, editor and writer.
"What we are getting is the missing link," David Sterritt, chairman of the National Society of Film Critics and author of "The Films...
The first 30 minutes of "The White Shadow," a story about two sisters -- one angelic, the other "without a soul" -- played by silent film star Betty Compson was apparently stored in the New Zealand Film Archive amongst a cache of early 20th century American film.
The footage will premiere on Sept. 22 at Academy of Motion Picture Arts and Sciences' Samuel Goldwyn Theater in Beverly Hills. So far only three reels of the six-reel feature film have been discovered.
Hitchcock was reportedly just 24 at the time the film was recorded. He's listed on the credits as assistant director, editor and writer.
"What we are getting is the missing link," David Sterritt, chairman of the National Society of Film Critics and author of "The Films...
- 8/3/2011
- by editorial@zap2it.com
- Pop2it
Alfred Hitchcock's 1925 film "The Pleasure Garden" is generally recognized to be his first work as a credited director. But for years prior, the film legend worked as both art director and assistant director on a number of silent films. Now, one of those movies, "The White Shadow," has been unearthed in New Zealand, and it is thought to be Hitchcock's oldest surviving film.
A silent British melodrama starring Betty Compson, "The White Shadow," known as "White Shadows" on this side of the Atlantic, told the story of two twins - one good and one evil, but both played by Compson. Hitchcock was only 24-years-old when he collaborated with Graham Cutts on the film, working as assistant director, art director, editor and writer.
"The White Shadow" we believed lost up until recently, when the first three reels of the original six were found sealed away in the New Zealand Film Archive in Wellington,...
A silent British melodrama starring Betty Compson, "The White Shadow," known as "White Shadows" on this side of the Atlantic, told the story of two twins - one good and one evil, but both played by Compson. Hitchcock was only 24-years-old when he collaborated with Graham Cutts on the film, working as assistant director, art director, editor and writer.
"The White Shadow" we believed lost up until recently, when the first three reels of the original six were found sealed away in the New Zealand Film Archive in Wellington,...
- 8/3/2011
- by Aubrey Sitterson
- ifc.com
Footage from Alfred Hitchcock’s first ever film has been discovered in New Zealand.
Three reels, comprising the first 30 minutes of The White Shadow, were left at the New Zealand Film Archive in 1989 but were only recently identified.
No one knows where the remaining three reels are and no other copy of the film is thought to exist.
Hitchcock, who was just 24 at the time, was the writer, assistant director, editor and production designer of the 1923 melodrama.
“This is him showing how multi-talented he was at a very young age,” Frank Stark, head of the New Zealand archive, told stuff.co.nz.
“This is a really early sign of just how broadly skilled Hitchcock was.”
The prints were sent by the family of projectionist and collector Jack Murtagh, following his death.
The reels were originally labelled Twin Sisters but archivist Leslie Lewis noticed the resemblance to Hitchcock’s early style...
Three reels, comprising the first 30 minutes of The White Shadow, were left at the New Zealand Film Archive in 1989 but were only recently identified.
No one knows where the remaining three reels are and no other copy of the film is thought to exist.
Hitchcock, who was just 24 at the time, was the writer, assistant director, editor and production designer of the 1923 melodrama.
“This is him showing how multi-talented he was at a very young age,” Frank Stark, head of the New Zealand archive, told stuff.co.nz.
“This is a really early sign of just how broadly skilled Hitchcock was.”
The prints were sent by the family of projectionist and collector Jack Murtagh, following his death.
The reels were originally labelled Twin Sisters but archivist Leslie Lewis noticed the resemblance to Hitchcock’s early style...
- 8/3/2011
- by editorial@lovefilm.com (Amelia Rosenthal)
- LOVEFiLM
Filed under: Movie News
In a major film find, the very first movie by Alfred Hitchcock has just been discovered in a New Zealand archive.
The archive announced the discovery of the first 30 minutes of a 1923 British film, 'The White Shadow,' believed to be the earliest feature film directed by the master of suspense. Their find is the only known copy in existence. "[They] offer a priceless opportunity to study [Hitchcock's] visual and narrative ideas when they were first taking shape," said David Sterritt, chairman of the National Society of Film Critics and author of 'The Films of Alfred Hitchcock.'
Hitchcock was only 24 when he wrote and edited the melodrama, which stars Betty Compson in a dual role as good and bad sisters. He was also the art director and assistant director of the piece. Sterritt says that the film's director was a "hack" who resented the "gifted upstart" working under him.
In a major film find, the very first movie by Alfred Hitchcock has just been discovered in a New Zealand archive.
The archive announced the discovery of the first 30 minutes of a 1923 British film, 'The White Shadow,' believed to be the earliest feature film directed by the master of suspense. Their find is the only known copy in existence. "[They] offer a priceless opportunity to study [Hitchcock's] visual and narrative ideas when they were first taking shape," said David Sterritt, chairman of the National Society of Film Critics and author of 'The Films of Alfred Hitchcock.'
Hitchcock was only 24 when he wrote and edited the melodrama, which stars Betty Compson in a dual role as good and bad sisters. He was also the art director and assistant director of the piece. Sterritt says that the film's director was a "hack" who resented the "gifted upstart" working under him.
- 8/3/2011
- by Sharon Knolle
- Moviefone
Footage from 1923 melodrama The White Shadow, one of the first films that Hitchcock worked on, identified in New Zealand film archive
It's the kind of unpredictable twist that even the celebrated film-maker might have found surprising: footage from a lost silent movie featuring work by Alfred Hitchcock has been discovered in New Zealand.
The White Shadow, from 1923, is a melodrama starring Us actor Betty Compson as twin sisters – one good, one evil – and Clive Brook. It was the first film that the 24-year-old Hitchcock worked on. He was writer, assistant director, editor and production designer on the project. Three reels comprising the first 30 minutes of the movie were left at the New Zealand Film Archive in 1989 by the family of a New Zealand projectionist and film collector, but were only recently identified. No one knows where the remaining three reels are and no other copy of the film is thought to exist.
It's the kind of unpredictable twist that even the celebrated film-maker might have found surprising: footage from a lost silent movie featuring work by Alfred Hitchcock has been discovered in New Zealand.
The White Shadow, from 1923, is a melodrama starring Us actor Betty Compson as twin sisters – one good, one evil – and Clive Brook. It was the first film that the 24-year-old Hitchcock worked on. He was writer, assistant director, editor and production designer on the project. Three reels comprising the first 30 minutes of the movie were left at the New Zealand Film Archive in 1989 by the family of a New Zealand projectionist and film collector, but were only recently identified. No one knows where the remaining three reels are and no other copy of the film is thought to exist.
- 8/3/2011
- by Ben Child
- The Guardian - Film News
Chicago – The Criterion deal with IFC Films has led to some very interesting additions to their collection including some controversial choices. The universally-acclaimed and upcoming “Carlos” may be understandable but do “Everlasting Moments” and “Revanche” deserve the standing that comes with the Criterion label? I’m torn and no more so than with the release of “Life During Wartime,” a decent and interesting flick that nonetheless would be Far down the list of movies I would choose for induction into the most important club in DVD history.
Blu-Ray Rating: 3.5/5.0
Let’s play pros & cons. On one hand, it’s a simple fact that arthouses are in dire straits with fewer and fewer people driving past the multiplex to see indie fare even in major cities. And they often get just as buried at home, especially as independent video stores disappear. In other words, anything that brings a great company like...
Blu-Ray Rating: 3.5/5.0
Let’s play pros & cons. On one hand, it’s a simple fact that arthouses are in dire straits with fewer and fewer people driving past the multiplex to see indie fare even in major cities. And they often get just as buried at home, especially as independent video stores disappear. In other words, anything that brings a great company like...
- 8/1/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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