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It’s no secret that sex sells, and movies are no exception. But while plenty of films like to show gratuitous sex, they’re not always very good. That’s a problem, since movies have the power to shape not only the cultural norms, but personal ones. And what could be more personal than sex? Sexuality is an integral part of the human experience, not some sensational or shameful ploy to sell tickets (though it doesn’t hurt).
That’s why we think it’s important to single out the very best films that also happen to be incredibly sexy, titillating, and provocative. These are not only some of our favorite films in general, but they’re films that celebrate the broad spectrum of human sexuality while telling stories as cinematic as they are personal. Some don’t have any sex scenes at all, while some are notoriously near-pornographic. When these movies do show sex it is always in service of the story, and always in order to challenge, subvert, or celebrate contemporary beliefs about sexuality.
Turn on (and get turned on) by our list of the 25 best sexy movies of the 21st century (well, so far). You know you want to.
25. “Vicky Cristina Barcelona” (2008)
Undeniably sexy and amusing at once, Woody Allen’s 2008 Spain-set dramedy delights in pushing its various players into all sorts of romantic permutations and configurations. Anchored by Scarlett Johansson in a sneaky performance as the eponymous Cristina (pre-breakout Rebecca Hall is her best pal Vicky), the film follows a pair of friends as they meet and make lots of love with the beguiling Juan Antonio (Javier Bardem), who isn’t at all thrown off by the possibility of having two lovely ladies in his bed. In fact, he’s got another one to think about too, his free-spirited ex-wife (Penelope Cruz), who he just can’t get out of his head (or heart). On the surface, “Vicky Cristina Barcelona” is a dead sexy romp about free-wheeling love-makers (complete with plenty of naughty bits), but it’s also a film that boldly explores issues of fluidity and fidelity with an uncharacteristically easy touch. -Ke
24. “Shortbus” (2006)
With its three-person blowjob circle, non-simulated sex scenes including ejaculation, and close-up of a pee stream unleashing into a bathtub, “Shortbus” is not for everyone. It’s an ambitious film, one that attempts to have fun, be sexy, and tell a good story. If anyone could pull it off, it would be the man behind “Hedwig and the Angry Inch,” John Cameron Mitchell. “Shortbus” feels as much like an ensemble comedy as a playful experiment, though the two main characters are a sex therapist who’s never had an orgasm and a retired gay sex worker experimenting with opening up his relationship. With their partners, they both begin attending a weekly artist and sex salon, each hoping inspiration will strike. Mitchell wanted to use sex in new cinematic ways, “because it’s too interesting to be left to porn.” If it’s interesting sex you want, “Shortbus” has got it. -Jd
23. “Brokeback Mountain” (2005)
The end of this film is so movingly profound that your memory of it might not be that it was all that sexy. The love between these two men, buried under their rugged cowboy exteriors, ends with what can only be described as a sense of life-defining tragedy. Yet it is those brief moments where they let themselves go and unleash their animalistic passion, which “Crouching Tiger” director Ang Lee captures in his normal visceral fashion, that add a level of eroticism and physically affection that nearly makes all the pain worth it. Ennis and Jack rotate from almost fighting, as they pull at each others’ denim-clad exterior, to moments of being naked and incredibly tender. It’s virtually every cowboy fantasy rolled up into one. That they can only be themselves in the privacy of the great outdoors makes everything that much more liberating. Watching this film in 2005 felt taboo and rebellious, which resulted in a charged atmosphere in packed mainstream cineplexes around the country. -Co
22. “In the Cut” (2003)
Jane Campion’s handle on female desire has always been one of her best attributes as a director (and she’s got a lot of them), but nothing in her filmography is as overtly sexy and emotionally challenging as her 2003 Meg Ryan-starrer “In the Cut” (and that includes “The Piano,” which has a sexiness and eroticism all its own). Our first introduction to Ryan’s character is rooted in her coming to heady terms with her own sexuality, a theme that carries over throughout the often grisly drama. Increasingly drawn to Mark Ruffalo as a moody detective looking to solve a local murder that Frannie is tangentially involved in, Ryan’s character pushes the boundaries of “acceptable” desire. It’s a theme that Campion giddily plays into with some of modern cinema’s most satisfying and profound sex scenes, many of which center on — gasp — Frannie’s own pleasure over that of Ruffalo’s character. -Ke
