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What’s Coming to Hulu in July 2019

  • Variety
What’s Coming to Hulu in July 2019
If you’ve already binged your way through the latest season of “Handmaid’s Tale” and all of “Catch-22,” worry not because Hulu is here to cure your mid-vacation content slump with a whole new slate of titles coming to the streamer this July.

Watch Kristen Bell reprise her role as the titular character in Season 4 of “Veronica Mars,” dropping July 1. Or if you aren’t in the mood to return to the seaside town of Neptune as Mars investigates a mysterious string of bombings and murders, you can relax with Ice-Cube’s hilarious one-liners in Steve Carr’s family comedy “Are We Done Yet?” and his spin-off series “Are We There Yet?

Alongside classic favorites — all five “Rocky” movies, “King Kong,” and “The Polar Express” are among some notable additions — the streaming service also came through with both brand-new and returning original shows. Watch the series premiere of “Four Weddings and a Funeral,
See full article at Variety »

Hulu in July: Here’s Everything Coming and Going

  • The Wrap
Hulu is out with its list of new content coming in July, and highlights include the “Veronica Mars” revival and the series premiere of the new “Four Weddings and a Funeral.” We also have the list of everything that’s being removed from the streaming service at the end of July.

Season 1-3 of the original “Veronica Mars” series will be available starting July 1, so you can brush up on all the background knowledge you’ll need to fully enjoy Season 4 when it drops July 26, with Kristen Bell returning the starring role as the title character after almost 15 years. Here’s everything we know about the revival so far.

The new Mindy Kaling-produced “Four Weddings and a Funeral” series comes July 31, with “Game of Thrones” star Nathalie Emanuel in the lead role. Original star Andie MacDowell will return as a guest star.

Also Read: Summer TV Premiere Dates: Here's
See full article at The Wrap »

Video Essay. Anaphora: Gus Van Sant's "Paranoid Park"

Anaphora is an on-going series of video essays exploring the neglected films by major directors. Gus Van Sant's Paranoid Park (2007) is showing May 17–June 15, 2019 on Mubi in the United States, United Kingdom, and Ireland as part of the series Cannes Takeover.Gus Van Sant can be a difficult director for which to wave the flag at present. You just never know if he’ll be making a pleasant if weightless drama designed to play endlessly on cable channels in need of harmless programming or if he’s going to make the single most haunting film you’ll see in a given year. After almost a decade of not-quites and outright critical disasters, he made Don’t Worry He Won’t Get Far On Foot, which looked like a run-of-the-mill inspirational movie but in fact contained some of his most engaged and empathetic filmmaking to date, housed a murderer’s
See full article at MUBI »

Film Review: Andromedia (1998) by Takashi Miike

Part science-fiction, part teenage romance, “Andromedia” sure has some surprises for its audience. Takashi Miike’s most successful work up to that point, grants most of it box office success to the J-Pop bands featured in the cast. In 1998, Shochiku hired the director to promote a couple of popular teen bands via a movie.

The main plot is tied to Mai, who is killed in a car accident. Her father, a genius programmer, recreates her in a computer program named “AI”. Therefore he transfers all of her memories into that artificial character and gives her the shape of Mai. Unfortunately, the father’s brother-in-law wants to get his hands on the technology for profit and steals the program. Mai’s father is killed in the robbery. In the further course of the movie, Mai’s friends try to gain control of the program and free AI from the bad guys,
See full article at AsianMoviePulse »

Secret Cinema chief talks future plans and global expansion

Cirque du Soleil-esque model is eyed for forthcoming Us launch of popular UK immersive cinema event company.

Secret Cinema – the wildly popular immersive cinema event company in the UK – is heading into new territories both geographically and in terms of ambition.

“The future of Secret Cinema is to grow it around the world,” founder and chief creative officer Fabien Riggall said during a keynote at Connext, the Flanders Image industry event in Ghent.

For the Us expansion, he said, “Secret Cinema we’ll be starting in New York and La and then there can be touring shows as well as static shows,
See full article at ScreenDaily »

New to Streaming: ‘Let the Sunshine In,’ ‘Private Life,’ ‘Phantom Thread,’ and More

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’re highlighting the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.

