tag:blogger.com,1999:blog-69936047777325395392024-03-12T19:09:01.147-05:00FILM CLATTERGregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.comBlogger74125tag:blogger.com,1999:blog-6993604777732539539.post-6017521961718473712016-05-05T21:31:00.000-05:002016-08-09T21:36:36.338-05:00Useless Clatter...JJ Gittes: Exemplar de Noir <div dir="ltr" style="text-align: left;" trbidi="on">
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About thirty minutes into Chinatown, Jack Nicholson’s JJ Gittes questions Mrs. Mulwray about the death of her husband; specifically, her seemingly blasé attitude towards the event. As a detective pressing for answers, Gittes’ look fits him to a T— three-piece suit, top hat, and a cigarette perched between his fingers. Everything is in its right place, until he utters: “Look. I do matrimonial work. It’s my métier.” Métier? As Roger Ebert also wonders in his Great Movie essay for the film, what is this hard-boiled detective doing with a word like métier? Humphrey Bogart’s Phillip Marlowe wouldn’t be caught dead tossing around a word like that. </div>
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Continue reading on <a href="https://cflxmovieoftheweek.com/2016/05/05/jj-gittes-exemplar-de-noir/">CFLXMOVIEOFTHEWEEK.COM</a></div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-29421112076583823482016-03-26T21:39:00.000-05:002016-08-09T21:41:32.674-05:00Useless Clatter...Orson Welles: The Man, The Myth, The Misunderstood<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;">From a rising theater talent to America’s most outstanding auteur, Citizen Kane launched Welles’s career, forming the legacy that exceeds him to this day. Yet, that legacy is one of convoluted crossings. For many, Welles is considered one of the cinema’s finest directors. But to some others though, Welles’ legacy remains alive not though his great films, but through a series of fumbling commercial outtakes preserved on YouTube. In color and occurring decades after Kane, the minute and a half video stars an overweight and seemingly over-served Orson Welles pitifully trying to deliver lines for a wine commercial. The video has over one million hits, and there are two, in which case that number can be doubled. This total amounts to more than that of any trailer for any of his films, including Citizen Kane.</span></span></div>
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<span style="font-family: inherit; margin-left: 1em; margin-right: 1em;">Continue Reading at: <a href="https://cflxmovieoftheweek.com/2016/04/26/orson-welles-the-man-the-myth-the-misunderstood/">CFLXMOVIEOFTHEWEEK.COM</a></span></div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-88042535047441080902016-02-10T11:39:00.000-06:002016-02-10T11:39:00.305-06:00Useless Clatter...2016 Best Picture- Whys and Why Nots<div dir="ltr" style="text-align: left;" trbidi="on">
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As the Oscar date fast approaches, our Best Picture prediction
is growing foggier by the day. Golden Globes and Guild Awards have been spread
out amongst the contenders. With no single frontrunner, 2016’s Best Picture
race is one of the closest in recent memory. A few weeks ago, Las Vegas released their odds for all of
the nominees in the major Oscar categories. With the likes of Leo and Brie
Larson dominating the awards season, it seems that most of the categories will offer
few surprises. But the granddaddy of them all will be a photo finish.</div>
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Posted below are the potential winning odds for each of the
eight Best Picture nominees, along with some thoughts as to why they could win
and why they might not.<o:p></o:p></div>
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<i><b>Spotlight </b></i>4 to 5 <o:p></o:p></div>
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<u>Why</u>: If any film has a lead, no matter how small, <i>Spotlight </i>might
claim it- at least according to Vegas. This delicately paced yet unnerving
thriller has received nothing but praise since its release, picking up top
prizes from the LA Film Critics and the Critics’ Choice. A –listers abound,
<i>Spotlight </i>boasts an excellent ensemble cast and a wickedly tight-knit
screenplay, two of the Academy’s favorite ingredients. Underdogs searching for
truth against the immoralities of an institution...is this not the very reason
we tell stories and go to movies?<o:p></o:p></div>
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<u>Why Not</u>: Said story deals with sexual abuse in the Catholic Church.
Accolades aside, it’s hard to predict how the conservative Academy voters will
react to such abhorrent material. Also, from a purely cinematic standpoint,
Spotlight does not exactly dazzle. One critic cleverly compared the movie’s simple
and muted style to that of Michael Keaton’s khakis. In the celebration of
filmmaking, and with such a dynamic movie like <i>The Revenant</i> hot on its heels, can
Spotlight’s substance trump <i>The Revenant’s</i> style?<o:p></o:p></div>
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<u>Notable Victories thus far</u>: Los Angeles Film Critics
Association, Critic’s Choice Awards</div>
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<i><b>The Revenant</b></i> 6 to 5 <o:p></o:p></div>
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<u>Why</u>: Leading the pack with twelve total nominations, <i>The Revenant</i>
is a powerhouse of a film. Alejandro Gonzales Inarritu’s frontier epic portrays
violence and brutality with unlimited elegance and beauty. Sweeping landscapes
coaxed in natural light, riveting action sequences and one heck of a bear attack,
<i>The Revenant</i> offers, without a doubt, the most visceral cinematic experience of
the year. While the film speaks to the eternal strength of the human spirit, it
does the same for filmmaking. With <i>The Revenant</i>, Innaritu proves there is truly
no limit to what we can be brought to the screen. <o:p></o:p></div>
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<u>Why Not</u>: Despite its relentless force, <i>The Revenant</i> has two Achilles
heels as it vies for a victorious finish. First, not present in those twelve nominations
is one for Best Screenplay. In the long history of the Oscars, only <i>Titanic
</i>(1998) and <i>The Sound of Music</i> (1965) have managed to pull off a Best Picture
win without a screenplay nomination. Second,
while the great John Ford managed back to back Best Directors in 1943 and 1944,
not even he, or anyone else for that matter, has earned two consecutive Best
Picture awards. Are we poised for Oscar history?<o:p></o:p></div>
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<u>Notable Victories thus far</u>: Golden Globe- Drama, Directors
Guild of America <o:p></o:p></div>
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<i><b>The Big Short</b></i> 8 to 1 <o:p></o:p></div>
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<u>Why</u>: Hands down the nuttiest film of the bunch, <i>The Big Short</i> was
a splendid and refreshing comedic take on the utterly disastrous 2008 financial
crisis, expertly crafted and truly hilarious. A strong screenplay that balanced
foul-mouthed wit and deadpan drama (with the occasional celebrity cameo), <i>The
Big Short </i>earns points for originality. Oscar’s top prize doesn’t go to
comedies too often, but how often does a movie like this land of the ballot. <o:p></o:p></div>
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<u>Why Not</u>: The Academy does have its ideal suitor: a sweeping
3.5 hour drama with an ensemble and this is not it. Every once in a while, the
Academy throws a curveball, but after losing out to <i>The Martian</i> at the Golden
Globes, it appears that <i>The Big Short</i> just can't impress. And honestly, amid
the #Oscarsowhite trend dominating this year’s lead up, a movie showcasing a
bunch of white Wall Street yuppies making bank off the financial crisis might
not make for good Oscar PR.<o:p></o:p></div>
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<u>Notable Victories thus far</u>: Producers Guild of America<o:p></o:p></div>
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<i><b>The Martian</b></i> 8 to 1 <o:p></o:p></div>
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<u>Why</u>: Another critical success and box office hit, <i>The
Martian </i>proved itself to be a serious contender by earning the Golden Globe for
Best Picture- Comedy/Musical. If <i>The Martian</i> can pull off the upset, many would
call this a tremendously progressive step by the Academy to reconnect with its
fleeting younger crowd. In that case, maybe they should’ve just nominated <i>Star
Wars.<o:p></o:p></i></div>
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<u>Why Not</u>: Being a great movie is not enough. Also, <i>The Martian</i>
has a double-whammy of being science fiction and comedy working against it. No
such hybrid has yet to win. To make matters worse, without a Best Director nod
for Ridley Scott, <i>The Martian</i> would become only the third movie ever to win
Best Picture without a receiving a Best Director nomination. (Statistics
usually rule.)<o:p></o:p></div>
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<u>Notable Victories thus far</u>: Golden Globe- Comedy/Musical<o:p></o:p></div>
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<b><i>Mad Max: Fury Road</i></b> 20 to 1 <o:p></o:p></div>
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<u>Why</u>: <i>Mad Max</i> might be the biggest surprise this Oscar
season. The post-apocalypse revival exploded onto the scene early to great
critical praise. Despite the acclaim, most assumed the early release would send
the movie back to irrelevancy by the time the Oscars came around. This did not
happen. Alongside <i>The Revenant, Mad Max</i> led the way with its own twelve
nominations. It is a tour de force of a film in every possible way. <o:p></o:p></div>
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<u>Why Not</u>: For the same reason as <i>The Martian, Mad Max</i>’s sci-fi
status hampers its chances. And, in those twelve nominations, one for the screenplay
is not present. Despite a wonderfully chaotic hour-plus chase scene, <i>Mad Max’s</i> obscure
plot line might be too edgy for the Academy. And with such heavy hitter like <i>The
Revenant </i>and <i>Spotlight</i>, it’s really too bad. <o:p></o:p></div>
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<u>Notable Victories thus far</u>: National Board of Review of
Motion Pictures<o:p></o:p></div>
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<i><b>Bridge of Spies</b></i> 30 to 1 <o:p></o:p></div>
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<u>Why</u>: With Spielberg at the helm, his name alone carries enough
command to make any film a legitimate contender come Oscar season. Adding Tom
Hanks to the equation only strengthens the movie’s chances. Superbly acted and
crafted to an astounding accuracy, <i>Bridge of Spies</i> is as delicate a war movie that’s
come across in a long time. Spielberg always gives us his best when working in
the war department and this movie does not disappoint. <o:p></o:p></div>
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<u>Why Not</u>: Even against his own war filmography (<i>Schindler’s
List, Saving Private Ryan, Lincoln</i>) <i>Bridge of Spies</i> falls a bit short, at times
being flat and too talky. If <i>Saving Private Ryan</i> didn’t manage to win back in
1999, it’s hard to imagine <i>Bridge of Spies</i> fairing any better. <o:p></o:p></div>
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<i><b>Room </b></i>40 to 1 <o:p></o:p></div>
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<u>Why</u>: Lenny Abrahamson could’ve approached this story about
mother/son captivity from a number of grieve-seeking agendas. He restrains from
easy sympathy and instead delivers a marvelously touching film, one whose virtues
and humanity have no bounds. While I merely liked the movie, I am a bit surprised
<i>Room </i>has not received more consideration throughout the season. This is their
kind of movie.<o:p></o:p></div>
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<u>Why Not</u>: Despite the acclaim, <i>Room </i>has yet to pick up a major
Best Picture prize this season. And with such top contenders, it will no doubt be
bested. <o:p></o:p></div>
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<i><b>Brooklyn</b> </i>50 to 1 <o:p></o:p></div>
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<u>Why</u>: Rounding out the last of the pack is <i>Brooklyn</i>. Hollywood loves a sappy melodrama done right. And Brooklyn swapped the sap for genuine feelings and heart-warming sincerity. It’s easy to see why everyone ate this film up. Once again, you'd think it would have had a better
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<u>Why Not</u>: See above list</div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-29897812163250209202016-01-25T15:27:00.005-06:002016-01-25T15:27:39.823-06:00Useless Clatter...The Hal 9000: Technology That Talks<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;">(Originally posted for <a href="http://cflxmovieoftheweek.com/">CFLXmovieoftheweek.com</a>)</span></div>
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<span style="font-family: inherit;">Depictions of the future serve as one of the most alluring aspects of science fiction. Even better is when these cinematic futures become the past. Audiences may relish in the opportunity to nitpick the accuracy of these fictitious creations in the aided benefit of hindsight. (Sorry </span><em style="box-sizing: inherit; font-family: inherit;">Back to the Future II</em><span style="font-family: inherit;">, there were no hoover boards yet in 2015. We were still trying to figure out the Segway.)</span></div>
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<span style="font-family: inherit;">Unfortunately, </span><em style="box-sizing: inherit; font-family: inherit;">2001: A Space Odyssey</em><span style="font-family: inherit;"> does not lend many imaginative depictions of 21st century Earth. Despite a few bone-wielding apes on our prehistoric planet, Kubrick’s 2001: A Space Odyssey, as its title suggests, takes place mainly </span>on board<span style="font-family: inherit;"> spaceships trekking through a limitless and (relatively) unchanging galaxy. But onboard any spaceship, technology is aplenty, often times in excess in sci-fi. Arguably the film’s most intriguing character is no man or ape, but a talking computer- the HAL 9000- stoic and physically lifeless. A novel idea in 1968, but almost 50 years later, HAL would simply join the likes of Siri, Watson and our unnamed Google Maps chauffeur on the ever increasing list of “talking computers.” Thankfully, our reliable trio have yet to cause the mayhem of HAL.</span></div>
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<a href="http://cflxmovieoftheweek.com/2016/01/14/the-hal-9000-technology-that-talks/" target="_blank">continue reading...</a></div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-77207451000854084512015-09-02T23:30:00.000-05:002016-01-05T22:33:57.733-06:00Why See This...The Trial [1962]<div dir="ltr" style="text-align: left;" trbidi="on">
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" width="225" /></a><br />
<div style="text-align: justify;">
To read Franz Kafka one must imagine a world where
logic and reason have no hold. To see such a place envisioned by one of cinema's greatest auteurs is a rare treat. Orson Welles’ 1962 adaptation of <i>The Trial</i> is by no means a
conventional edge of your seat thriller. Looming beneath the shadows of his classics <i>Citizen Kane </i>and
<i>Touch of Evil</i>, Welles’ <i>The Trial</i> is an underappreciated masterpiece of
avant-garde cinema and surrealist art. Some call it hyper-stylized, over-the-top,
nonsensical and entirely unwatchable. From the latter perspective, it is all
these things, yes, outside of being unwatchable. But with <i>The Trial</i>, Welles has created an
audacious film that demands to be remembered; something truly unlike any film that has come before or after it.</div>
</div>
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Welles' deep, God-like
voice presides over the film as it opens with this quote: “It has been said, that the logic of this story
is the logic of a dream and a nightmare.” From the very beginning, there is
something peculiar about everyone and everything in <i>The Trial</i>. One can see
similarities and inspirations for David Lynch’s <i>Erasherhead</i> at work here. But where
<i>Eraserhead </i>purposefully calls attention to its excessive industrial gloom, <i>The
Trial</i> works in a subtler fashion. Take the opening scene of the movie where K (Anthony Perkins) is awoken and hastily arrested on unknown charges. The unnaturalness of the situation and events is exasperated
in the minute details of his bedroom. When
K gets up, Perkins’ tall, lanky figure seems much too large for the room. Or is it
just that the ceiling is too low? The walls are starkly white and bare while
the doors appear almost wide enough to drive a car through.</div>
<div class="MsoNormal">
<div style="text-align: justify;">
<br />
More unreal than real, or vice versa- it is hard to say. This uneasiness and
delicate oddities continue with every scene and every place K goes in his
