1-20 of 202 items from 2016 « Prev | Next »
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 the interwebs. 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 Instant Video, and more (note: U.S. only). Check out our rundown for this week’s selections below.
If this be the movie jail that Mel Gibson is destined to die in, it could be a whole lot worse. Blood Father, directed by Jean-François Richet (Mesrine, Assault on Precinct 13), works remarkably well as a grindhouse throwback, sporting a screenplay (from Peter Craig and Andrea Berloff, based on Craig’s novel) that’s better than it has any right to be. »
- The Film Stage
The iconic Scottish actor best known for playing James Bond turns 85 today!
There's something about this Oscar-winning actor. Yes, he's handsome and has that Scottish accent we all love, but there's something else. He's got that lasting star power about him - a real Hollywood icon.
So in honour of Sean Connery's birthday, we've put together a list of some of our favourite of his roles! 1. The Hunt for Red October This 1990 spy thriller is about the Red October, a nuclear soviet submarine whose captain (played by Connery) breaks rank and decides on his own command to take the submarine to Us waters! What are his intentions? To defect, or launch a missile attack? Well, that's up to CIA analyst Jack Ryan (played by Alec Baldwin) to discover the truth. »
- Scott Goodyer
The Toronto International Film Festival, which begins in just two weeks from today, has announced the jury for its esteemed Platform section. The three-person international jury is composed of directors Brian De Palma and Mahamat-Saleh Haroun and “Memoirs of a Geisha” actress Zhang Ziyi.
This year, 12 films have been selected for the directors-focused section, which aims to take on complex and bold narratives from a variety of genres.
“We are honored to have De Palma, Haroun, and Zhang on the Platform Jury for the programme’s second year. Each one of them brings a breadth of expertise and experience in visionary filmmaking, artistic direction, and unprecedented, bold narratives,” said Piers Handling, Director and CEO of Tiff. “We are thankful to our esteemed jury for making the time to be here this September to celebrate our renewed commitment to artistically ambitious filmmaking with Platform. »
- Liz Calvario
Some creative professions are harder than others, and then there’s magic, which requires a leap of faith as much as genuine talent. Conor and Tyler Byrne’s new comedic short film “Loudini” examines the life of a magician and its unique struggle. Commission by Ray Ban, the film follows a down-on-his luck magician (Henry Zebrowski) who loses his rabbit and struggles to keep his act together. “Loudini” also stars Allyn Rachel (“Million Dollar Arm”), Robert Michael Lee (“The Astronaut Farmer”), and Jakob Verweij in his screen debut. It also features an exclusive musical performance by the band Car Seat Headrest, performing their original song “Does It Feel Good?” Watch the short below.
Read More: Oscilloscope Co-President David Laub Leaves the Company (Exclusive)
- Vikram Murthi
I saw The Black Dahlia the day it opened in the fall of 2006. I can safely say it was one of my favorite moviegoing experiences. My husband and I saw it at AMC River East 21, which is one of Chicago’s largest multiplexes. The showing we went to was sold-out. There must have been 400 people there. The movie started, everyone was quiet and seemed excited for the celeb-packed whodunit we were about to see. Slowly, muffled giggles could be heard from different points of the theatre, mostly whenever Aaron Eckhart or Josh Hartnett mumbled “Fire and Ice.” By the middle of the movie, people were openly laughing at Hartnett’s silly, serious narration. Everyone went ballistic when, referring to the resemblance between Hilary Swank and Black Dahlia Elizabeth Short, Scarlett Johansson yells, “She looks like that dead girl!” We went even more ballistic when a woman sitting near me in the audience screamed, »
- The Film Stage
“‘2016 is a bad year for film’ is just another way of saying ‘I really blew it when I chose what films to watch in 2016,'” producer Keith Calder recently said. Taking this statement to heart, as summer winds down, there’s no shortage of writing about how the season was a disappointment overall — but, on the contrary, there have been gems throughout the last four months, and we’ve set out to name our favorites.
All of the below films received at least one-week theatrical runs in the United States from May to August, and while some are still in theaters, many are now currently available to stream. Check out our favorites below and let us know what you most enjoyed this summer. One can also see our fall preview series, which just kicked off this week, here.
Despite a loose script that justifies little, »
- The Film Stage
After a few delays, Frank Ocean‘s Channel Orange follow-up, Blond, has now arrived and, with it, not only an additional visual album, but Boys Don’t Cry, a magazine that only a select few were able to get their hands on. (Although, if you believe the artist’s mom, we can expect a wider release soon.) In between a personal statement about his new work and a Kanye West poem about McDonalds, Ocean also listed his favorite films of all-time and we have the full list today.
Clocking at 207.23 hours, as Ocean notes, his list includes classics from Andrei Tarkovsky, David Lynch, Ingmar Bergman, Stanley Kubrick, Martin Scorsese, Orson Welles, Rainer Werner Fassbinder, Jean Cocteau, Alfred Hitchcock, Francis Ford Coppola, Fritz Lang, Werner Herzog, Akira Kurosawa, Ridley Scott, Bernardo Bertolucci, Sergei Eisenstein, F. W. Murnau, Luis Buñuel, and more.
