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.
Alice, Darling (Mary Nighy)
Everything you need to know about Alice’s (Anna Kendrick) state of mind concerning the abuse inflicted by her boyfriend Simon (Charlie Carrick) are the words “it’s not like he hurts me.” We feel Sophie’s (Wunmi Mosaku) wince in our bones—”hurt” doesn’t only become noteworthy when wrought by a physical altercation. Alice is glued to her phone to ensure she doesn’t miss a call or text. She wakes up super early to apply make-up and style her hair to Simon’s preference. Parrots all the soundbites he uses to police her eating habits about the toxicity of sugar. And literally pulls her hair out of her head whenever she has a spare second...
Alice, Darling (Mary Nighy)
Everything you need to know about Alice’s (Anna Kendrick) state of mind concerning the abuse inflicted by her boyfriend Simon (Charlie Carrick) are the words “it’s not like he hurts me.” We feel Sophie’s (Wunmi Mosaku) wince in our bones—”hurt” doesn’t only become noteworthy when wrought by a physical altercation. Alice is glued to her phone to ensure she doesn’t miss a call or text. She wakes up super early to apply make-up and style her hair to Simon’s preference. Parrots all the soundbites he uses to police her eating habits about the toxicity of sugar. And literally pulls her hair out of her head whenever she has a spare second...
- 2/3/2023
- by Jordan Raup
- The Film Stage
February, marking both Black History Month and Valentine’s Day, is the kind of stretch from which a programmer can mine plenty. Accordingly the Criterion Channel have oriented their next slate around both. The former is mostly noted in a series comprising numerous features and shorts: Shirley Clarke and William Greaves up to Ephraim Asili and Garrett Bradley, among them gems such as Varda’s Black Panthers and Kathleen Collins’ Losing Ground; a six-film series on James Baldwin; and 10 works by Oscar Micheaux.
Meanwhile, the 23-film “All You Need Is Love” will cover the blinding romance of L’Atalante, the heartbreak of Happy Together, and youthful whimsy of Stolen Kisses; four Douglas Sirk rarities should leave their mark, but I’m perhaps most excited about three starring Rock Hudson and Doris Day. Perhaps more bracing are 12 movies by Derek Jarman and four by noir maestro Robert Siodmak. Also a major...
Meanwhile, the 23-film “All You Need Is Love” will cover the blinding romance of L’Atalante, the heartbreak of Happy Together, and youthful whimsy of Stolen Kisses; four Douglas Sirk rarities should leave their mark, but I’m perhaps most excited about three starring Rock Hudson and Doris Day. Perhaps more bracing are 12 movies by Derek Jarman and four by noir maestro Robert Siodmak. Also a major...
- 1/26/2023
- by Nick Newman
- The Film Stage
Lori Nelson, the 1950s starlet who was kidnapped by an amphibious monster in Revenge of the Creature and portrayed Barbara Stanwyck’s younger daughter in Douglas Sirk’s All I Desire, has died. She was 87.
Nelson had been suffering from Alzheimer’s disease for several years and died Sunday at her home in the Porter Ranch section of Los Angeles, her daughter Jennifer Mann said.
In Ma and Pa Kettle at the Fair (1952) and Ma and Pa Kettle at Waikiki (1955), Nelson played Rosie Kettle, one of the daughters of the characters played by Marjorie Main and Percy Kilbride in the Universal series of films.
Nelson also made her mark in I Died a Thousand Times (1955), a remake of the Humphrey Bogart classic High Sierra in which she portrayed the club-footed love interest of Jack Palance’s crook; Pardners (1956), working opposite Dean Martin and Jerry Lewis in their penultimate film together...
Nelson had been suffering from Alzheimer’s disease for several years and died Sunday at her home in the Porter Ranch section of Los Angeles, her daughter Jennifer Mann said.
In Ma and Pa Kettle at the Fair (1952) and Ma and Pa Kettle at Waikiki (1955), Nelson played Rosie Kettle, one of the daughters of the characters played by Marjorie Main and Percy Kilbride in the Universal series of films.
Nelson also made her mark in I Died a Thousand Times (1955), a remake of the Humphrey Bogart classic High Sierra in which she portrayed the club-footed love interest of Jack Palance’s crook; Pardners (1956), working opposite Dean Martin and Jerry Lewis in their penultimate film together...