efforts to clear up the clouded mystery of his arrest. K's advocate (a looming, booming Orson Welles) lives in what looks like a huge warehouse. Papers are hoarded and strewn about everywhere. Hundreds of small wax candles emit the house's only light. More bizarre is K's visit to a portraitist who lives in a wooden shack of an attic. To get there K heads up a set of metal stairs as if in a boiler room or factory. To leave, he must outrun the multitude of young girls that fester and plague the artist's life, peering into his room from holes in his shabby walls. (By the way, where do they live?)<br />
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At another point, K stumbles upon a woman doing laundry in a dark and desolate hallway. When she
opens the door behind her, we do not find a laundry room closet as one might
expect, but the entrance to a courtroom holding hundreds of people awaiting K’s
trial. There is madness everywhere, none which can be explained. The strangest part of it is that the only person that seems affected is K. </div>
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Joseph K is played by Anthony Perkins, an actor known almost
exclusively as the lonely and anxious innkeeper Norman Bates from <i>Psycho</i>. Throughout his
career, Perkins could never escape this role, reprising the character directly in
a few <i>Psycho </i>sequels and at times indirectly (and maybe unconsciously) through
other characters. Two years after the release of <i>Psycho</i>, Perkins reprises much
of Norman’s nervous tweaks, gulps and conceivably boyish innocence as the office clerk Joseph K. “Surely you didn’t
come to see me?” he says guilelessly to his arrestors in <i>The Trial's</i> opening scene. His
unassuming tone recalls the words shared between Bates and Detective Arbogast, and in The Trial, it works wonderfully.<o:p></o:p><img src="http://www.kinnemaniac.com/wp-content/uploads/2012/08/1-The-Trial.jpg" height="335" width="640" /></div>
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Perkins is also known for being a closet homosexual in his
day. And there is some belief that Welles, fully aware of this, cast Perkins to
employ this trait in his character. At various points in <i>The Trial,</i> beautiful
yet seemingly depraved women try to seduce K. As the women reel in on him in uncompromising and tight two-shots, staring deeply into his eyes K always jeers back a bit, gulping, only able
to say a few uneasy remarks before pulling away and gasping for air. The scenes
are awkward, if not mostly for Perkins. Is this a cruel use of someone’s
inner-self, or a touch of bona-fide brilliance by the ruthless master Welles. <o:p></o:p></div>
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Not enough praise can be bestowed on Welles for his artistic
genius. In particular, his use of highly unnatural stage lighting enhances the
unsettling mood abound in <i>The Trial</i>. Shooting in huge spaces, like the
advocate’s home, Welles could immediately shrink the set down by lighting some
areas while leaving others black to tighten the frame. In one instant, the
advocate could be yelling at K in an immense capacity. The next shot could show
K listening on, helpless as if locked in a closet or jail cell. <o:p></o:p></div>
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<i>The Trial</i> is one of the few features Welles managed to have
complete directorial control over. He was constantly hampered by studio execs
for funding, despite being a bravado and genius behind the camera (not to mention having made what many deem to greatest film of all time). Beyond <i>Kane </i>and some of his other great
works, <i>The Trial</i> shows Welles at his
most daring and best. Those two traits seem to go hand in hand with Welles. Faithful readers of the novel might detest
certain parts of the script, especially its bombarding ending. But by sacrificing
a little, the audience receives so much more. <i>The Trial </i>undoubtedly stands on its own as
a bold, striking piece of visual artistry and art house cinema. <o:p></o:p></div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com1tag:blogger.com,1999:blog-6993604777732539539.post-11473754424000786132015-08-31T16:29:00.000-05:002016-01-05T15:25:50.637-06:00A Month in Movies...August 2015<div dir="ltr" style="text-align: left;" trbidi="on">
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Total Movies Watched: 12</div>
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<a href="https://www.blogger.com/blogger.g?blogID=6993604777732539539" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=6993604777732539539" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=6993604777732539539" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>1930s: 1<br />
1950s: 1<br />
1960s: 4<br />
1970s: 2<br />
2000s: 1<br />
2010s: 4<br />
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Irrational Man [2015] dir. Woody Allen<br />
<img src="http://www.goldposter.com/wp-content/uploads/2015/05/Irrational-Man_poster_goldposter_com_2.jpg" height="320" width="215" /><br />
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The End of the Tour [2015] dir. James Ponsoldt<br />
<img src="http://ia.media-imdb.com/images/M/MV5BMTUwODU3NjQxNF5BMl5BanBnXkFtZTgwODE2NTE4NTE@._V1_SX640_SY720_.jpg" height="320" width="216" /><br />
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Mission Impossible: Rogue Nation [2015] dir. Christopher McQuarrie<br />
<img src="http://ia.media-imdb.com/images/M/MV5BMTQ1NDI2MzU2MF5BMl5BanBnXkFtZTgwNTExNTU5NDE@._V1_SX640_SY720_.jpg" height="320" width="204" /><br />
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Prince Avalanche [2013] dir. David Gordon Green<br />
<img src="http://t3.gstatic.com/images?q=tbn:ANd9GcS6yReThr4CwurS88DP59oe8hRd49DTg31tBdG7wPfovldza09_" height="320" width="213" /><br />
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The Hustler [1961] dir. Robert Rossen<br />
<img src="http://www.thelbk.com/wp-content/uploads/2015/06/The-Hustler.jpg" height="320" width="213" /><br />
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The Trial [1963] dir. Orson Welles<br />
<img src="http://static.rogerebert.com/uploads/movie/movie_poster/the-trial-1963/large_b85scVCwFJJUdZcf2IQnQ2UV1Xs.jpg" height="320" width="219" /><br />
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All About Eve [1950] dir. Joseph L. Mankiewicz<br />
<img src="http://static.rogerebert.com/uploads/movie/movie_poster/all-about-eve-1950/large_pCA57auzcoqNUpaP2XrxoNqexX5.jpg" height="320" width="209" /><br />
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The Lord of the Rings: The Fellowship of the Ring (Extended Edition) [2001] dir. Peter Jackson<br />
<img height="320" src="https://www.movieposter.com/posters/archive/main/105/MPW-52979" width="217" /><br />
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<br />
The Skin Game [1931] dir. Alfred Hitchcock<br />
<img height="320" src="https://thehitchcockproject.files.wordpress.com/2010/03/skin-game.jpg" width="228" /><br />
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The Long Goodbye [1973] dir. Robert Altman<br />
<img src="http://ecx.images-amazon.com/images/I/51TVPXWCMDL.jpg" height="320" width="220" /><br />
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X: The Man with X Ray Eyes [1963] dir. Roger Corman<br />
<img src="http://images.moviepostershop.com/x-the-man-with-x-ray-eyes-movie-poster-1963-1020144080.jpg" height="320" width="201" /><br />
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The Battle Beyond the Sun [1960] dir. Thomas Colchart<br />
<img height="320" src="https://s-media-cache-ak0.pinimg.com/736x/12/9e/83/129e83f5012c77be13a9548ac3f14e0a.jpg" width="202" />
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-72526718032063682852015-08-12T16:18:00.000-05:002015-11-11T18:12:16.200-06:00Why See This...Mission Impossible: Rogue Nation [2015]<div dir="ltr" style="text-align: left;" trbidi="on">
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comes as no surprise that 2015’s summer Blockbuster season has given us a fifth
sequel. And once again, movie-goers ask themselves- is no.
5 worth seeing? In this case, yes. <o:p></o:p></div>
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Writer/director Christopher McQuarrie’s Mission Impossible film opts for a simple,
tried and true plot line of many past action films. This is no slight towards McQuarrie’s
writing abilities, who earned an original screenplay Oscar for the sleek crime
thriller <i><a href="https://www.youtube.com/watch?v=oiXdPolca5w" target="_blank">The Usual Suspects</a></i>. Thankfully, he knows such twists and turns do not fit the
<i>Mission Impossible</i> mold. Audiences have flocked to the MI series for impressively
staged action sequences and the whacky virtuosity of Ethan Hunt (Tom
Cruise). Both are in full force here.<o:p></o:p></div>
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The finals moments of <i><a href="https://www.youtube.com/watch?v=EDGYVFZxsXQ" target="_blank">Mission Impossible: Ghost Protocol</a></i>, have
Hunt and the IMF (Impossible Mission Force) barely saving San Francisco from
nuclear annihilation. In <i>Rogue Nation</i>, the director of the CIA (Alec Baldwin), opposed
to the Hunt’s unconventional tactics and admittedly lucky breaks, shuts down the
IMF and a search for Hunt begins, who is to be charged with treason. Out in the
cold, Hunt is in the midst of his own pursuit— tracking down a terror network
known as the Syndicate. Hunt has linked them to a series of global terrorist attacks.
After an early face to face encounter with its leader, the composed yet cunning
Solomon Lane (Sean Harris), Hunt will stop at nothing to find him and bring
down the Syndicate. <o:p></o:p></div>
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<i>Rogue Nation</i> marks the third collaboration between McQuarrie
and Cruise in recent years. Their first pairing came in 2012 for the rather
flat, more Bourne-esque thriller <i><a href="https://www.youtube.com/watch?v=kK7y8Ou0VvM" target="_blank">Jack Reacher</a>.</i> Last year’s under-watched sci-fi film <i><a href="https://www.youtube.com/watch?v=vw61gCe2oqI" target="_blank">Edge ofTomorrow</a></i> earned the two greater praise. What worked in <i>Edge of Tomorrow</i> that was
absent in <i>Jack Reacher</i>, is Tom Cruises’ underutilized charm
and comedic timing. Ethan Hunt is not
Jason Bourne and at no point does he ever try and mimic James Bond. He gets into trouble and
occasionally relies on a little luck to get himself out of a jam. Hunt’s formidable charisma never
strays too far and this is why we like him. <o:p></o:p><br />
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<a href="http://www.flickeringmyth.com/wp-content/uploads/2015/08/tom-cruise-mi5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.flickeringmyth.com/wp-content/uploads/2015/08/tom-cruise-mi5.jpg" height="225" width="400" /></a><a href="http://www.flickeringmyth.com/wp-content/uploads/2015/08/tom-cruise-mi5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a>Cruise is certainly not the only actor who deserves praise in <i>Rogue Nation</i>. Already mentioning Sean Harris’s brilliantly restrained evil; Simon Pegg, always a crowd pleaser, is as good as ever as Hunt’s genial, sarcastic wingman. Rogue Nation also wins many fans for the return of Ving Rhames as the calm and cool Luther Stickell who was noticeably absent from <i>Ghost Protocol</i>. New to the film is Rebecca Ferguson as Ilsa Faust who appears right at home as the double/triple/quadruple crossing “frenemy” of Hunt. The ensemble works like a charm. No character, big or small, steps out of their role to try and overtake the Ethan Hunt show. Early in the movie, as Faust helps Hunt out of an early predicament, he has to ask her, “this is the first time we’ve met, right?”</div>
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Like its predecessor, <i>Rogue Nation</i> opts
for a livelier, funnier tone, something pushed aside in the darker, more
intense MI 2 and 3. That isn't to say the movie does not have its share of edge
of your seat, final-seconds-before-it-goes-kaboom-type drama we crave in
<i>Mission Impossible</i>—motorcycle chases through the tiny streets of Casablanca, Hunt
hanging onto a flying plane’s hatch in Belarus, scuba diving underneath a
powerplant- without oxygen…A particularly memorable scene finds Hunt trying to
desist three assassins high above an ongoing performance of Turandot at the
Vienna Opera House. Its an unusually long scene for an action film, but the
intricate staging, cross cutting and rich <a href="https://www.youtube.com/watch?v=9fYvVRLPVcs" target="_blank">opera soundtrack </a>make this scene and
the movie as a whole, a pure delight to watch. <o:p></o:p></div>
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<i>Ghost Protocol</i> saw a resurgence in the critical praise of the
MI series, and <i>Rogue Nation</i> rightfully surpasses it. If such a trend
continues, I wouldn’t mind seeing the 53 year old Cruise throw himself off
buildings and onto planes (or vice versa) again in a few years, and if he still can maybe even
into his 60s, though at that point, hopefully he’ll keep his shirt on.<o:p></o:p></div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com1tag:blogger.com,1999:blog-6993604777732539539.post-70755441506124214802013-08-25T12:34:00.000-05:002016-01-05T22:46:20.247-06:00Why See This...Blue Jasmine [2013]<div dir="ltr" style="text-align: left;" trbidi="on">
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" 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" style="text-align: left;" /></a>Since 1966, Woody Allen has directed 43 features, amounting
to almost one picture per year, an immense quantity for any one director. Best known for his wry romance comedies and
quirky, rambling set of on-screen portrayals, Allen no doubt does comedy
best. But every once in a while, his
writing take a dramatic turn. The
laughs come fewer and farther in exchange for a deeper study of human psyche
and emotion, ala <i>Match Point</i>. Not a
typical Woody Allen movie some might say, but amidst a slew of signature comedies, these often stand as some of his most memorable work. Case and point with his latest feature, <i>Blue Jasmine</i>. </div>
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<i>Blue Jasmine</i>, like <i>Match Point</i> is not a typical Woody Allen
movie of recent memory. The film lacks
the outlandish faltery of last year’s <i>To Rome with Love</i> and the whimsical
nostalgia of 2011’s gem, <i>Midnight in Paris</i>.
His newest movie is a swooning, cerebral drama detailing the likes of pain
and loss, obsession and regret. <i>Blue
Jasmine</i> updates Tennessee Williams’ classic stage play “A Streetcar Named
Desire.” New Orleans swaps out for San Francisco
and the 1950s becomes the present day. The nutty Blanche DuBois character, here called Jasmine, is marvelously depicted by veteran screen actress Cate Blanchett, who the
Academy will no doubt recognize with at least a nomination.</div>
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After a public mental breakdown, Jasmine heads out to San
Francisco to live with her sister, hoping for a fresh start far from
her glitzy life in New York that ended abruptly when her suave and successful husband’s
(Alec Baldwin) wealth fell to various police charges, jail, and eventual suicide. This happening also left Ginger (Sally Hawkins) and her
ex-husband without any money too.
Greetings are particularly stiff when Jasmine and Ginger first see each
other. Despite having no money, Jasmine
still holds her head high thinking she is too good for her sister’s simple life. But she experiences a rude
awakening as she is forced into a menial job as a dentist’s assistant to pay
for computer classes in the hopes of studying fashion online. Jasmine receives little warmth from the rest
of Ginger’s life. Ginger’s boyfriend Chili was all set up to move into Sally’s apartment until Jasmine’s temporary
stay hampers the plans. Her explosive drama and
utter ignorance for the rest of the world sets him off. The brute, blue-collar Chili is played
wonderfully by Bobby Cannavale, echoing Brando’s character brilliantly with sporadic
tantrums and delightfully sinister comments always geared towards Jasmine. We meet Jasmine after the fall, but viewers peer into her past through an array of flashbacks to her time on top in NYC. Comprising of almost half the movie's running time, Allen seamlessly fits these flashbacks into the narrative without any sense of abruption. The glimpse into her life
offers a look at the fairer yet probably worse days of her life as a queen on the Upper
East Side. In the present, we watch her struggle
immensely to regain that life in some other form any way she can.</div>
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<a href="http://cinekatz.com/wp-content/uploads/2013/08/blue-jasmine-trailer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://cinekatz.com/wp-content/uploads/2013/08/blue-jasmine-trailer.jpg" height="223" style="text-align: left;" width="400" /></a></div>
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Appearing in nearly every frame of this movie, the film’s
success undoubtedly rests on Blanchett’s shoulders. She so perfectly captures the hysterical
frenzies that is Jasmine, often times battling long takes and extensive
close-ups and doing so flawlessly. Not to be disregarded is the supporting cast of this film. I have already given praise to the likes of
Hawkins and Cannavale whom I hope the Academy also deservingly recognizes. Allen also takes a bit of a casting risk
deploying the chops of two well-to-do comedians Andrew Dice Clay and Louis CK
despite their limited film experience.
