1-20 of 248 items from 2015 « Prev | Next »
With the exception of Cary Fukunaga’s Beasts of No Nation and Tom Hooper’s The Danish Girl, the nineteen other films in Venice Film Festival’s contention for the Golden Lion won’t be mentioned during awards season, but who cares when you have the likes of Aleksander Sokurov, Luca Guadagnino and Marco Bellocchio in the line-up. Not unlike previous years, the 2015 edition has a good numbers of films from Italy and the U.S., with several France co-productions littered throughout and the addition of fresh faces with first time works from composer Piero Messina and artist/musician Laurie Anderson.
While non comp offerings in the shape of Scott Cooper’s Black Mass and Thomas McCarthy’s Spotlight are sure to receive a fair amount of trade news attention it’s the docus that are especially rich this year: Frederick Wiseman is joined by Sergei Loznitsa makes back to »
- Eric Lavallee
If "Phoenix" can harness the steam off its first weekend in New York, where the postwar drama earned nearly $30,000 at two theaters, it could become a runaway arthouse hit a la last year's Polish-language "Ida." In the Us, German cinema is carried by its more broadly known, art-household names such as Michael Haneke (who is Austrian), Werner Herzog and Wim Wenders, who often co-produce with other countries and rarely work in their native tongue anymore. Christian Petzold, after two decades of work, stands to be the country's latest candidate for an art film figurehead as "Phoenix" expands this weekend in Los Angeles. Petzold's longtime muse Nina Hoss changed his tune as a director, yielding a collaboration on six features together—and all about women. His 2012 wartime melo "Barbara," starring Hoss as a hardened doctor transplanted from East Germany to a provincial country hospital in the 1980s, sent critics in raptures. »
- Ryan Lattanzio
The Conversation is a feature at Sound on Sight bringing together Drew Morton and Landon Palmer in a passionate debate about cinema new and old. For their seventh piece, they discuss Wim Wenders’s modern classic Paris, Texas (1984).
Throughout Wim Wenders’s Paris, Texas (1984), Travis Henderson (played by Harry Dean Stanton) carries with him a photograph of an empty lot he bought in the eponymous city, which he later tells his son is near “the Red River” that borders Texas, Oklahoma, and Arkansas. The reference automatically draws to mind Howard Hawks’s beloved 1948 Western, Red River, which drew together an unlikely screen pair with John Wayne and Montgomery Clift. That Hawks classic was also featured prominently in Peter Bogdanovich’s canonical 1971 film The Last Picture Show as the “last picture” of the film’s title exhibited at a dwindling moviehouse in an increasingly barren West Texas small town. »
- Landon Palmer
Fans must resign themselves to directors wanting another crack at the classics. But there are some movies so definitive – and so of their time – they oughtn’t to be resurrected
Related: Nosferatu to rise from dead again as Hollywood plans second remake
For a film to be remade once looks like flattery. Any more than that and it is starting to become creepy. So the news that the classic silent film Nosferatu is in Hollywood’s sights is more than a little disquieting. Following the gruesome news that Murnau’s grave has been ransacked, now his most famous film has been exhumed – neither for the first time. Thirty-six years after Werner Herzog channeled the ghost of Fw Murnau’s Dracula adaptation into his Nosferatu the Vampyre, starring Klaus Kinski, former Warner Bros executive Jeff Robinov is itching for another go.
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- Pamela Hutchinson
Director behind Sundance hit The Witch to remake Fw Murnau’s 1922 silent Dracula adaptation, following Werner Herzog’s 1979 effort
Related: Sundance 2015 review: The Witch – a focus on themes over plot elevate it to near greatness
What is that strange creaking and scratching noise you hear? Is it an ancient coffin slowly being opened? Or is the sound of a barrel being scraped? Probably the former, as just one remake in almost 100 years might permit a second attempt.
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- Catherine Shoard
Another remake is on the way, but this doesn’t sound resoundingly awful.
Deadline is reporting that Robert Eggers, writer and director of the festival favorite The Witch, is being tagged to direct a remake of the classic F.W. Murnau silent film, Nosferatu. The film has been remade once in 1979 by Werner Herzog.
According to Deadline, “this will be a visceral adaptation of F.W. Murnau’s 1922 silent film masterpiece that brings the horrific vampire of Eastern European folklore back to the screen.” They added that Eggers is also set to write and direct The Knight for Studio 8 so it seems like he is developing a solid relationship with the studio.
