Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Arrebato (Iván Zulueta)
That Arrebato has waited more than 40 years to receive a bona fide U.S. theatrical run is wild; it lives up to the cult-classic status it’s held since 1979. (The marketing push highlights it being Pedro Almodóvar’s favorite horror film.) Its parts recall many later works as diverse as Trainspotting and The Ring, its depiction of addiction and stasis leading us towards a legitimately brilliant ending that brings the whole thing into meta territory with its film-within-a-film coaxing us to enter the fray ourselves. Our need for answers ratchets up to a potent boiling point, as is surely Zulueta’s intent. He’s not interested in the release, just the rapture. He wants us to chase the high...
Arrebato (Iván Zulueta)
That Arrebato has waited more than 40 years to receive a bona fide U.S. theatrical run is wild; it lives up to the cult-classic status it’s held since 1979. (The marketing push highlights it being Pedro Almodóvar’s favorite horror film.) Its parts recall many later works as diverse as Trainspotting and The Ring, its depiction of addiction and stasis leading us towards a legitimately brilliant ending that brings the whole thing into meta territory with its film-within-a-film coaxing us to enter the fray ourselves. Our need for answers ratchets up to a potent boiling point, as is surely Zulueta’s intent. He’s not interested in the release, just the rapture. He wants us to chase the high...
- 3/18/2022
- by Jordan Raup
- The Film Stage
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Crimson Gold (Jafar Panahi)
Following his early days of being an assistant for Abbas Kiarostami, Jafar Panahi’s career soon blossomed, leading to a few collaborations between the two monumental figures of Iranian cinemas––one of which, Crimson Gold, is now available on The Criterion Channel. The masterful 2003 character study, scripted by Kiarostami after he told the tenets of the story to Panahi while sitting in traffic, stars unprofessional actor Hossain Emadeddin in his sole performance. Following a pizza delivery driver who witnesses the sharp class divide and political terror playing out in his society, Kiarostami and Panahi brilliantly preview the brutal ending from the start as the pieces then cogently and subtly fall into place as to why a man would...
Crimson Gold (Jafar Panahi)
Following his early days of being an assistant for Abbas Kiarostami, Jafar Panahi’s career soon blossomed, leading to a few collaborations between the two monumental figures of Iranian cinemas––one of which, Crimson Gold, is now available on The Criterion Channel. The masterful 2003 character study, scripted by Kiarostami after he told the tenets of the story to Panahi while sitting in traffic, stars unprofessional actor Hossain Emadeddin in his sole performance. Following a pizza delivery driver who witnesses the sharp class divide and political terror playing out in his society, Kiarostami and Panahi brilliantly preview the brutal ending from the start as the pieces then cogently and subtly fall into place as to why a man would...
- 9/24/2021
- by Jordan Raup
- The Film Stage
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Come True (Anthony Scott Burns)
The darkened screen is almost pitch black before we can begin to discern shapes in the distance. First it’s wooden stakes in the ground at what looks to be a trailhead of sorts. Next it’s a mountain in the distance. Finally we come to a door that swings open as though we’ve been placed inside a videogame merging the puzzle mechanics of Myst with the brooding aesthetic of Hellraiser only to continue moving forward towards a bald figure with back turned—unmoving and foreboding with a mysterious air that can conjure nothing besides dread. And suddenly it’s over with a cut to Sarah (Julia Sarah Stone) awakening from a nightmare, bundled inside a...
Come True (Anthony Scott Burns)
The darkened screen is almost pitch black before we can begin to discern shapes in the distance. First it’s wooden stakes in the ground at what looks to be a trailhead of sorts. Next it’s a mountain in the distance. Finally we come to a door that swings open as though we’ve been placed inside a videogame merging the puzzle mechanics of Myst with the brooding aesthetic of Hellraiser only to continue moving forward towards a bald figure with back turned—unmoving and foreboding with a mysterious air that can conjure nothing besides dread. And suddenly it’s over with a cut to Sarah (Julia Sarah Stone) awakening from a nightmare, bundled inside a...
- 6/25/2021
- by Jordan Raup
- The Film Stage
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.