Saturday Matinee: Shock Treatment. Was creator Richard O’Brien on the money when describing his other box office flop?
By Aimee Knight Source: Little White Lies. The ultimate beginner's guide to Max Ophüls' best films. “The highest reaches of the actor’s art begin, I believe, at the point where words cease to play a part.” – Max Ophüls Distinctive pioneer of 20th-century filmmaking, German-born Max Ophüls’ brief filmography is one dotted with rich innovation, championing complex smooth camera movements, crane and dolly shots, years before they would be mastered.
The great European director’s successes came in his synthesis of elegant cinematography together with stories of great romance, creating delicate melodramas that fluttered and danced with effortless elegance. Travelling from his birthplace in 1902 in Saarbrücken, Ophüls ventured across a pre-war Germany in his youth to become a theatre director in Dortmund, before going further afield to Vienna where he would also meet his future wife Hilde Wall.
Honeydew review – flame-grilled rural horror. A first feature from director of short films Devereux Milburn, co-written by Milburn and the film’s cinematographer-producer Dan Kennedy, this is a stylised, unsettling horror jaunt that plays interesting variations on an all-too-familiar plot premise.
Sam and Riley, a good-looking couple in their 20s, played respectively by Sawyer Spielberg (yes, son of Steven Spielberg) and Malin Barr, takes the always foolish decision to leave the safety of the city for a camping trip. In this case, they elect to pitch their tent somewhere in rural New England because Riley is working on a doctoral thesis about a (fictitious) fungal infection in wheat that causes gangrene and madness in cows and people.
However, they soon get run off their campsite by the local farmer (Stephen D’Ambrose), and a flat car battery forces them to seek help at the cluttered homestead of elderly Karen (Barbara Kingsley), a keen baker and cooker of meaty steaks, and her mute, brain-damaged son (Jamie Bradley). All Stanley Kubrick features ranked in order of greatness. “If it can be written, or thought, it can be filmed.” – Stanley Kubrick American auteur Stanley Kubrick is constantly counted among the greatest filmmakers of all time, known for his ambitious artistic vision and the relentless pursuit of perfection.
Over the course of his brilliant career, Kubrick created several masterpieces like 2001: A Space Odyssey and The Shining which are now considered to be defining works of their genre and have become an indispensable part of cinematic tradition. In a wonderful interview, Kubrick once said: “I think it’s very hard to make a film that is both dramatically appealing to a wide audience and contains the kind of truth and perception which you associate with great literature.
I suppose it’s hard enough to do something like that even if you don’t appeal to a wide audience… because films do cost a lost of money in the United States, people might be overtly concerned with appealing to a wide audience. See the full list, below. 13. 18 Facts About 'The Silence of the Lambs' Believe it or not, The Silence of the Lambs was released on Valentine’s Day in 1991.
The movie was scheduled for release in the middle of February because Orion Pictures, its distributor, already had a can't-miss hit with Dances With Wolves, and they wanted to give Kevin Costner as little competition as possible for the 1991 awards season. The strategy paid off, as Dances With Wolves won seven Oscars. But one year later, the Academy of Motion Picture Arts and Sciences didn’t—and/or couldn’t—forget about Hannibal Lecter and Clarice Starling. 'I’ll never forget the silence on set': revisiting the Srebrenica massacre. In July 1995, the Serbian actor Jasna Đuričić was 29 and juggling a theatre career in Novi Sad with the demands of her new baby daughter.
Just over 100 miles away in the UN-declared safe area of Srebrenica, more than 8,000 men and boys were being slaughtered by Bosnian Serb death squads, right under the noses of the Dutch military peacekeepers assigned to protect them. It was the culmination of a sustained and brutal campaign of ethnic cleansing. “We didn’t know anything then about what was happening in Srebrenica,” Đuričić says.
“It was around five years later that there were rumours emerging about the mass graves, but we were a country isolated from the media. The Masque of the Red Death review – horribly apt Poe adaptation. Roger Corman’s 1964 movie The Masque of the Red Death is taken from Edgar Allan Poe’s eerie tale from the medieval mist, about a plague closing in on the castle of a cruel and wealthy sensualist.
Disease is the implacable god. It’s a horribly appropriate moment for this film’s reappearance. This is an expressionist horror-ballet, extravagantly shot by cinematographer Nicolas Roeg, and for all its theatricality and Grand Guignol, there is really nothing absurd in it. In fact, Corman’s formal artistry and conviction on a limited budget look more impressive than ever, and with his iconic Poe adaptations he did more than anyone in academe to establish the author’s position in the literary canon. Persian Lessons review – hard-to-believe Holocaust survival drama. Here’s a superbly acted, though worryingly polite, Holocaust survival drama by the Ukrainian film-maker Vadim Perelman.
It’s the story of a Jewish man from Belgium called Gilles (Nahuel Pérez Biscayart), who stays alive in a transit camp by pretending to be half-Iranian and teaching Farsi to a savage-tempered SS officer, Klaus Koch (Lars Eidinger). In truth, Gilles doesn’t know a word of Farsi; the language he makes up is gibberish, and he lives in constant terror of slipping up, forgetting one of the words he’s invented – almost 600 in six months. The film opens with the line “inspired by true events”, but given the plausibility issues here surely it is safe to prefix that claim with “very loosely”.
The setting is France, 1942; Gilles, the son of a rabbi, is transported to a transit camp with other Jews caught trying to flee to Switzerland. A hustler by nature, Gilles easily – too easily – persuades Nazi officer Koch that he speaks Farsi. Dear Comrades! review – stunning re-creation of a Soviet-era massacre. Anger burns a hole through the screen in this stark monochrome picture from veteran director Andrei Konchalovsky: a gruelling re-enactment of the hushed-up Novocherkassk massacre in western Russia in 1962, when Red Army soldiers and KGB snipers opened fire on unarmed striking workers, killing an estimated 80 people.
It was a day of spiritual nausea for the Soviet Union, which had only just entered Khrushchev’s new de-Stalinised era of supposed enlightenment – a postwar civilian bloodbath that was the Soviets’ Sharpeville, or Kent State, or Bloody Sunday, or indeed the Corpus Christi massacre in Mexico City that featured in Alfonso Cuarón’s Roma. Yuliya Vysotskaya – a longtime Konchalovsky player – plays Lyuda, a Communist party official and single mother who lives in a tiny flat in Novocherkassk with her 18-year-old daughter Svetka (Yuliya Burova) and grizzled old dad (Sergei Erlish)
. • Dear Comrades! Is on Curzon Home Cinema from 15 January. 13-minute mini-doc on the cult of the Criterion Collection. The Onion Reviews ‘Wonder Woman 1984’ She Was Camilla in ‘The Crown.’ Now Emerald Fennell Is Out for Revenge With ‘Promising Young Woman.’ The don of disillusionment: John le Carré on film. I met John le Carré once, in 2016; appropriately enough, it was in Berlin where the TV adaptation of The Night Manager was getting a showcase premiere at the film festival — and the city where, as an MI6 agent in 1961 he had witnessed the construction of the Wall, which inspired his breakthrough novel The Spy Who Came in from the Cold.
He was instantly charming, eloquent and inexhaustibly curious and knowledgeable about the movies showing in Berlin that year, especially Alex Gibney’s Zero Days, a documentary about cyberwarfare. While always very relaxed, he had that alpha-donnish skill in asking you questions – including detailed questions about my own recent reviews. To my shame, I committed the No 1 error of protocol with him. As he had called me “Peter”, I replied by calling him “John”.
(Please. Kim Ki-duk: punk-Buddhist shock, violence – and hypnotic beauty too. Of all the film-makers of what might loosely be called the new Asian wave of the 21st century, perhaps the most challenging and mysterious – and probably the most garlanded on the European festival circuit – was South Korean director Kim Ki-duk. He made movies which were shocking, scabrous and violent - yet also often hauntingly sad and plangently beautiful and sometimes just plain weird. But they were strangely hypnotic. In 2011, I was on the Cannes Un Certain Regard jury which gave the top prize to his opaque docufictional piece Arirang, and though I struggle a bit now to recapture the mood of certainty that led us to that decision, there is no doubt about that Kim’s work had a commanding effect. Fatman: the Mel Gibson Santa action comedy we really don't need right now. Quite often you’ll see a trailer that doesn’t do justice to the film it’s advertising.
