Cinema is such a costly medium that directors have little chance to experiment between features. It’s not like music or painting — relatively low-cost art forms whose practitioners can try new techniques in the secret obscurity of their studios until their bold ideas are ready to be shared. Making movies takes a crew, and equipment, and actors; all of that takes money, which in turn obliges directors to do their R&d in public, on projects that critics can and do hold up to unfair scrutiny.
A few workarounds exist, including commercials and music videos, through which such film artists as David Lynch, Sofia Coppola and Wes Anderson have refined their craft, but if they’re not careful, taking such gigs can look like selling out. This brings us to Gaspar Noé’s 2019 oddity “Lux Æterna,” which is not a film in the conventional sense but a work-for-hire gone awry — although in Noé’s case,...
A few workarounds exist, including commercials and music videos, through which such film artists as David Lynch, Sofia Coppola and Wes Anderson have refined their craft, but if they’re not careful, taking such gigs can look like selling out. This brings us to Gaspar Noé’s 2019 oddity “Lux Æterna,” which is not a film in the conventional sense but a work-for-hire gone awry — although in Noé’s case,...
- 5/4/2022
- by Peter Debruge
- Variety Film + TV
The pandemic may have cancelled live performances and moviegoing for most of 2020, but for film-music buffs, that just meant more time at home listening to their favorite music, including many releases of music never before heard outside their original cinematic contexts.
“There is still an unquenchable thirst for classic scores, both previously unreleased and reissues of scores that are expanded, re-mastered, or both,” says Matt Verboys, co-owner of L.A. label LA-La Land Records. “As technology keeps advancing, many previous releases can now get a sonic upgrade that makes the music well worth a revisit.”
The business challenges remain unchanged, however, he says: “Who holds the rights to a given score and can those rights be obtained? Do the music elements even exist and if so, can they be rounded up? Once obtained, is the audio good enough to release, or does massive restoration work need to be done?”
Perennial favorite composers Bernard Herrmann,...
“There is still an unquenchable thirst for classic scores, both previously unreleased and reissues of scores that are expanded, re-mastered, or both,” says Matt Verboys, co-owner of L.A. label LA-La Land Records. “As technology keeps advancing, many previous releases can now get a sonic upgrade that makes the music well worth a revisit.”
The business challenges remain unchanged, however, he says: “Who holds the rights to a given score and can those rights be obtained? Do the music elements even exist and if so, can they be rounded up? Once obtained, is the audio good enough to release, or does massive restoration work need to be done?”
Perennial favorite composers Bernard Herrmann,...
- 12/31/2020
- by Jon Burlingame
- Variety Film + TV
Krzysztof Penderecki, the influential Polish composer and conductor whose music was featured in “The Shining” and “Wild at Heart,” died Sunday at his home in Krakow, according to The New York Times. He was 86.
His death was confirmed by Andrzej Giza, director of the Ludwig van Beethoven Association, which was founded by Penderecki’s wife Elzbieta. The cause of death was not specified but a statement from Poland’s Ministry of Culture said he passed away “after a long and serious illness,” according to Reuters.
One of the most prolific and innovative composers of his era, Penderecki’s influence can be heard across multiple genres and generations. Radiohead’s Jonny Greenwood in particular has cited him as a profound influence on the group’s more avant work and his own soundtrack work.
Born in Dębica in 1933, Penderecki studied at the Academy of Music in Krakow and became an instructor there shortly after his graduation.
His death was confirmed by Andrzej Giza, director of the Ludwig van Beethoven Association, which was founded by Penderecki’s wife Elzbieta. The cause of death was not specified but a statement from Poland’s Ministry of Culture said he passed away “after a long and serious illness,” according to Reuters.
One of the most prolific and innovative composers of his era, Penderecki’s influence can be heard across multiple genres and generations. Radiohead’s Jonny Greenwood in particular has cited him as a profound influence on the group’s more avant work and his own soundtrack work.
Born in Dębica in 1933, Penderecki studied at the Academy of Music in Krakow and became an instructor there shortly after his graduation.
- 3/29/2020
- by Jem Aswad
- Variety Film + TV
Häxan
Blu ray
Criterion
1922/ 1.33:1 / 105 min.
Starring Benjamin Christensen
Directed by Benjamin Christensen
Fine art joins forces with the dark arts in Häxan, an impeccably crafted docu-drama with the lurid kick of an exploitation film.
The influence of Benjamin Christensen’s silent horror show can be found far and wide, from movies as beloved as The Wizard of Oz and reviled as The Devils. Variety was certainly conflicted when Häxan was turned loose in 1922 – “Wonderful though this picture is, it is absolutely unfit for public exhibition.”
It’s not Intolerance but Häxan boasts both a sizable cast and elaborate settings (at the time it was the most expensive film ever produced in Denmark). Yet the credits suggest it was something of a one man show – Christensen wrote and narrated (his hypnotic glower is the first thing the audience sees) and he acts up a storm – he plays the devil who...
Blu ray
Criterion
1922/ 1.33:1 / 105 min.
Starring Benjamin Christensen
Directed by Benjamin Christensen
Fine art joins forces with the dark arts in Häxan, an impeccably crafted docu-drama with the lurid kick of an exploitation film.
The influence of Benjamin Christensen’s silent horror show can be found far and wide, from movies as beloved as The Wizard of Oz and reviled as The Devils. Variety was certainly conflicted when Häxan was turned loose in 1922 – “Wonderful though this picture is, it is absolutely unfit for public exhibition.”
It’s not Intolerance but Häxan boasts both a sizable cast and elaborate settings (at the time it was the most expensive film ever produced in Denmark). Yet the credits suggest it was something of a one man show – Christensen wrote and narrated (his hypnotic glower is the first thing the audience sees) and he acts up a storm – he plays the devil who...
- 10/12/2019
- by Charlie Largent
- Trailers from Hell
The Dies Irae, or Day of Wrath is one of the most perfect bits of music when it comes to horror movies since it’s undeniable creepy and unbeknownst to a lot of us, it’s Everywhere. This piece of music is planted in a lot of movies, some that aren’t even horror movies, and it’s because it has such a profound effect on us as human beings that it’s become something of a common occurrence in many projects that feature at least one or two very dark and very dangerous, possibly depressing moments in which a bit of music is needed
Why This Particular Creepy Melody is Always in Movies...
Why This Particular Creepy Melody is Always in Movies...
- 9/19/2019
- by Tom
- TVovermind.com
The Notebook is covering Cannes with an on-going correspondence between critic Leonardo Goi and editor Daniel Kasman.Lux ÆternaDear Leo,I’m quite a bit more ambivalent about Quentin Tarantino’s Once Upon a Time...in Hollywood than you. Its violent climactic revision of 1969 Hollywood history seems like a much thinner, cheaper, and as you (positively) indicate, more nostalgic version of the ballsy visions of finishing off Nazi Germany and slavery in Inglourious Basterds and Django Unchained. I’m still thinking my way through this culmination, and especially how as a concept I’m quite suspicious, yet I couldn’t help but find the ending (of a Tarantino movie!) very touching.Last minute additions to the Cannes lineup are de rigueur at this festival, which not only announces films finished in the nick of time, but also add the spice of unpredictability to the final days before the festival. Among...
- 5/23/2019
- MUBI
Ever since Gaspar Noé cranked up his ambition with “Enter the Void” 10 years ago, the filmmaker has divided audiences with unruly, disorienting filmmaking techniques. Frames blink in and out, cameras float and speed through unexpected spaces, and neon palettes pulsate. His recent spate of movies often yield overwhelming experiences closer to the visceral terrain of avant-garde cinema than the narrative traditions he roots within the mayhem. His style can be a mixed bag of visual provocations, but his showmanship remains admirable for its bold swings each time out.
It’s hard to imagine that Noé could serve any master other than himself, and it comes as no great surprise that his recent assignment to make a 15-minute commercial for Yves Saint Laurent went awry when Noé turned it into his own weird thing: “Lux Æterna,” a 50-minute psychedelic mockumentary about a film shoot gone wrong, distills Noé’s talents to a more palatable serving size.
It’s hard to imagine that Noé could serve any master other than himself, and it comes as no great surprise that his recent assignment to make a 15-minute commercial for Yves Saint Laurent went awry when Noé turned it into his own weird thing: “Lux Æterna,” a 50-minute psychedelic mockumentary about a film shoot gone wrong, distills Noé’s talents to a more palatable serving size.
- 5/19/2019
- by Eric Kohn
- Indiewire
When Carlos Rafael Rivera was an aspiring film composer and Scott Frank’s guitar teacher in 2005, the writer-director shared the Western script he was working on as a feature, and they discussed the score. “He read me a very dark scene with this evil Frank Griffin reading by the fireside, and we discussed the moment being built around C major,” he said. “And that was it.”
Later, after Rivera scored Frank’s 2014 feature “A Walk Among the Tombstones,” Rivera prepared to score that feature in the form of a seven-part Netflix mini-series, “Godless” — and decided the best score for the scene was none at all. “When that scene came up, and I was actually writing to picture, I wrote this music that had a Bernard Herrmann influence,” he said. “We ended up using no music because the performance was so good by Jeff Daniels.”
The length and scope of “Godless...
Later, after Rivera scored Frank’s 2014 feature “A Walk Among the Tombstones,” Rivera prepared to score that feature in the form of a seven-part Netflix mini-series, “Godless” — and decided the best score for the scene was none at all. “When that scene came up, and I was actually writing to picture, I wrote this music that had a Bernard Herrmann influence,” he said. “We ended up using no music because the performance was so good by Jeff Daniels.”
The length and scope of “Godless...
- 7/3/2018
- by Bill Desowitz
- Indiewire
Of all the legendary early horror films Carl Theodor Dreyer’s vampire nightmare was once the most difficult to appreciate — until Criterion’s restoration of a mostly intact, un-mutilated full cut. Dreyer creates his fantasy according to his own rules — this pallid, claustrophobic horror is closer to Ordet than it is Dracula or Nosferatu.
Vampyr
Blu-ray
The Criterion Collection 437
1932 / Color / 1:19 Movietone Ap. / 73 min. / available through The Criterion Collection / Street Date October 3, 2017 / 39.95
Starring: Julian West (Baron Nicolas De Gunzberg), Maurice Schutz, Rena Mandel, Sybille Schmitz, Jan Hieronimko, Henriette Gérard.
Cinematography: Rudolph Maté
Art Direction: Hermann Warm
Film Editor: Tonka Taldy
Original Music: Wolfgang Zeller
Written by Carl Theodor Dreyer, Christen Jul from In a Glass Darkly by Sheridan Le Fanu
Produced by Carl Theodor Dreyer, Julian West
Directed by Carl Theodor Dreyer
Carl Theodor Dreyer’s Vampyr is a tough row to hoe for horror fans, many of whom just...
Vampyr
Blu-ray
The Criterion Collection 437
1932 / Color / 1:19 Movietone Ap. / 73 min. / available through The Criterion Collection / Street Date October 3, 2017 / 39.95
Starring: Julian West (Baron Nicolas De Gunzberg), Maurice Schutz, Rena Mandel, Sybille Schmitz, Jan Hieronimko, Henriette Gérard.
Cinematography: Rudolph Maté
Art Direction: Hermann Warm
Film Editor: Tonka Taldy
Original Music: Wolfgang Zeller
Written by Carl Theodor Dreyer, Christen Jul from In a Glass Darkly by Sheridan Le Fanu
Produced by Carl Theodor Dreyer, Julian West
Directed by Carl Theodor Dreyer
Carl Theodor Dreyer’s Vampyr is a tough row to hoe for horror fans, many of whom just...
- 9/19/2017
- by Glenn Erickson
- Trailers from Hell
The Toronto International Film Festival kicks off this week, and with it, the rest of a very busy fall festival season. In preparation for the lauded festival, we’ve hand-picked 20 films we can’t wait to see, from the starriest of premieres to the most unexpected of offerings. Check them out below.
“mother!”
