Robby Müller: Living The Light director Claire Pijman will do a Q&a with Andrea Müller-Schirmer following the 2:30pm screening at Metrograph on Sunday, October 1 Photo: Claire Pijman
Claire Pijman’s resourceful and enlightening documentary, Robby Müller: Living The Light (with a score by Jim Jarmusch and Carter Logan’s Sqùrl), is a big part of the series, Robby Müller: Remain in Light, at Metrograph that celebrates the legendary cinematographer, who died in 2018. Films by Wim Wenders, Jim Jarmusch, Sara Driver’s When Pigs Fly, Andrzej Wajda’s Korczak, Alex Cox’s Repo Man, Peter Bogdanovich’s Saint Jack, William Friedkin’s To Live And Die In LA, and Michael Winterbottom’s 24 Hour Party People will all be shown.
Claire Pijman with Anne-Katrin Titze on Robby Müller and Wim Wenders’ Buena Vista Social Club: “That’s how I got to know him, and since then we stayed...
Claire Pijman’s resourceful and enlightening documentary, Robby Müller: Living The Light (with a score by Jim Jarmusch and Carter Logan’s Sqùrl), is a big part of the series, Robby Müller: Remain in Light, at Metrograph that celebrates the legendary cinematographer, who died in 2018. Films by Wim Wenders, Jim Jarmusch, Sara Driver’s When Pigs Fly, Andrzej Wajda’s Korczak, Alex Cox’s Repo Man, Peter Bogdanovich’s Saint Jack, William Friedkin’s To Live And Die In LA, and Michael Winterbottom’s 24 Hour Party People will all be shown.
Claire Pijman with Anne-Katrin Titze on Robby Müller and Wim Wenders’ Buena Vista Social Club: “That’s how I got to know him, and since then we stayed...
- 9/27/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Anything can be an addiction. People sometimes casually throw around the word "addicted" when talking about shows they're hooked on and other likes and loves, but in "Requiem for a Dream," television is but one of many things that can be habit-forming for humans in all the wrong ways. Darren Aronofsky's 2000 film descends into a cacophony of cross-cutting and nightmarish images as its four central characters plunge deeper into addiction and self-destruction. The ending is an assault on the senses that leaves the viewer reeling, and 20-plus years have not diluted its power.
In the Catholic Church, a requiem is a Mass for the dead, with Mozart's "Requiem," as seen in "Amadeus," for instance, being the music that would accompany such a Mass. This frames the title of "Requiem for a Dream" as a more elegant spin on "Death of a Dream." Co-written by Aronofsky and Hubert Selby, Jr. and based on Selby's novel,...
In the Catholic Church, a requiem is a Mass for the dead, with Mozart's "Requiem," as seen in "Amadeus," for instance, being the music that would accompany such a Mass. This frames the title of "Requiem for a Dream" as a more elegant spin on "Death of a Dream." Co-written by Aronofsky and Hubert Selby, Jr. and based on Selby's novel,...
- 9/3/2022
- by Joshua Meyer
- Slash Film
“King Richard” editor Pamela Martin topped the dramatic feature editing category at the American Cinema Editors 72nd Ace Eddie Awards, while “Tick, Tick … Boom!’s” Myron Kerstein and Andrew Weisblum won the category for best edited comedic feature during Saturday’s in-person ceremony at the Ace Hotel in Los Angeles.
“It’s a great honor to be recognized by my peers, most importantly,” Martin told Variety before the ceremony. “I’m over the moon and I’m so grateful to be in such wonderful, talented company from the other nominees.”
Michelle Statter accepted the prestigious Ace Golden Eddie Award — recognizing an artist or company for distinguished achievement in film — on behalf of The Sundance Institute. Film editors Lillian E. Benson, ACE and Richard Chew, ACE received Career Achievement Awards for their outstanding contributions to film editing. The event was hosted by DJ Lance Rock and presided over by ACE President Kevin Tent,...
“It’s a great honor to be recognized by my peers, most importantly,” Martin told Variety before the ceremony. “I’m over the moon and I’m so grateful to be in such wonderful, talented company from the other nominees.”
Michelle Statter accepted the prestigious Ace Golden Eddie Award — recognizing an artist or company for distinguished achievement in film — on behalf of The Sundance Institute. Film editors Lillian E. Benson, ACE and Richard Chew, ACE received Career Achievement Awards for their outstanding contributions to film editing. The event was hosted by DJ Lance Rock and presided over by ACE President Kevin Tent,...
- 3/6/2022
- by Jazz Tangcay
- Variety Film + TV
“King Richard” and “tick, tick…Boom!” have been named the best-edited feature films of 2021 by the American Cinema Editors, which held its annual Ace-Eddie Awards on Saturday at, appropriately enough, the Ace Hotel in downtown Los Angeles.
“King Richard” beat fellow Oscar nominees “Dune” (the presumed favorite) and “The Power of the Dog” to win in the drama category, while “tick, tick…Boom!” beat the Oscar-nominated “Don’t Look Up” in the comedy category.
In the 22 years since Ace split its film award into separate drama and comedy categories, one of its winners has gone on to win the Oscar for Best Film Editing 15 times. All but one of those wins have come in the drama category. Last year’s winner, “The Trial of the Chicago 7,” lost the Oscar to “Sound of Metal.”
In the documentary categories, music docs ruled, with “Summer of Soul” taking the prize for documentary feature...
“King Richard” beat fellow Oscar nominees “Dune” (the presumed favorite) and “The Power of the Dog” to win in the drama category, while “tick, tick…Boom!” beat the Oscar-nominated “Don’t Look Up” in the comedy category.
In the 22 years since Ace split its film award into separate drama and comedy categories, one of its winners has gone on to win the Oscar for Best Film Editing 15 times. All but one of those wins have come in the drama category. Last year’s winner, “The Trial of the Chicago 7,” lost the Oscar to “Sound of Metal.”
In the documentary categories, music docs ruled, with “Summer of Soul” taking the prize for documentary feature...
- 3/6/2022
- by Steve Pond
- The Wrap
The American Cinema Editors (Ace) has nominated “Belfast,” “Dune,” “King Richard,” “No Time to Die” and “The Power of the Dog” in the category of feature film drama at the 72nd annual Ace Eddie Awards.
In the best edited comedic feature category, “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “Tick, Tick…Boom!” all received nominations.
Among the animated features nominated were “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.” The TV nominees include “Succession” and “The White Lotus.”
The Eddies are considered a precursor for the best picture and best editing categories at the Oscars. Five of the past 11 winners for best edited drama feature went on to win the film editing Oscar.
Since 1961, only 10 women have won in the best edited drama feature category. This year, there are two women who made the cut: Pamela Martin (“King Richard”) and...
In the best edited comedic feature category, “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “Tick, Tick…Boom!” all received nominations.
Among the animated features nominated were “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.” The TV nominees include “Succession” and “The White Lotus.”
The Eddies are considered a precursor for the best picture and best editing categories at the Oscars. Five of the past 11 winners for best edited drama feature went on to win the film editing Oscar.
Since 1961, only 10 women have won in the best edited drama feature category. This year, there are two women who made the cut: Pamela Martin (“King Richard”) and...
- 1/27/2022
- by Jazz Tangcay
- Variety Film + TV
The American Cinema Editors has spliced together the nominees for its 72nd annual Ace Eddie Awards.
The editors behind Belfast, Dune, King Richard, No Time to Die and The Power of the Dog will compete for Best Edited Dramatic Feature Film. Up for Comedy Feature are Cruella, Don’t Look Up, The French Dispatch, Licorice Pizza and tick, tick…Boom! The Animated Feature race will be among Encanto, Luca, The Mitchells vs. the Machines, Raya and the Last Dragon
and Sing 2.
Vying in the Documentary Feature competition are Flee, The Rescue, Summer of Soul, Val and The Velvet Underground. See the full list of the Eddie Award nominations below.
Trophies will be presented during the guild’s awards ceremony on March 5 at the Theatre at the Ace Hotel in Los Angeles. The half-capacity show originally was set for February 26.
A highlight on the TV side is Kevin Can F**k Himself,...
The editors behind Belfast, Dune, King Richard, No Time to Die and The Power of the Dog will compete for Best Edited Dramatic Feature Film. Up for Comedy Feature are Cruella, Don’t Look Up, The French Dispatch, Licorice Pizza and tick, tick…Boom! The Animated Feature race will be among Encanto, Luca, The Mitchells vs. the Machines, Raya and the Last Dragon
and Sing 2.
Vying in the Documentary Feature competition are Flee, The Rescue, Summer of Soul, Val and The Velvet Underground. See the full list of the Eddie Award nominations below.
Trophies will be presented during the guild’s awards ceremony on March 5 at the Theatre at the Ace Hotel in Los Angeles. The half-capacity show originally was set for February 26.
