A few weeks back, the next big plan for day-and-date home streaming was announced: a service called The Screening Room, which would work with exhibitors and distributors to offer new theatrical releases in the comfort of your own home for a premium price of $50. There have been similar ideas and experiments in the past that ultimately fizzled out, but this one seems to have some steam—big figures in the film industry, such as Peter Jackson, Martin Scorsese, J.J. Abrams and Steven Spielberg, have gotten behind it. According to Deadline Hollywood, The Screening Room will have its first big moment at the upcoming CinemaCon, where it will present to exhibitors. One of the stranger aspects of The Screening Room is the presence of Sean Parker, the man behind Napster and an early investor in Facebook—he isn’t exactly a well-liked figure for many in the entertainment industries, so it might be extra difficult for him to convince the powers-that-be of mutual benefits. Certainly, a $50-per-movie streaming service isn’t ideal for everyone, but it seems to have the best chance of breaking a new aspect for streaming cinema at home.

Netflix

Sunset Boulevard (Billy Wilder, 1950)

Recently, film critic Matt Singer wrote a piece for ScreenCrush looking at the strange ways Netflix recommends movies and television when filling their streaming gaps. An interesting realization in his research was how few of the best films of all time are currently available—at the time, only 33 of the top 250 films on IMDb. Classic films are certainly in low supply at Netflix, which makes the release of fantastic film noir Sunset Boulevard quite notable. The film won three Oscars (nominated for 11 in total—it was a big year for All About Eve) and has lived on in the cinematic consciousness as one of the best films about Hollywood. Currently #52 on IMDb’s list, the inclusion of Sunset Boulevard to Netflix alone doesn’t solve the streaming services classic film problem, but it definitely adds a must-watch film for all film lovers. On this note, Netflix has also added Stanley Kubrick double-feature A Clockwork Orange and 2001: A Space Odyssey, two other top-250 films, so maybe the message was heard.

Other titles new to Netflix this week:
Anthony Bourdain: Parts Unknown (Series, Season 6)
Archer (Series, Season 6)
The Assassin (Hou Hsiao-Hsien, 2015)
Best in Show (Christopher Guest, 2000)
Bob’s Burgers (Series, Season 5)
Breathe (Mélanie Laurent, 2014)
Hard Labor (Marco Dutra & Juliana Rojas, 2011)
Mediterranea (Jonas Carpignano, 2015)
Mountain Men (Cameron Labine, 2014)
The Princess Bride (Rob Reiner, 1987)

Fandor

No Home Movie (Chantal Akerman, 2015)

The same week Chantal Akerman’s final film has its limited theatrical release you are able to stream it on Fandor. No Home Movie is a documentary involving conversations Akerman had with her mother just before the mother’s death. This is a big week to explore the under-appreciated filmmaker with I Don’t Belong Anywhere, a profile of her work, also being released. After Akerman’s own death in October 2015, many film fans discovered or revisited her best work, and now that circle can be closed with her final film. Given her active presence in No Home Movie and the themes of mortality it explores, the film is a particularly resonant one.

Other titles new to Fandor this week:
The Eternal Return of Antonis Paraskevas (Elina Psikou, 2014)
Lady Snowblood (Toshiya Fujita, 1973)
Pandora’s Box (G.W. Pabst, 1929)
Sex and Broadcasting (Tim K. Smith, 2016)
We Go Way Back (Lynn Shelton, 2006)

MUBI

The Strange Colour of Your Body’s Tears (Hélène Cattet & Bruno Forzani, 2013)

Filmmaking duo Cattet and Forzani’s follow up to the amazingly bizarre Italian Giallo throwback Amer shows that they are clearly all-in on their stylish influences. Though it is a bit more narratively focused, the plot of The Strange Colour of Your Body’s Tears is not the drawing point—the film is a kaleidoscope of insert shorts, close-ups and double images, cut to harsh music and sound effects. It is certainly not for everyone (check out our full review, for instance), but the insane nature of the film showcases auteurs who are making films like no one else today. Anyone with an interest Italian horror flicks should check out The Strange Colour of Your Body’s Tears on MUBI until April 28.