Darren Aronofsky has veered off in many unpredictable directions over the years, but at his core, he’s a master at subverting the horror/thriller genres: From “Pi” to “Black Swan,” the filmmaker excels at taking his stories in creepy, unpredictable directions in which it’s hard to tell how much we can believe onscreen — and whether his characters have lost their minds. That mode certainly seems to be in play for “mother!”, which appears to be a “Rosemary’s Baby”-like tale of a married couple (Jennifer Laurence and Javier Bardem) whose home is infiltrated by...
“mother!”
Darren Aronofsky has veered off in many unpredictable directions over the years, but at his core, he’s a master at subverting the horror/thriller genres: From “Pi” to “Black Swan,” the filmmaker excels at taking his stories in creepy, unpredictable directions in which it’s hard to tell how much we can believe onscreen — and whether his characters have lost their minds. That mode certainly seems to be in play for “mother!”, which appears to be a “Rosemary’s Baby”-like tale of a married couple (Jennifer Laurence and Javier Bardem) whose home is infiltrated by...
- 8/30/2017
- by Kate Erbland, Eric Kohn, Anne Thompson, David Ehrlich, Zack Sharf, Jude Dry, Chris O'Falt, Michael Nordine and Steve Greene
- Indiewire
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In honor of “The Trip to Spain,” what is the best movie trilogy?
Richard Brody (@tnyfrontrow), The New Yorker
Far be it from me to choose between Antonioni’s non-trilogy “L’Avventura,” “La Notte,” and “L’Eclisse” and Kiarostami’s explicitly-denied “Koker” trilogy of “Where Is the Friend’s Home?,” “Life and Nothing More,” and “Through the Olive Trees” (and I’m tempted to make a trilogy of trilogies with Carl Theodor Dreyer’s “Day of Wrath,” “Ordet,” and “Gertrud”), but if I put Kiarostami’s films first, it’s because he puts their very creation into the action. Reflexivity isn’t a...
This week’s question: In honor of “The Trip to Spain,” what is the best movie trilogy?
Richard Brody (@tnyfrontrow), The New Yorker
Far be it from me to choose between Antonioni’s non-trilogy “L’Avventura,” “La Notte,” and “L’Eclisse” and Kiarostami’s explicitly-denied “Koker” trilogy of “Where Is the Friend’s Home?,” “Life and Nothing More,” and “Through the Olive Trees” (and I’m tempted to make a trilogy of trilogies with Carl Theodor Dreyer’s “Day of Wrath,” “Ordet,” and “Gertrud”), but if I put Kiarostami’s films first, it’s because he puts their very creation into the action. Reflexivity isn’t a...
- 8/14/2017
- by David Ehrlich
- Indiewire
Shadowhunters has never been a show that has closely stuck to its source material, the book series The Mortal Instruments by Cassandra Clare. Yet the most recent episode, "Day of Wrath," took the biggest departure from the books yet. Though Jocelyn Fray survives the entire book series, Shadowhunters killed her off in "Day of Wrath." TV Guide sat down with actress Katherine McNamara, who plays main character Clary Fray, and Shadowhunters showrunners Todd Slavkin and Darren Swimmer to talk about the twist. ...
- 1/24/2017
- by editor@buddytv.com
- buddytv.com
Did that just happen?!
I think we need a minute to process this and breathe. There's no way she's dead! After everything that happened in the first season, I'm not ready to say goodbye.
On Shadowhunters Season 2 Episode 4, a powerful smoke demon came into the picture and killed almost anyone who got in its way. Luckily, most of our core group lived to see another day from the rampage within the Institute. But a few familiar faces didn't make it out alive.
I can't believe Jocelyn is dead! Did you see this murder coming? I sure didn't...
When the show and commercials were teasing that one of the Shadowhunters we knew was going to die, I had guessed Lydia.
She seemed like the obvious choice. In retrospect, however, she was Too obvious. It was all there, though: She's big enough that we got to know her and be emotionally invested,...
I think we need a minute to process this and breathe. There's no way she's dead! After everything that happened in the first season, I'm not ready to say goodbye.
On Shadowhunters Season 2 Episode 4, a powerful smoke demon came into the picture and killed almost anyone who got in its way. Luckily, most of our core group lived to see another day from the rampage within the Institute. But a few familiar faces didn't make it out alive.
I can't believe Jocelyn is dead! Did you see this murder coming? I sure didn't...
When the show and commercials were teasing that one of the Shadowhunters we knew was going to die, I had guessed Lydia.
She seemed like the obvious choice. In retrospect, however, she was Too obvious. It was all there, though: She's big enough that we got to know her and be emotionally invested,...
- 1/24/2017
- by Justin Carreiro
- TVfanatic
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.
Metrograph
“Cassavetes/Rowlands” is precisely what it seems, with Gena Rowlands Q & As held on Friday, Saturday, and Sunday.
Hawks‘ Scarface screens with De Palma on Friday and Saturday; Psycho has the same treatment this Sunday.
Museum of Modern Art
An extensive Leo McCarey retrospective brings you one of Hollywood’s greatest filmmakers.
Anthology Film Archives...
Metrograph
“Cassavetes/Rowlands” is precisely what it seems, with Gena Rowlands Q & As held on Friday, Saturday, and Sunday.
Hawks‘ Scarface screens with De Palma on Friday and Saturday; Psycho has the same treatment this Sunday.
Museum of Modern Art
An extensive Leo McCarey retrospective brings you one of Hollywood’s greatest filmmakers.
Anthology Film Archives...
- 7/15/2016
- by Nick Newman
- The Film Stage
This is not your garden-variety horror picture -- its scares stem from primal guilt and fear of supernatural demons and devils that we can't entirely dismiss because people still believe in them enough to do terrible things. Robert Eggers' first film is the best-reviewed horror picture of its year, and quite an achievement. The VVitch: A New-England Folktale Blu-ray + Digital HD Lionsgate/ A24 2015 / Color / 1:66 widescreen / 92 min. / Street Date May 17, 2016 / 24.99 Starring Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger, Lucas Dawson, Bathsheba Garnett, Sarah Stephens. Cinematography Jarin Blaschke Film Editor Louise Ford Original Music Mark Korven Produced by Daniel Bekerman, Lars Knudsen, Jodi Redmond, Rodrigo Teixeira, Jay Van Hoy Written and Directed by Robert Eggers
Reviewed by Glenn Erickson
I don't find most modern horror pictures scary. The ones that scare usually do so with ideas, reaching beyond our defenses to find and exploit a personal weakness.
