1-20 of 44 items from 2013 « Prev | Next »
The year in film still has a long way to go, but according to nearly 500 critics listed in Indiewire's Criticwire Network, there are still almost 20 films that have been released in theaters or on digital platforms worth checking out. The following list, updated on a weekly basis, contains all films released in 2013 that currently hold a B+ average or higher on Criticwire and have been graded by at least four critics. The film that has currently received the largest volume of grades and maintains the highest average is "No," Chilean director Pablo Larraín's Academy Award-nominated historical drama, which stars Gael Garcia Bernal. For now, it holds an A- average from 45 grades. However, the film with the highest rating that has received the most number of grades is Steven Soderbergh's alleged final theatrical release, the thriller "Side Effects," which currently holds a B+ average and 71 grades. Because critics are »
- Eric Kohn
Chicago – The controversy swirling around Pablo Larraín’s Oscar-nominee “No” is typical of the outrage garnered by many a historical drama. Since the film focuses solely on one crucial segment of the activism that ousted Chilean dictator Pinochet during the 1988 plebiscite, some viewers will complain that not every hero in the tale is represented. Of course, that’s what encyclopedias are for.
Just as Spielberg’s “Lincoln” brilliantly explored the complicated, occasionally deceptive efforts that were vital in achieving slavery’s abolishment with the passage of the 13th Amendment, Larraín’s “No” focuses on the marketing campaign that built support for the anti-Pinochet movement. Both films are invaluable portraits of tenacious trailblazers who were able to win over the hearts and minds of timid voters. Yet whereas “Lincoln” was shot in widescreen, painterly compositions, “No” adopts the exact style of the game-changing ads its film celebrates.
Read Matt Fagerholm »
- firstname.lastname@example.org (Adam Fendelman)
Directed by Pablo Larraín.
An ad executive comes up with a campaign to defeat Augusto Pinochet in Chile's 1988 referendum.
Set in the weeks leading up to Chile’s 1988 referendum where the people voted yes or no (hence the film’s title) on keeping Augusto Pinochet in power, No is not your standard movie history lesson and is certainly deserved of its nomination at this year’s Academy Awards for Best Foreign Film.
The decision of the director to shoot this film entirely handheld on U-matic, a video cassette technology popular at the time the film is set, and presenting it in 4:3 ratio gives No a naturally anachronistic look and tone. The film looks as if it used all natural lighting and isn’t afraid to completely wash the frame with white light »
- Flickering Myth
Sony Pictures Classics continued to belatedly benefit from its nominations on this slow Oscar weekend, with foreign language film nominee "No" -- directed by Pablo Larraín and starring Gael Garcia Bernal -- expanded from 4 to 6 screens in its second weekend and found the best per-theater-average of any film in release. "No" took in $82,354 for a $13,726 average. Its total now stands at $194,636. Sony Classics will expand "No" in the coming weeks, though it's unlikely to benefit from a win tonight. "No" is likely to lose out to another Sony Classics release, "Amour," which also had a strong weekend. In its 10th frame, the Michael Haneke-directed film went from 306 to 328 screens and jumped 16%, taking in $816,468 (its best weekend yet) to bring its total to $5,247,524. Given its good chance at winning at least one (if not two or three) trophies tonight, "Amour" has an excellent shot at doubling that gross in »
- Peter Knegt
Nicholson and Hoffman: 85th Academy Awards list of presenters completed Multiple Oscar winners Dustin Hoffman and Jack Nicholson have been added to the roster of presenters at this year's Academy Awards show, Oscarcast producers Craig Zadan and Neil Meron have announced. (Pictured above: Academy Awards ceremony in 1980, with winners Stanley R. Jaffe, Robert Benton, Meryl Streep, and Dustin Hoffman.) Dustin Hoffman's Academy Awards nominations Hoffman has been nominated for a total of 7 Best Actor Oscars. He won twice, for Robert Benton's broken-family drama Kramer vs. Kramer (1979), with Meryl Streep, and Barry Levinson's fraternal drama Rain Man (1988), with Tom Cruise. Hoffman's other Academy Award nominations were for the following movies: Mike Nichols' comedy The Graduate (1967), with Anne Bancroft and Katharine Ross; John Schlesinger's social drama Midnight Cowboy (1969), with Jon Voight; Bob Fosse's psychological drama Lenny (1974), with Valerie Perrine; Sydney Pollack's comedy Tootsie (1982), with Jessica Lange »
