Mittwoch, 29. August 2012
Venedig-Telluride-Toronto-Ticker 2012schwanenmeister, 14:03h
In abgespeckter Form. Das erste Jahr nach Marco Müller. Mit Paul Thomas Anderson, Olivier Assayas, Terrence Malick, Ulrich Seidl, Brillante Mendoza, Harmony Korine, Brian De Palma (an den ich trotz Noomi Rapace nicht glaube) und Manoel de Oliveira. Telluride als Oscarstartrampe mit wie immer noch geheimem Festival-Best-of-Programm. Und Toronto hauptsächlich interessant, da Karina Longworth endlich wieder in Aktion treten darf, Rob Zombie den Reboot-Scheiß lässt und mit "Lords of Salem" wieder einen richtigen Film gemacht hat und Cinema Scope hoffentlich wie immer einen Roundtable abhält.
"The Lords of Salem" (Rob Zombie) ★★★★★
"It's a complete original. Nice rebound after the Halloween films, and freaky as hell. More Argento than anything Zombie's done. And there's no light in it. It just gets darker... and darker... and darker..", schreibt Drew McWeeny (Hitfix). "Rob Zombie has entered a realm of gothic abstraction that suggests a harsher Alejandro Jodorowsky. It's fascinating to watch even as the story unravels into pure gloom and doom", schreibt Eric Kohn (indieWIRE). "Rob Zombie's LORDS OF SALEM is more head trip than horror. While it's short of great, it is slick and sexy with very good music", schreibt Ryland Aldrich (Twitch Film).
"Spring Breakers" (Harmony Korine) ★★★★½
"Absolutely crazy but weirdly real Pussy Riot Kill Kill Kill", schreibt John Bleasdale (CineVue). "Korine arrives at Venezia like a 21st-century Russ Meyer. SPRING BREAKERS gaudy, woozy, compelling; wildest film in competition", schreibt Xan Brooks (Guardian). "A curiously mainstream crime/exploitation picture, that could be described as DRIVE by way of Russ Meyer, Terry Richardson and POINT BLANK (B)", schreibt Oliver Lyttelton (Playlist). "The juddering electro score, a collaboration between Cliff Martinez (DRIVE) and chart-topping dubstep wizard Skrillex, couldn't be more on the money", schreibt Guy Lodge (Variety). "Yes, SPRING BREAKERS is a movie in which a wigged-out James Franco fucks two teen TV starlets in a swimming pool. But, oh -- it's so much more", schreibt Karina Longworth (L.A. Weekly).
"The Capsule" (Athina Rachel Tsangari) ★★★★½
"A sustained tour de force drenched in horror, Buñuelian absurdity and what is clearly developing as a directorial view informed by the perverse and comic in equal measure, THE CAPSULE packs more ideas, sensations and associations into its under-40 minutes than 99.9% of the features you’ll see this or any year", schreibt Robert Koehler (Cinema Scope). "Athina Rachel Tsangari's CAPSULE is stylish and fun and its director is s trouper doing a Q and A straight off a direct flight from Athens", schreibt Adam Nayman (Cinema Scope).
"Frances Ha" (Noah Baumbach) ★★★½
"It's great. Baumbach's best. Woody Allen by way of Williamsburg. GIRLS by way of...Baumbach", schreibt Kristopher Tapley (HitFix). "Slight & generally charming exercise that might be Baumbach's least essential work, but that's hardly an indictment", schreibt Eric Kohn (indieWIRE). "It's sublime, so well acted, perfectly written, awesome b&w lensing, editing. Easily Noah Baumbach's best film, hands down", schreibt Jeffrey Wells (Hollywood Elsewhere). "Baumbach's latest is charming & fun. Greta is terrific. A joy to experience", schreibt Eugene Hernandez (indieWIRE). "This is unquestionably Gerwig’s defining performance to date", schreibt Todd McCarthy (THR).
"Stories We Tell" (Sarah Polley) ★★★
"Sarah Polley's portrait of her parents' marriage is a gripping tale, full of richness, tenderness and emotional complexity", schreibt Peter Bradshaw (Guardian). "Lovely, deeply personal doc from Sarah Polley. A touch overlong at the last, but still her best to date (A-)", schreibt Oliver Lyttelton (Playlist). "It's another delicate, surprising reflection on intimate relationship politics from the young Canadian", schreibt Guy Lodge (Variety). "Canadian doc skillfully deploys some ambitious creative gambits to explore the director's own family background", schreibt Neil Young (THR).
