The Palm Springs International Film Festival (Psiff) has announced the winners of its 28th edition, with “Toni Erdmann,” Isabelle Huppert and and “Neruda” among the honorees. Held between January 2 – 16, the fest boasts a lineup of 190 films from 72 countries — including a great many Oscar submissions that aren’t widely screened elsewhere, like Cristi Puiu’s “Sieranevada.”
Read More: Foreign Language Film Directors Discuss Common Ground, Rivalries at Palm Springs Contenders Panel
Best of the Fest screenings will take place today. Full list of winners below:
Read More: Isabelle Huppert Wins the Golden Globe for Best Actress in a Drama
Mercedes-Benz Audience Award for Best Narrative Feature
“When We Rise” (U.S.), directed by Gus Van Sant
Mercedes-Benz Audience Award for Best Documentary Feature
“Take Me Home Huey” (U.S.), directed by Alicia Brauns and Christine Steele
Fipresci Prize for Best Foreign Language Film of the Year
“Toni Erdmann” (Germany), directed by...
Read More: Foreign Language Film Directors Discuss Common Ground, Rivalries at Palm Springs Contenders Panel
Best of the Fest screenings will take place today. Full list of winners below:
Read More: Isabelle Huppert Wins the Golden Globe for Best Actress in a Drama
Mercedes-Benz Audience Award for Best Narrative Feature
“When We Rise” (U.S.), directed by Gus Van Sant
Mercedes-Benz Audience Award for Best Documentary Feature
“Take Me Home Huey” (U.S.), directed by Alicia Brauns and Christine Steele
Fipresci Prize for Best Foreign Language Film of the Year
“Toni Erdmann” (Germany), directed by...
- 1/15/2017
- by Michael Nordine
- Indiewire
Maren Ade’s German Oscar submission took one of the top prizes at the 28th annual Palm Springs International Film Festival.
Neruda won the festival’s Cine Latino Award for the best Ibero-American film, while Isabelle Huppert was named best actress for Elle and Gael García Bernal took corresponding honours for Neruda.
White Sun earned the New Voices/New Visions Award for the best first or second film and No Dress Code Required won the John Schlesinger Award for best first or second feature documentary.
The Mercedes-Benz Audience Awards on Sunday night went to Gus Van Sant’s When We Rise for best narrative feature and Take Me Home Huey by Alicia Brauns and Christine Steele for best documentary.
The festival runs from January 2-16.
Fipresci Prize
Toni Erdmann (Germany)
Fipresci Prize for Best Actress in a Foreign Language Film:
Isabelle Huppert, Elle (France)
Fipresci Prize for the Best Actor in a Foreign Language Film
Gael García Bernal, [link...
Neruda won the festival’s Cine Latino Award for the best Ibero-American film, while Isabelle Huppert was named best actress for Elle and Gael García Bernal took corresponding honours for Neruda.
White Sun earned the New Voices/New Visions Award for the best first or second film and No Dress Code Required won the John Schlesinger Award for best first or second feature documentary.
The Mercedes-Benz Audience Awards on Sunday night went to Gus Van Sant’s When We Rise for best narrative feature and Take Me Home Huey by Alicia Brauns and Christine Steele for best documentary.
The festival runs from January 2-16.
Fipresci Prize
Toni Erdmann (Germany)
Fipresci Prize for Best Actress in a Foreign Language Film:
Isabelle Huppert, Elle (France)
Fipresci Prize for the Best Actor in a Foreign Language Film
Gael García Bernal, [link...
- 1/14/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Maren Ade’s German Oscar submission took one of the top prizes at the 28th annual Palm Springs International Film Festival.
Neruda won the festival’s Cine Latino Award for the best Ibero-American film, while Isabelle Huppert was named best actress for Elle and Gael García Bernal took corresponding honours for Neruda.
White Sun earned the New Voices/New Visions Award for the best first or second film and No Dress Code Required won the John Schlesinger Award for best first or second feature documentary.
The Mercedes-Benz Audience Awards on Sunday night went to Gus Van Sant’s When We Rise for best narrative feature and Take Me Home Huey by Alicia Brauns and Christine Steele for best documentary.
The festival runs from January 2-16.
