14 items from 2015
Director: Paul Thomas Anderson; Screenwriter: Paul Thomas Anderson; Starring: Joaquin Phoenix, Josh Brolin, Owen Wilson, Katherine Waterston, Reese Witherspoon, Benicio del Toro, Jena Malone; Running time: 148 mins; Certificate: 15
With masterpieces like Boogie Nights and Magnolia tucked under his belt, Paul Thomas Anderson's new movies are inevitably threatened by the huge burden of expectation. A bold director who never shies away from a challenge, Anderson's latest effort tackles Thomas Pynchon's supposedly unfilmable novel Inherent Vice and bears all the hallmarks of his finest work – a terrific ensemble cast, acutely observed visual detail and a labyrinthine plot that weaves together disparate and desperate figures. Sadly on this occasion, such individually strong components fail to gel together as a whole and provide a consistently engaging experience.
The intriguing period at the start of the 1970s is the canvas for the story, which involves a stoner private detective known as 'Doc' (Joaquin Phoenix »
Content Media announced today that it has acquired international sales rights to the boundary crashing sci-fi action/thriller Pandemic, starring Rachel Nichols (Star Trek, G.I. Joe: The Rise of Cobra, Continuum), Mekhi Phifer (The Divergent Series: Insurgent, Divergent, 8 Mile), Missi Pyle (The Artist, Gone Girl, Big Fish), Alfie Allen (John Wick, Atonement, Game of Thrones), DDanielle Rose Russell (A Walk Among the Tombstones), Paul Guilfoyle (L.A. Confidential, Air Force One, CSI: Crime Scene Investigation) and Pat Healy (Rescue Dawn, Magnolia).
Directed by John Suits (The Scribbler), Pandemic is an intense and unique film that features non-stop action from a first person shooter perspective (Fps), putting the audience in the middle of every fight whilst feeling in control of every punch thrown and shot fired. It's a new model of action thriller for the video game generation.
Thick clouds of smoke drift from the hotel room. Inside is writer-director Paul Thomas Anderson, the man behind Magnolia and The Master, wafting nicotine fumes out of the window. Walking into the suite feels like stepping into his new film Inherent Vice, his wild and woozy adaptation of the 2009 Thomas Pynchon pot-infused novel, set in the detritus of the post-Manson era in California. »
One of my favorite Oscar nominations this year was Mark Bridges getting the call for his work on Paul Thomas Anderson's "Inherent Vice." I only wish David Crank and Amy Wells could have joined him because the design of this film was out of sight (to say nothing of Robert Elswit's lush lensing). Still, it's sort of serendipitous that it's Bridges and Anderson (in the adapted screenplay category) representing the film, as like Elswit, their collaboration goes all the way back to the beginning, but unlike Elswit (who won the Oscar for "There Will Be Blood"), Bridges had yet to be recognized for a PTA movie. I talked to Bridges, who did get his own trip to Oscar's stage for "The Artist" a few years ago, about that and a whole lot more earlier this week. The research and engineering that went into bringing these costumes — and, by proxy, »
- Kristopher Tapley
Fifteen years ago, what would you have imagined the future held for Paul Thomas Anderson? What about Ben Affleck? In 2000, Affleck was coming off of “Dogma,” “Shakespeare in Love” and “Armageddon.” Sure, he’d already won an Oscar (along with Matt Damon) for writing “Good Will Hunting.” But he was yet to make his feature directorial debut, which would come seven years later with “Gone Baby Gone.” The notion of “Argo” wouldn’t yet be viable, nor would the thought of casting him as Batman. Similarly, P.T.A.’s career was just revving up. He had made “Magnolia,” “Boogie Nights” and “Hard Eight,” but “Punch Drunk Love,” “There Will Be Blood,” and this year’s Best Adapted Screenplay nominee (and our pick for 10th Best Film of the Year) “Inherent Vice” were all yet to be conceived. So consider this a Throwback Thursday of epic proportions —behold the Paul Thomas Anderson written/directed, »
- Zach Hollwedel
In his relatively short time directing films, Paul Thomas Anderson has been called a rock star, a genius, an artist who knows no limits, the most devout filmmaker of his generation, and even the best film director in the world. Anderson has secured a spot in the hearts of most cinephiles generally reserved for dearly departed masters like Alfred Hitchcock or Stanley Kubrick. Somewhere along the line, Anderson transformed from the latest cinematic wunderkind to the new American master.
As such, there are hundreds of articles (justifiably) praising the new golden boy of American cinema, but few of them acknowledge Anderson’s flaws as a filmmaker, or else they work overtime to explain them away. Let’s play devil’s advocate and look at those flaws head-on.
- Jeff Rindskopf
Paul Thomas Anderson has made a lot of brilliant, financially successful movies but he's not exactly what you'd call a studio tentpole go-to-guy. He tends to focus his attention on smaller, quirkier projects like Boogie Nights, The Master, Magnolia and his latest, the Oscar nominated Inherent Vice, so it might come as a surprise that he's revealed himself to be a champion of the comic book/superhero genre. Some people dismiss these movies as little more than noisy junk with nothing to say, and wish Hollywood would give us its obsession with churning them out year-after-year. When Rolling Stone asked Anderson how he felt about "the state of movies today", and what he thought about the complaint that American filmmaking is now nothing but superhero movies , here's how he responded. "Ah, that's such a fucking crock of shit. I can't remember a year in recent memory where there were less »
Inherent Vice, 2014.
Directed by Paul Thomas Anderson
In 1970, drug-fueled Los Angeles detective Larry “Doc” Sportello investigates the disappearance of a former girlfriend.
“What is Inherent Vice?”
“I don’t know”
The above may not be verbatim, but is the gist of an actual line from acclaimed director Paul Thomas Anderson’s latest film Inherent Vice. Yes, not even the characters in this film know what the hell is going on or what they are wrapped up in. In essence though, that is part of the charm in this head-dizzying odyssey through the pot infested 70s of Los Angeles.
The decision to keep the story wrapped around the minds of viewers in a haze is an intentional one however, as Inherent Vice is an adaptation of »
- Robert Kojder
By Anjelica Oswald
With a number of critically and commercially successful films to their names, Christopher Nolan, David Fincher and Paul Thomas Anderson have their admirers, those who assume they could do no wrong. But there are those who are divided in their opinions. Nolan’s Interstellar and Fincher’s Gone Girl topped the domestic box office when they were released and currently hold the No. 15 and No. 17 spots, respectively, for the highest-grossing films in the domestic box office for 2014; however, the films received mixed reviews from Academy members and critics. Anderson’s Inherent Vice expanded nationwide Jan. 9, and while some loved the drug-fueled dark comedy, others were lost in the haze.
The question surrounding these three directors is can these men land Oscar nominations Thursday despite the divisive response their films collected?
Well, both Fincher and Anderson have received Oscar nominations for directing in past years.
- Anjelica Oswald
The awards season kicks off in earnest today with The 72nd Annual Golden Globe Awards, hosted by Tina Fey and Amy Poehler. The awards ceremony will air live on NBC from the Beverly Hilton Hotel in Los Angeles, starting at 8 Pm Et/5 Pm Pt. Greer Grammer serves as Miss Golden Globe and George Clooney will be presented with the Cecil B. DeMille Award. We'll be updating this story throughout the night with all of the winners below, so be sure to check back for the latest updates. You can take a look at the full list of Golden Globes nominees below.
Best Motion Picture - Drama
Boyhood - IFC Productions and Detour Filmproduction; IFC FilmsFoxcatcher - Annapurna Pictures; Sony Pictures ClassicThe Imitation Game - Black Bear Pictures; The Weinstein CompanySelma - Paramount Pictures and Pathé Paramount PicturesThe Theory of Everything - Working Title Films; Focus Features
Best Performance By An »
Paul Thomas Anderson learned to make movies by watching movies. Each of his films bears the ghostly fingerprints of his masters and mentors: the obsession and one-point perspective of Kubrick; the tough-guy veneers and fetid societies that sated the first decade of Scorsese’s career; the intense meditative stares of Jonathan Demme, constantly reminding us that we are, of course, watching a film—we’re immersed in it, but we are spectators, non-participants, in the hands of an artist. Anderson has never created voyeuristic or naturalistic films, never approached Cinéma vérité, and he’s never tried to feign an amateur aesthetic. He crafts films indebted to the grand ambience of New Hollywood, rendered unnaturally lucid and diligently composed. To watch one of Anderson’s films is to get a condensed lesson on the artisanship and history of American cinema.
But Anderson’s most obvious early influence—one he has name-checked, »
- Greg Cwik
The Conversation is a new feature at Sound on Sight bringing together Drew Morton and Landon Palmer in a passionate debate about cinema new and old. For their inaugural piece, they will discuss Tom Tykwer’s film, Run Lola Run (1999).
Amongst the many films included in 1999’s “year that changed movies,” Tom Tykwer’s Run Lola Run seems an essential text. Fifteen years ago, the film blew through national and arthouse borders, presenting an exhilarating image of an approach to filmmaking free from formal restraint or linear narrative logic. An engrossing exercise in style, Tykwer’s breakthrough film seemed to simultaneously beat Hollywood at its own game of fast-paced entertainment, integrate music video aesthetics harmoniously into the machinations of feature filmmaking, and present an art film thoroughly interested in film as an art form looking toward the 21st century, free from the modernist concerns that previously united festival-friendly European exports. »
- Drew Morton
Fox Searchlight’s The Grand Budapest Hotel is easily 2014’s Specialty Release box office champion. The film outpaced second ranked St. Vincent by just over $16M. In all, the 2014 Specialty Top 10 amounted to over $277.6 million, about 10% greater than last year’s $249.2M-plus Top 10 total, which included titles Instructions Not Included, Oscar-winner 12 Years A Slave and Woody Allen’s Blue Jasmine. As with all the films surveyed here, the numbers reflect theatrical grosses and do not take into account VOD/digital, which remain state secrets for the most part for a huge swath of distributors. RADiUS did reveal some of their on-demand numbers in 2014, while Sony has been forthcoming with its recent digital roll out of its controversial The Interview. The term “specialty release” can be a slippery slope, but for this article, titles considered were in limited release for a significant period during their launch.
Wes Anderson’s title was »
- Brian Brooks
As “Inherent Vice” continues spreading across these United States in order to liven up the drab and cynical January release schedule, it’s time for film buffs to once again catch Paul Thomas Anderson fever. Press Play, one of Indiewire’s many excellent blogs, recently posted the perfect visual aperitif to indulge in before experiencing Anderson’s latest, in the form of a video tribute wrapped around the many vices of Anderson’s iconic characters. Writer Arielle Bernstein compliments independent digital filmmaker Nelson Carvajal’s tribute with a short essay focusing on these vices. However, the video itself seems to be constructed on three movements: The regret the characters feel about bad decisions they made in the past (a prominent theme in Anderson’s films), the anger that explodes from a lifetime of repressed frustration, and some form of redemption, or at least a moment of clarity, as evidenced by »
- Oktay Ege Kozak
14 items from 2015
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