Ant-Man and the Wasp (Peyton Reed)

After the apocalyptic implications following the cliffhanger of Avengers: Infinity War, one wonders where Marvel could go next. Small, of course. Ant-Man was the franchise’s most playful, inconsequential offering, so it’s only fitting that another insular story featuring Paul Rudd’s Scott Lang and shrinkable company would make a worthwhile breather in a world of superheroes where the fate of the world is often the name of the game. That’s clearly–and thankfully–not the mission here and in his follow-up Peyton Reed doubles down on the comedic charms of his cast, playing up Rudd’s aloofness and
See full article at The Film Stage »

Skate Kitchen review – freewheeling fun on the streets

A band of female skateboarders raise mayhem as they roar around New York City in this likable, laid-back drama

Crystal Moselle’s intensely likable and sympathetic movie, with its seductively laid-back documentary realist style, is all about skateboarders in New York City. For me, it reclaims the skater genre from movies like Larry Clark’s The Smell of Us and perhaps Gus Van Sant’s Paranoid Park, which tended to fetishise skaters, pornifying their perceived alienation and affectlessness – and of course their maleness. This is about a women’s skater group calling themselves Skate Kitchen whose stunts and general freewheeling and life-enjoying attitude are publicised on Instagram.

Related: Skate Kitchen: wheel life tales of sexism and sisterhood
See full article at The Guardian - Film News »

NYC Weekend Watch: ‘Wanda,’ Fernando Birri, Female Pioneers, and More

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Metrograph

Godard’s work in the Dziga Vertov Group is the centerpiece of a new series.

A restoration of Wanda plays alongside McCabe & Mrs. Miller and The Spook Who Sat By the Door.

Bam

A new series highlights the first female filmmakers.

Prints of Raging Bull and a (supposedly) worthwhile companion screen on Saturday.

Quad Cinema
See full article at The Film Stage »

Watch Gus Van Sant’s Rarely Seen, Harris Savides-Shot ‘Four Boys in a Volvo’

If nothing else, Gus Van Sant’s latest feature, Don’t Worry, He Won’t Get Far on Foot, has engendered the most energetic discussion and retrospective viewing of his work in a noticeable length of time — since Paranoid Park, it seems? (We weren’t too keen on the film when seeing it at Sundance, but Lord knows it’s considered a step above some others.) Case in point: Le CiNeMa Club have the Academy Film Archive’s restoration of Four Boys in a Volvo, his 1996 piece “made from material shot for a Levi’s commercial on which [he] was given complete freedom.” Brief in length, intimate in focus, vast in its landscapes, and positively aglow from what is perhaps his first collaboration with Harris Savides — thus preceding Gerry by six years — it distills a remarkable amount of Van Sant’s predilections and appeal into four lucid, dream-like minutes.

Four Boys in a Volvo can be streamed,
See full article at The Film Stage »

Scott Reviews Gus Van Sant’s Don’t Worry, He Won’t Get Far on Foot [Sundance 2018]

Don’t Worry, He Won’t Get Far on Foot is the first film Gus Van Sant has written since 2007’s Paranoid Park capped off an all-time great run of films, leading to decidedly less-successful, though no less-distinguished, mainstream films. It’s is hardly a return to his long-take portraits of loneliness, but Van Sant’s individual identity is more firmly present, pitting him somewhat at war with a screenplay aiming for a more standard arc.

The film is based on the same-titled memoir by the late John Callahan, a cartoonist and somewhat notorious figure in the Portland art scene back before the Portland art scene became so commodified. Joaquin Phoenix plays John as he battles alcoholism alongside adapting to quadriplegic life following a near-deadly drunk driving accident. His plate, you see, is rather full. But rather than dwell on the routines of John’s physical limitations, Van Sant (perhaps
See full article at CriterionCast »

Sundance Review: ‘Don’t Worry, He Won’t Get Far on Foot’ is a Shapeless Biopic with a Stand-Out Joaquin Phoenix Performance

Returning to the Sundance Film Festival for the first time since Gerry, Gus Van Sant has had a peculiar run since. After experimental highlights like Elephant and Paranoid Park, he earned acclaim with Milk, but then his last trio of features–Restless, Promised Land, and The Sea of Trees have been forgettable–or worse. His latest film, Don’t Worry, You Won’t Get Far on Foot, finds him returning with a beating heart, courtesy of Joaquin Phoenix’s stand-out lead performance, but this biopic is ultimately let down by its shapeless, uncinematic approach.