Fipresci Prize
Toni Erdmann (Germany)
Fipresci Prize for Best Actress in a Foreign Language Film:
Isabelle Huppert, Elle (France)
Fipresci Prize for the Best Actor in a Foreign Language Film
Gael García Bernal, [link...
Neruda won the festival’s Cine Latino Award for the best Ibero-American film, while Isabelle Huppert was named best actress for Elle and Gael García Bernal took corresponding honours for Neruda.
White Sun earned the New Voices/New Visions Award for the best first or second film and No Dress Code Required won the John Schlesinger Award for best first or second feature documentary.
The Mercedes-Benz Audience Awards on Sunday night went to Gus Van Sant’s When We Rise for best narrative feature and Take Me Home Huey by Alicia Brauns and Christine Steele for best documentary.
The festival runs from January 2-16.
Fipresci Prize
Toni Erdmann (Germany)
Fipresci Prize for Best Actress in a Foreign Language Film:
Isabelle Huppert, Elle (France)
Fipresci Prize for the Best Actor in a Foreign Language Film
Gael García Bernal, [link...
- 1/14/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The world premiere of Ritesh Batra’s adaptation of the Julian Barnes novel starring Jim Broadbent and Charlotte Rampling will kick off proceedings at the 28th annual Palm Springs International Film Festival on January 5.
The Sense Of An Ending (pictured) is Batra’s second film after The Lunchbox and will open through CBS films on March 10.
Taylor Hackford’s The Comedian starring Robert De Niro will close the event (Spc opens the film on January 13) as festival brass unveiled the full roster of Premieres, New Voices/New Visions, Modern Masters, True Stories and After Dark.
World premieres include Colin Hanks’s Eagles Of Death Metal: Nos Amis (Our Friends) (Us-France); Andrew Wagner’s Breakable You (Us) starring Holly Hunter, Tony Shalhoub and Alfred Molina; Catalina Aguilar Mastretta’s Everybody Loves Somebody (Mexico); and Simon Aboud’s The Beautiful Fantastic (UK-us).
Rounding out the world premieres are: The Concessionaires Must Die! (Us) by [link...
The Sense Of An Ending (pictured) is Batra’s second film after The Lunchbox and will open through CBS films on March 10.
Taylor Hackford’s The Comedian starring Robert De Niro will close the event (Spc opens the film on January 13) as festival brass unveiled the full roster of Premieres, New Voices/New Visions, Modern Masters, True Stories and After Dark.
World premieres include Colin Hanks’s Eagles Of Death Metal: Nos Amis (Our Friends) (Us-France); Andrew Wagner’s Breakable You (Us) starring Holly Hunter, Tony Shalhoub and Alfred Molina; Catalina Aguilar Mastretta’s Everybody Loves Somebody (Mexico); and Simon Aboud’s The Beautiful Fantastic (UK-us).
Rounding out the world premieres are: The Concessionaires Must Die! (Us) by [link...
- 12/15/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Juan Andrés Arango’s migrant drama claimed the México Primero prize and Andrea Arnold’s road movie prevailed in the Competencia de Los Cabos category as the fifth annual Los Cabos International Film Festival closed on Saturday.
Both films received Mxn $200k (roughly Usd $9.6k), while Tamara And The Ladybug by Lucía Carrera took the Fipresci México Primero Award as well as the Usd $12k Art Kingdom Trailer Award presented by Art Kingdom Showbiz Agency.
Beauties Of The Night by Maria José Cuevas took the Mxn $200k Cinemex Audience prize, and Kris Avedisian’s Donald Cried claimed the Usd $15k Labodigital Incentive For Distribution award.
Three filmmakers each earned a Mxn $150k (Usd $7.2k) scholarship under the auspices of the Gabriel Figueroa Film Fund: Cómprame Un Revólver by Julio Hernández Cordón; Alicia by Michael Rowe; and Monsters And Men by Reinaldo M. Green.
The Usd $160k Gabriel Figueroa Film Fund - Labodigital Awards went to: The Rosenbergs...
Both films received Mxn $200k (roughly Usd $9.6k), while Tamara And The Ladybug by Lucía Carrera took the Fipresci México Primero Award as well as the Usd $12k Art Kingdom Trailer Award presented by Art Kingdom Showbiz Agency.
