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Venice

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    Venice '11 Review: 'Wuthering Heights' Is A Superb, Groundbreaking Adaptation Of The Classic Tale

    One of the most exciting talents to emerge out of the U.K. in the last decade or so is Andrea Arnold. The former television presenter won an Oscar for her short film "Wasp" in 2005, and made her feature debut the following year with the powerful, gritty thriller "Red Road." 2009 saw her follow it up with another kitchen-sink type film, showcasing some incredible perfrmances, namely the drama "Fish Tank," which gathered even more acclaim, and allowed the director to make inroads internationally. Her choice of a third film raised some eyebrows, however: Arnold was selected to helm a long-in-the-works film version of Emily Brontë's "Wuthering He...

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    Venice '11 Review: 'Tinker, Tailor, Soldier, Spy' Is A Remarkable, Quietly Devastating Spy Movie

    The spy genre, is generally speaking, a euphemism for 'action movie' -- look at the explosions, fistfights and car chases of the Bond films, of the 'Mission: Impossible' series, of the 'Bourne' franchise, none of which have much in the way of actual tradecraft. The business of being a spy is hard, boring work, made up of listening and talking and without a lot of glamor. One of the men who best understands this is novelist John Le Carré, himself a former spy, who for close to half a century has been behind some of the most acclaimed literary examples of the genre. But aside from the much-loved "The Spy Who Came In From the Cold," and the more...

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    Venice '11 Review: Todd Solondz's 'Dark Horse' Deconstructs Man-Child Comedies, Mostly Toothlessly

    If there's one theme that's been prevalent -- nay omnipresent -- in American comedy (and some dramas) in the last half-decade or so, it's that of arrested development. The male (for they are usually male) who've been so coddled by parents, by society, by expectations, that they remain locked in a st...

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    Venice '11 Review: 'Shame' A Fascinating Follow-Up To 'Hunger,' With A Tour-De-Force From Fassbender

    As English-language directorial debuts in the last few years go, Steve McQueen's "Hunger" ranks up there as one of the most uncompromising. An award-winning, sometimes controversial British artist, McQueen chose to move into feature film by examining the life of IRA hunger striker Bobby Sands, managing not to flinch from any of the grim details, using takes of up to 20 minutes in length, and showcasing a tour-de-force performance from the now firmly-planted-on-the-A-list Michael Fassbender. It picked up an enormous amount of critical support, including the Camera D'Or at Cannes in 2008, and signified both director and star as major talents to...

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    Venice '11 Review: Al Pacino's 'Wilde Salome' An Oddity Dominated By Titanic Jessica Chastain Turn

    When did Alfredo James Pacino, Greatest Actor Of His Generation, turn into Shouty Al, Star Of "Righteous Kill" And "Jack and Jill"? The exact moment that the transformation took place is debatable, but it's hard to deny that, aside from some occasional good HBO work, Pacino has become a grotesque, bellowing inflation of former glories more often than not. But we live in hope that it's not a one way street, and that the star may find his way back to subtler movie work that he actually cares about. After all, he does, unlike many of his contemporaries, continue to return to the stage frequently, for much-praised performances, in the likes of "O...

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    Venice '11 Review: 'Persepolis' Follow-Up 'Chicken With Plums' Is Amiable & Pretty, But Twee & Thin

    It can be difficult to shift from animation to live-action direction; the processes are very different, and even an accomplished animation helmer can sometimes be undone once they're faced with cameras, actors and the breakneck schedule of a feature film shoot, as opposed to the multi-year process that produces a feature cartoon. Some have managed it, Tim Burton being the most obvious example (at first, anyway...) and Pixar dons Brad Bird and Andrew Stanton are both hoping to make the leap in the next few months. But it's got to be even harder to go from working in graphic novels, to animation, to live-action, but that's been the path for Mar...

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    Venice '11 Review: 'Contagion' Is A Propulsive, Terrifying Picture With A Top-Notch Cast

    Disaster -- an eternally popular obsession of film. Audiences have turned up in droves over the last century or so to watch mankind against their own extinction in the form of meteorites, earthquakes, alien invasions, exploding suns, planetary collisions, and whatever it was that was happening in "T...

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    Venice '11 Review: 'Alps' Another Unique & Remarkable Film From Director Yorgos Lanthimos

    Until a couple of years ago, few outside his native Greece were aware of theater director-turned-filmmaker Giorgos Lanthimos. But when his third film, "Dogtooth," came from seemingly nowhere to win the top prize at Un Certain Regard at Cannes in 2009, it kicked off a process that's deservedly seen t...

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    Venice '11 Review: Jet Li's 'The Sorcerer & The White Snake' Is Wuxia-Lite, With Bad Action & CG

    It might have a highbrow reputation (something anyone who's caught one of the sidebars can confirm), but that doesn't mean that the organizers of the Venice Film Festival don't like to watch a little ass get kicked sometimes. Last year, in fact, was something of a banner year for action at the festival, with "13 Assassins" and 'Detective Dee' in competition, and "Machete," "The Town," "Reign of Assassins" and "Legend of the Fist" all playing out of it. 2011 is a little lighter on the chop-socky, but there is a single film that's here to let film critics scratch their face-punch itch, and that's the Jet Li vehicle "The Sorcerer & The White Sna...

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    Venice '11 Review: 'Un été brûlant' Is A Thundering Bore That Verges On Self-Parody

    There are certain cliches associated with European cinema -- they're not necessarily always accurate but they do exist. Ask a layman -- a well educated, smart, nice person who might not be quite as subtitle-happy as you or I -- what they imagine they might see in, say, an average French film, and a ...

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