Other titles new to MUBI this week:
GasLand (Josh Fox, 2010)
My Best Fiend (Werner Herzog, 1999)
The Perfume of the Lady in Black (Francesco Barilli, 1974)
Petropolis: Aerial Perspectives on the Alberta Tar Sands (Peter Mettler, 2009)
Prospero’s Books (Peter Greenaway, 1991)

iTunes & Video On-Demand

Bicycle Thieves (Vittorio Da Sica, 1948)

One of the most interesting aspects of iTunes Movies is their partnership with the Criterion Collection. Sure, you have plenty of opportunity to stream their selections on a number of services (like Hulu and Fandor), but the more the merrier—iTunes also allows you to buy the films, so that’s an added benefit. This week, Criterion is releasing Bicycle Thieves, one of the all-time great films. A staple of the Italian Neorealism movement, it’s stark black-and-white cinematography, complicated moral themes, use of non-professional actors, and overall documentary style will keep it in the cinematic conversation as long as we’re seriously studying the art form. Finally released by the Criterion Collection on Blu-ray, you can also rent or buy Bicycle Thieves on-demand through iTunes.

Other titles new to VOD this week:
Exposed (Declan Dale, 2016)
Justice League vs. Teen Titans (Sam Liu, 2016)
The Messenger (Su Rynard, 2015)
Of Mind and Music (Richie Adams, 2016)
Star Wars: The Force Awakens (J.J. Abrams, 2015)

Over the last 2 weeks my opinions have changed towards some of the films I’ve seen. Watching up to 4 films in one day can be exhausting, and sometimes through reflection films can seem better or worse in retrospect. In other words, if there are inconsistencies between my list and the reviews/ratings I gave, deal with it.

My Top 20 Films from the 2013 Toronto International Film Festival:

#20 – The Strange Colour of Your Body’s Tears

It’s amazing how much Cattet/Forzani’s style worked in Amer, and how much it didn’t work here. At the start I was thinking it might be the best film I saw at TIFF up to that point. At the end it felt like nails on a chalkboard.
The Strange Colour of Your Body’s Tears review

#19 – Moebius

This only gets ranked above Strange Colour purely by the fact that I could watch it without a problem.
Moebius review

#18 – The Green Inferno

Half of the movie is poorly acted and written drivel. The other half’s nastiness and excellent make-up by KnB make it more tolerable, but this belongs right alongside the other horror films only available on VOD.
The Green Inferno review

#17 – Like Father, Like Son

A complicated moral tale destroyed by its director making his characters spend 2 hours catching up to agree with his point of view (which is established immediately). A snooze.
Like Father, Like Son review

#16 – A Field in England

A cheap, nonsensical and mind-maddening period piece involving alchemists and hallucinogenic mushrooms. Some fun moments when things go berserk editing-wise, but that’s about the only entertainment value I got out of it.
A Field in England review

#15 – Night Moves

Kelly Reichardt is still terrific behind the camera, but she put all her eggs in the wrong basket this time. Nothing really works here on a fundamental level, leaving the visuals and cast to do their best.
Night Moves review

#14 – October November

Gotz Spielmann’s disappointing follow-up to Revanche tries to tell a dramatic story with no real drama in it. An admirable effort, but nothing more than that.
October November review

#13 – Canopy

An amazing debut on a technical level, but ultimately lacking. Still, Aaron Wilson will be a name to look out for if he makes another film.
Canopy review

#12 – R100

At times hilarious, but completely baffling overall. Hitoshi Matsumoto’s usual brand of off-kiler humour and self-aware jokes just don’t mix as well as his other films this time.
R100 review

#11 – The Sacrament

Ti West’s attempt to document a modern-day Jonestown hasn’t been aging well with me. It’s still well-done, and has some excellent warming up in the first two acts, but it isn’t making much of an impact in the way his previous films have with me. The subject matter seems a little bit in poor taste too if you know what it’s based on, but it’s still an effective horror film.
The Sacrament review