21. “Hustle & Flow” (2005)
Craig Brewer’s crowdpleaser about a pimp dreaming of music fame is anchored by strong performances from Terrence Howard, Taraji P. Henson, and Taryn Manning. Howard plays Djay, while Henson and Manning are Shug and Nola, two of his girls. Hot-tempered and passionate, Djay begins making tracks with his friend Key (Anthony Anderson), and discovers he has a gift for lyrics. The catchy original soundtrack helps sell the story, as Djay’s songs seem to actually have a chance at getting radio play. While the strip club setting provides ample shots of semi-nude women, Djay and Shug’s sweet romance gives the film its emotional core and shows a softer side to Djay (and his temper). Their undeniable chemistry leads the previously timid Shug to throw down a sexy hook, her raspy croon on “It’s Hard Out Here for a Pimp” making Henson’s star power glaringly obvious. -Jd
20. “Beyond the Lights” (2014)
Chemistry is the name of the game in Gina Prince-Bythewood’s freight-train fast music industry romance, which pairs up rising starlet Gugu Mbatha-Raw (pure charm) alongside pre-“Birth of a Nation” Nate Parker. The pair exhibit major fireworks from the start, imagining Mbatha-Raw as hot new pop star Noni Jean, a big talent who is dangerously close to burning out and fading away, before she falls into the protective arms Parker’s do-gooder cop, Kaz Nicol. Prince-Bythewood’s film cannily sneaks in big questions about fame and the entertainment industry, along with issues regarding what’s actually sexy (Noni Jean is frequently kitted out in teensy costumes that make record execs happy, while diminishing her own humanity with every stitch), deep issues that are lovingly cradled by full-scale love story. When the pair finally give into their obvious attraction, “Beyond the Lights” pulls out the big guns, all gauzy love scenes and one particularly hot trip to Mexico, but the film maintains its sensuality by remembering that nothing is so sexy as mutual respect and admiration. -Ke
19. “In the Mood for Love” (2000)
Every Wong Kar-wai movie contains a kind of visual sensuality in every frame, but “In the Mood for Love” goes one step further — its slow-burning romance between a pair of would-be lovers who live across the hall from each other in sixties-era Hong Kong is rich with unobtainable desire. Much is left unsaid and unachieved about the fantasy of an extramarital affair shared by Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung), but the hints of attraction between them, unfolding in small gestures and passing glances, imbues each scene with the intensity of emotions specific to a period of repression. It’s a grand tragedy of issed opportunities framed by erotic implications. —Eric Kohn
18. “Ex Machina” (2014)
If you like high-tech voyeurism and intellectual sparring, you might find Alex Garland’s cerebral sci-fi thriller unearthing some hidden desires. An affable young programmer, Caleb (Domhnall Gleeson), is invited to the secluded jungle home of the CEO of his company, Nathan (Oscar Isaac) to participate in a top-secret experiment. Nathan wants to know if the cyborg he has been developing, Ava (Alicia Vikander) can convince Caleb that she has real consciousness. The tension is ripe between Nathan and Caleb as each attempts to alternately impress and control the other, but it is Caleb’s obsession with saving Ava that raises questions about the hero myth. Ava is the embodiment of male fantasy, trapped within a body invented to please and serve. As the two men fight over who best understands her mind, it turns out Ava was pulling the strings all along. There’s nothing sexier than a woman in charge. -Jd
17. “Quills” (2000)
It’s easy enough to get sucked into “Quills” based on the promise of Joaquin Phoenix playing an earnest (and incredibly sexy) young priest tempted by his attraction to a chambermaid. But somehow, much like Kate Winslet’s Madeline, we fall under the spell of the charismatic Geoffrey Rush, who plays his role as the Marquis de Sade with a deliciously dirty panache befitting the notorious French writer. The Marquis’ libertine ways run counter to the no-nonsense Royer-Collard (Michael Caine), who takes over the asylum with the intention of stifling the writer’s creative output. But even his own wife is no match for the words of the Marquis, which ooze both sensuality and liberty. Before long, any initial apprehension to the Marquis de Sade (he is a dirty old man, after all) is fully given over to the hope that his debauchery will win out, and that his desire, as well as that of Madeline and Coulmier (Phoenix) will be fully fulfilled — even though we know this is impossible. -Jr
