Directed by Olivier Assayas. With Juliette Binoche, Kristen Stewart, Chloë Grace Moretz, Lars Eidinger. A film star comes face-to-face with an uncomfortable. Scott and Stephen Holden — share their picks for the best movies of the year.
- Lars Eidinger, Actor: Clouds of Sils Maria. Lars Eidinger was born on January 21, 1976 in Berlin, Germany. He is an actor and composer, known for Clouds of Sils Maria.
- It's safe to say that Clouds of Sils Maria is a character study. Beyond that though I'm not exactly sure how to label what Oliver Assayas is trying to say with this.
The Best Movies of 2. Working from Phyllis Nagy’s distillation of the Patricia Highsmith novel, he reaffirmed that filmmakers don’t need to generate their own screenplays to be great, a truth many aspiring and established auteurs disregard. But his work shows up in cities like Los Angeles and San Francisco, too, so if you’re in the neighborhood, look for his next show. Another 2. 6 Favorites — because why not? Many of these could have made my top 1. Most Hopeful Sign At one point, you could feel the status quo shift as it became O. K. Viola Davis spoke out, as did Jennifer Lawrence, who went public about making less than her male co- stars.
Even Better In October, The Los Angeles Times reported that the Equal Employment Opportunity Commission was investigating gender discrimination in the industry, just as the American Civil Liberties Union requested state and federal agencies do after it conducted its own inquiry. On the Other Hand Here is an estimate of the movies directed by women that were released by major studios this year: Warner Bros. An Amazing Coincidence One of the studios with the most on- screen diversity — it released “Trainwreck” and “Straight Outta Compton” (if also “Ted 2”) — and with some of the most female directors is Universal, which, as of early December, had gobbled up almost 2. Most Ignored Truism “There’s a myth in the business that young males drive the box office,” Tom Rothman, the chairman of Sony Pictures Entertainment’s motion picture group, told The Hollywood Reporter in November.
In this same interview, Alan F. Horn, the chairman of the Walt Disney Studios, tried to make it simple: “There are variables that do affect what one pays any performer. Angelina Jolie, for example, got a lot more money for . Most Complex Hurdle As of Dec.
For more info: wolfevideo.com/products/girl-king-the/ THE GIRL KING is the captivating new feature by Finland. The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV.
Box Office Mojo. By contrast, five out of 2. This may look bad, but the numbers appear marginally better than they have in recent years.
Most Interesting Apology (tie) On Nov. The Hollywood Reporter disgorged a 1,2. Oscar actress round table. Soon after, the director Alex Proyas and Lionsgate apologized for the lack of diversity in the cast in their new movie “Gods of Egypt.”1. Going, Going, Almost Gone Quentin Tarantino shot his latest, “The Hateful Eight,” in 7. Whatever you think of Mr.
Tarantino, try to catch “The Hateful Eight” on film so you can see for yourself how the industry- enforced switch to digital has radically changed movies. Best Advice for Movie Lovers In August, the scholar Wheeler Winston Dixon sounded an alarm: “If you go on Amazon and you see some great black- and- white film, and it’s going for $3, or any kind of foreign or obscure film, buy it, because it’s going out of print, and they’re not going to put them back into print.” Tens of thousands of films that were on VHS never made the jump to DVD or to Blu- ray, Mr. Dixon warns. And the brave new world of downloads (a. Scott. Like a lot of critics, I chafe against the arbitrariness of lists even as I recognize their utility.
Since I can never stop at 1. I, when something like 9. North American theaters? So maybe technically it’s a top 2. The slots with more than one title aren’t ties, but double features, paired movies that complement, contend with or amplify each other’s best qualities.
Photo. Mehdi A. G. Movies On Dvd Hardcore Henry (2016). Mohamed, left, and Layla Walet Mohamed in “Timbuktu.”Credit.
Arnaud Contreras/Cohen Media Group 1. Sissako is both an indispensable political filmmaker and one of the great poets of contemporary cinema.
