13 items from 2016
When the first trailer for La La Land, the new musical and Damien Chazelle’s follow-up to 2014’s Whiplash, it treated us to the sandpapery baritone of Ryan Gosling, crooning a downbeat number. Now, it’s Emma Stone’s turn to handle the vocal stylings overlaying the latest promotional spot for the film, singing a track suffused with longing. It’s a fitting accompaniment to the gauzy, “Punch-Drunk Love meets 42nd Street” aesthetic on display.
From the intentional artifice of the sets to the outsized emotions running through Stone and Gosling’s entire bodies, the movie appears to embrace the old-fashioned tradition of wearing hearts on sleeves, though it’s not clear if it also adopts the “and dance shoes on feet” part of the equation. Many of the fanciful shots from the first trailer are here as well, like the two of them on wires, flying through a ...
- Alex McCown-Levy
This time on the Newsstand, Ryan is joined by Keith Enright and Aaron West to discuss the November line-up announcement from the Criterion Collection, the teased release of Roma, and a few other news items.
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Misc Links Lone Wolf and Cub Punch-Drunk Love (2002) Akira Kurosawa’s Dreams (1990) The Squid and the Whale (2005) One-Eyed Jacks (1961) Episode Credits Ryan Gallagher (Twitter / Website) Aaron West (Twitter / Website) Keith Enright (Twitter / Website)
Music for the show is from Fatboy Roberts’ Geek Remixed project.
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- Ryan Gallagher
NEWSPhoto by Luca DieguezThe Locarno Film Festival has announced its awards, which include the Golden Leopard for Ralitza Petrova's Godless, Special Jury Prize for Radu Jude's Scarred Hearts, and Best Direction to João Pedro Rodrigues for The Ornithologist. Eduardo Williams, who we interviewed at the festival, won the top prize in the Filmmakers of the Present Section for The Human Surge, and Nele Wohlatz, who we also talked to, won the Prize for Best First Feature for her El Futuro Perfecto. See our index of Locarno coverage here.Michael Haneke has wrapped shooting on his follow-up to Amour. Starring Jean-Louis Trintignant, Isabelle Huppert and Mathieu Kassovitz, Happy End "revolves around the life of a middle-class family in Northern France who are faced with a number of setbacks but pay little attention to the dire situation in the refugee camps just a few miles away from their house."The »
Ah, November. Here in North America, the weather cools off, critically-acclaimed movies flood the theaters (in some cities) and Criterion delivers some tasty titles. The bounty begins with the classic Lone Wolf and Cub series, which combines an assassin and a baby for a most unusual 'buddy cop' saga. The new box set features new 2K restorations. Paul Thomas Anderon's first entry in the Criterion Collection, Punch-Drunk Love, is his followup to Magnolia and is what may safely be called (by me) the least romantic and most harrowing romantic comedy in recent memory. Adam Sandler stars, for maximum discomfort. The disk features several intriguing new features. Marlon Brando's One-Eyed Jacks has always proven perplexing to me, though I know many appreciate its odder dimensions. It's...
[Read the whole post on screenanarchy.com...] »
November tends to be the biggest month of the year for the Criterion Collection, the boutique home video company releasing some of their most exciting releases in time for the holiday shopping season. And, lucky for us, that trend continues in 2016, as Criterion has just revealed this year’s batch of November titles, and the slate includes some absolutely major must-owns. From Paul Thomas Anderson finally joining the Collection (and bringing Adam Sandler along with him!) to a series of samurai films that have never gotten their proper due, these are movies that are worth stampeding for on Black Friday.
Check out Criterion’s full November 2016 slate below, listed in rough order of our excitement for each title. And be sure to visit Criterion’s website for full release info.
It was only a matter of time before Paul Thomas Anderson finally joined the Criterion Collection, »
- David Ehrlich
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
The “Cassavetes/Rowlands” series ends on a real high note.
- Nick Newman
Close-Up is a column that spotlights films now playing on Mubi. Terry Gilliam's The Fisher King (1991) is playing from June 1 - June 30, 2016 in the UK.In an overview of the accomplished, fraught, tumultuous career of Terry Gilliam, The Fisher King (1991) can look like not just an artistic turning point, but an economic one. Gilliam had just finished a loose trilogy of comic fantasies—Time Bandits (1981), Brazil (1985), and The Adventures of Baron Munchausen (1988)—each visually baroque and laced with a kind of surreal, dark, absurdist humor that marked them as a natural extension of his time as the lone American in Monty Python. Time Bandits was a head-turning left-field hit, and Brazil, the subject of a legendary battle with Universal over final cut, is often cited as Gilliam's masterpiece. But Munchausen, though held dear by a cult following, was a blow to Gilliam's career. It went quickly over-budget (wildly so, »
In his seven feature-length films over the last two decades, there are few filmmakers who have displayed as much skill and artistry with each new work as Paul Thomas Anderson. After finishing up similarly comprehensive series on David Fincher and Stanley Kubrick, Cameron Beyl has returned with another multi-part documentary, this time dedicated to the work of the There Will Be Blood director.
