Last week we posted an article listing our favorite films from 2024, and one entry in it was Robert Eggers’ new take on Nosferatu. It was notable for at least two reasons. One: it only premièred at Christmas so not many people had seen it yet and STILL it made it into the list. And two: the official review here on our site was pretty negative. So what to do, when we see such different views on the same topic? We post a multi-writer article with a bunch of mini-reviews, that’s what! Divisiveness in opinion is awesome, so once again we had a quick round-up of opinions about the film, and have put them up here for all to see, in a gallery. As usual,…
Michiel Blanchart’s thriller proceeds with little to distinguish it from its contemporaries.
The post ‘Night Call’ Review: Belgian Black Lives Matter Thriller Starves for Follow-Through appeared first on Slant Magazine.
Art thrives under fire in this documentary about a Hamlet production unlike any other.
The post ‘Grand Theft Hamlet’ Review: The Slings and Arrows of Outrageous Fortune appeared first on Slant Magazine.
(Check out Hannah Tran’s Santosh movie review, in theaters now. Seen it? Join the conversation with HtN on our Letterboxd Page.) “There are two types of untouchables in this world,” begins the imperative line of director Sandhya Suri’s Santosh, “one who nobody wants […]
The post SANTOSH appeared first on Hammer to Nail.
Plus: ‘Goosebumps: The Vanishing,’ as the streaming season resumes.
Las Vegas might be something of an artificial city, but the people who the living and working (and dying) in it, day to day, are not. Like other big cities, there are people there with dreams, which more often than not, go unfulfilled. Or even if they are fulfilled, in some smaller way, the dream must end, sometimes sooner than one might want, leaving many adrift. The Last Showgirl is a quietly poignant story of one such person, who finds herself unmoored and having to reevaluate the choices that lead her to a seemingly comfortable but ultimately precarious existence. Gia Coppola’s feature is arguably her best to date, where she combines the glitz and glamour she loves about that desert city, with the real life…
Is there a more succinct description of Jason Statham’s career than the title of David Ayer’s latest collaboration with him? The graphic designer of the poster seems to think that there is not, given how prominently it features here. The ample vertical space is filled by stretched ‘hazard orange’ typography, particularly the world “Man,” into pillars. Or a foundation slash pediment of a large edifice As is often with these movies, Statham plays a quiet, but righteously upright, citizen that has to go to war with bad guys due to a missing or murdered citizen. Here he is cosplaying as a blue collar construction worker, although again, the designer could not help themself but add a firearm alongside the sledgehammer. Note that humbleness and humility…
Last year’s top two documentary titles from the Berlinale continue there winning ways landing the top prizes at last night’s Cinema Eye Honors. Docus that premiered at Sundance dominated the other major categories, with Soundtrack to a Coup d’État, Union, Sugarcane, and The Remarkable Life of Ibelin all taking home awards. As we creep up towards the Oscar noms date, No Other Land (they also took the Best Debut doc) and Dahomey are probable locks for the top five. Here are all the winners
Nonfiction Feature
“No Other Land,” Yuval Abraham, Basel Adra, Hamdan Ballal, Rachel Szor, Fabien Greenberg, Bård Kjøge Rønning, Julius Pollux Rothlaender, and Bård Harazi Farbu
Direction
Mati Diop for “Dahomey”
Editing
Rik Chaubet for “Soundtrack to a Coup d’Etat”
Production
Brett Story, Stephen Maing, Mars Verrone, Samantha Curley, and Martin DiCicco for “Union”
Cinematography
Christopher LaMarca and Emily Kassie for “Sugarcane”
Original Music Score
Uno Helmersson for “The Remarkable Life of Ibelin”
Sound Design
Ranko Pauković and Alek Goosse for “Soundtrack to a Coup d’Etat”
Visual Design
Brendan Dawes for “Eno”
Audience Choice Prize
“Porcelain War,” Directed by Brendan Bellomo, and Slava Leontyev
Debut Feature
“No Other Land,” Directed by Yuval Abraham, Basel Adra, Hamdan Ballal, and Rachel Szor
Unforgettables
Shiori Ito for “Black Box Diaries”
Brian Eno for “Eno”
Lhakpa Sherpa for “Mountain Queen: The Summits of Lhakpa Sherpa”
Yuval Abraham and Basel Adra for “No Other Land”
Patrice Jetter for “Patrice: The Movie”
Genna Marvin for “Queendom”
Chris Smalls for “Union”
Harper Steele for “Will and Harper”
Nonfiction Short
“Incident,” Directed by Bill Morrison
Broadcast Film
“Slave Play.… Read the rest
The British cinema––indeed an entire strand of understanding around modern drama––does not exist without Mike Leigh. When it was learned some years ago that Leigh was struggling to obtain financing for a new film, the outrage among cineastes was commensurate with little else, I think in large part for how much he alone represents the […]
The post Mike Leigh on Hard Truths, Losing Dick Pope, and the Duty of an Artist first appeared on The Film Stage.
Near the end of Caroline Poggi and Jonathan Vinel’s (Jessica Forever) initially promising, ultimately disappointing feature-length film, Eat the Night, a virtual screen within a screen — an MMORPG (massive multiplayer role-playing game) — hundreds, if not thousands, of digital avatars fall from a virtual sky, their virtual lives permanently extinguished as the game’s servers shut down, casualties of dwindling interest and ruthless, profit-oriented corporate decision making. The images of lifeless avatars and a blank screen also signal not just the end of the game that connects Pablo (Théo Cholbi), a disaffected, low-level drug dealer, and his younger, teenaged sister, Apolline (Lila Gueneau), but also the end of a chapter in their respective lives. For Pablo, always recklessly, thoughtlessly looking forward, the end of…