The Witch was a hit when it premiered at Sundance, but it doesn’t seem like the film will get a wide release until next year. This news also comes a few weeks after the original film’s director, F.W. Murnau, »
- Zach Dennis
If you thought being a classic rendition of a famous monster made you immune to the remake machine, think again! Because filmmaker Robert Eggers is aboard to write and direct a new take on the haunting, long-fingered vampire seen in F.W. Murnau’s 1922 silent film Nosferatu.Former Warner Bros. man Jeff Robinov is developing the idea for a new, untitled take on the character and the film’s concept at his Studio 8 production company. According to Deadline, the new movie will be a “visceral” adaptation of the original, which saw the Eastern European creature stalk his prey and deal badly with the dawn.Eggers, who has switched from costume and production design to directing for The Witch, scored the directing prize for the film at this year’s Sundance festival. It doesn’t have a release date set yet, but has certainly become a selling point for Eggers, who »
I am not categorically opposed to remakes, though I loathe it when a "perfect" film is cynically exploited just to capitalize on the title. A film like "The Exorcist" should never be remade, for example. Neither should "Alien." I would hope that both of those titles are untouchable, but then again... But sometimes, if there's an interesting take and a talented director attached, a remake can feel almost necessary. Such is the case with this newly-announced update of F.W. Murnau's 1922 silent classic "Nosferatu," which is being helmed by Robert Eggers, who wrote and directed the acclaimed, reportedly terrifying period horror film "The Witch," which netted Eggers the Directing Award in the U.S. Dramatic category at this year's Sundance Film Festival (it's expected to be released sometime this year). Deadline describes the project as a "visceral adaptation" of Murnau's film, which was previously remade by Werner Herzog as "Nosferatu the Vampyre, »
- Chris Eggertsen
Production designer-turned-director Robert Eggers, whose tremendous debut The Witch premiered at Sundance in January, will craft a new symphony of horror in a remake of F.W. Murnau’s landmark silent film Nosferatu. Remade in 1979 by film legend Werner Herzog, Nosferatu was German director Murnau’s unofficial adaptation of the Dracula tale. In fact, Prana Film, the studio behind Nosferatu was sued for…
- Samuel Zimmerman
Variety reports that Robert Eggers—writer and director of this year's Sundance hit The Witch—is set to pen and helm the remake of Nosferatu, one of the most highly regarded horror films in history that's still effectively eerie to this day. The remake is currently untitled. Producing the Studio 8 project are Jay Van Hoy and Lars Knudsen’s Parts and Labor.
Based in part on Bram Stoker's classic novel, Dracula, F.W. Murnau's Nosferatu debuted in 1922 and centered on the night-stalking Count Orlok and his unfortunate victims. In 1979, Werner Herzog's Nosferatu the Vampyre—an homage to Murnau's masterpiece—was released.
For those unfamiliar with the original Nosferatu film, we have its synopsis and Blu-ray trailer below. »
- Derek Anderson
The film is currently untitled and will be based on F.W. Murnau’s 1922 silent film, which followed the vampire Count Orlok of Transylvania, who wants to buy a house in Germany and becomes enamored of the real-estate agent’s wife. It was an unofficial adaptation of Bram Stoker’s “Dracula,” and Werner Herzog directed a 1979 remake.
Eggers has already signed a deal with Studio 8 and is attached to direct “The Knight” for the studio.
Eggers, Van Hoy and Knudsen are repped by Wme.
- Justin Kroll
This Friday, Mission: Impossible – Rogue Nation will be released. It’s the fifth film in the iconic franchise, but sadly stands as only the third film of its director Christopher McQuarrie in 15 years since he got behind the camera. That’s a real shame, because Christopher McQuarrie is Hollywood’s best-kept secret when he really should be their pride and joy.
Christopher McQuarrie was so damn hot in the mid-90s. He wrote the script for the classic The Usual Suspects and came home with an Oscar. He ended up using that clout to get his feature-directing debut made with the criminally underrated The Way of the Gun, released in 2000. The film failed both critically and commercially – a domestic gross of $6 million, and a worldwide gross of only $13 million against a $21 million budget – and McQuarrie went from insider to outcast in Hollywood.
Fast forward eight years and McQuarrie had only »
- Dylan Griffin
It’s no ordinary case of demonic possession that rouses the attention of the Catholic Church in “The Vatican Tapes” — more like the sort of full-on egg-vomiting, eyeball-gouging spiritual meltdown that suggests the Antichrist herself now walks among us. And director Mark Neveldine, who is no master of dread but a dab hand at dispensing regular shocks, brings an undeniable lunatic conviction to this cheaply derivative religio-horror freakout, while running up the sort of abnormally high body count you’d expect from a “Die Hard” sequel rather than an occult thriller. Silly, screechy and eminently watchable, this thrifty horror exorcise (er, exercise) could yield decent theatrical profit for Pantelion Films, and might turn even more heads in VOD play.