A highlight on the TV side is Kevin Can F**k Himself,...
- 1/27/2022
- by Erik Pedersen
- Deadline Film + TV
“Belfast,” “Dune,” “King Richard,” “No Time to Die” and “The Power of the Dog” have been nominated as the best dramatic film editing of 2021 by the American Cinema Editors, which announced the nominees for the 72nd annual Ace Eddie Awards on Thursday.
Those five films will compete in the Best Edited Feature Film (Dramatic) category, while the field in Best Edited Feature Film (Comedy) will consist of “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “tick, tick…Boom!”
The most surprising omission was probably “West Side Story,” while Ace Eddie voters also bypassed “Nightmare Alley,” “Coda” and “Spider-Man: No Way Home.”
Nominations for the editing of animated features went to the same five animated films that have also been nominated by the Cinema Audio Society, Motion Picture Sound Editors, Visual Effects Society and Art Directors Guild: “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.
Those five films will compete in the Best Edited Feature Film (Dramatic) category, while the field in Best Edited Feature Film (Comedy) will consist of “Cruella,” “Don’t Look Up,” “The French Dispatch,” “Licorice Pizza” and “tick, tick…Boom!”
The most surprising omission was probably “West Side Story,” while Ace Eddie voters also bypassed “Nightmare Alley,” “Coda” and “Spider-Man: No Way Home.”
Nominations for the editing of animated features went to the same five animated films that have also been nominated by the Cinema Audio Society, Motion Picture Sound Editors, Visual Effects Society and Art Directors Guild: “Encanto,” “Luca,” “The Mitchells vs. the Machines,” “Raya and the Last Dragon” and “Sing 2.
- 1/27/2022
- by Steve Pond
- The Wrap
Arriving on Hulu in the wake of “MLK/FBI” and “Judas and the Black Messiah,” “The United States vs. Billie Holiday” provides yet another angle on J. Edgar Hoover’s war against Black America. And while director Lee Daniels packs in as much righteous anger as those other films, he does so with his trademark love of melodrama and disdain for subtlety.
In her first major acting role, singer Andra Day gives an emphatic and multi-shaded performance as the legendary Lady Day, but she and her talented co-stars are subject to an often-clunky screenplay by the esteemed playwright Suzan-Lori Parks, not to mention Daniels’ signature sensibility of putting too fine a point on anything and everything.
The goal is to correct the conventional take on Holiday, one of the 20th century’s greatest singers, breaking from received ideas about her drug addiction and exploring the facts about her relentless harassment by the FBI,...
In her first major acting role, singer Andra Day gives an emphatic and multi-shaded performance as the legendary Lady Day, but she and her talented co-stars are subject to an often-clunky screenplay by the esteemed playwright Suzan-Lori Parks, not to mention Daniels’ signature sensibility of putting too fine a point on anything and everything.
The goal is to correct the conventional take on Holiday, one of the 20th century’s greatest singers, breaking from received ideas about her drug addiction and exploring the facts about her relentless harassment by the FBI,...
- 2/19/2021
- by Alonso Duralde
- The Wrap
Terrence Malick’s magnum opus fully expresses what might be called his ‘Unified Theory’ of cinema — which embraces the human experience from the core of family life to the creation and destruction of the universe. Even Stanley Kubrick didn’t go that far: he never filmed merciful dinosaurs or anything as simple as a mother who experiences rapture rolling in the grass with her young sons.
The Tree of Life
Blu-ray
The Criterion Collection 942
2011 / Color / 1:85 widescreen / 139, 179 min. / available through The Criterion Collection / Street Date September 11, 2018 / 49.95
Starring: Jessica Chastain, Brad Pitt, Sean Penn, Hunter McCracken, Laramie Eppler, Tye Sheridan.
Cinematography: Emmanuel Lubezki
Film Editors: Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber, Mark Yoshikawa
Original Music: Alexandre Desplat
Production Design by Jack Fisk
Produced by DeDe Gardner, Sarah Green, Grant Hill, Brad Pitt, Bill Pohlad
Written and Directed by Terrence Malick
I’ve wanted to review The Tree of Life ever since it came out.
The Tree of Life
Blu-ray
The Criterion Collection 942
2011 / Color / 1:85 widescreen / 139, 179 min. / available through The Criterion Collection / Street Date September 11, 2018 / 49.95
Starring: Jessica Chastain, Brad Pitt, Sean Penn, Hunter McCracken, Laramie Eppler, Tye Sheridan.
Cinematography: Emmanuel Lubezki
Film Editors: Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber, Mark Yoshikawa
Original Music: Alexandre Desplat
Production Design by Jack Fisk
Produced by DeDe Gardner, Sarah Green, Grant Hill, Brad Pitt, Bill Pohlad
Written and Directed by Terrence Malick
I’ve wanted to review The Tree of Life ever since it came out.
- 9/8/2018
- by Glenn Erickson
- Trailers from Hell
Darren Aronofsky is back. The polarizing Oscar nominee is causing a quite a stir with his latest movie, the Jennifer Lawrence-starring “mother!,” but anyone familiar with Aronofsky’s six previous features knows he’s always been a filmmaker who forces a strong reaction out of people. He’s been pushing the boundaries of his own filmmaking voice ever since “Pi” caused a frenzy at the Sundance Film Festival in 1998, and “mother!” proves he has no signs of stopping.
With “mother!” opening in theaters nationwide, we put all seven Aronofsky features against one another for the ultimate director ranking.
Read More:‘mother!’: Inside the Secretive Marketing Designed to Hide Darren Aronofsky’s Controversial Film 7. “Noah” (2014)
“Noah” is unquestionably Aronofsky’s weakest film, but that doesn’t mean it’s a total disaster. The biggest misstep the director makes in this $125 million Biblical epic is turning the odyssey of Noah into a sword-and-sandals showdown,...
With “mother!” opening in theaters nationwide, we put all seven Aronofsky features against one another for the ultimate director ranking.
Read More:‘mother!’: Inside the Secretive Marketing Designed to Hide Darren Aronofsky’s Controversial Film 7. “Noah” (2014)
“Noah” is unquestionably Aronofsky’s weakest film, but that doesn’t mean it’s a total disaster. The biggest misstep the director makes in this $125 million Biblical epic is turning the odyssey of Noah into a sword-and-sandals showdown,...
- 9/14/2017
- by Zack Sharf
- Indiewire
Now this is a list that could result in a lot of fascinating dissection and thanks to HitFix it comes to our attention almost three years after it was originally released back in 2012, celebrating the Motion Picture Editors Guild's 75th anniversary. Over at HitFix, Kris Tapley asks, "Is this news to anyone elsec" Um, yes, I find it immensely interesting and a perfect starting point for anyone looking to further explore the art of film editing. In an accompanying article we get the particulars concerning what films were eligible and how films were to be considered: In our Jan-feb 12 issue, we asked Guild members to vote on what they consider to be the Best Edited Films of all time. Any feature-length film from any country in the world was eligible. And by "Best Edited," we explained, we didn't just mean picture; sound, music and mixing were to be considered as well.
- 2/4/2015
- by Brad Brevet
- Rope of Silicon
A random bit of researching on a Tuesday night led me to something I didn't know existed: The Motion Picture Editors Guild's list of the 75 best-edited films of all time. It was a feature in part celebrating the Guild's 75th anniversary in 2012. Is this news to anyone else? I confess to having missed it entirely. Naturally, I had to dig in. What was immediately striking to me about the list — which was decided upon by the Guild membership and, per instruction, was considered in terms of picture and sound editorial as opposed to just the former — was the most popular decade ranking. Naturally, the 1970s led with 17 mentions, but right on its heels was the 1990s. I wouldn't have expected that but I happen to agree with the assessment. Thelma Schoonmaker's work on "Raging Bull" came out on top, an objectively difficult choice to dispute, really. It was so transformative,...
- 2/4/2015
- by Kristopher Tapley
- Hitfix
Solitary Confinement Is Boring: Stewart’s Adaptation Of Bahari’s Lengthy Detainment is a Slick, Tame Affair
Jon Stewart’s first foray into the fictional film arena is as topical and slick as one might expect from the premier late night comedy newsman whose highly attuned fingers happens to live on the pulse of world politics and whose industry connections must run deeper than most, yet in parts, Rosewater is either screwed in too tightly or not enough. Depicting the brutal facts with humanity and style, Stewart let’s a surprising amount of heart shine through his signature ironic cynicism, so much so that his film tends toward bland melodrama rather than the hard hitting realism this story of media righteousness might require.
This follows the highly publicized story of real life Iranian born, Canadian journalist Maziar Bahari’s attempt to cover the controversial Iranian 2009 elections and his subsequent arrest and 118 day detainment,...
