Though it comes off as a rather familiar and superficial story of a rocker's rise and fall, it has enough style-- and...intensity--to compensate for its paucity of substance.
Control (2007)
Tomatometer
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Reviews Counted:104
Fresh:90
Rotten:14
Average Rating:7.4/10
Consensus: Control is a work of art, thanks to its evocative black and white cinematography and sensational performances from Sam Riley and Samantha Morton. Even those not familiar with Joy Division can still appreciate the beauty of the film.
Rated: R [See Full Rating] for language and brief sexuality.
Runtime: 2 hrs 2 mins
Genre: Musical & Performing Arts
Theatrical Release:Oct 10, 2007 Limited
Box Office: $801,112
Synopsis: Based on the memoir TOUCHING FROM A DISTANCE by Deborah Curtis, Anton Corbijn's CONTROL is as near perfect a filmic telling of the story of Joy Division and Ian Curtis as any fan could hope for.... Based on the memoir TOUCHING FROM A DISTANCE by Deborah Curtis, Anton Corbijn's CONTROL is as near perfect a filmic telling of the story of Joy Division and Ian Curtis as any fan could hope for. It's also a beautifully rendered piece of cinema about the crippling effects of love and regret, and the salvation we seek in art. Born out of England's post-Sex Pistols punk explosion, Joy Division played a dark, minimalist version of the nascent sound, and became cult heroes thanks in part to their brilliant yet disturbed frontman Ian Curtis (played by an eerily perfect Sam Riley). Corbijn does a wonderful job recreating the Manchester band's music and live show, cutting straight to the essence of Joy Division's unique appeal. Credit must also be given to the three actors who portray the rest of Joy Division. Playing all the instruments themselves, they perfectly capture the band's powerfully stoic presence, one that translates both live and on record into the sonic equivalent of an existential crisis. CONTROL, however, is ultimately about Curtis's tumultuous marriage with his wife, Deborah (Samantha Morton), and the way that Joy Division became an aesthetic manifestation of his pain--one that was both physical (Curtis was an epileptic) and emotional. Corbijn evokes Curtis's hurt and isolation with both honesty and subtlety: a photographer originally, he frames each shot to look like a stark black-and-white photo from an album the audience was never meant to see, making Curtis's pain palpable and his eventual suicide that much more tragic. The overtones to the later suicide of Kurt Cobain are hard to avoid, but where Cobain's suicide has always been discussed in terms of the pressure he felt as a rock star, Curtis's, as rendered by Corbijn, is a pain anyone could potentially be forced to suffer through. [More]
Starring: Samantha Morton, Sam Riley, Alexandra Maria Lara, Joe Anderson
Starring: Samantha Morton, Sam Riley, Alexandra Maria Lara, Joe Anderson, Toby Kebbell, Harry Treadaway
Director: Anton Corbijn
Director: Anton Corbijn
Screenwriter: Matt Greenhalgh
Producer: Orian Williams, Peter Heslop, Deborah Curtis
Composer: New Order
Studio: Weinstein Company
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Reviews for Control
The dull, obvious ending doesn't quite erase the successes of the first half, but it's a close one.
It simply rocks. In every way, an exceptional film. This is one of those rare gems you must not miss.
Riley makes a perfect Curtis, and Corbijn's finely shaded recreations of classic Joy Division performances are so exciting that the movie could've been nothing but fake concert footage, and it would've been every bit as moving as the filmmakers intended.
Corbijn’s film serves as an undeniably powerful vehicle for newcomer Riley; his looks and his vocals are a dead ringer for Curtis’, and the anguish he brings to bear on the last weeks of Curtis’ life is frighteningly palpable.
Control is a haunting, evocative drama that stands as a fitting homage to the performer, his music, and his era.
Newcomer Riley is a revelation himself. He's the physical spitting image of Curtis, thin with fragile features, and his impressions of Curtis' violently jerky stage mannerisms are dead-on.
Story-wise, this picture doesn't break new ground; this is a tale that one can find littered throughout the pages of history both recent and long ago, but the way Corbijn has presented it gives it a freshness and fervor that makes it worth sampling.
At least Control does right by the doting wife, typically given the shaft in these movies as simply victim and toss-away, here played as heartbreakingly courageous by two-time Oscar nominee Samantha Morton (third times the charm?).
Control keeps you riveted in ways that 24 Hour Party People doesn't; primarily because of the investment of craft and conviction by all concerned.
Where Control might have been literal-minded and sentimental, it is instead enigmatic and moving, much in the manner of Joy Division’s best songs.
Instead of painting a tiny, cramped picture intended only for the elite, it opens up one small corner of the world for everybody. Control is proof of the way the music of someone else's life can suddenly and magically become your own.
Control seems an honest tribute to a haggard ghost. It'll inspire many a young viewer looking for tips about the workings of self-torture and famous doom.
A gorgeous and well-acted movie that doesn't have quite enough substance to sustain its two hour running time.
Control is like a wake where the guests forgot to bring the booze and, for the most part, have nothing very nice or even particularly interesting to say about the deceased.
[An] intimate look at a tragic footnote in entertainment. A moody yet strangely melodic concoction about creativity and confusion in an overwhelming abyss of artistic isolation
Parades so many smart, savvy strategies for avoiding the typical music-bio pablum that it's particularly dispiriting when the middle and end of the film so dully and incorrigibly embrace those very clichés.
Far from the fierce social consciousness of Mike Leigh, Control's images, if not its equally arresting performances, suggest a kitchen sink scrubbed clean.
Latest News for Control
May 19, 2009:
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June 02, 2008:
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Look out! Starship Troopers and Transformers are about to assault your senses in HD, and soon you can choose Harold and Kumar's adventures. This week's new releases are... More...
December 14, 2007:
Atonement, Control Lead London Film Critics Noms
The London Critics Circle has announced the nominees for its year-end awards, with Anton Corbijn's Control and Joe Wright's Atonement leading the pack at eight nominations apiece. More...
October 11, 2007:
Critical Consensus: No Debatin' Clayton, Night Almost Owns, Elizabeth Not Golden
This week at the movies we got lawyer types (Michael Clayton, starring George Clooney and Tilda Swinton), dueling brothers (We Own the Night, starring Joaquin Phoenix and Mark... More...
| Tomatometer Percentage | Movie |
|---|---|
| 77% 77% | The Hangover |
| 88% 88% | Inglourious Basterds |
| 66% 66% | Public Enemies |
| 24% 24% | G-Force |
| 44% 44% | Night at the Museum: B… |
| Tomatometer Percentage | Movie |
|---|---|
| 90% 90% | District 9 |
| 86% 86% | 500 Days of Summer |
| 63% 63% | Extract |
| 06% 06% | All About Steve |
| 78% 78% | It Might Get Loud |
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