Reviews Archive for December, 2017

The DVD Wrapup: The Year’s Top Titles, plus True Love Ways, Killing Gunther, Rock Docs, Unabomber and More

Titles that received a limited release in theaters or none at all make up my year-end list of DVDs and Blu-rays. Some are restored classics, while others are genre specimens that got lost in the crowd.

Read the full article »

The DVD Gift Guide 3: 100 Years Olympics Films, One Day at a Time, Monterey Pop, 4K UHD/HDR Action Editions, Coens, Nutcracker, Stronger, mother!, Leatherface… and more

If the Olympics could bounce back from two world wars, there’s no reason to think peace isn’t be possible in our time. “100 Years of Olympic Films” spans 41 editions of the Olympic Games, from 1912-2012, in 53 surprisingly comprehensive and impeccably restored movies.

Read the full article »

The DVD Wrapup: Trip to Spain, Lucky Goat, Viceroy House, Victoria & Abdul, Manolo and more

I wonder how much, if at all, estimable Brit director Michael Winterbottom was influenced by Louis Malle’s indie sensation My Dinner With Andre – or, for that matter, Andy Kaufman in My Breakfast with Blassie – before embarking on the first BBC mini-series, The Trip. In Malle’s film, quintessential New York City raconteurs Wallace Shawn and Andre Gregory meet for dinner at a fancy restaurant to reconnect after one of them disappeared for a few years. The don’t particularly like each other, but they manage to share two hours in each other’s company, engaged in the lively art of conversation. Dinner was so convincing that many, many viewers assumed that their conversation played out in real time and was wholly improvised. In fact, it was scripted, rehearsed and shot in a chilly Virginia restaurant that was closed for the winter. It still holds up. In The Trip, Steve Coogan and Rob Brydon are asked by the Observer to tour the finest restaurants in the Lake District and document the experience. Their goofy exchanges, impersonations and kvetching only occasionally detract from the magnificent scenery.

Read the full article »

The DVD Wrapup: Letter From An Unknown Woman, Despicable Me 3, Crucifixion, Maurizio Cattelan, A New Leaf, Silent Night and more

Letter From an Unknown Woman is an old-fashioned Hollywood melodrama I might have watched for a few minutes on television long ago and abandoned in favor of a baseball game. Black-and-white films, no matter how opulent or romantic, never looked the way they were supposed to on television. Even when Laserdiscs and TCM came, analog sets couldn’t do justice to the director and cinematographer’s shared vision. Scratches were left in disrepair, just as fuzz and other artifacts clung to prints as if intended. The digital revolution made restoration miracles possible, transforming tired old movies into the classics they actually are. High-resolution screens made everything even better. Even so, I might not have accepted the challenge of watching Letter From an Unknown Woman – its title is as inviting as a warm beer or cold cup of coffee – if I hadn’t already seen the Criterion Collection editions of Max Ophüls’ La ronde, Le Plaisir, The Earrings of Madame de … and Lola Montès, all of which were made after he returned to Europe after World War II. After absorbing the lessons dispensed in the bonus features, it was easy to appreciate this widely admired film from his surprisingly unproductive Hollywood sojourn. Now, at least, I knew what to look for in the upgraded Olive Signature release.

Read the full article » 1 Comment »

Reviews

https://bestwatches.club/ on: The DVD Wrapup: Diamonds of the Night, School of Life, Red Room, Witch/Hagazussa, Tito & the Birds, Keoma, Andre’s Gospel, Noir

Gary Dretzka on: The DVD Wrapup: Sleep With Anger, Ralph Wrecks Internet, Liz & Blue Bird, Hannah Grace, Unseen, Jupiter's Moon, Legally Blonde, Willard, Bang … More

Gary Dretzka on: The DVD Wrapup: Bumblebee, Ginsburg, Buster, Silent Voice, Nazi Junkies, Prisoner, Golden Vampires, Highway Rat, Terra Formars, No Alternative … More

GDA on: The DVD Wrapup: Bumblebee, Ginsburg, Buster, Silent Voice, Nazi Junkies, Prisoner, Golden Vampires, Highway Rat, Terra Formars, No Alternative … More

Larry K on: The DVD Wrapup: Sleep With Anger, Ralph Wrecks Internet, Liz & Blue Bird, Hannah Grace, Unseen, Jupiter's Moon, Legally Blonde, Willard, Bang … More

Gary Dretzka on: The DVD Wrapup: Shoplifters, Front Runner, Nobody’s Fool, Peppermint Soda, Haunted Hospital, Valentine, Possum, Mermaid, Guilty, Antonio Lopez, 4 Weddings … More

gwehan on: The DVD Wrapup: Shoplifters, Front Runner, Nobody’s Fool, Peppermint Soda, Haunted Hospital, Valentine, Possum, Mermaid, Guilty, Antonio Lopez, 4 Weddings … More

Gary J Dretzka on: The DVD Wrapup: Peppermint, Wild Boys, Un Traductor, Await Instructions, Lizzie, Coby, Afghan Love Story, Elizabeth Harvest, Brutal, Holiday Horror, Sound & Fury … More

Gary J Dretzka on: The DVD Wrapup & Gift Guide III: Venom 4K, The Super, Snowflake, Marie Curie, Gamechangers, Who We Are Now, 40 Guns, De Palma-De Niro,, Starman and more

aniban83 on: The DVD Wrapup & Gift Guide III: Venom 4K, The Super, Snowflake, Marie Curie, Gamechangers, Who We Are Now, 40 Guns, De Palma-De Niro,, Starman and more

Quote Unquotesee all »

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin