by Kate Beach, Staff Writer
Looking back on two films that contributed heavily to one of my favorite subgenres: wild nights in New York City. Buckle up, let’s talk about Martin Scorsese’s Bringing Out the Dead and Stanley Kubrick’s Eyes Wide Shut.
by Rosalie Kicks, Old Sport & Editor in Chief
The documentary Made In England essentially made me feel like I was aboard a tram ride on one of those studio backlot tours.
by Ryan Silberstein, Managing Editor, Red Herring
Trying to pick 15 films I wanted to highlight as the best of the year is an impossible task. But the important thing to remember is that you can’t wake up if you don’t fall asleep.
by A. Freedman, Contributor
Welcome to MovieJawn’s first ever Sound & Vision Poll, where our writers share why they love their 10 favorite movies of all time!
Written and directed by Daniel Roher
Featuring Martin Scorsese, Bob Dylan and Levon Helm
MPAA rating :R for some language and drug references
Running time: 1 hour and 40 minutes
by Ashley Jane Carruthers
I need to start this by disclosing that I fucking love The Band. Like, I *really* love The Band. I’ve heard all the albums, read all the books, watched all the documentaries. That being said, I was extremely excited to watch Once Were Brothers: Robbie Robertson and The Band. You really have no idea. I first saw it at the Cinefest Film Festival in the fall, and having the opportunity to watch it again made me just as excited (my sweetheart, who certainly does not love The Band, has been veryyy patiently putting up with me going on and on and on about them and this documentary).
Read Moreby Wilson Holzhaeuser
Comparisons are fun and often useful. Superhero movies are like westerns. Star Wars is like The Hidden Fortress. J.J. Abrams is like a vacuum.[1] These kinds of parallels can enrich both works, revealing connections otherwise concealed. Dramatic function can crystallize when repeated in a different context. All works are connected in some way and we would be remiss to deny that.
Read Moreby Matthew Waldron
Between the two productions are 18 years, but Martin Scorsese’s The Last Temptation of Christ (1988) and Silence (2016) still resonate as if created for a double-bill as equally complex examples of the full spectrum cinema can produce regarding faith. FULL DISCLOSURE: I’m a practicing Catholic. I attend mass at a Jesuit parish and even last Spring took communion from Father James Martin who served as the Jesuit-adviser for Andrew Garfield and Adam Driver in preparation for their roles as Portuguese Jesuits in Silence. Accordingly, its (agonizingly delayed) release this past winter ended up one of the few genuinely transcendent experiences I’ve felt watching a film for the first time - not since Saving Private Ryan had I been so irresistibly transported by a film to a place I did not want to arrive at. And as I left the theater I struggled to balance the sincere joy I felt having just finished another Scorsese film with the existential, spiritual uncertainty Silence challenges every viewer to inevitably confront.
Read Moreby Matthew Waldron
It's not as nuclear as Gwyneth and J.Lo wearing the same dress to the Golden Globes, but when I'm watching a film and a piece of music comes along that is otherwise immediately indicative of some other film it really can ruin my day. If nothing else, you will definitely catch me rolling my eyes. Vicious shit.
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