16. “A Bigger Splash” (2015)
Watching “A Bigger Splash” feels like observing a sizzling chess game of attraction. Luca Guadagnino sticks Ralph Fiennes, Tilda Swinton, Matthias Schoenaerts, and Dakota Johnson on the world’s most gorgeous island and lets the sparks fly. Swinton plays a world-famous rock singer vacationing with her lover, a chiseled Schoenaerts who is practically a walking and talking sculpture of male beauty. Their time together is disrupted by the arrival of the rocker’s former lover and his daughter, a promiscuous young 22-year-old. Each character is so ready to succumb to sexual desire and so pent up with sexual attraction that Guadagnino creates the ultimate emotional orgy. The fun is in seeing how each person uses their sexuality to outsmart the next. You’ll be seduced from the first frame to the last. It feels like you’re watching each actor for the very first time. -Zs
On the next page: wild adventures in Florida, some of the century’s most jaw-dropping pairings, and at least one murder.
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- Kate Erbland, Jude Dry, Eric Kohn, Zack Sharf and Jamie Righetti
"Do you know anything about witches?" This is great news for fans of classic horror. There's a brand new remake of Dario Argento's 1977 stylish horror film Suspiria due to arrive later this year, from director Luca Guadagnino (of A Bigger Splash, Call Me by Your Name). But before that arrives, lucky cinephiles will have the chance to revisit the original film as a pristine 35mm print of an uncut version of the film was found by the Chicago Cinema Society. "The print was rescued from an Italian cinema that had closed down and the print had gone untouched in their storage area since 1977/78." Even more exciting, the print will be touring around the country as a restored version show in select cinemas through this year. Full list of cities below. Suspiria was first released in Italy in early 1977. It opened in Us cinemas later that year, but was released as a 92-minute version cut down from the original »
- Alex Billington
Radiohead is celebrating a milestone this year as their groundbreaking 1997 album “Ok Computer” turns 20 years old. To celebrate the anniversary, the band is releasing “Oknotok,” a deluxe reissue that includes three unreleased tracks. The group has debuted the music video for the second of these tracks, entitled “Man of War,” and it’s as ambitious and head-spinning as you should expect from Radiohead at this point in their career.
The clip is directed by Colin Read and features a paranoid man walking down the street being followed. Read shot the same long take twice at different points in the day and then edited them together to give off the surreal impression of one shot that switches between night and day but never breaks its long take effect.
Similar to “Birdman” and the opening of “La La Land,” neither take is a pure one shot, but the editing to mask the cuts has been done so effectively that the sensation of watching a one take remains. And let’s just say it’s thrilling to behold.
“Man of War” is the second unreleased track off “Oknotok” after “I Promise,” which received a music video from “All These Sleepless Night” director Michal Marczak earlier this month. Watch the new music video below.
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- Zack Sharf
The year is half over and Oscar voters need to catch up on their homework. There have been many worthwhile films in the first six months of 2017, including “Get Out” from writer-director Jordan Peele (Universal, Blumhouse); “Logan,” the dark, tender neo-Western from director James Mangold (Fox); and the sumptuous mega-hit “Beauty and the Beast” (director Bill Condon, Disney).
A few years ago, these would have been extreme longshots, at best. But there have been changes in Academy voters and their tastes. Recent winners including “Moonlight,” “Mad Max: Fury Road” and “Ex Machina” prove that voters are redefining what is considered “Oscar bait.” The blurred definition is a challenge to awards strategists, but good news for hopefuls.