As for some more recent titles, it looks like The Royal Tenenbaums »
- Jordan Raup
“It can be said with certainty that any reviewer who pans [Mission to Mars] does not understand movies, let alone like them,” declared Armond White in 2000. While perhaps an over-corrective to the critical drubbing the film had just received, there’s nonetheless a grain of truth in his statement. Far from being a pale imitation of 2001: A Space Odyssey, as many reviewers accused, Mission to Mars actively deflates its predecessor’s misanthropy and grandeur – on one level, it’s a lavish, epic-scale lark from a director who’s often been as much a satirist as a craftsman.
With a budget of $100 million, it was and still is the most expensive project Brian De Palma has tackled. It’s also the only straight-up piece of science fiction among his filmography, as well as a relatively wholesome, PG-rated affair – a rarity for this most salacious of mainstream American filmmakers. Originally to be directed by »
- The Film Stage
A couple of weeks ago, I spent a few days immersed in Netflix’s new original series, Stranger Things. As someone who grew up in the 1980s and ‘90s, the show proved a wonderful exercise in nostalgia; a delightful amalgam of the wide-eyed Spielbergian ingenuousness and nightmarescapes of Stephen King that so informed my youth. From the moment the opening credits began I was hooked and a large part of this had to do with the show’s opening theme music. Composed by Kyle Dixon and Michael Stein, members of the Austin-based electronic outfit Survive, the show’s theme immediately brings us into the curious world of Stranger Things. Analog synthesizer motifs creep in and out of the mix, pulsating ominously, intoning dread. A percussive heartbeat simmers underneath, propelling us forward into awaiting disaster and, paradoxically, backward to another time and place. When combined with the show’s titles—its »
After adapting William Faulkner and Cormac McCarthy, what looks to be James Franco‘s most ambitious directorial effort yet is an adaptation of Zeroville, based on Steve Erickson‘s book, which serves as a dark parody of the New Hollywood movement. Now the first sales trailer, clocking in at over four minutes, has landed.
The story focuses on Ike “Vikar” Jerome, who has just moved to Hollywood in 1969. With tattoos of Montgomery Clift and Elizabeth Taylor on his head, his journey “ends in both tragedy and discovery.” The book features many New Hollywood icons, such as Robert De Niro, Brian De Palma, John Milius and Paul Schrader, with the ghost of Clift even showing up.
However, outside of the cast — including Seth Rogen, Jacki Weaver, Megan Fox, Craig Robinson, Will Ferrell and Danny McBride — in terms of filmmaking icons, the first trailer only features a Wim Wenders cameo, which makes »
- Jordan Raup
In the weeks leading up to Snake Eyes’ release in August of 1998, my dad and I had gone together to see Lethal Weapon 4, There’s Something About Mary and The Negotiator. Both action titles were forgettable fare, but were a big deal upon release. (Riggs and Murtaugh vs. Jet Li! Samuel L. Jackson and Kevin Spacey conversing via walkie-talkie!) Brian De Palma‘s Snake Eyes with dad was the next order of business. The theater was packed because adults frequented the multiplexes not so long ago. You’re all of 10 years old, Nicolas Cage’s recent output – The Rock, Con Air, and Face/Off — has been terrific, and something seemed off with this new one. You remember leaving the theater not disappointed, but with little to discuss with dad on the ride home. Dad passed away in 2013, long after the Gary Sinise villain era and a few years before »
- The Film Stage
His new film Monte to be screened out of competition.
Iranian director Amir Naderi (Vegas, Manhattan by Numbers) is to receive the Jaeger-LeCoultre Glory to the Filmmaker award of the 73rd Venice International Film Festival(August 31-Sept 10), dedicated to a personality who has made an original contribution to innovation in contemporary cinema.
Naderi will be awarded the prize in a ceremony to be held September 5 in the Sala Grande (Palazzo del Cinema), before the world premiere of his new film Monte, which plays out of competition.
The film - shot on location in Italy in the mountains of the Alto Adige and Friuli regions - is set in 1350 and tells the story of a man who makes every attempt to bring the sunlight into his village, where his family is barely able to survive »
- email@example.com (Michael Rosser)
Picture this: An old sedan comes to a stop at a desolate pile of rubble in the blue-hued ruins of modern Albania. A handful of masked men leap out of the car and forcibly remove the hooded hostage who’s been flailing around in the trunk. They throw him to the ground, shove an Ak-47 in his face and pull back the cloth covering his face. It’s Miles Teller. Freeze frame. Cue the voiceover: “My name is David Packouz, and you might be wondering how I got myself into this mess.”
Those aren’t his exact words (pretty close, though), but you get the idea — from its cold open to its abrupt closing line, there isn’t a single moment of Todd Phillips’ “War Dogs” that won’t make you feel as though you’ve seen this stridently American movie a hundred times already. In some respects, that’s »
- David Ehrlich
A picture-perfect naval officer, highly decorated principled patriotic and deeply in love with his wife, comes ashore quicker than expected and catches his wife cheating with his best friend.