Reviewed by Glenn Erickson
I don't find most modern horror pictures scary. The ones that scare usually do so with ideas, reaching beyond our defenses to find and exploit a personal weakness.
- 5/16/2016
- by Glenn Erickson
- Trailers from Hell
My guest for this month is Neven Mrgan, and he’s joined me to discuss the film I chose for him, the 1943 romantic drama film Day of Wrath. You can follow the show on Twitter @cinemagadfly.
Show notes:
The director of this film, Carl Theodore Dreyer, had an extremely unhappy childhood, which seems relevant The story was based on a Norwegian play called Anne Pedersdotter, about an actual witch trial A previous Dreyer film The Passion of Joan of Arc, was super controversial when it was initially released in France My favorite Dreyer film thus far is Vampyr, which has the eerie quality of dreams I also enjoyed Master of the House, which had a lot more in common with this film stylistically This could be seen as a cautionary tale on the dangers of electing Donald Trump It’s hard to believe this film could have been made in the Us,...
Show notes:
The director of this film, Carl Theodore Dreyer, had an extremely unhappy childhood, which seems relevant The story was based on a Norwegian play called Anne Pedersdotter, about an actual witch trial A previous Dreyer film The Passion of Joan of Arc, was super controversial when it was initially released in France My favorite Dreyer film thus far is Vampyr, which has the eerie quality of dreams I also enjoyed Master of the House, which had a lot more in common with this film stylistically This could be seen as a cautionary tale on the dangers of electing Donald Trump It’s hard to believe this film could have been made in the Us,...
- 3/17/2016
- by Arik Devens
- CriterionCast
As a child, Robert Eggers was obsessed with witches and mythical creatures, while other children dreamed of Disneyland, Eggers’ dream vacation probably looked more like something out of Häxan. It makes sense then, that he would grow up to become a sorcerer of sorts, at least one could call him that based on the enthralling qualities of his debut feature The Witch, an otherworldly folk tale set in seventeenth century New England which deals with how a Puritan family chooses to face the presence of the occult. Or at least, what they think are the dark forces that might have turned the eldest daughter, Thomasin (Anya Taylor-Joy) into a witch.
Not one to place judgment on his own characters, Eggers invites the audience to try and uncover the mysteries along with the family. We aren’t allowed to feel smarter than the characters, just because we’re “modern,” instead he...
Not one to place judgment on his own characters, Eggers invites the audience to try and uncover the mysteries along with the family. We aren’t allowed to feel smarter than the characters, just because we’re “modern,” instead he...
- 2/18/2016
- by Jose Solís
- The Film Stage
In just two weeks, Alamo Drafthouses nationwide will host screenings of A24's The Witch. More details on that story after the jump. Also in this round-up: a trailer for Night Terrors, Angelica release details, a new clip from The Final Project, and four images from The Terrible Two.
The Witch: Press Release: "Austin, TX - Feb 3, 2016 - The Alamo Drafthouse is excited to announce A24's chilling new horror film The Witch as the latest Drafthouse Recommends title. The film will open at Alamo Drafthouse locations nationwide with "sneak preview" screenings on the night of Feb. 18th, 2016. In the lead up to that opening date, select Alamo locations will also host free retrospective screenings of witchcraft horror classics to get audiences in the, er, spirit and to set the stage for director Robert Eggers' debut feature and groundbreaking new take on the genre.
And, for a limited time this month,...
The Witch: Press Release: "Austin, TX - Feb 3, 2016 - The Alamo Drafthouse is excited to announce A24's chilling new horror film The Witch as the latest Drafthouse Recommends title. The film will open at Alamo Drafthouse locations nationwide with "sneak preview" screenings on the night of Feb. 18th, 2016. In the lead up to that opening date, select Alamo locations will also host free retrospective screenings of witchcraft horror classics to get audiences in the, er, spirit and to set the stage for director Robert Eggers' debut feature and groundbreaking new take on the genre.
And, for a limited time this month,...
- 2/4/2016
- by Tamika Jones
- DailyDead
If one wishes to highlight what made Jacques Rivette a significant figure in the cinematic landscape, it’s key that they cite his cinephilia — the rabid sort that is uncommon in even our smartest voices, filmmaking or otherwise. More than one who saw a bunch of movies, though, the late, great director maintained a critical fashioned at Cahiers into our contemporary day, sharing a wide, sometimes unexpected range of thoughts on what made works of all kinds stand tall or fall apart.
All of which is to say that his list of favorite films should come from a wellspring of knowledge and passion. In any case, his selection, shared by critic Samuel Wigley — rather a selection, being that it’s from the 1962 Sight & Sound ballot — is a fine one for spanning from the form’s earlier days to its then-contemporary masters, and perhaps as an immediate window into the Cahiers critical mindset.
All of which is to say that his list of favorite films should come from a wellspring of knowledge and passion. In any case, his selection, shared by critic Samuel Wigley — rather a selection, being that it’s from the 1962 Sight & Sound ballot — is a fine one for spanning from the form’s earlier days to its then-contemporary masters, and perhaps as an immediate window into the Cahiers critical mindset.
- 2/2/2016
- by Nick Newman
- The Film Stage
On Halloween, the tradition is to indulge in films replete with monsters, zombies, and creatures that go bump in the night. But those types of films don’t always provide the psychological terror cineastes may be craving. International and alternative cinema has always been willing to tread where conventional genre cinema dares not be it in films with strong themes, abrasive tones, or emotional depravity. Halloween can be a time not just to indulge in slimy viscera, but in the general suffering of humanity. These are eleven films whose punishment of the viewer with intense emotions and ideas make them not unlike horror films.
