1-20 of 37 items from 2017 « Prev | Next »
Andrei Tarkovsky’s bizarre philosophical science fiction epic may be his most successful picture overall — every image and word makes its precise desired effect. Three daring men defy the law to penetrate ‘the Zone’ and learn the truth behind the notion that a place called The Room exists where all wishes are granted. Plenty of art films promise profound ideas, but this one delivers.
The Criterion Collection 888
1979 / Color / 1:37 flat full frame / 161 min. / available through The Criterion Collection / Street Date July 18, 2017 / 39.95
Starring: Aleksandr Kaidanovsky, Anatoly Solonitsyn, Nikolai Grinko, Alisa Freindlikh, Natasha Abramova.
Cinematography: Alexander Knyazhinsky
Film Editor: Lyudmila Feyginova
Original Music: Eduard Artemyev
Produced by Aleksandra Demidova
If the definition of film artist is ‘one who goes his own way,’ Andrei Tarkovsky qualifies mightily. Reportedly cursed with a halting career »
- Glenn Erickson
A modern morality tale told with meticulous suspense, “The Unknown Girl” is the latest film from Belgian filmmaking brothers Jean-Pierre and Luc Dardenne. Known for realist stories grounded in themes of economic and social justice, the Dardennes play with genre and mystery for their tenth feature. Premiering at the Cannes Film Festival in 2016, where it received mixed reviews, “The Unknown Girl” has been described as “social-realist film noir.” The film released its official U.S. trailer today.
Read More:‘The Unknown Girl’ Directors The Dardenne Brothers Say They’re Really Just One Person
After refusing after-hours care to a mystery woman found dead outside her clinic, a young doctor (Adele Haenel) becomes obsessed with discovering the fate of the unidentified caller. Plagues by guilt, she begins a methodical search to learn more about the young woman’s life and death. The film also stars Jeremie Renier, Olivier Bonnaud, and Louka Minnella. »
- Jude Dry
I have seen every Tarkovsky film, and there is little doubt in my mind they gain infinitely in a theater, where the scope and beauty of them can be most fully appreciated. His wide, glacial shots are too enveloping to be shoved into a screen that never ventures into one’s peripheral vision. Questioning the necessity of a home video release is absurd – old films are predominantly viewed at this point in time on televisions. To not send his work there would be to condemn it to near nonexistence. It is unfortunate, but it is. The issue is how to do it responsibly, to present the work with a nod towards the theatrical experience and an understanding between disc and viewer that the transfer may be insufficient, but the film certainly isn’t.
And if this all sounds terribly esoteric, so be it, but given my transformative experience seeing Mirror, »
- Scott Nye
Based on Boris and Arkadi Strugatsky’s novel Roadside Picnic (not to mention the inspiration behind a famous video game series), this 1979 epic is a typically challenging work from Russian auteur Andrei Tarkovsky, but it is worth the effort.
Stalker is ponderous and bleak; demanding without being impenetrable; and guilty of navel-gazing, certainly, but far too intriguing and unsettling to be turned off. Plus, it’s split neatly into two bite-sized parts, so no excuses. The barebones plot involves three men – a Writer and a Professor, led by the titular Stalker – departing the dilapidated city for the forbidden “Zone”, a rural wasteland littered with industrial junk and devoid of people. The Zone is also, perhaps, a sentient entity. The men are searching for the meaning of life. Kinda.
Stalker is true »
- Rupert Harvey
The Criterion Collection’s July 2017 lineup features some potent and heavy material, among the heftiest offerings in terms of sombre meditations on the bleaker aspects of the human condition. From the raw depiction of postwar trauma in Roberto Rossellini’s War Trilogy, to the philosophical depth and gravitas of long-coveted titles from Robert Bresson (L’argent) and Andrei Tarkovsky (Stalker), nobody can accuse Criterion of serving up lightweight fluff in the middle of summer.
And then there’s Lost in America, a short and breezy topical comedy from the mid-1980s that might come across, at least on the surface, as the class clown of the bunch. Alongside the grim wartime, post-apocalyptic and crime-infested scenarios addressed in the other July releases, Albert Brooks’s brisk social satire of the moral vacuity of the yuppie ethos runs the risk of feeling relatively benign, even inconsequential.
That admittedly superficial take on Lost in America »
- David Blakeslee
Andrei Tarkovsky’s final Soviet feature is a metaphysical journey through an enigmatic postapocalyptic landscape, and a rarefied cinematic experience like no other. A hired guide—the Stalker—leads a writer and a professor into the heart of the Zone, the restricted site of a long-ago disaster, where the three men eventually zero in on the Room, a place rumored to fulfill one’s most deeply held desires. Adapting a science-fiction novel by Arkady and Boris Strugatsky, Tarkovsky created an immersive world with a wealth of material detail and a sense of organic atmosphere. A religious allegory, a reflection of contemporaneous political anxieties, a meditation on film itself—Stalkerenvelops the viewer by opening up a multitude of possible meanings.
Subscribe to the podcast via RSS or in iTunes
- Trevor Berrett
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.