"The Master" (Paul Thomas Anderson) ★★
"I want to see it again, please. Many hypnotizing parts, though no hypnotizing whole", schreibt Boyd van Hoeij (Variety). "Father & surrogate son, chapter 4. Change record", fordert Neil Young (THR). "Again, please?", fragt Guy Lodge (Variety) rethorisch. "THE MASTER is masterful for sure, as well as enthralling and perplexing. But an argument that will endure for as long as people feel like seeing and talking about the film is whether it adds up to the sum of its many brilliant parts", schreibt Todd McCarthy (THR).
"To the Wonder" (Terrence Malick) ★★
"Malick's TREE OF LIFE, at once less substantial and more satisfying than its predecessor. A thousand Christina's worlds. Which is to say that, yes, I comfortably prefer it to The Tree of Life, but I sense most won't (B+)", schreibt Guy Lodge (Variety). "TO THE WONDER has its moments but not many; how many pouts and pirouettes does one need at sunset?", fragt Nick James (Sight & Sound). "Malick-by-numbers? Oppressively virtuoso god-bothering mega-haiku of enchantment at dusk (6/10)", schreibt Neil Young (THR). "The usual storm of sneering, jeering and booing, I'm afraid, for Terrence Malick's flawed, passionate, idealistic TO THE WONDER", schreibt Peter Bradshaw (Guardian). "Gorgeous, crawling offshoot of TREE OF LIFE. Problem: hard to give a toss abt stolid Affleck & pouting Kurylenko", schreibt Xan Brooks (Guardian). "God that was boring", schreibt Damon Wise (Empire).
"Silver Linings Playbook" (David O. Russell) ★½
Wenn man den Film-Trailer zu "Silver Linings Playbook" gesehen hat, versteht man, warum Oscarexpertin Sasha Stone den neuen David O. Russell-Film sofort auf Platz eins ihrer AwardsDaily-Charts gesetzt hat. Und wenn Afflecks "Argo" der Telluride-Kandidat war, dann ist diese Emotional-Behinderten-Dramödie um die beiden Model-Schauspieler Bradley Cooper und Jennifer Lawrence der Volltreffer aus Toronto.
"Argo" (Ben Affleck) ★
Das ist der obligatorische Oscar-Kandidat aus Telluride und damit Nachfolger von früheren Durchstartern wie "The Descendants", "The King's Speech", "Up in the Air", "Slumdog Millionaire" und "Juno". Der Film hat alles für einen Homerun: Abgeschriebener Schauspiel-Beau, der sich zum ernstzunehmenden Regisseur wandelt; dazu der Iran (Politik!) und eine Hollywoodnabelschau; unterhaltsam genug, um am Boxoffice erfolgreich zu sein (Lerne, George Clooney!); und wichtig: abgehalfterte Schauspieler wie Alan Arkin, Bryan Cranston (bisher nur TV-Star, der Arme!) und John Goodman (Oh mein Gott, er musste im schmutzigen Europa "Pope Joan" drehen!), die nach Nominierungen in der Supporting-Kategorie schreien.
"The Lords of Salem" (Rob Zombie) ★★★★★
"It's a complete original. Nice rebound after the Halloween films, and freaky as hell. More Argento than anything Zombie's done. And there's no light in it. It just gets darker... and darker... and darker..", schreibt Drew McWeeny (Hitfix). "Rob Zombie has entered a realm of gothic abstraction that suggests a harsher Alejandro Jodorowsky. It's fascinating to watch even as the story unravels into pure gloom and doom", schreibt Eric Kohn (indieWIRE). "Rob Zombie's LORDS OF SALEM is more head trip than horror. While it's short of great, it is slick and sexy with very good music", schreibt Ryland Aldrich (Twitch Film).
"Spring Breakers" (Harmony Korine) ★★★★½
"Absolutely crazy but weirdly real Pussy Riot Kill Kill Kill", schreibt John Bleasdale (CineVue). "Korine arrives at Venezia like a 21st-century Russ Meyer. SPRING BREAKERS gaudy, woozy, compelling; wildest film in competition", schreibt Xan Brooks (Guardian). "A curiously mainstream crime/exploitation picture, that could be described as DRIVE by way of Russ Meyer, Terry Richardson and POINT BLANK (B)", schreibt Oliver Lyttelton (Playlist). "The juddering electro score, a collaboration between Cliff Martinez (DRIVE) and chart-topping dubstep wizard Skrillex, couldn't be more on the money", schreibt Guy Lodge (Variety). "Yes, SPRING BREAKERS is a movie in which a wigged-out James Franco fucks two teen TV starlets in a swimming pool. But, oh -- it's so much more", schreibt Karina Longworth (L.A. Weekly).