The Passion of Joan of Arc (1928) / Day of Wrath (1943)
The original king of despair, Carl Dreyer didn’t just gravitate toward miserable material, he embraced it with a technique so perfected, it felt predestined. In The Passion of Joan of Arc, a film consisting almost solely of close-ups,...
The Passion of Joan of Arc (1928) / Day of Wrath (1943)
The original king of despair, Carl Dreyer didn’t just gravitate toward miserable material, he embraced it with a technique so perfected, it felt predestined. In The Passion of Joan of Arc, a film consisting almost solely of close-ups,...
- 10/3/2015
- by Shane Ramirez
- SoundOnSight
Follows the perilous journey of a rebellious young soldier who discovers he's the unlikely savior of humanity. Stars: Tom Wisdom, Luke Allen-Gale, Carl Beukes, Alan Dale, Christopher Egan, Chris Fisher, Shivani Ghai, Rosalind Halstead and Anthony Head. Based on the Legion movie, Dominion "Day of Wrath" airs tonight, 10/9c on the Syfy channel. Idw Publishing brought out a prequel comic book series called Legion: Prophets.
- 9/24/2015
- ComicBookMovie.com
Follows the perilous journey of a rebellious young soldier who discovers he's the unlikely savior of humanity. Stars: Tom Wisdom, Luke Allen-Gale, Carl Beukes, Alan Dale, Christopher Egan, Chris Fisher, Shivani Ghai, Rosalind Halstead and Anthony Head. LEEE777 - Based on the Legion movie, Dominion "Day of Wrath" airs tonight, 10/9c on the Syfy channel. Idw Publishing brought out a prequel comic book series called Legion: Prophets.
- 9/24/2015
- ComicBookMovie.com
"The enjoyment of a work of art, the acceptance of an irresistible illusion, constituting, to my sense, our highest experience of "luxury," the luxury is not greatest, by my consequent measure, when the work asks for as little attention as possible. It is greatest, it is delightfully, divinely great, when we feel the surface, like the thick ice of the skater's pond, bear without cracking the strongest pressure we throw on it. The sound of the crack one may recognise, but never surely to call it a luxury." —Henry James, from The Preface to The Wings of the Dove (1909) "[The critic’s] choice of best salami is a picture backed by studio build-up, agreement amongst his colleagues, a layout in Life mag (which makes it officially reasonable for an American award), and a list of ingredients that anyone’s unsophisticated aunt in Oakland can spot as comprising a distinguished film. This prize picture,...
- 7/27/2015
- by Greg Gerke
- MUBI
Final paintings, final books, and final films are often read into because of their terminating chronology. Did the artist know they were close to death? How is that shown in the art? When he died in 1968, Carl Dreyer had many projects lined up, including Medea and Jesus of Nazareth, which he had been preparing and researching for years, to the point of learning Hebrew. His last films, Ordet in 1955 and Gertrud in 1964, embody the exacting visual style he forged during his fifty-five-year career—a style he explicated in short essays written ten and twenty years before Gertrud. Being a director who worked with and without sound, we should trust Dreyer when he says film “first and foremost directs itself to the eye, and that the picture far, far more easily than the spoken word penetrates deeply into a spectator’s consciousness.”1 Gerturd is as much about the eponymous character's face...
- 12/18/2014
- by Greg Gerke
- MUBI
The troubled young British director Michael Reeves was credited with only three films and then, just as his star was ascending, died at the age 25. But the James Dean comparison doesn’t end there; Reeves’ signature work, Witchfinder General (released in the Us as The Conqueror Worm) is a cry for justice from an angry young rebel, a howl so intense it feels like an assault on the viewer.
To work with such a miscreant as Reeves must have been a shock to the system of the affable Vincent Price and it shows; his fierce performance as the corrupt "witchfinder" Matthew Hopkins feels like it was formed in a blast furnace, his usual florid filigrees burned away leaving a rock-hard, pitiless surface.
Hopkins is the ringmaster of a series of brutal murders carried out in the name of religious purification and though Reeves frames these horrors in the most inartful manner possible,...
To work with such a miscreant as Reeves must have been a shock to the system of the affable Vincent Price and it shows; his fierce performance as the corrupt "witchfinder" Matthew Hopkins feels like it was formed in a blast furnace, his usual florid filigrees burned away leaving a rock-hard, pitiless surface.
Hopkins is the ringmaster of a series of brutal murders carried out in the name of religious purification and though Reeves frames these horrors in the most inartful manner possible,...
- 9/13/2014
- by Charlie Largent
- Trailers from Hell
The Hollywood Reporter's second daily from 2014's Hong Kong Filmart includes news, interviews and reviews from the festival. Titles reviewed are Aberdeen, Field of Dogs, Thread of Lies, The Huntresses, Horseplay, The Verdict, Monster, Lilting, Triptych, The Rice Bomber, Day of Wrath, Forma, and 3D Lost in Wrestling. THR's daily news and features include: HBO to Launch Documentary Channel in China (Exclusive) HBO will launch a doc- umentary channel in China and Southeast Asia to broadcast documen- taries made by China Central Television (CCTV) and other foreign markets, general manager of China Radio, Film & Television Programs Exchanging Center Ma
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- 3/25/2014
- by THR Staff
- The Hollywood Reporter - Movie News
The following is a list of all comic books, graphic novels and specialty items that will be available this week and shipped to comic book stores who have placed orders for them.
Action Lab Entertainment
Fracture #3 (Of 4)(Cover A Chad Cicconi), $2.99
Fracture #3 (Of 4)(Cover B John Williams), Ar
Jack Hammer #2 (Of 4)(Cover A Ionic), $3.99
Jack Hammer #2 (Of 4)(Cover B John Williams), Ar
Jack Hammer #2 (Of 4)(Cover C Brett Weldele), Ar
Pirate Eye Volume 1 Tp, $11.99
Princeless Encore Edition #4 (Of 4)(Cover A M Goodwin), $2.99
Princeless Encore Edition #4 (Of 4)(Cover B John Williams), Ar
Amaze Ink (Slave Labor Graphics)
Where Bold Stars Go To Die Gn, $7.95
Amp! Comics For Kids
Charlie Brown And Friends Tp, $9.99
Antarctic Press
Gearhearts Steampunk Glamor Revue #9, $3.99
Gold Digger Holidays Special #3, $3.50
Rod Espinosa’s Steampunk Edge Of Empire #1 (Of 2), $3.99
Steam Wars #4, $3.99
Archie Comic Publications
Betty And Veronica Double Digest #221, $3.99
Jugheads Double Double Digest #200, $5.99
Life With Archie #34 (Fernando Ruiz Regular...