Jon Stewart’s first foray into the fictional film arena is as topical and slick as one might expect from the premier late night comedy newsman whose highly attuned fingers happens to live on the pulse of world politics and whose industry connections must run deeper than most, yet in parts, Rosewater is either screwed in too tightly or not enough. Depicting the brutal facts with humanity and style, Stewart let’s a surprising amount of heart shine through his signature ironic cynicism, so much so that his film tends toward bland melodrama rather than the hard hitting realism this story of media righteousness might require.
This follows the highly publicized story of real life Iranian born, Canadian journalist Maziar Bahari’s attempt to cover the controversial Iranian 2009 elections and his subsequent arrest and 118 day detainment,...
- 11/13/2014
- by Jordan M. Smith
- IONCINEMA.com
Telluride — In recent years, Journalists have come under siege all across the world from governments trying to minimize their influence either through subtle or not-so subtle means. One of the more dramatic instances in recent memory was chronicled in Maziar Bahari's 2011 memoir "Then They Came for Me" which has been adapted into the new film "Rosewater." The film, with director Jon Stewart on hand, debuted Friday night at the 2014 Telluride Film Festival. "They Came For Me" depicted the 118 days the noted reporter and documentary filmmaker spent in an Iranian jail after being falsely accused of acting as a spy for Western powers. The London-based Bahari had returned to Tehran to cover the 2009 presidential election where Mir-Hossein Mousavi was providing a revolutionary challenge to the president at the time, Mahmoud Ahmadinejad. Controversy reigned after the latter was announced the victor prompting millions of Iranians to protest the results in cities across the Islamic state.
- 8/30/2014
- by Gregory Ellwood
- Hitfix
Nice move, Bret Easton Ellis and Paul Schrader, you've definitely got people's attention now. "American Psycho" scribe Ellis has revealed on Twitter that their upcoming L.A. erotic thriller, "The Canyons," will now star Lindsay Lohan alongside porn star James Deen, who was an early pick by Ellis.
Having successfully completed their Kickstarter initiative, casting is well and truly underway with these two the first additions. Deen will play protagonist Christian, a "trust fund kid, power player and major manipulator, who is a film producer that enjoys filming his own three-way sex sessions," while Lohan will play his girlfriend/former model, Tara, who "has sold her pride for the material comforts Christian can provide." Three other lead roles remain unfilled including Ryan, a bartender and young actor who is angling for a role in Christian's horror movie; Gina, who works for Ryan and is in love with him and is...
Having successfully completed their Kickstarter initiative, casting is well and truly underway with these two the first additions. Deen will play protagonist Christian, a "trust fund kid, power player and major manipulator, who is a film producer that enjoys filming his own three-way sex sessions," while Lohan will play his girlfriend/former model, Tara, who "has sold her pride for the material comforts Christian can provide." Three other lead roles remain unfilled including Ryan, a bartender and young actor who is angling for a role in Christian's horror movie; Gina, who works for Ryan and is in love with him and is...
- 6/12/2012
- by Simon Dang
- The Playlist
Asghar Farhadi's A Separation, Margaret's Anna Paquin (photo), Weekend's Tom Cullen, and The Tree of Life's Terrence Malick and Brad Pitt were some of the winners of the 2012 International Cinephile Society Awards. The honors are announced by "an online group made up of approximately 80 accredited journalists, film scholars, historians and other industry professionals who cover film festivals and events on five continents." And cinephiles they clearly are; some of their choices would put the U.S.-based National Society of Film Critics to shame. [Full list of International Cinephile Society winners and runners-up.] Writer-director Farhadi's Iranian family drama A Separation, which is up for the Best Foreign Language Film and Best Original Screenplay Academy Awards, won as Best Picture of 2011, in addition to Best Film Not in the English Language, Best Original Screenplay, and Best Ensemble (including Best Actor and Best Supporting Actress runners-up Peyman Moaadi and Shahab Hosseini). Farhadi was also the runner-up for Best Director.
- 2/22/2012
- by Andre Soares
- Alt Film Guide
Chris New, Tom Cullen in Andrew Haigh's Weekend Anna Paquin, Terrence Malick: Cinephile Society Winners Best Picture 01. A Separation 02. The Tree of Life 03. Mysteries of Lisbon 04. Certified Copy 05. Weekend 06. Margaret 07. Uncle Boonmee Who Can Recall His Past Lives 08. Drive 09. Meek's Cutoff 10. Hugo 11. Melancholia Best Director Terrence Malick – The Tree of Life Runner-up: Asghar Farhadi – A Separation Best Film Not In The English Language 01. A Separation 02. Mysteries of Lisbon 03. Certified Copy 04. Uncle Boonmee Who Can Recall His Past Lives 05. The Skin I Live In 06. Poetry 07. House of Pleasures 08. Le Havre 09. Le Quattro Volte 10. Of Gods and Men Best Actor Tom Cullen – Weekend Runner-up: Peyman Moaadi – A Separation Best Actress Anna Paquin – Margaret Runner-up: Juliette Binoche – Certified Copy Best Supporting Actor Brad Pitt – The Tree of Life Runner-up: Shahab Hosseini – A Separation Best Supporting Actress J. Smith-Cameron – Margaret Runner-up: Jessica Chastain – Take Shelter Best Original Screenplay A Separation – Asghar Farhadi...
- 2/22/2012
- by Andre Soares
- Alt Film Guide
You may have heard that the Online Film Critics Society unleashed their press release on the world today. It rained Manna Malick from Heaven as The Tree of Life won 5 of their 13 gongs. Their winners...
Picture The Tree of Life
Director Terrence Malick, The Tree of Life
Actress Tilda Swinton, We Need To Talk About Kevin
Actor Michael Fassbender, Shame
They go against the grain frequently with Best Actress. Aside from obvious sweepers like Natalie Portman or Helen Mirren in their years, winners have included Melanie Laurent from Basterds, Michelle Williams from Wendy & Lucy, Reese Witherspoon in Election and more. Like the Los Angeles Film Critics Association, who are even more adventurous in Best Actress citations, the Ofcs is much more traditional / conservative when it comes to Best Actor almost always going with a major future Oscar nominee or frontrunner. The only exception in their entire history is Billy Bob Thornton...
Picture The Tree of Life
Director Terrence Malick, The Tree of Life
Actress Tilda Swinton, We Need To Talk About Kevin
Actor Michael Fassbender, Shame
They go against the grain frequently with Best Actress. Aside from obvious sweepers like Natalie Portman or Helen Mirren in their years, winners have included Melanie Laurent from Basterds, Michelle Williams from Wendy & Lucy, Reese Witherspoon in Election and more. Like the Los Angeles Film Critics Association, who are even more adventurous in Best Actress citations, the Ofcs is much more traditional / conservative when it comes to Best Actor almost always going with a major future Oscar nominee or frontrunner. The only exception in their entire history is Billy Bob Thornton...
- 1/3/2012
- by NATHANIEL R
- FilmExperience
Laramie Eppler, Jessica Chastain, Hunter McCracken, The Tree of Life Terrence Malick's Cannes winner The Tree of Life, a "cosmic" family drama starring Brad Pitt, Jessica Chastain, and Sean Penn, topped the Online Film Critics Society's list of 2011 winners. The Tree of Life won five of its seven nominations: Best Picture, Best Director, Best Supporting Actress (Chastain), Best Editing (Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber, Mark Yoshikawa), and Best Cinematography (Emmanuel Lubezki). No other film won more than one award. [Full list of Online Film Critics winners and nominees.] Malick lost the Best Original Screenplay Award to Woody Allen for the fantasy Midnight in Paris, the filmmaker's most popular movie in years. Midnight in Paris features Owen Wilson, Rachel McAdams, and Marion Cotillard. The Tree of Life's other loser, Brad Pitt, had been shortlisted in the Best Supporting Actor category. Christopher Plummer won for his performance as Ewan McGregor's gay father in Mike Mills' Beginners.
- 1/3/2012
- by Andre Soares
- Alt Film Guide
Brit Marling, Another Earth
Best Film
* The Artist
Drive
Hugo
Midnight In Paris
The Tree Of Life
Best Foreign Language Film
* Le Quattro Volte
A Somewhat Gentle Man
Happy Happy
Of Gods And Men
The Double Hour
Best Director
* Nicolas Winding Refn, Drive
Martin Scorsese, Hugo
Michel Hazanavicius, The Artist
Terrence Malick, The Tree Of Life
Woody Allen, Midnight In Paris
Best Actress
* Brit Marling, Another Earth
Elizabeth Olsen, Martha Marcy May Marlene
Michelle Williams, My Week With Marilyn
Tilda Swinton, We Need To Talk About Kevin
Viola Davis, The Help
Best Actor
* Michael Shannon, Take Shelter
Brad Pitt, Moneyball
Brendan Gleeson, The Guard
George Clooney, The Descendants
Jean Dujardin, The Artist
Best Supporting Actress
* Shailene Woodley, The Descendants
Bérénice Bejo, The Artist
Carey Mulligan, Shame
Jessica Chastain, The Help
Mélanie Laurent, Beginners
Best Supporting Actor
* Nick Nolte, Warrior
Albert Brooks, Drive
Andy Serkis, Rise Of The Planet Of The Apes
Christopher Plummer,...