Oscars: 13 Deserving Contenders From 2017 So Far
The January-June period has seen many other films with Oscar potential in various categories; see the accompanying reminders by Variety colleagues Kris Tapley and Jenelle Riley. And, needless to say, other contenders will be covered a lot before the March 4, 2018, Oscar ceremony.
Diversity has been a key theme. This year, several films directed by women could be in the mix, including Sofia Coppola’s “The Beguiled” (Focus Features), Patty Jenkins’ “Wonder Woman” (Warner Bros.), and Aisling Walsh’s “Maudie” (Sony Pictures Classics). Still to come are works from Kathryn Bigelow (Annapurna’s much-buzzed “Detroit”), Dee Rees (Netflix’s “Mudbound”); Margaret Betts (Sony Classics’ “Novitiate”) and Angelina Jolie (Netflix’s “First They Killed My Father: A Daughter of Cambodia Remembers”).
There are also upcoming works from international filmmakers like Sebastian Lelio, Alfonso Gomez-Rijon, Michael Gracey, Yorgos Lanthimos and Taika Waititi. They will join veterans including Guillermo del Toro, Alexander Payne, Stephen Frears, Richard Linklater, Steven Spielberg, George Clooney, Darren Aronofsky and Paul Thomas Anderson.
Here are month-by-month opening dates, followed by a list of films that made a splash at the year’s film festivals so far. And the upcoming festivals will also add a few twists to the Oscar race.
The director and stars are listed for purpose of jogging readers’ memories; it’s not a matter of handicapping, since it’s pointless to make predictions about films that have not been widely seen.
August: “Detroit” (Kathryn Bigelow; John Boyega; Annapurna); “Logan Lucky” (Steven Soderbergh; Channing Tatum, Daniel Craig; Bleecker Street); “Patty Cake$” (Geremy Jasper; Danielle Macdonald; Searchlight); “Wind River” (Taylor Sheridan; Elizabeth Olsen; The Weinstein Co.).
September: “American Made” (Doug Liman; Tom Cruise; Universal); “Battle of the Sexes” (Jonathan Dayton & Valerie Faris; Emma Stone, Steve Carell; Fox Searchlight); “First They Killed My Father” (Angelina Jolie; Netflix); “Victoria and Abdul” (Stephen Frears; Judi Dench; Focus).
The Best Films of 2017 (So Far)
October: “Blade Runner 2049” (Denis Villeneuve; Ryan Gosling, Harrison Ford; WB); “Breathe” (Andy Serkis; Andrew Garfield; Bleecker Street, Participant); “Goodbye Christopher Robin” (Simon Curtis; Domhnall Gleeson, Margot Robbie; Searchlight); “Marshall” (Reginald Hudlin; with Chadwick Boseman as Thurgood Marshall; Open Road); “Mother!” (Darren Aronofsky; Jennifer Lawrence; Paramount); “The Mountain Between Us” (Hany Abu-Assad; Idris Elba, Kate Winslet; Fox); “Thank You for Your Service” (Jason Hall; Miles Teller; Universal)
November: “Darkest Hour” (Joe Wright; Gary Oldman; Focus); “Last Flag Flying” (Richard Linklater; Bryan Cranston; Amazon); “The Man Who Invented Christmas” (Bharat Nalluri; Dan Stevens; Bleecker Street); “Mary Magdalene” (Garth Davis; Rooney Mara, Joaquin Phoenix; TWC); “Murder on the Orient Express” (Kenneth Branagh; Johnny Depp; Fox); “Suburbicon” (George Clooney; Matt Damon; Paramount); “Thor: Ragnarok” (Taika Waititi; Chris Hemsworth; Disney, Marvel Studios); “Three Billboards Outside Ebbing, Missouri” (Martin McDonagh; Frances McDormand; Searchlight).