His portrait of life under jihadi rule in northern Mali is brutal and shocking, but also gentle, generous and surprisingly funny. Sissako does not humanize violent extremists so much as demonstrate that they already belong to the species and reflect part of our common, tragic nature. But his movie also insists that the only effective and ethically serious way to oppose fanaticism is with humanism. Which is to say with irony, with decency and, perhaps above all, with art.
It’s a very funny workplace sitcom (with exuberant, touching performances from Amy Poehler, Phyllis Smith, Mindy Kaling and others), an ingenious allegory of psychological development, and an almost unbearably moving and honest defense of the role of sadness in our lives. In addition to mustering righteous anger, Mr. Mc. Carthy and Mr. Mc. Kay, in very different ways, managed to infuse the routines of modern work (answering phones, typing on keyboards, scrutinizing spreadsheets) with suspense, emotion and moral gravity.
Dog people and Lou Reed fans will be especially susceptible (I plead guilty on both counts), but anyone who ever had a heart is likely to succumb to Ms. Anderson’s ethereal wisdom and her fierce formal wit. The relationship between them is perhaps best summed up in this poem by William Blake, called “The Clod and the Pebble”: Love seeketh not itself to please,Nor for itself hath any care,But for another gives its ease,And builds a Heaven in Hell’s despair.
So sung a little Clod of Clay. Trodden with the cattle’s feet,But a Pebble of the brook. Warbled out these metres meet: Love seeketh only self to please,To bind another to its delight,Joys in another’s loss of ease,And builds a Hell in Heaven’s despite. Rivette’s mischievous ramble through Paris, French literature and a handful of perennial philosophical puzzles (What is the nature of reality? How do we know what we know?
What is the relation of effect to cause?) is both a charming, newly rediscovered artifact of its hectic time and a bulletin from the cinematic future. Everything has already been done, and everything is still possible. Also the best recent eco- feminist- socialist allegory that isn’t a novel by Margaret Atwood. Jordan and Sylvester Stallone. Pictures, via Associated Press. Sylvester Stallone, shuffling into the wise old trainer role, gives perhaps the loosest, warmest performance of his career.
Jordan, as Adonis Johnson, Rocky’s prot. Coogler, with his second feature as a director he proves himself to be a true contender. Bujalski’s is a flawless screwball triangle (with Guy Pearce, Cobie Smulders and Kevin Corrigan as the sides) masquerading as an easygoing hangout with the oddballs of Austin, Tex.
Piven surveys the darker territory of mental illness and daytime television. Thanks to Kristen Wiig’s astounding performance (as a lottery winner named Alice Klieg), “Welcome to Me” is a portrait of an American dreamer that is unsettling and inspiring in equal measure.
In the era of Black Lives Matter, the stories of the Black Panthers and the jazz singer and activist Nina Simone could hardly be more relevant. Nelson and Ms. Garbus tell them beautifully. A poetry- loving teacher discovers that one of her young pupils is a literary prodigy, and takes increasingly extreme measures to protect his gift from an indifferent world. As the story unfolds, it becomes clear that Mr. Lapid is engaged in a stealthy, ferocious critique of a society that has sacrificed its spiritual values and its cultural inheritance on the altar of power and materialism. These movies dramatize the harrowing, thrilling passage to womanhood with unsparing honesty and infinite compassion.
Two celebrations of the sometimes prickly solidarity among women. Four tremendous performances, from Kitana Kiki Rodriguez, Mya Taylor, Julia Garner and the great Lily Tomlin. Anyone prone to lamenting the death of movies needs to shut up and watch these.
Ponsoldt’s film is a comedy of journalistic bad manners and a bitter, knowing satire of the machinery of literary fame. Jesse Eisenberg and Jason Segel use the conventions of the buddy movie to perfect a new subgenre: the frenemy film. Stationed behind a Manhattan department store counter, Ms. Mara’s demure character, Therese, can’t resist such devouring scrutiny, and a forbidden passion ignites.
On the surface, this screen adaptation of Patricia Highsmith’s novel “The Price of Salt” is a period lesbian soap opera set in the early 1. It stands as a companion piece to “Far From Heaven,” Mr.