1-20 of 29 items from 2010 « Prev | Next »
It seems like only yesterday that the American Film Institute released their 100 Years...100 Movies  list. Actually though, it was over 10 years ago when we first got our look at that "definitive" list of the 100 best American movies. They then did a ten year anniversary of it in 2007 with only minor adjustments and both years Citizen Kane held the number one place as the best American movie. Of course, the problem with those lists is that they only list American films. While Hollywood might be considered the epicenter of film, the art form itself spans the globe, way beyond American borders. That's why the Toronto International Film Festival came up with their Essential 100 movies. Created by merging lists made by Toronto Film Festival supporters along with another made by their programmers, these are supposed to be the 100 essential movies every cinephile must see. And it starts off with a bang as Citizen Kane has been toppled. »
- Germain Lussier
Ok cinephiles. Who among you has seen all 100 on the Toronto International Film Festival's Essential 100? The full list is pasted below. True confession: I have seen all but the following 11, which I shame-facedly reveal below: 1. Pather Panchali Satyajit Ray (pictured) 2. La Jetee Chris Marker 3. Salo, or the 120 Days of Sodom Pier Paolo Pasolini 4. Through the Olive Trees Abbas Kiarostami 5. Dust in the Wind Hou Hasaio-Hsien 6. Chronique d'un Ete Edgar Morin and Jean Rauch 7. La Noire de... Ousmane Sembene 8. Andre Rublev Andrei Tarkovsky 9. A Nos Amours Maurice Pialat 10. Earth Aleksandr Dovzhenko 11. Oldboy Park Chan-Wook The Essential 100 This list represents the merging of one 100 film list as determined by an »
“I am not an ideologue,” José Luis Guerín says matter-of-factly. “I need characters.” Judging by the lukewarm response that has greeted his latest film, Guest, it’s a dicey stance for a director of art house cinema to take these days. Early reviewers have praised Guerín’s images but questioned the structure of the film, which often finds him wandering through Third World cities and inviting conversations about hot-button topics like immigration, colonialism, and religion. That he does so without any pretense of deep sociopolitical analysis makes Guest something of an anachronism: it’s a politically-interested film in an observational mode, more humble and curious than didactic.
In 2006, after premiering his previous film, In the City of Sylvia, Guerín decided to spend a year traveling the world by accepting every festival invitation he was offered. He carried a consumer-grade Dv camera with him wherever he went and very gradually built »
1962, PG, Artificial Eye
Agnès Varda, wife and creative companion of film-maker Jacques Demy (who died of Aids in 1990), was the token female film-maker of the French new wave, with which she was peripherally associated, though she was closer to Alain Resnais and Chris Marker. She has asserted her role as a significant figure in French cinema both through her own movies, her beautiful commemorative picture about her late husband (Jacquot de Nantes) and her wonderful autobiographical The Beaches of Agnès. Cléo from 5 to 7, her exquisite debut feature, a considerable international art house success, centres on a couple of late afternoon hours in the drifting life of a somewhat vacuous Parisian singer (Corinne Marchand) as she examines her life while anxiously awaiting a vital medical verdict. It's a beguiling, slightly indulgent work, featuring a film-within-a-film starring Jean-Luc Godard and Anna Karina. Photographed by Jean Rabier, Claude Chabrol's regular cameraman, with music by Michel Legrand, »
- Philip French
Time Out New York has a strong list of the 50 best documentaries of all time. The top five goes like this:
I had a few quibbles with the rankings, a few too low ("F For Fake") a few too high ("Bowling For Columbine"), a couple omissions (No "Gates of Heaven?"). But overall it's a strong group from Tony's David Fear, Joshua Rothkopf and Keith Uhlich (even if I wish they wrote a little bit more about each selection). Head over to Time Out New York to check out the complete list. »
- Matt Singer
Neils Arden Oplev criticises casting of American actor in lead role of Lisbeth Salander in American version of Swedish film
The director of the original Swedish version of The Girl with the Dragon Tattoo has questioned the need for the upcoming American remake, reigniting a long-running war of words over Hollywood raiding foreign language films to repackage them for a global audience.
With an English-language version in the works, to be directed by The Social Network's David Fincher, film-maker Niels Arden Oplev expressed anger at plans to cast an American actor in the lead role of Lisbeth Salander, drawing unflattering comparisons with the Hollywood adaptation of the French film La Femme Nikita, which was poorly received when remade as The Assassin, starring Bridget Fonda in the 1990s.
He told the Word & Film website: "Even in Hollywood there seems to be a kind of anger about the remake; like, 'Why »
- Andrew Pulver
Craig here from Dark Eye Socket with my Lff wrap-up.
As of tonight the BFI London Film Festival is done for another year. It's been a stellar year all told, if the surplus of reports are to be believed. And I'd willingly add a further approving nod to the list. I didn't manage to see everything I wanted (juggling festival times and dates with travel arrangements is an art – one that's open to fateful intervention...and multiple tube delays), but what I saw was on the whole a bumper crop. Roll on next year, I say. Here are five previous reviews, selected from the films I saw: Uncle Boonmee, A Screaming Man, Winter Vacation, Rare Exports and What I Love the Most. And below are five final mini reviews of a few festival highlights.