Since the husband is played by the remarkably evolved Akshay Kumar we are mercifully spared the hysterical aftermath of an inherently melodramatic crime of passion that shook and stirred Mumbai’s beau monde in the year 1959.
That was the celebrated Nanawati case, known to change the way we look at the laws regarding crimes of passion. Rustom plucks the core of the crime, unplugs the theme of infidelity from its original context and plays deviously around with the facts to create a semi-fiction ‘what-if’ scenario where the characters hurl towards what the film’s writers would like to think of as an unexpectedly shocking ending.
It’s like watching a true-life »
- Subhash K Jha
Quentin Tarantino has never been one to shy away from lauding his filmmaking heroes for their work or heaping on the homages to other cinema classics in his own works, and fans of the “Inglourious Basterds” and “Pulp Fiction” director’s films often find much to explore and discover within his frames. One such example are some of the (very sexy) parallels between Tarantino’s still-maligned “Death Proof” and Brian De Palma’s similarly overlooked “Femme Fatale,” especially when it comes to a pair of tantalizing dance scenes.
Candice Drouet, an actress who also routinely crafts some stunning video essays, has now made a quick hit looking at the similarities between “Femme Fatale” and “Death Proof,” and how Tarantino pays homage to De Palma with his bar-set dance scene involving a gruff Kurt Russell and Vanessa Ferlito as the, »
- Kate Erbland
Looking for a crash course on some of the film world’s most impressive cinematographers? Look no further than a brand new video essay from Fandor’s Keyframe site, which features some of the most stunning shots from the starry careers of 12 essential cinematographers. Oh, yeah, and they just so happen to all be women.
The new video essay explores notable cinematographers, from Maryse Alberti to Maya Bankovic, Reed Morano to Mandy Walker, showing off some of their impressive bodies of work along the way. With titles like “Velvet Goldmine,” “Hustle & Flow” and “Eternal Sunshine of the Spotless Mind” popping up in this visual feast (and so, so many more), the video provides a solid look at some stunning work by a variety of talented lensers.
Check out the (just wonderful) Fandor video below. »
- Kate Erbland
Tim Heidecker and Gregg Turkington’s particular brand of cringe humor isn’t for everyone, but the duo’s latest season of their wonderfully deranged (and honestly, kind of sad, but on purpose) Adult Swim movie review show, “On Cinema,” is tapping into the kind of broad comedic strokes the pair don’t normally go for. The result? Ten or so minutes of absolutely bizarre, embarrassing and deeply funny observations about movies and life itself.
In the newest episode of their series, the pair review (kind of) newbie blockbusters like “Suicide Squad” and “Nine Lives,” making the case for both films while also woefully misunderstanding their plots, mispronouncing their biggest stars’ names and nearly dying from a vape overdose along the way. Given the way this summer has played out, these ten »
- Kate Erbland
Brad Pitt and Marion Cotillard. Is there anything more that needs to be said to get someone excited for Robert Zemeckis’ “Allied”? The director may not have gotten the hit he had hoped for last year with “The Walk,” but the new 60-second teaser for his new spy thriller hints that he might have a huge hit on his hands.
Pitt, returning to WWII once again after the success of David Ayer’s “Fury,” stars as Max Vatan, a British intelligence officer who encounters French Resistance fighter Marianne Beausejour (Cotillard) during a mission in Casablanca that forces them into a pretend marriage so their cover isn’t blown. The pair is reunited later in London and fall in love, though the horrors of war threaten to destroy their relationship.
The new teaser »
- Zack Sharf
Growing up, certain movies exist as ideas long before you ever see them. You hear older brothers or parents whisper about this scene or that performance or that character, and, before you know it, the movie has become a part of you. Very few films achieve this status, becoming a specter in your life while still essentially unknown. It takes a skilled creator to make such a work, to craft a story or character that becomes a shorthand for an idea, to compose scenes that can be suitably evoked with a single word. The Silence of the Lambs is one such film, with the name Hannibal Lecter and the concept of fava beans or lotion in a basket becoming shadowy terrors long before you grasp their full meaning.
Growing up, one of the most fearsome phantom movies I ever allowed myself to create was Scarface. Because of the way that it had infiltrated the culture, »
- Brian Roan
“Did you ever kill anybody, Charlie?”
Penelope Ann Miller’s Gail asks this of Al Pacino‘s Carlito Brigante throughout Carlito’s Way, a thoroughly impressive piece of studio entertainment from Brian De Palma, the first of the director’s trio of films with accomplished screenwriter David Koepp (Mission:Impossible, Snake Eyes). Released a decade after Scarface, this film plays, in many ways, as a more intelligent, more mature counterpart.
The parallels are obvious. Both Scarface and Carlito’s Way are gangster films starring Pacino, directed by De Palma, and produced by Marty Bregman. Cocaine is a large motivator in both. Carlito is set in 1975. Scarface is set in 1980. There’s even a prevalence of cockroaches (said and seen) in either. It’s the differences that reveal how De Palma grew as a filmmaker painting on a large canvas. Gone is the over-the-top turn by Pacino as Cuban refugee Tony Montana, »
- Dan Mecca
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