Beauties Of The Night by Maria José Cuevas took the Mxn $200k Cinemex Audience prize, and Kris Avedisian’s Donald Cried claimed the Usd $15k Labodigital Incentive For Distribution award.
Three filmmakers each earned a Mxn $150k (Usd $7.2k) scholarship under the auspices of the Gabriel Figueroa Film Fund: Cómprame Un Revólver by Julio Hernández Cordón; Alicia by Michael Rowe; and Monsters And Men by Reinaldo M. Green.
The Usd $160k Gabriel Figueroa Film Fund - Labodigital Awards went to: The Rosenbergs...
- 11/13/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Just because events like Venice, Tiff and Nyff are over, that doesn’t mean fall film festival season is slowing down. Quite the contrary, as the renowned Morelia International Film Festival is currently in full swing in Mexico.
Founded in 2003, the festival was designed to put a greater spotlight on Mexican cinema, but it has since grown into an international event, hosting directors as diverse as Alfonso Cuarón and Alejandro González Iñárritu to Todd Haynes, Michel Gondry, Alejandro Jodorowsky and the late Abbas Kiarostami. The festival runs through October 30, and IndieWire has partnered with Festival Scope to give readers the chance to attend from the comfort of their own homes.
Now through Thursday, October 27, IndieWire readers have an exclusive opportunity to register for a chance to win an online festival pass to screen 20 features and documentaries from the Morelia Film Festival on the Festival Scope website. Click here for the...
Founded in 2003, the festival was designed to put a greater spotlight on Mexican cinema, but it has since grown into an international event, hosting directors as diverse as Alfonso Cuarón and Alejandro González Iñárritu to Todd Haynes, Michel Gondry, Alejandro Jodorowsky and the late Abbas Kiarostami. The festival runs through October 30, and IndieWire has partnered with Festival Scope to give readers the chance to attend from the comfort of their own homes.
Now through Thursday, October 27, IndieWire readers have an exclusive opportunity to register for a chance to win an online festival pass to screen 20 features and documentaries from the Morelia Film Festival on the Festival Scope website. Click here for the...
- 10/24/2016
- by Zack Sharf
- Indiewire
Amat Escalante’s The Untamed (pictured) and Andrea Arnold’s American Honey will compete for the Cinemax Award for the best competition film at the Mexican festival, set to run from November 9-13.
The other selections in the Competencia Los Cabos main competition strand are: Antonio Campos’ Christine, Kristopher Avedisian’s Donald Cried, Matt Johnson’s Operation Avalanche, Gabe Klinger’s Porto, Rafi Pitts’ Soy Nero, Joey Klein’s The Other Half and Kim Nguyen’s Two Lovers And A Bear.
Competing for top honours in Mexico Primero are: Maria José Cuevas’ Beauties Of The Night, Sebastián Hiriart’s Carroña, Rodrigo Cervantes’ Los Paisages, Lucía Carreras’ Tamara y La Catarina, Ricardo Silva and Omar Guzmán’s William, The New Judo Master, and Juan Andrés Arango’s X500.
Festival heads said most of the Mexico Primero entries came through the festival’s Gabriel Figueroa Film Fund.
The winners of the Cinemax Award for best film in the Competencia...
The other selections in the Competencia Los Cabos main competition strand are: Antonio Campos’ Christine, Kristopher Avedisian’s Donald Cried, Matt Johnson’s Operation Avalanche, Gabe Klinger’s Porto, Rafi Pitts’ Soy Nero, Joey Klein’s The Other Half and Kim Nguyen’s Two Lovers And A Bear.
Competing for top honours in Mexico Primero are: Maria José Cuevas’ Beauties Of The Night, Sebastián Hiriart’s Carroña, Rodrigo Cervantes’ Los Paisages, Lucía Carreras’ Tamara y La Catarina, Ricardo Silva and Omar Guzmán’s William, The New Judo Master, and Juan Andrés Arango’s X500.
Festival heads said most of the Mexico Primero entries came through the festival’s Gabriel Figueroa Film Fund.
The winners of the Cinemax Award for best film in the Competencia...