#10 – Under the Skin

I have my issues with it, but I can’t deny Under the Skin‘s power. It’s one of the more Kubrickian films I’ve seen in years, and I still can’t shake some images from it out of my head. I wish the shift in the second half was handled better, but in time I feel like I’ll grow to appreciate Under the Skin much more than I already do.
Under the Skin review

#9 – Gravity

It’s disappointing from Cuaron, but I can’t deny how much of a technical marvel this is. Expect this to win all the technical awards at the Oscars. There won’t even be a competition.
Gravity review

#8 – Manakamana

One of the most fascinating films I saw at the festival, and it further establishes Harvard’s Sensory Ethnography Lab as one of the best documentary producers today. It was a pleasant surprise when Cinema Guild picked this up for distribution, and I hope that people are willing to give it a chance.
Manakamana review

#7 – Blind Detective

Johnnie To loses his mind, and the results are just as entertaining as many of his other films. Even when he’s switching genres between films (or within the films themselves), To proves he’s one of the more consistent filmmakers working today.
Blind Detective review

#6 – Why Don’t You Play In Hell?

Sono is back on form with his absolutely insane love letter to 35mm filmmaking and projection. It’s gloriously bonkers, simultaneously all over the place and tightly controlled, and a fun time for the most part.
Why Don’t You Play In Hell? review

#5 – The Past

Asghar Farhadi makes yet another well-done drama, with a terrific cast playing people who can’t escape the tragedies from (say it with me) their pasts. Farhadi seems to be the only filmmaker doing stories like this today, and we’re all the better for it.
The Past review

#4 – Oculus

Mike Flanagan lives up to the potential he showed in Absentia. It’s a horror film that understands the power of story, with a terrifying villain and a terrific script that uses its single location brilliantly. Hopefully audiences will discover Oculus, as the horror genre needs more people like Flanagan.
Oculus review

#3 – Stranger By The Lake

Gorgeous, seductive and a total nail-biter by the end. Stranger is an amazingly well-constructed film that will resonate with anyone who watches it.
Stranger By The Lake review

#2 – Only Lovers Left Alive

A film where one can live vicariously through its characters, and Jarmusch nails the carefree tone he’s clearly going for. It’s a big, long kiss to great artists throughout history, and it’s a total blast to watch.
Only Lovers Left Alive review

#1 – Stray Dogs

Tsai Ming-Liang’s swan song pushes the limits of his style (and his actors!) further than ever before. It’s a film where the weight of time on its characters are fully understood, and a showcase of just how masterful Tsai is when it comes to form. If it truly is his last film, he’ll be going out with one of his best films to date.
Stray Dogs review

Going back to TIFF my day was filled with catching up yet again. While everyone was abuzz for Gravity (review coming soon!) and The Double, I was out viewing some leftovers from Cannes earlier this year yet again.

Only Lovers Left Alive

I have to respectfully disagree with my great overlord and editor Dustin on some of his Cannes reviews. Earlier this year, he caught Only Lovers Left Alive and disliked it. While it’s easy to understand why Only Lovers isn’t beloved (it is Jarmusch after all), I was in love with what he was doing here for the most part. Vampires Adam and Eve (Tom Hiddleston and Tilda Swinton) have been together for centuries, but are currently on opposite sides of the world. Adam, a former rockstar, mopes around in his dilapidated Detroit mansion hiding from the public, and Eve spends her time in Tangier with Christopher Marlowe (John Hurt, and yes he is playing that Christopher Marlowe).

Adam’s disdain of humans, or “zombies” as he calls them, begins driving him to the point of suicide, which makes Eve travel by night to meet up with him again. The first hour focuses almost entirely on Adam and Eve lounging around as they listen to old music and discuss the brilliant artists throughout their lives. Jarmusch’s portrayal of immortality as one obsessed with nostalgia and consuming art feels realistic, and I couldn’t help but live vicariously through Adam and Eve. With time removed as a factor in people’s lives, who wouldn’t spend all of their nights absorbing as much as they can about different cultures? Watching Jarmusch, Swinton and Hiddleston go around geeking out over so many things, from antique instruments to awesome soul singles, is a joy to watch.

