Anchored by a strong lead performance from Willem Dafoe, director Vasilis Katsoupis’ Inside proves to be an engaging and engrossing thriller that will keep the viewer mesmerized until the bitter end.
The nuts and bolts of the plot of Inside are that art thief Nemo (Willem Dafoe) finds himself trapped and abandoned in a New York penthouse/smart house after his crew leaves him to fend for himself after their planned robbery goes sideways. Unfortunately for Nemo though, the tenants of the home are on an extended trip leaving no food or other supplies in the house and the computer controlling the house has malfunctioned forcing him to devise a way to escape his smart prison before succumbing to starvation and the inevitable hallucinations he will suffer.
While it is only his second film – his first being 2016’s My Friend Larry Gus – director Vasilis Katsoupis shows a flare with Inside...
The nuts and bolts of the plot of Inside are that art thief Nemo (Willem Dafoe) finds himself trapped and abandoned in a New York penthouse/smart house after his crew leaves him to fend for himself after their planned robbery goes sideways. Unfortunately for Nemo though, the tenants of the home are on an extended trip leaving no food or other supplies in the house and the computer controlling the house has malfunctioned forcing him to devise a way to escape his smart prison before succumbing to starvation and the inevitable hallucinations he will suffer.
While it is only his second film – his first being 2016’s My Friend Larry Gus – director Vasilis Katsoupis shows a flare with Inside...
- 3/17/2023
- by Mike Tyrkus
- CinemaNerdz
We don’t learn the name of our protagonist until the final credits roll on Vasilis Katsoupis’ “Inside.” It’s “Nemo,” perhaps picked to conjure a spirit of adventure, but this Nemo isn’t traveling under the sea or to an island, this one is trapped in a claustrophobic nightmare, one spent entirely with the art-lover-turned-thief in the world’s most pretentious (and deadly?) penthouse. There, he is forced to use all his wits (and priceless works of art) to survive a waking nightmare.
It’s a natty-enough twist on the survivor story — what if you were stuck inside, not outside? — and one bolstered by the inherent watchability of star Willem Dafoe, one of the few performers absolutely up to the task of this particular feature. But , as “Inside” soon turns from clever questions to muddled answers, ending on the oddest possible note for a film that opened with such promise.
It’s a natty-enough twist on the survivor story — what if you were stuck inside, not outside? — and one bolstered by the inherent watchability of star Willem Dafoe, one of the few performers absolutely up to the task of this particular feature. But , as “Inside” soon turns from clever questions to muddled answers, ending on the oddest possible note for a film that opened with such promise.
- 2/20/2023
- by Kate Erbland
- Indiewire
You didn’t think Willem Dafoe would star in a conventional escape room thriller, did you? Then again, “Inside” is barely an escape room thriller despite it being about an art thief trapped in the location of his latest heist. Greek filmmaker Vasilis Katsoupis’s elegant provocation may be closer to the kind of existential mood pieces that generations ago defined so much of European cinema, but it’s been given a modern gloss of design, tension, and star power more in keeping with the gripping tales of solitude that have found a mainstream audience.
Inevitably, because of its challenging nature, “Inside” and its methodical excavation of one man’s survival instincts in a place not assumed to require endurance –- a luxury penthouse in Manhattan — will likely only appeal to the arthouse crowd. Even among discerning moviegoers its more indulgent elements may occasionally grate.
But in Dafoe, an actor...
Inevitably, because of its challenging nature, “Inside” and its methodical excavation of one man’s survival instincts in a place not assumed to require endurance –- a luxury penthouse in Manhattan — will likely only appeal to the arthouse crowd. Even among discerning moviegoers its more indulgent elements may occasionally grate.
But in Dafoe, an actor...
- 2/20/2023
- by Robert Abele
- The Wrap
Inside
Shot in Germany in June of ’21, Vasilis Katsoupis‘ directorial debut has been lingering around long enough to find a distrib and big festival premiere with a Panorama slot at the upcoming Berlinale. Focus Features have earmarked the taught thriller with a mid-March release. Willem Dafoe stars as a high-end art thief who becomes trapped in a luxury, high-tech penthouse in New York’s Times Square after his heist does not go as planned in this item. Katsoupis’ previous feature was actually a 2016 docu My Friend Larry Gus. Inside Katsoupis teams with Color Out of Space‘s cinematographer Steve Annis and Leonardo Bigazzi as art curator — as that penthouse featured in Inside is loaded in actual pricey art pieces.…...
Shot in Germany in June of ’21, Vasilis Katsoupis‘ directorial debut has been lingering around long enough to find a distrib and big festival premiere with a Panorama slot at the upcoming Berlinale. Focus Features have earmarked the taught thriller with a mid-March release. Willem Dafoe stars as a high-end art thief who becomes trapped in a luxury, high-tech penthouse in New York’s Times Square after his heist does not go as planned in this item. Katsoupis’ previous feature was actually a 2016 docu My Friend Larry Gus. Inside Katsoupis teams with Color Out of Space‘s cinematographer Steve Annis and Leonardo Bigazzi as art curator — as that penthouse featured in Inside is loaded in actual pricey art pieces.…...
- 1/5/2023
- by Eric Lavallée
- IONCINEMA.com
“Dune” has been named the best-shot film of 2021 by the American Society of Cinematographers, which held its annual awards show on Sunday evening in Los Angeles.
Cinematographer Greig Fraser won the award over a field that included fellow Oscar nominees “The Power of the Dog,” “The Tragedy of Macbeth” and “Nightmare Alley,” as well as “Belfast.”
In the first 35 years of its existence, the ASC winner has gone on to take the Oscar for Best Cinematography less than half the time, although that percentage has improved recently. “Dune” is considered one of the front runners for this year’s cinematography Oscar, with Fraser seemingly in a close with Ari Wegner for “The Power of the Dog,” who could be the first woman ever to win in the category.
Other feature-film awards went to Jessica Beshir for “Faya Dayi” in the documentary category and Pat Scola for “Pig” in the spotlight category,...
Cinematographer Greig Fraser won the award over a field that included fellow Oscar nominees “The Power of the Dog,” “The Tragedy of Macbeth” and “Nightmare Alley,” as well as “Belfast.”
In the first 35 years of its existence, the ASC winner has gone on to take the Oscar for Best Cinematography less than half the time, although that percentage has improved recently. “Dune” is considered one of the front runners for this year’s cinematography Oscar, with Fraser seemingly in a close with Ari Wegner for “The Power of the Dog,” who could be the first woman ever to win in the category.
Other feature-film awards went to Jessica Beshir for “Faya Dayi” in the documentary category and Pat Scola for “Pig” in the spotlight category,...
- 3/21/2022
- by Steve Pond
- The Wrap
The American Society of Cinematographers on Tuesday unveiled nominations for its 36th annual ASC Awards, honoring the year’s best in feature film, documentary and television cinematography.
The society’s marquee Feature Film nominees include Bruno Delbonnel for The Tragedy of Macbeth, Greig Fraser for Dune, Dan Laustsen for Nightmare Alley, Ari Wegner for The Power of the Dog and Haris Zambarloukos for Belfast.
Last year, the ASC awarded Mank‘s Erik Messerschmidt with the Feature Film trophy, on his way to winning the Cinematography Oscar for the black-and-white film. This year, Belfast and Macbeth are also both black and white, along with for that matter Guillermo del Toro’s alt-version of Nightmare Alley.
The ASC film winner historically goes on to win the Oscar about half the time — 16 times in the past 35 years.
In TV, there were no repeats from last year’s shows on today’s list. Jon Joffin,...
The society’s marquee Feature Film nominees include Bruno Delbonnel for The Tragedy of Macbeth, Greig Fraser for Dune, Dan Laustsen for Nightmare Alley, Ari Wegner for The Power of the Dog and Haris Zambarloukos for Belfast.
Last year, the ASC awarded Mank‘s Erik Messerschmidt with the Feature Film trophy, on his way to winning the Cinematography Oscar for the black-and-white film. This year, Belfast and Macbeth are also both black and white, along with for that matter Guillermo del Toro’s alt-version of Nightmare Alley.
The ASC film winner historically goes on to win the Oscar about half the time — 16 times in the past 35 years.
In TV, there were no repeats from last year’s shows on today’s list. Jon Joffin,...
- 1/25/2022
- by Patrick Hipes
- Deadline Film + TV
“Dune,” “Belfast,” “Nightmare Alley,” “The Tragedy of Macbeth” and “The Power of the Dog” are among the films nominated by the American Society of Cinematographers in the feature film category.
The ASC nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking. Last year’s ASC feature film winner was “Mank” cinematographer Erik Messerschmidt who upset “Nomadland” Dp Joshua James Richards, the Oscar favorite. Messerschmidt went on to win the Best Cinematography Oscar.
