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Larisa Shepitko: Eclipse Series 11 (Wings / The Ascent) - Criterion Collection
Release Date: 2008-08-12
Sales rank: 2834
The career of Larisa Shepitko, an icon of sixties and seventies Soviet cinema, was tragically cut short when she was killed in a car crash at age thirty-nine, just as she was emerging on the international scene. The body of work she left behind, though small, is masterful, and her genius for visually evoking characters interior worlds is never more striking than in her two greatest works: Wings, an intimate yet exhilarating portrait of a female fighter pilot turned provincial headmistress, and The Ascent, a gripping, tragic World War II parable of betrayal and martyrdom. A true artist, who had deftly used the Soviet film industry to make statements both personal and universal, Shepitko remains one of the greatest unsung filmmakers of all time. |
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Night Watch
Release Date: 2006-06-20
Sales rank: 3713
Among normal humans live the "Others" possessing various supernatural powers. They are divided up into the forces of light and the forces of the dark, who signed a truce several centuries ago to end a devastating battle. Ever since, the forces of light govern the day while the night belongs to their dark opponents. In modern day, the dark Others actually roam the night as vampires while a "Night Watch" of light forces, among them Anton, try to control them and limit their outrage.Night Watch is that rare film that--like The Matrix--is not only visually dazzling but creates an intriguing, seductive, and thrilling alternative world. A young man named Anton, after dabbling in black magic to bring back the wife who left him, discovers that the world is populated by fantastical Others (vampires, shape-shifters, witches, and more) who have chosen sides--Light or Dark--in an epic battle. A truce has been declared; both sides watch the other to ensure the truce is maintained. But a prophecy has predicted that a powerful Other will tilt the balance, and Anton--who is himself an Other--finds himself crucial to the prophecy's fulfillment. There's no question that Night Watch has weaknesses. Numerous plot holes get glossed over by pell-mell pacing, the visual conception of the apocalyptic battle between Light and Dark is curiously pedestrian (a bunch of knights fighting a bunch of guys in fur with swords--what happened to their various powers?), and more--but, much like similar problems with The Matrix, it doesn't matter. The alternative world Night Watch presents is so rich with possibilities that it takes on a life of its own, both as an imaginative universe and as a vivid metaphor for the moral complexities of our own lives--for example, though the forces of Light claim to be good, their often brutal actions call their virtue into question, and the forces of Dark make some compelling moral arguments on the topic. The movie is so overstuffed with ideas that many don't get fleshed out, but that only contributes to the sense of vitality and unexplored dimensions. Even the subtitles are used creatively. The impending sequels (this is the first film of a trilogy) may--like The Matrix--take all the stimulating possibilities Night Watch raises and drag them into the toilet, but for the moment, this is the sort of electric excitement that blockbuster movies promise but so rarely deliver. --Bret Fetzer |
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Russian Ark: The Masterworks Edition
Release Date: 2003-09-09
Sales rank: 12398
A modern filmmaker magically finds himself transported to the 18th century, where he embarks on a time-traveling journey through 300 years of Russian history in Alexander Sokurov’s masterpiece. Filmed in HD with directors commentaryRussian master Alexander Sokurov has tapped into the very flow of history itself for this flabbergasting film. Thanks to the miracles of digital video, Sokurov (and cinematographer Tilman Buttner) uses a single, unbroken, 90-minute shot to wind his way through the Hermitage in St. Petersburg--the repository of Russian art and the former home to royalty. Gliding through time, we glimpse Catherine II, modern-day museumgoers, and the doomed family of Nicholas II. History collapses on itself, as the opulence of the past and the horrors of the 20th century collide, and each door that opens onto yet another breathtaking gallery is another century to be heard from. The movie climaxes with a grand ball and thousands of extras, prompting thoughts of just how crazy Sokurov had to be to try a technical challenge like this--and how far a distance we've traveled, both physically and spiritually, since the movie began. --Robert Horton |
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Solaris - Criterion Collection
Release Date: 2002-11-26
Sales rank: 4162