Action Lab Entertainment
Fracture #3 (Of 4)(Cover A Chad Cicconi), $2.99
Fracture #3 (Of 4)(Cover B John Williams), Ar
Jack Hammer #2 (Of 4)(Cover A Ionic), $3.99
Jack Hammer #2 (Of 4)(Cover B John Williams), Ar
Jack Hammer #2 (Of 4)(Cover C Brett Weldele), Ar
Pirate Eye Volume 1 Tp, $11.99
Princeless Encore Edition #4 (Of 4)(Cover A M Goodwin), $2.99
Princeless Encore Edition #4 (Of 4)(Cover B John Williams), Ar
Amaze Ink (Slave Labor Graphics)
Where Bold Stars Go To Die Gn, $7.95
Amp! Comics For Kids
Charlie Brown And Friends Tp, $9.99
Antarctic Press
Gearhearts Steampunk Glamor Revue #9, $3.99
Gold Digger Holidays Special #3, $3.50
Rod Espinosa’s Steampunk Edge Of Empire #1 (Of 2), $3.99
Steam Wars #4, $3.99
Archie Comic Publications
Betty And Veronica Double Digest #221, $3.99
Jugheads Double Double Digest #200, $5.99
Life With Archie #34 (Fernando Ruiz Regular...
- 2/24/2014
- by Adam B.
- GeekRest
Witches are fantastic cinema fodder – they can portray all of the evil, the nastiness and the spite of being a supernatural villain. This aspect of witchery is seen in films such as The Witches and The Wizard of Oz. Then we have the other side of the coin – supposed ‘witches’ as victims during all of the witch finding perpetrated by various characters like Matthew Hopkins in Witchfinder General. Witch finding was a terribly cruel and vicious operation in which thousands of people were killed for no good reason other than to satisfy bloodlust and religious zeal.
There are a wide form of films about witches out there. This starts with Benjamin Christensen’s silent movie Häxan, through to the art house with Dreyer’s Day of Wrath. There are a lot of horror films like Mark of the Devil and Mask of Satan that deal with witchcraft up to teen movies like The Craft.
There are a wide form of films about witches out there. This starts with Benjamin Christensen’s silent movie Häxan, through to the art house with Dreyer’s Day of Wrath. There are a lot of horror films like Mark of the Devil and Mask of Satan that deal with witchcraft up to teen movies like The Craft.
- 12/27/2013
- by Clare Simpson
- Obsessed with Film
1998 Best Actress Academy Award nominee stages a political protest -- a 'lesbian kiss' -- at an awards ceremony in Rio de Janeiro Forget Madonna and Britney Spears, Sandra Bullock and Meryl Streep, Bullock and Scarlett Johansson, and Robert Pattinson and Taylor Lautner. Veteran Brazilian actress Fernanda Montenegro, best known around the world for her performance as a bitter old hag in Walter Salles' 1998 drama Central Station, which earned her a Best Actress Oscar nod, kissed fellow veteran performer Camila Amado in the mouth at Rio de Janeiro's Theater Producers Association Awards ceremony, which took place in that Brazilian city this past Monday, March 25. (Pictured above: Montenegro kissing Amado.) The mouth-to-mouth kiss between the 83-year-old Montenegro and the 77-year-old Amado, followed a previous "gay kiss" also staged at the awards show -- that one between performers Ricardo Blat and Tonico Pereira. All that kissing wasn't intended to merely liven up...
- 3/31/2013
- by Andre Soares
- Alt Film Guide
This isn't the first time I've professed my love for Scandinavian metal, mostly due to that area's predominance of huge, cinematic production styles and lyrical themes drawing from ancient folklore and dark fantasy. It probably won't be the last time I mention that either. One of my more enjoyable finds from the mighty Norse lands is Norwegian five-man power metal outfit Tellus Requiem, whose style ventures beyond solid melodies and anthemic refrains (although they do handle those very well) and into the neoclassical arrangements, long-form songwriting and grand-scale storytelling that are progressive metal's stock in trade. Like many prog-metal bands on both sides of the Atlantic, Tellus Requiem draws strength from key members' backgrounds in classical music, often composing on an operatic scale in the mode of Dream Theater or Symphony X, but never resorting to orchestral passages as a mere backdrop for the metal elements, a habit pretty common in European symphonic metal.
- 1/29/2013
- by Gregory Burkart
- FEARnet
Carl Theodor Dreyer’s 84-year-old The Passion of Joan of Arc was recently voted the ninth greatest film of all time in the decennial Sight & Sound poll, receiving votes from 65 critics and 13 directors including no less than Manoel de Oliveira, Atom Egoyan, Michael Mann, Tsai Ming-liang and Béla Tarr (though the film is notable by its absence from filmmaker Pierre Leon’s all-Dreyer top ten). As beloved and familiar as The Passion of Joan of Arc is, however, these two stunning, and remarkably modern looking posters for the film were new to me when I came upon them recently on the Movie Poster Database. Both are the work of the great affichiste René Péron and seem to be original to the film’s release, but what I didn't realize about them until I did some detective work is their remarkable size. The poster directly above is what is known as a double grande,...
- 8/31/2012
- MUBI
After much media hoopla about "Vertigo" toppling "Citizen Kane" in its poll, Sight and Sound magazine have now released the full version of its once a decade 'Top 250 greatest films of all time' poll results via its website. The site also includes full on links showcasing Top Tens of the hundreds of film industry professionals who participated in the project.
