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2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007

1-20 of 34 items from 2017   « Prev | Next »


Cannes 2017. Funny Games—Yorgos Lanthimos’ “The Killing of a Sacred Deer”

23 May 2017 3:06 PM, PDT | MUBI | See recent MUBI news »

Greek director Yorgos Lanthimos has a knack for creating hermetic, bleakly hilarious worlds. Returning to the Croisette this year with the The Killing of a Sacred Deer (his second film in English after The Lobster, which won the Grand Jury Prize in 2015), co-written with longtime collaborator Efthymis Filippou, Lanthimos renders a twisted suburban nightmare with the stuff of Hellenic myth. It's assaultive and deeply unpleasant, and nothing less than his Funny Games.On paper, that’s a supremely promising conceit—the visceral impact of Haneke’s brilliant assault refracted through Lanthimos’ distinct sensibility. For all its potential, however, there’s an odd lack of urgency to the first hour, centered on the daily rhythms of Steven, a cardiologist and surgeon played by Colin Farrell (here jettisoning the memorable paunch of The Lobster). He talks with colleagues, does his daily rounds at the hospital, and goes home to his ophthalmologist wife »

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Cannes Review: ‘The Killing of a Sacred Deer’ is Pure and Simple Sadism

22 May 2017 12:14 PM, PDT | The Film Stage | See recent The Film Stage news »

With the successive features Dogtooth, Alps, and The Lobster, Yorgos Lanthimos seemed to be going down the same route as Wes Anderson, i.e. become one of those auteurs who refines rather than expands on his idiosyncrasies, making largely interchangeable films on an ever grander scale but with diminishing returns. In this regard, The Killing of a Sacred Deer represents a departure, venturing into genre territory previously uncharted by the director. Although a felicitous turn in principle, the dispiriting results suggest Lanthimos might have been better off staying on his original course after all.

It’s a pity, too, because for its first hour or so, The Killing of a Sacred Deer is extremely promising. Lanthimos creates a gripping and steadily intensifying sense of foreboding in depicting the professional and domestic life of his protagonist Steven (Colin Farrel), a successful heart surgeon with a picture-perfect family: beautiful wife Anna (Nicole Kidman) and two teenage children, »

- Giovanni Marchini Camia

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Cannes Film Review: ‘The Killing of a Sacred Deer’

22 May 2017 4:23 AM, PDT | Variety - Film News | See recent Variety - Film News news »

In Nara Park, Japan, spotted deer were long believed to possess divine properties. To cause the death of one, even by accident, was a capital offense. Halfway across the world, in ancient Greece, King Agamemnon learned this the hard way, invoking the wrath of the gods for killing one of Artemis’ beloved deer, for which he was obliged to sacrifice his own daughter, Iphigenia. The obvious lesson: Don’t kill deer. But what if the deed is already done? That’s the premise of “Dogtooth” director Yorgos Lanthimos’ latest ruthless allegory, “The Killing of a Sacred Deer,” which has nothing at all to do with wildlife, holy or otherwise — although it does feature two key scenes in which a hunting rifle plays a critical role.

The title is a metaphor, as is the film’s central dramatic predicament (Lanthimos goes out of his way to make sure we understand that, »

- Peter Debruge

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Happy End review – Michael Haneke's satanic soap opera of pure sociopathy

21 May 2017 2:11 PM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

The Austrian director returns to many of his classic themes in a stark, unforgiving and gripping satire on bourgeois Europeans and the people who serve them

Related: Napalm review – Claude Lanzmann's gripping account of erotic encounter in North Korea

It hardly needs saying that the adjective in the title is about as accurate as the one in Haneke’s Funny Games. Happy End is a satirical nightmare of haute-bourgeois European prosperity: as stark, brilliant and unforgiving as a halogen light. It is not a new direction for this film-maker, admittedly, but an existing direction pursued with the same dazzling inspiration as ever. It is also as gripping as a satanically inspired soap opera, a dynasty of lost souls.