- Anna Robinson
Fonda, Stewart (seen above with Senator Al Franken), Garner, Washington have been added to the list of Oscar 2013 presenters The Oscar ceremony is only a few days away; even so, the Oscar 2013 roster keeps getting more stellar: two-time Oscar winner Jane Fonda, Kristen Stewart, Jennifer Garner, and Kerry Washington belong to the latest group of Oscar presenters announced by producers Craig Zadan and Neil Meron earlier today. (Pictured above: Kristen Stewart and Senator Al Franken having a ball at the Academy's Governors Awards held last December 1.) Jane Fonda Daughter of Henry Fonda (Best Actor Oscar nominee for John Ford's The Grapes Wrath and Oscar winner for Mark Rydell's On Golden Pond) and sister of Peter Fonda (Best Actor Oscar nominee for Victor Nuñez's Ulee's Gold), she has received no less than seven Academy Award nods in the last four decades. She won twice: for her performances in Alan J. Pakula's Klute (1971), with Donald Sutherland, »
- Andre Soares
MacFarlane and Chenoweth to perform in musical number at the 85th Academy Awards Kristin Chenoweth and 2013 Academy Awards host Seth MacFarlane will be featured in a closing musical number, the show's producers Craig Zadan and Neil Meron have announced. The Academy's press release quotes the Oscarcast producers as saying that the musical number is a "'can't miss' moment." (Another apparent such moment would certainly have been James Franco singing in drag at the 2011 Oscar ceremony; however, Franco's number was axed by the Powers That Be.) [Picture above: Kristin Chenoweth up close and personal on the red carpet of the 80th Academy Awards.] Besides Chenoweth and MacFarlane, the performers at this year's ceremony, which features an homage to James Bond and to recent Hollywood musicals, include the following: Chicago's Catherine Zeta-Jones, Dreamgirls' Jennifer Hudson, much of the Les Misérables cast (Hugh Jackman, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Russell Crowe, Samantha Barks, Aaron Tveit, and Helena Bonham Carter -- but not Sacha Baron Cohen); Skyfall's Adele, »
- Zac Gille
Critics may have questioned the need for a fifth Die Hard movie, but audiences signalled their sustained interest in the franchise, powering the latest instalment to an opening of £4.55m. That was enough for A Good Day to Die Hard to elbow Wreck-It Ralph aside, claiming the chart crown. On closer inspection, however, the Bruce Willis flick saw its takings inflated by Valentine's Day previews totaling £1.28m. Strip those out, and A Good Day's debut falls to £3.27m, below Wreck-It's second-weekend takings of £3.43m. It's actually doing better in the UK than the Us, going by the accepted rule of thumb. The Us four-day opening of $37.54m would typically yield a UK equivalent of £3.8m, but the actual achieved result »
- Charles Gant
Sony Pictures Classics continued to belatedly benefit from its Oscar nominations, with foreign language film nominee "No" -- directed by Pablo Larraín and starring Gael Garcia Bernal -- opened on 4 screens this weekend to excellent numbers. The film took in $74,476 for a $18,619 average this weekend, a very strong number for a foreign release. Adding on Presidents Day, the film is estimated to take in $94,742 for a $23,686 average. Sony Classics will expand "No" in the coming weeks, though it's unlikely to benefit from a win next weekend. "No" is likely to lose out to another Sony Classics release, "Amour," which also had a strong weekend. In its 9th frame, the Michael Haneke-directed film went from 125 to 306 screens and jumped 92%, taking in $720,614 over the 3-day weekend and $918,411 through the holiday to bring its total to $4,141,540. Given its good chance at winning at least one (if not two or three) trophies next weekend, »
- Peter Knegt
Jose here. The Berlin Film Festival came to its end a few hours ago and the big winners came from Romania and Bosnia. Călin Peter Netzer's Child's Pose won the prestigious Golden Bear, while Danis Tanovic's An Episode in the Life of an Iron Picker picked up the Jury Grand Prix as well as the Best Actor award for Nazif Mujic.