- 8/24/2020
- by Mike Barnes
- The Hollywood Reporter - Movie News
Kino Lorber has released three Barbara Stanwyck films in a boxed set collection. Here is the official announcement:
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This collection feature three classic films starring screen legend Barbara Stanwyck:
Internes Can’T Take Money (1937) – Young Dr. James Kildare, interning at a clinic, falls for his patient Janet Haley. The feeling is mutual, but Janet has a secret she will not divulge: She’s the widow of a bank robber who hid their daughter before he died and she is desperately trying to find the little girl. She will use anyone—including Dr. Kildare—to get her child back. The doctor’s association with gangster Hanlon, whose injuries Kildare secretly patched up, and Janet’s connection with gangster Innes (Stanley Ridges, Black Friday), who’s helping her find her daughter, bring it all to a rousing head filled with action, suspense and the unexpected!
Normal 0 false false false En-us X-none X-none
This collection feature three classic films starring screen legend Barbara Stanwyck:
Internes Can’T Take Money (1937) – Young Dr. James Kildare, interning at a clinic, falls for his patient Janet Haley. The feeling is mutual, but Janet has a secret she will not divulge: She’s the widow of a bank robber who hid their daughter before he died and she is desperately trying to find the little girl. She will use anyone—including Dr. Kildare—to get her child back. The doctor’s association with gangster Hanlon, whose injuries Kildare secretly patched up, and Janet’s connection with gangster Innes (Stanley Ridges, Black Friday), who’s helping her find her daughter, bring it all to a rousing head filled with action, suspense and the unexpected!
- 8/12/2020
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
There remains a dearth of unappreciated titles from German émigré Douglas Sirk’s lengthy filmography, which basically includes anything outside of his seminal Hollywood melodramas of the 1950s—films would influence the output of more contemporary international auteurs, from Rainer Werner Fassbinder to Todd Haynes. Sirk is now best renowned for a quartet of iconic titles, including Magnificent Obsession (1954), All That Heaven Allows (1955), Written on the Wind (1956) and his final masterpiece, Imitation of Life (1959), itself a remake of an earlier 1934 Claudette Colbert film directed by John M. Stahl. While some of his English language noirs of the 1940s have been recuperated, such as the Lucille Ball headlined Lured (1947), his German period remains neglected, and perhaps more surprisingly, several other 1950s works which starred his plethora of regular players.…...
- 3/26/2019
- by Nicholas Bell
- IONCINEMA.com
Douglas Sirk at Universal-International is a two-part overview by Blake Lucas. Part 1 can be found here. Mubi's series, In the Realm of Melodrama: A Douglas Sirk Retrospective, is showing April 2 - June 20, 2018 in the United Kingdom and many other countries.Is a great director like Douglas Sirk apart from the world he is in, a subversive artist in social critique as well as in his engagement with studio aesthetics and intentions? In truth, that argument is both superficial in its view of filmmaking and patronizing toward audiences. The idea that anyone would actually set out to make a complacent film comfortably validating everything about its present world really doesn’t even make sense. Who would be engaged by seeing it, for one thing? I was around in the 1950s, and whatever repressions or suppressions there were, I can assure that people had plenty of tension, melancholy, alienation and even despair living with them,...
- 4/9/2018
- MUBI
"For those still immune to the glories of Douglas Sirk’s cinema, the 25-film retrospective at the Film Society of Lincoln Center (most in 35 mm) is a rare opportunity to see what they’ve been missing," writes Tony Pipolo in Artforum, topping our overview of the series: Richard Brody on All I Desire, Melissa Anderson on Imitation of Life and There's Always Tomorrow, Max Kyburz on Written on the Wind, Justin Stewart on Sleep, My Love, plus an appreciation by Rainer Werner Fassbinder: 'Film is like a battleground,' Sam Fuller, who once wrote a script for Douglas Sirk, said in a film by Jean-Luc Godard, who, shortly before he made Breathless, wrote a rhapsody on Douglas Sirk’s A Time to Love and a Time to Die. But not one of us, Godard or Fuller or me or anybody else, can touch Douglas Sirk." » - David Hudson...