Kirsten Johnson brings us her memoirs by way of a videographic scrapbook. Bits and pieces of the numerous documentaries she’s shot in her years as a Dp have been woven together into a travelogue / ethnographic study / commentary on the nature of cinematic framing. What was an establishing shot in one doc becomes, here, a study of the vagaries of a camera operator’s job. Documentary »
- Jordan Raup
For the brand new Blu-ray and DVD offerings coming out on Tuesday, July 18th, we have an eclectic assortment of titles, both new and old. As far as cult classics go, The Bat People, Freeway, Stalker, and Stormy Monday are all making their HD debuts on Blu this week, and if you missed Kong: Skull Island, Free Fire or Buster’s Mal Heart during their theatrical runs, now you’ll have a chance to catch up with these films on their home entertainment releases.
Half Man, Half Bat, All Terror!
When Dr. John Beck and his wife Cathy fall into an underground cave, »
- Heather Wixson
Yesterday, our Matt Brown shared his thoughts about Criterion's new release of Andrei Tarkovsky's Stalker, a film considered by many to be the man's masterpiece. Matt had his reservations about that, but did not deny that something brilliant (if very elusive) is happening in that film. Thing is, to some extent you can say that about each and every one of Andrei Tarkovsky's films. The Russian auteur may not have made all that many films, in fact Curzon Arificial Eye fitted them all in one medium-sized boxset last month, but each of them has its fans and detractors. Of course, this makes him an excellent topic for our question of the week! So, let's discuss: what's the best film Andrei Tarkovsky made? Chime in, in...
[Read the whole post on screenanarchy.com...] »
Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series.There's a brief, very beautiful moment in Part 7 of the new Twin Peaks, during the scene in which hotelier Benjamin Horne (Richard Beymer) and his secretary Beverly Paige (Ashley Judd) are investigating a strange sound emanating from the walls of the Great Northern. Ben points in the direction that he thinks the soft, soothing tone is coming from, and for a second he seems to be pointing right at the camera—past it, really…toward our world, at those of us on the other side of the fiction/fact divide. A blink-and-you'll-miss-it breach, but it lays some subtle groundwork for what follows: The aesthetically and thematically provocative Part 8 fitted the Twin Peaks mythos into our very real history of atomic destruction. And this week's »
Tennis fans know the inevitable letdown that comes with the final match of the U.S. Open every summer, but 2017 brings two exciting fall movies to fill the void: “Battle of the Sexes,” where Emma Stone will play the great Billie Jean King, and “Borg vs. McEnroe,” which stars Shia LeBeouf as the notorious bad boy of tennis in a stylish drama about one of the sport’s greatest rivalries.
Swedish tennis player Bjorn Borg and American legend John McEnroe played each other 14 times on tour between the years 1978 and 1981. Each player won 7 times. Their rivalry was all the more fascinating due to their polarized demeanors: Borg was known for his zen-like cool on court, while McEnroe was an infamous firebrand, often yelling at umpires and wildly upsetting the balance of a game that reveres civility. »
- Jude Dry
“Solaris” is among the most melancholy sci-fi movies ever made, which makes sense given its conception — Andrei Tarkovsky is said to have loathed “2001: A Space Odyssey” for being too cold and unfeeling, and so he sought to make something more humane. The result was as emotional as it was cerebral, and utterly haunting.
A new video essay from Jack’s Movie Reviews focuses on past and present in “Solaris,” arguing that the film’s protagonist, Kris, chooses to ignore his past while on earth — something he’s unable to do on the space station hovering above the semi-sentient ocean planet of the title. That manifests itself in the form of Hari, his deceased wife who appears with Kris on the space station; it isn’t his actual spouse, of course, and attempting to reconcile »
- Michael Nordine
With Nicholas Ray’s first film, “They Live By Night” recently restored by the Criterion Collection – after the company did a remarkable job with his “Bigger Than Life” and “In a Lonely Pace” – and “Johnny Guitar” set to get it’s streaming debut this weekend on Hulu (July 1), it’s a good time to review the career of one of Hollywood’s greatest mavericks.
Unlike most legendary auteurs, Ray’s career is incredibly uneven. He was a square peg trying to fit into the cylinder of Hollywood, but completely unwilling to round his sharp corners. It wasn’t that his style couldn’t adapt to Hollywood, as his mastery of storytelling through the use of space, composition and performance was readymade for the studio era. However, his uncompromising view of life and the existential struggle of his characters never fit neatly in stories with a clear resolution. His ability to »
- Chris O'Falt
What happens when we die? We thought “The Oa” figured that one out already, not to mention the original 1990 “Flatliners,” but there’s always more to be discovered. Ellen Page and her motley crew are about to take the science of the afterlife to an even darker place in “Flatliners,” which got a chilling first trailer today from Sony Pictures.