Best Film
* The Artist
Drive
Hugo
Midnight In Paris
The Tree Of Life
Best Foreign Language Film
* Le Quattro Volte
A Somewhat Gentle Man
Happy Happy
Of Gods And Men
The Double Hour
Best Director
* Nicolas Winding Refn, Drive
Martin Scorsese, Hugo
Michel Hazanavicius, The Artist
Terrence Malick, The Tree Of Life
Woody Allen, Midnight In Paris
Best Actress
* Brit Marling, Another Earth
Elizabeth Olsen, Martha Marcy May Marlene
Michelle Williams, My Week With Marilyn
Tilda Swinton, We Need To Talk About Kevin
Viola Davis, The Help
Best Actor
* Michael Shannon, Take Shelter
Brad Pitt, Moneyball
Brendan Gleeson, The Guard
George Clooney, The Descendants
Jean Dujardin, The Artist
Best Supporting Actress
* Shailene Woodley, The Descendants
Bérénice Bejo, The Artist
Carey Mulligan, Shame
Jessica Chastain, The Help
Mélanie Laurent, Beginners
Best Supporting Actor
* Nick Nolte, Warrior
Albert Brooks, Drive
Andy Serkis, Rise Of The Planet Of The Apes
Christopher Plummer,...
- 12/15/2011
- by Steve Montgomery
- Alt Film Guide
Owen Wilson, Midnight in Paris
Best Film
Drive
Hugo
Midnight In Paris
The Artist
The Tree Of Life
Best Foreign Language Film
A Somewhat Gentle Man
Happy Happy
Le Quattro Volte
Of Gods And Men
The Double Hour
Best Director
Martin Scorsese, Hugo
Michel Hazanavicius, The Artist
Nicolas Winding Refn, Drive
Terrence Malick, The Tree Of Life
Woody Allen, Midnight In Paris
Best Actress
Brit Marling, Another Earth
Elizabeth Olsen, Martha Marcy May Marlene
Michelle Williams, My Week With Marilyn
Tilda Swinton, We Need To Talk About Kevin
Viola Davis, The Help
Best Actor
Brad Pitt, Moneyball
Brendan Gleeson, The Guard
George Clooney, The Descendants
Jean Dujardin, The Artist
Michael Shannon, Take Shelter
Best Supporting Actress
Bérénice Bejo, The Artist
Carey Mulligan, Shame
Jessica Chastain, The Help
Mélanie Laurent, Beginners
Shailene Woodley, The Descendants
Best Supporting Actor
Albert Brooks, Drive
Andy Serkis, Rise Of The Planet Of The Apes
Christopher Plummer,...
Best Film
Drive
Hugo
Midnight In Paris
The Artist
The Tree Of Life
Best Foreign Language Film
A Somewhat Gentle Man
Happy Happy
Le Quattro Volte
Of Gods And Men
The Double Hour
Best Director
Martin Scorsese, Hugo
Michel Hazanavicius, The Artist
Nicolas Winding Refn, Drive
Terrence Malick, The Tree Of Life
Woody Allen, Midnight In Paris
Best Actress
Brit Marling, Another Earth
Elizabeth Olsen, Martha Marcy May Marlene
Michelle Williams, My Week With Marilyn
Tilda Swinton, We Need To Talk About Kevin
Viola Davis, The Help
Best Actor
Brad Pitt, Moneyball
Brendan Gleeson, The Guard
George Clooney, The Descendants
Jean Dujardin, The Artist
Michael Shannon, Take Shelter
Best Supporting Actress
Bérénice Bejo, The Artist
Carey Mulligan, Shame
Jessica Chastain, The Help
Mélanie Laurent, Beginners
Shailene Woodley, The Descendants
Best Supporting Actor
Albert Brooks, Drive
Andy Serkis, Rise Of The Planet Of The Apes
Christopher Plummer,...
- 12/13/2011
- by Steve Montgomery
- Alt Film Guide
James is back from a break in Italy where he discovered a shared, geeky love of Star Wars and Argento movies. Just don’t talk about Studio Ghibli…
Dear readers, I'd like to apologise for not filing columns the past few Fridays. I was abroad and was told to take a holiday from hack writing for a bit. I hope the break hasn't caused regular readers any distress. (I know there are at least two of you. Yeah, you and your imaginary friend, thanks for coming.)
I decided I needed to make like George Clooney in The American and flee to the Italian countryside to find myself, resynchronise my soul and hide from threatening hostile forces. It was either that or the subconscious influence of The Godfather encouraging me to follow Michael Corleone's route of 'run away to the rustic old country and marry the most beautiful girl in the...
Dear readers, I'd like to apologise for not filing columns the past few Fridays. I was abroad and was told to take a holiday from hack writing for a bit. I hope the break hasn't caused regular readers any distress. (I know there are at least two of you. Yeah, you and your imaginary friend, thanks for coming.)
I decided I needed to make like George Clooney in The American and flee to the Italian countryside to find myself, resynchronise my soul and hide from threatening hostile forces. It was either that or the subconscious influence of The Godfather encouraging me to follow Michael Corleone's route of 'run away to the rustic old country and marry the most beautiful girl in the...
- 6/30/2011
- Den of Geek
With less than a month to go before Terrence Malick‘s The Tree of Life hits theaters, the first official review has landed, and it is quite positive. Sprouting from the French site Les Echos du Cinéma, we have a translation below from an IMDb user. They praise the film for its natural performances and beauty, but call out its Christian tones. It can be viewed below, followed by extensive production notes from All Things Shining. There are a lot of interesting tidbits in there, so I encourage you to read on.
In related news, the French distributor EuropaCorp have announced (via Blu-ray.com) a July 15th release date for the Blu-ray of The Tree of Life. No region coding is known yet, but that seems wildly early and highly unlikely. We’ll update the story if we hear any sort of confirmation or correction. For now, check out the review and productions.
In related news, the French distributor EuropaCorp have announced (via Blu-ray.com) a July 15th release date for the Blu-ray of The Tree of Life. No region coding is known yet, but that seems wildly early and highly unlikely. We’ll update the story if we hear any sort of confirmation or correction. For now, check out the review and productions.
- 4/29/2011
- by Jordan Raup
- The Film Stage
Today's collection is a complete, eight-page look at all of the preliminary 2011 Oscar Contenders I've featured over the week in one complete post. There are a few I'll be adding, such as yesterday's Welcome to the RIleys suggestion and hopefully a few more documentaries, before the doors to the new "The Contenders" section opens up in April, but until then this is your one-stop-shop.
As we move along add any thoughts or films you think should be added in the comments below or send me an email directly if you have thoughts on additional contenders or news on any of those on this list. Your suggestions are welcomed and encouraged.
127 Hours Release Date: Release date not yet set Distributor: Fox Searchlight Pictures Directed By: Danny Boyle Cast: James Franco, Amber Tamblyn, Kate Mara Quick Thoughts: Directed by Danny Boyle whose last film, Slumdog Millionaire, racked up eight Oscars including Best Picture,...
As we move along add any thoughts or films you think should be added in the comments below or send me an email directly if you have thoughts on additional contenders or news on any of those on this list. Your suggestions are welcomed and encouraged.
127 Hours Release Date: Release date not yet set Distributor: Fox Searchlight Pictures Directed By: Danny Boyle Cast: James Franco, Amber Tamblyn, Kate Mara Quick Thoughts: Directed by Danny Boyle whose last film, Slumdog Millionaire, racked up eight Oscars including Best Picture,...
- 3/19/2010
- by Brad Brevet
- Rope of Silicon
As of right now, I have a list of 72 individual films that could potentially go on to become 2011 Oscar nominees. If you take into consideration the additional films I currently have listed as animated and documentary contenders the list grows to 85 films. As a result I am going to break up this preliminary list of Oscar contenders into four articles and on the fifth day, this coming Friday, I will publish the list in its entirety. I felt it would be easier to digest everything this way as opposed to offering one massive list you probably wouldn't be able to look over all at once.
As for the list itself, it should be looked at as a guide to potential nominees, not a guarantee, not a lock, but simply films that could potentially go on to be remembered at the year-end Oscar race. A few of these films may not...
As for the list itself, it should be looked at as a guide to potential nominees, not a guarantee, not a lock, but simply films that could potentially go on to be remembered at the year-end Oscar race. A few of these films may not...