The Russian answer to 2001, and very nearly as memorable a movie. The legendary Russian director Andrei Tarkovsky made this extremely deliberate science-fiction epic, an adaptation of a novel by Stanislaw Lem. The story follows a cosmonaut (Donatas Banionis) on an eerie trip to a planet where haunting memories can take physical form. Its bare outline makes it sound like a routine space-flight picture, an elongated Twilight Zone episode; but the further into its mysteries we travel, the less familiar anything seems. Even though Tarkovsky's meanings and methods are sometimes mystifying, Solaris has a way of crawling inside your head, especially given the slow pace and general lack of forward momentum. By the time the final images cross the screen, Tarkovsky has gone way beyond SF conventions into a moving, unsettling vision of memory and home. Well worthy of cult status, Solaris is both challenging art-house fare and a whacked-out head trip. --Robert Horton |
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Stalker: A Film by Andrei Tarkovsky
Release Date: 2006-11-07
Sales rank: 5830
Challenging, provocative, and ultimately rewarding, Andrei Tarkovsky's Stalker is a mind-bending experience that defies explanation. Like Tarkovsky's earlier and similarly enigmatic science fiction classic Solaris, this long, slow, meditative masterpiece demands patience and total attention; anyone accustomed to faster pacing is likely to abandon the nearly three-hour film before its first hour is over. On the other hand, those who approach Tarkovsky's work in a properly receptive (and wide awake) frame of mind are likely to appreciate the film's seductive depth of theme and hypnotic imagery. Set in what appears to be a post-apocalyptic future (although the time-frame is never specified), the eerie and unsettling story focuses on the title character, Stalker (Aleksandr Kajdanovsky), who leads characters known only as the Writer (Anatoli Solonitsyn) and the Scientist (or Professor, played by Nikolai Grinko) into a mysterious region called The Zone. Tarkovsky films their journey as a long odyssey, or religious pilgrimage, and center of The Zone--said to be under an alien influence--is where each of these men hopes to find a kind of personal transcendence. Despite obvious parallels to The Wizard of Oz, Tarkovsky's film is devoid of special effects or any fantastical elements typically associated with science fiction or fantasy. Instead, Stalker makes astonishing use of sound and bleak-but-beautiful imagery to envelope the viewer into the eerie atmosphere of The Zone and the dank, colorless landscape that surrounds it. And while the film's glacial pacing may be off-putting to some viewers, there's no denying that Stalker has a mesmerizing power of its own, including a thought-provoking and highly debatable ending that propels the film to a higher level of meaning and significance. --Jeff Shannon |
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Orlando
Release Date: 1999-08-03
Sales rank: 11470
Breathtaking and practically nondiscursive, Sally Potter's audacious Orlando overcomes some dodgy performances and a narrative structure that could most generously be described as "loose" to emerge as a haunting, discussion-provoking trans-historical and transsexual drama. Commanded never to age by Queen Elizabeth (played with surprisingly little camp by legendary cross-dresser Quentin Crisp), the title character becomes immortal; we then follow Orlando through 400 years of dreamlike British history. Midway through the film, Orlando changes genders--to Potter's immense credit, the transformation is handled with little fanfare and no explanation. Tilda Swinton, in the lead role, is far more convincing as a woman than as a man, and even during the film's latter half, her impassivity and lack of expression can be annoying. Potter encourages Swinton to play to the camera, and the resulting asides and glances askance can be amusing, but often seem purposeless, or even arch. Nevertheless, the willful idiosyncrasy and understatement of the film never quite capsize the project, and once you give yourself over to the filmmaker's logic, the panoramic sweep of the cinematography (remarkable sets include an aristocratic skating party on the frozen Thames during the Great London Frost of 1603, a stunning tent-caravan in Central Asia, and countless fastidious boudoirs and interiors) will surely keep you enraptured. Orlando is no Merchant-Ivory production, no prissy, forgettable period piece; this film has teeth, and it may bite ferociously when you least expect it to. Based on, but scarcely resembling, the Virginia Woolf modernist classic of the same name. --Miles Bethany |
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Kolya
Release Date: 2002-07-02
Sales rank: 11358