Both take up their jobs as if screened veterans. </div>
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<br />
Stepping away from his recent comedic stretch,
Allen comes back with an intelligent and superbly acted film in <i>Blue Jasmine</i>. We haven’t seen Woody go this serious since
2007’s <i>Cassandra’s Dream</i>, and <i>Blue Jasmine</i> is better. Not to worry as it still offers instances of comic relief; giggles they might just be and not altogether
laughs. Even in the deadpan, Woody can
still deliver and <i>Blue Jasmine</i> is undoubtedly one his finest pictures in recent
memory.</div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/FER3C394aI8" width="560"></iframe><br />
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-33843759907000099432012-12-31T12:34:00.000-06:002013-06-01T12:32:15.093-05:00My Month of Movies...December 2012<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://resources0.news.com.au/images/2011/01/19/1225990/998096-in-flight-entertainment.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://resources0.news.com.au/images/2011/01/19/1225990/998096-in-flight-entertainment.jpg" /></a>Total Movies Watched: 12<br />
<br />
60s: 0 + 5 movies I certainly would not recommend to most people<br />
70s: 2 + 2 Tarkovsky films<br />
80s: 5 + 2 movies directed by a brother-brother duo<br />
90s: 0 + 2 movies seen in theaters<br />
00s: 0 + 2 re-watches<br />
10s: 5 + 1 movies I was forced to sit through on a plane because I checked by books<br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Stalker </span>[1979] dir. Andrei Tarkovsky<br />
<img height="320" src="http://dinca.org/wp-content/uploads/2009/06/staker-tarkovski-poster-artwork.jpg" width="236" /><br />
<br />
<span style="font-size: large;">Offret (The Sacrafice)</span> [1986] dir. Andrei Tarkovsky<br />
<img height="320" src="http://people.ucalgary.ca/~tstronds/nostalghia.com/ThePosters/covers/DVD/UK_Sacrifice_.jpg" width="226" /><br />
<br />
<a name='more'></a><br />
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<span style="font-size: large;">The Tree of Life</span> [2011] dir. Terrence Malick<br />
<img height="320" src="http://25.media.tumblr.com/tumblr_m5h2tlePCk1ryt95zo1_1280.jpg" width="203" /><br />
<br />
<span style="font-size: large;">ATM </span>[2012] dir. David Brooks<br />
<img height="320" src="http://moviebuzzers.com/wp-content/uploads/2012/03/ATM.jpg" width="240" /><br />
<br />
<span style="font-size: large;">The Do-Deca Pentathlon</span> [2012] dir. Duplass Brothers<br />
<img height="320" src="http://www.milehighcinema.com/wp-content/uploads/2012/06/film-poster.jpg" width="238" /><br />
<br />
<span style="font-size: large;">Raising Arizona</span> [1987] dir. Coen Brothers<br />
<img height="320" src="http://2media.nowpublic.net/images//a6/4f/a64f686e769529903b512f56c87df8ef.jpg" width="223" /><br />
<br />
<span style="font-size: large;">Barry Lyndon</span> [1975] dir. Stanley Kubrick<br />
<img height="320" src="http://www.dvdsreleasedates.com/covers/barry-lyndon-dvd-cover-78.jpg" width="224" /><br />
<br />
<span style="font-size: large;">Argo </span>[2012] dir. Ben Affleck<br />
<img height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZIWYTjO1WVeiq4M24_S2Ra7letFLx82c26el7JcQta3TK3V3J5Hp1HMEUMYt9ODBzlNjH9ZRh4LgaIwYpzKWAXg5RHDSMCx32RKZWNEXIIL6FNuyMwrN8JHqgtRE8-cn6hsk680oC4iM8/s320/argo-poster03.jpg" width="219" /><br />
<br />
<span style="font-size: large;">Galaxy of Terror</span> [1981] dir. who cares<br />
<img height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAJieKZSXCY2jXN5OKXGINEFdqlUCxbBla-MDsV6NeYWzQQtFBQhCQG5W-ppHFHPRQG0PThHe7UtT1Be3ovKguzEP66cuHCQm3pZxnuQsnbz0vE02y2kRkG1WCf8Dzzs-6YacCV8Upze0/s320/galaxy_of_terror_poster_02.jpeg" width="217" /><br />
<br />
<span style="font-size: large;">Lincoln </span>[2012] dir. Steven Speilberg<br />
<img height="320" src="http://img2.timeinc.net/ew/i/2012/08/22/lincoln-poster_743x1100.jpg" width="216" /><br />
<br />
<span style="font-size: large;">Conan the Destroyer</span> [1984] dir. Richard Fleischer<br />
<img height="320" src="http://cdn-6.nflximg.com/images/0751/1060751.jpg" width="223" /><br />
<br />
<span style="font-size: large;">Commando </span>[1985] dir. Mark L. Lester<br />
<img height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipWEUUKV8mqZzg-c-yy9Nilk06Hg-i-AErp18x4TXb3ipw1sZybhrfanG-Nv5XdvdNMFtTV6m80LBUV9oBPsFkeS5B1dHubEX57P806BHcyjDC0Di4TD5XknipCmOi1NRKzA4L2rQ66kW-/s320/commando-poster.jpg" width="213" /></div>
Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-87423126224163080072012-11-30T12:34:00.000-06:002013-01-03T17:14:57.695-06:00My Month in Moves...November 2012<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://watch-tv-on-pc.maxupdates.tv/wp-content/uploads/2010/01/Watch-TV-on-PC-with-3000-channels.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="211" src="http://watch-tv-on-pc.maxupdates.tv/wp-content/uploads/2010/01/Watch-TV-on-PC-with-3000-channels.jpg" width="320" /></a>Total Movies Watched: 8 (Weak)<br />
<br />
50s: 1 + 3 foreign films<br />
60s: 0 + 2 movies seen in theaters<br />
70s: 3 + 2 English movies watched entirely in Czech<br />
80s: 0 + 1 re-watch<br />
90s: 0<br />
00s: 1<br />
10s: 3<br />
<br />
<span style="font-size: large;">Hi Terezka</span> [2001] dir. Robert Glinski<br />
<img height="320" src="http://film.onet.pl/_i/film/c/czesc_tereska/p/p1.jpg" width="222" /><br />
<br />
<span style="font-size: large;">Ucho (The Ear)</span> [1970] dir. Karel Kachnya<br />
<img height="320" src="http://www.movieposterdb.com/posters/09_12/1970/66498/l_66498_b7785bc4.jpg" width="198" /><br />
<a name='more'></a><br />
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<span style="font-size: large;">Tinker, Tailor, Soldier, Spy</span> [2011] dir. Tomas Alfredsson<br />
<img height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNichyL2cPs34sikO4gQE2s81l-tcnvOB8yBW62VFofM3N30nE0P8t9FPibslm_W9UrOf-o9q22PYyTw4cBIMgWtNWURenEFjMpy7K4hCO34zdZROwNOA4tugoBhES-MJT0gXXQkDZIuE/s320/Tinker+Tailor+Soldier+Spy+%25282011%2529.jpg" width="216" /><br />
<br />
<span style="font-size: large;">To Catch A Thief</span> [1955] dir. Alfred Hitchcock<br />
<img height="320" src="http://2.bp.blogspot.com/-FwEGh1aRqd4/T4-_DVL3d6I/AAAAAAAEXyw/dpd3F3ZuT44/s320/to_catch_a_thief_poster-2.jpg" width="244" /><br />
<br />
<span style="font-size: large;">The Sting</span> [1973] dir. George Roy Hill<br />
<img height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5cmiVDe3pQ8EOgKL5CGOA7XoMGGL8TQTNx3SzEcgGS0l_zTfhdl8EHmYJyCAa8l8D13u38dTe59JltR5b6ig1K2PcNro4XUGnq5VhmPhxy9PYwn_YeT_OnhIgqYusWiKzuKzeYQR7RF1V/s320/Movie-Poster-The-Sting.jpg" width="204" /><br />
<br />
<span style="font-size: large;">Seven Psychopaths</span> [2011] dir. Martin McDonagh<br />
<img alt="Seven-Psychopaths-Poster" height="320" src="http://www.heyuguys.co.uk/images/2012/08/Seven-Psychopaths-Poster-438x650.jpg" width="215" /><br />
<br />
<span style="font-size: large;">Stalker </span>[1979] dir. Andrei Tarkovsky<br />
<img height="320" src="http://images.moviepostershop.com/stalker-movie-poster-1979-1020427651.jpg" width="195" /><br />
<br />
<span style="font-size: large;">Skyfall </span>[2012] dir. Sam Mendes<br />
<img height="320" src="http://collider.com/wp-content/uploads/skyfall-poster.jpg" width="233" /><br />
<br />
<br />
<br />
<br /></div>
Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-65016514626466641952012-11-14T09:44:00.000-06:002015-11-11T19:01:08.373-06:00Why See This...Hukkle [2002]<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://i814.photobucket.com/albums/zz65/cgarland356/hukkle.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://i814.photobucket.com/albums/zz65/cgarland356/hukkle.jpg" height="320" width="232" /></a>To consider <i>Hukkle</i>
a murder-mystery, as it is described, might be somewhat misleading, yet that is
exactly what it is- to an extent. Both murder-mystery and avant garde, this 2002
Hungarian film is a work of art that defies genres and categorization. <i>Hukkle</i>
is sometimes comical, other times eerie and always tantalizing. <i>Hukkle</i> assumes no relation to the classic story-styled narrative
viewers are used to, director György
Pálfi delivers more awe and wonder than thrills in his carefully presented
survey of a rural Hungarian town. There
is a plot, sometimes, but the story is hardly what we concern ourselves
with. </div>
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<i>Hukkle</i> shares the
similar scanty, free-wielding plot found in Richard Linklater’s <i><a href="http://www.youtube.com/watch?v=r9f9M6UAYb0" target="_blank">Slacker</a> </i>(1991). For <i>Slacker</i>,
the existence of a plot is highly debatable. The same can be said for <i>Hukkle</i>, whose murder-mystery premise takes
a backseat in favor of captivating imagery and visual poetics. The film, which runs close to 80 minutes, contains no absolutely dialogue. The closest thing we have is an old man who constantly hiccups.<br />
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And given the array of both intimate and grandiose images
the movie boasts, maybe a more sensible comparison for <i>Hukkle</i> would be Terrence Malicks’s <i><a href="http://www.youtube.com/watch?v=WXRYA1dxP_0" target="_blank">The Tree of Life</a></i>, and Malick’s own infamous and unorthodox
directing style. As the camera peacefully
meanders through the town , Pálfi evokes a stunningly visceral and meditative approach to his cinematography. More often than not, his fascination seems to be less with people and more with the birds and bees, or tall golden strands of prairie grass blowing in the praise. Such pristine images force us to reassess some
of the most obvious truths regarding movies as well as life and beauty. We find
ourselves not only captivated by images, but also by these simple sounds- the buzzing of bees or whispering winds against the tall meadow grass. <i>Hukkle</i>
is a voyeuristic parade that evokes wonder as much as bafflement and confusion.</div>
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But if the movie was 80 minutes of wonderfully-crafted shots
of a quaint Hungarian town, the awe and beauty would soon die out. There must be something more, and there
is. After all, <i>Hukkle</i> is described as a murder mystery, in the most unconventional
of that sense. Abrupt in their
disparity, images of textile factories, tractors tending crops and doctor’s
offices soon find themselves sneaking into the frame, breaking the pattern of pristine
natural beauty we get early on.</div>
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<a href="http://www.dvdbeaver.com/film/DVDReviews14/a%20Gy%C3%B6rgy%20P%C3%A1lfi%20Hukkle%20DVD%20Review/a%20Gy%C3%B6rgy%20P%C3%A1lfi%20Hukkle%20DVD%20Review%20PDVD_003.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.dvdbeaver.com/film/DVDReviews14/a%20Gy%C3%B6rgy%20P%C3%A1lfi%20Hukkle%20DVD%20Review/a%20Gy%C3%B6rgy%20P%C3%A1lfi%20Hukkle%20DVD%20Review%20PDVD_003.jpg" height="223" width="400" /></a>About halfway into Hukkle, during one of its many sweeping shots through high grasslands, our sight becomes obstructed by a
police car and its accompanying officer.
In any conventional crime thriller or murder mystery, this would
typically be the opening shot of the movie— our hero stumbling upon the crime
that becomes our story and his case to crack. Within a few moments, the scene changes from
the countryside back to the town, as we follow people dressed in
black heading to a funeral. The film begins to more or less establish
itself as a murder mystery and our eagerness continues after the funeral, as we
try to put the pieces together, still with no dialogue. But from here, the movie does not take the form
of a regular narrative. Providing us
with what he has so far, Pálfi is much too crafty to let this slip into a
classic who-dun-it type crime movie with a cop chase along the back roads of
Hungary. The violent and abrupt pacing would
have no place in this mesmerizing tale.
Further and further into the movie, just as it seems to taking direction,
Pálfi’s choice of images seems to become more bizarre and
outlandish, less keen on the wonderful beauty of nature that he seemed once so
captivated with. More bodies are
uncovered, and more funerals are attended.
There is some doing this, right?
