1-20 of 83 items from 2017 « 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 platforms. 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, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Harold Ramis certainly didn’t invent it, but his Groundhog Day made the narrative loop device a mainstream mainstay, lovingly aped in everything from Source Code to Edge of Tomorrow to 50 First Dates. In Before I Fall, the loop treatment is utilized rather intelligently by director Ry Russo-Young, from Maria Maggenti screenplay adapted from Lauren Oliver‘s novel. – Dan M. (full review)
Where to Stream: Amazon, »
- The Film Stage
Cannes– Nordic distributor NonStop Entertainment has acquired 10 movies ahead of Cannes Film Festival, including Jean-Stephane Sauvaire’s “A Prayer Before Dawn” which will play at Cannes’s Midnight section.
NonStop’s slate of new pickups also includes “Beach Rats,””Brimstone,””The Dinner,” “Final Portrait,””God’s Own Country,””God’s Own Country,” “Spoor,” “Manifesto” and jiddish drama “Menashe” and “Walking Out.”
Eliza Hittman’s “Beach Rats,” sold by Mongrel, is a Summer-set coming of age about aimless teenager struggling to escape his bleak home life and navigate questions of self-identity. Eliza Hittman. Neon will release the film in the U. »
- Elsa Keslassy
Simon Brew May 9, 2017
With summer blockbuster season 2017 in full swing, and with Fast & Furious 8 speeding over the $1bn mark already, a bunch of filmmakers are furiously putting together their films for release this time next year (or thereabouts). Here, as things stand, is the state of summer blockbuster season 2018. We’ve veered towards UK release dates on the whole, but as always, things can quickly change.
Also, we’ve not included unnamed films: Universal, for instance, has reserved a slot for one of its classic monster universe movies, but not told anybody what it is yet. As more information pops up, we’ll keep this list up to date…
March Tomb Raider (March 16th)
Summer blockbuster season effectively kicks off in March in 2018, with the Warner Bros-backed big »
The Dinner The Orchard Reviewed by: Harvey Karten, Shockya Grade: A- Director: Oren Moverman Written by: Oren Moverman, based on the novel by the Dutch author Herman Koch Cast: Richard Gere, Laura Linney, Steve Coogan, Rebecca Hall, Chloë Sevigny Screened at: Review 1, NYC, 4/6/17 Opens: May 5, 2017 Fans of Edward Albee’s shattering play […]
The post The Dinner Review: Brings out all the complexities of the novel appeared first on Shockya.com. »
- Harvey Karten
Chicago – There is a peculiar and particular morality in the maneuverings of “The Dinner,” a multi-course meditation on how a tragic incident can split both opinion and family. Everything in the present situation has a below-the-surface past that festers like an unhealed wound, constantly causing pain.
The Dinner of the title is actually a meeting, about a secret that is being held together by the two couples and their children. Throughout the evening, the truth and sources of the secret breaks down, and is stripped away to an essence that is common to all families. The inhumanity contained in the situation is contrasted with the snooty restaurant, where the food is presented and narrated like it’s the last supper before the end of the world. But in a way, this hype is necessary to detach from the stark considerations the two couples face, and this pretentious dining absurdity »
- email@example.com (Adam Fendelman)
Chicago – The 16th Tribeca Film Festival wrapped last Sunday (April 30, 2017) and the award-winning films of the festival have been named. Patrick McDonald of HollywoodChicago.com was there for the first week of Tribeca and files his personal best of the films he experienced.
This is Patrick switching to first person, and I was able to see 13 media and film works, and took a turn in the “Immersive” or Virtual Reality arcade (there will a separate article on that experience). I sampled TV, short films, documentaries and narrative films, and rank them from first preferred on down, but honestly I didn’t see anything that I didn’t like, which is a testament to the programmers of this iconic film festival.
