1-20 of 34 items from 2014 « Prev | Next »
Whether you want to immerse yourself in the world of birds, bees, baseball or backup singers, Netflix has a documentary for you. Missed "Man on Wire"? It's on there.
Here are films that changed the world, righted wrongs, pinpointed a moment in history, or simply shone a light on a previously unknown subset of society. (Availability subject to change. Films are unrated, except as noted.)
1. "20 Feet from Stardom" (2013) PG-13
2. "The Act of Killing" (2012)
The director invited killers -- men who took part in the horrific purge that left more than 500,000 dead in Indonesia in the 1960s -- to reenact their crimes on film, resulting in a bizarre look inside the mind of men capable of mass murder.
3. "The Battered Bastards of Baseball" (2014)
Two filmmakers pay homage to their grandfather, »
- Sharon Knolle
By Anjelica Oswald
Directed by John Maloof and Charlie Siskel, Finding Vivian Maier documents Maloof’s journey to discover more about Vivian Maier after purchasing a box of her negatives in 2007. He began the search a few years later, after he realized the negatives consisted of some of the best undeveloped street photography of the 20th century. After some searching, it was revealed that Maier was a career-nanny who had died in 2009.
Since the documentary is in serious contention for a best documentary feature Oscar, we thought we’d check to see how many other photography-related films have managed to resonate with the Academy’s documentary branch and land a nomination in the same category. We found six.
The Naked Eye (1956)
Directed by two-time Oscar winner Louis Clyde Stoumen, this documentary celebrates photography through history by looking at pioneers in the field, such as Margaret Bourke-White. Though he covers works by multiple photographers, »
- Anjelica Oswald
Vanity Fair writer Sebastian Junger is well-known not only for "The Perfect Storm" (which was made into a George Clooney action movie) and his intrepid war reporting--which he ended after the untimely death in Libya of his long-time partner, British Vanity Fair photographer and cinematographer Tim Hetherington--but the Oscar-nominated documentary "Restrepo" and its sequel "Korengal." Read: Why Sebastian Junger Made and Self-Released 'Restrepo' Sequel 'Korengal' Concluding his trilogy on war is HBO-backed "The Last Patrol" (which will also be a book), about four men who have given up covering war. The doc debuts Monday, November 10 (9:00-10:30 p.m. Et/Pt), the day before Veterans Day, exclusively on HBO. On a train trip from New York to Washington, D.C. with Hetherington, Junger noticed looking out the train window that "the railroad tracks go straight through the middle of everything--ghettos, suburbs, crumbling »
- Anne Thompson
Vanity Fair writer Sebastian Junger is well-known not only for "The Perfect Storm" (which was made into a George Clooney action movie) and his intrepid war reporting--which he ended after the untimely death in Libya of his long-time partner, British Vanity Fair photographer and cinematographer Tim Hetherington--but the Oscar-nominated documentary "Restrepo." I interviewed Junger and Hetherington for that movie (see video below), and talked to Junger again recently about the sequel "Korengal," which is in current release and available for pre-order on Vhx. "Restrepo" didn't resemble your standard documentary, in any way. It's not like other embedded war docs, or voice-over narration films, or movies with a strong personality or clear narrative spine. It's another animal. The film dogged me emotionally, messed up my tear ducts. Junger and Hetherington are strapping, manly men. They could hold their own with U.S. soldiers in the toughest mountain terrain. In our. »
- Anne Thompson
Special jury award went to Attacking the Devil [pictured], while Lifetime Achievement was presented to Roger Graef.
Sheffield Doc/Fest has unveiled the winners of this year’s awards.
The Inspiration Award was presented to Laura Poitras, while Roger Graef received the Lifetime Achievement award. Accepting the award, Graef paid tribute to “those souls who have been brave enough to let us capture them”.
Judged by Mark Cousins, Eugene Hernandez, Kate Kinninmont, Karolina Lidin and Dawn Porter, the Special Jury prize went to Jacqui Morris & David Morris’ Attacking the Devil: Harold Evans and the Last Nazi War Crime.
Porter commented: “We unanimously found this film to be an elegant examination of complex themes. We appreciated his film on all levels - it is a work approached with relevance and rigor, a historical film that feels contemporary and engaging, blossoms like a novel, and is surprising when least expected, epic in its scope, traversing decades »
- email@example.com (Ian Sandwell)
As Sheffield Doc/Fest 2014 draws to a close (with some outro parties still to take place over the weekend of course), it’s time to take a look at this year’s award winners. In a ceremony held this morning at Sheffield’s Crucible Theatre, the top-doc Special Jury Award was won by Jacqui Morris and David Morris’ combative documentary on Sir Harold Evans and The Sunday Times’ decade-long campaign to gain compensation for victims of Thalidomide. It’s thrilling to see a special mention handed out to Andre Singer’s Night Will Fall – and that both documentaries deal with the gruesome legacies of the Nazis. For the full list of winners, see below.
