tagged w/ The White Ribbon
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The Rotten Tomatoes Show names the best of this weekend's highlights in new releases for both DVD and theaters. Those looking to stay in can curl up with "The Crazies," "The White Ribbon," and "Hot Tub Time Machine," starring John Cusack.
If films on the big screen are what you're after, then check out the three films we reviewed: "Twilight: Eclipse," "The Last Airbender," and "Grown Ups."
The Rotten Tomatoes Show is a movie review show that airs on Thursday nights at 10:30 e/p on Current TV. From reviews of the newest releases to commentary on cult favorites and movie trends, each episode of The Rotten Tomatoes Show is a fast-paced, comedic journey through the week in cinema.
For more from the Rotten Tomatoes Show: http://rottentomatoesshow.comThe Rotten Tomatoes Show names the best of this weekend's highlights in new... more
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Unfamiliar with the abiding sadness of Michael Haneke? Then get a crash course when Brett, Ellen and our webcam reviewers tackle his 2009 Palme d'Or winning film, The White Ribbon.
Unfamiliar with the abiding sadness of Michael Haneke? Then get a crash course... more
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Michael Haneke certainly has an abiding sadness in him that comes out as a viscous streak in The White Ribbon. It's also one of the three films we're reviewing tonight on The Rotten Tomatoes Show. So what made the cut?
Joey Vosevich
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Alonso Duralde
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Keith Fierro
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Brian Dunn
Want to be part of the show next week? Then go out and see Daybreakers, Youth in Revolt or Leap Year and upload your review to Current by Sunday at midnight.
Michael Haneke certainly has an abiding sadness in him that comes out as a viscous... more
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Happy (almost) New Year, folks! The Rotten Tomatoes Show returns next Thursday, which means we need your webcam reviews. But let's get on with what you can catch this weekend if you haven't already.
-The White Ribbon is Michael Haneke's bleak yet argubally "pretty" film about pre-World War I Germany. I caught it at the New York Film Festival and thought it was...well...not good. [NY/LA]
-The Lovely Bones is Peter Jackson's take on Heaven and Mark Whalberg emoting. [NY/LA]
-The Imaginarium of Doctor Parnassus has Tom Waits as God, the last performance of Heath Ledger and Terry Gilliam.
If you see those three films, leave us your webcam review by Sunday 1/3 at midnight to possibly get on next Thursday's Rotten Tomatoes Show.
As for what else comes out in time for the new year:
-The Loss of a Teardrop Diamond is like when you said, I think I'm like Tennessee Williams. Like this film. Which is written by him. [NY/LA]
-That's it!
Happy (almost) New Year, folks! The Rotten Tomatoes Show returns next Thursday,... more
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[caption id="" align="aligncenter" width="500" caption="Richard Peña, Translator and Michael Haneke at The White Ribbon press conf."][/caption]
There were varied reactions after yesterday's screening of the Palme d'Or winning The White Ribbon at the New York Film Festival. On one hand, it is every bit as brutal and bleak as Caché--almost to a startling degree to some fellow viewers sitting around the first few rows. But on the other hand, If you want proof the Cannes Film Festival is a joke, then look no further than this Children of the Corn remake that won.
Of course, being mainstream is the least productive thing on Michael Haneke's mind these days.
"I chose this period in [Germany] because it offers the most prominent form of extremism in any kind," he said through a translator during the press conference. The question related to whether Haneke's choice of Ribbon's setting a scarce few months prior to World War I was an attempt to symbolize the constant despair and violence committed. Yet in his continued worldview, "it would be an error to reduce the film rather to this specific period and country."
In the Haneke mind-set, everyone is at some point guilty of the violence they will inevitably cause. Ribbon, as told by an elderly sounding narrator who we learn is a 31-year old schoolteacher, is primarily about children inheriting and dealing with the sins of their parents. Whether it be incest, abuse, implied revenge or good ol' fashioned senseless violence, Haneke's film strives to remind us that this is universal.
But different strokes for different folks, as some German speakers in the audience took note with Haneke's "dumbing down" and "formalizing" within the subtitles.
"That's the reason for the subtitle that appears underneath on screen written in old fashioned German writing," Haneke said. In fact, beneath the title is -"A German Children's Tale."
