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What Alfonso Cuaron lacks in quantity of films made, he damn sure makes up for in quality. He’s only made seven movies over almost 25 years but it’s as if he somehow gets exponentially better with each and ever one. I admit to not knowing much about his first feature, Love in the Time of […]
The post Votd: The Films Of Alfonso Cuaron appeared first on /Film. »
- Germain Lussier
Criterion has released two Spanish-language movies of a sexual nature, one from Mexico, one from Spain. The former is Alfonso Cuaron’s Y Tu Mama Tambien (which translates to “And your mother too”), which Criterion has been promising for five years, while the other is Pedro Almodovar’s Tie Me Up! Tie Me Down!, which was notorious for its Nc-17 rated content at the time. My review of both Criterion editions of these films follow after the jump. Y Tu Mama Tambien came after Cuaron had been courted by Hollywood in the nineties, and after he had made two studio movies that he’s since come to express some disappointment about how they turned out. It’s quite possible that Cuaron -- had he not hit this breaking point -- would have transformed into a studio hack. But he wanted to do something different, something that would re-energize his love of moviemaking, »
- Andre Dellamorte
J.C. Chandor is definitely on the rise, with a surprising amount of people favoring his dark horse Robert Redford film All Is Lost over Alfonso Cuaron's Gravity juggernaut in last year's "solo and in peril" sweepstakes. And A Most Violent Year definitely looks like it could be the film that really solidifies his place on the map. The film is set in New York in 1981 and revolves around “an American immigrant (Oscar Isaac) and his wife (Jessica Chastain) trying to expand their business as violence and corruption threaten to destroy all they have built.” A24 has just released a trailer for the film that's incredibly intense and foreboding and surprisingly successful in making you feel like you know these characters already. Oscar Isaac is such a chameleon, I had to look twice to make sure this was in fact the same Isacc from Inside Llewyn Davis. And of course »
- Evan Dickson
As we continue to wait on whatever non-vfx heavy project Alfonso Cuarón does next, let’s take a step back and look at the Oscar winner’s filmography so far though a new video via Cinephilia & Beyond. Edited by Edgar Martinez , the video lasts just shy of four minutes and twenty seconds, and covers Cuarón’s feature-length directorial output from “Love in the Time of Hysteria” (aka “Sólo Con Tu Pareja”) to “Gravity,” and everything in between. It’s a great little video that shows just how striking the director's images have always been, even when making small budget movies in Mexico. It’s interesting to note that the “Children of Men” helmer has worked far more in English than he has in his native tongue, for a ratio of 5-to–2. Watch the video below. »
- Cain Rodriguez
Directed by David Ayer, Fury stars Brad Pitt as “Wardaddy,” a Sherman tank commander who must guide his men into the heart of Nazi Germany during the last month of World War II. The film features a star-studded cast, including Shia LeBeouf, Logan Lerman, Michael Peña and Jon Bernthal. Fresh off of his Oscar win for Gravity’s high-energy, out-of-this-world score, Price strikes a musical balance with an emotionally resonant, action-packed score for Fury.
The Fury Original Motion Picture Soundtrack will be available on Varèse Sarabande Records October 14th, 2014.
- Michelle McCue
First of all, something of an apology. I have been writing this column thinking that every single title due for release the following Monday would of course be released via some kind of pay to stream service. Of course it would, we are living in the future, and this is how things are done isn’t it?
Apparently not, last week I included Jeremy Saulnier’s much loved Blue Ruin in the pay to stream section and then it didn’t come out the way I thought it might. Turns out that some companies still have a fairly limited release pattern so Blue Ruin was released by channel 4’s DVD label and appeared on DVD and Blu but didn’t show up to stream on any of the major providers, not even Sky Store or Playstation Network.
So turns out that being a channel 4 release, you can of course rent »
- Chris Holt
The shindig on the Lido that is the Venice Film Festival draws to a close tonight after 11 days of films, stars, sun – and a lot of uncharacteristic rain. The weather put a damper on the proceedings which were a little less glitzy than in the past couple of years, and some films fell flat. But, there were a handful of breakout movies that are likely to figure in awards season as it kicks into gear.