- 10/11/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
As the Toronto International Film Festival nears we who live here, at ground zero, are bracing ourselves for the din of stardom and fandom in our city's streets. ScreenAnarchy will be on task to provide you coverage leading up to the festival, during it's frenzy and when the dust clears. Tonight we have an exclusive clip, and the new poster, to share with you from the Mexican documentary Beauties of the Night. In the clip one of the documentary's subjects, Olga Breeskin, is enjoying a day at the spa and regales viewers with a love song. Eight years in the making, the debut feature from Mexican documentarian María José Cuevas, Beauties Of The Night (Belles de Noche) is a captivating group portrait of...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 9/5/2016
- Screen Anarchy
Kenneth Lonergan’s Sundance hit, Denis Villeneuve’s Venice selection, and Pablo Larrain’s acclaimed Chilean biopic are among select titles heading to Colorado this weekend.
The 43rd edition of the Telluride Film Festival includes Clint Eastwood’s Tom Hanks starrer Sully, Barry Jenkins’ anticipated triptych Moonlight and Maren Ade’s Cannes triumph Toni Erdmann.
Joining them are Aisling Walsh’s Maudie, Gianfranco Rosi’s Berlin Golden Bear winner Fire At Sea, Damien Chazelle’s Venice opener La La Land and also from the Lido, Rama Burshtein’s Through The Wall.
Telluride runs from September 2-5. The main slate line-up appears below.
Arrival (Denis Villeneuve, Us, 2016)The B-Side: Elsa Dorfman’s Portrait Photography (Errol Morris, Us 2016)Bleed For This (Ben Younger, Us, 2016)California Typewriter (Doug Nichol, Us, 2016)Chasing Trane (John Scheinfeld, Us, 2016)The End Of Eden (Angus Macqueen, UK, 2016)Finding Oscar (Ryan Suffern, Us, 2016)Fire At Sea (Gianfranco Rosi, Italy-France, 2016)Frantz ([link...
The 43rd edition of the Telluride Film Festival includes Clint Eastwood’s Tom Hanks starrer Sully, Barry Jenkins’ anticipated triptych Moonlight and Maren Ade’s Cannes triumph Toni Erdmann.
Joining them are Aisling Walsh’s Maudie, Gianfranco Rosi’s Berlin Golden Bear winner Fire At Sea, Damien Chazelle’s Venice opener La La Land and also from the Lido, Rama Burshtein’s Through The Wall.
Telluride runs from September 2-5. The main slate line-up appears below.
Arrival (Denis Villeneuve, Us, 2016)The B-Side: Elsa Dorfman’s Portrait Photography (Errol Morris, Us 2016)Bleed For This (Ben Younger, Us, 2016)California Typewriter (Doug Nichol, Us, 2016)Chasing Trane (John Scheinfeld, Us, 2016)The End Of Eden (Angus Macqueen, UK, 2016)Finding Oscar (Ryan Suffern, Us, 2016)Fire At Sea (Gianfranco Rosi, Italy-France, 2016)Frantz ([link...
- 9/1/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Buoyed by its worldwide premiere at the ongoing Venice Film Festival – early reviews are praising the musical as an audacious, deeply romantic feature – Damien Chazelle’s Whiplash follow-up La La Land has booked its place at Telluride 2016.
The picture, one that stars Emma Stone and Ryan Gosling in central roles, is one of the many soon-to-be-released features to be locked in for the imminent film festival, joining the ranks alongside Manchester By the Sea, Moonlight, Things to Come, Bleed For This and Clint Eastwood’s airborne thriller Sully. It is, without question, a fairly stacked lineup, which only has us all the more excited for the onset of the Toronto International Film Festival later this month.
But over the coming weekend, it is Telluride that will take center stage. Similar to La La Land, today’s unveiling confirms a second festival appearance for Denis Villeneuve’s intriguing sci-fi pic Arrival.
The picture, one that stars Emma Stone and Ryan Gosling in central roles, is one of the many soon-to-be-released features to be locked in for the imminent film festival, joining the ranks alongside Manchester By the Sea, Moonlight, Things to Come, Bleed For This and Clint Eastwood’s airborne thriller Sully. It is, without question, a fairly stacked lineup, which only has us all the more excited for the onset of the Toronto International Film Festival later this month.