December: “The Greatest Showman” (Michael Gracey; Hugh Jackman; Fox); “The Current War” (Alfonso Gomez-Rijon; Benedict Cumberbatch, Michael Shannon; TWC); “Downsizing” (Alexander Payne; Matt Damon, Laura Dern; Paramount); “The Papers” (Steven Spielberg; Tom Hanks, Meryl Streep; Fox, Amblin); “The Shape of Water” (Guillermo del Toro; Sally Hawkins, Octavia Spencer; Searchlight); “Star Wars: The Last Jedi” (Rian Johnson; Disney, Lucasfilm); “Phantom Thread” (Paul Thomas Anderson; Daniel Day-Lewis; Focus); “Wonder Wheel” (Woody Allen; James Belushi, Kate Winslet; Amazon).
And some of the festival hits so far this year:
Sundance: “The Big Sick,” (Michael Showalter; Kumail Nanjiani, Ray Romano, Holly Hunter; Amazon, Lionsgate); “Call Me By Your Name” (Luca Guadagnino; Armie Hammer (Sony Pictures Classics); “The Hero” (Brett Haley; Sam Elliott; The Orchard); Also: “Mudbound” and “Wind River.”
Berlin: “The Lost City of Z” (James Gray; Charlie Hunnam; Amazon, Bleecker Street); “Final Portrait” (Stanley Tucci; Geoffrey Rush; Sony Classics); “Maudie” (Aisling Walsh; Sally Hawkins; Sony Classics).
Cannes: “Good Time” (Safdie brothers; Robert Pattinson; A24); “You Were Never Really Here” (Lynne Ramsay; Joaquin Phoenix; Amazon); “Okja” (Bong Joon Ho; Tilda Swinton, Jake Gyllenhaal; Netflix); “The Meyerowitz Stories (New and Selected),” (Noah Baumbach; Adam Sandler, Dustin Hoffman, Ben Stiller; Netflix); “The Killing of a Sacred Deer” (Yorgos Lanthimos; Nicole Kidman, Colin Farrell; A24); “The Florida Project” (Sean Baker; Willem Dafoe; A24); “Happy End” (Michael Haneke; Isabelle Huppert; Sony Classics); “Wonderstruck” (Todd Haynes; Julianne Moore; Amazon, Roadside Attractions).
There are also plenty of great documentaries, animated movies and foreign-language films, but those are for later columns.
- Tim Gray
Now this is some awesome news, horror movie lovers.
The Chicago Cinema Society (via Dread Central) has announced it has discovered an uncut 35mm print of Dario Argento’s “Suspiria” that hasn’t been screened since at least 1978. The print was found in the storage room of a closed Italian movie theater and is in such good condition that it will be touring around the country this summer and fall.
In an official message posted on their website, the Chicago Cinema Society wrote:
The Chicago Cinema Society is excited to announce that we have discovered an uncut Italian 35mm print of ‘Suspiria.’ The print was rescued from an Italian cinema that had closed down and the print had gone untouched in their storage area since 1977-78. After a brief inspection to assess the overall condition of the print, it appears as if it had only been screened a handful of times at most. The print is in excellent physical condition with no substantial wear, uncut heads and tails, minimal fading and no vinegar syndrome. Once we had the print in our film archive, we then made a very careful inspection to determine which version of ‘Suspiria’ we had obtained. We were stunned to find that the print is a completely uncut 6 reel print with a run time of 98 minutes in Italian language.
The discovery comes on the heels of a remake that is expected to hit theaters sometime this year. The new version is directed by Luca Guadagnino and stars Tilda Swinton, Dakota Johnson and Chloe Grace Moretz. The story follows an American ballet student who transfers to a prestigious dance academy in Germany and gets swept up in a series of supernatural murders. The original starred Jessica Harper, Stefania Casini, Flavio Bucci, Miguel Bosé.
You will be able to see the uncut 35mm print on the big screen at the following locations:
July 28: The Metrograph, New York City, NY
September 16: The Belcourt Theatre, Nashville, Tn
October 14: Coolidge Corner Theatre, Brookline, Ma
October 26-27: Northwest Film Forum, Seattle, Wa
Early Fall: Venue confirmed and Tba, Los Angeles, CA
Late Fall: Music Box Theatre, Chicago, Il
The Chicago Cinema Society also uploaded five previews of the print on their YouTube page. You can watch them all below. Visit the theater websites for ticketing information.