The winners as selected by the jury headlined by Wong Kar-wai were:
Golden Bear: Child's Pose by Călin Peter Netzer Jury Grand Prix: An Episode in the Life of an Iron Picker by Danis Tanović
Tanović's movie has a real life family recreate an event that almost cost them their son's life. Not only does this sound like an interesting project but it also shows a two year trend in the festival where real life people dramatizing events have taken the main prizes. Last year's Golden Bear winner, »
Like Someone in Love Abbas Kiarostami made one of my favorite movies of 2011 with Certified Copy, and he's back now with another look at off-kilter love and the ways we shape our own identities in pursuit of it. The Iranian director is once again globe-hopping to find his stories, this time settling down in Tokyo. Critics have been decidedly onboard with the film, and opening as it does in the often bleak February release calendar, it must seem like a godsend. No Chile's nominee for the Best Foreign Language Film Oscar hits theaters this weekend. The story of the 1988 campaign to unseat Chilean dictator Augusto Pinochet centers on Gael Garcia Bernal as TV ad-man hired to sell the "No" vote (i.e. the anti-Pinochet vote) to the Chilean people. Director Pablo Larraín delivers an '80s news-footage quality to the film, making it period appropriate (but also decidedly unpretty). The effect works well, »
Gael Garcia Bernal stars in No, an epic David and Goliath story penned by Pedro Peirano about a brash young Chilean adman, René Saavedra, who spearheads a campaign to defeat dictator Augusto Pinochet and set Chile free during the country’s 1988 referendum. The film is the final part of a trilogy which director Pablo Larraín began with Tony Manero in 2008 and followed with Post Mortem in 2010. No has been nominated for an Academy Award for Best Foreign Language Film and opens in theaters on February 15th. At the film’s recent press day, Larraín and Bernal talked about their smart and engaging political thriller inspired by actual events, how the film reflects their own social conscience and political sensibilities, why it resonates with other political events occurring throughout the world today, how they came up with a distinct lo-fi concept for the film’s unique visual style, how the film has been received in Chile, »
- Sheila Roberts
Gael Garcia Bernal was a big presence at Sundance this year, appearing in two of the best received films at the festival: the Academy Award-nominated "No" and the opening night documentary "Who Is Dayani Cristal?" In director Pablo Larraín's "No," which took the top prize at last year's Directors' Fortnight sidebar at Cannes, Bernal stars in the true story as Rene Saavedra, an advertising executive asked to campaign voter resistance to Chilean military dictator Augusto Pinochet in light of a forthcoming referendum. Marc Silver's quasi-doc "Who Is Dayani Cristal?" centers on the mystery surrounding an anonymous body found in the Sonora desert. Bernal, who produced the film, stars in the dramatic reenactments featured in it. Indiewire had the chance to sit down with Bernal in Park City to discuss his involvement with both projects, their unique similarities, and the challenges associated with portraying »
- Nigel M Smith
Editor’s Note: This review originally ran during the 2012 Nyff, but we’re re-running it now as the film opens in limited theatrical release. The revolution will not only be televised, it will have commercials. At least that’s how it happens in No, Pablo Larraín’s new chronicle of the last days of Augusto Pinochet’s rule in Chile. It is the story of a military dictatorship that fell to an ad campaign, a cheerful one at that. This causes contradictions. On the one hand, the film emphasizes the joy of mass political action. Liberation is exciting, and people get excited about it when they are shown a brighter future. However, advertising is also the great commercial and consumerist art form, here being used as a tool by socialist and other left-wing opponents of the regime. On paper this seems extremely counter-intuitive, and No doesn’t lose sight of these tensions. To »
- Daniel Walber
Hotshot ad man René Saavedra (Gael García Bernal) pitches three different ads throughout the course of Pablo Larraín’s 1988 Chile-set “No,” and for each he has the same opening line: “What you’re going to see now is in line with the current social context. We believe that the country is prepared for communication of this nature.” One of the pitches is for a cola called “Free!,” one is for a reality TV show where beautiful women watch a bachelor swoop down in a helicopter, and one is for the landmark “No” campaign that would ultimately vote out Chile’s 15-year dictator General Augusto Pinochet, despite a seemingly rigged plebiscite. As they say on "Sesame Street," one of these things is not like the others. Yet René approaches the “No” campaign in the same fashion that he would a soft drink and, for the majority of the film, with the same cool detachment that one. »
- Beth Hanna
I assume you're well-versed in Chilean politics of the 1980s. I mean, who isn't, right? But even if you're not -- even if you're, say, an American who barely recalls the name Pinochet and is already exhausted by the 2012 U.S. elections -- Pablo Larraín's No is a fascinating, inventive look at the advertising campaign that helped unseat Chile's dictator in 1988. What happens in No isn't substantially different from what happens in every election year in every country. Which is to say, it's absurd, funny, and a little sad. No was made for a Chilean audience, but Larraín is careful to summarize the pertinent facts for the rest of us (and, I suppose, for Chileans who weren't alive or weren't paying attention in 1988)....