With each encompassing image, we seem less sure of it all.</div>
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But to discuss the plot any further would spoil the
experience of <i>Hukkle</i>. And as I have already mentioned, the plot does by no means drive this film. Much of the movie rests on witnessing this series of seemingly unrelated
images brought together for a purpose we cannot figure out, but need to know. Akin to <i>The
Tree of Life</i>, maybe our answer lies within the realm of nature and grace,
or then again maybe not. In any case, <i>Hukkle</i> is a
movie that could be watched once, hated, and never seen or discussed again, or, more likely, one
that is watched ten times over, each viewing answering one question and
then handing off a dozen more. <br />
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/Hi3K7JbbTjA" width="560"></iframe></div>
Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-970552546102188262012-10-31T02:36:00.004-05:002012-10-31T02:43:26.271-05:00My Month in Movies...October 2012<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: large;">Total Movies Watched: 10</span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: large;">Das Cabinet des Dr. Caligari [The Cabinet of Dr. Caligari] </span>[1920] dir. Robert Wiene</span><br />
<img alt="The Cabinet of Dr. Caligari" height="320" 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A5os77Lc6mIrLmdGY1OdYjtPQWQ+88N22zjvCQOSTfv24wq/UvT5NdzBptkOkSjDNezI7KeWltJG2MEpLhRwCNxcVt7EjnnDN6wZkk0TO8NuMsIDdMDqkn0Lqk3+wufthVp9bNY6x8nsunb/AFby17UoqJFn31lQ+58ZH5Yq46SCnq5KpjO2dynve57BFfRb7NucEQH2qBq1lajs11FnaLmaJET4Mwp5GxViWXQQDa9rgdgRcH9QGaZ1UqeXmIchRlB4yUJbNz4wKQk7iTv5vyRzz5Wwy/Va5R8xaUvQpKEOLUtLjDhA3sucjcL9jx9CMIRkXNUip52y+icygOUhB3LVcqeSFXRuJ72BAFvJIxZ0rQ89dosWg6IGcloMR5/dMZnvp0jU3TlVTrc1+sZvqMYzJtRkPlWxy4ISPMgcgk3vz2wuGlMzJMbNlRRmmtMQkxKfK/R6lNqUkzezQK0g25uQVcAjvhj+rXPE+m6MBEArQ7ISmI8sfE22VHkH53CT9cLdRekyr5jy8ifSagzPltxA/PQ0oERXiCUMHn4yVNp5t8SrcJN5KV7zGes7fbwSyRsDgWj+U4Bz+dLOm+dXpMlubNrMORTKLDZeSsurcsFukgkJSkD6i1vxDFt6LSioiZClkOQJNFbeejqA8JfwC5T5mxIv88c+n6d/o01AdoTNYbruX0Bx9lbSytLAK1pseLbyEDdbj8sOh0UZqWqtTYxKbjLzzYCx5p2Ef/XEnybW0rgw7639UNJPedoKNWYqIvT/ADu4zTlLERZbdS2VXDiDc/e20i+DHEkoLcWSztXGko9xfmDbgH64Cyc0nNmm2WsyCy5sFw0+YVHjg8E/UbT9zitah6yuabaT1wFeyS4oM01RNtq3L7iD5FPKhhlRRmqia8jtg2KmhnELi2/ZOoQc6ztWQ9q1SVZclpelZfZQlEhHwtSfFUSpJPcpITyPMfLH3kfRlnL+ZdNqrnFJq0jODgnyWZ5LiSFrGwKJ5N97ajfzUB5YqmueS6VkrSTTyoz0LFeq0mQ5Nv8AEpC0IWlIJ7bQkC3qsnBj6k3cw1OgUfNFAiJqWT47LM+nVNjl6B+rSdqgO7e5DagbcHgntaCUERRxs2NxfyTB9T3uHcbLErVcyBQtZMy5hqsKBDyblJswo9Jgw20pmywShLaWwkBZK96rngBFzwDj4Z0bzNr43HzVU6dSdL8urUX4MSDER7e+gquFrUkJ5N+Cdv8Ad7HC0aVGFn3UOVIzPmmJl5mnx3alGeqCQpmRP3XQhQUCCLm6r/u287F3tEupukaiUyTTau5EZzfEUUPNxXN8eSkG5cjqBI2+du4x1W59KLRi9gLk8BOp2tmH+zQH7ohdMGn72nruZ4RqjlXbe9mdakPCzm27wsq5PofPExctKqimpViuOpCQPZop9037rftiYfE7OwOcd0aQI+yEI+rGj1Cs53ozVKmGDNERgNrAJC90koKCAeQQtQwlL+ozkjqb1GqbCkKQHP0YyB38OOEtCx/5YP3x0H1jdhsas0SZIcBbp1LM+QkkWS02p5YX/iSnHIaHHm1GsfpEOphT5st+Ut69gApVyVegFr3t2OHxESSSMPCHm7NiE0+u2oMubkSK9/vI6d1lDvtP/Ww++FDzXmd6hv0uVS3w1VXqd4Ew7Ukt2JSPoopCefKwtjeZ56g6nXMqsZcZQ1tYJQqoJTtW4PIBPb78eXGKrE0azxU8gzc8ooE5eWI1i7U3EWbV723cLm6hfuRe2DqdnTZZ2ihsXOzFeytdM6P5fcok2qipU5bXglqY0lw7b9txG7y4N8PZohkSFqfpdQc3y1qp8erMv0qWmEyWn3LslCi68lRLiQptHhggbTxySb81uCT/ACOCTpnr1mLTKIYDEWl5gpG5TjdMr0X2qOw4q25babjaVAWNjY+YuBhKiDO0BmilBtujb1HZD/ReptYpkINL/REdiMtbcZpjduCVJ2ttAJSLOJ8ubE3JOCV0mrcpWoAaWogvUqY1tV33BlRP8v4YSumZxrdSzpMqZqphzqq4oyHkA7FXNwgp7bQQLC3FgPLDldNeYznasU+rPsIps+EuRBneEnaha/AUnckehCk39CMFx2ZAYndyq5onGZrx3ov9NtTdeRXMqVFKhFqTPtcZK/N1uwUAPUpP/wAMULq2jPDJ+WmVqDiDWQ04CLXG1Vr/AJHFsy/CnZIehVxqW3KMeS27tTe/hE8nnyIJv9cWHqiyY3mfTCo1WnOB1DD0erMKt/6Z7n/CtX5HETKuOeY5Dofypeg6OHUaj8IddZ8ZjMFN0yqalFVHRVkx5KR3CVbdwv5EJQR9sXHTWt1PSnI+ddO8wELpiqbNco05XLa0LZWQ2b9gTa3oSoegxrdZ6AnPWh66jTbqbSwzUikclC0AFVvntKx9hgo0CJTdadD6W+4kOuzKWWxITYlmR4Wxdr+W8G4+QxXyGOICOT6b+x4/lEAPkOdh1t7pUOhqlZQr2Zc8UXMsGHVJkxLK4sac0lf7Mr8QIJ7HapJIHkCfLFu1n0Ni0WmDOmQYxpFYpL3tKI0dSiHmU23gC55sCT6gEYDeheW0ZW13o66i6qHDqbrkeNMSbbJDaEKTf63Cf+Zh6qfEbeZQjxt5SfCI7A8m/wCeK2veYqvMDoRtwiqdgfDa2oV26S87wNRcqu5ggLChJgw0voSb+G6FPhSD9DiY1vSXkBnTWq5+pMNYTTH34s2K0DcIQ4HLpH0UCPoMTBzMgaMuymbqO1uq51rZmTlWg6gTbJL7uUY0BkA2UC/LebNvtc/bHN+saVZymaczq9T6VOTSYLG6VMUClJa2oCgL8qF9xNr9ucPd/SCzxU88ZKyaSGW625FVJfUspSGW3ZAVf6BZV/wYq2p2uUquMSMpZBgoaprjSmJFRltAoUk3CktIPfufeV68Dzw9ruk8kDc/hCzWvrwkV6cxkw6lwzniE/UKayhx9piOf2zqBuShY4uk29R5X4vhgOpXVzNufdOqohJRQ8px220R6JCsE7fECUlwgC9h+Ee6MAjVzSmsaNZki1SOlS6c46l1iUhJ2oc4JQr057D0+mCNn7UmmVzRF+W3DKv0glEJTe8pDLwO4nsQbWHHmDiZ93SMkbqPwm+CV8J4AvwOB9MfpNsfIukAenGPoi/Hn5Ys1yzGaPLepMiqNoIix3EtKcHcKUCR/LDDdMuY10/Lc5lp2QuS9UhuBWUhO9sAc39e/GNRlzK7E/purj0ULDqSJLilItucQsXCfkEjGz6K8syM6agUuiR4ypCXai269a5ShtDalEqt5X2/niCZwbG4ngIcFzz6/qui/wDVKNWGZcRUQFDkSyWx6WI2/wAximaU5hNXy/XcmVlJlSaKVQXUOc+0w3QVNr/wqUD6EgeWGWayR4DiV23rNtxPBPNyDhcddaC7pPrBQM3tAN0SqhVLqxSmyQy4obVk9vcc5P8Ae+eMDhdQRUuY477K8qGgsBCzcvZcVlGC5QHWw5Sxdtlffc0sEkfXnv8APA90Ur7+k2dMwaa1J3ZTXnVTKK4q1loX3APmbBJt6pVguEOzrbVCyLBKlG54OK5qzp6nNFJg1aPaNVqUvxmJLaQVJ2m/bzAI7ed/ljYVMTZWWKqoyWOBHCX7NOj0uXFzzEjgsTqPU2qzSJA45JWsoHqS2B2/EhIwZso5q9uyrS6kGADJjocUlRtscA2qH0JBI+RxtF1sVCglDiEJkvpQlbqRZPw8W+lyMU2qyil9ERptSH1p2FCRZJJ5v8hx+eKSod8wW6bf0oyJgiGhTLaByjLqdacWLEQYSCR+9vkH/qMTGB0x7mU1hhwAPpjxVqNrEgqeA/ik4mLGIWaAluUKurzKLmbuoTKKFf8Al4VBXJuocbvHcQPv+sv/AMOBmxl/9HPFtnwmkoAKnHDwgel8MhrwIo1cp0h8pbbTQDvdWfwh9R7/AHOEw1nz1IzBLco9CHg0okiRLb7u8/CP7Pr6/TvHlfPOWN2CHmLY25juvLPObmdSkLyFTAJEB0/69UFjcEpFySn5jyN+bemBR1AaAMaSaL5MrCa2XZFXlKccpamwnbubulwc3+EC9x+JOGJ0f0maoeVTLlNpEiooJKSLFLRBCQfqOfuMA3rwzTVKxVclQJTZbgMU9brRSEhCnSoNOWsL8eAkC/24NyXC9plEUWwUDWuPbelXV3x6IQSlSvxJ+G3e+LtodporV7U2jZX9o9lZkrU4+9a5S02krXYepCSB8yMMv1qaF5M0v0ty5NoNKaptQ9tETxEuKK3mthKt1zyQdpv88WTpWtcGnlSW0Qc0hU/+jcz09mWXKWqhLkPNruUtuFJBt6XucGz+i2q8HL+uxiSNq1VyjSo7Hq062ttwn7oQoYpvSFlpjM2mupUVTaVSZLDUVK9oJSlaFDv9b4x+gGY9F6ncisOpDa0OTkKvwq/sywoH6W/nitr5LU83gP0SRMIkBuuzbC1LWsqNmx8IIsTgZ9QmTometN6vTJLai24yoeIhO4tqsQldvkSb/LBIRKQtIIWm+PKY01MhvNuWIW2pJB9CLY8ibVSENkYdld5BexCULQmtO17JZYmqvVaO8qnyQFXuUcJUD5hSQDf/ADwRy8XWkJ4ATcqBPHe2AzkilqyLrxqFQGX1LiyfZZzAvYIKgtCh99o/hgqJShTi1qv4awdyb+fHN/8Avtj2Cnf1omyHkKkc3KS3uQszQRl+e6oO74Kv1kZIT8J7qT9B5fI/LFTj5kZqM1iZtLjlwhYNhgwZnyvHq9NkQXlJSsqOxe33kKsQPsLffnC8Q6fNotUeiyGvBUy6sLSBYcDv9PPAroGsfcbJxkdZN/0tzjVZ+YH+x9ihXT6HxZJtiY0vRQ4qXDzTJWCLORWCgi22yXFf/vExOLIluoVP645KnNQsrwEvuxWpdLcbfU2bFTfig7f8/rgJ5TyqxUq+xFTH8RpsqWVKAI2Dm6vr2++Dl1wRGXM95ReW4lKk058FJv28RHf5c4GmXG1xaJuC/DclqN1C3DdyEj79z9cJLIIort3KCLA+Uk8K7xFNV6oLhsptSIfL6yRZ5Xkkf2Rb729MJx13qbmZhyxMiItTgw/GQvdcOOpWkqVbyuCLeoGGulqcbSilQ7JZWm8hYv7w72+/8sDTqh0oXnnSOTOp6LVKhuGYhoJF3GQmzg+RAsfnbAcDjFM2/KJsHNult6IarHpPUrlNUpSUNSS/EClmwCnGVpH8SMXnrs17oWrtWpNGyyH3Kblt99l+W5wiQ8uwBQP3QG1cnvcYWCE+9EPtDEhyNKYUHELQbKCh2sRyCMZlt2Xipx0+PLmDgnn3UG5/NeL4xDPnUJdpZN30O5YfhZCzDV5BLUSozW2Wkk2CvCTuJ+f7S32xW9I4LenXXZSXg3spwr70UJR+FLyClP8AF0fkcHPRiMxlTT2j011TZMWO2FoH4lKTuUoj57k/n8sEtWhdLrNPYzPIitt15UhFXjrAKVJCdvhFXFwCGyojvZRxR1cvZka7/oEKWJuYggprU1ClFa46Xwlxv41KJSn8ybY8K5melsRB4UlK1qRuSUkkW8uRgbSs4UKC20/W5rFNpLu6XKemOBKW2kkICLk9ytSUkefvDFR1HzTQKdlV2NTc1P1fMLjaqpSky9y/aWyjeWAsJCUhdiEpuCCkEDjHlhY+/SYzTa/9+6vCGh1yUKctSkv9TmepE0lUj2OI21yQPDF7K9Oe/wBScFeoVIRbrKCptXe3r+WFxm6gBGqeWcwhn/Z9UhmnyHwkixIC293zSoqBv+8D8yamakqRTVOHltYsAfUjuMer0F/lmNI1AsfRUUtuo4rZP1hj29LiiFJUCCCrt35xSdQKYw6lNZjJ3OtJCXEp7kEEA/y/7GPacretW1dl222te4t3x9LIVGCEq3ld7hR4I5uf4/wwaWl2igJCKfRNITNypml9O4qNUCFLvwbMoN7eXxYmM/o7hmDlbMiAAELqYWLd+WWwQfpbEwMdDZGsF2qndXMBisarZSivur8FqlvOuoAtceMkAE9u45+nzwJJtWMdY8JtAIWUso28AW+K3oPv3wZeqGnqm6n0+Rv8JtjL58VZHCUF9V1fb/LA/wAuwKNX4jhp8lMl0kWIFwL3AF7EWHbj05wBK4F13cJpYeFj0lvw0pBeCnnEH+F+/GLZSJEaJT1qlBDjLq9hQeyweLH5G9sYD2UV0qVHkSN7rjjiGkMsoKlLUq+1KR6n8vWwxt16S12pwnZVelwci0lgqW4qU+mRISn94JQfDR63Kzb0OApKmJm7tVIGEDZc0dfNHajpvqrOo8KI/LgVF5UmlKZbK/GaWolKE2HKk32kd7j54KcPoo1Wrv8AVl+k5JnLpDMeO6+uU4zFcU4obn/ceWlRN+AbAWSPrhyYOuOhOh6i/ArzGYK42Nq6iXBPnL9QkpG1sG3ZG0YDWqv9IPmapMNu5Byw1HVNf9nYm1V7xJCz5KRHSoG3PxG4waK6snAEDABySmGKMfU72RTyroDqRDdZfn0qlUyCy2EPMvzA9LfT24SghCfdNrlZta9ji31XO0DL1VTCjZgFScfL6S47+t2Poj+M6naqxSE7nP1Z8iQOwwmGcdTOoio5bVMkZuqCXXjsVBpyEsrbTbk+6m58/hN+MC7L2qFUyNCimRFqTlci1tFXUqUFkOfqVMvJUVWPvJUkck+eIm0c05zySA24CUPZHo0Ju6lrrp4HZk/OYnzoB9lLC25CwAp9sSmloLZCrFO9BPH7Gx5N8ZlT61dBq1QWmXYEqIqmobEJliKtCXEoUShBCCAoA82c4vzwThC5FOreaokBtuLMnsxWG47bMGM4tSkJuU7lFNrjceecZzGiObai2qREynUQwoG6ZS0lXbuLJT/LBP8Ai6YG7nEetk3rv4CeXpx1n0n1v09OUs1NxqVW4gUlpXEd9TKVqLakr7KUlO3vfntxfFinZbrlFp5NEZqeasqNq3M1tMRSVpSTYpUi+5aR/vEJ238gOTzMzFk2qZNmNIq0GRTwo3bdcFx9j8vtgv6S9YOomjaIsaFmE1altqCTAqO55BTbum/IFvQ4f8lLC8y0klwf+TqEwyNeA14TQys0paeKm3y8EbkkpO42Hr539ca1Goza1JO4eEpJAIBAP2+uLnkXqL0c6kJDAznl+nUvMTxDftTxUyp0+QbkJKVW9ElV/ri7526NKFWorcrJ9UcgOkXTFnPF6OoWuLL+MH5nd9MIzFBGctTEWnvtcId9LI7WNwKs3QvVXanlnN8hxSlpNTbSCr/2Uk/zGJjN6OMk1XTmj5zodZaSxLYqjRISveFAxmyCk+nOJgiR7XuzN1BRcDXCMB26zOoClNOZocnVNmaKI9QXIbkiJEde2q8YKIUW0kpulR5Nu2B5kug03J7ciPCp1dj+Lts4/Q5thYGyeWQALkn6nB01W0JpOqlZhVeVUZ1LqUGC5CiyIbmws73WnCsfP9SE/wB1avW4qx6Z9kiZIGfMzb5BKt/tKgptW/f7llcJ7pCRwEkjzvgZ8TXKYEoZKquZMt11/MKMu1fNb7jXssOnU6kykltYUshTq3GwAglSbqBUoBO2yrlRC9W0r1F1JzVMr+faNmCplx4OM0lmlyvYWO1glBb5sLC9rmx9bYZ6B0pbXD7fn3MNUbDbbag+7z7rgWSDzYm1rpFwOxuMWbK2gs7JiZKaZnutpMgM+KuVskk7HHV2G+4APilJAA4SnvbA0dLDE4uaNTynuJcLFKnF0Zq8KQXE5CrZRcbUxqS4mx7EW2jy9BjT1nTCtZTQuexp/WIDTKy6qYunFCWyTYkqUQE9yL+d8Nsnpykh5QTnuttxlsJjrY7BYSHRuUQfiJfWom3Kgg/hAxsYOgKIUetsPZjnVpioMhDUOsD2iK0pKtzaignmyggnkcoBFsSmJp5UeUcBJPXcuZvrwYYTl6pkLTZtDcckrNtwIA/s8/TGPAo1V8JK10+c60Ek8N+4kJsCe/qQPuMOvlfRGTl6tQ5sh2gWiqcUhcGkJZctZSUBJv7vB5t3ONRC6eHSwiNIdoUltplTaN1JTYKsSldio9lBJAFvzN8METR2RolycpP2Ml16dRqmRNq1PeWU+zux0eG2wncRbgjk7Vi/re3bAnn6L6mu1qelmXmaoxYwG99qoKQlkkke8VC3JB+4tjpYvQmeuPTI71Qoc+LBUptDb9FQbMKUSpsEqNrg+lr88Y20nRoCbXPYkUOJEqDTSNiaWk++gglS78Kv+s8uNw9MEsIj0ATSy/K5is9KOZc1PNNV+q1syFI8VEdxAkr22vcFSkg8eYxsmuiOHEdcTPn1Za2zsW14cdkp8uffJB4PFvI+mOiMbQ6qQYbTUedl+M4lzetbNCQEqAIsnaSbWG7z8/y3dK0XozVPW1UqZRJD3wpdj0tpoJSAAn3SDyPe/wAWFM8vDrJQxvK550jpwpuVzKhw6PKnvPCy/ESl5VgL+SrDjngYtmTKPqBp5V2v6u1HMlFjtoSoQ5I8eHYp3D9W4eBYj4VDggjD1u6QUCQpSnKZTlFXCiiG0FK4tcnb6AeWNZO0dgTluNvNQlICUpQ4mmsF1ISkJA3LBSbJAHCRwBiHMT9Rv5pemBsVrunTMOaMywcxT8006NDnKksth6G2pCHtrCQVWWSQrlPFzxbnExesl5cTkyit06Oy0EBRWpxlhDCVk2F9iAADYAcAdu2JhSQTeyXLZXJ34R9ceKuxxMTExXLxT8Zx6YmJhq5TExMTHLl4SfLHix8ZxMTEbt04bLMT54+sTEw5u6YF5OE7cfB/Z/bExMc5cVG/iGPxf7QYmJiMpyjnwDExMTHBOX//2Q==" width="236" /></div>
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<span style="font-size: large;">Ju-On</span> [2002] dir. Takashi Shimizu<br />
<img height="320" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSGK18_95fv79EcrcBWo9Ug5FyJIvEscHjUIvyGQmSG28BnZXE-SA" width="227" /><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19.194194793701172px;"><span style="font-size: large;">The Texas Chainsaw Massacre </span>[1974] dir. Tobe Hooper</span></span><br />
<span style="background-color: white; line-height: 19.200000762939453px;"><img height="320" src="https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcQoBJ2KE7LiloM9ehwqL-M6LqZEK95AGPCguB22TIpnlSEyZoHn" width="206" /></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.blogger.com/blogger.g?blogID=6993604777732539539" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 19.200000762939453px;"></span></span><br />
<a name='more'></a><span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 19.200000762939453px;"><br /></span><span style="line-height: 19.194194793701172px;"><span style="font-size: large;">Alice </span>[1988] dir. Jan Svankmajer</span></span><br />
<img height="320" src="https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcSfp0fchD1JgQr8ivGS4dyFKc_NY_KsJpsIgeaWG8XCN8QDvqop" width="224" /><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 19.200000762939453px;"><br /></span></span>
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19.194194793701172px;"><span style="font-size: large;">The Sting </span>[1973] dir. George Roy Hill</span></span><br />
<img height="320" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTeEkj5b9q4nEhONDLff7XTwBthZZ7oMSwkqtQU9pV4AeIJq_R8" width="243" /><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19.194194793701172px;"><br /></span></span>
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19.194194793701172px;"><span style="font-size: large;">Poltergeist </span>[1982] dir. Tobe Hooper</span></span><br />
<img height="320" src="https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcQoTGprFDp7lycpL46kRhCVyHF3uyRIHrgb28WC5R2UkHwg8zEGMw" width="232" /><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19.194194793701172px;"><br /></span></span>
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19.194194793701172px;"><span style="font-size: large;">Looper </span>[2012] dir. Rian Johnson</span></span><br />
<img height="320" src="https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcQrcRN9rpu6ksP9vOU9dAR6bHXcEIVnMnN_MHRy71Z7ISDQhk6Mrg" width="207" /><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19.194194793701172px;"><br /></span></span>
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19.194194793701172px;"><span style="font-size: large;">Halloween </span>[1978] dir. John Carpenter</span></span><br />
<img height="320" src="https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcRoYhVfskp3aDOsfpCNJ6MhDqTqVUuK68aG7IOEH5mJxLOKPZDe" width="216" /><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19.194194793701172px;"><br /></span></span>
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19.194194793701172px;"><span style="font-size: large;">Dawn of the Dead </span>[1978] dir. George A. Romero</span></span><br />
