All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The Ice Storm
It was 1973, and the climate was changing.
In the weekend after thanksgiving 1973 the Hoods are skidding out of control. Benjamin Hood reels from drink to drink, trying not to think about his trouble at the office. His wife, Elena, is reading self help books and losing patience with her husband's lies. Their son, Paul, home for the holidays, escapes to the city to pursue an alluring rich girl from his prep school. Young, budding nymphomaniac, Wendy Hood roams the neighborhood, innocently exploring liquor cabinets and lingerie drawers of her friends' parents, looking for something new. Then an ice storm hits, the worst in a century.
Ang Lee is simply one of the greatest directors alive. Last year's Life Of Pi solidified that for me. I would compare him to Stanley Kubrick in the way he is able to adapt to many different genres, and master them. Examining any three of his films in a row, in this case 1997's The Ice Storm, an atmospheric, fatalist drama of 1970's New England suburbanite family dysfunction, sandwiched between 1995's Jane Austen period comedy Sense And Sensibility, and 1999's civil war drama Ride With The Devil, shows an artist unwilling to settle into a comfort zone.
When I first saw The Ice Storm, during its theatrical release in 1997, I knew it would become one of the best films…
Your family is the void you emerge from, and the place you return to when you die. And that's the paradox - the closer you're drawn back in, the deeper into the void you go.
Ang Lee is a director that I really need to see more of.
Well, to be more specific, I think Ang Lee needs to make more films like The Ice Storm.
I think as a director, Ang Lee possesses a very rare trait in that he finds an amazing balance between impressive visual prowess and immense human emotion. His latest, Life of Pi I'll admit made me groan at first, but I found the film to be one of the very best of last year;…
Suburbia has always been a fascinating subject to watch on film. Speaking for myself, the allure to the subject has always been the dark secrets that distinguish each household apart in an otherwise indistinguishable neighborhood.
The Ice Storm centers around two middle-class, suburban families, the Hoods (Kevin Kline, Joan Allen, and a very young Tobey Maguire and Christina Ricci) and the Carvers (Jamey Sheridan, Sigourney Weaver, and a very young Elijah Wood and Adam Hann-Byrd, in the early 1970s as they deal with how the social and political events of the 60s begin to influence suburbia. Every character is looking for love, and it is through their experimentation with sex, drugs and alcohol that they expect to find it.
Included In Lists:
Criterion Collection - #426
Review In A Nutshell:
Thrice now, Ang Lee has struck me in places I never knew existed; first with Life of Pi, then with Brokeback Mountain, now with The Ice Storm. I am now going to provide in this entry a thorough review, as this is another one of those films that I need time and another viewing to fully appreciate its narrative and thematic intentions; everywhere I look during The Ice Storm's running time is filled with symbolism or metaphors and it is a lot to take in a single and initial sitting. Though I am still taking The Ice Storm in, I cannot deny that this film was marvellous. It featured…
I haven't read the novel on which this film is based but will probably seek out for it as I haven't been this impressed and shaken by a (fairly) recent American drama in a long time. Ang Lee's look at suburban, middle-class life is quietly powerful and unfolds in a slow but riveting manner. The titular ice storm is beautifully shot and due to its nature increases the feeling of confinement in the film. It's a very down-to-earth, small-scale film chronicling a few days in the lives of two neighboring families, punctuated by key events that themselves don't immediately create drama but linger over the film in the same way the storm does. The result is atmospheric, cold and brooding,…
The Ice Storm moved me on an emotional level, which is something that Ang Lee films rarely do to me. The cast is phenomenal, the direction is superb, and the writing is top notch. What makes this movie so good though is the characters and the story. Everything that happens actually has an effect on the overall story going on, making this a really strong film. I was deeply touched, and I have few problems with The Ice Storm. Highly recommended.
Still the best Fantastic Four-related film.
One of those films where "there's no plot", the only focus is on character development and how two families lead their lives and interact with each other. Think movies like Magnolia and American Beauty. There's even a big final "thanks to the weather" scene. No raining frogs, though.
Ang Lee's themes and aesthetics, along with a couple of characters (mostly those played by Christina Ricci and Sigourney Weaver), are the highlight here. Set on the east US, there's remarkable detail and sensitivity to the cold imagery in general (it's winter, as the title suggests). The constant "nothing but a flute" soundtrack also soothes any intensity the story might bring and sets a comfortable mood throughout the film.
The Ice Storm is a heavily sexual film, without actually showing any nudity. It shows people trying new things and how it's awkward and exciting.
I've always been a bit lukewarm on The Ice Storm. On a revisit, I found I liked Sigourney Weaver's character a lot better.
Ang Lee's masterful film is almost too dark to take, but it is probably one of the most powerful examinations of American culture at a very precise moment in time you will ever see.
This film has only grown in it's power since I saw it in the cinema.
It is largely to it's credit that I always have a hard time articulating an opinion about it.
There is something in this examination of the early 1970's that feels a bit too close to the bone for me to really think about it. This makes no sense as the film takes place in an era of which I only have a few memories. And none of these characters remind me…
This film is so intertwined with my personal history-- with my love of movies in general-- that there's no way I can give a reasonable review of it. This was the first movie I watched that hinted there was a poetic and humanistic world within films that I could fall into-- that films had the potential to communicate something profound.
I take issue with the description of Wendy Hood as a "young, budding nymphomaniac." Really?? Sexually exploratory, yes-- not unlike her father (or the "not averse to wife-swapping" crowd that makes up this affluent community.) I call foul.
And the award for least sex-talk proficient father of cinematic 1997 goes to...
Ang Lee shows an impressive control over the ensemble cast, every performance hitting a high note. The story is scattered in various locations following a separated family come to terms with their situations.
The narration and dialogue is excellent, and the characters are all engaging and real.
Nota = 4,5
Lee's understated direction is perfect for this quietly devastating (and at times, hilariously scathing) critique of a culture in ruins.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…