- 3/15/2010
- by Brad Brevet
- Rope of Silicon
Editfest, a weekend seminar focusing on the craft and business of editing, which first took place last year in Los Angeles, is expanding to New York, where it will take place Friday and Saturday, June 12 and 13 at the Directors Guild of America at 110 W. 57th Street.
American Cinema Editors and Manhattan Edit Workshop are co-producing the two-day event.
"One of Ace's highest priorities is to help educate and mentor the next generation of editors," Ace president Randy Roberts said. "Editfest is a unique opportunity for attendees to spend time with some of the most accomplished editors working in film and television today."
Confirmed panelists include: Michael Berenbaum; Scott Brock; Robert Eisenhardt; Ken Eluto; Alexander Hall; Tom Haneke; Brian Kates; Anne McCabe; Craig McKay; Bill Pankow; Lee Percy; Sam Pollard; Jay Rabinowitz; Meg Reticker; Stephen Rotter; Kate Sanford; Karen Schmeer; Larry Silk; Tim Squyres; Kate Sanford; Thelma Schoonmaker; Troy Takaki; Chris...
American Cinema Editors and Manhattan Edit Workshop are co-producing the two-day event.
"One of Ace's highest priorities is to help educate and mentor the next generation of editors," Ace president Randy Roberts said. "Editfest is a unique opportunity for attendees to spend time with some of the most accomplished editors working in film and television today."
Confirmed panelists include: Michael Berenbaum; Scott Brock; Robert Eisenhardt; Ken Eluto; Alexander Hall; Tom Haneke; Brian Kates; Anne McCabe; Craig McKay; Bill Pankow; Lee Percy; Sam Pollard; Jay Rabinowitz; Meg Reticker; Stephen Rotter; Kate Sanford; Karen Schmeer; Larry Silk; Tim Squyres; Kate Sanford; Thelma Schoonmaker; Troy Takaki; Chris...
South by Southwest
AUSTIN -- An early sequence in Mark Webber's Explicit Ills carries viewers past rows of abandoned and near-collapsed buildings, navigates debris-strewn empty lots and winds up in a forsaken room where a tiny, healthy tree has sprouted up through decaying floorboards. Audiences who take that image as the start of a certain kind of urban fable -- the spark of life amid squalor -- will be surprised by what follows. The life force of Ills isn't in the exceptions but in the community itself, a disjointed cast of characters who have better things to do than bend themselves to some storyteller's idea of social-uplift allegory.
More restrained than many films it might be compared to and never preachy even when its characters go marching through the streets, the movie's an assured directing debut for young actor Webber. Commercial appeal is limited by the absence of an easy narrative hook, but the picture should earn some respect in an Art House run.
Set in a rough area of Philadelphia, the story follows characters who cross one another's paths but aren't destined for any kind of climactic collision. The community issues that connect them are downplayed in favor of a focus on individual goals: The scrawny kid wants to bulk up and win a bodybuilding contest, the clean-living loft dwellers want to open a natural grocery, the gentle youngster Babo (bathed in a white glow wherever he wanders) wants to make peace where others would harbor grudges.
While most of the characters are poor and the two who clearly have money are gentrifying white kids in what threatens to be a Sid and Nancy romance, the film doesn't trade in misery. It dwells on personal optimism and good will, even if its most emotionally fraught moments arise from a young mother's inability to afford health insurance.
Benefiting from an unhurried but tight cut by editor Jay Rabinowitz (frequent collaborator of exec producer Jim Jarmusch) and Patrice Lucien Cochet's vivid cinematography (which earned a special jury award, alongside an audience award for best narrative feature, at South by Southwest), Ills also draws on recognizable acting names while letting newcomers have the spotlight. Rosario Dawson and Paul Dano, for instance, while understandably highlighted in promo material, appear here solely as warm supporting figures for young charmer Francisco Burgos (Babo), who's making his feature debut. Webber's way with his young cast is as unforced as the movie itself, which easily could have been overwrought and maudlin but is instead oddly affirming.
EXPLICIT ILLS
Mangusta Prods., Film 101, AM/FM Films, Riker Hill Films
Sales agent: Endeavor
Credits:
Screenwriter-director: Mark Webber
Producers: Mark Webber, Sol Tryon, Liz Destro
Executive producer: Jim Jarmusch
Director of photography: Patrice Lucien Cochet
Production designer: Michael Grasley
Music: Khari Mateen
Costume designer: Nikia Nelson
Editor: Jay Rabinowitz
Cast:
Rocco: Paul Dano
Babo's Mom: Rosario Dawson
Jill: Naomie Harris
Jacob: Lou Taylor Pucci
Michelle: Frankie Shaw
Kaleef: Tariq Trotter
Babo: Francisco Burgos
Demetri: Martin Cepeda Jr.
The Girl: Destini Edwards
Running time -- 87 minutes
No MPAA rating...
AUSTIN -- An early sequence in Mark Webber's Explicit Ills carries viewers past rows of abandoned and near-collapsed buildings, navigates debris-strewn empty lots and winds up in a forsaken room where a tiny, healthy tree has sprouted up through decaying floorboards. Audiences who take that image as the start of a certain kind of urban fable -- the spark of life amid squalor -- will be surprised by what follows. The life force of Ills isn't in the exceptions but in the community itself, a disjointed cast of characters who have better things to do than bend themselves to some storyteller's idea of social-uplift allegory.
More restrained than many films it might be compared to and never preachy even when its characters go marching through the streets, the movie's an assured directing debut for young actor Webber. Commercial appeal is limited by the absence of an easy narrative hook, but the picture should earn some respect in an Art House run.
Set in a rough area of Philadelphia, the story follows characters who cross one another's paths but aren't destined for any kind of climactic collision. The community issues that connect them are downplayed in favor of a focus on individual goals: The scrawny kid wants to bulk up and win a bodybuilding contest, the clean-living loft dwellers want to open a natural grocery, the gentle youngster Babo (bathed in a white glow wherever he wanders) wants to make peace where others would harbor grudges.
While most of the characters are poor and the two who clearly have money are gentrifying white kids in what threatens to be a Sid and Nancy romance, the film doesn't trade in misery. It dwells on personal optimism and good will, even if its most emotionally fraught moments arise from a young mother's inability to afford health insurance.
Benefiting from an unhurried but tight cut by editor Jay Rabinowitz (frequent collaborator of exec producer Jim Jarmusch) and Patrice Lucien Cochet's vivid cinematography (which earned a special jury award, alongside an audience award for best narrative feature, at South by Southwest), Ills also draws on recognizable acting names while letting newcomers have the spotlight. Rosario Dawson and Paul Dano, for instance, while understandably highlighted in promo material, appear here solely as warm supporting figures for young charmer Francisco Burgos (Babo), who's making his feature debut. Webber's way with his young cast is as unforced as the movie itself, which easily could have been overwrought and maudlin but is instead oddly affirming.
EXPLICIT ILLS
Mangusta Prods., Film 101, AM/FM Films, Riker Hill Films
Sales agent: Endeavor
Credits:
Screenwriter-director: Mark Webber
Producers: Mark Webber, Sol Tryon, Liz Destro
Executive producer: Jim Jarmusch
Director of photography: Patrice Lucien Cochet
Production designer: Michael Grasley
Music: Khari Mateen
Costume designer: Nikia Nelson
Editor: Jay Rabinowitz
Cast:
Rocco: Paul Dano
Babo's Mom: Rosario Dawson
Jill: Naomie Harris
Jacob: Lou Taylor Pucci
Michelle: Frankie Shaw
Kaleef: Tariq Trotter
Babo: Francisco Burgos
Demetri: Martin Cepeda Jr.
The Girl: Destini Edwards
Running time -- 87 minutes
No MPAA rating...
- 3/28/2008
- The Hollywood Reporter - Movie News
PARK CITY -- Weapons brings the perennial problems of teenagers into the twenty-first century with a decidedly downbeat treatment. The film's stylish and innovative look, influenced by the slowed-down rhythms of Southern hip-hop, doesn't quite carry the elemental story of love and revenge. Its heart and soul may appeal to the new lost generation, but not the standard indie crowd.
Shot in the suburban nowhere of Southern California, the film could really take place wherever kids are restless, bored and disaffected. That's always been a recipe for violence, and director Adam Bhala Lough does not disappoint on that count. Film opens with a particularly gruesome shooting in which a kid's head is blown off in a hamburger joint. The story bobs and weaves backwards in time to eventually reveal how this came about.
Weapons centers on two groups of friends, one white and one black, who, in a nice touch, seem to more or less peacefully coexist until the explosion. On the white side is Jason (Riley Smith), a one-time high school basketball star who has fallen into a life of drugs and easy sex. His best buddy Sean Mark Webber) has, somewhat unbelievably, just returned to the neighborhood from his first year in college. Rounding out the trio is the Loose Cannon Chris (Paul Dano), a classic misfit who goes around sticking a video camera in everyone's face.
