Venice 2013 – UPROXX

Jaw-dropping Venice awards make a defiant anti-mainstream statement

September 8, 2013by:

Upset in Venice as Italian doc ‘Sacro GRA’ takes Golden Lion, Steve Coogan wins screenplay

September 7, 2013by:

‘Philomena’ dominates preliminary Venice awards, as ‘Tom at the Farm’ takes critics’ prize

September 7, 2013by:

Venice awards preview: What will win, and what should

September 6, 2013by:

Review: Dakota Fanning and Jesse Eisenberg make slow, steady ‘Night Moves’

September 4, 2013by:

Venice: American tricksters under scrutiny in ‘The Armstrong Lie’ and ‘The Unknown Known’

September 4, 2013by:

First glimpse of Scarlett Johansson in the stunning ‘Under the Skin’

September 3, 2013by:

Review: Terry Gilliam’s ‘The Zero Theorem’ doesn’t add up to much

September 2, 2013by:

The Weinstein Company chases after ‘Tracks’

September 1, 2013by:

Review: Tawdry JFK drama ‘Parkland’ an exercise in sorely misjudged nostalgia

September 1, 2013by:

Review: Love and aeronautics converge in Miyazaki’s ravishing ‘The Wind Rises’

September 1, 2013by:

Review: Judi Dench on touching form in reductive but effective ‘Philomena’

August 31, 2013by:

Review: Nicolas Cage finds no Southern comfort in grim, grimy ‘Joe’

August 30, 2013by:

Review: Sion Sono’s ‘Why Don’t You Play in Hell?’ offers carnage in the name of cinema

August 29, 2013by:

Review: Mia Wasikowska blazes a subdued trail in lovely, earthy ‘Tracks’

August 29, 2013by:

Review: Sandra Bullock dances into great silence in Alfonso Cuarón’s astonishing ‘Gravity’

August 28, 2013by:

Venice preview, part four: ‘The Zero Theorem,’ ‘Joe,’ ‘Tracks,’ ‘Via Castellana Bandiera,’ ‘Sacro GRA’

August 26, 2013by:

Venice preview, part three: ‘Under the Skin,’ ‘Night Moves,’ ‘Tom at the Farm,’ ‘Ana Arabia,’ ‘The Police Officer’s Wife’

August 25, 2013by: