That’s not Thom Yorke on the, ahem, “Motion Picture Soundtrack” for How to Disappear Completely. It’s the spare, oddly dispassionate beats of Eyedress, which lace Raya Martin’s dark and foreboding mystery with an aura of […]
Directed by Stephanie Spray and Pacho Velez but supervised by Lucien Castaing-Taylor (whose Leviathan was among last year’s most memorable films, documentary or otherwise), you might say that nothing happens in Manakamana. Or you could […]
The MSPIFF is in its final stretch, and some of the biggest titles are still to come. So this week, make that your first movie priority. But if your well of cinephilia ne’er runs dry, there are a few other options to check out this week.
I never understand why some people object to movies wherein the surface is the primary element and the rest is not necessarily subjugated but at least is entirely informed by that element. But there is admittedly something to be said for discipline.
This week’s collection of movie best bets is a bit hastier than normal because, duh, you should be first and foremost checking out our daily selections from the Minneapolis-St. Paul International Film Festival. Just as the weather’s heating up, so are the number of movies enticing you to stay indoors.
It’s a little difficult to recommend today’s selection if you aren’t already familiar with the films of South Korean master Hong Sang-soo. Like many auteurists’ pet faves, he tends to allow elements and themes to flow freely between his films, and the result is a body of work that’s greater than the sum of its parts.
I know it’s perpetually bad form to criticize the critics when it comes to covering festival movies, but sometimes it’s inevitable when it feels like critics are the only ones talking about a given film. But to hear people accuse “Closed Curtain” of being self-pitying, well, cry me a river.
While at this time last year, very few people had likely heard the name Solomon Northup (the victimized protagonist of the Oscar-winning 12 Years a Slave), it’s a safe bet far fewer still had ever heard of Dido Elizabeth Belle Lindsay.
With both a rude jolt and a surge of excitement, film fans in the Twin Cities find themselves on the cusp of this year’s Minneapolis-St. Paul International Film Festival, which opens on Thursday with a screening of Belle and continues for 17 days with more than 200 features.
In a few weeks, the MSPIFF starts up and everything else goes out the window. So if you’re looking to wrap up some loose ends — like, say, Nymphomaniac, Vol. 1 — do so as soon as possible.
Veronica Roth, the author of the book series, was in the Twin Cities a few weeks back to promote the film’s release along with actor Ansel Elgort, who plays the brother of the film’s chief protagonist. WCCO had the chance to ask them to both sort themselves, and here’s what they told us.
This just in! The Film Society of Minneapolis-St. Paul just announced that the opening night selection for this year’s MSPIFF will be British director Amma Asante’s Belle, a period piece about Dido Elizabeth Belle and […]
One of the things Wes Anderson fans tend to love is his ability to tell stories that exist outside of the standard hero-villain binaries. He’s more interested in the flaws that draw his characters away from both poles.
Fests are still playing out. Fantastic new works of art are still in theaters. (If you haven’t caught “Stranger by the Lake” yet and you’re open-minded, clear a spot on your calendar.) And the screenings just keep coming! It’s enough to make your head spin.
It wasn’t necessarily supposed to take 20 years for Ron Minkoff to make his return to fully animated feature films following “The Lion King.” But such are the realities of getting an animated project off the ground that he actually managed to get five other features through the pipeline in the interim.
The words that I wrote last year still ring true, and thankfully earlier than usual this year: “There are few things sweeter than the sight of grass peeking through the snow after a long, hard winter season. But the opportunity to see new movies from world-class auteurs and local up-and-comers alike is among those things.”
Now that the long Oscar season nightmare is finally over, it’s time to sing “Auld Lang Syne” and enjoy the best of what’s playing locally. And let me tell you, the floodgates are open, first and foremost not one but two foreign film festivals.
The thing about throwing an Oscar party — even an impromptu, informal one — is that it’s really tough to actually keep track of the show itself, what with making the cocktails and distributing the ballots and tipping the pizza delivery person.
It’s not exactly the mirror opposite of the situation we had last year at the Academy Awards, but most pundits seem to agree that whereas last year’s best picture frontrunner Argo left the best director […]
It’s your last chance to sneak in screenings of the Oscar-nominated movies. The Academy Awards will be handed out on Sunday evening and then we can all put this months-long nightmare behind us. Here are some treats you might want to catch to give yourself a break from the Oscar madness.
You’ve seen the latest forecast. You know that snow’s coming. Maybe not quite enough to leave you entirely cut off from civilization, but certainly enough to leave you unwilling to leave the house. So why not check out one of these five frigid masterpieces?
Stray along the road less traveled and check out this week’s best bets among limited release and repertory screenings.
While compiling a list of the best romantic movies, many of the titles I immediately shortlisted actually functioned as “anti-romantic” classics. And furthermore, many of the titles that were still technically lush, swooning depictions of starry-eyed bliss still retained elements of unrequited love.
It’s the week of Valentine’s, but I’m not sure if love is in this frigid, arctic air. While there’s certainly no lack of romantic films slated to play in the Twin Cities, there’s no real surplus of them either. And that’s cool with me.
When I say that “The LEGO Movie” is more subversive than anything Jean-Luc Godard put out after the mid-’60s, it’s because for there to be a subversion, you first have to ambush a group of people that weren’t planning on having their worldview altered.