“Into the Woods” has always been a bit of an oddball in the Broadway canon, primarily for its sharply dichotomous first and second acts and for Sondheim’s typically atypical compositional style. It’s a strange and messy show that’s always going to divide audiences—there’s a lot of singing, and a lot of darkness. In short, this is tricky material to adapt to film, and Disney deserves kudos for keeping most of the sharp edges of the original material intact.
This isn’t a great movie—visually, it’s quite drab, and some of the omissions (particularly in the transition between the film’s more traditional first half and darker second half) make the pacing seem a bit choppy. Marshall does a serviceable job adapting the material (partially redeeming himself for his butchery of “Nine”), but one can’t help but wonder what a truly visionary director might have been able to do with this complex, subversive, messy material.
With all that said, there’s a lot to like here, and it’s still a solid adaptation of middle-tier Sondheim (and, in my book, “weaker” Sondheim is still better than most things out there.) The ensemble is excellent (even James Corden is tolerable), with Emily Blunt as the Baker’s Wife a particular standout. Most of the actors can actually sing, which is always a plus in a movie musical. Most importantly, it’s funny and moving in the right spots, and the profundity and beauty of Sondheim’s insanely clever and wise (though occasionally more strained than in his best works) lyrics and Lapine’s script are still there for those willing to listen.
For the record: There are a few films here that may not seem like comedies to many - namely "American Psycho" and some of the Eastern European animated shorts. The author explains that he included them in the book because of their strong satirical/parodical elements.
For anyone who has evidence of other Kubrick faves, the person who compiled the list is taking suggestions on Twitter.
https://twitter.com/kubrickfaves
He's apparently going to update the article on the BFI site occasionally as he finds more sources - as soon as a film is added to the master list there, I'll update the list here.
A wonderful film. Not because I feel I have any particularly deep understanding of it (if there is anything to "get,") but simply because the two hours I spent in the theater were incredibly enjoyable and refreshing. I really love the way music and movement (of people and of the camera) and narration work together in his recent films to create a sort of feature-length film "symphony" or "dance" (yes, I realize that sounds hopelessly pretentious, but...)
I totally understand people who dislike/hate Malick's recent output, but I for one am really glad he's still working and making this kind of movie.
Inconsistent and spotty, like most of these Disney package films. However, a lot of the music is good and there are a few really lovely segments - particularly the (too short) first and the energetic second.
Also, that last segment is the weirdest damn thing I've ever seen.
Really? It took me a while to get used to the incongruous computer-generated characters, but overall I found a lot of the animation to be quite beautiful.
I think claims that this is cynical Oscar bait are misplaced.
Like it or hate it (I personally found it to be a very stressful, but somewhat enjoyable experience), it strikes me a deeply sincere and personal film about the dynamics of certain kinds of families - and one that lacks most of the traits of so-called "Oscar bait."
Only one documentary ("Kokoda Front Line!") made the top 100, and no short films. The highest ranking documentaries that didn't make the list include:
Cane Toads: An Unnatural History
Eternity (Lawrence Johnston, 1995)
For Love or Money (Megan McMurchy, et. al, 1983)
Two Laws (Allesandro Cavadini & Carolyn Strachan, 1981)
Bingo Bridesmaids & Braces (Gillian Armstrong, 1988)
Bodywork (David Caesar, 1989)
I'll Be Home for Christmas (Brian McKenzie, 1984) Pearls and Savages" (Frank Hurley, 1921)
Front Line (David Bradbury, 1980)
Desert People (Ian Dunlop, 1967)
The highest rated short films include:
Passionless Moments (Jane Campion, 1984)
Night Cries: A Rural Tragedy (Tracey Moffatt, 1990)
Nice Coloured Girls (Tracey Moffatt, 1987)
Peel (Jane Campion, 1982)
Camera Natura (Ross Gibson, 1985)
A Girl's Own Story (Jane Campion, 1983)
Violence in the Cinema ... Part 1 (George Miller, 1972)
From the Tropics to the Snow (Richard Mason & Jack Lee, 1964)
Stations (Jackie McKimmie, 1983)
Dot and the Kangaroo (Yoram Gross, 1977)
Leisure (Bruce Petty, 1977)
Queensland (John Ruane, 1976)
Only the Brave (Ana Kokkinos, 1995)
Feathers (John Ruane, 1987)
Lover Boy (Geoffrey Wright, 1989)
"Highest ranked films which offered variations in cinema form:"
In This Life's Body (Corinne & Arthur Cantrill, 1984)
My Life Without Steve (Gillian Leahy, 1986)
Mystical Rose (Michael Lee, 1975)
Serious Undertakings (Helen Grace, 1983)
A Song of Air (Merilee Bennett, 1987)
This Woman is Not a Car (Margaret Dodd, 1983)
The Lead Dress (Virginia Murray, 1984)
Palisade (Laurie McInnes, 1987)
An invaluable document of one of the most important (and best) musicals of modern Broadway.
