11 items from 2017
Mark Harrison May 19, 2017
If you haven't caught up yet, Their Finest is currently playing in UK cinemas and it's a gorgeous little love letter to perseverance through storytelling, set against the backdrop of a film production office at the British Ministry of Information during the Second World War. Based on Lissa Evans' novel, Gemma Arterton and Bill Nighy play characters whose access to the film industry has been contingent on the global crisis that takes other young men away from such trifling matters, and it's a real joy to watch.
Among other things, the film got us thinking about other films about making films. We're not talking about documentaries, even though Hearts Of Darkness, the documentary about the making of Apocalypse Now, may be the greatest film about »
Let’s get this out of the way right from the top: Wes Anderson has never made a bad movie, and — in all likelihood — he probably never will. He’s too particular, too immaculate, too in command of his craft. Of course, the fact that he has always been so sure of himself only makes it more tempting to chart the progress of his career and to measure his films against each other. Or maybe it’s just fun because there are still only eight of them, and everyone seems to have their own favorite. Who could say?
Read More: Wes Anderson’s Style: Watch 10 Iconic Movies That Influenced Him
Here are all of Wes Anderson’s feature films, ranked from “worst” to best.
8. “Bottle Rocket”
Wes Anderson arrived fully formed (or close to it), and so much of his cinematic ethos can be distilled from the very first shot of his very first film, »
- David Ehrlich
…Let’s hope the dogs don’t die.
On Tuesday, the first poster for Wes Anderson’s newest feature film since 2014’s The Grand Budapest Hotel was released. Whilst not much is known about the story of Isle of Dogs, its poster reveals small details about what to expect, and, more importantly, the influence of Akira Kurosawa on the stop-motion animation.
Set in Japan, the poster’s large, red font places the Japanese title at the center, with its English translation held within the script. Wes Anderson’s posters usually have either one clear defining image at the forefront or a depiction of the ensemble cast, so Isle of Dogs is a slight departure from what Anderson’s audience are used to.
The poster for The Royal Tenenbaums places family at the center while Anderson’s classic Futura font title stayed beneath the family as something that was not meant to draw attention. Moonrise Kingdom »
- Sinéad McCausland
In search of male desire in a twee world.
Here’s a thesis: with the singular exception of his animated adventure story, Fantastic Mr. Fox, the movies of Wes Anderson are fundamentally about nice, fiery desire. But while a number of his movies explore this through the conventional terrain of the heterosexual relationship and its discontents — The Royal Tenenbaums and Moonrise Kingdom come to mind — others explore more curious expressions of desire, leaving Anderson’s plain and plaintive ladies behind. Shared aesthetic characteristics, from the constantly reprised Cornell boxes to the carefully referenced dead Eastern European novelists, are subject of much ruthless discussion among Anderson acolytes. And, considering Anderson’s diligent cooperation with turning a collection of essays and interviews into a $35 coffee table book, that seems to be the dissection that Anderson embraces. But what are those other, male-centric movies actually about? Most critics, when forced to give something like a serious and meaningful answer, will »
- Andrew Karpan
Some people’s lives are best told truthfully, others more loosely.
In one corner, we have Rocky, the iconic Best Picture-winning boxing movie starring Sylvester Stallone as the made-up Rocky Balboa. In the other corner, we have Chuck, an upcoming biopic starring Liev Schreiber as real-life boxer Chuck Wepner. The latter primarily depicts the 1975 bout between Wepner and Muhammad Ali, which inspired Stallone to write the script for Rocky. He’s since tried to downplay the connection, especially after being sued by Wepner, but it’s close enough to being a film a clef as any.
Chuck received mostly positive reviews when it played the big film festivals last fall, but it’s unlikely to become the phenomenon, let alone Oscar darling, that Rocky was. Its legacy surely won’t be as lasting, in part because true biopics don’t tend to get sequels. There are a lot of benefits to fictionalized accounts of real events and »
- Christopher Campbell
This is no festive prank, these movies are hilarious.
Let’s face it, the world is a wreck. Every day things look bleaker than they did the day before. It’s gotten to the point where, if you can’t learn to laugh at our misery, you’re finished. If you need some help figuring out how to find humor in even the worst bits of the human experience, dark comedies work, Netflix has them, and we’ve made a list of the good ones. Click on the films’ titles to be taken to their Netflix pages.
Pick of the Month: This Must Be the Place (2011)
I can’t think of another movie in recent times that’s been so good and gotten so little love and attention in return. Maybe that’s because the concept of a former 80s glam rocker who still wears his makeup (Sean Penn) tracking down the Nazi concentration camp guard who »
- Nathan Adams
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.
The Blackcoat’s Daughter (Osgood Perkins)
Osgood Perkins’ debut feature, The Blackcoat’s Daughter – originally known as February at its premiere at Tiff last year – is a stylish exercise in dread, teasing out its slow-drip horrors with precision, and building a deliriously evil presence that hovers along the fringes. However, there’s a thin line between mystery and vagueness in storytelling, and it becomes difficult to decide where a »
- The Film Stage
Once again, inside the Furman Gallery at Lincoln Center during the Rendez-Vous with French Cinema exhibition of Paul Ronald's color photographs from Federico Fellini's 81/2, where I met Christophe Honoré for a conversation on Les Malheurs De Sophie, The Odyssey (L'Odyssée) director Jérôme Salle spoke with me on the performances of Lambert Wilson and Audrey Tautou. Bill Murray and Cate Blanchett in Wes Anderson's The Life Aquatic With Steve Zissou, composer Alexandre Desplat, Calypso captain Albert Falco (Vincent Heneine), nicknamed Bébert (which recalls for me the cat featured in Emmanuel Bourdieu's Louis-Ferdinand Céline), were also washed ashore.
- Anne-Katrin Titze
Jérôme Salle: "I'm the kind of director who loves to tell stories with pictures more than words." Photo: Anne-Katrin Titze
In 2015, at an Oceana event hosted by Cobie Smulders, I spoke with Jacques-Yves Cousteau's granddaughter and Expedition Blue Planet filmmaker, Alexandra Cousteau. In my conversation with The Odyssey (L'Odyssée) director, Jérôme Salle, we explore the world around Alexandra's grandfather portrayed by Lambert Wilson in his film with Audrey Tautou as Jacques' wife Simone, Pierre Niney (Adrian in François Ozon's Frantz) and Benjamin Lavernhe as their sons.
With a screenplay, co-written with Laurent Turner, loosely based on the books by Jean-Michel Cousteau (My Father, the Captain: Life with Jacques Cousteau) and Albert Falco (Capitaine de La Calypso) and a score by longtime Wes Anderson composer Alexandre Desplat, Salle takes us on a personal family journey at sea.
We go from "Cousteau »
- Anne-Katrin Titze
Netflix has announced the new titles arriving on the streaming platform next month, with five original films leading the pack: “Burning Sands” (3/10), “Deidra & Laney Rob a Train” (3/17), “Pandora” (3/17), “The Most Hated Woman in America” (3/24) and “The Discovery” (3/31). Three of these — “Burning Sands,” “Deidra & Laney,” “The Discovery” — are Netflix Origins that premiered during the Sundance Film Festival in January.
Also available to stream next month are “The Bfg,” “Pete’s Dragon,” “The Life Aquatic,” “Blazing Saddles,” “Chicago,” “Jurassic Park,” “Memento,” “Million Dollar Baby,” “Evolution,” “Fire at Sea” and “Welcome to New York,” among others, while the likes of “Jaws,” “Animal House,” “Bill & Ted’s Bogus Journey” and “Entertainment” are all expiring at the end of February. Find a full list of what’s coming in March below.
Read More: Why Martin Scorsese’s Netflix Deal Is »
- Michael Nordine
It’s hard to believe it’s been a year since David Bowie‘s death. It hurts for many reasons, but if there’s any solace to glean from the loss, it’s that Bowie has been properly mourned. Not just among civilians — you’d be hard-pressed to find an artist who didn’t turn in a Bowie cover at some point. Here are some of our favorites from the past year, ranging from deep cuts to the obvious ones.
Seu Jorge, “Space Oddity”
Okay, okay, this one’s kind of a cheat. Seu Jorge’s lovely samba-flavored covers of »
11 items from 2017
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