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- Zack Sharf
Sydney Film Festival.s audience awards were announced today, with Aussie films topping both categories.
Jeffery Walker.s feature debut Ali.s Wedding, a rom-com.based on the life of star and co-writer Osamah Sami, has taken out best narrative feature, while Kate Hickey.s Roller Dreams, which looks at the.the Venice Beach roller dancing scene from 1978 until now,.won best documentary.
Local films Rip Tide and That.s Not Me also made the audience.s top 10 features. Meanwhile Australian docos formed half the documentary category, including The Last Goldfish, The Opposition, Barbecue, and The Pink House.
.The Foxtel Movies Audience Awards are the people's choice awards, and the winners reflect the most popular films at the Festival,. said Sff director Nashen Moodley.
.This year.Ali.s Wedding.and.Roller Dreams, two wonderful films that both take on remarkable true stories, have clearly made a strong impact on audiences..
.The Festival has premiered some fantastic Australian films this year. This result shows the popularity of Australian cinema at the Sydney Film Festival."
The awards were calculated from 20,000 votes.
The full list is below: The Foxtel Movies Audience Awards
Foxtel Movies Audience Award for Best Narrative Feature Top Ten: 1. Ali's Wedding, directed by Jeffrey Walker (Australia) 2. Call Me By Your Name, directed by Luca Guadagnino (Italy, France) 3. Rip Tide, directed by Rhiannon Bannenberg (Australia) 4. That.s Not Me, directed by Gregory Erdstein (Australia) 5. Brigsby Bear, directed by Dave McCary (USA) 6..On Body and Soul, directed by Ildikó Enyedi (Hungary) 7. God's Own Country, directed by Francis Lee (UK) 8. Sami Blood, directed by Amanda Kernell (Sweden, Denmark, Norway) 9. The Woman Who Left, directed by Lav Diaz (Philippines) 10. The Wound, directed by John Trengrove (South Africa, Germany, The Netherlands, France) Foxtel Movies Audience Award for Best Documentary Top Ten: 1. Roller Dreams, directed by Kate Hickey (Australia) 2. The Last Goldfish, directed by Su Goldfish (Australia) 3. Chauka Please Tell Us the Time, directed by Behrouz Boochani and Arash Kamali Sarvestani (The Netherlands, Papua New Guinea) 4. The Opposition, directed by Hollie Fifer (Australia) 5. Barbecue, directed by Matthew Salleh (Australia) 6. The Workers Cup, directed by Adam Sobel (UK) 7. Rumble: The Indians Who Rocked the World, directed by Catherine Bainbridge and Alfonso Maiorana (Canada) 8. The Farthest, directed by Emer Reynolds (Ireland) 9. The Pink House, directed by Sascha Ettinger Epstein (Australia) 10. It's Not Yet Dark, directed by Frankie Fenton (Ireland) »
- Jackie Keast
'120 Beats per Minute' trailer: Robin Campillo's AIDS movie features plenty of drama and a clear sociopolitical message. AIDS drama makes Pedro Almodóvar cry – but will Academy members tear up? (See previous post re: Cannes-Oscar connection.) In case France submits it to the 2018 Best Foreign Language Film Oscar, screenwriter-director Robin Campillo's AIDS drama 120 Beats per Minute / 120 battements par minute, about the Paris Act Up chapter in the early 1990s, could quite possibly land a nomination. The Grand Prix (Cannes' second prize), international film critics' Fipresci prize, and Queer Palm winner offers a couple of key ingredients that, despite its gay sex scenes, should please a not insignificant segment of the Academy membership: emotionalism and a clear sociopolitical message. When discussing the film after the presentation of the Palme d'Or, Pedro Almodóvar (and, reportedly, jury member Jessica Chastain) broke into tears. Some believed, in fact, that 120 Beats per Minute »
- Steph Mont.
The actors join previously announced Shia Labeouf in the drama set to begin production this month.
The Peanut Butter Falcon follows a down-on-his-luck crab fisherman as he embarks on a journey to get a young man with Down syndrome to a professional wresting school in rural North Carolina and away from the retirement home where he has lived most of his life.