Continue reading »

- Peter Bradshaw

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17 Brilliant Horror Films That Debuted at Cannes: Stream all of the Screams

17 May 2017 9:38 AM, PDT | Indiewire | See recent Indiewire news »

The Cannes Film Festival doesn’t get its due as a platform for horror. But as this year’s festival begins, two of the most anticipated titles — Yorgos Lanthimos’ “The Killing of a Sacred Deer” and David Lynch’s new season of “Twin Peaks” — are artful interpretations of the genre. Several more buzzy entries are expected to be dark and dire, including Lynne Ramsey’s “You Were Never Really Here,” David Robert Mitchell’s “Under the Silver Lake,” and Jane Campion’s series “Top of the Lake: China Girl.”

Cannes’ love of the gothic is nothing new. The festival has long been a melting pot for bold visions, and this includes some of the world’s scariest films. From established risk-takers like Lars von Trier and Nicolas Winding Refn to once-green directors like Gaspar Noé and Sam Raimi, the strength of the talent has left some indelible impressions on the horror scene. »

- William Earl

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Robert Pattinson Will Rewrite His Career at Cannes, and 7 More Predictions About This Year’s Fest

16 May 2017 11:13 AM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »

While the Cannes Film Festival is the showboat film festival to end all festivals, all of that is a springboard for the talking. Talking about the movies, talking about the movie industry, talking about the talking. Last year, the talking points were the persistence of Kristen Stewart, Woody Allen and Ronan Farrow, auteurs like Jim Jarmusch and Nicolas Winding Refn, and women (or the lack thereof). This year, we’ve read the Croisette crystal ball for the conversations likely to dominate the festival in the days to come. This isn’t necessarily about must-see titles (we’ve got those covered here); these are the stories most likely to be heard beyond the Cannes bubble. Here’s a look at the news cycle to come.

Read More: The Potential Oscar Contenders at Cannes 2017: A Rundown

Nicole Kidman Takes Charge

If last year’s Cannes It Girl was brainy “Personal Shopper »

- Anne Thompson and Eric Kohn

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Robert Pattinson Will Rewrite His Career at Cannes, and 7 More Predictions About This Year’s Fest

16 May 2017 11:13 AM, PDT | Indiewire | See recent Indiewire news »

While the Cannes Film Festival is the showboat film festival to end all festivals, all of that is a springboard for the talking. Talking about the movies, talking about the movie industry, talking about the talking. Last year, the talking points were the persistence of Kristen Stewart, Woody Allen and Ronan Farrow, auteurs like Jim Jarmusch and Nicolas Winding Refn, and women (or the lack thereof). This year, we’ve read the Croisette crystal ball for the conversations likely to dominate the festival in the days to come. This isn’t necessarily about must-see titles (we’ve got those covered here); these are the stories most likely to be heard beyond the Cannes bubble. Here’s a look at the news cycle to come.

Read More: The Potential Oscar Contenders at Cannes 2017: A Rundown

Nicole Kidman Takes Charge

If last year’s Cannes It Girl was brainy “Personal Shopper »

- Anne Thompson and Eric Kohn

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Cannes: First Clip from Michael Haneke’s ‘Happy End’ Features a Very Unhappy Dinner Party — Watch

16 May 2017 8:01 AM, PDT | Indiewire | See recent Indiewire news »

When lauded Austrian filmmaker Michael Haneke uses the word “happy” — especially when he uses it in the title of a film — it’s okay to not take it at face value. After all, this is the director behind such films as “The White Ribbon,” “Amour,” and “Funny Games.” He’s not really into “happy.” So buckle up for “Happy End”!

Haneke’s latest star-packed film — featuring new and returning talents like Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz, Fantine Harduin, Franz Rogowski, and Laura Verlinden — is bound for Cannes, where it will likely only continue to elevate his stature at a festival that has long adored his work.