The following are the prime 13, and an indication of when they are scheduled to release…
Photo credit: Tribeca Film Festival
What seems like a “Juno” rip-off, »
- firstname.lastname@example.org (Adam Fendelman)
Principles of Privilege: Moverman Dresses Morality Drama in American Clothes
Susan Sontag once famously wrote, “The white race is the cancer of human history,” an epithet which dangles like a deadly albatross throughout the fourth film by Oren Moverman, The Dinner, a drama about morality based on the novel by Dutch writer Herman Koch. Once meant as a property for the directorial debut of Cate Blanchett, Moverman swoops in for a heady, Pinteresque examination of WASPish mentality one would expect from A.R. Gurney if he were searching for an infinitely fouler disposition of his favored subject. However, Moverman elevates and refines this material for his own particular purposes of skewering white affluent folks intent on wielding their inherent privilege to protect the virtuous futures of their troubled broods in what stands as the third cinematic treatment of the novel (following a 2013 Dutch version and a 2014 Italian adaptation).
The Lohmans are a tense bunch as of late. Ex-high school teacher Paul (Steve Coogan) and wife Claire (Laura Linney) have opposing feelings about meeting Paul’s brother Stan (Richard Gere) and his second wife Katelyn (Rebecca Hall) for dinner. With Stan in the middle of a troubled run for governor, the importance of the dinner seems odd during such a touchy period. Until we learn both sets of parents have come together to decide what to do about their kids, who recently committed a monstrous act, something which could go unpunished…as long as no one says anything.
Moverman expands upon the stagey theatricality of the narrative scope, beginning with its troubling, lavish opening credits, highlighting frivolousness amidst colorful splashes of gourmet cuisine, as the credits of a high profile cast and crew (including Moverman’s reunion with Dp Bobby Bukowski) march over them. This time around, we become manipulated to sympathize with several of these characters’ perspectives only to be flayed by dismay when it sinks in—the quartet of well-bred, wealthy, emotionally stagnant white people we have been watching, are without a doubt, highly flawed, incredibly unlikeable beings. But how Moverman manages to trick us into making them seem compelling is where the absolute power of his version of The Dinner lies.
Initially, we gravitate towards Steve Coogan’s withering, Civil war enthusiast, who sets a tone of trenchant sides, one against the other. Breaking the fourth wall in narration, he’s the snide, withering voice of reason, or so we assume, leading up to the eponymous, cryptic meal he will be sharing with his brother, a suave smooth talker (or as he’s described, a “deal maker”). Until we get a clearer composite of his psychological background, and Moverman’s film takes pains (and delights) in stomping on our initial understandings of each of these surely good people. Gere is as exceptionally believable as Coogan is superbly dour, and there’s a definite switch at a certain point, where we’re led to abandon the side of one and root for the other.
Their wives are defined in more troubling, murky terms, particularly Laura Linney (who steals a handful of sequences with resplendent facial expression). Rebecca Hall, looking fantastic, has the less dynamic role as a trophy wife who desires to be rewarded for her saintly efforts by becoming the wife of a governor. But what exactly happened to Barbara, the socially conscious first wife of Stan, who fled the marriage and her children for an ashram in India? Chloe Sevigny delights in her two flashback sequences as the opinionated, arguably ideal character. The audience becomes complicit in this game of shifting alliances, where family becomes collapsed as another ideation of the political arena.
And Moverman perhaps spends a bit too much time in these flashbacks, revolving between past periods of the adults’ lives, while reenacting the terrible act committed by two insensitive young white boys against a homeless, racial other. Although these continual snippets of the heinous act are there for a purpose, meant to slowly inform us of what kind of people we’re spending an unusually expensive dining experience with, they are also greatly at odds with the formal hustling and bustling of the dinner, to the degree where these Bunelian interruptions from the topic at hand take on a tone of artificial comedy. At one point, a teary Hall gets an aside where she clutches at Linney and Coogan, informing them they’re all blessed (she doesn’t have to spell out she means white and wealthy by such a statement), but these devoted moments eventually seem like a belabored way to cement the callousness of all.
Although not about race, per se, the trio of racial others on the periphery of this narrative irrevocably inform and trouble the proceedings. The black son Beau (Miles J. Harvey), whom Barbara adopted with Stan (before she abandons him) is particularly interesting, because it is both Paul and his son Michael’s relationship with the boy which explain their hardwired disdain for the current state of affairs. Coogan gets a particularly telling tirade when he accuses the eight-year old Beau of playing the ‘race card’ when he’s terrorized by his son, claiming his views are not racist because he’s a teacher who sometimes educates black students.
