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This Year In Film / Re: Annihilation
« Last post by WorldForgot on February 23, 2018, 04:11:42 PM »
For the international Xixaxerz watching this on Netflix: See it on a big screen.
That is, the biggest TV you've got, if you can, and not on your mobile.

A tense, humanist sci-fi. Garland, emboldened by the Oscar win, no doubt, manifests spiritual hypotheticals through LSD fractals, practical effect set pieces, a nightmarish sequence of dance, and the most beautiful corpses I've seen since Bryan Fuller's Hannibal. The textures and details within production design here ask you to interact, investigate what growth like this would mean for you. If you can get past the film's exposition, it becomes a sci-fi Tibetan Book of the Dead . Very moving stuff here about how we process our own mental state, and how external environments figure into all moods. 
The Small Screen / Re: Paterno
« Last post by wilder on February 23, 2018, 02:54:22 PM »
April 7th

The Small Screen / Re: Assorted TV news
« Last post by wilder on February 23, 2018, 01:39:48 PM »
eOne Teams With Vicky Jones & Phoebe Waller-Bridge On Romantic Comedy Thriller Series ‘Run’
via Deadline

Entertainment One is teaming with Vicky Jones (Killing Eve) and Fleabag creator Phoebe Waller-Bridge via Jones and Waller-Bridge’s DryWrite banner, on romantic thriller comedy series Run. The project was announced by Mark Gordon, eOne’s President and Chief Content Officer, Film, Television and Digital at eOne’s annual Drama Preview Thursday morning in London.

Written by Jones with Waller-Bridge in a recurring role, Run is a romantic-comedic-thriller about ex-lovers who made a pact 15 years ago that if they ever needed to escape life, they could send each other a simple text message – “RUN” – and impulsively disappear together. Run is their story. Jones and Waller-Bridge will executive produce alongside Emily Leo of Wigwam Films (BAFTA-winning Under the Shadow).

The series will be spearheaded by Carolyn Newman and Polly Williams for eOne.

Jones directed the plays Mydidae and Fleabag and penned the plays Touch and The One. In addition to creating and starring in Fleabag and Crashing, Waller-Bridge’s credits include an upcoming role in Solo: A Star Wars Story, as well as roles in Broadchurch, The Cafe and The Iron Lady.
DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on February 23, 2018, 01:23:04 PM »
March 5, 2018

Anthony Minghella’s Truly, Madly, Deeply (1990) on blu-ray from BBC/2 Entertain Video (UK)

Juliet Stevenson stars in a role especially written for her. Nina (Stevenson) misses her dead lover so much that he returns to her from the Other Side. But when a new relationship starts to blossom, will she betray the ghost she is still Truly, Madly and Deeply in love with? Oscar winning Anthony Minghella's debut film has become a classic love story of British cinema.

Truly, Madly, Deeply (1990) - Amazon UK

March 13, 2018

Fritz Lang’s While the City Sleeps (1956) on blu-ray from Warner Archive

”Ask mother," says the message scrawled in lipstick at a murder scene, written by an unidentified serial killer who preys on women. It's a sensational story — if it bleeds, it leads — and a news conglomerate offers a big promotion to any high-level company exec who solves the case. So begins the wheeling, dealing and backstabbing of the competing media hotshots as they vie to unmask the so-called Lipstick Killer. Fritz Lang (The Big Heat), whose early career expressionist works would strongly influence the film-noir genre, directs this stylistically understated noir that features an abundance of starpower rare for the genre: Dana Andrews, Rhonda Fleming, George Sanders, Thomas Mitchell, Vincent Price, Ida Lupino and other notables.

While the City Sleeps (1956) - Amazon

March 13, 2018

Fritz Lang’s Beyond a Reasonable Doubt (1956) on blu-ray from Warner Archive

After director Fritz Lang vaulted to prominence with such masterpieces of German cinema as Metropolis and M, he brought his art to Hollywood films, including Fury, Ministry of Fear, The Woman in the Window and more trenchant tales of innocents caught in a web of seeming guilt. His last U.S. movie is this intriguing film noir about a novelist (Dana Andrews) out to expose the injustices of capital punishment. Working with his fiancée's (Joan Fontaine) father, a newspaper publisher (Sidney Blackmer), he frames himself for murder, intending to produce exonerating evidence at the last moment.