For those who don't want to bother with the individual lists and to save you a bunch of clicking, below is a copy of the full 250 films that made the lists and how many votes they got to be considered for their positions:
1 - Vertigo (Hitchcock, 1958) [191 votes]
2 - Citizen Kane (Welles, 1941) [157 votes]
3 - Tokyo Story (Ozu, 1953) [107 votes]
4 - La Règle du jeu (Renoir, 1939) [100 votes]
5 - Sunrise: a Song for Two Humans (Murnau, 1927) [93 votes]
6 - 2001: A Space Odyssey (Kubrick, 1968) [90 votes]
7 - The Searchers (Ford, 1956) [78 votes]
8 - Man with a Movie Camera (Vertov, 1929) [68 votes]
9 - The Passion of Joan of Arc (Dreyer,...
For those who don't want to bother with the individual lists and to save you a bunch of clicking, below is a copy of the full 250 films that made the lists and how many votes they got to be considered for their positions:
1 - Vertigo (Hitchcock, 1958) [191 votes]
2 - Citizen Kane (Welles, 1941) [157 votes]
3 - Tokyo Story (Ozu, 1953) [107 votes]
4 - La Règle du jeu (Renoir, 1939) [100 votes]
5 - Sunrise: a Song for Two Humans (Murnau, 1927) [93 votes]
6 - 2001: A Space Odyssey (Kubrick, 1968) [90 votes]
7 - The Searchers (Ford, 1956) [78 votes]
8 - Man with a Movie Camera (Vertov, 1929) [68 votes]
9 - The Passion of Joan of Arc (Dreyer,...
- 8/18/2012
- by Garth Franklin
- Dark Horizons
The strangeness of this gripping and eerie tragedy of the supernatural benefits in some ways from its theatrical style
A gripping and eerie tragedy of the supernatural and an unmissable re-release (made in 1955), though my personal view is that it falls a millimetre short of Day of Wrath or The Passion of Joan Of Arc on account of its overtly theatrical compositions: two characters in dialogue scenes will speak and face outward, as if to an imaginary auditorium. Yet perhaps even this stylisation adds to its strangeness and cumulative power. A widowed farmer, Morten, is oppressed by life's cares: his three grownup sons have all distressed him; his closest bond is with his pregnant daughter-in-law, Inger. A confrontation with his pious neighbour leads to this man calling for a grotesque "miracle" for Morten – and this gripping film sets about giving birth to one. Part of its power lies in the...
A gripping and eerie tragedy of the supernatural and an unmissable re-release (made in 1955), though my personal view is that it falls a millimetre short of Day of Wrath or The Passion of Joan Of Arc on account of its overtly theatrical compositions: two characters in dialogue scenes will speak and face outward, as if to an imaginary auditorium. Yet perhaps even this stylisation adds to its strangeness and cumulative power. A widowed farmer, Morten, is oppressed by life's cares: his three grownup sons have all distressed him; his closest bond is with his pregnant daughter-in-law, Inger. A confrontation with his pious neighbour leads to this man calling for a grotesque "miracle" for Morten – and this gripping film sets about giving birth to one. Part of its power lies in the...
- 3/9/2012
- by Peter Bradshaw
- The Guardian - Film News
On Halloween, the tradition is to indulge in films replete with monsters, zombies, and creatures that go bump in the night. But those types of films don’t always provide the psychological terror cineastes may be craving. International and alternative cinema has always been willing to tread where conventional genre cinema dares not be it in films with strong themes, abrasive tones, or emotional depravity. Halloween can be a time not just to indulge in slimy viscera, but in the general suffering of humanity. These are eleven films whose punishment of the viewer with intense emotions and ideas make them not unlike horror films.
The Passion of Joan of Arc (1928) / Day of Wrath (1943)
The original king of despair, Carl Dreyer didn’t just gravitate toward miserable material, he embraced it with a technique so perfected, it felt predestined. In The Passion of Joan of Arc, a film consisting almost solely of close-ups,...
The Passion of Joan of Arc (1928) / Day of Wrath (1943)
The original king of despair, Carl Dreyer didn’t just gravitate toward miserable material, he embraced it with a technique so perfected, it felt predestined. In The Passion of Joan of Arc, a film consisting almost solely of close-ups,...
- 10/30/2011
- by Shane Ramirez
- SoundOnSight
It’s another week which means another round up of all the titles Criterion has put up on their Hulu Plus page. And it’s a great smorgasbord of releases that will keep your eyes full until the next installment. Also, thanks again to everyone who has signed up for Hulu Plus via our referral page. Please sign up and let us know what you think of the service. Enough of this small talk, let’s get into the nitty gritty.
Last week’s article spoke about Louis Malle’s films being put up and sure enough, only a few days later they finally released Black Moon to their page, showing a film that will be coming out on June 28th. I love that they’re doing that with releases that are coming out, just to give their audience the film itself and if you like it, you’ll want to grab the whole package.
Last week’s article spoke about Louis Malle’s films being put up and sure enough, only a few days later they finally released Black Moon to their page, showing a film that will be coming out on June 28th. I love that they’re doing that with releases that are coming out, just to give their audience the film itself and if you like it, you’ll want to grab the whole package.
- 6/19/2011
- by James McCormick
- CriterionCast
Bendtsen and Dreyer on the set of Gertrud (Dfi); Ordet
"Danish cinematographer Henning Bendtsen — whose career stretched from the 1940s to 1991, with his final film, Lars von Trier's Europa — has died at the age of 85," reports Criterion. "Bendtsen is best known, perhaps, for the transcendent images he created with director Carl Theodor Dreyer on the films Ordet (1955) and Gertrud (1964). For the former, he devised what we believe to be one of the greatest shots in cinema history: a late-film, almost three-minute pan around the possibly mad character Johannes and his niece, Marren, fearful of her mother's death." And Criterion posts the clip. Bendtsen, by the way, supervised the digital transfers you see in Criterion's editions of Day of Wrath, Ordet and Gertrud.
"Forging a very direct link to Dreyer, von Trier hired Henning Bendtsen as Dp on parts of Epidemic, a collaboration that continued on Europa," writes Peter Scheperlern Carl Th Dreyer site.