As it did last year, the festival got underway with a smash. In 2013, Alfonso Cuaron’s Gravity began its stellar trajectory after opening the festival out of competition. This year, Cuaron’s pal Alejandro G Inarritu’s Birdman soared in its debut with raves pretty much across the board. I asked Inarritu afterwards if we could expect a movie from his and Cuaron’s amigo, Guillermo del Toro, to do opening honors next year. “Yes! »
- Nancy Tartaglione
Last year, 12 Years a Slave clinched the Academy Award for Best Picture at the Toronto Film Festival. Well, that’s not actually true. In fact, you could argue that the Best Picture winner almost lost the statue at the festival. Steve McQueen’s harrowing instant classic was so instantly and universally anointed in Toronto that seeds were planted for an inevitable backlash to flower in the six months before the Oscar winner was finally announced. Ultimately, 12 Years’ biggest Oscar competition came from another Toronto film, Alfonso Cuarón’s Gravity. Though both films premiered at Telluride and Venice, respectively, the awards »
- Jeff Labrecque
For the next 10 days, film fanatics who want to hear the latest on cinema.s most engaging offerings will turn their eyes and ears to Toronto. There, the Toronto International Film Festival promises to unveil an overwhelming slate of tantalizing movie offerings, programming Gala Screenings, Midnight Madness gore fests, and everything in between. Toronto has become the launch pad for multiple Oscar-nominated and Oscar-winning feature over the past few years. Last year.s fest, as an example, hosted Steve McQueen.s 12 Years a Slave and Alfonso Cuaron.s Gravity -- two powerhouses of the eventual Oscar race. That doesn.t mean that you have to limit yourself to awards contenders. World Cinema, independent fare, mainstream hits . Tiff fills its schedule from morning to night with gems that will have even casual movie audiences. heads spinning. I.m in Toronto once again, covering my eighth consecutive Tiff. It.s always a »
The Harry Potter film franchise is full of wonderful little touches, details and Easter Eggs for the sharp-eyed and literary-minded. And even though it’s been 13 years since the first film appeared, there are still gems to be found on repeat viewings.
Just last month, we ran 20 Easter Eggs in Harry Potter Films You Didn’t Notice, and Easter Eggs aren’t the end of the story, as the film universe is so rich and detailed that things get can still get lost.
Prisoner of Azkaban director Alfonso Cuarón seemed to delight more than the other directors in the in-jokes, but you can find them in each film. With that in mind, we set out to find a few more hidden treasures in the Potter films: some were fairly obvious in retrospect; others surprised us with their ability to hide in plain sight.
For the most part, we »
- Harry Thomas
By Scott Feinberg
The Hollywood Reporter
The most coveted ticket at the 2014 Telluride Film Festival, so far, was easily one to Saturday night’s North American premiere of Alejandro Gonzalez Inarritu‘s Birdman. The genre-defying pic arrived at the Werner Herzog Theatre after opening the Venice Film Festival days earlier — just like last year’s Gravity, from Inarritu’s Mexican compatriot Alfonso Cuaron – and the rave reviews that it received overseas (several labeled it a “masterpiece”) created a clamor to see it stateside. In the end, 650 lucky people got in, while hundreds more were turned away.
Read the rest of this entry…
- Anjelica Oswald
Some are already trying to figure out the "Birdman" backlash after the film dropped to raves in Venice, but sometimes the hype is justified, and make no mistake about it: Alejandro González Iñárritu's manic dissection of an artist desperate for fulfillment outside of commercial success is an out-and-out masterpiece. We wrote some time ago about how the film would be constructed to resemble a single take, and watching things unfold at the Werner Herzog Theater Saturday night, I was definitely paying close attention to that. I counted maybe 12 or 13 cuts that were obvious, but there are surely a number of invisible digital edits throughout (much like how the great "single-take" car scene from Alfonso Cuarón's "Children of Men" was assembled, though you'd never know it). The first shot of the film, honest to God, feels like a 30 minute single tracking shot, but there had to be a digital cut in there somewhere. »
- Kristopher Tapley
The most coveted ticket at the 2014 Telluride Film Festival, so far, was easily one to Saturday night's North American premiere of Alejandro Gonzalez Inarritu's Birdman. The genre-defying pic arrived at the Werner Herzog Theatre after opening the Venice Film Festival days earlier -- just like last year's Gravity, from Inarritu's Mexican compatriot Alfonso Cuaron -- and the rave reviews that it received overseas (several labeled it a "masterpiece") created a clamor to see it stateside. In the end, 650 lucky people got in, while hundreds more were turned away. When the end-credits rolled, though, applause was warm but not
- Scott Feinberg
Lionel Cironneau/AP/Press Association Images
We’re all too eager to sing the praises of filmmakers like David Fincher, Christopher Nolan, Alfonso Cuaron and Paul Thomas Anderson, who manage to deliver a unique (and usually brilliant) cinematic experience every time they step up to bat. Sadly, not everyone can be a Fincher or a Cuaron, and to that end, there are a high number of directors who just spin their wheels every time they make a movie, delivering a depressingly familiar experience that cynically opts for the “if it ain’t broke, don’t fix it” mindset, even though in many instances the financially successful formula is, from a critical standpoint, completely broken.