The movie stars Ellen Page (“Juno”), Nina Dobrev (“The Vampire Diaries”), Diego Luna (“Rogue One”), Kiersey Clemons (“Dope”), and James Norton (“Happy Valley”) as five medical students who become obsessed with discovering what really happens after death. They begin an experiment to stop their hearts for short periods of time in order to trigger a near-death experience and discover the truth about the afterlife. As the experiments lengthen, each student is haunted by phantoms of their past, and »
- Jude Dry
Above: Unused poster design for The Handmaiden (Park Chan-wook, S. Korea, 2017); designer: Empire Design.It’s been a while since I did one of these round-ups of the most popular posts on Movie Poster of the Day—since the beginning of the year, in fact—but in that time one poster has been liked and reblogged more than 2,800 times, making it the second most popular design I’ve ever posted on the blog. The comp design for Park Chan-wook’s The Handmaiden, which I featured as part of my interview with Empire Design’s John Calvert back in March, is a deserving fan favorite: an exquisite and beautifully realized concept that was shelved only in favor of something even more perfect.The rest of the Top 20 features the usual eclectic mix of old and new (there are six posters for new films in the list, and two new designs for »
After crafting one of the more impressive sci-fi films of the last few years with his directorial debut Ex Machina, Alex Garland is thankfully staying in the genre for his follow-up Annihilation, an adaptation of Jeff VanderMeer‘s first book in the Southern Reach trilogy. While we recently got the unfortunate news it won’t get a release until 2018 from Paramount, a few more details have arrived following a handful of behind-the-scenes images.
Starring Natalie Portman, Gina Rodriguez, Tessa Thompson, Jennifer Jason Leigh, Oscar Isaac, and David Gyasi, the film features a group of women — an anthropologist, a surveyor, a psychologist, and a biologist — who embark on a dangerous, secret expedition where the laws of nature don’t apply. VanderMeer stopped by The Watch podcast to discuss a bit about the adaptation process and his initial thoughts following a test screening.
“The first thing I realized is that even though »
- Jordan Raup
As specialized distributors head to Cannes, Eleanor Coppola’s French valentine “Paris Can Wait” (Sony Pictures Classics) scored with arthouse moviegoers. It’s only the fourth 2017 limited release to break the increasingly rare $20,000 per-theater-average mark.
These days, movies with older audience appeal are sustaining the market — and will likely form the core demo for similar available new films at Cannes. Eleanor Coppola (“Apocalypse Now” documentary “Heart of Darkness”) makes her narrative film debut at 81 with her semi-autobiographical first screenplay, starring Diane Lane as the wife of a self-involved film producer (Alec Baldwin).
New York also saw a handful of other small but still promising initial results, led by Cate Blanchett stunt-theater piece “Manifesto” (Film Rise), Israeli marriage story “The Wedding Plan” (Roadside Attractions) and “Stefan Zweig: Farewell to Europe” (First Run).
- Tom Brueggemann
The 2017 summer movie season kicked off last weekend with the strong opening for Guardians of the Galaxy Vol. 2, which enters its sophomore session this weekend and will once again find itself atop the box office as the week's new wide releases*King Arthur: Legend of the Sword and Snatched*aren't looking to offer much competition. Question is, with the Guardians sequel outperforming the opening weekend of the original by more than 55% (the best opening performance for a first sequel among all Marvel Cinematic Universe films), will the second weekend for the galactic superheroes also outperform the norm? In our showdown featuring Marvel First Sequels you can see the average second weekend drop for the four other films on the list is 57.4%, an average that would have Guardians of the Galaxy Vol. 2 delivering over $62 million this weekend. The best hold among those comparisons belonged to Captain America: Winter »
- Brad Brevet <firstname.lastname@example.org>
Filmmakers from all over the world are showing their support for a new initiative from the Film Society of Lincoln Center designed to create a more unified global film community in this uncertain new political time. The initiative is entitled “Film Lives Everywhere” and launches Monday with the Film Society’s 44th Chaplin Award Gala in honor of Robert De Niro.
The project has already received early support from filmmakers from Thailand (Apichatpong Weerasethakul), France (Agnès Varda, Olivier Assayas, Bertrand Bonello, Arnaud Desplechin), Canada (Guy Maddin), Argentina (Lisandro Alonso) the U.S. (Ava DuVernay) and more.
“I don’t want to be a filmmaker making movies in a scary and dangerous world,” Assayas said in a statement. “I want to be a filmmaker who makes movies about human beings in an environment »
- Graham Winfrey
A weak arthouse market was brightened by “The Lovers,” a high-concept A24 release targeted at the usual older specialty demo. Azazel Jacobs, an indie veteran without a breakout film to his credit, returned to the feature world from HBO (“Doll and Em”) with “The Lovers” (A24). Its initial results put it atop the results for the weekend which saw several disappointments.
Read More: A24 After ‘Moonlight’: Why They’re Finally Ready To Conquer the Older Arthouse Crowd
Several top specialized distributors optimistically counter-programmed against Marvel’s May juggernaut “Guardians of the Galaxy Vol. 2,” hoping to fill the vacuum with no other wide releases to grab attention. That strategy can can launch a film like “Belle,” “Ida,” and “Far from the Madding Crowd” toward a big push in the early summer period including Memorial Day weekend.
Even if “The Lovers” never approaches that level, it is positioned to get »
- Tom Brueggemann
1-20 of 37 items from 2017 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners