Browsing Tag

2017

by InRO Staff Features Festival Coverage

New York Film Festival 2017 – Dispatch 5

October 20, 2017
Did You Wonder

Our fifth and final dispatch from this year’s New York Film Festival (here’s one, two, three, and four) includes a couple of films about various forms of appreciation (or lack thereof) for the arts — Ruben Östlund’s Palme d’Or-winning art world comedy The Square and Todd Haynes’s YA adaptation Wonderstruck — as well as Greta Gerwig’s sharp and funny coming-of-age film Lady Bird. There are also three features here from outside of NYFF’s main slate: Sara Driver’s Boom for Real: The Late Teenage Years of Jean-Michel Basquiat, Travis Wilkinson’s Did You Wonder Who Fired the Gun? (both…

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by Matthew Lucas Current Film

Human Flow | Ai Weiwei

October 16, 2017
Human Flow 2

Chinese artist and dissident Ai Weiwei takes a powerful look at the global refugee crisis in his new documentary Human Flow. Whether the refugees come from Syria, Iraq, Afghanistan, Palestine, or sub-Saharan Africa, Ai pulls back to examine their crises in the broadest possible context, recognizing the enormity of the problem while still managing to bear witness to the human toll of an era in which thousands are fleeing war and atrocity only to be turned away and demonized by people who will never experience…

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by InRO Staff Features Festival Coverage

New York Film Festival 2017 – Dispatch 4

October 14, 2017
Before We Vanish

Our fourth dispatch from this year’s New York Film Festival (here’s one, two, and three) includes the Chinese-American filmmaker Chloé Zhao’s docudrama The Rider, about South Dakotan rodeo culture; Kiyoshi Kurosawa’s Invasion of the Body Snatchers/Starman hybrid Before We Vanish; and Ben Russell’s Good Luck, a relatively normal (for him), 2.5 documentary about Surinamese gold panners.…

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by Matt Lynch Current Film

The Foreigner | Martin Campbell

October 13, 2017
The Foreigner

The Foreigner has the same elements as any number of generic procedurals: innocent victims are killed in a terrorist bomb blast, law enforcement officers track down leads and analyze forensics, and a crusading politician has his career put on the line. What none of these people (indeed, maybe not even the audience watching them) have reckoned with is that one of the victims’ fathers in all this mess is an ex-Viet Cong sapper played by Jackie Chan—and he is pissed.…

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by InRO Staff Features Festival Coverage

New York Film Festival 2017 – Dispatch 3

October 11, 2017
Zama

In our third dispatch from this year’s New York Film Festival (the first is here, second here): the “director’s cut” version of Arnaud Desplechin’s sprawling career summation, Ismael’s Ghosts; Argentinian filmmaker Lucretia Martel makes her long-awaited return with 18th century colonialist tale Zama; and Noah Baumbach’s latest dramedy, The Meyerowitz Stories (New and Selected).…

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by Matt Lynch Current Film

Blade Runner 2049 | Denis Villeneuve

October 6, 2017
Blade Runner 2049

It’s worth remembering that, at the time of its 1982 initial release, nobody really knew what to make of, or much cared for, Blade Runner. Ridley Scott’s one-time sci-fi flop (now duly reclaimed and canonized, and available in 5 different cuts) was deliberately meandering, opaque, and portentous—as well as drop dead gorgeous, a hypnotic drone, and a fabulous technical showcase (even in its sort of nascent original theatrical form). Blade Runner 2049 is basically all of these things, but often to a much greater degree.…

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by InRO Staff Features Festival Coverage

New York Film Festival 2017 – Dispatch 2

October 3, 2017
Lover for a Day

In our second dispatch from this year’s New York Film Festival (the first is here), we take a look at the veteran Polish filmmaker Agnieszka Holland’s “quietly radical” Spoor; the contemporary political implications of “Berlin School” director Valeska Grisebech’s neo-western, Western; two black-and-white films about infidelity, Hong Sang-soo’s The Day After and Phillipe Garrel’s Lover for a Day; and the NYFF’s Opening Night selection, Richard Linklater’s Iraq War-era dramedy, Last Flag Flying.…

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by InRO Staff Features Festival Coverage

New York Film Festival 2017 – Dispatch 1

September 29, 2017
On the Beach

Most seem to agree at this point that the Cannes Film Festival’s competition line-up was not good this year. While the New York Film Festival’s main slate includes more than a few of the same selections, the films that didn’t make the cut are especially noteworthy: Michael Haneke’s cynical, typically mean-spirited career rehash Happy End; Sergei Loznitsa’s miserablist slog through Russian bureaucracy, A Gentle Creature; Michel Hazanavicius’s insulting Jean-Luc Godard biopic Redoubtable; and Fatih Akin’s flat-out offensive jihadist commentary-cum-revenge flick, In the Fade.…

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by InRO Staff Features Festival Coverage

Toronto International Film Festival 2017 – Dispatch 3

September 22, 2017
Redoubtable

For our third and final dispatch from the 2017 Toronto International Film Festival (here’s number one, here’s number two), we take a look at the film that caused(?) bomb threats at its Cannes premiere this year: Michel Hazanavicius’s nose-thumbing Jean-Luc Godard “biopic.” This dispatch also includes a couple of Canadian films (this being TIFF and all); a prize-winning debut from the Locarno Film Festival; and one selection from the New York Film Festival’s main slate. (Our full coverage of that fest will begin next week.)…

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by InRO Staff Features Festival Coverage

Toronto International Film Festival 2017 – Dispatch 2

September 20, 2017
Faces Places

Our second dispatch from the 2017 Toronto International Film Festival (you can find the first here; the third and final one will be up on Friday) includes a new collaborative film from a French New Wave legend; a domestic drama that’s much closer to a horror film; a “near three-hour Portuguese drama about labor in a capitalist society” (that’s also kind of a musical); a documentary about “the failed social and criminal policies of a thoroughly unwinnable war against narcotraffic”; a “cinematic…

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by Matt Lynch Current Film

mother! | Darren Aronofsky

September 15, 2017
mother

It’s difficult to argue that Darren Aronofsky’s films are poorly executed, at least on a formal level; his largely allegorical works are often manic, intense, portentous, and meticulously designed, it’s just that they’re also so sophomorically pleased with themselves, rarely approaching their allegories from a perspective of any real insight. Requiem for a Dream is a whirlwind of a viewing experience, but it boils down to little more than a rote (and relatively misogynistic) cautionary tale about drug abuse.…

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by InRO Staff Features

Top 10 Films of 2017 (So Far)

August 4, 2017
Logan

Deviating from protocol a bit with our timing (we swear we know when the halfway point of the year is), the following list is nonetheless our best approximation of a staff consensus for best films released from January to June of this year. Admittedly, the favorites skews toward auteurs, but few films bare much resemblance—a period biopic, a race-conscious horror film, a superhero deconstruction, and an intimate, maybe-ghost story (no, not that one) constitute a few of the movies we’ve championed.…

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