These 10 filmmakers may continue to make money for studios (well, some of them do), though their common ground is that each has let comfort get the better of them: they’re not hungry young filmmakers anymore, »
- Jack Pooley
At the Siggraph computer graphics conference in Vancouver earlier this month, Method Studios president Marc Weigert declared an ambitious goal: Make previsualization inexpensive enough to use for an entire feature film — more specifically, for the cost of no more than two shooting days.
That would permit complete films to be viewed as a rough animation — as animated features are today — before the actual shooting begins. Alfonso Cuaron’s “Gravity” was previs’d just this way, but the process is now too costly.
“Almost every movie these days has expensive re-shoots, expensive re-doing of visual effects,” Weigert says. “By just doing (previs for the whole feature), you’ll save one or two shooting days. Even if you don’t actually save the shooting days, you’ll save the equivalent in post-production.”
Weigert proposes showing the previs to test audiences to find story problems.
To make his case, he points to an »
- David S. Cohen
It’s been a year since Alfonso Cuaron’s Gravity premiered at the Venice Film Festival and quickly skyrocketed to the critical and box office stratosphere, grossing more than $700 million worldwide while earning its director his first Oscar. Audiences who marveled at the movie’s breathtaking depiction of space travel, recreated via jaw-dropping special effects and stereoscopic cinematography, now have the chance to see the real deal on the big screen: all they have to do is hop a flight to Paris. Released in France this summer, the official, Nasa-funded Apollo 11 documentary Moonwalk One is finally resurfacing in theaters
- Jordan Mintzer
★★★★★Last year Alfonso Cuarón's Gravity (2013) wowed the Lido with its bravura long takes and technical prowess, taking us into space and back down to Earth again. This year, Venice opens with Alejandro González Iñárritu's Birdman (2014) (or The Unexpected Virtue of Ignorance), who trumps his fellow countryman with a film that for the most part takes place in one long, seemingly continuous take. Rather than an immersive gee-whiz experience, however, here the technical choice recreates the danger and thrill of that old cinematic favourite location the theatre. From Dickie's A Chorus Line to Shakespeare in Love, the theatre is frequently held up by cinema itself as its prestigious, more authentic older sibling.
- CineVue UK
Recently taking stock of his career, Alejandro Gonzalez Inarritu began to wonder if he might have gotten stuck in a creative rut of his own making.
“It was like I was on a ladder, and I was getting a little too comfortable,” says the 51-year-old filmmaker as he holds out two clenched fists, miming the grip on that ladder. “I was just doing my work. It was a habit. I was stuck, half out of fear and half out of safety. And I said to myself, ‘I’m going to let go of the ladder.’ ”
For Inarritu, letting go meant taking a stab at his first full-fledged comedy, albeit one with a strong undercurrent of existential despair. In the director’s self-reflexive “Birdman,” Michael Keaton stars as an actor once famous for playing a superhero, now trying to save his »
- Scott Foundas
Venice has done it again. Last year, Gravity blasted the lid off the festival as the opener and today Birdman, a film that’s got a fair bit in common with that one, bowed to one of the best receptions I have ever experienced on the Lido. (It’s even trending at No. 4 on Italian Twitter.) Applause, laughter and strong emotion emanated from attendees in the refurbed Sala Darsena this morning during the first press screening. Making my way out afterwards, I heard “bellissimo” uttered at least a dozen times.
Ahead of the festival, chief Alberto Barbera told me the Alejandro Gonzalez Inarritu-directed dark comedy was “inventive.” He wasn’t kidding. A scorching satire on celebrity mixed with existential musings on life, it’s being hailed as a technical tour de force and a potentially career-defining role for lead Michael Keaton as a former Hollywood star known primarily for his »
- Nancy Tartaglione
Among astrophysicist Neil deGrasse Tyson's well-publicized nitpicks about Alfonso Cuarón's Gravity was that a more appropriate title would have been Angular Momentum. If nothing else, it would have freed up the G-word for Yasuhiro Yoshiura's breathtaking anime Patema Inverted.
Fourteen-year-old Patema (Yukiyo Fujii) has lived her life in an underground society of tunnels and caverns. The ever-adventurous Patema flouts repeated warnings not to venture into a particularly spooky area of the underground called the Danger Zone, falls into a pit, and flies up into the surface world.
There she discovers that gravity works in reverse for her and her people. Without the aid of a non-inverted surface boy named Age (Nobuhiko Okamoto), himself a rebel against »
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