The time has come yet again for a new release to be completely steamrolled at the box office by an installment of the Marvel Cinematic Universe — and shamefully so, if you ask me. The unfortunate and doomed film comes this time in the form of A24’s Midsommar, a folk mystery/thriller from Hereditary director Ari Aster, which just so happens to be one of the best movies of the year.
This past weekend saw the release of Danny Boyle’s Yesterday, a high-concept dram-com with a hint of romance in which an unprecedented global anomaly erases The Beatles (among other cultural bullet points) from history. The Fab Four are allowed to live on, however, in the baffled memory of struggling musician Jack (Himesh Patel), the only one with any understanding of what’s happened.
When it came to selecting the Movie of the Week, there was no clearer choice than George A. Romero’s inimitable classic Night of the Living Dead, especially with the recent release of Jim Jarmusch’s zombie comedy The Dead Don’t Die, which was heavily inspired by the 1968 film. Night of the Living Dead wasn’t the first film to feature the undead, but it is widely considered to be the definitive introduction for mainstream audiences. The mythology it established all those years ago continues to be the standard for almost every other zombie movie, TV show, or other medium in the genre to come out since.
It’s been some time since I’ve been completely and utterly transfixed by a film. It happened quite often back when I started to really dive into cinema; it was only 2015, but it seems like a thousand years ago, and I remember everything I watched seeming so unique and tantalizing at the time. Naturally, the frequency of this sensation started to die out as my knowledge grew, and it slowly began to take a lot more for a movie to truly knock my socks off.
Originating from the German Expressionist movement of the early 20th century, film noir is a corner of cinema often reduced to a shallow microcosm of its time period. It’s a genre that has been worked in ever since the 1930s, but the most common association with noir is made to the stylish, studio-mandated crime dramas of the 1940s. Production-code-overseen stories of bitter detectives, steely romantic interests, and Tommy Gun-toting gangsters punctuating every sentence with “See?” are typically conjured up when thinking of the prototypical noir story, but there’s a distinct tonal influence hovering over these films, setting them apart from other thrillers. This is the compelling narrative underpinning the Criterion Channel’s choice for our 8th Movie of the Week.
It’s been half a century since the significant culminating events of the Space Race, and the film landscape is making good on celebrating this milestone. 2018 saw several high-profile releases for Stanley Kubrick’s 2001: A Space Odyssey, plus there was the debut of First Man, Damien Chazelle’s fantastic Neil Armstrong biopic. And even more recently, there was the 2019 IMAX release of Apollo 11, Todd Douglas Miller’s fascinating documentary. Not to be outdone, the Criterion Collection recently offered the acclaimed documentary For All Mankind to early subscribers of their approaching streaming service.
The Criterion Collection is often revered (rightfully so) for bringing well-deserved attention to the more obscure, lesser-known corners of cinema history. They have highlighted great films that — whether due to poor accessibility or popularity — have been largely forgotten, and those interested enough to take advantage of the opportunity are typically better off as a result. Their sixth movie of the week, available exclusively to charter subscribers of The Criterion Channel, is a prime example of their knack for worthwhile curation and restoration, and it also serves as an exciting sneak peek into a title not yet released on physical media.
For their fifth Movie of the Week, the Criterion Channel has decided to highlight Charles Burnett’s career with his third feature film, To Sleep with Anger, released on October 12, 1990. The familial drama tells the story of Harry (Danny Glover), a mysterious drifter from the Deep South who takes up a temporary residence in the home of an old acquaintance named Gideon (Paul Butler) and his wife Suzie (Mary Alice), as well as their extended family.
For their fourth Movie of the Week, Criterion Channel has wisely decided to highlight Andrei Tarkovsky, one of the greatest filmmakers of all time. Any one of Tarkovsky’s seven feature-length films released between 1962 and 1986 would make for an excellent showcase of his talent, but it’s only natural that the final choice would be what is perhaps his most talked about film: Stalker. Released in Russia during the spring of 1979 (and a few years later in the U.S.), the film has become a favorite among cinephiles, as well as an undoubtable influence on sci-fi and arthouse fans alike.
Following the tragic termination of Filmstruck, the thoughtfully curated and programmed streaming service, Criterion triumphantly assured distraught fans that they would be independently forming a service of their own. They have a built-in audience by now, and the notion of a service specifically aimed at hardcore cinephiles is thrilling (and necessary) to critics, scholars, film […]