Cinematographer Ari Wegner was nominated in the theatrical film category for her work on Netflix’s “The Power of the Dog,” becoming the second woman ever nominated by the guild, after Rachel Morrison for Dee Rees’ “Mudbound” (2017).
“Power of the Dog” director Jane Campion made history almost 30 years ago when she became the second woman ever to be nominated for best director for “The Piano” (1993) after Lina Wertmüller...
The ASC nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking. Last year’s ASC feature film winner was “Mank” cinematographer Erik Messerschmidt who upset “Nomadland” Dp Joshua James Richards, the Oscar favorite. Messerschmidt went on to win the Best Cinematography Oscar.
Cinematographer Ari Wegner was nominated in the theatrical film category for her work on Netflix’s “The Power of the Dog,” becoming the second woman ever nominated by the guild, after Rachel Morrison for Dee Rees’ “Mudbound” (2017).
“Power of the Dog” director Jane Campion made history almost 30 years ago when she became the second woman ever to be nominated for best director for “The Piano” (1993) after Lina Wertmüller...
- 1/25/2022
- by Jazz Tangcay and Clayton Davis
- Variety Film + TV
I Am Mother
Australia’s Grant Sputore makes a high profile directorial debut with I Am Mother, a post-apocalyptic sci-fi feature produced by Kelvin Munro of Penguin Empire and Timothy White of Southern Light Alliance. A recent In Progress screening took place at the Adelaide Film Festival. Cinematographer Steve Annis serves as DoP, and the film’s cast features Hilary Swank, Clara Rugaard and the voice of Rose Byrne.
Gist: Written by Michael Lloyd Green, a teenage girl (Rugaard) has grown up underground, raised by a robot named Mother (Byrne), who was designed to help repopulate the Earth following an extinction level event.…...
Australia’s Grant Sputore makes a high profile directorial debut with I Am Mother, a post-apocalyptic sci-fi feature produced by Kelvin Munro of Penguin Empire and Timothy White of Southern Light Alliance. A recent In Progress screening took place at the Adelaide Film Festival. Cinematographer Steve Annis serves as DoP, and the film’s cast features Hilary Swank, Clara Rugaard and the voice of Rose Byrne.
Gist: Written by Michael Lloyd Green, a teenage girl (Rugaard) has grown up underground, raised by a robot named Mother (Byrne), who was designed to help repopulate the Earth following an extinction level event.…...
- 1/2/2019
- by Nicholas Bell
- IONCINEMA.com
With a first scene as stylish as that from Kissing Candice, the words “music video chic” come to mind before you can even discover writer/director Aoife McArdle is a James Vincent McMorrow regular who also released a short in collaboration with U2’s 2014 release Songs of Innocence. Between the oppressive reds and aural manipulation (I thought the volume wasn’t working until the score finally kicks in to augment the titular kiss), you can’t help admiring the sensory craftsmanship onscreen despite having no contextual basis for anything occurring. What begins as a romantic interlude shared between Candice (Ann Skelly) and Jacob (Ryan Lincoln) soon shifts to the latter randomly and silently strolling down the street (through fire) until finally arriving at a bar where the former is inexplicably waiting.
It’s a wild ride oozing sexuality and dark glamour, the weird series of events on display an obvious...
It’s a wild ride oozing sexuality and dark glamour, the weird series of events on display an obvious...
- 9/9/2017
- by Jared Mobarak
- The Film Stage
Once upon a time, back in the network’s golden years, MTV would assemble all the stars in the top-40 galaxy for an annual celebration of the very best in music videos. They called it the Video Music Awards — the VMAs, for short. They still do, believe it or not, but the VMAs have come to serve a very different purpose in an age when MTV and C-span air roughly the same number of music videos.
These days, it would be fair to say that the VMAs exist less to celebrate music videos than they do to celebrate MTV itself, to reaffirm the network’s place in the zeitgeist. As a pop spectacle, the VMAs are right up there with the Super Bowl halftime concert. As an awards show, they’re a complete farce (to this day, nobody actually knows how the nominees are selected, and few people even bother...
These days, it would be fair to say that the VMAs exist less to celebrate music videos than they do to celebrate MTV itself, to reaffirm the network’s place in the zeitgeist. As a pop spectacle, the VMAs are right up there with the Super Bowl halftime concert. As an awards show, they’re a complete farce (to this day, nobody actually knows how the nominees are selected, and few people even bother...
- 8/25/2017
- by David Ehrlich
- Indiewire
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