With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
The Age of Shadows (Kim Jee-woon)
Eyebrows were raised when it was announced that South Korea will submit the as-yet-unreleased espionage thriller The Age of Shadows for Oscar consideration instead of Cannes hits The Handmaiden and The Wailing. Premiering out of competition at the 73rd Venice Film Festival, writer/director Jee-woon Kim’s return to Korean-language cinema after a brief stint in Hollywood with the Schwarzenegger-starrer The Last Stand...
The Age of Shadows (Kim Jee-woon)
Eyebrows were raised when it was announced that South Korea will submit the as-yet-unreleased espionage thriller The Age of Shadows for Oscar consideration instead of Cannes hits The Handmaiden and The Wailing. Premiering out of competition at the 73rd Venice Film Festival, writer/director Jee-woon Kim’s return to Korean-language cinema after a brief stint in Hollywood with the Schwarzenegger-starrer The Last Stand...
- 4/28/2017
- by The Film Stage
- The Film Stage
Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This April will feature an exciting assortment of films, as noted below.
To sign up for a free two-week trial here.
Monday, April 3 The Chaos of Cool: A Tribute to Seijun Suzuki
In February, cinema lost an icon of excess, Seijun Suzuki, the Japanese master who took the art of the B movie to sublime new heights with his deliriously inventive approach to narrative and visual style. This series showcases seven of the New Wave renegade’s works from his career breakthrough in the sixties: Take Aim at the Police Van (1960), an off-kilter whodunit; Youth of the Beast (1963), an explosive yakuza thriller; Gate of Flesh (1964), a pulpy social critique; Story of a Prostitute (1965), a tragic romance; Tokyo Drifter...
To sign up for a free two-week trial here.
Monday, April 3 The Chaos of Cool: A Tribute to Seijun Suzuki
In February, cinema lost an icon of excess, Seijun Suzuki, the Japanese master who took the art of the B movie to sublime new heights with his deliriously inventive approach to narrative and visual style. This series showcases seven of the New Wave renegade’s works from his career breakthrough in the sixties: Take Aim at the Police Van (1960), an off-kilter whodunit; Youth of the Beast (1963), an explosive yakuza thriller; Gate of Flesh (1964), a pulpy social critique; Story of a Prostitute (1965), a tragic romance; Tokyo Drifter...
- 3/29/2017
- by Ryan Gallagher
- CriterionCast
This podcast focuses on Criterion’s Eclipse Series of DVDs. Hosts David Blakeslee and Trevor Berrett give an overview of each box and offer their perspectives on the unique treasures they find inside. In this episode, David and Trevor discuss Eclipse Series 16: Alexander Korda’s Private Lives.
About the films:
Though born to modest means in Hungary, Alexander Korda would go on to become one of the most important filmmakers in the history of British cinema. A producer, writer, and director who navigated toward subjects of major historical significance and mythical distinction, Korda made a name for his production company, London Films, with the Oscar-winning The Private Life of Henry VIII. He then continued his populist investigation behind the scenes and in the bedrooms of such figures as Catherine the Great, Don Juan, and Rembrandt. Mixing stately period drama with surprising satire, these films are exemplars of grand 1930s moviemaking.
About the films:
Though born to modest means in Hungary, Alexander Korda would go on to become one of the most important filmmakers in the history of British cinema. A producer, writer, and director who navigated toward subjects of major historical significance and mythical distinction, Korda made a name for his production company, London Films, with the Oscar-winning The Private Life of Henry VIII. He then continued his populist investigation behind the scenes and in the bedrooms of such figures as Catherine the Great, Don Juan, and Rembrandt. Mixing stately period drama with surprising satire, these films are exemplars of grand 1930s moviemaking.
- 6/5/2016
- by David Blakeslee
- CriterionCast
This coming Friday, July 15, marks the birthday of the greatest of all Dutch painters, Rembrandt van Rijn. Born 505 years ago, I figured now was as suitable an occasion as I’d ever have to review Rembrandt, this fine biopic from 1936 starring Charles Laughton, part of Eclipse Series 16: Alexander Korda’s Private Lives.
Korda is one of the most influential and dynamic figures in the history of UK cinema, founder of London Films and the first man ever granted knighthood for his work in the English film industry. Along with his brothers Zoltan and Vincent, he played a major part in creating some of the most fondly remembered British films of the 1930s, 40s and 50s, including The Scarlet Pimpernel, The Four Feathers, That Hamilton Woman, The Thief of Bagdad, The Third Man and Laurence Olivier’s version of Richard III.
As anyone who’s paid even the slightest attention...
Korda is one of the most influential and dynamic figures in the history of UK cinema, founder of London Films and the first man ever granted knighthood for his work in the English film industry. Along with his brothers Zoltan and Vincent, he played a major part in creating some of the most fondly remembered British films of the 1930s, 40s and 50s, including The Scarlet Pimpernel, The Four Feathers, That Hamilton Woman, The Thief of Bagdad, The Third Man and Laurence Olivier’s version of Richard III.
As anyone who’s paid even the slightest attention...
- 7/11/2011
- by David Blakeslee
- CriterionCast
Last month, in the course of reviewing Hiroshi Shimizu’s The Masseurs and a Woman, I impulsively committed myself to review “next week” another 1930s Japanese film by Kenji Mizoguchi, in order to complete the sampler I’d started with recent articles on Yasujiro Ozu and Mikio Naruse from that same era. Of course, I followed up on that commitment seven days later with an article on The Rise of Catherine the Great, from the Alexander Korda’s Private Lives Eclipse set. And then last week I postponed my Journey through the Eclipse Series altogether, opting instead to write a column on Ten Criterion Films for Mothers Day.
So I didn’t really know which “next week” I was referring to, until now, when it’s finally time to make good on my promise. I guess it’s only fitting, after offering my thoughts on one of the most powerful...
So I didn’t really know which “next week” I was referring to, until now, when it’s finally time to make good on my promise. I guess it’s only fitting, after offering my thoughts on one of the most powerful...
- 5/19/2011
- by David Blakeslee
- CriterionCast
So you probably saw the headline and thought to yourself, “Oh Dave came up with a cute tie-in to all the pomp and ceremony that went on over in London last week, how clever of him to find an Eclipse title that connects so well with the marriage of Prince William and his girlfriend Catherine Middleton.” Yeah, I’m sure that’s what you were thinking and I can’t fault you for drawing such an obvious conclusion, even though it’s wrong. I actually chose this film for my next installment in this series simply because May 2 happens to be the birthday of Catherine the Great, the most powerful woman on earth during her lifetime and one of the most influential of all monarchs in Russia’s long and turbulent history.
Despite the fact that The Rise of Catherine the Great depicts a young woman’s entry into the...
Despite the fact that The Rise of Catherine the Great depicts a young woman’s entry into the...
- 5/4/2011
- by David Blakeslee
- CriterionCast
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