As someone who has listened to the album a million times, it was especially thrilling to see the faces behind the voices. But even if you're not interested in the show, it's fascinating to see all the work that goes into creating a cast album.
For those who haven't seen this yet, Criterion will be giving it - along with two other Fejos films - its first ever (afaik) official home video release in August.
Comments 1 - 25 of 237
Toplist comment on Israeli Film: A Reference Guide
Timec
That looks right - thanks! I updated the list.Toplist comment on Dovzhenko Centre's Top 100 Ukrainian Films
Timec
Thanks! I updated the listToplist comment on Dovzhenko Centre's Top 100 Ukrainian Films
Timec
Thanks - updated!Movie comment on Körhinta
Timec
"If it can't be any other way, let's set fire to the house."Movie comment on Into the Woods
Timec
“Into the Woods” has always been a bit of an oddball in the Broadway canon, primarily for its sharply dichotomous first and second acts and for Sondheim’s typically atypical compositional style. It’s a strange and messy show that’s always going to divide audiences—there’s a lot of singing, and a lot of darkness. In short, this is tricky material to adapt to film, and Disney deserves kudos for keeping most of the sharp edges of the original material intact.This isn’t a great movie—visually, it’s quite drab, and some of the omissions (particularly in the transition between the film’s more traditional first half and darker second half) make the pacing seem a bit choppy. Marshall does a serviceable job adapting the material (partially redeeming himself for his butchery of “Nine”), but one can’t help but wonder what a truly visionary director might have been able to do with this complex, subversive, messy material.
With all that said, there’s a lot to like here, and it’s still a solid adaptation of middle-tier Sondheim (and, in my book, “weaker” Sondheim is still better than most things out there.) The ensemble is excellent (even James Corden is tolerable), with Emily Blunt as the Baker’s Wife a particular standout. Most of the actors can actually sing, which is always a plus in a movie musical. Most importantly, it’s funny and moving in the right spots, and the profundity and beauty of Sondheim’s insanely clever and wise (though occasionally more strained than in his best works) lyrics and Lapine’s script are still there for those willing to listen.
Toplist comment on Geoff King's Film Comedy
Timec
For the record: There are a few films here that may not seem like comedies to many - namely "American Psycho" and some of the Eastern European animated shorts. The author explains that he included them in the book because of their strong satirical/parodical elements.Toplist comment on Geoff King's Film Comedy
Timec
bobbybrown - I double checked, and it is the 1923 version that is mentioned in the book. I removed it from the list though, since it's lost.Toplist comment on Stanley Kubrick, Cinephile
Timec
I've updated the list based on the revisions made to the official article on the BFI site.Toplist comment on Stanley Kubrick, Cinephile
Timec
For anyone who has evidence of other Kubrick faves, the person who compiled the list is taking suggestions on Twitter.https://twitter.com/kubrickfaves
He's apparently going to update the article on the BFI site occasionally as he finds more sources - as soon as a film is added to the master list there, I'll update the list here.
Toplist comment on Artificial Eye
Timec
Ok, I think I've added all their officially announced titles.Movie comment on To the Wonder
Timec
A wonderful film. Not because I feel I have any particularly deep understanding of it (if there is anything to "get,") but simply because the two hours I spent in the theater were incredibly enjoyable and refreshing. I really love the way music and movement (of people and of the camera) and narration work together in his recent films to create a sort of feature-length film "symphony" or "dance" (yes, I realize that sounds hopelessly pretentious, but...)I totally understand people who dislike/hate Malick's recent output, but I for one am really glad he's still working and making this kind of movie.
Toplist comment on Roger Ebert's Great Movies
Timec
Thanks, Mr. Ebert. I'll see you at the movies.Movie comment on Make Mine Music
Timec
Inconsistent and spotty, like most of these Disney package films. However, a lot of the music is good and there are a few really lovely segments - particularly the (too short) first and the energetic second.Also, that last segment is the weirdest damn thing I've ever seen.