But over the coming weekend, it is Telluride that will take center stage. Similar to La La Land, today’s unveiling confirms a second festival appearance for Denis Villeneuve’s intriguing sci-fi pic Arrival.
- 9/1/2016
- by Michael Briers
- We Got This Covered
One of the last question marks of the early fall film festival onslaught was Telluride Film Festival, who announces their line-up just a day before the event kicks off. Today now brings the slate for the 43rd edition of the festival, which runs from Friday through Monday.
Featuring the world premiere of Clint Eastwood‘s Sully, there’s also the Venice favorites La La Land and Arrival, as well as past festival highlights and some highly-anticipated dramas headed to Tiff, including Manchester By the Sea, Moonlight, Things to Come, Bleed For This, Toni Erdmann, Una, Neruda, and more. Check out the line-up below, along with links to our reviews where available.
Line-Up
Arrival (d. Denis Villeneuve, U.S., 2016)
The B-side: Elsa Dorfman’S Portrait Photography (d. Errol Morris, U.S., 2016)
Bleed For This (d. Ben Younger, U.S., 2016)
California Typewriter (d. Doug Nichol, U.S., 2016)
Chasing Trane (d. John Scheinfeld,...
Featuring the world premiere of Clint Eastwood‘s Sully, there’s also the Venice favorites La La Land and Arrival, as well as past festival highlights and some highly-anticipated dramas headed to Tiff, including Manchester By the Sea, Moonlight, Things to Come, Bleed For This, Toni Erdmann, Una, Neruda, and more. Check out the line-up below, along with links to our reviews where available.
Line-Up
Arrival (d. Denis Villeneuve, U.S., 2016)
The B-side: Elsa Dorfman’S Portrait Photography (d. Errol Morris, U.S., 2016)
Bleed For This (d. Ben Younger, U.S., 2016)
California Typewriter (d. Doug Nichol, U.S., 2016)
Chasing Trane (d. John Scheinfeld,...
- 9/1/2016
- by Jordan Raup
- The Film Stage
A selection of films from the 2016 edition of the Toronto International Film Festival has been unveiled, with films by Jim Jarmusch, Maren Ade, Tom Ford, Paul Verhoeven, Damien Chazelle, and many more.Opening NIGHTThe Magnificent Seven (Antoine Fuqua)GALASDeepwater HorizonArrival (Denis Villeneuve)Deepwater Horizon (Peter Berg)The Headhunter's Calling (Mark Williams)The Journey Is the Destination (Bronwen Hughes)Jt + The Tennessee Kids (Jonathan Demme)Lbj (Rob Reiner)Lion (Garth Davis)Loving (Jeff Nichols)A Monster Calls (J.A. Bayona)Planetarium (Rebecca Zlotowski)Queen of Katwe (Mira Nair)The Rolling Stones of Olé Olé Olé!: A Trip Across Latin America (Paul Dugdale)The Secret Scripture (Jim Sheridan)Snowden (Oliver Stone)Strange Weather (Katherine Dieckmann)Their Finest (Lone Scherfig)A United Kingdom (Amma Astante)Special PRESENTATIONSLa La LandThe Age of Shadows (Kim Jee-woon)All I See Is You (Marc Forster)American Honey (Andrea Arnold)American Pastoral (Ewan McGregor)Asura: The City of...
- 8/12/2016
- MUBI
Every year, IndieWire asks the Toronto Film Festival’s ace documentary programmer, Thom Powers, to dig into the new lineup. The doc czar’s influence extends beyond Toronto to IFC Center’s Stranger than Fiction series, The SundanceNow Doc Club, and November’s influential festival Doc NYC, which selects the infamous Short List, many of which head for Oscar contention.
This year, the Tiff doc program (September 8-18) numbers 37 titles. It’s led by four veterans — Steve James, Raoul Peck, Errol Morris, and Werner Herzog—big names who will pull audiences, playing alongside newcomers who will benefit from the Tiff spotlight. Fisher Stevens and Leonardo DiCaprio have made a new documentary that they hope will push the needle on climate change. Netflix boasts four high-profile offerings likely to factor in the always intense doc Oscar race. And there’s a plethora of new titles that await discovery — and buyers.
Read...