Read More: Cannes 2017: 22 Films We Can’t Wait to See at This Year’s Festival

While we don’t know much about the film itself, Huppert (who previously starred in his “The Piano Teacher” and “Time of the Wolf”) did give THR »

- Kate Erbland

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The Best Of The Best – The Greatest Cinematographers and the Films that made them great

12 May 2017 4:00 AM, PDT | HeyUGuys.co.uk | See recent HeyUGuys news »

Author: Dave Roper

So, we come to the end of this particular series. We’ve covered a number of aspects of the creative input into film-making, including actors, actresses, writers composers, and directors (in two parts). We’ve stopped short of costume, make-up, special effects, art design and others, however our final stop is Cinematography. The Dop exerts plenty of influence over the look of the film. Yes, lighting, production design and the director’s vision are key too, but the consistency and persistence with which certain directors stick with and return to a trusted Dop shows just how much they contribute.

Darius KhondjiSeven

Seven has a unique visual aesthetic. Plenty of films have gone for the “always raining, always dark” approach, but contrast Seven with something like AvP: Requiem for a shining example of how hard it is to pull off effectively. And contrast is the word. Seven »

- Dave Roper

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Michael Haneke's "Happy End" Gives An Unhappy First Glance

3 May 2017 8:00 PM, PDT | FilmExperience | See recent FilmExperience news »

With just about two weeks to go before its seaside premiere at the 70th annual Cannes Film Festival, the first image for Michael Haneke’s Happy End – his latest cold dose of cruel reality – has landed as hard as the realization that one day we will all die, and most likely alone. Of course, Haneke returns to Cannes this year a reigning champ, double-fisting Palmes d’Or after his last films to grace the Competition – The White Ribbon and Amour – emerged victorious. The question on many minds going into this year’s festival is whether he’ll win the top prize for a third time and break the all-time record he holds alongside fellow international auteurs Alf Sjöberg, Francis Ford Coppola, Bille August, Emir Kusturica, Shohei Imamura, the Dardennes brothers, and last year’s surprise winner Ken Loach.

Happy End reunites Haneke with two performers who have arguably given career-best »

- Daniel Crooke

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Zdf Enterprises, Belladonna Productions Team For ‘Genesis’ (Exclusive)

21 April 2017 2:32 PM, PDT | Variety - TV News | See recent Variety - TV News news »

Paris — Rene Bastian’s New York-based Belladonna Productions, producer of Michael Haneke’s “Funny Games Us” and Abel Ferrara’s “Welcome to New York,” is teaming with Germany’s Zdf Enterprises, the expanding commercial arm of the German broadcast network, to develop “Genesis,” an English-language sci-fi thriller.

“Genesis” is created by Narina Jabari, a young Canadian scientist-turned-screenwriter. Zdfe is handling sales rights to the series.

A film company with a distinguished pedigree, Belladonna moved into TV series production with the Sundance Channel-aired “Hap & Leonard,” now in its second season, executive produced by Belladonna principal Linda Moran. For Zdfe, “Genesis” represents one of its earliest series in English and linkup with a U.S. production company as Zdfe acquires world sales rights not only to Zdf drama but third-party productions drawn from Europe and beyond.

“Genesis” also joins a fast-growing cannon of sci-fi drama – think “Stranger Things,” “Westworld,” “Humans” – as the genre returns towards the mainstream, diversifies »

- John Hopewell and Jamie Lang

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Review: ‘All These Sleepless Nights’ Is the Movie That Terrence Malick Has Been Trying to Make

7 April 2017 10:55 AM, PDT | Indiewire | See recent Indiewire news »

It would be reductive and unfair to say that Michal Marczak’s “All These Sleepless Nights” is the film that Terrence Malick has been trying to make for the last 10 years, but it certainly feels that way while you’re watching it. A mesmeric, free-floating odyssey that wends its way through a hazy year in the molten lives of two Polish twentysomethings, this unclassifiable wonder obscures the divide between fiction and documentary until the distinction is ultimately irrelevant, using the raw material of real life to create a richer story of drift and becoming than “Song to Song” could ever manufacture from oblivious celebrities trying to find their characters between the notes.