Special Jury Award
In The Dark Sheffield International Audio Award
Everything, Nothing, Harvey Keitel »
- Andrew Latimer
From 2007 to 2008, writer, seasoned war journalist and filmmaker Sebastian Junger went on patrol, survived an Ied attack, endured firefights and boredom, and bonded with the soldiers of Camp Restrepo, a remote outpost deep in the Korengal Valley in the northeast region of Afghanistan. Embedded with the men of U.S. Army Battle Company 2nd of the 503rd Infantry Regiment, 173rd Airborne Brigade Combat Team, Junger and his co-director, Tim Hetherington, documented the experience in their 2010 movie Restrepo — a you-are-there account of modern combat that earned the duo an Academy-Award nomination for Best Documentary. »
Here's a rundown of the specialty box office this weekend, which saw Sebastian Junger's doc "Korengal" top openers in its exclusive engagement debut, narrowly beating out the per-theater-average of Kelly Reichardt's "Night Moves," which was in one more theater. News wasn't quite so good for other openers, with "We Are The Best," "Filth" and "Lucky Them" all failing to managed significant audiences. The Debuts: Debut Winner of the Weekend: "Korengal." Sebastian Junger's "Korengal" -- a follow up to the Oscar nominated doc "Restrepo" that Junger made with the late Tim Hetherington --opened exclusively at Landmark's Sunshine cinema in New York to a very strong $15,145 -- giving it the best average of any film in release save studio topper "Maleficent" (though it helped it was only on one screen). The film, a Saboteur Media release, was self financed by Junger. It will open in Los Angeles on June »
- Peter Knegt
With its unblinking focus on young American soldiers sent to fight a seemingly inexhaustible enemy on its home turf, Sebastian Junger and Tim Hetherington’s “Restrepo” was one of the more gripping war documentaries to emerge in recent years, and one of a relative few to bring much-needed attention to the conflict in Afghanistan. Returning to the extraordinary footage he shot with Hetherington, who was killed while covering Libya in 2011, Junger has emerged with a worthy companion piece in “Korengal,” a less harrowing, more reflective dispatch from the front lines, and an equally vital examination of the strange crucible of selflessness, courage, bloodlust, rage, confusion and fear endured by the brave men interviewed here. The recent success of the Afghanistan combat drama “Lone Survivor” notwithstanding, commercial prospects remain slim for this sort of tough, matter-of-fact war reportage, making it unlikely that “Korengal” (whose release was funded by Kickstarter) will surpass »
- Justin Chang
★★★☆☆When is too much enough and not enough moreish is the question one takes away from Sebastian Junger's sequel to his award winning and epoch busting 2010 documentary Restrepo, which he co-directed with recently deceased photographer Tim Hetherington. Battle Company: Korengal (2014) again focuses with a piercing gaze on Battle Company, 173rd Airborne Brigade that were the focus of the previous film. As in the first film, Restrepo refers to the outpost in the Korengal Valley looked upon as the most dangerous posting in Afghanistan, where the soldiers live and fight in spartan conditions with no electricity, running water or internet for up to six months at a time.
- CineVue UK
Related without narration or score, the 2010 Restrepo was a remarkable vérité documentary account of the war in Afghanistan that immersed the audience in the immediacy, boredom, adrenaline, and fear experienced by the Battle Company of the 173rd Airborne Brigade stationed in the Korengal Valley, widely regarded as one of the most dangerous locations in the country.
The follow-up, Korengal, bears the tagline "This is what war feels like," but this time, director Sebastian Junger means something different. Restrepo co-director Tim Hetherington died in 2012 while covering the civil war in Libya, and Junger revisited unused footage they shot together for the first film and embellished it with retrospective interviews with the soldiers.
The r »
Horses of God
Not Rated, 1 Hr., 55 Mins.
Four boys from the slums of Morocco mutate into suicide bombers in this tense drama, which uses the 2003 Casablanca terror attack as its backdrop. Director Nabil Ayouch hammers his points rather bluntly, but his filmmaking is hypnotic. The camera, initially jittery and handheld, slows to static shots, eerily matching the characters’ stagnant mindsets on their atrocious road to martyrdom. B+ –Joe McGovern
Not Rated, 1 Hr., 30 Mins.
Sebastian Junger’s follow-up to 2010′s Restrepo (his Oscar-nominated war doc codirected by the late Tim Hetherington) shifts focus from combat in Afghanistan’s “Valley of Death” to the soldiers’ psychology, »
- EW staff
The creepy new movie Mr. Jones brings a whole new angle to the found footage sub-genre of horror. Recently, writer and director of Mr. Jones, Karl Mueller, sat down with Dread Central to discuss the film.
