Posted on Thursday, April 14th, 2016 by Angie Han
Springtime on the French Riviera sounds like a damn great getaway under any circumstance, but if you’re specifically going for Cannes then you have even more reason to be excited. The Festival de Cannes has officially announced the lineup for its 69th edition, which runs from May 11 through 22, and it’s one helluva roster. Things kick off with Woody Allen‘s Cafe Society, and then move along with new films by Nicolas Winding Refn (The Neon Demon), Chan-wook Park (The Handmaiden), Andrea Arnold (American Honey), Jim Jarmusch (Paterson), Jeff Nichols (Loving), and many more.
Playing out of competition are Steven Spielberg‘s The BFG, Shane Black‘s The Nice Guys, and Jodie Foster‘s Money Monster. More titles should be announced in the coming days, but this looks like an excellent list as it is. See the full Cannes 2016 lineup below. Read More »
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Rumors had been swirling for awhile that Woody Allen‘s next film, titled Cafe Society, would open the 2016 Cannes Film Festival. Today an official announcement confirmed those rumors, making this the third time Allen has opened the French film festival. Hollywood Ending and Midnight in Paris had the honor in 2002 and 2011 respectively.
Cafe Society, starring Kristen Stewart and Jesse Eisenberg, will premiere at the festival on May 11th, and along with this news, we finally have an official logline. In traditional Woody Allen fashion, it doesn’t tell us a whole lot about what we can expect from the romance, but some details were recently revealed by cinemtographer Vittorio Storaro. In addition, a new photo from the movie was revealed that you can see below.
See the Cafe Society photo after the jump along with some new details on the movie. Read More »
The 2016 SXSW Film Festival is over, so you know what that means: it’s time to sift through the wreckage and hand out imaginary awards created by a jury composed entirely of a single writer. Welcome /Film’s SXSW Awards, where the categories only exist as an excuse to talk about the best movies that I saw at this year’s fest.
This was a strong year for a typically strong festival – as usual, everyone involved outdid themselves. For a complete look at everything I saw, you can head over here. But now it’s time to take the stage and start handing out fake trophies to a bunch of movies that deserve actual accolades.
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Few film festivals offer the breadth and variety of SXSW and this year was no exception. During my eight days there, I saw gentle comedies, brutal horror movies, fascinating dramas produced on shoestring budgets, inventive documentaries and even an R-rated animated film about talking food. It was one helluva week.
Here is everything that I watched, including the (often very good!) movies that didn’t get full reviews.
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Posted on Saturday, March 19th, 2016 by Jacob Hall
You know the drill, horror fans. A Creepy Stalker Type becomes obsessed with an Innocent Young Woman. He follows her, learns everything about her, and abducts her. And then the real horror begins. And you can predict the beats as they come, right on cue, one right after another.
Pet knows you know these beats. It knows that you think it’s a certain kind of movie and it lulls you into complacency. Yeah, you’ve seen this before. But you haven’t, because Pet zigs when you expect it to zag and takes a sharp left turn into a deep well of pitch black crazy when you least expect it. Pet is another grotesque “captive woman” movie, but it’s so much smarter and cleverer than your average horror flick. It blindsides you. It earns its nasty moments.
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On August 1, 1966, a gunman climbed the tower at the University of Texas in Austin and opened fire with a high-powered rifle. After 96 minutes, the sniper was dead, but so were 16 of his victims. Dozens more were wounded. A nation looked on in shock. And it was just the harbinger of more violence to come in the ensuing decades.
Tower is director Keith Maitland‘s beat-for-beat retelling of what went down during those 96 minutes and an examination of the aftermath, exploring how the events of that day changed those who were there and set the stage for an America where school shootings are so common that no one bats an eye when they occur. It’s a sobering, even stirring, film. And it’s partially animated.
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Posted on Thursday, March 17th, 2016 by Jacob Hall
The first thing you notice about In a Valley of Violence is that it doesn’t feel like a typical Ti West film. His trademark slow-burn menace is nowhere to be found and his low-key comedy, which he used to punctuate tension in films like The House of the Devil and The Innkeepers, has undergone a transformation. This is the first West film that isn’t the cinematic equivalent of being placed in a pot of water and not realizing that the water is boiling until it’s too late – it’s broader, more straightforward, and, on paper, a fairly typical revenge western.
Until’s it’s not. In a Valley of Violence is one weird movie, an experience that grabs your attention with its eccentricities before losing you with its lack of focus. It’s not a deadeye pistol shot from a gunslinger, but a wild shot from a scattergun. Yeah, it still hits its target, but you wish the aim was a little more true.
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Good comedy is the result of long-simmering pain. A comedian struggles on stage, bombing in front of impatient audiences, for years before learning how to be funny. A hilarious actor waits tables while desperately hoping to get cast in that first defining role. And even after so much suffering and so much hard work, the vast majority of talented people still slip through the cracks, watching as others, sometimes friends, stumble into big breaks.
This is the world of Mike Birbiglia‘s Don’t Think Twice, a thoughtful comedy tinged with both melancholy and hope. Set within the New York City improv comedy scene, Birbiglia’s sophomore effort as a director captures the joy of creation and the agony of creative stagnation – anyone who has ever struggled to make something will laugh and cry and find a great deal of the film hitting very close to home.
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Hardcore Henry is less of a movie and more of a 95-minute assault on good taste, a bloody theme park ride in filmic clothing, and/or the gruesome collision of the video gaming and cinematic languages. It’s a singular experience that’s truly unlike any other movie, and for some viewers, it will still be, understandably, one film of its kind too many. But Hardcore Henry isn’t lazy and it isn’t half-assed and it is in no way derivative – for better and worse, it is an ambitious undertaking that accomplishes exactly what it set out to accomplish and there’s something admirable about it.
It’s impressively made, but entirely juvenile. Admittedly exciting, but casually cruel. Formally astonishing, but kind of skin-crawling on more than a few issues. Yeah, Hardcore Henry is going to elicit strong reactions and if you’ll allow me to break out the dreaded first person, I have no idea what to make of it.
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