Newcomer Zachary Gottsagen, who is the inspiration for the film, will play the principal character of Zak. Gottsagen lives with high-functioning Down syndrome, and became the inspiration for The Peanut Butter Falcon after Nilson and Schwartz met him while working at a non-profit arts organisation.
Principal Photography will commence on June 17 in Savannah, Georgia.
Newcomer Zachary Gottsagen, who is the inspiration for the film, will play the principal character of Zak in the movie, which will be directed by Tyler Nilson and Michael Schwartz from their own script. »
- Dave McNary
Whether you think remaking Dario Argento’s Italian horror classic “Suspiria” is good idea or not, there’s no denying just how enticing the new version looks on paper. Not only is Luca Guadagnino behind the camera, and not only does the ensemble cast include his “A Bigger Splash” stars Tilda Swinton and Dakota Johnson, but the movie has also recruited Radiohead frontman Thom Yorke to compose his first original movie score.
Thew news of Yorke’s involvement broke last month, and it was especially exciting given how much success his bandmate Johnny Greenwood has had when it comes to movie scores. Greenwood has been behind the original scores for “There Will Be Blood,” “The Master,” “We Need to Talk About Kevin” and more, and there’s no reason Yorke shouldn’t be able to »
- Zack Sharf
There’s a bit of apprehension surrounding the Suspiria remake, but you have to admit the project has attracted some stellar talent. A Bigger Splash and Call Me by Your Name helmer Luca Guadagnino is directing the film, with a cast that includes Tilda Swinton, Dakota Johnson and Chloe Moretz. As if all that weren’t enough, Radiohead frontman Thom Yorke will be providing the score.
In a new BBC 6 Music interview, Yorke spoke about his approach to the project, revealing that one of the score’s inspirations was Vangelis’ now iconic Blade Runner soundtrack: “It’s absolutely terrifying…It’s hard because I’m way out of my comfort zone, and I can’t read music so it’s not like I’m writing for orchestra. I’m building it all myself. In fact, I watched Blade Runner twice at the weekend. ‘Oh, that sound, I could do something like that, »
- Chris Evangelista
After making three sumptuous dramas in a row—”I Am Love,” “A Bigger Splash,” “Call Me By Your Name“—director Luca Guadagnino is taking a big shift in a new direction with “Suspiria.” The remake of the iconic Italian horror by Dario Argento will be no small feat, but he’s got some strong talent to realize his vision of the material.
- Kevin Jagernauth
'Top of the Lake: China Girl' will make its Australian debut at Miff.
The Melbourne International Film Festival (Miff) has unveiled the first 30 films on its line-up ahead of the full program launch in July..
Among the highlights at this year.s festival, to be held August 3-20, is actually a television series: the Australian premiere of Jane Campion.s series Top of the Lake: China Girl, fresh from Cannes..
Many of the Aussie films that are screening at Sydney Film Festival will also head south for Miff, including a double bill froom Kriv Stenders, »
- Jackie Keast
More than two decades after first recording “I Promise,” Radiohead just released a music video for the “Ok Computer” outtake. Said video comes courtesy of Polish helmer Michal Marczak, who most recently directed “All These Sleepless Nights.” Watch below.
Read More: Review: ‘All These Sleepless Nights’ Is the Movie That Terrence Malick Has Been Trying to Make
Steve Lamacq of BBC Radio 6 premiered the song yesterday, noting that Radiohead was “especially pleased to find [the song] in the vaults, because they thought it’d been lost over the years.” In the video, a group of lonesome travelers take a nighttime bus ride, their faces expressing a collective feeling that only the dulcet tones of ’90s-era Radiohead can fully convey — especially given the oddball ending.
“I Promise” is included on the upcoming reissue of “Ok Computer,” which is »
- Michael Nordine
The 70th Cannes Film Festival has come and gone, but its films will live on as the march toward awards season begins. 2017 has already delivered one true Oscar player in Luca Guadagnino‘s Sundance breakthrough “Call Me By Your Name” and now Cannes has a chance to add to the coffers of potential contenders. (And, yes, there is the question of Jordan Peele’s “Get Out” potentially earning a Best Picture nod, but at this point, I’m not sure it’s more than an Original Screenplay contender, although I reserve the right to change that opinion when we get to September.)