Mr. Jones (review) is a brilliant looking film, especially on Blu-ray. Mueller talked about how he managed to create such a crisp looking movie. "I’m very pleased with how the look turned out," Mueller said. "Obviously a lot of the credit has to go to my amazing D.P., Mathew Rudenberg. We had a pretty ambitious plan for shooting the movie and not a lot of time to do it in, so Mathew’s ability to move fast but still get it right was absolutely critical. We shot most of the movie on the Arri Alexa, which is an amazing camera. The current wave of digital cameras is particularly useful on horror films »
- Scott Hallam
Sebastian Junger has joined the ranks of Hollywood crowdfunders Zach Braff and Rob Thomas with his recently launched Kickstarter campaign for "Korengal," the follow-up to the Academy-Award nominated "Restrepo." While embedded with the Second Platoon, Battle Company, 173rd Airborne back in 2007 and 2008, Junger and his co-director, the late photographer Tim Hetherington, shot over 150 hours of footage. In "Korengal," Junger returns to his archive of footage except this time from a psychological angle. "'Restrepo' was meant to be completely experiential," said Junger in the Kickstarter video, "like you feel like you're in the Korengal with these guys. We want[ed] you to jump out of your seat in that film. 'Korengal' is a little different. We're trying to understand the experience. The soldiers are talking about fear, about courage." According to the film's Kickstarter page, Junger financed the editing of the film himself, but turned to crowdfunding for the distribution costs. »
- Shipra Gupta
Filmmaker Sebastian Junger launched a Kickstarter campaign earlier today for a follow-up to his Oscar-nominated documentary Restrepo. And it’s already about a third of the way funded. The new film, titled Korengal: This Is What War Feels Like, is basically a sequel to that 2010 effort, for which he and co-director Tim Hetherington were embedded with a U.S. platoon in Afghanistan for a look at a year on the front lines of the war. Hetherington later died covering another dangerous conflict, the Libyan civil war, and became the subject of Junger’s subsequent film, Which Way Is the Front Line From Here. Korengal takes us back with the duo to the titular valley for events that happened either following or alongside those in Restrepo. Junger says in his campaign statement that it had been an idea during the editing of the earlier film that they’d come back and make another doc out of the »
- Christopher Campbell
Reporters Instructed in Saving Colleagues is surely one of the most fitting tributes to a fallen comrade ever dreamed up. Founded by Sebastian Junger in the wake of the combat zone death of his Restrepo co-director Tim Hetherington (I interviewed both back in 2010) Risc, based on a Wilderness Medical Associates course adapted for combat, aims to provide freelancers in all media with the kinds of lifesaving equipment and techniques that may have prevented Hetherington’s shrapnel wounds in Libya from killing him. Indeed, when I first heard about Risc its mission seemed so obviously crucial – to give combat journos […] »
- Lauren Wissot
Last year, the winner of the Oscar race for Best Documentary Feature was a only foregone conclusion: there wasn't much the industry guilds agreed on more than "Searching for Sugar Man," which won awards from the PGA, DGA, WGA, and the American Cinema Editors, and was also nominated by the Motion Picture Sound Editors. But this year there's no such consensus to be found. And with voting for the winner now open to the entire academy membership, are there any tea leaves we should be reading? The Producers Guild didn't even nominate any of the Oscar nominees. While two films from the academy's list of 15 semi-finalists made the cut – "Life According to Sam" and "Which Way is the Front Line From Here? The Life and Time of Tim Hetherington" – but both lost to Alex Gibney's "We Steal Secrets: The Story of WikiLeaks." Easy to see why the PGA has »
For the first time ever, The Producers Guild of America announced a tie for its top prize, with both Gravity and 12 Years a Slave sharing the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures at the PGA Awards, which were presented at the Beverly Hilton in Los Angeles last night. The result blows open the race for the Best Picture Oscar, which previously had 12 Years a Slave and American Hustle as front-runners.
Check out a full list of winners here (highlighted in red)...
The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures
Gravity (Warner Bros. Pictures)
Producers: Alfonso Cuarón, »
- Gary Collinson
Alfonso Cuaron's "Gravity" and Steve McQueen's "12 Years a Slave" both won the Darryl F. Zanuck Award for outstanding producer of theatrical motion pictures at the 2014 Producers Guild of America awards. It's an unprecedented tie that just makes the Academy Awards much more unpredictable!
Here's the complete list of winners (highlighted) of the 2014 Producers Guild Awards (PGA):
Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures (Tie):
*Gravity (Warner Bros. Pictures)
*12 Years a Slave (Fox Searchlight Pictures)
12 Years A Slave and Gravity have tied at this year’s PGA. With American Hustle taking the SAG ensemble on Saturday night, we have a bonafide Best Picture race on our hands folks! This is the first tie for the top film in Producers Guild Award history.
The PGA split keeps the Oscar race wide open in one of the tightest three-way battles in years, with “American Hustle” still in the game following a week of big showings at the Golden Globes, Oscar nominations and Screen Actors Guild Awards.
Tonight the Producers Guild of America (PGA) announced this year’s winning motion picture and television productions at the 25th Annual Producers Guild Awards ceremony at the Beverly Hilton Hotel in Los Angeles.
In addition to the competitive awards, »
- Michelle McCue
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