- Craig Bloomfield
James Cameron, 1984/1991
A $7m outlay brought spectacular returns of over $70m for James Cameron's first great sci-fi action thriller, which spawned a three-sequel franchise, a powerhouse directorial career, and made robotic, former iron-pumping Teuton Arnold Schwarzenegger an unlikely 80s superstar. A time-travel thriller, whose closed-circuit-in-time mechanism is a straight lift from Chris Marker's La Jetée, its more cerebral notions – man versus machine, grey matter versus computer, past versus present versus future – are cleverly pondered alongside some of the most visceral and exciting action sequences ever filmed. And the monster, unstoppable and remorselessly murderous, can take on the voices of others, and later (in the sequel), even adopt their outward fleshly appearance, allowing it to take on the form of Lapd cops, step-moms, pet dogs, and who knows what else.
The follow-up, made for zillions more dollars, was a smash on a far larger scale, offering a metal-based morphing »
- John Patterson
Top Ten Time Travel Movies
Deciding where to begin with a list of my top ten time travel movies wasn't very hard. I had a handful of films already in mind when I started, as with most any list of this sort, the films I watched as I was growing up had a profound effect on me and therefore always effect the way lists such as this turn out. However, before I felt I could do a proper list there was much more than simply the films I've watched over my lifetime to consider. In order to be thorough I had to look elsewhere and at films I had yet to see.
On top of figuring out my favorites I also had to figure out whether some films should even be classified as "time travel movies." Take Harry Potter and the Prisoner of Azkaban (2004) for instance. Throughout the entire film »
- Brad Brevet
In our latest world cinema column, Nick embarks on a whistle stop tour of countries and their most notable films, starting with Europe…
I've sais before: the lure of the unknown is what attracts people to seek out world cinema. Discovering new places and new people is intoxicating, and the thrill of it can often be replicated in cinema, and what keeps us seeking it out.
Not all of us can make the journey in reality, but we can still experience the wonders nonetheless. With that in mind, I decided I'd shake up the column a bit and introduce a new section.
Over the next couple of weeks, I thought I'd take you all on a once in a lifetime round-the-world trip, visiting every continent and making hundreds of emotional connections with places and people, all via the medium of film. And if you're thinking this is corny bullshit, well then you may be right, »
Arguably Alfred Hitchcock's greatest film, Vertigo is a story of memory and obsession that transcends the genre of the thriller, cutting straight to the heart of what movies are all about. Chris Marker, who is perhaps this critic's favorite filmmaker, is known to be a fan of Vertigo. Marker's 1983 masterpiece Sans Soleil (which in 2083 will still be well ahead of its time) contains a sequence where Marker visits the real-life San Francisco locations where Vertigo takes place, even retracing some of the route Scottie Ferguson (Jimmy Stewart) takes as he follows Madeleine Ellster (Kim Novak). Don't be surprised, though: Vertigo is about obsession, and obsession it inspires. Its defenders are fiercely passionate: Marker concluded an essay on Vertigo by writing, 'Obviously, this text is addressed to those who know Vertigo by heart. But do those who don't deserve anything at all?' Vertigo was not initially regarded as one »
Self-serving link first again: My latest index-y type project on Bad Lit is the DVD Underground, a list of DVDs and DVD box sets of classic underground films. This is part of my timeline project. So, please check it out. But, more importantly, check these out: Here’s a fantastic interview you have to read: Miss Rosen chats with filmmaker, photographer, exhibitor and general all around underground troublemaker Anton Perich. Plus, the piece is illustraed with Perich’s wonderful B&W pictures of Candy Darling, Robert Mapplethorpe and Andrea Feldman, a.k.a. Andrea Whips. Can you identify the filmmaker in the photo at this groovy ’60s San Francisco Country Joe and the Fish performance? Seriously, the blogger over there wants to know. Making Light of It has some very cool stills from Philippe Grandrieux’s La Vie Nouvelle, that appears to be some sort of homage to Wavelength or something. »
- Mike Everleth
Above: Mika Rottenberg’s Cheese. Photo by Galerie Laurent Godin.
Since 1955 The Robert Flaherty Seminar has gathered influential filmmakers, critics, academics and programmers to hash out the aesthetic and political possibilities of the documentary. This year I joined them in packing the dorm rooms of Colgate University, subject to ominous-smelling shared bathrooms and dissipated coffee, but trusting that the curatorial acumen of guest programmer Dennis Lim, and his chosen theme of “Work,” would make it all worthwhile. The coverage of the fest is split into two parts. I’m taking the first half of the seminar, and Leo Goldsmith the second.
Started by Robert Flaherty’s indomitable wife Frances soon after the director’s death, the seminar ascribes by “The Flaherty Way,” which is repeatedly defined by the gregarious (and engagingly cult-like) staff as “non-preconception.” From the beginning, »
As Inception warped our minds and showed us a new generation of sci-fi, Christopher Nolan has admitted to “plundering cinematic history” and using many references while creating his latest film. The films on list below are not only heavily referenced in Inception, but our favorite cerebral sci-fi films.