Winner of the Academy Award(R) and Golden Globe as Best Foreign Language Film, this irresistible comedy treat was embraced by critics and audiences everywhere! A confirmed bachelor is in for the surprise of his life when a get-rich-quick scheme backfires ... setting off a wild set of circumstances -- and leaving him with a pint-sized new roommate! Now, with a mischievous five-year-old named Kolya suddenly in his care ... life in this once carefree playboy's tiny apartment changes faster than he could ever imagine! Uplifting and endlessly funny, KOLYA is delightful motion picture entertainment you'll want to take home!Winner of the 1997 Academy Award for Best Foreign Language Film, this charming Czech drama uses the backdrop of the Russian military occupation in Prague for its funny, sad, and ultimately delightful story of a 55-year-old man's friendship with a 5-year-old boy. It doesn't exactly start out as friendship: Louka is a cellist who lost his symphony job after writing a sarcastic remark on an official form, and although he's struggling financially he still enjoys the company of several young women who find him irresistibly sexy. The last thing he needs is a surrogate child, but that's what he gets when young Kolya is abandoned by his mother, a Russian woman Louka had agreed to marry so she could avoid being sent back to Russia. The mother runs off to her boyfriend in Germany, leaving Louka with a 5-year-old kid who only speaks Russian! As directed by Jan Sverák (whose father, Zdenek Sverák, plays Louka), this predicament offers a lovingly detailed account of how Louka and Kolya discover each other, and how their mutual awkwardness evolves into a heartwarming father-son relationship. While the Russian presence creates an atmosphere of suspicion and restriction, the deepening connection between Louka and Kolya turns this into an unforgettable film, beautifully photographed, sensitively performed, and directed with just the right combination of subtle sentiment and harsh reality. Its Oscar was definitely well deserved. --Jeff Shannon |
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Come and See
Release Date: 2003-09-02
Sales rank: 7285
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Russian Dolls
Release Date: 2006-09-26
Sales rank: 7555
A French writer finds his life is once again being turned sideways by his footloose European friends in this sequel to the international hit L'Auberge Espagnole. Five years after we last saw him Xavier (Romain Duris) has given up his aspirations of a career in international finance but his new path as a writer isn't going as well as he hoped; his novel about his experiences in Spain has yet to be published and lately he's been writing scripts for a French soap opera. When his French producers enter into a co-production agreement with a British network and Xavier lands an assignment ghost-writing a tell-all autobiography for famous fashion model Celia Shelburn (Lucy Gordon) he finds himself spending plenty of time traveling between Paris and London. In London Xavier becomes reacquainted with Wendy (Kelly Reilly) whom he met during his time in Spain and he wonders if he should take another stab at a relationship with her; Wendy is currently involved but is increasingly frustrated with her boyfriend's drug problems and mood swings. Xavier is also infatuated with Celia and wonders if a dalliance with the glamorous model might be possible. Needing romantic advice Xavier turns to another old friend Isabelle (C cile De France) a lesbian who offers her understanding of women as well as a spare bedroom in her flat. Xavier also gets pointers from his ex-girlfriend Martine (Audrey Tautou) who has a child from a former beau and is trying to sort out her own romantic troubles. Russian Dolls (aka Les Poup es Russes) also features Kevin Bishop reprising his role as William from the first film. Mark DemingFormat: DVD MOVIE Genre: FOREIGN/LATIN UPC: 796019795418 Manufacturer No: 79541 |
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Prisoner of the Mountains
Release Date: 2003-07-01
Sales rank: 12678
Two Russian soldiers - a fresh recruit named Vanya and a hardened veteran named Sacha - are taken hostage by Chechen guerillas after a deadly ambush leaves all of their comrades dead. Their captor a battle-weary village elder wants to use them as a bartering tool to get back his own son held prisoner by the Russian army. But when the trade goes sour and all trust is broken Vanya and Sacha realize their hours are numbered and attempt to escape before they're forced to join their comrades in death.System Requirements:Starring: Sergei Bodrov Jr. Susanna Mekhralieva Oleg Menshikov Djemal Sikharulidze Directed By: Sergei Bodrov Running Time: 99 Min. Color Copyright 2003 MGM Studios.Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 027616887498 Manufacturer No: 1004708There's a beautiful irony in the way that the most specific war tales are often the most universal. Set high in the imposing, isolated Caucasus mountains, where the 20th century meets ancient lifestyles, Sergei Bodrov's drama of the Chechyn war finds two opposing cultures locked in conflict for so long that the reasons seem moot. Young Russian grunt Vanya (Sergei Bodrov Jr., the director's son) and his jaded veteran Sergeant (Burnt by the Sun's Oleg Menshikov) survive an ambush by Chechyn guerrillas and wind up hostages of a village elder, a war-weary widower who has lost almost everything to fighting and wants merely to swap them for his POW son. Bodrov's humanism is directed with empathy and stirred with harsh realism--he takes no sides and offers no fantasies of happy endings, only small miracles of kindness that refuse to be swallowed in the destruction and mistrust. --Sean Axmaker |
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