8 items from 2016
“The Sea of Trees” is a movie about guilt and grief that elicits just that in its viewers: guilt and grief. Because for every ephemeral moment to admire in Gus Van Sant‘s latest film, there are about a half-dozen more that make you wonder what went wrong. Like the central character in “My Own Private Idaho,” “Sea of Trees” snaps in and out of consciousness. It’s alternately spirited and narcoleptic. The film opens with adjunct professor Arthur Brennan (Matthew McConaughey) in an airport purchasing a one-way ticket to Japan’s serene Aokigahara Forest. “Are you checking in any luggage? »
- Sam Fragoso
This is a reprint of our review from the 2015 Cannes Film Festival. There appear to be two Gus Van Sants. There’s the groundbreaking indie/arthouse guy, who kicked off his career with “Drugstore Cowboy” and “My Own Private Idaho,” directed the enormously entertaining “To Die For,” and won the Palme D’Or at Cannes for “Elephant,” one […]
- Oliver Lyttelton
It’s been three decades since “Stand By Me” became the little drama that could, catapulting River Phoenix to stardom, establishing Rob Reiner as a director on the rise, and racking up big ticket sales on a paltry budget.
The story of four friends from small town in Oregon, hiking into the countryside in search of the body of a boy who has been hit and killed by a train, is an unlikely coming-of-age tale. Yet in Reiner’s sensitive hands, it becomes a meditation on mortality — one that transcends its 1950s setting to have a universal appeal.
“Stand By Me” is unique in other ways. For one thing, it rivals “The 400 Blows” in its ability to evoke complex characterizations from young actors. Not only Phoenix as spiritual leader Chris Chambers, but co-stars Wil Wheaton as sensitive Gordie Lachance, Jerry O’Connell as wisecracking Vern Tessio, and Corey Feldman as hot-tempered Teddy Duchamp, »
- Brent Lang
The Academy celebrates the 25th anniversary of the Academy Film Archive with the screening series “Archival Revival – 25 years of the Academy Film Archive,” curated from the extensive, diverse collection of motion pictures that the archive has restored and preserved. The series, which runs fromJuly 18 through September 12, will showcase a broad range of titles – musicals, documentaries, silent films, Pre-Code comedies, experimental films and horror classics.
In 1991 the Academy’s Board of Governors made a commitment to create a world-class archive for the preservation, restoration, documentation and study of motion pictures. The Academy Film Archive currently holds more than 190,000 elements, including trailers, feature films, and the film collections of such artists as Alfred Hitchcock, Penelope Spheeris, James Wong Howe, Albert Maysles and Su Friedrich. It also holds the collections of such institutions and programs as the Japanese American National Museum, Los Angeles Latino International Film Festival and the Student Academy Awards.
- Michelle McCue
John Cusack has made 17 films in four years. We've found the ones that have gone all-but straight to DVD and watched them...
John Cusack is a bit of a Hollywood oddity. There’s no pattern to the type of movie he will choose to do, so he’s always kept us on our toes. Sure, he’ll make a dumb action movie, but that will often afford him the chance to make a few smaller gambles later on. Up until the last few years he’s played the system very well, but recently his ethic appears to have, um, waned? A little?
Since the heady days of Say Anything and Sixteen Candles he’s come to represent a sort of slightly weird-looking, awkwardly charming, offbeat everyman that men aged 18-49 can look at and go 'me'” - which is fine. There’s a place for that, as »
“Todd Haynes‘ filmography is often overwhelming in its intellectual acumen and emotional devastation,” we noted upon the release of his latest film this past fall. “This is true of Carol, which is at once a return to the deconstruction of femininity, social mores, and mild anarchy of privilege, as well as an honest and heartbreaking story about falling in love and the trepidation therein.” Over 100 film experts, ranging from critics to writers to programmers, agree on the emotional power of the drama, as they’ve voted it the best Lgbt film of all-time.
Conducted by BFI ahead of the 30th BFI Flare: London Lgbt Film Festival, they note this is the “first major critical survey of Lgbt films.” Speaking about leading the poll, Haynes said, “I’m so proud to have Carol voted as the top Lgbt film of all time in this poll launched for the Fest’s 30th edition. »
- Jordan Raup
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The Criterion Collection’s May 2016 line-up has been unveiled (click covers for more):
The Lobster has switched hands from Alchemy to A24, THR reports. There’s no word yet on a new release date.
Our own Forrest Cardemenis on the dark side of the dream factory as it relates to Hail, Caesar! and the Coens‘ self-critical genre movies at Bk Mag:
Whatever else the Coen Brothers may be—a somewhat cagey, idiosyncratic pair; independent filmmakers »
- TFS Staff
Read More: The 2016 Indiewire Sundance Bible: All the Reviews, Interviews and News Posted During The Festival It's been twenty-five years since Eric Edwards worked with Gus Van Sant in shooting the seminal "My Own Private Idaho," having already worked in the industry for a decade. Since that time, he's been the cinematographer for projects across multiple media, including narrative features, documentaries and music videos. Now, he's lent his expertise to "The Hollars," the latest directorial effort from actor John Krasinski. The film, which follows Krasinski as a man returning to visit his ailing mother (Margo Martindale), premiered this past weekend at Sundance. Edwards sat down with us to discuss the practical and psychological motivations behind the artistic and technical choices that went into making "The Hollars." What camera and lens did you use? We used the Alexa. The Xt with the 4:3 sensor. We shot with the Hawk anamorphic lenses and they were. »
- Steve Greene
8 items from 2016
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