Unfolding like a plotless reality show that was shot by Emmanuel Lubezki, this lucid dream of a movie paints an unmoored portrait of a city in the throes of an orgastic reawakening. From the opening images of fireworks exploding over downtown Warsaw, »

- David Ehrlich

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Us And Them Review [SXSW 2017]

20 March 2017 4:12 PM, PDT | We Got This Covered | See recent We Got This Covered news »

Joe Martin’s Us And Them is less a dangerous class-warfare battle and more a steamy soapbox rant. It’s positioned as “a deadly game of chance,” but don’t expect some Saw-like torture chamber. Anti-establishment angst fuels a fire that rages in the name of social responsibility, through tirades that attack fat-cat bankers who “don’t understand” a working man’s struggle. You can see where Martin draws influence from Guy Ritchie (narrative choices) and Michael Haneke’s Funny Games, yet Us And Them‘s bark is worse than its bite. This is a human story about people who look for answers in all the wrong places, and the chaos that ensues. Blowhard, ill-conceived chaos that goes up or down in flames, depending on your personal outlook.

Jack Roth stars as an underprivileged youth named Danny. For years he’s squeaked by with minimal compensation, stuck in an economic »

- Matt Donato

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Get Out: Social Commentary in the Horror Genre

18 March 2017 10:47 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

Tony Black on Get Out and social commentary in the horror genre…

A romper stomper of a low budget hit, Get Out is the first breakout picture of 2017 and may end up being the biggest. Jordan Peele’s tense tale isn’t just an exercise in horror thriller theatrics, it’s also the first of four ‘social commentary’ horror movies the up and coming director has planned, which one hopes he’ll now get to make. How does ‘social commentary’ fit in the horror genre, however? What conditions need to exist for a movie such as Get Out to happen?

The simple fact is that horror, perhaps one of the most elastic genres in cinema, at its entire foundation is built on the underlying social and economic themes of our society. The best horror movies don’t just make you jump or make you scream, they make you think, examine and, »

- Tony Black

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Toby Oliver Acs || Get Out || Cinematography Series

4 March 2017 10:27 PM, PST | Cinelinx | See recent Cinelinx news »

Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.

Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change. »

- feeds@cinelinx.com (Aaron Hunt)

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Toby Oliver Acs || Get Out || Cinematography Series

4 March 2017 10:27 PM, PST | Cinelinx | See recent Cinelinx news »

Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.

Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change. »

- feeds@cinelinx.com (Aaron Hunt)

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Toby Oliver Acs || Get Out || Cinematography Series

4 March 2017 10:27 PM, PST | Cinelinx | See recent Cinelinx news »

Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.

Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change. »

- feeds@cinelinx.com (Aaron Hunt)

Permalink | Report a problem


Toby Oliver Acs || Get Out || Cinematography Series

4 March 2017 10:27 PM, PST | Cinelinx | See recent Cinelinx news »

Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.

Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change. »

- feeds@cinelinx.com (Aaron Hunt)

Permalink | Report a problem


Toby Oliver Acs || Get Out || Cinematography Series

4 March 2017 10:27 PM, PST | Cinelinx | See recent Cinelinx news »

Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.

Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change. »

- feeds@cinelinx.com (Aaron Hunt)

Permalink | Report a problem


Toby Oliver Acs || Get Out || Cinematography Series

4 March 2017 10:27 PM, PST | Cinelinx | See recent Cinelinx news »

Get Out, a genre sleeper hit rightfully boasted as having spawned ‘From the mind of Jordan Peele’, has seized online review aggregators & the box office as its own. Making back ($33.4m), already, nearly 6 times its budget ($4.5m) in its debuting weekend, Get Out looks to grow in the comings weeks and has, as of March 3rd massed a $57.8 million gross revenue. Careers have been secured.

Pivotal to the realization of this social thriller: Toby Oliver Acs, a veteran of small feature budgets and cutthroat schedules, applied his technical prowess and distinct eye to Jordan Peele’s idiosyncratic vision. His background in documentary as well as narrative features seems to lend him balance and clarity throughout his cinematographic perspective. Get Out, both in tonality & Oliver’s light and lensing, begins grounded and transitions to something weirder and surreal. The language Oliver developed alongside writer/director Jordan Peele helps accennuate this change. »

- feeds@cinelinx.com (Aaron Hunt)

Permalink | Report a problem


2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007

1-20 of 34 items from 2017   « Prev | Next »


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