When the boys are teenagers and on the eve of their defining moment, Moverman pads an exchange pertaining to Michael’s internalized racism a bit too directly just prior to what they do to their unfortunate victim. And then, there’s a curious role for Adepero Oduye (Pariah, 2011) as Gere’s valiantly tireless assistant, a character who likely informs is own approach to the scenario, but only to a point. Moverman’s dinner is certainly barbed, and often venomous, but in spending two solid hours with such unlikeable company is an ordeal in itself, even one as handsomely crafted and executed as this.
Reviewed on February 10 at the 2017 Berlin International Film Festival – Competition. 120 Mins.
The post The Dinner | Review appeared first on Ioncinema.com. »
- Nicholas Bell
The Dinner follows Richard Gere as Stan Lohman reconnecting with his estranged brother Paul (Steve Coogan) to decide how to handle the fate of their 16-year-old sons who have committed a terrible crime. The brothers and their wives Katelyn (Rebecca Hall) and Claire (Laura Linney) meet at a restaurant, where the tense, violent drama takes place. […]
The post ‘The Dinner’ Review Roundup: Thriller Splits Critics, Leaves Some Hungry For More appeared first on uInterview. »
- Hillary Luehring-Jones
Richard Gere stars as Stan Lohman, a congressman running for governor, who invites his brother Paul (Steve Coogan) and wife Claire (Laura Linney) to dine with him and his wife Kate (Rebecca Hall) at a very upscale restaurant. The brothers don’t get along and Paul does not want to go but his wife Claire is relishing the chance to have dinner at one of the town’s most exclusive restaurants. While the brothers are estranged, their 16-year-old sons Michael (Charlie Plummer) and Rick (Seamus Davey-Fitzpatrick) are friends. It is something the boys did together, something awful, that Stan wants to talk about at this tense family dinner.
The Dinner is a dramatic examination of how far one might go for family, as well as explorations of mental illness, »
- Cate Marquis
The servers march in synchronized formation, identical in dress and step, like the guards at Buckingham Palace. The food comes out on bright, angular dishware, arranged with such photogenic care that it almost seems uncouth to eat it. Between each table, there’s enough empty space to fit another, smaller, less expensive establishment. It’s the kind of restaurant that Patrick Bateman from American Psycho would kill someone over. And in the twisty, secrets-we-keep family drama The Dinner, it’s a pleasant backdrop for an exceptionally unpleasant conversation. Here, Paul (Steve Coogan) and his wife Claire (Laura Linney) have agreed to share a pricey meal with his brother, congressman and gubernatorial hopeful Stan (Richard Gere), and his wife, Katelyn (Rebecca Hall). It would be unfair to spoil their topic of discussion, but let’s just say it involves their teenage sons, who have gotten themselves into… something that must be »
- A.A. Dowd
Oren Moverman doesn't make movies so much as set traps. His films as writer and director – the military-vet drama The Messenger, the bad-cop character study Rampart, the incredible portrait-of-a-homeless-man Time Out of Mind – are built to detonate. And when the explosion comes, the dust never really clears; you're left with shards that keep digging in, provocations you can't get out of your head. The Dinner, the latest missile from this brilliant Israeli-American filmmaker, is no exception. Based on the 2009 global bestseller by Dutch author Herman Koch, the movie follows the »
Filming has wrapped on modern-day musical “Been So Long” in London. The film, which London-based international sales company Film Constellation will introduce to buyers at the Cannes Film Market, stars BAFTA winning actress Michaela Coel.
Described by Film Constellation’s founder and CEO Fabien Westerhoff as a “refreshing new musical, exploring desire and ambition from a female perspective,” “Been So Long” is the sophomore feature from director Tinge Krishnan. Krishnan won a BAFTA Film Award in 2001 for her short film “Shadowscan” and made her feature debut with 2011’s “Junkhearts,” starring Eddie Marsan.
A modern day romance set in London’s Camden, “Been So Long” sees Coel star as a dedicated single mother who, on an unusual night on the town, is charmed by a handsome yet troubled stranger, played by Arinze Kene. It was developed by the BFI which co-financed the film with Film4. Lizzie Francke and Eva Yates serve »
- Robert Mitchell
Here's Jason Adams reporting from the just wrapped Tribeca Film Festival.