Last year’s surprise awards season player from la Croisette turned out to be “Hell or High Water.” What film or films will keep Cannes’ Oscar streak going this time around?
- Gregory Ellwood
31 May 2017 6:40 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Call Me by Your Name did at Sundance. And this year's Cannes prize winners actually may have less Oscar potential than some of the competition entries that the jury ignored.
Swedish director Ruben Ostlund's The Square, which Magnolia Pictures has in the U.S., was crowned with the Palme d'Or. But the 142-minute comedy about a liberal museum director (Claes Bang) who runs afoul of »
- Gregg Kilday
Every couple of years, Philippe Garrel turns out a black-and-white tales of love and (in)fidelity among Parisian intellectuals. His detractors contend that he always makes the same film; his defenders say that’s the point. Like seeing a singer play two shows, the pleasures are found in subtle changes and rearrangements, noticing what they emphasize in this set as opposed to the last. In any case, “Lover for a Day” is unlikely to change anyone’s perspective.
There is one major departure: Instead of casting his son Louis Garrel, who either starred in or narrated his father’s previous five features, the director has gone with his daughter, Esther Garrel (of the Sundance sensation “Call Me By Your Name”). She stars as Jeanne, a young student experiencing her first pangs of heartbreak. Kicked out by her now ex and with nowhere to go, Jeanne ends up moving in with her father, »
- Ben Croll
Sony Pictures Classics has acquired all rights in North America to Stanley Tucci’s latest directorial outing, “Final Portrait,” from Riverstone Pictures. The film had its world premiere at the Berlin International Film Festival earlier this year in an out of competition gala screening.
Written and directed by Tucci, the film stars Geoffrey Rush, Armie Hammer, Clémence Poésy, Tony Shalhoub and Sylvie Testud and is produced by Gail Egan, Nik Bower and Ilann Girard and executive produced by Deepak Nayar, Fred Hogge and Ted Blumberg.
The historical feature is billed as “the story of the touching and offbeat friendship between American writer and art-lover James Lord and Alberto Giacometti, as seen through Lord’s eyes and revealing unique insight into the beauty, frustration, profundity and sometimes the chaos of the artistic process. »
- Kate Erbland
Author: Scott Davis
Well this already sounds amazing! Word from Deadline this weekend has suggested that Academy Award Nominees Benedict Cumberbatch (Doctor Strange, The Imitation Game) and Jake Gyllenhaal (Okja, Nocturnal Animals) are set to headline the new film from acclaimed director Luca Guadagnino (A Bigger Splash).
The new thriller has been written by Steven Knight, the screenwriter behind Allied and hit BBC show Peaky Blinders, and is set to start filming sometime in early 2018 with StudioCanal financing the film. The script reportedly concerns two friends, “one a business titan and the other a journalist”, and it is also said to include a “strong female lead” that is still to be cast.
It has already been a busy year for the acclaimed director: earlier this year, his latest film Call Me By Your Name, debuted to critical acclaim at this year’s Sundance Film Festival as well the Berlin Film Festival, »
- Scott Davis
According to Variety, Benedict Cumberbatch and Jake Gyllenhaal are in talks to star in Rio, the new film from director Luca Guadagnino (A Bigger Splash) and screenwriter Steven Knight (Peaky Blinders).
The site reports that the film will follow a financial reporter (Gyllenhaal) who travels to Rio de Janeiro to visit a wealthy friend (Cumberbatch), only to get sucked into a plot to fake his friend’s death. Both Cumberbatch and Gyllenhaal will also serve as producers alongside financiers StudioCanal.
Cumberbatch will next be seen as Thomas Edison in The Current War, and is also reprising the role of Doctor Strange for Avengers: Infinity War. Next up for Gyllenhaal is Boon Joon-ho’s Okja, followed by David Gordon Green’s Stronger. »
- Gary Collinson
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