As part of the screening put together in relation to the SXSW Title Design Competition, Ian Albinson from the website The Art of the Title Sequence put together a nice two and a half minute compendium of excellent film titles. (That features an occasional piece of television, too.) For any long-time film lover, this little video will probably elicit quite a few responses simply on the strength of the title cards on display. I queued several films to re-watch after exposure to just a few seconds of their titles.
Check out the collection after the jump. Read More »
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For an awards show that purports to honor outstanding achievements in film, the Academy Awards seem oddly drawn to the familiar. The movies with the most nominations at this year’s Oscar race, for example, are The King’s Speech and True Grit — two films with a great deal of critical acclaim backing them, but ones that are decidely lacking in any grand ambition beyond presenting a traditional, accessible story. The Oscars, it would appear, favor the classically good to the unconventionally good, leaving the latter out to be forgotten in a sea of mediocrity and predictability. This isn’t a shocking revelation; the Academy Awards have always favored films that adhere to a certain standard of genre filmmaking. A heart-rending, war-based drama about one man’s uplifting struggle against adversity will always win out over the truly innovative, progressive, subversive films of our times. Read More »
My original title for this piece was ‘Kanye West Loves Enter the Void, But Not Enough to Credit It.’ Because the video for the Kanye West single ‘All of the Lights’ is dominated by strobing full-screen text missives that are pure imitations of the brilliant and assaultive credits sequence for Gaspar Noe‘s Enter the Void. But while the video sees fit to ape the credits to Gaspar Noe’s latest film right down to the fact of crediting some of the people involved in the video, it doesn’t actually shout out to the film or filmmaker that inspired it. Bad form, Kanye.
Then again, the video already has far more than two million views on YouTube, and perhaps it will bring a new and unsuspecting audience to Mr. Noe’s film. Check out the video and the credit sequence that inspired it, after the break. Read More »
Posted on Tuesday, February 1st, 2011 by David Chen
This week, David Chen, Devindra Hardawar, Russ Fischer, and Adam Quigley discuss some of the best films at Sundance 2011, react to this year’s Academy Award nominations, and deconstruct Kevin Smith’s controversial remarks at the Sundance Red State screening.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us for our next live broadcast on Sunday, February 6 at Slashfilm’s live page at 10 PM EST / 7 PM PST, where we’ll be reviewing Dogtooth.
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ENTER THE VOID
Enter the Void is unlike anything I have ever seen or experienced. It’s a one-of-a-kind work of stunning ambition and passion—a psychedelic trip through one man’s drug-fueled perception of his life, his death, his afterlife, and his rebirth. This is not a film to be taken lightly. From its dizzying, techno-charged opening credits onward, it assaults the senses, immersing you (whether you like it or not) into a soulless abyss of life-altering despair, vacuous sex, vibrant neon cityscapes, and obsessive existential desires. For many, it will be a confounding, interminable bore, so indulgent in its own sensual kineticism that it fails to conjure up a satisfying, coherent narrative. Such a reaction is understandable, but with the current antiquated need for the same strict storytelling structure in every film, Gaspar Noé’s soaring, perspective-bending journey through an ethereal Tokyo dreamscape marks exactly the sort of unrestrained madness that today’s jaded moviegoers should be celebrating. It isn’t just the greatest visual achievement since 2001: A Space Odyssey—it’s one of the greatest achievements in cinema, period.
Available on Blu-ray? Yes.
Notable Extras: DVD & Blu-ray – Deleted scenes, VFX, Vortex, DMT, Posters, and Teasers/Trailers/US Trailer/Unused Trailers.
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Ever since its 2009 premieres at the Cannes and Toronto Film Festivals, Gasper Noe‘s Enter the Void has been a rapid topic of film geek conversation. The opening credits, the how-did-he-do-that shots, the amazing concept and, of course, the disturbing content about a murdered drug dealer whose spirit watches over his sister, have each been meticulously dissected as more and more people get exposed to the film. It’s played tons of festivals over the course of almost two years and now, after a very-unsuccessful U.S. theatrical run this fall (the film grossed only $336,467 according to Box Office Mojo) IFC Films will release the film in theaters one last time before its Blu-ray release on January 25.
However, this very limited theatrical release will be of the uncut version of the film featuring the omitted 7th reel which was not in the U.K. or U.S. theatrical releases. Read exactly what has been added and where you can see this version of the film after the jump. Read More »
Quentin Tarantino has released a list of his favorite films of 2010. Hit the jump to see the list.
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As the year comes to a close, more Top 10 lists are being published. Last week, British filmmaker Edgar Wright (Scott Pilgrim, Hott Fuzz) filed his annual listing of the top five movies of 2010. Hit the jump to find out what movies made Wright’s list this year.
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This domestic trailer for Gaspar Noé’s Enter the Void is the best look yet at the colorful head trip of a movie that premiered over a year ago at Cannes. IFC picked up domestic distribution rights and will release the film on September 24. This is the company’s first major promo effort for what must be a pretty difficult sale, but the trailer does its job well. My sky-high interest in seeing the film certainly hasn’t changed after watching it a couple times. Read More »