Movie comment on Azur et Asmar
Timec
Really? It took me a while to get used to the incongruous computer-generated characters, but overall I found a lot of the animation to be quite beautiful.Toplist comment on Claire Denis Filmography
Timec
I couldn't find anything by her called "Le reveur," but I just added "Jacques Rivette - Le veilleur."Movie comment on Bakumatsu taiyôden
Timec
Don't know if subs have appeared since Monty's post, but the UK label Masters of Cinema will be releasing this on Blu-ray next April.Movie comment on Silver Linings Playbook
Timec
I think claims that this is cynical Oscar bait are misplaced.Like it or hate it (I personally found it to be a very stressful, but somewhat enjoyable experience), it strikes me a deeply sincere and personal film about the dynamics of certain kinds of families - and one that lacks most of the traits of so-called "Oscar bait."
Movie comment on Hellbound: Hellraiser II
Timec
I thought this was significantly better than the first, with better imagery and a plot that actually made me interested in the mythology of the world.Still a bit too gross for me, though.
Toplist comment on Tim Burton feature films
Timec
Could you update this to include the new "Frankenweenie"?Toplist comment on Badmovies.org's Best B-Movies
Timec
chemosh - Ahh, there's nothing like the snobbish condescension of anti-film-snob snobs.(With that said, I'm fairly excited to start going through this list - though the musical and documentary lists are the priorities right now.)
Blog comment on Around the World in 80 Days
Timec
I'm super excited for all of these, but I'm especially happy to finally get a good musical list and two good documentary lists!Toplist comment on Cinema Papers' 100 Key Australian Films
Timec
Only one documentary ("Kokoda Front Line!") made the top 100, and no short films. The highest ranking documentaries that didn't make the list include:Cane Toads: An Unnatural History
Eternity (Lawrence Johnston, 1995)
For Love or Money (Megan McMurchy, et. al, 1983)
Two Laws (Allesandro Cavadini & Carolyn Strachan, 1981)
Bingo Bridesmaids & Braces (Gillian Armstrong, 1988)
Bodywork (David Caesar, 1989)
I'll Be Home for Christmas (Brian McKenzie, 1984) Pearls and Savages" (Frank Hurley, 1921)
Front Line (David Bradbury, 1980)
Desert People (Ian Dunlop, 1967)
The highest rated short films include:
Passionless Moments (Jane Campion, 1984)
Night Cries: A Rural Tragedy (Tracey Moffatt, 1990)
Nice Coloured Girls (Tracey Moffatt, 1987)
Peel (Jane Campion, 1982)
Camera Natura (Ross Gibson, 1985)
A Girl's Own Story (Jane Campion, 1983)
Violence in the Cinema ... Part 1 (George Miller, 1972)
From the Tropics to the Snow (Richard Mason & Jack Lee, 1964)
Stations (Jackie McKimmie, 1983)
Dot and the Kangaroo (Yoram Gross, 1977)
Leisure (Bruce Petty, 1977)
Queensland (John Ruane, 1976)
Only the Brave (Ana Kokkinos, 1995)
Feathers (John Ruane, 1987)
Lover Boy (Geoffrey Wright, 1989)
"Highest ranked films which offered variations in cinema form:"
In This Life's Body (Corinne & Arthur Cantrill, 1984)
My Life Without Steve (Gillian Leahy, 1986)
Mystical Rose (Michael Lee, 1975)
Serious Undertakings (Helen Grace, 1983)
A Song of Air (Merilee Bennett, 1987)
This Woman is Not a Car (Margaret Dodd, 1983)
The Lead Dress (Virginia Murray, 1984)
Palisade (Laurie McInnes, 1987)
Movie comment on Omohide poro poro
Timec
It's not among my favorite Ghibli films - and I could have done without the painfully saccharine song at the end - but it's still pretty wonderful.Movie comment on Original Cast Album: Company
Timec
An invaluable document of one of the most important (and best) musicals of modern Broadway.As someone who has listened to the album a million times, it was especially thrilling to see the faces behind the voices. But even if you're not interested in the show, it's fascinating to see all the work that goes into creating a cast album.
Movie comment on Lonesome
Timec
For those who haven't seen this yet, Criterion will be giving it - along with two other Fejos films - its first ever (afaik) official home video release in August.Showing items 1 – 25 of 237