- 12/23/2015
- Keyframe
"For those still immune to the glories of Douglas Sirk’s cinema, the 25-film retrospective at the Film Society of Lincoln Center (most in 35 mm) is a rare opportunity to see what they’ve been missing," writes Tony Pipolo in Artforum, topping our overview of the series: Richard Brody on All I Desire, Melissa Anderson on Imitation of Life and There's Always Tomorrow, Max Kyburz on Written on the Wind, Justin Stewart on Sleep, My Love, plus an appreciation by Rainer Werner Fassbinder: 'Film is like a battleground,' Sam Fuller, who once wrote a script for Douglas Sirk, said in a film by Jean-Luc Godard, who, shortly before he made Breathless, wrote a rhapsody on Douglas Sirk’s A Time to Love and a Time to Die. But not one of us, Godard or Fuller or me or anybody else, can touch Douglas Sirk." » - David Hudson...
- 12/23/2015
- Fandor: Keyframe
There’s a whole lot of Douglas Sirk coming to New York during the holiday season. From December 23 – January 6, it’s “Imitations of Life: The Films of Douglas Sirk.” Check out the Film Society at Lincoln Center’s website for more info and the awesome lineup below: All I Desire Douglas Sirk, USA, 1953, 35mm, 79m Sirk excoriates small-town pettiness and provincialism in this slashing, incisive melodrama. A marvelous Barbara Stanwyck stars as washed-up vaudeville actress Naomi Murdoch, who travels back to the Wisconsin town where the husband and three children she abandoned 10 years earlier still reside. Her sudden reappearance sends shock waves through the community and pits her [ Read More ]
The post Spend the Holidays with the Films of Douglas Sirk at the Film Society at Lincoln Center appeared first on Shockya.com.
The post Spend the Holidays with the Films of Douglas Sirk at the Film Society at Lincoln Center appeared first on Shockya.com.
- 12/10/2015
- by Rudie Obias
- ShockYa
Becoming Anita EkbergThe Film Society of Lincoln Center’s "Art of the Real" series, which recently unspooled its second season, has become New York’s annual showcase for the “hybrid” film, experimental works that, despite a more than tenuous relationship with the documentary tradition, oscillate between fiction and nonfiction. Now that documentary has become unmistakably fashionable (a banal subplot in Noah Baumbach’s dreary comedy, While We’re Young, is even spawned by cartoonish version of a debate over “documentary ethics”) the schism between films such as The Hunting Ground and Merchants of Doubt, which resemble feature-length 60 Minutes stories, and the sort of documentaries programmed at film festivals like Doclisboa and Cph: Dox has grown even wider. Art of the Real, laden with an amalgam of festival favorites and classic precursors of cinematic hybridity (this year’s Agnés Varda retrospective is a case in point) is certainly a cheerleader for...
- 4/25/2015
- by Richard Porton
- MUBI
Above: Us poster for Forbidden (Frank Capra, USA, 1932)
In honor of the month-long retrospective of the films of the great Barbara Stanwyck starting today at Film Forum in New York, I thought I’d select my favorite Stanwyck posters. Brooklyn-born Ruby Catherine Stevens made 85 films over 37 years in Hollywood so there is an awful lot to choose from. But the remarkable thing about looking back at these posters is how artists seemed to have had a hard time capturing her likeness. The poster for one of her earliest films, Capra’s 1932 Forbidden, above, captures her beautifully, but the poster for Stella Dallas (1937), her first Oscar-nominated role (she never won, shockingly), seems to be of a different actress entirely. As for the sexed-up illustration on the flyer for The Bitter Tea of General Yen (1933), in that she looks more like Jean Harlow. Some of my favorite posters for her films are the Swedish and Danish designs,...
In honor of the month-long retrospective of the films of the great Barbara Stanwyck starting today at Film Forum in New York, I thought I’d select my favorite Stanwyck posters. Brooklyn-born Ruby Catherine Stevens made 85 films over 37 years in Hollywood so there is an awful lot to choose from. But the remarkable thing about looking back at these posters is how artists seemed to have had a hard time capturing her likeness. The poster for one of her earliest films, Capra’s 1932 Forbidden, above, captures her beautifully, but the poster for Stella Dallas (1937), her first Oscar-nominated role (she never won, shockingly), seems to be of a different actress entirely. As for the sexed-up illustration on the flyer for The Bitter Tea of General Yen (1933), in that she looks more like Jean Harlow. Some of my favorite posters for her films are the Swedish and Danish designs,...
- 12/6/2013
- by Adrian Curry
- MUBI
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