<img height="320" src="https://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcRvU53PdrvjpJT2wSW15mmUHIk7eLpEZDRyW-cFQytPA3w-QZvmNg" width="204" /><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 19.194194793701172px;"><span style="font-size: large;">Blood Feast</span> [1963] dir. Herschell Gordon Lewis </span></span><br />
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com1tag:blogger.com,1999:blog-6993604777732539539.post-83125066421962235932012-10-18T12:34:00.000-05:002012-10-22T10:26:10.232-05:00After Thoughts...The Texas Chainsaw Massacre [1974] (spoilers)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="text-align: justify;">Anyway you look at it, <i>The Texas Chainsaw Massacre</i> is a
brutal, grotesque and horrifying movie. It
is also funny. Well, sort of. In a movie filled with psychotic torturers,
chainsaws and meat hooks, director Tobe Hopper finds a way to shed some humor
onto this densely laughless circumstance. The
humor of <i>The Texas Chainsaw Massacre</i> comes in the form of satire. It is
subtle, neatly positioned under what I would argue to be the most horrific scene
in the entire movie. Given its context, the
terror erupting out this scene overwhelms anything “funny” about what is going
on. But it is still there.</span><br />
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The “funny” scene in <i>The Texas Chainsaw Massacre</i> comes in
the movie after Sally has been captured, tied up to a chair made of human bones
and seated at the table. When she awakes
to find herself here, she gives out a blood-curling scream. There’s clearly nothing funny for her. But still, in a sick way, this is also the
funniest and probably only funny part of the movie. Let me explain using this picture-</div>
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In a sick and perverted way, behind all the terror and fear
that fills this room, there is the unforgettable and rather comedic dinner
scene. The whole family sitting down
together for dinner is a classic piece of old Americana culture— like something
out of a <a href="http://www.youtube.com/watch?feature=player_detailpage&v=KRQesaQ8aec" target="_blank">1950s sitcom</a>.</div>
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What we have here is easily the most disturbing family ever
brought together on screen. Nonetheless
they are still a family. We have the
archetypical blue collar working father, spending his days working at the
nearby gas station. To his left is the psychotic
hitchhiker. He would logically take the
role as the son— the classic wild and rebellious teenage type. And that leaves Leatherface for the role of
the mother. He is actually a man and while
he is explicitly said to be the older brother of the hitchhiker/son, at tonight’s
dinner he is the mother. Hooper takes
this joke further by applying some blush and blue eye-liner onto Leatherface’s
mask, making his role as the mother clearer.
Then of course, there’s Grandpa in the back completing the family tree.</div>
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Whether this scene is actually funny or just makes the movie a whole lot creepier just depends on your perspective, but regardless of what it
does, I would say it does that job really well. Decide for yourself, what do you think?</div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com2tag:blogger.com,1999:blog-6993604777732539539.post-57295814667491443552012-10-16T03:31:00.002-05:002012-10-16T03:31:39.911-05:00Reel News...Hitchcock Gets A Trailer and Fall Release Date<div dir="ltr" style="text-align: left;" trbidi="on">
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Fitting perfectly into the month-long celebration of all things horror movies, I present to you (I bit late I will add) the first trailer for the upcoming Hitchcock film starring Anthony Hopkins. There's not much more to be said beyond that. Any regular readers of the blog will know that I have keeping tabs on this movie ever since word first broke out in the summer. For me, this has been one of my most anticipated movies of the season and the new trailer does nothing more than reassure that fact.</div>
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When this trailer surfaced on the web a few days ago, I knew it was just a preview for something still a long ways a way. Hitchcock was originally scheduled for a 2013 release, but with this trailer came news that the movie's release was being pushed up to November 23 of this year. Rarely do we ever see this happen in Hollywood, as movies typically just get pushed back and delayed. Exactly what we saw with Baz Luhrmann's <a href="http://www.cinemablend.com/new/Great-Gatsby-Delayed-Until-Summer-2013-32322.html" target="_blank">The Great Gatsby</a>. </div>
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With this new November 23rd release, this movie is in prime position for Oscar talks, more specifically, Anthony Hopkin's portrayal of Sir Alfred. After seeing that first <a href="http://filmclatter.blogspot.cz/2012/04/reel-newstwo-hitchcock-movies-in-works.html" target="_blank">profile</a> of Hopkins dressed as Alfred Hitchcock, I, and everyone else that saw that picture, knew it was a perfect casting decision. And it seems no less true after watching the trailer as well. Hopkins has it all locked in, down to the signature Hitchcock drawl under every word he speaks. speaks.</div>
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Hopkins steals the show and by right he should, but we can't ignore the rest of the talent funneling through this picture. Helen Mirren has never given a bad performance in her life and Scarlett Johansson looks spot on as Janet Leigh. Heck I even see <a href="http://www.youtube.com/watch?v=K0J4bk6Mw2g" target="_blank">Red Foreman</a> in there.</div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-85344800156279860832012-10-14T12:34:00.000-05:002012-10-15T08:06:42.765-05:00The Killer B's...Dawn of the Dead [1978]<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://upload.wikimedia.org/wikipedia/en/thumb/6/63/Dawn_of_the_dead.jpg/215px-Dawn_of_the_dead.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://upload.wikimedia.org/wikipedia/en/thumb/6/63/Dawn_of_the_dead.jpg/215px-Dawn_of_the_dead.jpg" style="text-align: left;" width="128" /></a>When does an excessively violent zombie flick from the 1970s permit itself to be
something more than a low grade horror movie?
I know it seems a bit counter-intuitive to begin this post describing the
movie’s retraction from B status, but for
as bad as some of the selections of <i><a href="http://filmclatter.blogspot.cz/search/label/The%20Killer%20B's" target="_blank">The Killer B’s</a></i> have been so far, I'd say it’s a far better start than most. </div>
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Admired both as a great cinematic achievement and a terrific
midnight fright, George A Romero’s <i>Dawn of the Dead</i> received almost a universal
appeal on its release backed by both critics and horror junkies alike. Even to
this day some 30 years later, the movie still has a marvelous showing, despite
the many remakes it has produced and itself being a sequel. Romero’s classic zombie piece consistently
remains towards the top of many lists concerning the greatest horror movies of
all time.</div>
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Our fascination with the living dead is nothing new, even at
this movie’s release. <i>Dawn of the Dead</i>
is in fact a sequel to Romero’s<i> <a href="http://www.youtube.com/watch?v=jeFRPBW07SA" target="_blank">Night of the Living Dead</a></i> released ten years
prior to this one and still we can dig deeper.
<i><a href="http://www.youtube.com/watch?v=5N5-UzUxBss" target="_blank">White Zombie</a></i>, considered the first true zombie picture ever made, came
out in 1932. But even before this
so-called invention of the cinematic zombie there were precursors of the zombie
craze, most notably the stiff, muted somnambulist of <i><a href="http://filmclatter.blogspot.cz/2012/10/why-see-thisthe-cabinet-of-dr-caligari.html" target="_blank">The Cabinet of Dr.Caligari</a></i> (1921). <i>Dawn of the Dead</i> provided nothing particularly
revolutionary or innovative in its story or zombie depiction compared to
previous movies of its kind. There’s not
much you <i>can</i> do actually. When zombies enter, it always becomes a struggle
for survival. And other than Danny Boyle giving zombies the ability to run in <i><a href="http://www.youtube.com/watch?v=eunaclr-WgU" target="_blank">28 Days Later</a></i>, the creativity of one such creature is
limited. Despite the rather atypical and
unoriginal formula left for these movies, Romero’s second installment of the zombie
trilogy was a huge success. Many consider
<i>Dawn of the Dead</i> to be the best zombie movie ever made and I would certainly
agree. So to circle back to the initial question
posed, what makes <i>Dawn of the Dead</i> such a spectacular movie?</div>
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As everyone knows, a zombie movie typically demands a few
lauded human souls to go down with the countless number of zombies that perish. But these humans that fall—we do not merely
root for their deaths and finding pleasure in zombie seating flesh. There are movies where we do just that, and
this is not one of them. Unlike most zombie
movies, Romero shows an eminent care for his characters, treating them as
something more than just dead weight. <i> Dawn
of the Dead</i> is one of the few zombie movies where we know the character’s name
before he or she dies.</div>
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Our movie concerns itself with a small group of individuals
desperate for survival in a decrepit apocalyptic world where the dead now walk. And once again unlike most movies of this
kind, <i>Dawn of the Dead</i> is not just 90 minutes of mindless hysteria with people trying to flee for safety and killing herds of zombies in the mean time. In fact the majority of the movie finds this
group holed up in a shopping mall with little more than one large pane of glass
separating them from the living dead. In this context, the struggle for survival is more of a battle than a race. </div>
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No one is guaranteed survival— it is kill or be killed. Since the genre's inception it has always been a desperate and jarring flee for safety. Despite that, Romero still manages to throw plenty
of laughs into the mix easing the tension every so often. There might be something said about the
overall decision to set the movie in a large shopping mall. As we watch these mindless zombies walk around
the shopping center as if entranced by the ubiquitous elevator music, is there
something slightly familiar to be seen in general consumer behavior?</div>
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These laughable scenes come with delight, giving the
audience a break from what we and the characters both dread. Given such high praise for his meticulous
character study, Romero knew above all what his audience really wanted. <i>Dawn of the Dead</i> is far bloodier, more
violent and more disgusting than its predecessor. Now in color might I add. The first ten minutes, the most gruesome part
of the movie, is almost an exploitation of itself before we settle down with
the four survivors that make our movie. </div>
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With such high praise given on its release, <i>Dawn of the Dead</i>
to this day is one of the finest films ever made for this holiday season. Its age may show at times, especially with the
white make up of the zombies, giving it more of a B-movie feel and
classification. Whatever, then I will
say this: <i>Dawn of the Dead </i>is the gold standard of B-movies, from which every
zombie movie hereafter will try and out do with no avail.<br />
<br />
<b style="font-size: x-large;"><span style="color: #a64d79;">YEA!</span><span style="color: red;"> </span></b><span style="font-size: large;">or </span><strike style="font-size: x-large;">NAY!</strike></div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com2tag:blogger.com,1999:blog-6993604777732539539.post-32142532812922577102012-10-12T10:42:00.003-05:002012-10-17T13:24:28.300-05:00Useless Clatter...12 Horror Classics Free on YouTube [and Some Thoughts on Existence]<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://everyguyed.com/wp-content/uploads/2011/10/Top-10-Halloween-Movies.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="212" src="http://everyguyed.com/wp-content/uploads/2011/10/Top-10-Halloween-Movies.jpg" style="text-align: left;" width="320" /></a>Since in the 1970s, with the advent of the personal computer
and the very, <i>very</i> earliest existence
of the internet, we have lived in an era known as the Information Age. Right alongside the Ice Age and the Middle
Ages, there will be us— inventors of the personal computer and the internet— for
better or for worse. But that was a long
time ago. Gone are the days of VCRs, flatscreens
and dial-up, what was once breakthrough technology was now an antiquated thing
of the past. We still find ourselves entranced
by the pleasure of new technology just like we were 20 years ago. Only nowadays
everything is just a newer version of what it once was— BluRay, HD, and
wireless. The personal computer can now
be taken anywhere and you can have the entire World Wide Web comfortably inside
your pocket.