"Danish cinematographer Henning Bendtsen — whose career stretched from the 1940s to 1991, with his final film, Lars von Trier's Europa — has died at the age of 85," reports Criterion. "Bendtsen is best known, perhaps, for the transcendent images he created with director Carl Theodor Dreyer on the films Ordet (1955) and Gertrud (1964). For the former, he devised what we believe to be one of the greatest shots in cinema history: a late-film, almost three-minute pan around the possibly mad character Johannes and his niece, Marren, fearful of her mother's death." And Criterion posts the clip. Bendtsen, by the way, supervised the digital transfers you see in Criterion's editions of Day of Wrath, Ordet and Gertrud.
"Forging a very direct link to Dreyer, von Trier hired Henning Bendtsen as Dp on parts of Epidemic, a collaboration that continued on Europa," writes Peter Scheperlern Carl Th Dreyer site.
- 2/17/2011
- MUBI
#7- The Crucible (1996)
Director: Nicholas Hytner
Tagline: “Arthur Miller’s timeless tale of truth on trial.”
Arthur Miller’s story of hysteria, persecution and social injustice, The Crucible, was written during Senator Joseph McCarthy’s House Un-American Activities Committee hearings (for which Miller was called to testify in 1956). Miller has never claimed that his story is historically accurate, but many of the facts correspond to events that actually occurred in Salem, Massachusetts in 1692 when a superstitious terror gripped the Puritan town. 19 villagers were hung as witches, four others died in prison and one was pressed to death when he refused to answer questions. The Crucible offers a layered examination of mob hysteria, and of the Puritan mindset on which America was founded in a community destroyed by guilt, prejudice, paranoia and betrayal. Well-paced direction, and fine performances from Daniel Day-Lewis, Winona Ryder and Joan Allen.
#6- Black Death (2010) -
Director:...
Director: Nicholas Hytner
Tagline: “Arthur Miller’s timeless tale of truth on trial.”
Arthur Miller’s story of hysteria, persecution and social injustice, The Crucible, was written during Senator Joseph McCarthy’s House Un-American Activities Committee hearings (for which Miller was called to testify in 1956). Miller has never claimed that his story is historically accurate, but many of the facts correspond to events that actually occurred in Salem, Massachusetts in 1692 when a superstitious terror gripped the Puritan town. 19 villagers were hung as witches, four others died in prison and one was pressed to death when he refused to answer questions. The Crucible offers a layered examination of mob hysteria, and of the Puritan mindset on which America was founded in a community destroyed by guilt, prejudice, paranoia and betrayal. Well-paced direction, and fine performances from Daniel Day-Lewis, Winona Ryder and Joan Allen.
#6- Black Death (2010) -
Director:...
- 1/9/2011
- by Ricky
- SoundOnSight
When I heard from Criterion that the Danish Film Institute's website and archive devoted to Carl Th. Dreyer was now up and running and contained “a rich trove of essays, clips from his features and rare shorts, interviews, film notes, and extensive galleries of photos and original posters” I was thrilled. And the site is pretty amazing, with the highlight, for me, being able to watch all eight of the short films Dreyer made between 1942 and 1954, as well as an extensive gallery featuring costume designs for Day of Wrath and set design models for The Passion of Joan of Arc. But the poster gallery, which obviously I was most interested in, is rather disappointing, featuring only one poster per film in most cases and missing a lot of wonderful work (including the Day of Wrath posters that I wrote about a couple of years ago). But, on the bright side,...
- 6/11/2010
- MUBI
First the history, then the list:
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
- 5/3/2010
- by Mike Everleth
- Underground Film Journal
Jessica Hausner's drama is subtle, mysterious and brilliant, says Peter Bradshaw
"Leaving the miraculous out of life is like leaving out the lavatory or dreams or breakfast," wrote Graham Greene, but the miraculous certainly does tend to get left out of films, unless they are specifically about the life of Christ. So a contemporary movie set in Lourdes, among the believers and wheelchair-users who have come to that famous shrine in the hope of a cure, must inevitably trigger a series of expectations in the viewer: expectations of irony and disillusion, of some grotesque reversal, or maybe, in place of a cure, some violently satirical Dr Strangelove moment, a nauseous anti-miracle, like the ex-Nazi's euphoric scream of "I can walk!" in Kubrick's film at the instant when the earth's nuclear destruction is guaranteed.
Furthermore, this movie is by Jessica Hausner, the Austrian director whose name is habitually mentioned in...
"Leaving the miraculous out of life is like leaving out the lavatory or dreams or breakfast," wrote Graham Greene, but the miraculous certainly does tend to get left out of films, unless they are specifically about the life of Christ. So a contemporary movie set in Lourdes, among the believers and wheelchair-users who have come to that famous shrine in the hope of a cure, must inevitably trigger a series of expectations in the viewer: expectations of irony and disillusion, of some grotesque reversal, or maybe, in place of a cure, some violently satirical Dr Strangelove moment, a nauseous anti-miracle, like the ex-Nazi's euphoric scream of "I can walk!" in Kubrick's film at the instant when the earth's nuclear destruction is guaranteed.
Furthermore, this movie is by Jessica Hausner, the Austrian director whose name is habitually mentioned in...
- 3/25/2010
- by Peter Bradshaw
- The Guardian - Film News
Lars von Trier may be a self-confessed depressive, but 'schizophrenic' is the epithet which first springs to mind when trying to describe his films. So luckily for me - not a big Lars von Trier fan per se - there seems to be no such thing as a typical Lars von Trier film: from the brutal emotionality of Breaking the Waves (1996) to the bemused distaste left by The Idiots (1998) to the "when-will-it-be-over" of Medea (1988), each von Trier film seems to elicit from the viewer (i.e. me) a radically different reaction. Even the trilogies, supposedly held loosely together by a unifying central character type, come in styles as varied as the Dogme 95-abiding, ultra-realist The Idiots and the highly stylized magic realism of Dancer in the Dark (2000). It would thus seem an absurd enterprise to review the entiretyof von Trier's oeuvre as a monolithic whole bearing a trademark von Trier stamp.
- 10/8/2009
- by Zornitsa
- SoundOnSight
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