Based on a memoir by Portland’s John Callahan, the scattershot editing structure finds us jumping between his early 20s–when his alcoholism led him to becoming paraplegic after a horrible accident–and his life confined in his wheelchair, from his early, angry days to finding some peace with crafting off-color cartoons and support at an AA group.
See full article at The Film Stage »

Joaquin Phoenix and Jonah Hill bond in trailer for Gus Van Sant's Don't Worry, He Won't Get Far On Foot

It’s been a while since Gus Van Sant both wrote and directed a film—since 2007’s Paranoid Park, in fact—and nearly as long since one has scored with either audiences or critics. Don’t Worry, He Won’t Get Far On Foot aims to reverse that downward trend by returning to a favorite theme of friendships forged among the…

Read more...
See full article at The AV Club »

If You Loved These Films, You Need to Stream ‘The Strange Ones’

  • Indiewire
If You Loved These Films, You Need to Stream ‘The Strange Ones’
“The things inside your head, they’re only as real as you want them to be. If you want, you can just decide they’re not real.” Early on in “The Strange Ones,” Nick (Alex Pettyfer) tells this to his younger travel buddy Sam (James Freedson-Jackson), before seemingly making a coffee mug disappear. On its surface, the film is about two brothers heading out on a camping trip, but it quickly becomes apparent that not everything is as it seems, from the pair’s names to their endgame (to the existence of their coffee mugs). The film’s co-directors, Christopher Radcliff and Lauren Wolkstein, may be relatively new to audiences (“The Strange Ones” is their feature-length debut; in fact, it’s an expansion upon their own 2011 short, based on real-life true-crime stories), but movie buffs will recognize flashes of their cinematic inspirations throughout. The film may be intentionally vague, but
See full article at Indiewire »

American Honey review: Andrea Arnold mislays map on sweet, indelible roadtrip

A firmer hand with the plot – and with Shia Labeouf – might have benefitted this admirably loose-limbed and atmospheric immersion into a little-seen world

Andrea Arnold is the brilliant British film-maker who created two modern gems in the social-realist tradition in the form of Red Road and Fish Tank, and in my view a near-masterpiece in the form of her much-misunderstood Wuthering Heights, a work of such radical simplicity and raw experience it actually seemed to predate the literary work.

Now in American Honey she has created a long, often intriguing and humidly atmospheric film which sometimes dwindles into listlessness. It’s a road movie in the un-accented style of Gus Van Sant – particularly his Elephant and Paranoid Park. The drifting camera shots directed straight up into a blue sky, bisected occasionally with telegraph poles, are very similar to Van Sant’s Elephant. There’s something of Larry Clark or Harmony Korine in the featureless,
See full article at The Guardian - Film News »

Matthew McConaughey Is Lost Amid The Sea Of Trees In First Trailer

Japan’s infamous Aokigahara played host to Natalie Dormer and Co. for underwhelming thriller The Forest late last year. In swapping psychological thrills and spills for profound drama, director Gus Van Sant (Paranoid Park) has teamed with Matthew McConaughey and Ken Watanabe for The Sea of Trees.

Due to enter the competition at Cannes come May, today brings forth the first English-language trailer for Van Sant’s latest (prefaced by a Japanese message from Watanabe), placing McConaughey and Watanabe in the shoes of Arthur Brennan and Takumi Nakamura, respectively.

In Japanese culture, Aokigahara is considered a powerful open-air haven of spiritual energy. Situated at the base of Mt. Fiji, The Sea of Trees, as it is known locally, is also the place where people go to commit suicide, and that’s exactly what McConaughey’s despairing Brennan plans to do.