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The connection this has to movies is both vastly helpful and
slightly critical. The cinema, once a glamorous
night on the town offering visitors an escape into worlds unknown, lost some of
its magic. TVs offer the same escape
from the comforts of one’s family room. No
more worries about traffic or a babysitter.
Today it is even easier. Streaming
sites like <a href="http://www.netflix.com/" target="_blank">Netflix</a>, <a href="http://www.hulu.com/" target="_blank">Hulu </a>and <a href="http://www.youtube.com/" target="_blank">YouTube </a>now offer that entertainment almost
anywhere on your laptop or even smart phone.
There is something lost in that transformation from a duplex movie
theater to a three-inch cell phone screen.
It simply doesn’t compare. </div>
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But let us not be too critical and consider this the demise
of the movie theater. After all, these handy
pieces of technology offer audiences a slew of new movies, or a rather a
reintroduction to old ones. Classics and
rare titles, B-movies and foreign wonders can all stay alive on the internet
and be introduced to movie lovers anywhere on the globe. Some sites like Netflix and Hulu have made
fortunes meeting the demand of instant streaming, while others the same and
slightly less in the form of free, (il)legal content.</div>
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The least sketchy of these sites, as one might say would be YouTube.
It offers a wide array of movies right alongside
the thousands of cat videos and fail clips.
Good movies too, some of them.
And in the spirit of Halloween, I wanted to call attention to twelve fine horror classics (or soon to be classics) found on YouTube that fit the holiday
spirit and can be watched, all for free. </div>
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<span style="font-size: large;">Night of the Living Dead</span> [1968] dir. George A. Romero<br />
<img height="200" src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d1/Night_of_the_Living_Dead_affiche.jpg/220px-Night_of_the_Living_Dead_affiche.jpg" width="142" /><br />
<a href="http://www.youtube.com/watch?v=jeFRPBW07SA">http://www.youtube.com/watch?v=jeFRPBW07SA</a><br />
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<span style="font-size: large;">The Texas Chainsaw Massacre</span> [1974] dir. Tobe Hopper<br />
<img height="200" src="http://www.traileraddict.com/content/new-line-cinema/texas_chainsaw_massacre74.jpg" width="128" /><br />
<a href="http://www.youtube.com/watch?v=vDqwLna8fwY">http://www.youtube.com/watch?v=vDqwLna8fwY</a><br />
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<span style="font-size: large;">The Omen</span> [1976] dir. Richard Donner<br />
<img height="200" src="https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcQ2546qfqx5iQAJhkjL-2NsUf1XO8J1TIMi7x8oaU0lgJzx_Cid" width="129" /><br />
<a href="http://www.youtube.com/watch?v=kkm2rMZXPyg">http://www.youtube.com/watch?v=kkm2rMZXPyg</a><br />
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<span style="font-size: large;">Eraserhead </span>[1977] dir. David Lynch<br />
<img height="200" src="http://upload.wikimedia.org/wikipedia/commons/thumb/9/93/Eraserhead_poster.jpeg/220px-Eraserhead_poster.jpeg" width="150" /><br />
<a href="http://www.youtube.com/watch?v=EoP2NCyjY4I">http://www.youtube.com/watch?v=EoP2NCyjY4I</a><br />
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<span style="font-size: large;">Dawn of the Dead </span>[1978] dir. George A. Romero<br />
<img alt="Painted theatrical release that includes various credits, an ominous zombie looking over the horizon, and the words "Dawn of the Dead" in military print below." height="200" src="http://upload.wikimedia.org/wikipedia/en/thumb/6/63/Dawn_of_the_dead.jpg/215px-Dawn_of_the_dead.jpg" width="128" /><br />
<a href="http://www.youtube.com/watch?v=4Zxtfq6u3_8&feature=watch-now-button&wide=1">http://www.youtube.com/watch?v=4Zxtfq6u3_8&feature=watch-now-button&wide=1</a><br />
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<span style="font-size: large;">Halloween</span> [1978] dir. John Carpenter<br />
<img height="200" src="http://upload.wikimedia.org/wikipedia/en/thumb/8/87/Halloween_cover.jpg/200px-Halloween_cover.jpg" width="134" /><br />
<a href="http://www.youtube.com/watch?v=f7kYgTbVp-o">http://www.youtube.com/watch?v=f7kYgTbVp-o</a><br />
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<span style="font-size: large;">The Changeling</span> [1980] dir. Peter Medak<br />
<img height="200" src="http://upload.wikimedia.org/wikipedia/en/thumb/4/4d/Changeling_ver1.jpg/220px-Changeling_ver1.jpg" width="132" /><br />
<a href="http://www.youtube.com/watch?v=ZUKE_CGOjnE">http://www.youtube.com/watch?v=ZUKE_CGOjnE</a> <b>HD, </b>divided into seperate parts<br />
<br />
<span style="font-size: large;">Day of the Dead</span> [1985] dir. George A. Romero<br />
<img height="200" src="http://upload.wikimedia.org/wikipedia/en/thumb/7/7e/Day_of_the_Dead_(film)_poster.jpg/220px-Day_of_the_Dead_(film)_poster.jpg" width="129" /><br />
<a href="http://www.youtube.com/watch?v=GTpbJCVNHro">http://www.youtube.com/watch?v=GTpbJCVNHro</a><br />
<br />
<br />
<span style="font-size: large;">Ringu</span> [1998] dir. Hideo Nakata<br />
<img height="200" src="https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcR5t-whgw6ZnE-GxmD3bDwrMQEJqXzNeescto8DNMki-JVkTcuevA" width="140" /><br />
<a href="http://www.youtube.com/watch?v=WHUWaAzzKcs">http://www.youtube.com/watch?v=WHUWaAzzKcs</a> <b>HD</b><br />
<br />
<br />
<span style="font-size: large;">The Sixth Sense</span> [1999] dir. M. Night Shyamalan<br />
<img height="200" src="http://upload.wikimedia.org/wikipedia/en/thumb/6/66/The_sixth_sense.jpg/220px-The_sixth_sense.jpg" width="129" /><br />
<a href="http://www.youtube.com/watch?v=MN13toLMHpE">http://www.youtube.com/watch?v=MN13toLMHpE</a> <b>HD</b><br />
<br />
<br />
<span style="font-size: large;">Ju-On</span> [2000] dir. Takashi Shimizu<br />
<img height="200" src="http://upload.wikimedia.org/wikipedia/en/thumb/6/6d/Ju-on_VHS_cover.jpg/220px-Ju-on_VHS_cover.jpg" width="120" /><br />
<a href="http://www.youtube.com/watch?v=WR9aGYfVGmQ">http://www.youtube.com/watch?v=WR9aGYfVGmQ</a><br />
<br />
<br />
<span style="font-size: large;">A Tale of Two Sisters</span> [2003] dir. Kim Ji-woon<br />
<img height="200" src="http://upload.wikimedia.org/wikipedia/en/thumb/2/21/A_Tale_of_Two_Sisters_film.jpg/220px-A_Tale_of_Two_Sisters_film.jpg" width="139" /><br />
<a href="http://www.youtube.com/watch?v=dkzpF7f86XQ">http://www.youtube.com/watch?v=dkzpF7f86XQ</a><br />
<br /></div>
Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-89028069818284525282012-10-07T12:34:00.000-05:002012-10-12T10:43:33.667-05:00After Thoughts...Psycho [1960] (spoilers)<div dir="ltr" style="text-align: left;" trbidi="on">
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<u>FROM NORMAN TO NORMAN</u><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyBuFKhbykWNeU6WFdrryXYCa_79DjgLnhQb4ELhEifIFFHYxSonqB6AJGbcMsZ33R7ZkzVbGJxTl-Mv89EJI51wBLpQ2BpiPXKa-wFh_n0Z6Lzr4rXC4jATRPSEzjolhZo8Y5uTX5-WA/s1600/Perkins+Gein.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyBuFKhbykWNeU6WFdrryXYCa_79DjgLnhQb4ELhEifIFFHYxSonqB6AJGbcMsZ33R7ZkzVbGJxTl-Mv89EJI51wBLpQ2BpiPXKa-wFh_n0Z6Lzr4rXC4jATRPSEzjolhZo8Y5uTX5-WA/s320/Perkins+Gein.png" style="cursor: move;" width="320" /></a></div>
<span style="text-align: justify;">+ If you have never seen <i>Psycho </i>and don't know what happens turn away now!!! I would hate to be the cause of spoiling it for anyone.</span><br />
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<span style="text-align: justify;">Norman Bates is nothing I imagine a serial killer would be. He is a shy and bashful; a young rather good looking guy who spends his days managing the family motel for his ailing mother. But then again, after revisiting <a href="http://www.youtube.com/watch?v=Ps8H3rg5GfM" target="_blank">Psycho</a>, Norman might just be everything I imagine a serial killer to be- he is shy and bashful, and awkward, reclusive
and very, very creepy.</span><br />
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Revealing the timid and sincere Norman Bates as the psychotic, two-faced transvestite serial killer might be one of the greatest surprises the movie have ever given us. Remembering all those reprimanding conversations overheard from his mother, the reveal comes as disturbing and the sympathy, out the window. But for horror junkies watching the movie again, there could be a small sense of delight. Watching that severely awkward dinner of sandwiches and milk as you wait for Marion
Crane to step behind the shower curtain.<br />
<br />
Anthony Perkins gives the performance of a life-time, one that many say
he was born to play and never quite left behind. Perkins took part in three more Psycho sequles, even directing the made for TV <a href="http://www.youtube.com/watch?v=LEhJW1NNLZ0" target="_blank">Psycho IV</a> in 1990, 30 years after the release of Hitchcock's classic.<br />
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When the script was in the process of adapting Robert Bloch’s
1959 novel, Norman had to be changed drastically to suit Hitchcock’s
liking. The Norman Bates of the book took
the form of an overweight 40-something year old man with drinking problems. Inspired by real-life serial killer Ed Gein, also the inspiration for the equally creepy characters of <i><a href="http://www.youtube.com/watch?v=Vs3981DoINw" target="_blank">The Texas Chainsaw Massacre</a> </i>and <i><a href="http://www.youtube.com/watch?v=lQKs169Sl0I" target="_blank">The Silence of the Lambs</a></i>, there is nothing subtle about Bloch’s literary Norman Bates.<br />
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But the legacy of the film rests largely on the unexpected reveal at its end, where we find out the boy next door is really a perverse maniac. Everything we thought was true is now not, exactly how Hitch wanted it. The film, while typically considered a horror piece or even slasher is one of the great psychological thrillers ever made. But it is only until after its over do you realize this. If Hitchcock’s Norman stayed true to the novel, none of that would have been possible. The reveal would have more obvious and the thrill, much less thrilling. I doubt Psycho would have been a bad movie if Hitchcock retained the character written by Bloch, but it certainly would not possess the legacy it has today. Sure, we would still have the <a href="http://www.youtube.com/watch?v=0WtDmbr9xyY" target="_blank">infamous shower scene</a> and <a href="http://www.youtube.com/watch?v=VYPu4zWLWzs" target="_blank">Bernard Herrmann's screeching violins</a>, but no Anthony Perkins, and frankly I cannot imagine a <i>Psycho </i>without him.</div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com3tag:blogger.com,1999:blog-6993604777732539539.post-54763788871274282802012-10-03T08:55:00.000-05:002012-10-12T11:45:32.683-05:00Why See This...The Cabinet of Dr. Caligari [1920] <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="text-align: justify;">With a month of horror movies ahead, I decided to start the
month off right with a classic, one that is often considered the first horror
movie ever made.</span><br />
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Think back to any of the mesmerizing and lucid worlds crafted
by David Lynch or a psychological thriller from David Fincher, and it is
certain that these two great directors watched, or more likely, scrutinized <i>The
Cabinet of Dr. Caligari</i> before making any one of their own. For Lynch, the obvious influence comes from
the bizarre setting and backdrop of this early German expressionistic film. Taking place in the fictional quaint mountain
village of Holstenwall Germany, <i>The Cabinet of Dr. Caligari</i> is not set in some
far off, distant land or even the future, as it may appear. Though the director has placed the film into a
seemingly normal German town, the subjectivity of its “realness” is certainly
called into question. Tilted walls,
slanted rooftops appear as if a strong wind just came through the town and
almost, just almost blew everything over.
The townspeople are real people inhabitating a real town, yet there is
something just not right with how it all looks.
Holstenwall is surreal in every sense of the word. With one glance, any avid David Lynch fan can
recognize the obvious influence this movie has on the surreal and decrepit
world of <i><a href="http://www.youtube.com/watch?v=dU7OqGCIcak" target="_blank">Eraserhead </a></i>or even <a href="http://www.youtube.com/watch?v=BBENalLEnSE" target="_blank">Inland Empire</a>.
These movies deal with real people, yet the existence seems to take
place somewhere far off from our thinking of reality. </div>
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Inside the realm of a David Fincher thriller like <i><a href="http://www.youtube.com/watch?v=J4YV2_TcCoE" target="_blank">Se7en </a></i>or
<i><a href="http://www.youtube.com/watch?v=M8PRC3HbWqo" target="_blank">Fight Club</a></i>, the characters of <i>The Cabinet of Dr. Caligari </i>are hardly molded caricatures. This is really something considering the fact
that we are dealing with a somnambulist and a mad scientist. Short in stature, hunched back and always
wearing a lab coat, Dr. Caligari looks like nothing else. His counterpart, the stiff Frankenstein-like
looking somnambulist named Cesare has been sleeping in a coffin for twenty
three years and can tell the future. At
the arrival of the town fair, Caligari decides to display Ceasre as an exhibit. Along with herds of people fascinated by the
premise of the somnambulist, two friends arrive, Francis and Allen. Upon learning his powers, Allen quickly shouts
out to Ceasre asking how long he has to live.
The response: until dawn tomorrow.