[Read the whole post on twitchfilm.com...]
Kidman, Bullock, Berry, Witherspoon: Former Oscar winners to be presenters at the 85th Academy Awards Actresses Halle Berry, Sandra Bullock, Nicole Kidman, and Reese Witherspoon will present Oscar statuettes at the 85th Academy Awards ceremony next February 24, show producers Craig Zadan and Neil Meron have announced. The quartet of actresses is composed of past Best Actress Academy Award winners. (More information below.) (Pictured above: Best Supporting Actress SAG Award nominee Kidman in Lee Daniels' box-office bomb The Paperboy.) Berry won the Oscar for her performance in Marc Forster's drama Monster's Ball, featuring Billy Bob Thornton as Berry's lover. Monster's Ball is the actress' only Oscar nomination (and eventual victory) to date. Kidman won for her incarnation of troubled author Virginia Woolf in Stephen Daldry's film version of the bestseller The Hours (2002), featuring Meryl Streep and Julianne Moore in different storylines. Kidman was also shortlisted for Baz Luhrmann's Moulin Rouge! »
- Andre Soares
Directed by Pablo Larraín
Written by Pedro Peirano
Earlier last year, a pro-Pinochet documentary triggered off clashes at a screening in Santiago, Chile, and prompted calls for the film to be banned. But the Piñera administration declared its hands tied, and rightfully so. Even though the Pinochet regime came to an end in 1990, it is sobering to appreciate the strength of Chile’s current democracy considering the nearly two decades of dictatorship the country suffered at his hands, during which any form of dissent was not taken to kindly; a period in its own history that the Latin American nation still finds especially sensitive.
With his fourth feature, and presumably the final film in what is ostensibly his Pinochet trilogy, Pablo Larrain tells the story of how the dictator’s stranglehold was finally released when, in 1987, Augusto José Ramón Pinochet Ugarte called for a plebiscite (or a referendum »
Zellweger, Gere, Zeta-Jones, and Latifah: ten years later, Chicago cast to be reunited at the 85th Academy Awards ceremony Catherine Zeta-Jones, Queen Latifah, Renée Zellweger, and Richard Gere, who starred in director Rob Marshall's 2003 Best Picture Oscar winner Chicago, will join forces once again -- but as presenters at the 85th Academy Awards ceremony next February 24. Show producers Craig Zadan and Neil Meron announced the latest additions earlier today. (Pictured above: Zellweger, Gere doing a dance number in Chicago.) Remember that the 2013 ceremony is supposed to revolve around a Hollywood Musical theme, and that a decade ago Chicago became the last musical to win the Academy's Best Picture accolade. And here's a curious coincidence: It has also been a whole decade since a Directors Guild of America Award winner failed to also win the Academy Award in the Best Director category -- something that is bound to take »
- Andre Soares
Produced by rising Chilean force-to-be-reckoned-with Pablo Larraín ("Post Mortem," "No"), Sebastián Lelio's fourth feature, "Gloria," has proven one of our most pleasant Berlin Film Festival surprises. While films focusing on female protagonists have not been in short supply during this and previous Berlinales, many of them featuring strong central performances and a realist style, Santiago-set "Gloria" is marked out by two key differences that set it apart from, and above, many surface-similar films. Firstly, the rigor of the approach -- lead actress Paulina Garcia is not only in every scene, she's in every single shot. And having a divorced mother of grown-up children in her late 50s be the subject of such an obsessive approach is nothing short of transgressive in how it makes central the kind of character who is so often invisible, or at best relegated to background importance. And secondly, perhaps most »
- Jessica Kiang
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