6 items from 2016
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 the interwebs. 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 Instant Video, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Forget the Cloverfield connection. The actors who were in this film didn’t even know what the title was until moments before the first trailer dropped. Producer J.J. Abrams used that branding as part of the wrapping for its promotional mystery box, but the movie stands perfectly alone from 2008’s found-footage monster picture. Hell, 10 Cloverfield Lane perhaps doesn’t even take place »
- The Film Stage
A major talent of the New German Cinema finds his footing out on the open highway, in a trio of intensely creative pictures that capture the pace and feel of living off the beaten path. All three star Rüdiger Vogler, an actor who could be director Wim Wenders' alter ego. Wim Wenders' The Road Trilogy Blu-ray The Criterion Collection 813 1974-1976 / B&W and Color / 1:66 widescreen / 113, 104, 176 min. / available through The Criterion Collection / Street Date May 30, 2016 / 99.95 Starring Rüdiger Vogler, Lisa Kreuzer, Yetta Rottländer; Hannah Schygulla, Nasstasja Kinski, Hans Christian Blech, Ivan Desny; Robert Zischler. Cinematography Robby Müller, Martin Schäfer Film Editor Peter Przygodda, Barbara von Weltershausen Original Music Can, Jürgen Knieper, Axel Linstädt. Directed by Wim Wenders
Reviewed by Glenn Erickson
- Glenn Erickson
Today's roundup on current goings on features a tribute to the work of the "King of Video Essays" (New York Times), Kevin B. Lee in Vienna, plus Stateside events: Wim Wenders's Wrong Move, Chantal Akerman's Là-bas, Lazar Stojanović’s Plastic Jesus, and disparate series devoted to the work of Andrew Noren, Gabriel Mascaro, Vincent Lindon, Saul Levine and Xie Jin. There's also Indian cinema in Austin, Palestinian work in Chicago and a video interview with Joseph Frank, co-director of Sweaty Betty. » - David Hudson »
Who is the outlaw in Day of the Outlaw? Undoubtedly Burl Ives’ villainous Jack Bruhn – he leads a band of bad guys into the remote Wyoming town, holding everyone there loosely as hostages until he decides to move along. But he’s not an outlaw the way we typically understand it; for one thing, he wears a Union (not even Confederate!) officer’s uniform, and his legacy of shame is more rooted in military than more overtly criminal activities. His band of men are far more outlaws than he, but there is no singular one.
Instead, I want to pivot attention to Blaise Starrett (Robert Ryan), the ostensible hero of the story, who starts the film ready to murder a farmer (Alan Marshal) over the latter’s desire to put fences around his land, which Blaise is used to running his cattle through a couple times a year. That Blaise »
- Scott Nye
It's time to start budgeting for the next wave of Criterion releases. The boutique home-video label have unveiled their slate for May, and it's even more impressive than usual, with some true treats for cinema buffs. So you might want to start clearing some space on your shelves. The big attraction of the month is the release of Wim Wenders' Road Trilogy. Comprised of "Alice In The Cities," "Wrong Move," and "Kings Of The Road," these are a terrific trio of early works by the director, and for those only familiar with his more recent films, they may be surprised by their looseness and how much different in tone they are. Criterion will be bulking up the box set with shorts "Same Player Shoots Again" and "Silver City Revisited," plus audio commentaries, interviews, and more. Read More: The Essentials: The 10 Best Wim Wenders Films Shifting gears, Robert Altman's »
- Kevin Jagernauth
In his 1969 short film 3 American LP’s, the 24-year-old Wim Wenders, in the kind of feat of earnestness that can befit a young man, attempts to match his two greatest interests” America’s landscapes and its rock-and-roll music. If we’re to pick perhaps the most endearing eye-roller from this “rockist” mission statement, one can look no further than Wenders describing a Creedence Clearwater Revival album as being “like chocolate.”
But this isn’t necessarily an atypical moment in his filmography, as Wenders has always skirted the line of, for lack of a better word, corniness — if not just telegraphing his influences to at-times-obnoxious degrees, also with a kind of sentimentality both formally and politically speaking. Consider Wings of Desire‘s glossy look, which could so easily be reconfigured into a perfume-commercial aesthetic, or even just the title of one of his later, forgotten films; The End of Violence.
- Ethan Vestby
6 items from 2016
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