Early the next morning Allen is dead, murdered in his own room. Francis instantly puts the blame on Caligari
and Ceasre. But after an entire night
perched outside their window, Francis finds nothing, expect that his has been
abducted, all while the pair were sleeping.<br />
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<a href="http://filmphest.com/Images/caligari.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="http://filmphest.com/Images/caligari.jpg" style="text-align: left;" width="320" /></a><o:p> </o:p></div>
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Without the two to blame, there must be another murderer in
the town. Like any of Fincher’s psychological
thrillers or the surreal worlds of David Lynch, nothing is ever what it appears
to be, and the characters of this film, as they are nothing near caricatures,
are the same. Still not content with
their alibi, Francis tails Dr. Caligari one day to find him enter an insane
asylum. Not only this, but he soon finds
out that Caligari is the director of the institution as well. Things start to become even more suspicious for
Francis. Questions arise, and everyone seems less sure
about everything. </div>
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The abstract décor of this movie cannot be stressed enough. One would expect it to be quite appropriate
for the insane asylum, but the slanted and jagged walls are found everywhere throughout
the town. The characters appear trapped
in these tiny rooms no bigger than closets and ceiling heights barely reach six
feet. Ceasre towers over every character,
standing like a giant in these rooms, but he too is probably not even six feet
tall. Even the outside landscape appears
lifeless and barren. Every tree branch
and blade of grass is razor sharp as if it could cut a loaf of bread. It is bizarre, haunting and claustrophobic. One could go crazy </div>
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When <i>The Cabinet of Dr. Caligari</i> came out, it defied just
about every convention moviegoers were used to.
No longer did the camera just capture the splendor of our world and play
it before our eyes. Entire worlds could
be created, haunting, surreal ones.
Worlds that we would not want to live in, but would much like to
see. <i>The Cabinet of Dr. Caligari</i> is
almost 100 years old and while the lack of sound, use of title cards and grainy
film stock give away its age immediately, the movie was an innovative
masterpiece for 1920, defining a national cinema and one of the most
influential movements of the short film history, one that still find in theater
to this day.</div>
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/ALqnSUMHPrA" width="420"></iframe></div>
Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com4tag:blogger.com,1999:blog-6993604777732539539.post-75085632942515339192012-09-30T16:38:00.000-05:002012-10-18T02:10:58.451-05:00My Month in Movies...September 2012<div dir="ltr" style="text-align: left;" trbidi="on">
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<img height="238" src="http://1000awesomethings.files.wordpress.com/2010/03/watching-movies-with-friends.jpg" width="320" /></div>
Total Movies Watched: 11<br />
<br />
<u>Breakdown</u><br />
Coming Soon!<br />
<br />
Up in the Air [2009] dir. Jason Reitman<br />
<img alt="Up in the Air Poster" height="320" src="http://ia.media-imdb.com/images/M/MV5BMTI3MzYxMTA4NF5BMl5BanBnXkFtZTcwMDE4ODg3Mg@@._V1._SY317_.jpg" width="215" /><br />
<br />
Beasts of the Southern Wild [2012] dir. Behn Zeitlen<br />
<img alt="Beasts of the Southern Wild Poster" height="320" src="http://ia.media-imdb.com/images/M/MV5BMTgxNDM5MDM1Ml5BMl5BanBnXkFtZTcwOTYwNzQ3Nw@@._V1._SY317_.jpg" width="215" /><br />
<br />
<a name='more'></a><br />
<br />
Under Siege [1992] dir. Andrew Davis<br />
<img alt="Under Siege Poster" src="http://ia.media-imdb.com/images/M/MV5BMTIxMzEyNTczM15BMl5BanBnXkFtZTcwMjUzMzUxMQ@@._V1._SY317_CR10,0,214,317_.jpg" /><br />
<br />
Murder [1957] dir. Roman Polanski<br />
<img height="239" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRIo7oI0cxD73H8PpNgxH3QvVFg64BKV4DG-pAlpNWoaDbk2qLdSQ" width="320" /><br />
<br />
<br />
Two Men and a Wardrobe [1958] dir. Roman Polanski<br />
<img height="320" src="https://encrypted-tbn1.gstatic.com/images?q=tbn:ANd9GcS4p1fM96HICTS2vbqNbm1UGwhJgR17LpVkWP9JcVWSp5B8J_6qOg" width="223" /><br />
<br />
Hukkle [2002] dir. Gyorgy Palfi<br />
<img alt="Hukkle Poster" height="320" src="http://ia.media-imdb.com/images/M/MV5BMTg2NDQ3NjE2NF5BMl5BanBnXkFtZTcwNzM3ODkyMQ@@._V1._SY317_CR5,0,214,317_.jpg" width="215" /><br />
<br />
Knife in the Water [1962] dir. Roman Polanski<br />
<img alt="Knife in the Water Poster" src="http://ia.media-imdb.com/images/M/MV5BMTI1NzY0MzEyMl5BMl5BanBnXkFtZTcwNTQ3MzAwMQ@@._V1._SY317_CR5,0,214,317_.jpg" /><br />
<br />
In the Shadows- <i>Ve Stinu</i> [2012] dir. David Ondricek<br />
<img alt="Ve stínu Poster" src="http://ia.media-imdb.com/images/M/MV5BMTQwODkwMjA2M15BMl5BanBnXkFtZTcwNzQ0NDcxOA@@._V1._SY317_CR5,0,214,317_.jpg" /><br />
<br />
Dawn of the Dead [1978] dir. George A. Romero<br />
<img alt="Dawn of the Dead Poster" src="http://ia.media-imdb.com/images/M/MV5BMjE1NzI5OTA1OF5BMl5BanBnXkFtZTcwMjg1MDUyMQ@@._V1._SY317_CR6,0,214,317_.jpg" /><br />
<br />
Jaws [1975] dir. Steven Spielberg<br />
<img alt="Jaws Poster" src="http://ia.media-imdb.com/images/M/MV5BMTYyMzc0NjAxMF5BMl5BanBnXkFtZTcwNTcxMjMyMQ@@._V1._SY317_CR1,0,214,317_.jpg" />
<br />
<br />
The Shop on Main Street- <i>Obchod Na Korze</i> [1965] dir. Jan Kadar<br />
<img alt="The Shop on Main Street Poster" src="http://ia.media-imdb.com/images/M/MV5BMTU1MzczNTMzOV5BMl5BanBnXkFtZTcwOTUzODcyMQ@@._V1._SY317_CR6,0,214,317_.jpg" /></div>
Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com2tag:blogger.com,1999:blog-6993604777732539539.post-62997691746350333622012-09-27T15:19:00.000-05:002012-10-12T09:06:53.636-05:00Useless Clatter...October Horror Special [and My Defense for the Best Holiday Ever]<div dir="ltr" style="text-align: left;" trbidi="on">
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There comes a time every year, as the leaves turn a new hue and air becomes crisp, when we must finally admit that summer has come to an end. Of the four season, Fall tends to get the short end of the stick, usually best identified as the end of good old summer and the onset of a seriously cold winter (depending on where you live of course.)</div>
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<br /></div>
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<a href="http://www.heyuguys.co.uk/images/2010/10/hitchcock-halloween-225x300.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.heyuguys.co.uk/images/2010/10/hitchcock-halloween-225x300.jpg" style="text-align: left;" /></a>And Fall is generally not a special time for movies either. The summer season's blockbuster have all released, and most of the Oscar-worthy flicks don't come out until Christmas time. So there tends to be some time to kill for cinephiles. Fall TV is just o.k. and I have never meet someone who consciously awaits the Emmys. [Did those already happen?] But I personally hold nothing against Fall. It happens to be my favorite season for a number of reasons, and the biggest reason growing up was the coming splendor of Halloween. </div>
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I always considered myself a pragmatic kid growing up. Sure I loved Christmas just like any other little Catholic kid, but Halloween was always the best holiday and the reason was quite simple- candy, and lots of it. What Halloween had [has] over Christmas was the simple guarantee of hundreds and hundreds of sweet and neatly wrapped little gifts. As long as you were willing to hike around the block for a few hours in a dorky mask, you would be rewarded with a pillowcase full of candy, regardless if you had been naughty or nice. Santa and his elves could never promise that. The only thing I could guarantee from him was a new pack of underwear, socks and a toothbrush. I never new what else to expect, if anything more. Maybe another Nerf gun, but what if it wasn't the cool one that everyone else had? With Halloween I never had a growing fear that I would open my pillow case full of candy and find 500 Almond Joys. </div>
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<br /></div>
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Unfortunately to this day, I no longer enjoy the chocolaty bliss of trick-or-treating. It is sad, yes, and if it was socially acceptable for a 21 year old to go door to door and ask for candy would I go out there and do it?, you bet I would. But its not socially acceptable so I have to get by other ways.</div>
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So as we soon reach the month of October, I write this not just to prove that Fall doesn't completely suck and that Halloween is better than Christmas, but to present the ensuing month-long celebration here at FILMclatter. All posts of the month of October will be devoted to the horror season's best and certainly worst movies, past and present. From delightful treats like <i><a href="http://www.youtube.com/watch?v=Ps8H3rg5GfM" target="_blank">Psycho</a> </i>and <i><a href="http://www.youtube.com/watch?v=NZ9fFKdkFA0" target="_blank">Jaws</a> </i>to some tricks like <i><a href="http://www.youtube.com/watch?v=-Ou5c1KTv9s" target="_blank">Basket Case 2</a></i>, no horror movie, good or bad (or even really really bad) is out of discussion. Sure its not the most original movie blog theme for October but what could be sweeter, and without a pillow case full of candy, its all I got to chew on. </div>
</div>
Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com2tag:blogger.com,1999:blog-6993604777732539539.post-60119578236933931032012-09-23T12:34:00.000-05:002015-09-03T18:00:02.017-05:00The Killer B's...The Food of the Gods [1976]<div dir="ltr" style="text-align: left;" trbidi="on">
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posted for <span style="font-size: large;"><a href="http://shebloggedbynight.com/the-camp-cult-blogathon/" target="_blank">THE CAMP & CULT BLOGATHON</a> </span>hosted by<span style="font-size: large;"> <a href="http://shebloggedbynight.com/" target="_blank">SHE BLOGGED BY NIGHT</a></span></div>
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<a href="http://www.modernprimate.com/wordpress/wp-content/uploads/2012/04/Food-of-the-Gods-poster1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.modernprimate.com/wordpress/wp-content/uploads/2012/04/Food-of-the-Gods-poster1.jpg" height="282" width="640" /></a></div>
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<i>The Food of the Gods</i> is already an elite B-movie for two
reasons:</div>
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1. It is an
adaptation from an H.G. Wells story<o:p></o:p></div>
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2. It was
nominated for an award that wasn’t a Razzie, more specifically the Academy of
Science Fiction, Fantasy & Horror Films’s Best Horror Film of the Year award
(rightfully beat out by <i><a href="http://www.youtube.com/watch?v=cvrv8U5MfS4" target="_blank">The Omen</a></i>)<o:p></o:p></div>
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If the movie <i><a href="http://www.youtube.com/watch?v=ce0N3TEcFw0" target="_blank">2012</a></i> reaffirms to us that our greatest apocalyptic fear is an array of giant, global warming induced mega-disasters, one can
only assume the great apocalyptic fear of the 1970s would have come in the form
of giant man-eating farm animals and monstrous, bloodthirsty mice. Then again, you can’t believe everything
you see in the movies. We'll have to wait and see if <i>2012 </i>and the Mayan prophecy hold true come December 21st.</div>
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In their original form, B-films came to life through low budgets, short schedules and flimsy morals. Every so often you’ll come across a director who
wants to make a tacky horror movie about giant, bloodthirsty mice while trying
to insert a social commentary about man’s disregard for the environment. I have a feeling the end result never pans out to the initial intentions.</div>
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Case in point with <i>The Food of the Gods.</i></div>
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I can imagine that this comes with the difficulty of adapting an H.G. Wells story for the screen. While the author's far-reaching, science fiction texts constantly typically held an underlying critique of human existence,
this movie fails horribly at trying to present something similar depicting the battle of man versus giant mouse.
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<i>The Food of the Gods</i> begins immediately trying to implement this haughty social
commentary about man's disregard for the natural world and his over abundance of its resources. Our protagonist Morgan, the
skinniest professional football player I’ve ever seen, recalls his uncle always telling him that nature will someday have its revenge on mankind. I can tell you right
now that Morgan’s uncle is probably crazy and I can also assume that Morgan let his story go in one ear and right out the other as we all would when someone tells
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To relax before their next big game, Morgan and two of his teammates
decide to take a trip to a small reclusive island which is reached by a short
ferry ride. Upon arriving on the island, one of the three players is viciously
attacked by a swarm of giant killer bees and is consequently killed. There are two problems with the reaction from
the surviving members. First off, Morgan
simply shrugs his shoulders as if a). Being killed by a swarm of bees is normal
and b). Seeing bees the size of a human head is also normal. Secondly, and far worse, Morgan’s teammate tries to justify the strange occurrence by stating that
their friend’s “luck just ran out.” Really, your friend and teammate was stung to death by a swarm of enormous bees because his luck ran out? The cold and awkward heart of this scene can be to blame for its horrible acting but even more so, the blame should be put on the film's screenwriter who clearly lives alone in a cave if he thinks that this is an acceptable
reaction to witnessing someone’s tragic death.