This year, the Tiff doc program (September 8-18) numbers 37 titles. It’s led by four veterans — Steve James, Raoul Peck, Errol Morris, and Werner Herzog—big names who will pull audiences, playing alongside newcomers who will benefit from the Tiff spotlight. Fisher Stevens and Leonardo DiCaprio have made a new documentary that they hope will push the needle on climate change. Netflix boasts four high-profile offerings likely to factor in the always intense doc Oscar race. And there’s a plethora of new titles that await discovery — and buyers.
Read...
- 8/11/2016
- by Anne Thompson
- Thompson on Hollywood
Every year, IndieWire asks the Toronto Film Festival’s ace documentary programmer, Thom Powers, to dig into the new lineup. The doc czar’s influence extends beyond Toronto to IFC Center’s Stranger than Fiction series, The SundanceNow Doc Club, and November’s influential festival Doc NYC, which selects the infamous Short List, many of which head for Oscar contention.
This year, the Tiff doc program (September 8-18) numbers 37 titles. It’s led by four veterans — Steve James, Raoul Peck, Errol Morris, and Werner Herzog—big names who will pull audiences, playing alongside newcomers who will benefit from the Tiff spotlight. Fisher Stevens and Leonardo DiCaprio have made a new documentary that they hope will push the needle on climate change. Netflix boasts four high-profile offerings likely to factor in the always intense doc Oscar race. And there’s a plethora of new titles that await discovery — and buyers.
Read...
This year, the Tiff doc program (September 8-18) numbers 37 titles. It’s led by four veterans — Steve James, Raoul Peck, Errol Morris, and Werner Herzog—big names who will pull audiences, playing alongside newcomers who will benefit from the Tiff spotlight. Fisher Stevens and Leonardo DiCaprio have made a new documentary that they hope will push the needle on climate change. Netflix boasts four high-profile offerings likely to factor in the always intense doc Oscar race. And there’s a plethora of new titles that await discovery — and buyers.
Read...
- 8/11/2016
- by Anne Thompson
- Indiewire
The Toronto International Film Festival has nearly completed its slate announcement this year — expect a few stragglers to be announced in the coming days, but this is about the size of it — rounding out its lineup with today’s announcement of its Docs, Midnight Madness, Vanguard and Tiff Cinematheque picks. And what a group this is, including plenty of returning favorites and some very exciting new names.
Tiff’s Docs section features a collection of works from award-winning directors including Steve James, Raoul Peck, Errol Morris and Werner Herzog. Leonardo DiCaprio even pops up for a “rousing call to action on climate change” in “The Turning Point,” made in collaboration with Academy Award winner Fisher Stevens and already picked up by National Geographic.
Read More: Tiff Reveals First Slate of 2016 Titles, Including ‘Magnificent Seven,’ ‘American Honey,’ ‘La La Land’ and ‘Birth of A Nation’
The beloved Midnight Madness section offers...
Tiff’s Docs section features a collection of works from award-winning directors including Steve James, Raoul Peck, Errol Morris and Werner Herzog. Leonardo DiCaprio even pops up for a “rousing call to action on climate change” in “The Turning Point,” made in collaboration with Academy Award winner Fisher Stevens and already picked up by National Geographic.
Read More: Tiff Reveals First Slate of 2016 Titles, Including ‘Magnificent Seven,’ ‘American Honey,’ ‘La La Land’ and ‘Birth of A Nation’
The beloved Midnight Madness section offers...
- 8/9/2016
- by Kate Erbland
- Indiewire
Roadside Attractions
Moviefone's Top DVD of the Week:
"Much Ado About Nothing"
What's It About? Joss Whedon's ("The Avengers") modern retelling of the Shakespeare classic follows two couples with different takes on romance. Benedick (Alexis Denisof) and Beatrice (Amy Acker) are older and disdainful of their love, while the sweet young Claudio (Fran Kranz) and Hero (Jillian Morgese) are deeply absorbed by their love.
Why We're In: Whedon's "Much Ado About Nothing" is a refreshing and charming take on the classic comedy for its unique blending of the Shakespearian dialogue with a contemporary setting and aesthetic. While it sticks to the original content and doesn't add anything wholly revolutionary, it's nonetheless an entertaining addition to the canon of Shakespeare film adaptations.
Rt & Follow to win @JossWhedon's #MuchAdo About Nothing on Blu-ray! @MuchAdoFilm arrives in stores on 10/8! Rules: http://t.co/QjgiJGpzN5
- moviefone (@moviefone) October 7, 2013 Moviefone's Top Blu-ray of...
Moviefone's Top DVD of the Week:
"Much Ado About Nothing"
What's It About? Joss Whedon's ("The Avengers") modern retelling of the Shakespeare classic follows two couples with different takes on romance. Benedick (Alexis Denisof) and Beatrice (Amy Acker) are older and disdainful of their love, while the sweet young Claudio (Fran Kranz) and Hero (Jillian Morgese) are deeply absorbed by their love.
Why We're In: Whedon's "Much Ado About Nothing" is a refreshing and charming take on the classic comedy for its unique blending of the Shakespearian dialogue with a contemporary setting and aesthetic. While it sticks to the original content and doesn't add anything wholly revolutionary, it's nonetheless an entertaining addition to the canon of Shakespeare film adaptations.
Rt & Follow to win @JossWhedon's #MuchAdo About Nothing on Blu-ray! @MuchAdoFilm arrives in stores on 10/8! Rules: http://t.co/QjgiJGpzN5
- moviefone (@moviefone) October 7, 2013 Moviefone's Top Blu-ray of...
- 10/8/2013
- by Erin Whitney
- Moviefone
Of all the cinéma de papa stylists so despised by the nouvelle vague, René Clair stands alone as the sole member of the old guard to stand down in the face of critical opposition. Or so it seems: Les fêtes galantes (1965) was his last film.
While Carné and the rest struggled on, defiantly filming when they could, Clair apparently had no stomach for the fight: if people thought he was old-fashioned, maybe he should stop.
One doesn't have to hate Clair with the ferocity that Truffaut could muster in order to see some sad wisdom in this retirement: for some time, Clair's films had been a little stiff. His early days among the surrealists, when he could make a kinetic exercise in visual absurdity like Entr'acte (1924), were long gone, and the vein of absurdist fantasy that enlivened his earliest narrative movies had its last expression in 1952's Les belles de nuit,...
While Carné and the rest struggled on, defiantly filming when they could, Clair apparently had no stomach for the fight: if people thought he was old-fashioned, maybe he should stop.
One doesn't have to hate Clair with the ferocity that Truffaut could muster in order to see some sad wisdom in this retirement: for some time, Clair's films had been a little stiff. His early days among the surrealists, when he could make a kinetic exercise in visual absurdity like Entr'acte (1924), were long gone, and the vein of absurdist fantasy that enlivened his earliest narrative movies had its last expression in 1952's Les belles de nuit,...
- 7/11/2013
- by David Cairns
- MUBI
Like Night of the Hunter, Tod Browning’s Freaks or Leonard Kastle’s The Honeymoon Killers, The Road to Yesterday can be ranked among the UFOs of cinema. It’s place in the heart of Cecil B. DeMille’s work proves to be in itself very distinctive. We know that, during his entire life, DeMille had virtually only one producer—Paramount (the former Famous Players Lasky)—just like Minnelli was MGM’s man and Corman American International’s. Sixty-three of his films (out of seventy) were produced at Paramount. And, oddly enough, it is among the seven outsiders, situated within a brief period from 1925 to 1931, that his best activity is to be found (I’m thinking of Madam Satan, The Godless Girl, and The Road to Yesterday)–his most audacious undertakings. To top it off, for this uncontested king of the box office, his best films were his biggest commercial failures.
- 3/18/2013
- by Luc Moullet
- MUBI
A few weeks ago I featured a couple of posters by the French illustrator Roger Jacquier, also known as Rojac. Since then I’ve tried to find out as much about him as possible, but have gleaned little more than that he was born in 1913, designed his first posters in 1932 (when he was just 19), worked steadily throughout the 30s, 40s and 50s, and died in 1997. Beyond that, and the fact that he always signed his posters with “rojac” and the last two digits of the year, I know nothing and if anyone can enlighten me further I’m all ears. I did, however, manage to find a number of Rojac’s posters online, almost all of which confirmed my first impression of him as one of the great movie poster illustrators. If he’s not as well known as some of his peers, it may be because a lot of...
- 4/29/2011
- MUBI
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