Others--namely one woman--saw many similarities with Arthur Miller's The Cruicible, which provided a strange peek into the audience's mind since the same question was later asked of Pedro Almodovar at the Broken Embraces press conference. Despite the argument of modern ideas and culture, Haneke's Ribbon is bleak. Quite intentionally so, according to the director, who used black and white imagery to force "spectactors," as he calls the audience, to "think about the period...for that reason it's easier for [them] to enter the period. Black and white always makes a certain distance in [them.]"
Much like anything he does, there's also a darker motive to contrast his seemingly pretty conversatinon piece.
"It works against the claim of reproducing reality in the same way that the film begins--with the narrator and the tale he wants to tell us...the film never claims it is offering accurate depictions of what took place, rather it offers artifacts and always tries to rouse a sense of mistrust in the audience," he said.
The defining moment of the conference came at the end, as a question about Haneke's striking use of symmetry and framing came into play. The shots setting the consistantly depressing mood and idea that nothing can be repaired. But also, the questioner said, "I just wonder whether you have some abiding sadness in you."
The entire theater burst into laughter, but it did not deter Haneke at all. In a strange way, it further defines his mode of thought:
"The framing corresponds also to my choice of black and white and the narrator. I'm trying as much as possible in my film to create this possible space for the spectator where the spectator will develop a certain freedom with respect to the image. Out of respect for [them] I try to reduce that manipulation as much as possible. That said you can't avoid a certain manipulation in the first place. I try to give [them] the freedom to develop a certain standpoint on what they're witnessing...that's behind the decision I make for every aspect of the film, not only in terms of the script but also the framing."
As for his sadness, "I don't think I'm a depressive person myself. You probably best ask my wife whose sitting at the back of the theater."
And for the second time that morning, the theater erupted into laughter as heads turned and scoured the seats for a glimpse of Haneke's wife.
"Drama has the obligation to deal with conflict," he said. "Which we confront in our daily lives. That's our responsibility to deal with this. I'm always surprised by mainstream cinema that seeks to sweep under the carpet, or make harmless, very serious questions. I respect the spectator so much I want to take seriously the questions that he or she is confronted with; problems that aren't so funny at all. There are enough specialists for films for the easily amused-- I don't think someone should ask a cobbler to make a hat."
-John Lichman[caption id="" align="aligncenter" width="500"... more
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Brett Erlich and Ellen Fox join forces with bloggers, comedians, students and citizen critics to review "The White Ribbon."
The Rotten Tomatoes Show is a movie review show that airs on Thursday nights at 10:30 e/p on Current TV. From reviews of the newest releases to commentary on cult favorites and movie trends, each episode of The Rotten Tomatoes Show is a fast-paced, comedic journey through the week in cinema.
For more from the Rotten Tomatoes Show: http://rottentomatoesshow.com
For more about movies from Current: http://current.com/moviesBrett Erlich and Ellen Fox join forces with bloggers, comedians, students and citizen... more
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Happy New Year!
We want your webcam reviews for The White Ribbon, The Lovely Bones and the Imaginarium of Doctor Parnassus this weekend for the Rotten Tomatoes Show. Any reviewers who make it on the show will be paid $100 via paypal.
We need concise comments about the movies for our editors. Don't know what that means? Here's how we use your reviews on the show:
http://current.com/items/91659070_brothers-reviewed.htm
IMPORTANT: All reviews must be submitted by midnight on Sunday 1/3
Once you’ve registered as a member of current.com you have two options for submitting your review.
1. Click on the Webcam tab and click to record a 1-minute review.
2. Record a longer review using a digital camera or video program, then click on Upload.
You may cut down your review but don't cut it too tight or edit in any pictures or videos, if you're a minor we can't pay you and we’ll need a release from your parents. We only pay the uploader, not based on the number of people in your review.
We're on Twitter: @current_movies
We've got a blog: blogs.current.com/movies
If you have any questions or problems with your upload, email jlichman AT current DOT comHappy New Year!
We want your webcam reviews for The White Ribbon, The Lovely Bones... more
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The most notable coming from Germany (Haneke's The White Ribbon), Romania (Police, Adjective) and South Korea (Bong Joon-Ho's Mother).