Struggling to come to terms with his wife’s ailing
See full article at We Got This Covered »

First Trailer For Gus Van Sant’s ‘The Sea of Trees’ Starring Matthew McConaughey

Marking Gus Van Sant‘s first film in competition at Cannes since his Paranoid Park, The Sea of Trees unfortunately didn’t go over very well last May. Starring Matthew McConaughey and Ken Watanabe as Arthur Brennan and Takumi Nakamura, respectively, it follows the two individuals who happen upon each other in the forests of Mount Fuji in Japan known as the sea of trees. Brennan plans on committing suicide in the forest whereas Nakamura is geographically lost and unable to find his way out.

We said in our review, “The genuinely captivating ambiguity of these early moments fools you into thinking The Sea of Trees could be a return to form for Van Sant, a tantalizing throwback to the days when a new release by the director was greeted with deserved anticipation. The rest of the film obliterates this promise and punishes you for being so gullible.” While Roadside Attractions
See full article at The Film Stage »

Joshua Reviews Khavn’s Ruined Heart: Another Love Story Between A Criminal And A Whore [Nyaff 2015 Review]

To cinephiles, few cinematographers get the blood truly pumping quite like beloved and Criterion-approved director of photography Christopher Doyle. Best known for his iconic work in films like Wong Kar-Wai’s In The Mood For Love (to this very day one of the greatest achievements in film photography), Doyle has honed his craft largely outside of the United States, occasionally coming stateside to work with filmmakers like Gus Van Sant (Paranoid Park) or even Barry Levinson (Liberty Heights). Working numerous times with directors like Wong Kar-Wai, as well as the likes of Zhang Yimou and Edward Yang (Doyle’s first film was Yang’s That Day, on the Beach), he has become a bastion of the world cinema scene and one of today’s most beloved photographers.

Playing this year’s New York Asian Film Festival is his latest journey behind the camera, as Filipino poet/filmmaker/artist Khavn (aka
See full article at CriterionCast »

Matthew McConaughey stars in clip for Cannes ’15 entry ‘The Sea of Trees’

“Sea of Trees”

While Gus Van Sant’s last movie Promised Land dropped in 2012, the announcement of his latest film The Sea of Trees coming to Cannes felt like a return to a certain kind of art house form for the veteran director. This film marks his first time in Competition for the Palme D’or since 2007 with Paranoid Park.

The Sea of Trees stars Matthew McConaughey, Naomi Watts, and Ken Watanabe in a story about two men lost in the forest near Mt. Fuji. This first clip with McConaughey and Watanabe gives a hint at their somewhat tense and dreamy search for a way out. Watch it below via DeadlineNow:

The post Matthew McConaughey stars in clip for Cannes ’15 entry ‘The Sea of Trees’ appeared first on Sound On Sight.
See full article at SoundOnSight »

Watch: Matthew McConaughey Enters ‘The Sea of Trees’ In First Clip For Gus Van Sant’s Cannes Drama

One of our most-anticipated titles screening in competition at the 2015 Cannes Film Festival is Gus Van Sant’s The Sea of Trees. Marking the director’s first film in competition since his Paranoid Park, the drama stars Matthew McConaughey and Ken Watanabe as, respectively, Arthur Brennan and Takumi Nakamura, two individuals seemingly lost in a forest in Japan known as the […]
See full article at The Film Stage »

Cannes: New Photos Of Matthew McConaughey, Naomi Watts & Ken Watanabe In Gus Van Sant’s ‘Sea Of Trees’

Director Gus Van Sant’s has had great experiences at the at the Cannes Film Festival, winning the Palme d'Or in 2003 for his drama “Elephant," and not so great experiences — 2011’s “Restless” was not so warmly received. He’s been on the Croisette several times, and he’ll be In Competition once again for his upcoming film, “Sea Of Trees.” But which Van Sant will show up? The filmmaker obviously vacillates from the commercial (“Milk”) to the more esoteric and introspective (his entire “Gerry” through "Paranoid Park" run, which went from 2002 to 2007 and includes four films, so it'll be interesting to see what flavor we get here). Well, despite the starry cast of Mathew McConaughey, Ken Watanabe (“Inception”), and Naomi Watts, it sounds like the artier Van Sant will appear at Cannes. “Sea Of Trees” sounds like more of an existentialist, minimalist effort, and it follows two strangers who meet
See full article at The Playlist »
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