While the original 2009 Black List-selected screenplay (written by Chris Morgan and Michael C. Martin) took the form of a found-footage movie, the filmmakers wisely opted to buck that overdone genre trend. »
- Justin Chang
"I could probably get into Indonesia without incident. I’m just not sure I would get out alive again," director Joshua Oppenheimer recently told The New York Times about the possibility of returning to Indonesia. And that simple statement speaks volumes about the impact his documentaries "The Act Of Killing," and the newly released "The Look Of Silence" have had in getting to the painful heart of the Indonesian genocide. It has reopened wounds in the nation, and around the world, and the filmmaker drew inspiration from master documentarians in crafting his work. Read: Interview: Joshua Oppenheimer Talks 'The Look Of Silence,' The Influence Of Ozu And Bresson, And More In this exclusive featurette, Oppenheimer speaks with passion and great articulation about the films of Werner Herzog and Errol Morris -- who have also been producers on his films -- in his approach. In Herzog, he admires the "fever dream" of his non-fiction. »
- Kevin Jagernauth
The Heroin Project screens Wednesday, July 22 at 5:00pm at the Tivoli Theater (6350 Delmar Boulevard St. Louis, Mo 63130) as part of this year’s St. Louis Filmmaker’s Showcase. Also on the program are the shorts Pedaling To Stop Pushing and Inner Demons. Ticket information can be found Here
The Heroin Project raises awareness about the devastating impact of heroin. Although focused on events in Madison County, Ill., the film documents a widespread but under-discussed problem that affects not just the St. Louis metro area but the entire country. Beyond the monetary cost of increased law-enforcement efforts and goods stolen from businesses, the negative effects of heroin are more accurately measured in the ever-growing number of young lives lost. Ashley Seering, co-director of The Heroin Project along with Cory Byers, took the time to answer some questions about her film.
- Tom Stockman
Robert Pattinson’s career makeover is going… reasonably. Even before the “Twillight” series wrapped up, he was making an admirable move to work with people like David Cronenberg. Since it finished, he’s doubled-down on that, with “The Rover” and “Maps To The Stars” following in quick succession last year, and both proving pretty good, if a little divisive (he’s very good in the former, a bit forgettable in the latter). This year, Pattinson appeared in Werner Herzog’s “Queen Of The Desert,” and also has “Life” coming up for Anton Corbijn, with each movie premiering at Berlin. Verdicts on both were a bit muted, but we’re definitely more intrigued by the second, which follows the relationship between Life Magazine photographer Dennis Stock (Pattinson) and the legendary, ill-fated movie star James Dean (Dane DeHaan). Read More: Review: Anto Corbijin's 'Life' Starring Robert Pattinson And Dane DeHaan »
- Oliver Lyttelton
Taste of Starlight: Blank’s Debut a Fascinating Time Capsule
Highly regarded documentarian Les Blank’s 1974 debut finally sees an official theatrical release over forty years after its completion, thanks in to part to the thankful relenting of its subject. Blank, known for a filmography fascinated with capturing American musicians as well as a duo of Werner Herzog focused titles, passed away in 2013. Thanks to the support of Blank’s son, who secured the approval of singer Leon Russell, A Poem is a Naked Person is finally available for consumption. However, it’s more of an interesting artifact from a bygone era than it is a document of a musician or the particular flavor of his scene, and isn’t particularly the greatest introduction to either Blank or Russell.
It’s not difficult to see why Leon Russell declined to let the film be released, considering Blank, commissioned to »
- Nicholas Bell
A little while ago, we ran the first part of our interview with Joshua Oppenheimer, culled from several lengthy, generous, fascinating sessions at the Goteborg International Film Festival. That piece, which you can check out here, deals primarily with the devastating "The Act of Killing," Werner Herzog, recurring nightmares and Oppenheimer's plans for the future. With the release tomorrow of "The Look Of Silence" (review here) we bring you part two -- a deep, deep dive into the new film, the filmmaking ethos behind it and a hint at the scale of its after-effects. "The Look of Silence" tells the story of Adi, whose brother Ramli was murdered, before Adi was born, as part of the "communist purges" (aka genocide) that took place in Indonesia in 1965-66 and that subsequently became the subject of national (and international) collective amnesia. The picture follows Adi, a village optometrist, as he goes to. »
- Jessica Kiang
Indiewire says come Oscar time in the Best Documentary category, “the sequel and festival favorite may have already established itself as the one to beat.”
Through Oppenheimer’s footage of perpetrators of the 1965 Indonesian genocide, a family of survivors discovers how their son was murdered, as well as the identities of the killers.
The documentary focuses on the youngest son, an optometrist named Adi, who decides to break the suffocating spell of submission and terror by doing something unimaginable in a society where the murderers remain in power: he confronts the men who killed his brother and, while testing their eyesight, asks them to accept responsibility for their actions. »
- Michelle McCue
(Helma Sanders-Brahms, 1980; BFI, Blu-ray, 15)
The German feminist film-maker Helma Sanders-Brahms, who died last year at the age of 73, was a key figure in the New German Cinema movement of the 1970s and 80s alongside such figures as Werner Herzog, Wim Wenders and Rainer Werner Fassbinder, also born during or shortly after the second world war and dealing with similar issues raised by the Nazi era and its aftermath. Her best-known, most widely exhibited picture, is the harrowing, semi-autobiographical Germany, Pale Mother, the title taken from a poem written by Bertolt Brecht in 1933, the year he went into exile, of which the key lines are: “O Germany pale mother / How you sit defiled / Among the peoples!”
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- Philip French
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