Akira is a hard pill to swallow. You may not take it all in at the first stab, but once you let your mind go and get fully involved, it’s a wonderful experience. Watching the anime makes you feel as if you are transported inside of Manga comic book. It’s a gorgeous world filled with cerebral ideas. While it is a bit of a mess, it’s a great mess. You can enjoy it as simply an action movie or, the preferable, as a cerebral experience. – Jack G.
Andrei Tarkovsky’s brilliant »
- Jordan Raup
The Criterion Collection if full of important films of epic length, films whose thematic and philosophical wanderings require a breadth of screen time and a multitude of events manifested – films like Tarkovsky’s Andrei Rublev (1969) or the theatrical and television versions of Bergman’s Fanny and Alexander (1982). But a lengthy running time is hardly a requirement for achieving profound and challenging aesthetic brilliance – and in twenty-eight brief minutes, Chris Marker’s dystopian sci-fi masterpiece La Jetée (1963) does exactly that. The only fictional film by experimental documentary filmmaker and moving-image-essayist Chris Marker, La Jetée is as much a film about the functions and threats posed by memory and nostalgia as it is about cinema itself. … [visit site to read more] »
- Landon Palmer
Jean Luc-Godard's "late period has repeatedly demonstrated an interest in a critical cinema, an art that interrogates itself by giving form to its history as much as providing a history to its art form, punctuated, of course, by the personal concerns of its maker — ones which presumably need no repeating here as they are resolutely, recognizably Godardian." Andréa Picard: "Chris Marker also evidently comes to mind, but at Cannes it was Oliveira, whose sublime The Strange Case of Angelica echoed most profoundly with Film Socialisme. Sharing their theme of the transition into the digital age (an analogue camera here, a typewriter there) with its attendant philosophical implications, threatened histories, and ancient traditions (not to mention the ecological implications of these and the philosophical implications of ecological change that Godard has raised in recent interviews), and a surprising, almost jubilatory use of experimental cinematic techniques (Oliveira's rudimentary, Mélièsian use of CGI »
Madrid -- The 58th San Sebastian Festival will showcase contemporary non-fiction cinema in its thematic sidebar called .doc, organizers announced Monday as they unveiled this year's official poster.
Festival organizers said the retrospective will reflect "on the growing importance of the documentary genre throughout the world movie scene in recent years, the cycle will include some of the most representative examples of non-fiction cinema: auto-documentaries on individual and private subjects, essay cinema, fake documentaries, contributions from video-artists and moviemakers."
San Sebastian poster The showcase will include films like: My Winnipeg (Guy Maddin, 2007), "The Five Obstructions" (Lars von Trier and Jorgen Leth, 2003), "Le souvenir d'un avenir" (Chris Marker and Yannick Bellon, 2001), "Auge/Maschine"-Parts 1, 2, 3 (Harun Farocki, 2002), "Los Rubios" (Albertina Carri, 2003) and "The Wild Blue Yonder" (Werner Herzog, 2005).
Organizers said the Official Section will run 15 features this year.
The festival's poster was revealed at an event in the city's Science Kutxaespacio Museum. »
- By Pamela Rolfe
Max Goldberg in the San Francisco Bay Guardian: "Looking at a map of Paris, the city's rings resemble those of the giant Sequoia cross-section in Vertigo (1958), the one Kim Novak points to saying, 'Somewhere in here I was born ... and here I died.' It's a touchstone scene for Chris Marker, one he recasts in both La Jetée (1962) and Sans Soleil (1983), though the Paris metaphor is prompted by his lesser known essay film, Le joli mai ('May the beautiful,' filmed with the venerable cinematographer Pierre Lhomme)." Poetry Meets Politics: The Essay — Chris Marker's Le joli mai: Tomorrow evening at 7 at the San Francisco Museum of Modern Art. Related: Acquarello's review from 2006. »
French cinema enjoys the confidence of a fine pedigree, but in 2010 are British directors really less talented than their Gallic counterparts?
For the British film lover, a sad fact of life is the suspicion that you've fallen for someone else's art form. For all our occasional triumphs we are so often, at the business end of things, a mere colony of Hollywood – while artistically, we abide in the uneasy knowledge that close to us there is a place where a conveyor belt of fine movies seems to just keep rolling on, effortlessly bringing wonderful, truly cinematic films to its own people and the world beyond. Yup, I'm on about France.
Such was the gist, from an American perspective, of a recent piece by Salon's Andrew O'Hehir. Writing under the teasing headline "Are French films just … better?" O'Hehir looked at the way that for English-speaking cinephiles, French film is still the »
- Danny Leigh
Sometimes, when Hollywood remakes a world cinema hit, it really can improve on it. Not always, but here are the occasions when that's pretty much what happened...
Impersonation is the sincerest form of flattery? Then why do most Hollywood remakes of world cinema feel more like how men describe a swift kick in the family jewels? Something which had previously given you great pleasure gets twisted to such a degree that only pain remains.
It isn't always such a total disaster, though. Every now and then one of those Hollywood remakes defies all the odds and actually works. Here are a few examples of world cinema remakes that weren't a total disgrace.
1-20 of 29 items from 2010 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners