Posted on Friday, November 27th, 2015 by Jacob Hall
Of the hundreds of “best of the year” lists assembled by various publications around the world, Sight & Sound magazine’s top 20 always tends to be the most fascinating. This year is no different. It’s hard to argue with any list that finds room to contain brutal holocaust immersions and artful LGBT romances and post-apocalyptic action adventures and tear-jerking animated family movies and stirring stop-motion animated dramas and high-concept horror movies and unrelenting documentaries about genocide and stoner film noir.
As usual, the list skews arthouse (there are a few titles here that we aren’t familiar with at all), but consider this list a homework assignment – if it’s on this list, it’s surely going to be worthy of any serious movie fan’s time. Check out the complete Sight and Sound best of 2015 ranking after the jump.
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Posted on Tuesday, February 3rd, 2015 by David Chen
David, Devindra, Jeff, and Germain discuss the guilty pleasure of Everly, remember Parenthood fondly, plus hear what went down at Sundance this year. Be sure to see why Gremlins is kind of racist, and read Matt Patches’ and Kyle Smith’s reviews of Inherent Vice.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Also, like us on Facebook!
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Interviews with Paul Thomas Anderson are still cropping up left and right as he’s out in the public eye doing promotion for Inherent Vice, and we’re not complaining. In a couple of new talks, the director expressed his enthusiasm for Edge of Tomorrow, a film we felt strongly about last year, and also talked about the process of choosing the excellent collection of music that brings additional life to Inherent Vice. Read More »
Some of the most inspirational filmmaking stories are tales of failure. Not the sort of failure that shuts down a production, but the sort that makes people look at a scene or a problem in a new light. It’s impressive to see a film that works in a near-perfect manner, but more so to realize that it didn’t just happen that way. Making a film like There Will Be Blood may seem impossible, until you realize Paul Thomas Anderson and everyone else involved just built it step by step, dealing with setbacks along the way, and using intuition and imagination to solve problems.
Or take Anderson’s new film Inherent Vice. One scene that works really well is a long conversation between Joaquin Phoenix and Reese Witherspoon — you’ve seen it excerpted in trailers and in the image above. They talk for a few minutes, and the whole thing is one shot in which the camera slowly pushes in on a dolly to add movement and a changing perspective. It works so well that a lot of people won’t even think about the shot the first time.
But that’s not how Anderson initially conceived and shot the scene. He first did it in a way that didn’t work, spending a lot of time and energy before realizing that a different, simpler approach was the way to go. He talks about the process in a new interview, which you can watch below. Read More »
Inherent Vice is a big movie with a lot of moving parts. Even though it cuts out a lot of material from the novel by Thomas Pynchon, the film still has a wealth of characters with odd names, many of whom are given pretty breezy introductions. But a set of Inherent Vice character posters and brief video introductions for many of the major characters might help you sort people out ahead of time.
The downside is that these video intros give up a few of the film’s good jokes (but not all of them by any means). The upside is that these videos feature a bunch of footage that isn’t in the film, not that most people will have a chance to know which is which until after this Friday. Read More »
Cool Posts From Around the Web:
As it has done in the past, the New York Times offered a great collection of conversations with directors this year, as the Anatomy of a Scene series gave the directors of many films a chance to dissect their approaches to major scenes in films such as Birdman, A Girl Walks Home Alone at Night, Interstellar, Foxcatcher, Wild, and others. (My only complaint is that directors such as Ava DuVernay and Jennifer Kent are MIA.) Below, you can watch the Anatomy of a Scene series from late 2014. Read More »
Focus, simplicity and control. As I look back over the films of 2014, the ones that most stay with me are not the sprawling epics or the movies that tried to cram a surplus of ideas or technique into one story. (Sorry, Birdman and Interstellar.) They’re the movies, not even necessarily the “small” ones, that exhibit something specific in filmmaking technique, or unusually refined in their approach to story. 2014 was packed with movies I loved, and this list could easily be three times as long as it is. Below, you’ll find the ten films that have stuck with me most intensely, along with a page of extra picks that all offer something special, too. Read More »
Time and time again, you’ve heard that 2014 was a great year for movies. And it was. But as I looked back at the about 150 films I saw released in 2014, I saw a pattern. There were, in fact, lots of great movies in 2014, and in the next few pages you’ll read about a bunch of them. But I honestly feel like when I picked my favorites, the films I felt were the best released this year, they all were on an even playing field. In a way, I could’ve just given you the ten best movies I’ve seen this year in alphabetical order and called it a day. But where’s the fun in that? The fun part is sitting down and making the hard decisions about what is truly the best. So, below, read my top ten movies of 2014.
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Two movies. That’s all it took for every single Paul Thomas Anderson movie to become an event. His first film, Hard Eight, opened with relatively little fanfare. His second, Boogie Nights, announced to the world that Anderson would be a filmmaker to celebrate. One whose work we would anticipate, possibly revere. With each subsequent film, film fans everywhere have salivated to find out what Anderson has in store for us next.
The latest event, Inherent Vice, opens in limited release this weekend. It’s both a huge departure for the director in that it’s the first film of his directly based on someone else’s work (the inspiration for There Will Be Blood was very different from the final film), but somehow it also perfectly fits into his career. Like most of his movies, it’s a film set in and around California and tells a story about its history. Anderson loves California, and that interest shows in almost every one of his movies. And while exploring that running theme, each of his seven movies gets more confident and daring. There has yet to be a single misstep.
Still, there has to be some kind of hierarchy, right? Some kind of almost impossible deathmatch in which these seven glorious works are pitted against one another, to see which triumphs.
Below, read our ranking of the best Paul Thomas Anderson movies. Read More »