Control anton corbijn torrent

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How did you buy your ticket? View All Photos Movie Info. A husband and father, Curtis begins to feel the strain of his band's growing fortune, his crumbling marriage to wife Deborah Samantha Morton and his worsening epilepsy. Drama, Biography. Anton Corbijn.

Matt Greenhalgh. Oct 10, limited. Jun 3, Weinstein Co. Sam Riley Ian Curtis. Samantha Morton Debbie Curtis. Craig Parkinson Tony Wilson. Alexandra Maria Lara Annik Honore. Joe Anderson Hooky.

James Anthony Pearson Bernard Summer. Toby Kebbell Rob Gretton. Harry Treadaway Steve Morris. Andrew Sheridan Terry. Robert Shelly Twinny. Anton Corbijn Director. Matt Greenhalgh Screenwriter. Orian Williams Producer.

Anton Corbijn Producer. Todd Eckert Producer. Iain Canning Executive Producer. Akira Ishii Executive Producer. Korda Marshall Executive Producer. Lizzie Francke Executive Producer. Martin Ruhe Cinematographer. Andrew Hulme Film Editor. New Order Original Music. View All Critic Reviews Jul 19, Well, I reckon I figured out a way to make this film's title less bland and formulaic, though maybe this film should just stick with the title the filmmakers settled on, because Joy Division was only original in their being a post-punked-up version of The Doors, only, you know, a little duller "Oh, yeah, Jim Morrison made Mick Jagger look tedious, he was such an exciting frontman".

Well, at least Joy Division wasn't quite as obnoxious as Sex Pistols, and yet, plenty of people have kind of forgotten Joy Division Yeah, I'm not entirely sure on what Ian Curtis had control of, because it wasn't like he had all that tight of a grip on an attractive vocal style Jeez, Curtis just couldn't catch a break, so I reckon it's fitting that this film didn't catch too much of a break, so much so that it wasn't even as big of a success as a certain other experimental biopic of a popular musician in , and if you don't know what I'm talking about, well, that's exactly my point.

Well, "I'm Not There" wasn't too much more commercially successful that this film, but I still give it plenty of credit for being downright awesome, as opposed to this biopic. That being said, this film is a decent one, even though it can't quite gain enough "control" on storytelling to do away with some flaws. Pacing is nothing if not problematic in this film, with limp areas in momentum being the most recurring issue, but not without some company from hurried occasions, which can at least be found within expository areas of storytelling that are generally well-fleshed out, but have their share of glaring underdeveloped moments that could have easily been made up for if this film didn't pay so much attention to bloating storytelling with excess material that gets to be repetitious.

Perhaps repetition could have been obscured by dynamics within the kick of director Anton Corbijn's atmospheric storytelling, but I suppose we'll never know, because while Corbijn's storytelling has plenty of effective areas, limpness in plot structuring goes much too emphasized by atmospheric limpness that looms over the film all but throughout it, watering down kick so much that when you're not blandly disengaged, you're bored.

The film gets to be a bit dull, as well as repetitious at times, yet dragging is also emphasized by a certain other aspect, and that is unevenness, for although I give this film a lot of credit for having the guts to tackle most every key aspects within the brief life of Ian Curtis, and often doing this subject matter justice through effective areas in resonance, storytelling has a tendency to, for too long of a time, intensely meditate upon one layer of this intricate character study, - whether it be Curtis' career, or relationships, or internal conflicts - rather than organically bond the layers, thus making the eventual shifts in layers to prove jarring and ultimately detrimental to your investment within any aspect of this story.

Focus isn't exactly all over the place, but it is incoherent, and before you know it, storytelling begins to lose a sense of progression and devolves into aimlessness, even though it's not too hard to figure out what stands at the end of this meandered path, thanks to the familiarity of the path that even those who are unaware of the story of Ian Curtis will find. The film isn't quite as formulaic as I feared, but Curtis' story is one that has been experienced time and again by many other musicians, and this film interpretation of such a story fails to do as much as it probably should to grace this narrative with something refreshing, shamelessly succumbing to conventions and tropes that can't even be fully compensated for by the aforementioned and relatively distinct storytelling flaws.

Some of your more unconventional areas to storytelling are the flaws, and even then, we've seen uneven pacing and focus in all kinds of films of this type, thus they go emphasized by the conventionalism, leaving the final product to ultimately find itself with too little steam of sustain genuine reward value. Still, there is admittedly enough steam to the final product for it to secure genuine decency, and do so pretty handsomely.

I'm not saying that the film is "Schindler's List" good-looking, but intentional black-and-white cinematography in this day and age has to be really hard to do very well, and that makes Martin Ruhe's efforts all the more commendable, because even though the lack of visual color does what degree of liveliness there is within this film's all too often dried up atmosphere no favors, stunningly clever plays with lighting and framing emphasize the sparseness of this film's color palette in way that captures this drama's brooding, yet tasteful tone, sometimes with haunting beauty.