Maybe it’s tonally wrong, or it gives too much away, or the music is off. There are hundreds of potential failings, and it happens a lot. Much more rare, though, is a film that doesn’t do justice to its trailer. Fatman is one of those films. If you saw it, you’ll know that the Fatman trailer was nothing short of amazing. Eastern review – Polish 'western' of male humiliation and revenge. Set aside the Ennio Morricone-homaging soundtrack and Eastern isn’t as much “western” as it is Greek. The detached wide shots framing bizarrely inexpressive characters call to mind the award-winning films of director Yorgos Lanthimos, while the story of doomed youth unable to escape their family’s bloody fate is pure Sophocles.
First-time director Piotr Adamski was a conceptual artist before he took up film-making and it shows in Eastern’s precise mise en scène and the success with which it transposes a violent, medieval honour code to a modern Polish suburb. Maja Pankiewicz stars as Ewa Nowak, a young woman called on to defend the family honour when her brother is killed as part of a heavily ritualised vendetta with the neighbouring Kowalskis. 10 Of Japan's Greatest Directors. Takeshi Kitano in Beyond Outrage Add travel ideas to a Plan and see them on a map Got it! Japan’s cinema has produced three canonical masters – Yasujiro Ozu, Kenji Mizoguchi, Akira Kurosawa – and other formidable directors such as Mikio Naruse, and Masaki Kobayashi. Final Account review – German war testimonies chill the blood. Heinrich Schulze is a kindly-looking old man who lived as a child near the concentration camp at Bergen-Belsen in Lower Saxony, Germany.
In the course of Luke Holland’s quietly searing Final Account, Schulze returns to the old family farm to point out the hayloft where a group of escaped prisoners had once taken shelter. The escapees were starving and had begged him for some food. But then the guards came and retrieved them, which was of course very sad. Under further questioning, with a sheepish shrug, Schulze admits that yes, the prisoners were recaptured because he himself called the guards. As to what became of them after that?
I'm Thinking of Ending Things review – another superb nightmare courtesy of Charlie Kaufman. With his new film, Charlie Kaufman again proves that if you want something to make you feel trapped in a terrifying claustrophobic nightmare for ever and ever ... well, he’s your guy. His latest movie is about a student, played by Jessie Buckley, who for six weeks has been dating a dullish man called Jake (Jesse Plemons) for reasons that that she can’t put her finger on. She is now going to meet his parents, an important next step that she has sleepwalked into, like everything else in their relationship.
She Dies Tomorrow review – brilliant chills for the Covid-19 era. 50 Movies Roger Ebert Really Hated. When Roger Ebert hated a film, he didn't mince words. Midsommar review: a sick, beautiful masterpiece from horror's new god of misrule. Midsommar review – outrageous black-comic carnival of agony. There’s nothing cosy about these midsummer murders, and Midsommar could turn out to be folk-horror for the Fyre festival age. Nineteen of the Loneliest Films Ever Made. By withdrawing ourselves into our bedrooms, we’ve become introspective and foggier. A Russian Youth review – horror and heartbreak on the eastern front. Tender and honest, Tigertail is a beacon of hope in today's tide of anti-Asian bigotry.
Why Don't You Just Die! review – ingenious drama with hints of Tarantino. Contagion – Film, Literature and the New World Order. Podcast: Play in new window | Download | Embed Watch this video on BitChute / Minds.com / YouTube. Seven Up! reaches 63: ‘I started filming them when they were young. But we are like a family now’ ‘Hounds of Love’ Is One of the Most Disturbing Movies of the Year. The 82 rarely seen films Jonathan Demme wanted you to see. Jonathan Demme, who died last week at the age of 73, will be widely remembered as an all-time great filmmaker and human being. But there was another role Demme played that few outside of New York were able to witness: Demme, the filmgoer and film curator. In 2006, Demme joined the board of directors at the Jacob Burns Film Center (JBFC), in Pleasantville, New York, and began curating a series called “Rarely Seen Cinema.”
Revisiting Douglas Sirk’s A Time to Love and a Time to Die. No link to the Bard … but this Lady Macbeth is just as deadly. Berlin Syndrome review – unfortunate narrative slumps mar an ambitious thriller. Mulholland Drive review – David Lynch's delirious masterpiece still stands tall. Stanley Kubrick’s last-minute alteration to the end of ‘The Shining’ Mulholland Drive: David Lynch’s masterpiece is a wide-open work of art. Colossal Review — Anne Hathaway in Monster Movie Colossal. Antibirth star Natasha Lyonne: ‘Isn’t everyone entitled to an existential breakdown?’ The Neon Demon review – beauty as the beast. The Adventures of Sherlock Holmes and Dr. Watson - Wikipedia. Philosophical themes of the movie The Matrix. Please Stop Turning Our Favorite Animated Movies Into Bloated Live-Action Films.
The 10 greatest second world war films you haven't seen. Ghost in the Shell review – Scarlett Johansson remake lacks mystery. 10 Invasive Facts About ‘Mars Attacks!’ Log In - New York Times. Pregnant, alone and completely out of her mind: An unlikely serial killer and a pitch-black British comedy. His shadow, her doubt: The feminine versus the queer in Hitchcock. Log In - New York Times. Log In - New York Times. War, movies and Sam Fuller: A Q&A with Marsha Gordon. Is Terrence Malick ahead of his time or out of date? Catfight review – punches and punchlines in bloody black comedy. Theconversation. To the Right. Great Performances on Film. Why Arrival should win the best picture Oscar. Theconversation. Paul Verhoeven: cinema's mischievous satirist is more vital than ever. Dangerous Game: can a Calum Best vehicle with Darren Day as a Russian mob boss really exist? Culture - Why Reservoir Dogs is really an anti-violence film.
Breaking bad: Hollywood wakes up to the power of dark, dangerous women. 10 Great Movies Inspired by Philip K. Dick. The Driller Killer and the humanist behind the blood and sickening crunch. Shia LaBeouf Explores His Own Childhood Trauma in ‘Man Down’ Emily Blunt's character written out of Sicario 2. “Casablanca” by way of “Mr. and Mrs. Smith”: “Allied” is half of a great movie. Worse than a whitewash: has Ghost in the Shell been Hollywoodised? Culture - Arrival is the smartest big-budget sci-fi film in years. LIFE (Trailer) The Hero’s Journey. Billy Lynn’s Long Halftime Walk: Ang Lee’s Visually Jarring Anti-War Ode to American Soldiers.
Quietly Going Insane Together. Banned and Brutal: 14 Beyond-Controversial Horror Movies - Rolling Stone. The best place for women in action movies is next to Tom Cruise. Explicit cookie consent. The Accountant wants to be a thriller about neurodiversity. Instead, it’s just stupid. 9 Unbelievable Movie Fan Theories That Turned Out to Be True.
Emily Blunt on The Girl on the Train: 'The vomit was not my own' – video interview. Raw review: I didn't faint in classy cannbibal horror – but. Culture - Blue Velvet is terrifying, seductive and ahead of its time. Culture - Anne Hathaway faces Godzilla monsters. Review: In ‘Cameraperson,’ a Found Poem Filtered Through an Intent Eye. Edward Snowden’s Long, Strange Journey to Hollywood. Creating The Ultimate Antagonist. Culture - The 21st Century’s 100 greatest films: Who voted? Culture - Surprising facts about the 21st Century’s greatest films. Culture - Why Mulholland Drive is the greatest film since 2000. How we made Welcome to the Dollhouse.
The Childhood Of A Leader: what an indie film tells us about the roots of fascism. When Words Fail In Movies. How 'Stranger Things' Brought Back the Iconic Winona Ryder - Rolling Stone. The Prisoner Puzzle - A Rare Interview With Patrick McGoohan (The Prisoner T.V. Show) Barry Lyndon: why it’s time to reassess Kubrick’s ‘coffee-table’ movie. The David Spade Index: Which Actors Are Hated by Critics but Loved by Fans? David Cronenberg: Stanley Kubrick didn't understand horror.
Was Stephen King right to hate Stanley Kubrick's Shining? Stanley Kubrick: the Barry Lyndon archives – in pictures. Stanley Kubrick’s Barry Lyndon: ‘It puts a spell on people’