Check out ScreenDaily to get the complete list.The most notable coming from Germany (Haneke's The White Ribbon), Romania... more
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There were varied reactions after yesterday’s screening of the Palme d’Or winning The White Ribbon at the New York Film Festival. On one hand, it is every bit as brutal and bleak as Caché–almost to a startling degree to some fellow viewers sitting around the first few rows. But on the other hand, If you want proof the Cannes Film Festival is a joke, then look no further than this Children of the Corn remake that won.
Of course, being mainstream is the least productive thing on Michael Haneke’s mind these days.
“I chose this period in [Germany] because it offers the most prominent form of extremism in any kind,” he said through a translator during the press conference. The question related to whether Haneke’s choice of Ribbon’s setting a scarce few months prior to World War I was an attempt to symbolize the constant despair and violence committed. Yet in his continued worldview, “it would be an error to reduce the film rather to this specific period and country.”
In the Haneke mind-set, everyone is at some point guilty of the violence they will inevitably cause. Ribbon, as told by an elderly sounding narrator who we learn is a 31-year old schoolteacher, is primarily about children inheriting and dealing with the sins of their parents. Whether it be incest, abuse, implied revenge or good ol’ fashioned senseless violence, Haneke’s film strives to remind us that this is universal.
But different strokes for different folks, as some German speakers in the audience took note with Haneke’s “dumbing down” and “formalizing” within the subtitles.
“That’s the reason for the subtitle that appears underneath on screen written in old fashioned German writing,” Haneke said. In fact, beneath the title is -”A German Children’s Tale.”
Others–namely one woman–saw many similarities with Arthur Miller’s The Cruicible, which provided a strange peek into the audience’s mind since the same question was later asked of Pedro Almodovar at the Broken Embraces press conference. Despite the argument of modern ideas and culture, Haneke’s Ribbon is bleak. Quite intentionally so, according to the director, who used black and white imagery to force “spectactors,” as he calls the audience, to “think about the period…for that reason it’s easier for [them] to enter the period. Black and white always makes a certain distance in [them.]”
Much like anything he does, there’s also a darker motive to contrast his seemingly pretty conversatinon piece.
“It works against the claim of reproducing reality in the same way that the film begins–with the narrator and the tale he wants to tell us…the film never claims it is offering accurate depictions of what took place, rather it offers artifacts and always tries to rouse a sense of mistrust in the audience,” he said.
Go to the Current_Movies Blog to see the rest.There were varied reactions after yesterday’s screening of the Palme d’Or... more
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A village in Protestant northern Germany. 1913-1914. On the eve of World War I. The story of the children and teenagers of a choir run by the village schoolteacher, and their families: the baron, the steward, the pastor, the doctor, the midwife, the tenant farmers. Strange accidents occur and gradually take on the character of a punishment ritual.
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One look at this film clip and others at: http://storytellertrailers.blogspot.com/2009/05/das-weie-band-white-ribbon.html will demonstrate why Michael Hanekes' brilliant film took Cannes top prize this year. There are other clips at the link, but this one is my favorite, showing the incredible black and white cinematography and the meticulous attention to detail that illustrated a story described as a "fascism parable."
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Pericles_Lewnes
Current Indie Film Curator - http://current.com/topics/77912881_indie-film/
Twitter User: loopmovieA village in Protestant northern Germany. 1913-1914. On the eve of World War I. The... more
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And the Palme d'Or goes to Michael Haneke's "The White Ribbon."
The Jury, presided over by Isabelle Huppert (other members: Asia Argento, Nuri Bilge Ceylan, James Gray, Hanif Kureishi, Lee Chang-dong, Shu Qi, Sharmila Tagore and Robin Wright Penn) have also presented the following awards:
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David Hudson rounds up the other award winners and presents a full list of the films in competition with links to individual films and other critics' reactions on them.And the Palme d'Or goes to Michael Haneke's "The White Ribbon."... more
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With the Cannes Film Festival in its final days, two films seem to be the strongest contenders for the festival's top Palme d'Or prize.
It's "The White Ribbon" vs. "A Prophet"
Ironically they both just got picked up by Sony Classics.With the Cannes Film Festival in its final days, two films seem to be the strongest... more
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NY Times Film Critic Manohla Dargis (who used to review for the LA Weekly btw) finally saw something she liked. Here's here review of Michael Haneke's "The White Ribbon" set in Germany before WWI.NY Times Film Critic Manohla Dargis (who used to review for the LA Weekly btw) finally... more
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