For an experiment with colorfully limited visual style, this film looks really good, and places its good looks into the context of its atmosphere with a thoughtfulness that gives you a feel for the isolation faced by the center of this intimate character drama's focus, even if it also adds a bit to the atmospheric sobriety that blands things up by giving you a chance to meditate upon the many shortcomings in storytelling.

Of course, I must admit, the steadiness of this slow drama also gives you a chance to meditate upon what is done right in Matt Greenhalgh's and Ian Curtis widow Deborah Curtis' script, which does, in fact, have its share of strengths to offer alongside weaknesses, such as some sharp, if a bit inorganically incorporated comic relief, and genuinely effective areas in expository depth that draw a layered story.

Sure, there is quite a bit of underdevelopment to plenty of areas, and the layers of this narrative are all too often unevenly handled, but this script's courage to extensively tackle as many areas of the tragic story of a flawed artist as it can within two hours is commendable enough to be endearing, and when the highlights of Greenhalgh's and Curtis' screenplay go well-executed by Anton Corbijn, the result is pretty effective.

Corbijn approaches the telling of this story very steadily and meditatively, and in plenty of ways, underwhelmingness wouldn't be as firmly secured as it ultimately is without the dulling atmospheric dryness, yet when Corbijn's efforts work, you're left to not only meditate upon the pacing problems on paper, but upon the depths of this narrative that give you a sense of progression while you observe the evolution in a man as he comes of age from an ambitious and quiet teenager into a well-recognized and rather well-intentioned man whose flaws will mean his destruction.

Uneven writing holds back Riley's impact, but Riley still transforms into Curtis and proves to be instrumental in selling the effective areas in this extensive character drama, and while that's not enough to carry the final product out of underwhelmingness, the Riley's performance is just one of a fair deal of highlight that keep you going, even if you do still walk away wishing for more.

When the "new dawn fades" Cameron J Super Reviewer. May 10, The profile of Ian Curtis of Joy Division is gripping. You will recall that I'm not a huge fan of rock biopics but Anton Corbijn does an excellent job of profiling the genius and madness of Curtis.

John B Super Reviewer. Jan 20, Control tells the story of Ian Curtis' rise to fame from humble beginnings in Macclesfield through to his tragically young demise. The movie is slow throughout, but never boring. Sam Riley was excellent as Curtis. I found it a fascinating portrayal.

Before watching the film I wasn't aware of the whole story, but was a fan of Joy Division. You could easily be fooled into thinking that some of the scenes were actually the real thing. He doesn't know how to handle the feelings he has for Debbie and Annik and the pressure the popularity of Joy Division and the energy performing costs him. Rated R for language and brief sexuality.

Did you know Edit. Trivia The actors playing Joy Division learned how to play the songs themselves. So the scenes where the band is playing live is not from tape, but actually the actors playing live. Goofs Joy Division is shown performing "Transmission" on Tony Wilson's television show in September , but in reality, they performed "Shadowplay". The performance that is represented in this scene actually took place a year later in September on the BBC2 program "Something Else", when they performed "Transmission" a performance which was used as the music video for the song and "She's Lost Control".

Quotes Ian Curtis : Existence. He was 23 years old. User reviews Review. Top review. Visually bleak, yet moving and honest Biopic. Use of Black and White is sometimes used unnecessarily, and can sometimes come across as a little pretentious. In Control I'd say it was essential. Every shade of black to grey to white is used perfectly to bring life to the film, but always reminding us of the bleak character we are dealing with.

The ending I found to be particularly moving, the thick black smoke from the church lifting our antihero into the skies around the fields of Macclesfield.

The film also manages to convey very accurately all the events from his short life from a teenager up until his death without passing judgement or making rash statements about his character. It presents the facts and allows us to make up our own minds as to why he behaved as he did.

Sam Riley was terrific, especially in any scene involving Joy Division's performances. He really nailed it. The use of music as the soundtrack with no additional scoring seemed to add to the bleakness of the quiet dialogue sequences. I was also quite fond of the portrayal of Rob Gretton by Tony Kebbell, who weirdly played alongside Paddy Considine in Dead Mans Shoes who in turn played Gretton in the Factory Records themed film "24 hour party people".

He added a little touch of humour which, without it would've made the film unbearably depressing. FAQ 5. Is 'Control' based on a book? Which Joy Division songs appear in the movie? Why was Tony Nuttall's name from the book changed to Nick Jackson for the film?

Details Edit. Release date September 26, France. Official site Official site Germany. Macclesfield, Cheshire, England, UK. Box office Edit. Technical specs Edit. Runtime 2 hours 2 minutes. Black and White. Dolby Digital. Related news. Contribute to this page Suggest an edit or add missing content.