Beginning in his early days of crafting The Dirk Diggler Story and other shorts, as well as his debut Hard Eight, the next section segues to his sprawling Los Angeles stories Boogie Nights and Magnolia. Then we dive into his more comedic side with Punch-Drunk Love and various comedy sketches and shorts around the era before getting to his portraits of power with There Will Be Blood and The Master. Lastly, it looks at his more groovy side with Inherent Vice, Junun, and recent music videos.
- Jordan Raup
In the five years writer/director Paul Thomas Anderson took between 2002’s “Punch-Drunk Love” and 2007’s “There Will Be Blood,” he transitioned towards a more sombre tone. The strength of self-conviction and classical technique became more evident as he removed stylistic flourishes and sensory-heavy thematic tendencies that were once indicative of his work. This is what ultimately resulted in not only his Daniel Day Lewis-starring masterpiece but also his equally-brilliant “The Master” in 2012. Monumental not only in Anderson’s oeuvre but in modern cinema, these films present an arresting, all-encompassing portrait representing power and American ambition from a filmmaker unrivaled among his peers. This is the focus behind “Portraits of Power,” the latest video essay from The Directors Series. Read More: Review: 'The Master' Proves A Brave, Sensual Yet Detached Triumph For Paul Thomas Anderson The 33-minute video essay looks in depth at how Anderson’s influences, »
- Will Ashton
While the captivating, magnetic films of Paul Thomas Anderson have run the gamut of moods, settings and styles, there’s a singularity to each of them brought by the auteur himself, and that’s explored beautifully in “Paul Thomas Anderson Mixtape,” the newest 4½-minute video from Vimeo user Javier Virto. Read More: Retrospective: The Films Of Paul Thomas Anderson Taking choice clips from “Hard Eight,” “Boogie Nights,” “Magnolia,” “Punch-Drunk Love,” “There Will Be Blood,” “The Master” and “Inherent Vice,” this melancholy, dreamy supercut communicates the consistencies, rhythms and harmonies found in all seven P.T. Anderson feature films. And accompanied by Rick Springfield’s “Jessie’s Girl,” found in Anderson’s second film, and then Aimee Mann’s “Wise Up,” featured prominently in his third feature, this video mixtape not only mirrors the filmmaker’s unplaceable allure but often equals his radiance in some key edits. Truly dynamic stuff. Since dropping out of. »
- Will Ashton
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
Writer-director Michael Mann, long one of the most literate translators of words to the screen, has made a deal to launch Michael Mann Books. The imprint will generate a series of novels with a stable of writers and the properties will simultaneously be developed for film and television. Mann will look through his own long list of credits for ideas, and a big piece of news here is that high on the »
- TFS Staff
Paul Thomas Anderson seems to be spending the early part of the new year in a bit of a nostalgic mood. Later this month, his terrific "Punch-Drunk Love" will hit Bam where a new, scoreless print of "Punch-Drunk Love" will screen accompanied by a performance of the score by the 40-person strong Wordless Music Orchestra, conducted by Ryan McAdams, and joined by composer Jon Brion. However, Los Angeles got the first taste of this unique experience over the weekend, with help from a very special surprise guest. Read More: Watch: 20-Minute Video Essay Explores Paul Thomas Anderson's 'Punch-Drunk Love,' Early Shorts & Comedy Sketches At the Ace Hotel on Saturday, Joanna Newsom stopped by to sing "He Needs Me" from the film's soundtrack. The song, originally penned by Harry Nillson, was covered by Shelley Duvall in Robert Altman's "Popeye," and Anderson used that version to lovely effect »
- Kevin Jagernauth
Diverse, awe-inspiring and memorable treasures that have sadly fallen off the radar
The noughties were a tough decade for film music fans. Not only was there the unprecedented loss of four great masters in the form of Jerry Goldsmith, Elmer Bernstein, Michael Kamen and Basil Poledouris; the nature of the industry itself began to go through some seismic changes, not all of them for the better.
With the art of film scoring becoming ever more processed, driven increasingly by ghost writers, electronic augmentation and temp tracks, prospects looked bleak. However, this shouldn’t shield the fact that there were some blindingly brilliant scores composed during this period. Here’s but a small sampling of them.
13 items from 2016
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