Lars Von Trier - Director’s Statement: A BEAUTIFUL MOVIE ABOUT THE END OF THE WORLDOctober 13, 2011


Lars Von Trier - Director’s Statement: A BEAUTIFUL MOVIE ABOUT THE END OF THE WORLD

Magnolia Pictures

Leave it to one of cinema's most controversial filmmakers to have a "Director's Statement." Maybe they all should.


MELANCHOLIA: A BEAUTIFUL MOVIE ABOUT THE END OF THE WORLD

It was like waking from a dream: my producer showed me a suggestion for a poster. “What is that?” I ask. ”It’s a film you’ve made!” she replies. ”I hope not,” I stammer. Trailers are shown ... stills ... it looks like shit. I’m shaken... more (click here)

- Lars von Trier, Copenhagen, April 13, 2011

 


Lars Von Trier / MELANCHOLIA (Magnolia Pictures)

 

Reviews...

MELANCHOLIA - DEMAND IT

BUCK - DEMAND IT

TRUST - RISK IT

HELLO LONESOME - DEMAND IT

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SLEEPING BEAUTY - Now On DemandNovember 16, 2011


SLEEPING BEAUTY - Now On Demand

IFC Films

On Demand Weekly provides new movie reviews of movies on demand from the POV of watching from the comfort of your home. Today’s review: SLEEPING BEAUTY (IFC Films).

 

SLEEPING BEAUTY - On Demand
By Amy Slotnick

 

Beautiful and broke, Lucy (Emily Browning) is a student looking for extra work to make ends meet. Like many before her, she finds the money made in sex work too great to resist. However, this work is atypical, even for a prostitute. The service she works for caters to a wealthy and senior clientele, white haired men who want to fondle her while she is drugged into a deep sleep. Penetration is forbidden, but abuse is not. When Lucy awakes, she remembers nothing, and it seems, at least initially, that she is able to avoid any emotional penetration as well.

 


The wide shots of Lucy’s slim, naked and limp body being groped by elderly men are soundless and long shots, making the dark urges being enacted seem even more disturbing. Lucy instinctively knows this is unhealthy for her, but her double life continues, while she wonders what is being done while she sleeps. It is the audience who knows more about the horrific details of her life than she does, and it is no fairy tale. We get glimpses of her life outside this job, but none of it is more fulfilling for her. She has a mysterious bond with an alcoholic she calls Birdman, but it is never clear what they mean to each other.

 

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What Will Willem Dafoe Do On The LAST DAY ON EARTH?March 23, 2012


What Will Willem Dafoe Do On The LAST DAY ON EARTH?

IFC Films

On Demand Weekly provides new movie reviews of hot movies on demand from the POV of watching from the comfort of your home. Today’s review: 4:44 LAST DAY ON EARTH (IFC Films).

 

4:44 THE LAST DAY ON EARTH
By Adam Schartoff

 

It’s the last day of life on the planet. You’ve only got a few hours left, what do you do with that time?

It’s a terrifying thought but a provocative one as well. On the heels of Lars von Trier’s MELANCHOLIA which explores that same question but on a more transcendental level, comes Abel Ferrara’s latest movie 4:44 LAST DAY ON EARTH. This movie, too, explores the question of what one might do with those precious last hours and provides the most outrageous answer of all... not much.

 


The film, staged almost like a one-set play, takes place almost entirely inside the Downtown NYC loft of couple former addict Cisco (a superb Willem Dafoe) and artist Tina (Natasha Lyonne). The In their remaining hours, the couple make love, Skype with family and friends, order in Chinese food, make love again, argue and forgive. While outside their window some desperate events are taking place, mostly it’s just business as usual; taxis driving passengers around, people walking the sidewalks, shops open for business.

 



It’s an intriguing idea and Ferrara shoots New York like New Yorkers see it.

Ferrara has generally been more concerned with more extreme vistas in past films.; most notably films like KING OF NEW YORK and BAD LIEUTENANT. But since GO GO TALES came out to less than an illustrious reception (wrongly so) a few years ago, Ferrara has toned down the volume and made a couple of feature length documentaries.

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SIMON KILLERApril 11, 2013


SIMON KILLER

IFC Films

On Demand Weekly provides new movie reviews of hot movies on demand from the POV of watching from the comfort of your home. Today’s review: SIMON KILLER (IFC Films).


See the latest Independent Movie On Demand (IMOD) Trailers here...

 

SIMON KILLER
A contemporary cautionary tale in the City of Lights….
By Cynthia Kane

 
As the film opens, the tone and the music – and perhaps the title if you read it as tongue-in-cheek – gives a sense that we’re going to be watching a quirky, maybe even humorous coming-of-age story about a young guy, a recent graduate sewing some wild oats in Paris and across the European continent after breaking up with his college girlfriend.
 
 

But we’re actually in for something far more interesting.

Simon (Brady Corbet – MELANCHOLIA, MARTHA MARCY MAY MARLENE, FUNNY GAMES, MYSTERIOUS SKIN, “24”) has fled for a summer of travel and escape before facing the future. Able to stay at a friend’s apartment in Paris, he wanders aimlessly, lonely and depressed. It’s clear he continues to be obsessed by the recent past – the breakup, the ex-girlfriend, the future? Life itself? There’s something boiling up underneath, this is clear. What that is… not so clear.

One day Simon walks into a prostitute bar. He encounters and solicits Victoria (Mati Diop – Claire Denis’ 35 SHOTS OF RUM.) As her character is more fully divulged, we discover an extremely vulnerable and damaged young woman, taken in by our Simon. He carries her (and us) along for a ride as he slowly descends in to a kind of hellish self-created chaos, where we discover he is not who he’s led us to believe…in fact, who and what is he is, is simply left to our imaginations.

Parasitically attaching himself to Victoria, they hatch a plan to blackmail and extort several of her clients. She wants the money for freedom and to start a better life. Simon? A new dose of confidence, no matter how it’s won, proves very dangerous for anyone in this young man’s sphere. That he’s a compulsive liar becomes clear. A neurotic and depressed kid who’s borderline psychotic… not so clear. Has he always lacked empathy, morals all his young life or has the breakup fractured any decency within him?

In short, he’s an untrustworthy character that hooks us in as craftily as he does every character in the film. At first…

The cast more than delivers. Corbet and Diop give us believable, aching portrayals of broken individuals. Corbet’s Simon is subtle yet provides us flashes of insight into this disturbed mental state. He starts to crumble and fall apart under his multitudes of lies; it makes you wonder if we’re glimpsing a kind of monster created by a generation of entitled young American white males, a kind of American Psycho of the millennial generation. His rage and inability to deal with pain like an adult are unnerving. One might ask is he a Robert Chambers or a Joran ven der Sloot in the making?

Kudos to the film’s soundtrack. 
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