The story ignites when Reggie (Nick Cannon) discovers his kid sister Sabrina (Regine Nehy) with a black eye. She says Jason did it and in a rage Reggie sets out for revenge accompanied by his best friend Mikey (Jade Yorker) and Mikey's younger brother James (Brandon Mychal Smith). Although he's probably no more than sixteen Reggie is intent on getting a gun from Mikey's crazy uncle (Arliss Howard), who seems to be channeling the stoned-out Dennis Hooper from Apocalypse Now. After Reggie bludgeons him with a fire extinguisher all bets are off.
In between constantly getting high and stumbling around in a daze, the aggrieved parties are gradually drawn together with tragic results. But despite the buildup, the killings don't carry much weight when they finally happen. These are not characters most people can sympathy with. One tends to watch dispassionately as the inevitable plays out.
Constructed around the music of the southern hip hopper DJ Screw, which aims to simulate the laconic sound of a codeine high, the film relies on endless handheld shots and slow motion sequence in cars and at parties. There is a lot of super-saturated color meant to suggest the drug-induced state.
For their part, the kids are so high most of the time they have become matter-of-fact about the violence around them. Performances by the ensemble cast feel authentic, especially Dano as the loser Chris and Smith as the burnt out Jason. Amy Ferguson, as one of the neighborhood girls who has been around the block at sixteen, captures the dead-end feeling of a life evaporating before it starts.
With a keener eye for detail than story, Lough has definitely tapped a vein in the underbelly of America's youth. But for all its snappy editing (by Jay Rabinowitz) and visual bravado (by cinematographer Manuel Albert Claro), Weapons is not a pretty picture.
Weapons
Fried Films/Pantry Films
Credits: Director: Adam Bhala Lough; Writer: Lough; Producers: Rob Fried, Dan Keston, Bill Straus; Executive Producers: Jason Lust, Sol Tryon; Director of Photography: Manual Albert Claro; Production Designer: Alan E. Muraoka; Music: DJ Screw; Costume Designer: Tere Duncan; Editor: Jay Rabinowitz.
Cast:
Reggie: Nick Cannon; Chris: Paul Dano; Sean: Mark Webber; Jason: Riley Smith; Sabrina: Regine Nehy; Nikki: Amy Ferguson; Mikey: Jade Yorker; Mikeyis uncle: Arliss Howard; James: Brandon Mychal Smith
No MPAA rating, running time: 85 minutes...
Shot in the suburban nowhere of Southern California, the film could really take place wherever kids are restless, bored and disaffected. That's always been a recipe for violence, and director Adam Bhala Lough does not disappoint on that count. Film opens with a particularly gruesome shooting in which a kid's head is blown off in a hamburger joint. The story bobs and weaves backwards in time to eventually reveal how this came about.
Weapons centers on two groups of friends, one white and one black, who, in a nice touch, seem to more or less peacefully coexist until the explosion. On the white side is Jason (Riley Smith), a one-time high school basketball star who has fallen into a life of drugs and easy sex. His best buddy Sean Mark Webber) has, somewhat unbelievably, just returned to the neighborhood from his first year in college. Rounding out the trio is the Loose Cannon Chris (Paul Dano), a classic misfit who goes around sticking a video camera in everyone's face.
The story ignites when Reggie (Nick Cannon) discovers his kid sister Sabrina (Regine Nehy) with a black eye. She says Jason did it and in a rage Reggie sets out for revenge accompanied by his best friend Mikey (Jade Yorker) and Mikey's younger brother James (Brandon Mychal Smith). Although he's probably no more than sixteen Reggie is intent on getting a gun from Mikey's crazy uncle (Arliss Howard), who seems to be channeling the stoned-out Dennis Hooper from Apocalypse Now. After Reggie bludgeons him with a fire extinguisher all bets are off.
In between constantly getting high and stumbling around in a daze, the aggrieved parties are gradually drawn together with tragic results. But despite the buildup, the killings don't carry much weight when they finally happen. These are not characters most people can sympathy with. One tends to watch dispassionately as the inevitable plays out.
Constructed around the music of the southern hip hopper DJ Screw, which aims to simulate the laconic sound of a codeine high, the film relies on endless handheld shots and slow motion sequence in cars and at parties. There is a lot of super-saturated color meant to suggest the drug-induced state.
For their part, the kids are so high most of the time they have become matter-of-fact about the violence around them. Performances by the ensemble cast feel authentic, especially Dano as the loser Chris and Smith as the burnt out Jason. Amy Ferguson, as one of the neighborhood girls who has been around the block at sixteen, captures the dead-end feeling of a life evaporating before it starts.
With a keener eye for detail than story, Lough has definitely tapped a vein in the underbelly of America's youth. But for all its snappy editing (by Jay Rabinowitz) and visual bravado (by cinematographer Manuel Albert Claro), Weapons is not a pretty picture.
Weapons
Fried Films/Pantry Films
Credits: Director: Adam Bhala Lough; Writer: Lough; Producers: Rob Fried, Dan Keston, Bill Straus; Executive Producers: Jason Lust, Sol Tryon; Director of Photography: Manual Albert Claro; Production Designer: Alan E. Muraoka; Music: DJ Screw; Costume Designer: Tere Duncan; Editor: Jay Rabinowitz.
Cast:
Reggie: Nick Cannon; Chris: Paul Dano; Sean: Mark Webber; Jason: Riley Smith; Sabrina: Regine Nehy; Nikki: Amy Ferguson; Mikey: Jade Yorker; Mikeyis uncle: Arliss Howard; James: Brandon Mychal Smith
No MPAA rating, running time: 85 minutes...
- 1/21/2007
- The Hollywood Reporter - Movie News
Screened
Toronto International Film Festival
TORONTO -- Never a big fan of conventional feature narrative structure, Jim Jarmusch again prefers to do it his way with "Coffee and Cigarettes", a consistently amusing collection of 10 black-and-white shorts shot over the past two decades.
Featuring many of the actors and musicians who have appeared in his previous films, the anthology is assembled around a very basic foundation -- a couple of people meet in a diner/lounge/dive over a cuppa joe (or, in a couple of cases, tea), light up a smoke and let life unfold.
Given the filmmaker's penchant for the gently absurdist, the results actually aren't as potentially numbing as might be anticipated, especially when those inspired eccentric matchups include Iggy Pop and Tom Waits, Roberto Benigni and Steven Wright (circa 1986), White Stripes bandmates Jack White and Meg White accompanied by a spark-generating Nikola Tesla invention and Wu-Tang Clan hip-hoppers GZA and RZA dispensing holistic medicine tips to a coffee pot-chugging Bill Murray.
Those names and Jarmusch's well-deserved following should ensure domestic distribution for the as-yet-unattached film, which was screened as a Toronto International Film Festival Special Presentation.
Stylistically something of a throwback to the director's earlier black-and-white work, the monochromatics have been impressively furnished by several cinematographers, including Frederick Elmes ("Blue Velvet"), Robby Muller, Ellen Kuras and filmmaker Tom DiCillo.
Unsurprisingly, not every encounter turns out to be a gem. The ones that work most effectively are those that reveal some sticky truths about the trappings of celebrity, including partially improvised discussions between Waits and Pop, British actors Alfred Molina and Steve Coogan and, in the picture's terrific centerpiece, a hotel lobby meeting between Cate Blanchett (playing herself) and her bitter Aussie rocker cousin (also, remarkably, Blanchett).
In Jarmusch's capable hands, the mundane has never been so delightful.
Coffee and Cigarettes
United Artists
Smokescreen Inc. presents in association with Asmik Ace and Bim Distribuzione A film by Jim Jarmusch
Credits:
Director-screenwriter: Jim Jarmusch
Producers: Joana Vicente, Jason Kliot
Directors of photography: Frederick Elmes, Ellen Kuras, Robby Muller, Tom DiCillo
Production designers: Mark Friedberg, Tom Jarmusch, Dan Bishop
Editors: Jay Rabinowitz, Melody London, Terry Katz, Jim Jarmusch
Cast:
Roberto Benigni, Steven Wright, Joie Lee, Cinque Lee, Steve Buscemi, Iggy Pop, Tom Waits, Joe Rigano, Vinny Vella, Vinny Vella Jr., Renee French, E.J. Rodriguez, Alex Descas, Isaach de Bankole, Cate Blanchett, Meg White, Jack White, Alfred Molina, Steve Coogan, GZA, RZA, Bill Murray, Bill Rice, Taylor Mead
Running time -- 96 minutes
No MPAA rating...