Oh well.</div>
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<a href="http://www.badmovies.org/capsules/f/foodgods/foodgods_cap1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.badmovies.org/capsules/f/foodgods/foodgods_cap1.jpg" height="175" width="320" /></a>Morgan and his surviving mate finally decide to some logical action and look for help at which point they arrive at a farm on the island. Behind the doors of this quaint little barn, there just so happens to be a giant rooster living inside that tries to kill Morgan. Thankfully he survives with only a few minor cuts, conquering the beast with a
pitchfork in an incredibly gripping scene. The farm owner, a lady who seems
totally accepting of her giant rooster (now dead, also ok with
that) explains to Morgan how the animals grew to such outrageous sizes: her husband stumbled
upon a mysterious milky substance on their land, and for no clear reason decided to feed it to their farm animals and they grew. </div>
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But what that does not explain is the giant bees,
dragonflies, worms and mice that the group also encounters. There was no mentioning of this substance being feed to them. Just the chickens. Oh well, I can let that pass. </div>
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From here we dive into the focal point of the movie- the
battle between man and mice- giant mice of course. After a handful of other people straggle
their way into this unfortunate situation, including a pregnant woman who gives
birth in the midst of a mouse assault, it becomes Morgan’s task to fend off
the mice and save the group. Their
primary defense against these killer rodents is many, many rounds of shotgun shells. The movie must see this as its selling point as half of the movie just shows mice
being blasted away by shotguns. I must say, this was a terrific idea by our socially inept screenwriter and unlike most of what he wrote, these parts really turned out well on screen.</div>
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But the real diamond inside the rough of <i>The Food of the Gods</i> is the special
effects or lack thereof. I can imagine
it must have been a daunting task to try and create giant mice back in the 1970s without the help of CGI or
any of the technology modern movies like to overuse today. What they choose to do in spite of their situation was to create a bunch of model houses
and cars and let normal sized mice play on them creating the perception that these mice actually are atrociously large. It is almost convincing. The models in these scenes are actually very well crafted and their effect would almost seem to work if each shot of them was not ten seconds long, more enough time for us to realize that the house is actually a model, the mice are not giant and also, that these mice are not trying to tear apart this house and kill everyone inside. But I can only imagine the difficulty for someone recording twenty mice crawling around a model train set waiting for the exact moment when they look like they want to kill somebody.</div>
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<a href="http://www.modernprimate.com/wordpress/wp-content/uploads/2012/04/600full-the-food-of-the-gods-screenshot.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.modernprimate.com/wordpress/wp-content/uploads/2012/04/600full-the-food-of-the-gods-screenshot.jpg" height="222" style="text-align: left;" width="400" /></a>In all honesty, the movie could have scrapped its opening nature revenge prophecy and just showed people shooting mice with shotguns as its depiction of man's battle against nature is more than enough philosophy for what its trying to show. I did not even mention the particular character who sees the mysterious goo steroid as a lucrative business opportunity as well. (Obviously a social stance against man's developing sense of greed and capitalism.) Honestly, we all need a prophecy about killer farm animals and greed just as much as we needed to see <i><a href="http://www.youtube.com/watch?v=qHKTXrUnN58" target="_blank">Jack and Jill</a></i>. These giant mice could have shown up completely unexplained and I bet there would have been no complaints by any critic. But at the same time isn't the point of B-movies to laugh at
their pathetic attempts at narrative and structure? I believe it is. And when everything was said to be in its right place and the movie called complete, <i>The Food of the Gods</i> offered us yet another perilous struggle between man and nature. Only this time there were no giant rain storms or earthquakes tearing away at the earth. In the strange world within our screen, man's great enemy just so happened to be a colossal herd of steroid-abusing mice. And we got to watch it all safely and confortably, from the outside looking in. Yes that surely is the point of these great movies, so now I say
leave it be! <br />
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A for effort, D for craft and A++ for entertainment! In all of its terror, fear and absurdity, <i>The Food of the Gods</i> is without a doubt an early highlight of this new category.</div>
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<span style="font-size: large;"><b><span style="color: #bf9000;">YEA!</span><span style="color: red;"> </span></b>or <strike>NAY!</strike></span></div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com2tag:blogger.com,1999:blog-6993604777732539539.post-7432640347935570212012-09-23T05:10:00.000-05:002012-09-23T05:47:58.570-05:00What on Earth?...The Food of the Gods [1976]<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="text-align: justify;"><span style="text-align: center;"> posted for </span><span style="font-size: large; text-align: center;"><a href="http://shebloggedbynight.com/the-camp-cult-blogathon/" target="_blank">THE CAMP & CULT BLOGATHON</a> </span><span style="text-align: center;">hosted by</span><span style="font-size: large; text-align: center;"> <a href="http://shebloggedbynight.com/" target="_blank">SHE BLOGGED BY NIGHT</a></span>
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<span style="text-align: justify;">Watching </span><i style="text-align: justify;">The Food of the Gods</i><span style="text-align: justify;"> reaffirmed the notion that anyone, </span><i style="text-align: justify;">anyone </i><span style="text-align: justify;">can not only make a movie, but make a giant-animal-apocalypse movie for that matter. </span><span style="text-align: justify;">CGI is overrated. </span><span style="text-align: justify;">All you really need is a few dozen mice and some Lincoln Logs. </span></div>
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This is just one of those things where an explanation is far too bizarre to leave with only words. In the age of computers, its easier than ever to grab a few screen shots and let the movie do the talking. And that's exactly what I've done. What you'll find below are a handful of my favorite captured moments from <i>Food of the Gods. </i>Hopefully it will convince you to watch the movie and experiene this disarray in real time, or better yet, inspire the creation of your own man-eating farm animal movie.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzHZspVYiyZPbdF1HcGonMSXjDY8YaFrNtIwhf-F5XWcrjFrp2J_9cfwFfjOj8thpC1Lo-Gm7chVuLd0yJuS7MlgRve2_xU6ropDrZUWRfDdWA-x_quwx8ZRsm7I5EL_hjpyCq2VK0JsQ/s1600/food+of+the+gods+6.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzHZspVYiyZPbdF1HcGonMSXjDY8YaFrNtIwhf-F5XWcrjFrp2J_9cfwFfjOj8thpC1Lo-Gm7chVuLd0yJuS7MlgRve2_xU6ropDrZUWRfDdWA-x_quwx8ZRsm7I5EL_hjpyCq2VK0JsQ/s640/food+of+the+gods+6.png" width="640" /></a></div>
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These are giant, man-eating mice. Those are real people in a normal sized Jeep.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCeW8iOH2_gEYKRO7PlFTIaaVqIzUEGHIIRCPwY7si39AWbKmWvJ6LUgN26LQ62Vez9e9LJOptCIzRCU8fIR_qlv0-tIjjeYCv4ZLmqrM9_ooWg94byOORMGvEdSeCo4DHPKGDVk7O1Q8/s1600/food+of+the+gods+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCeW8iOH2_gEYKRO7PlFTIaaVqIzUEGHIIRCPwY7si39AWbKmWvJ6LUgN26LQ62Vez9e9LJOptCIzRCU8fIR_qlv0-tIjjeYCv4ZLmqrM9_ooWg94byOORMGvEdSeCo4DHPKGDVk7O1Q8/s640/food+of+the+gods+1.png" width="640" /></a></div>
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That is not a miniature RV model.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFQfk_y_8h-aWOZyRuYKoZXKIO_qMkywpSTviQ9jTuMA9B-T4Xvu69JfhpK9m-aoptFWewDvOt5XFVeB3rjziFPZU016SHKSpl9itpC2c52XBfv0q5GurqWjiEJm2VGDVB5w5oO6x12f8/s1600/food+of+the+gods+3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFQfk_y_8h-aWOZyRuYKoZXKIO_qMkywpSTviQ9jTuMA9B-T4Xvu69JfhpK9m-aoptFWewDvOt5XFVeB3rjziFPZU016SHKSpl9itpC2c52XBfv0q5GurqWjiEJm2VGDVB5w5oO6x12f8/s640/food+of+the+gods+3.png" width="640" /></a></div>
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Nor is this a house made of Lincoln Logs.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaHIm3YfjsObZA0wOwz_QZ5FO7Yu9RUJ4nhKKlNl69bUsZ5FFT66gxjYDFfLhiymqHqfkpa8dGXvzJ1hm3rorfo5MMOO5QXrB3cJgl5sJVVLhRSTZk4fSbf-4KXzVTYm50PzcGlncZhCk/s1600/food+of+the+gods+5png.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaHIm3YfjsObZA0wOwz_QZ5FO7Yu9RUJ4nhKKlNl69bUsZ5FFT66gxjYDFfLhiymqHqfkpa8dGXvzJ1hm3rorfo5MMOO5QXrB3cJgl5sJVVLhRSTZk4fSbf-4KXzVTYm50PzcGlncZhCk/s640/food+of+the+gods+5png.png" width="640" /></a></div>
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Why stop at giant mice?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjErZMOqWbP82eVjKz0joWhM5TGaeQZ_LNXW5iF5ZVaGHWKRc43ArslQ7Q5gdF9w1Tp1gqBtSxspvi7BKDxp-s-nyg2bW8y2xGV1mml7VUNwSt689gEJjNhrlorqMksc6ud2bh1cjRRLlQ/s1600/food+9.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjErZMOqWbP82eVjKz0joWhM5TGaeQZ_LNXW5iF5ZVaGHWKRc43ArslQ7Q5gdF9w1Tp1gqBtSxspvi7BKDxp-s-nyg2bW8y2xGV1mml7VUNwSt689gEJjNhrlorqMksc6ud2bh1cjRRLlQ/s640/food+9.png" width="640" /></a></div>
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This sort of shot combination was used liberally throughout the movie. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT4Srbi_ix7qf_ozizBC-xiUbqRT7pQDz4mH0YM56_MB__hOaVoKbNXliFbm4qsBpqsJUGgHnZZ7KUP8lm-CjADLQGP3ueSNp4Ju8sZhSfdHLDtms7vCmAkAiObA8mzrkB4iHC9YTVBjc/s1600/food+10.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT4Srbi_ix7qf_ozizBC-xiUbqRT7pQDz4mH0YM56_MB__hOaVoKbNXliFbm4qsBpqsJUGgHnZZ7KUP8lm-CjADLQGP3ueSNp4Ju8sZhSfdHLDtms7vCmAkAiObA8mzrkB4iHC9YTVBjc/s640/food+10.png" width="640" /></a></div>
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Very liberally. </div>
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+ If I were to throw a number out there, I would guess that there were somewhere around 40 of these "man aims shot gun, cut to mouse being blown away" sequences in the movie. This alone makes it worth watching :)</div>
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+Anyone not convinced of this movie's greatness movie and needs further convincing can check out my review right <a href="http://filmclatter.blogspot.com/2012/08/the-killer-bsthe-food-of-gods-1976.html" target="_blank">here</a>. </div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com2tag:blogger.com,1999:blog-6993604777732539539.post-35777439669931560042012-09-18T12:34:00.000-05:002012-09-18T16:29:22.300-05:00Reel News...First Trailer for Spielberg's Lincoln [2012]<div dir="ltr" style="text-align: left;" trbidi="on">
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This season's most talked about movie that's not titled <i><a href="http://www.youtube.com/watch?v=fJ1O1vb9AUU" target="_blank">The Master</a></i>, film fanatics and historical junkies alike recently got their first glimpse into the upcoming movie <i>Lincoln</i>. Spielberg's film becomes the second one this year to center on our 16th President. Unfortunately in the upcoming biopic, President Lincoln will not be wielding an axe and hunting down vampires. On the plus side however, he will be portrayed by two-time Oscar winner Daniel Day-Lewis, so that should help fill the vampire void a bit. The movie also boasts a number of other top notch actors like Tommy Lee Jones, John Hawkes, Sally Field and Joseph Gordon-Levitt, so we should have no problems with the acting here. And with some folks already wanting to hand Lewis his Academy Award after this trailer, it seems no surprise that all the focus is on him, as it always is with any DDL performance.</div>
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<a href="http://upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Gilbert_Stuart_Williamstown_Portrait_of_George_Washington.jpg/220px-Gilbert_Stuart_Williamstown_Portrait_of_George_Washington.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Gilbert_Stuart_Williamstown_Portrait_of_George_Washington.jpg/220px-Gilbert_Stuart_Williamstown_Portrait_of_George_Washington.jpg" width="167" /></a>But this interest should not be all about the Oscars. I'll admit due to my busy schedule this summer I could not find time to make it to go see <a href="http://www.youtube.com/watch?v=34x6m-ahGIo" target="_blank"><i>Abraham Lincoln Vampire Hunter</i></a> and as a result this trailer marks the first time I have ever seen Honest Abe portrayed cinematically. Heck, it will be the first time I ever seen the guy move. Like any other historical figure, our memory is served best by how ever many portraits and paintings they were willing to sit through. Tall and stiff, slightly angled one way, I could hardly imagine George Washington doing anything other than standing that way. To me, he has not other expression. Lincoln is the same way, though the advent of photography during the mid-1800s offers him a bit more variety.</div>
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Watching the trailer, it seemed almost as if Spielberg knew that notion of mine and toyed with the idea. The first time we see Lincoln it is from behind- along with the second and third times as well. Like I have always imagined, he just sits there pondering as Congressman yell into his ears telling him how to end the war. Almost a minute goes by before he says anything at all. Finally when he gets the chance, his words are riveting, nothing short of fascinating- just as I would try to imagine. Though I hate starting Oscar rumors before Thanksgiving at the very earliest, Lewis certainly shines in the brief glance we're given so I will agree for now that a third statue is not entirely out of the question. The nomination is a gimme.</div>
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And I can see <i>Lincoln </i>racking up a few more nominations and acclaim outside of Lewis' acting. Even last year's <a href="http://www.youtube.com/watch?v=B7lf9HgFAwQ" target="_blank">War Horse</a>, a good not great Spielberg movie, grabbed six nominations and plenty of love from the critics. I would think <i>Lincoln </i>has a stronger force behind it, but only time will tell. </div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com3tag:blogger.com,1999:blog-6993604777732539539.post-28326673855502758122012-09-17T12:34:00.000-05:002012-09-17T15:13:22.097-05:00After Thoughts...Touch of Evil [1958] (no spoilers)<div dir="ltr" style="text-align: left;" trbidi="on">
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"<u>Oh Mexico</u>"<br />
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When looking back on any movie directed by Orson Welles, one's thoughts are almost always overpowered by a fascination for his meticulous and almost suave directing style. <i>Touch of Evil</i> is no
different and if anything, this one of his films boasts probably <i>the</i> single most famous piece of <a href="http://filmclatter.blogspot.cz/2012/09/one-long-looktouch-of-evil-1958.html" target="_blank">camerawork</a> in Welles’
career and the history of film. As memorable as that swooping
tracking shot maybe, it holds no further discussion here as it fits all too
well into another <a href="http://filmclatter.blogspot.cz/search/label/One%20Long%20Look" target="_blank">category</a>. And as I look back, I am happy things worked
out this way because had it not, the following topic would have
been ignored completely.</div>
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Coming in at a close second to Welles' fine camerawork in my after thoughts of <i>Touch of Evil</i> would be the delightfully pomp original soundtrack composed by Henry Mancini. Often considered the last true noir film, <i>Touch of Evil</i> defined itself by how it differed from the great noirs before it, felt clearly through its score. Bent on an unsolved crime filled with seedy villains, corruption, and cops smoking cigarettes, <i>Touch of Evil </i>is a true and timeless noir. But what sets this one apart from all the others is its location. <i>Touch of Evil</i> is one of the few noir films to not take place in Los Angeles, instead departing south from the incumbent high rises and dark alleyways of the big city in favor of a small border town known as Los Robles. </div>
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The bird's eye view given to us by that wonderful opening crane shot shows us that this lively little town marches to a different beat than old L.A. This fact is no less clear through what Mancini lends to our ears. Apt on its geographic locale, Mancini's infecting score mixes Latin American jazz and tango with the some of the big band sound of the 1930s America. The result is nothing short of a genuine toe-tapper, for ourselves and the audience alike. Much of Mancini's songs are diagetic and come blaring out of a pair speakers from any one of the countless strip joints that muster the grounds of Los Robles. Curing the melancholy often felt through noir films, Mancini's soundtrack is quite delightful and superb in its sound. Naturally overlooked in the discussion of <i>Touch of Evil,</i> competing against the outstanding camerawork and direction of Orson Welles, there is no fault there. But when the movie is discussed for what it isn't, a femme fatale Los Angeles-based noir, Mancini's name should be heard more often, or at least that bopping score of his.</div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com0tag:blogger.com,1999:blog-6993604777732539539.post-36708027869677475982012-09-14T12:34:00.000-05:002012-09-19T15:24:08.452-05:00One Long Look...Touch of Evil [1958]<div dir="ltr" style="text-align: left;" trbidi="on">
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In one of the final interviews given before his death, Orson Welles stated, "I started at the top and worked down." Part of that is true. Welles could never match the success f he had with <i><a href="http://www.youtube.com/watch?v=zyv19bg0scg" target="_blank">Citizen Kane</a></i>, directing the masterpiece at only 25 years young. Having a long and substnaitla directing career after <i>Kane</i>, Welles ' films were always met with cuts and re-edits by overarching producers and the success that came seemed always second-rate. Nowadays, Welles is considered one of the greatest directors of all time. His intricate and innovative style filled with marvelous crane shots lends him the title of Hollywood auteur.<br />
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Second to <i>Citizen Kane</i> is Welles' 1958 crime thriller <i><a href="http://www.youtube.com/watch?v=qarsXV_d4cA" target="_blank">Touch of Evil</a></i> in which we find one of the most famous shots in the history of film. <i>Touch of Evil </i>opens with a marvelous three minute tracking shot that creates suspense that no other single take has ever matched. Starting with an extreme close up of a bomb, the camera swoops up and about the city streets amongst the passing cars and pedestrians caught up in the glittering nightlife of this small border town. The camera follows the fateful couple in the loaded car while introducing our leading man and his wife, all in one shot. Welles took up an extraordinary task with this one shot alone, the result affirming his legacy beyond <i>Citizen Kane </i>as one of the great American directors of film.</div>
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Gregory Royhttp://www.blogger.com/profile/07577274465428200193noreply@blogger.com2