I really thought I knew what I was going to get going into Permission, Bryan Crano's light New York drama about love and relationships. The film stars Dan Stevens and Rebecca Hall as a pair of high school sweethearts deciding they need to find out what it's like to be with other people before they commit to each other for the rest of their lives. Don't you feel like you know what that movie's going to be after reading that description? »
The Dinner is an entirely unpleasant film about a group of appalling people. The premise and subject matter is at first intriguing, then precipitously breaks down into a jumbled mess. Director/writer Oren Moverman (The Messenger, Love & Mercy) takes an all-star cast downhill into flames here. That's hugely disappointing and a waste of talent.
Two couples meet for dinner at an exclusive restaurant. Steve Coogan stars as Paul Loman, a condescending and acidic former teacher with mental health issues. His relatively normal wife is Claire (Laura Linney). Richard Gere co-stars as Paul's older brother, Stan Loman; a polished congressman running for governor. Stan has a trophy second wife in Kate (Rebecca Hall), a tart social climber. Paul is resentful of Stan, who has had to deal with his brother's erratic nature.
The brothers dislike each other and have remained apart. Their sons have not, growing up as best friends into truly despicable teenagers. »
“Apes.” It is high school teacher and avid history scholar Paul Lohman’s preferred term of abuse for his congressman brother Stan (Richard Gere) and his wife Katelyn (Rebecca Hall). And it is spat out by him, as played by a revelatory Steve Coogan, several times over, often to his wife Claire (Laura Linney) in Oren Moverman‘s unfeasibly compelling “The Dinner,” based on Herman Koch‘s bestselling novel.
- Oliver Lyttelton
Memorial Day weekend is still weeks away, but summer blockbusters are out in full force: Marvel's crowd-pleasing oddballs come back for seconds, Captain Jack Sparrow and friends take to the waves for a fifth time, the Xenomorph gets yet another helping of terrified human-meat, King Arthur goes gritty-reboot and a big-screen Baywatch attracts a new wave of leering stares. Those in search of something a little smaller-scale have plenty to choose from too, from Cate Blanchett's high-art masterclass to a pair of docs burrowing into a pair of specific cultural phenomena. »
Filmmaker Oren Moverman has never shied away from tackling difficult, seemingly impossible material to adapt to film with some of his writing work including the screenplays for Todd Haynes’ I’m Not There and the equally intriguing Brian Wilson biopic, Love and Mercy.
As a director and producer he’s followed suit with his 2nd film Rampart starring Woody Harrelson as an L.A. police officer with questionable motives, followed by a meditative look at homelessness with Richard Gere in Time Out of Mind.
For his latest movie, The Dinner, Moverman adapts Dutch author Herman Koch’s novel, which on the surface is about a dinner between two related couples with all the requisite food porn. As it progresses, it explores a variety of topics including mental illness and the battle of Gettysburg.
- Edward Douglas
The Dinner Director: Oren Moverman Written by: Oren Moverman, based on The Dinner by Herman Koch Cast: Richard Gere, Laura Linney, Steve Coogan, Rebecca Hall, Chloë Sevigny Release Date: May 5th, 2017 Reactions of people invited to a dinner may vary: excitement, anticipation, nonchalance, dread or desire to skip the event. When Stan Lohman (Richard […]
The post The Dinner Movie Review appeared first on Shockya.com. »
- Tami Smith
25 April 2017 12:21 PM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
In Permission, Rebecca Hall stars opposite Dan Stevens as a woman who, though content with her long-term beau, tries out an open relationship. The Brian Crano dramedy — premiering at the Tribeca Film Festival, where Wme and Film Constellation are handling sales — tackles the predicaments of marriage, starting a family and staying together amid disruptions. It also marks Hall’s debut as a producer.
It’s all part of the long game for the Christine and The Dinner actress, who has been penning scripts and steadily readying for her directorial debut. Hall chats with The Hollywood Reporter about acting in a movie »
- Ashley Lee
Despite a slightly silly premise and a script that plays it fast and loose with increasingly ridiculous scenarios, director Brian Crano‘s sincere and funny “Permission” manages to charm and impress thanks to the largely committed and above-average cast of Rebecca Hall and Dan Stevens. A comedy/drama hybrid that strongly resembles the underrated “Sleeping With Other People” in tone, “Permission” skillfully tackles this popular dram-com mixture while adding a relatively fresh spin on the genre.
- Ally Johnson
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