It’s also nice to see that, after the sombre but gorgeous The Limits of Control, Jarmusch is more playful again. Swinton and Hiddleston deadpan plenty of killer lines, and the addition of Mia Wasikowska as Eve’s problematic sister Ava brings a lot of laughs. The final part of the film, which shifts the narrative back to Tangier, doesn’t work entirely since it puts too much weight on a film that works because of its flighty nature. It’s only a small issue in a truly enjoyable film, and one of Jarmusch’s most entertaining in a while. I recommend sitting back, letting the amazing soundtrack work its magic and wonder about how great it could be to live like the two main characters.

RATING: 7.8

Like Father Like Son

Next up is yet another big disagreement between Dustin and myself. Steven Spielberg and the Cannes jury gave Like Father, Like Son the Jury Prize this year, and despite the endless raves for it (including one from our own site) I personally did not care for it.

Ryota (Fukuyama Masaharu) is a rich architect who, as the saying goes, seemingly has it all. He has a supportive wife, Midori (Ono Machiko), and they have a 6 year old son named Keita. Ryota is hard-working and strict on Keita, who is struggling to get admitted into a prestigious primary school. Everything changes when they get a phone call from the hospital telling them something terrible; their son was switched with another couple’s baby. The DNA tests confirm the mistake, throwing Ryota and Midori into a major crisis. Do they keep Keita, raising him as they already have been for the past 6 years, or switch him with their real son?

Conceptually it’s a fascinating and tough moral debate on nature versus nurture, but Kore-Eda doesn’t explore this issue much. It’s very obvious from the beginning that he sides with love over blood, and for the next 2 hours he simply hammers this point home repeatedly. Some interesting dynamics are introduced into the story, like the class difference between the two families (Keita’s ‘true’ parents are working class but more affectionate towards their children), but the bulk of the film is simply waiting for its characters to reach the same conclusion Kore-Eda has made.

With the film’s central question and debate answered for, there really is no work for the audience left to do. That resulted in me being bored out of my mind for much of Like Father, Like Son. Ryota’s arc would be a fascinating one to watch if it wasn’t so predictable, and the way he’s painted as a villain at times is frustrating. Especially after watching The Past, where the subtleties of the film’s dramatic content are explored in such a thought-provoking way, Like Father, Like Son‘s simplistic handling of such a morally complex situation just looks lazy.

RATING: 5.8

The Strange Colour of Your Body’s Tears

As I said in my last TIFF update, I was trying to get into The Double. As you can tell by the title, I sadly did not get into the film. I decided to run across town and catch The Strange Colour of Your Body’s Tears, the newest film from Hélène Cattet and Bruno Forzani. Cattet/Forzani directed Amer, which I was a big fan of. Theoretically Strange Colour should work just the same, as it uses the overload of style and Giallo influences that made their last film such a treat to watch. That theory proves to be correct for the first 30 or so minutes, as the simple story of a man looking for his missing wife in their labyrinthine apartment building has every stylistic trick in the book thrown at it, but eventually the charm wears off.

It wouldn’t be so bad if it wasn’t for the fact that the film’s ear-piercingly loud soundtrack and attempt at a narrative are so grating that by the hour mark I was ready for the credits. Instead I had another 40 or so minutes to go, and by the finale I found a lot of Strange Colour to be insufferable. The style is still magnificent when it works, and some of the random segments (including a cop’s explanation of how he got a scar on his neck and a woman being haunted by a murderer in her walls) are plenty of fun on their own. It’s just too bad that, as a whole, The Strange Colour of Your Body’s Tears is torturous.

RATING: 4.5

Next up:

It’s horror day at TIFF! I start off with Eli Roth and Ti West’s new films, then cap it all off with a midnight screening of Oculus.