"The Capsule" (Athina Rachel Tsangari) ★★★★½
"A sustained tour de force drenched in horror, Buñuelian absurdity and what is clearly developing as a directorial view informed by the perverse and comic in equal measure, THE CAPSULE packs more ideas, sensations and associations into its under-40 minutes than 99.9% of the features you’ll see this or any year", schreibt Robert Koehler (Cinema Scope). "Athina Rachel Tsangari's CAPSULE is stylish and fun and its director is s trouper doing a Q and A straight off a direct flight from Athens", schreibt Adam Nayman (Cinema Scope).
"Frances Ha" (Noah Baumbach) ★★★½
"It's great. Baumbach's best. Woody Allen by way of Williamsburg. GIRLS by way of...Baumbach", schreibt Kristopher Tapley (HitFix). "Slight & generally charming exercise that might be Baumbach's least essential work, but that's hardly an indictment", schreibt Eric Kohn (indieWIRE). "It's sublime, so well acted, perfectly written, awesome b&w lensing, editing. Easily Noah Baumbach's best film, hands down", schreibt Jeffrey Wells (Hollywood Elsewhere). "Baumbach's latest is charming & fun. Greta is terrific. A joy to experience", schreibt Eugene Hernandez (indieWIRE). "This is unquestionably Gerwig’s defining performance to date", schreibt Todd McCarthy (THR).
"Stories We Tell" (Sarah Polley) ★★★
"Sarah Polley's portrait of her parents' marriage is a gripping tale, full of richness, tenderness and emotional complexity", schreibt Peter Bradshaw (Guardian). "Lovely, deeply personal doc from Sarah Polley. A touch overlong at the last, but still her best to date (A-)", schreibt Oliver Lyttelton (Playlist). "It's another delicate, surprising reflection on intimate relationship politics from the young Canadian", schreibt Guy Lodge (Variety). "Canadian doc skillfully deploys some ambitious creative gambits to explore the director's own family background", schreibt Neil Young (THR).
"The Master" (Paul Thomas Anderson) ★★
"I want to see it again, please. Many hypnotizing parts, though no hypnotizing whole", schreibt Boyd van Hoeij (Variety). "Father & surrogate son, chapter 4. Change record", fordert Neil Young (THR). "Again, please?", fragt Guy Lodge (Variety) rethorisch. "THE MASTER is masterful for sure, as well as enthralling and perplexing. But an argument that will endure for as long as people feel like seeing and talking about the film is whether it adds up to the sum of its many brilliant parts", schreibt Todd McCarthy (THR).
"To the Wonder" (Terrence Malick) ★★
"Malick's TREE OF LIFE, at once less substantial and more satisfying than its predecessor. A thousand Christina's worlds. Which is to say that, yes, I comfortably prefer it to The Tree of Life, but I sense most won't (B+)", schreibt Guy Lodge (Variety). "TO THE WONDER has its moments but not many; how many pouts and pirouettes does one need at sunset?", fragt Nick James (Sight & Sound). "Malick-by-numbers? Oppressively virtuoso god-bothering mega-haiku of enchantment at dusk (6/10)", schreibt Neil Young (THR). "The usual storm of sneering, jeering and booing, I'm afraid, for Terrence Malick's flawed, passionate, idealistic TO THE WONDER", schreibt Peter Bradshaw (Guardian). "Gorgeous, crawling offshoot of TREE OF LIFE. Problem: hard to give a toss abt stolid Affleck & pouting Kurylenko", schreibt Xan Brooks (Guardian). "God that was boring", schreibt Damon Wise (Empire).
"Silver Linings Playbook" (David O. Russell) ★½
Wenn man den Film-Trailer zu "Silver Linings Playbook" gesehen hat, versteht man, warum Oscarexpertin Sasha Stone den neuen David O. Russell-Film sofort auf Platz eins ihrer AwardsDaily-Charts gesetzt hat. Und wenn Afflecks "Argo" der Telluride-Kandidat war, dann ist diese Emotional-Behinderten-Dramödie um die beiden Model-Schauspieler Bradley Cooper und Jennifer Lawrence der Volltreffer aus Toronto.
"Argo" (Ben Affleck) ★
Das ist der obligatorische Oscar-Kandidat aus Telluride und damit Nachfolger von früheren Durchstartern wie "The Descendants", "The King's Speech", "Up in the Air", "Slumdog Millionaire" und "Juno". Der Film hat alles für einen Homerun: Abgeschriebener Schauspiel-Beau, der sich zum ernstzunehmenden Regisseur wandelt; dazu der Iran (Politik!) und eine Hollywoodnabelschau; unterhaltsam genug, um am Boxoffice erfolgreich zu sein (Lerne, George Clooney!); und wichtig: abgehalfterte Schauspieler wie Alan Arkin, Bryan Cranston (bisher nur TV-Star, der Arme!) und John Goodman (Oh mein Gott, er musste im schmutzigen Europa "Pope Joan" drehen!), die nach Nominierungen in der Supporting-Kategorie schreien.
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