Beyond a Reasonable Doubt (1956) - Amazon

March 20, 2018

Roy Ward Bakers’ Don’t Bother to Knock (1952) on blu-ray from Twilight Time

After being dumped by his girlfriend, an airline pilot pursues a babysitter in his hotel and gradually realizes she's dangerous.

Paul Thomas Anderson / Re: PTA Interviews (on YouTube or otherwise)
« Last post by axxonn on February 23, 2018, 01:07:25 PM »
Can anyone find audio/video or a transcript of the DGA Q&A PTA did with Scorsese for There Will Be Blood in January 2008?  Thanks.

I'd be VERY interested in this also - someone must have this lying around on their conputer?
The Director's Chair / Re: Gaspar Noé
« Last post by jenkins on February 23, 2018, 11:59:32 AM »
Gaspar Noé’s Next Film Is ‘Psyché,’ New Details Emerge

There are few provocateurs in modern cinema quite like Gaspar Noé. The filmmaker stunned audiences with the intense rape drama “Irreversible,” tried to give them seizures with “Enter The Void,” and pushed himself to the edges of pornography with “Love.” Now, the director is setting up his next picture and is staying decidedly #OnBrand.

Details of the project, titled “Psyché” (yep, psyche) have emerged from funding group Tax Shelter Belgium, and fan site Les Temps Detruit Toups. Budgeted at €2.6 million (or about $3.1 million U.S.) the film will take viewers back to the ’90s, with another story about drugs, perception, and madness. You know, the usual. Here’s the synopsis:

In the mid 90’s, about twenty urban dancers joined together for a 3-day rehearsal in a closed down boarding school located at the heart of a forest, to share one last dance. They then make one last party around a large sangria bowl.

Quickly, the atmosphere becomes charged and a strange madness will seize them the whole night. If it seems obvious to them that they have been drugged, they neither know by who nor why. And it’s soon impossible for them to resist to their neurosises and psychoses, numbed by the hypnotic and the increasing electric rythm of the music… While some feel in paradise, most of them plunge into hell.

The picture is set for an incredibly brief two-week shoot, and if I understand things correctly, the first cut could be ready by June. So, could there be a new Gaspar Noé film on the festival circuit by the end of the year? Possibly. That said, Tax Shelter Belgium does say that filming is supposed to be wrapped this month, but with no announced cast members, it’s unclear if it has already gone into production on the sly or has been delayed. Either way, Noé has something brewing, and it’s likely to melt your eyeballs again.
Real-Life Soundtracks / Re: Classical Music
« Last post by eward on February 23, 2018, 12:03:01 AM »
Great thread! A few favorites:

This Year In Film / Re: Surfer© Teen Confronts Fear
« Last post by Ravi on February 22, 2018, 07:59:06 PM »
"MSG: Messenger of God" is nuts. Now I'm even more intrigued by this.
This Year In Film / Re: Golden Exits
« Last post by samsong on February 22, 2018, 07:14:19 PM »
this was very good.  the character work, both literally by the cast and figuratively by perry, is astonishing, the prismatic (someone else's apt adjective) way the ensemble narrative is implemented here is a thing of beauty.  excellent score, lensed with a gorgeous, painterly eye that's so perfectly at odds with the emotional timbre, those dissolves!  if i'm not completely blown away by this, it may be because the ending felt premature, but i also don't know how much more i could've taken or where else it could've gone.  would like to revisit. 

paddington 2 reigns supreme.
This Year In Film / Re: Loveless
« Last post by samsong on February 22, 2018, 06:49:14 PM »
my first experience with a film from andrey zvyagintsev.  this is very obviously good and yet i felt quite distant from it.  found myself at turns entranced by its craft and zvyagintsev's hypnotic  mastery of tone, and resisting its tendency toward haneke-esque provocation by way of heavy-handed bleakness.  strayed a bit into obviousness and redundancy... i'm not convinced this needed to be as long as it is.  a case of admiration over affection, i suppose.  i prefer the latter.
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