Toronto International Film Festival
TORONTO -- Never a big fan of conventional feature narrative structure, Jim Jarmusch again prefers to do it his way with "Coffee and Cigarettes", a consistently amusing collection of 10 black-and-white shorts shot over the past two decades.
Featuring many of the actors and musicians who have appeared in his previous films, the anthology is assembled around a very basic foundation -- a couple of people meet in a diner/lounge/dive over a cuppa joe (or, in a couple of cases, tea), light up a smoke and let life unfold.
Given the filmmaker's penchant for the gently absurdist, the results actually aren't as potentially numbing as might be anticipated, especially when those inspired eccentric matchups include Iggy Pop and Tom Waits, Roberto Benigni and Steven Wright (circa 1986), White Stripes bandmates Jack White and Meg White accompanied by a spark-generating Nikola Tesla invention and Wu-Tang Clan hip-hoppers GZA and RZA dispensing holistic medicine tips to a coffee pot-chugging Bill Murray.
Those names and Jarmusch's well-deserved following should ensure domestic distribution for the as-yet-unattached film, which was screened as a Toronto International Film Festival Special Presentation.
Stylistically something of a throwback to the director's earlier black-and-white work, the monochromatics have been impressively furnished by several cinematographers, including Frederick Elmes ("Blue Velvet"), Robby Muller, Ellen Kuras and filmmaker Tom DiCillo.
Unsurprisingly, not every encounter turns out to be a gem. The ones that work most effectively are those that reveal some sticky truths about the trappings of celebrity, including partially improvised discussions between Waits and Pop, British actors Alfred Molina and Steve Coogan and, in the picture's terrific centerpiece, a hotel lobby meeting between Cate Blanchett (playing herself) and her bitter Aussie rocker cousin (also, remarkably, Blanchett).
In Jarmusch's capable hands, the mundane has never been so delightful.
Coffee and Cigarettes
United Artists
Smokescreen Inc. presents in association with Asmik Ace and Bim Distribuzione A film by Jim Jarmusch
Credits:
Director-screenwriter: Jim Jarmusch
Producers: Joana Vicente, Jason Kliot
Directors of photography: Frederick Elmes, Ellen Kuras, Robby Muller, Tom DiCillo
Production designers: Mark Friedberg, Tom Jarmusch, Dan Bishop
Editors: Jay Rabinowitz, Melody London, Terry Katz, Jim Jarmusch
Cast:
Roberto Benigni, Steven Wright, Joie Lee, Cinque Lee, Steve Buscemi, Iggy Pop, Tom Waits, Joe Rigano, Vinny Vella, Vinny Vella Jr., Renee French, E.J. Rodriguez, Alex Descas, Isaach de Bankole, Cate Blanchett, Meg White, Jack White, Alfred Molina, Steve Coogan, GZA, RZA, Bill Murray, Bill Rice, Taylor Mead
Running time -- 96 minutes
No MPAA rating...
Screened
Toronto International Film Festival
TORONTO -- Never a big fan of conventional feature narrative structure, Jim Jarmusch again prefers to do it his way with "Coffee and Cigarettes", a consistently amusing collection of 10 black-and-white shorts shot over the past two decades.
Featuring many of the actors and musicians who have appeared in his previous films, the anthology is assembled around a very basic foundation -- a couple of people meet in a diner/lounge/dive over a cuppa joe (or, in a couple of cases, tea), light up a smoke and let life unfold.
Given the filmmaker's penchant for the gently absurdist, the results actually aren't as potentially numbing as might be anticipated, especially when those inspired eccentric matchups include Iggy Pop and Tom Waits, Roberto Benigni and Steven Wright (circa 1986), White Stripes bandmates Jack White and Meg White accompanied by a spark-generating Nikola Tesla invention and Wu-Tang Clan hip-hoppers GZA and RZA dispensing holistic medicine tips to a coffee pot-chugging Bill Murray.
Those names and Jarmusch's well-deserved following should ensure domestic distribution for the as-yet-unattached film, which was screened as a Toronto International Film Festival Special Presentation.
Stylistically something of a throwback to the director's earlier black-and-white work, the monochromatics have been impressively furnished by several cinematographers, including Frederick Elmes ("Blue Velvet"), Robby Muller, Ellen Kuras and filmmaker Tom DiCillo.
Unsurprisingly, not every encounter turns out to be a gem. The ones that work most effectively are those that reveal some sticky truths about the trappings of celebrity, including partially improvised discussions between Waits and Pop, British actors Alfred Molina and Steve Coogan and, in the picture's terrific centerpiece, a hotel lobby meeting between Cate Blanchett (playing herself) and her bitter Aussie rocker cousin (also, remarkably, Blanchett).
In Jarmusch's capable hands, the mundane has never been so delightful.
Coffee and Cigarettes
United Artists
Smokescreen Inc. presents in association with Asmik Ace and Bim Distribuzione A film by Jim Jarmusch
Credits:
Director-screenwriter: Jim Jarmusch
Producers: Joana Vicente, Jason Kliot
Directors of photography: Frederick Elmes, Ellen Kuras, Robby Muller, Tom DiCillo
Production designers: Mark Friedberg, Tom Jarmusch, Dan Bishop
Editors: Jay Rabinowitz, Melody London, Terry Katz, Jim Jarmusch
Cast:
Roberto Benigni, Steven Wright, Joie Lee, Cinque Lee, Steve Buscemi, Iggy Pop, Tom Waits, Joe Rigano, Vinny Vella, Vinny Vella Jr., Renee French, E.J. Rodriguez, Alex Descas, Isaach de Bankole, Cate Blanchett, Meg White, Jack White, Alfred Molina, Steve Coogan, GZA, RZA, Bill Murray, Bill Rice, Taylor Mead
Running time -- 96 minutes
No MPAA rating...
Toronto International Film Festival
TORONTO -- Never a big fan of conventional feature narrative structure, Jim Jarmusch again prefers to do it his way with "Coffee and Cigarettes", a consistently amusing collection of 10 black-and-white shorts shot over the past two decades.
Featuring many of the actors and musicians who have appeared in his previous films, the anthology is assembled around a very basic foundation -- a couple of people meet in a diner/lounge/dive over a cuppa joe (or, in a couple of cases, tea), light up a smoke and let life unfold.
Given the filmmaker's penchant for the gently absurdist, the results actually aren't as potentially numbing as might be anticipated, especially when those inspired eccentric matchups include Iggy Pop and Tom Waits, Roberto Benigni and Steven Wright (circa 1986), White Stripes bandmates Jack White and Meg White accompanied by a spark-generating Nikola Tesla invention and Wu-Tang Clan hip-hoppers GZA and RZA dispensing holistic medicine tips to a coffee pot-chugging Bill Murray.
Those names and Jarmusch's well-deserved following should ensure domestic distribution for the as-yet-unattached film, which was screened as a Toronto International Film Festival Special Presentation.
Stylistically something of a throwback to the director's earlier black-and-white work, the monochromatics have been impressively furnished by several cinematographers, including Frederick Elmes ("Blue Velvet"), Robby Muller, Ellen Kuras and filmmaker Tom DiCillo.
Unsurprisingly, not every encounter turns out to be a gem. The ones that work most effectively are those that reveal some sticky truths about the trappings of celebrity, including partially improvised discussions between Waits and Pop, British actors Alfred Molina and Steve Coogan and, in the picture's terrific centerpiece, a hotel lobby meeting between Cate Blanchett (playing herself) and her bitter Aussie rocker cousin (also, remarkably, Blanchett).
In Jarmusch's capable hands, the mundane has never been so delightful.
Coffee and Cigarettes
United Artists
Smokescreen Inc. presents in association with Asmik Ace and Bim Distribuzione A film by Jim Jarmusch
Credits:
Director-screenwriter: Jim Jarmusch
Producers: Joana Vicente, Jason Kliot
Directors of photography: Frederick Elmes, Ellen Kuras, Robby Muller, Tom DiCillo
Production designers: Mark Friedberg, Tom Jarmusch, Dan Bishop
Editors: Jay Rabinowitz, Melody London, Terry Katz, Jim Jarmusch
Cast:
Roberto Benigni, Steven Wright, Joie Lee, Cinque Lee, Steve Buscemi, Iggy Pop, Tom Waits, Joe Rigano, Vinny Vella, Vinny Vella Jr., Renee French, E.J. Rodriguez, Alex Descas, Isaach de Bankole, Cate Blanchett, Meg White, Jack White, Alfred Molina, Steve Coogan, GZA, RZA, Bill Murray, Bill Rice, Taylor Mead
Running time -- 96 minutes
No MPAA rating...
- 9/11/2003
- The Hollywood Reporter - Movie News
Concert movies tend to come in two varieties: the straightforward, simple kind, where the cameras are turned on and the musicians let it rip, and the artsy, conceptual kind, where the filmmakers attempt to make a cinematic statement in conjunction with the music.
Jim Jarmusch's fan letter to Neil Young and Crazy Horse is an example of the latter, and the results won't completely please fans of either the iconoclastic director or the legendary rockers.
The film, after showing at the New York Film Festival, opens commercially Friday.
Unlike the more conventional "Rust Never Sleeps", "Year of the Horse" is less a straightforward concert film than an impressionistic look at the band, whose longevity is now approaching the 30-year mark.
Shot mainly in Super 8 and 16mm, the film includes extensive concert footage (mostly current, although there is an amazing 1976 version of "Like a Hurricane"), interviews with Young, the members of the band and various other figures (including the singer's father, one of his biggest fans), and previously unseen road footage shot in 1976 by a British crew and in 1986 by Young himself.
The results are quite uneven, with the film alternating between being musically powerful in the concert sequences and more than a little boring in the stiffly staged interviews.
The group members are clearly uncomfortable with this "hip, trendy, New York director" coming in trying to encapsulate their identity; "He's not gonna capture anything," guitarist Pancho Sampedro sneers.
The other footage includes scenes of backstage squabbling and a vintage segment in which the band, in the best rock 'n' roll tradition, sets a fire in a hotel room.
Musically, Jarmusch concentrates on the band's rawer side, with an emphasis on lesser-known songs and the band's lengthy instrumental jams.
Crazy Horse's brand of music is, of course, rock at its most passionate and primal, and the film ably demonstrates why they have inspired an entire generation of grunge rockers.
Naturally, the volume is turned to deafening levels: "Crank it up", the projectionist is instructed during the opening credits.
Still, the grainy Super 8 footage -- although it undeniably provides an appropriate visual correlative to the music -- ultimately becomes uncomfortable to watch.
It would have been nice if Jarmusch had relied more on the power and immediacy of the music he was documenting instead of trying so hard to put his own stamp on the material.
YEAR OF THE HORSE
October Films
Director Jim Jarmusch
Executive Producers Bernard Shakey,
Elliot Rabinowitz
Producer L.A. Johnson
Cinematographers L.A. Johnson, Jim Jarmusch
Editor Jay Rabinowitz
Music Neil Young & Crazy Horse
Color/stereo
Running time -- 107 minutes
MPAA rating: R...
Jim Jarmusch's fan letter to Neil Young and Crazy Horse is an example of the latter, and the results won't completely please fans of either the iconoclastic director or the legendary rockers.
The film, after showing at the New York Film Festival, opens commercially Friday.
Unlike the more conventional "Rust Never Sleeps", "Year of the Horse" is less a straightforward concert film than an impressionistic look at the band, whose longevity is now approaching the 30-year mark.
Shot mainly in Super 8 and 16mm, the film includes extensive concert footage (mostly current, although there is an amazing 1976 version of "Like a Hurricane"), interviews with Young, the members of the band and various other figures (including the singer's father, one of his biggest fans), and previously unseen road footage shot in 1976 by a British crew and in 1986 by Young himself.
The results are quite uneven, with the film alternating between being musically powerful in the concert sequences and more than a little boring in the stiffly staged interviews.
The group members are clearly uncomfortable with this "hip, trendy, New York director" coming in trying to encapsulate their identity; "He's not gonna capture anything," guitarist Pancho Sampedro sneers.
The other footage includes scenes of backstage squabbling and a vintage segment in which the band, in the best rock 'n' roll tradition, sets a fire in a hotel room.
Musically, Jarmusch concentrates on the band's rawer side, with an emphasis on lesser-known songs and the band's lengthy instrumental jams.
Crazy Horse's brand of music is, of course, rock at its most passionate and primal, and the film ably demonstrates why they have inspired an entire generation of grunge rockers.
Naturally, the volume is turned to deafening levels: "Crank it up", the projectionist is instructed during the opening credits.
Still, the grainy Super 8 footage -- although it undeniably provides an appropriate visual correlative to the music -- ultimately becomes uncomfortable to watch.
It would have been nice if Jarmusch had relied more on the power and immediacy of the music he was documenting instead of trying so hard to put his own stamp on the material.
YEAR OF THE HORSE
October Films
Director Jim Jarmusch
Executive Producers Bernard Shakey,
Elliot Rabinowitz
Producer L.A. Johnson
Cinematographers L.A. Johnson, Jim Jarmusch
Editor Jay Rabinowitz
Music Neil Young & Crazy Horse
Color/stereo
Running time -- 107 minutes
MPAA rating: R...
- 10/6/1997
- The Hollywood Reporter - Movie News
PARK CITY, Utah -- Inertia, ennui, abuse, disorientation, discrimination. Of all these featured subjects at the Sundance Film Festival, none passeth in sheer excruciating power than that of paranoid schizophrenia. The toughest sit of the dramatic competition, ''Clean, Shaven'' is also one of the most expertly made, a corrosively chilling depiction of the ravages of dementia.
A cacophony of intrusively threatening images and discordantly noisy abrasions, ''Clean, Shaven'' documents the downslide of Peter Winter (Peter Greene), an intelligent young man who desperately seeks to find his young daughter (Jennifer MacDonald) in a small, coastal fishing town. His quest is ruptured by recurring delusions of persecution -- he thinks he has a transistor implanted in his brain.
Living in his junk-strewn car, Peter batters himself with increasingly masochistic behavior: He knifes apart a fingernail, lifting it from the skin to get at his implanted circuitry, and burrows into his skull with a knife to wedge out the gadgetry.
His menace to others is no less. Publicly frightening, his eerie, self-destructive behavior unnerves even those who have minimal contact with him.
Writer-producer-director Lodge Kerrigan's spare narrative is powerfully implosive. Peter's agitation and murderous behavior are cinematically compacted by Kerrigan's forceful fusion of jarring compositions, percussive cuts, numbing sounds and constricted framings. ''Clean, Shaven'' is a film you cannot, as much as you'd like, tear your eyes from. Highest praise to Kerrigan and to his skilled technical team, most prominently editor Jay Rabinowitz and cinematographer Teodoro Maniaci.
The cast members are solid and well-chosen. As the sick and deadly lead character, Greene brings an icy, desperate fury to his character's downslide, while Megan Owen evinces touchingly the horrible, isolated pain of his shattered mother.
CLEAN, SHAVEN
DSM III Films Inc.
Director/producer/screenwriter Lodge H. Kerrigan
Executive producer J. Dixon Byrge
Director of photography Teodoro Maniaci
Editor Jay Rabinowitz
Production designer Tanie Ferrier
Music Hahn Rowe
Color/stereo
Cast:
Peter Winter Peter Greene
Peter's mother Megan Owen
Nicolle Jennifer MacDonald
Melinda Molly Castelloe
Jack McNally Robert Albert
Running time -- 80 minutes
(c) The Hollywood Reporter...
A cacophony of intrusively threatening images and discordantly noisy abrasions, ''Clean, Shaven'' documents the downslide of Peter Winter (Peter Greene), an intelligent young man who desperately seeks to find his young daughter (Jennifer MacDonald) in a small, coastal fishing town. His quest is ruptured by recurring delusions of persecution -- he thinks he has a transistor implanted in his brain.
Living in his junk-strewn car, Peter batters himself with increasingly masochistic behavior: He knifes apart a fingernail, lifting it from the skin to get at his implanted circuitry, and burrows into his skull with a knife to wedge out the gadgetry.
His menace to others is no less. Publicly frightening, his eerie, self-destructive behavior unnerves even those who have minimal contact with him.
Writer-producer-director Lodge Kerrigan's spare narrative is powerfully implosive. Peter's agitation and murderous behavior are cinematically compacted by Kerrigan's forceful fusion of jarring compositions, percussive cuts, numbing sounds and constricted framings. ''Clean, Shaven'' is a film you cannot, as much as you'd like, tear your eyes from. Highest praise to Kerrigan and to his skilled technical team, most prominently editor Jay Rabinowitz and cinematographer Teodoro Maniaci.
The cast members are solid and well-chosen. As the sick and deadly lead character, Greene brings an icy, desperate fury to his character's downslide, while Megan Owen evinces touchingly the horrible, isolated pain of his shattered mother.
CLEAN, SHAVEN
DSM III Films Inc.
Director/producer/screenwriter Lodge H. Kerrigan
Executive producer J. Dixon Byrge
Director of photography Teodoro Maniaci
Editor Jay Rabinowitz
Production designer Tanie Ferrier
Music Hahn Rowe
Color/stereo
Cast:
Peter Winter Peter Greene
Peter's mother Megan Owen
Nicolle Jennifer MacDonald
Melinda Molly Castelloe
Jack McNally Robert Albert
Running time -- 80 minutes
(c) The Hollywood Reporter...
- 1/28/1994
- The Hollywood Reporter - Movie News
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