Taste of Cinema - Movie Reviews and Classic Movie Lists

10 Great Thriller Movies Recommended By Quentin Tarantino

Mon, 03 Aug 2020 13:17:12 GMT

Quentin Tarantino is one of the most recognizable names out there, not only thanks to his acclaimed films, but also because of his eccentric personality and his incredible film knowledge. It’s well known that he loves to pay homage to obscure films he watched as a child or during his times working at Video Archives.

He’s a probably a cinephile first and a director second, so it’s no surprise that in most of his interviews he slips in a reference to some odd film he loves for some odd reason. When scouring through all these interviews on YouTube you will find enough great recommendations to keep you busy for years, but with this list we’ll shine a light on some of the best ones; specifically, some of the best ones in the thriller genre. Here are 10 thrillers recommended by Tarantino:

1. Ms .45 (1981)

With gritty films like Ms .45, Bad lieutenant, King of New York, and New Rose Hotel, Abel Ferrara made a name for himself as a master of neo-noir. His stylish approach to often provocative subjects launched many of his films to cult status.

Ms .45 is no exception to Ferrara’s brand, this time dealing with the rape revenge genre. Thana (Zoë Lund) is a shy, mute seamstress working in New York. She goes into a state of shock and insanity when one day after work she gets raped twice in one evening. After this traumatic experience all men seem like a thread to her, so with her .45 she starts a killing spree of vengeance, roaming the streets of New York at night.

Abel Ferrara takes a lot of inspiration out of the work from other New York filmmakers like Stanley Kubrick, Woody Allen, and Martin Scorsese. References to Taxi Driver are noticeable for example, but besides this, one of the films that inspired Ms .45 is Thriller: A Cruel Picture. Next to Ms .45, Thriller is also a well-known favorite of Tarantino, with both movies having their influence on his film Death Proof. For fans of Death Proof, watching these two female-driven revenge stories is highly recommended.

2. Joint Security Area (2000)

Tarantino is a vocal fan of Asian cinema. A lot of Hong Kong- and Japanese inspired action is visible in his Kill Bill movies and his love for Korean thrillers can be noticed throughout his filmography. Joint Security Area is one of these Korean thrillers he has praised. In 2009 he even put it in his list of 20 best movies since 1992; the beginning of his career.

The film revolves around a shooting that happened at the North-South Korean border. Two North Korean soldiers have been shot to dead, but the number of bullets at the crime scene don’t add up to the amount left in the gun used. To keep the peace, a Swiss/Swedish team is assigned to investigate the murders.

With his numerous hits, including Oldboy, the Handmaiden, Stoker, and a bunch more, Park Chan-wook is one of the most talented Korean, if not world-wide, directors out there, so it’s no surprise that Joint Security Area is not the only of his thrillers that Tarantino recommends. As the head of the jury of the 2004 Cannes festival he vouched for Oldboy to win the Palme d’Or but eventually Fahrenheit 9/11 took the honor. Since Oldboy is so universally loved already this spot in the list is reserved for a film that still deserves more praise.

3. The Taking of Pelham One Two Three (1974)

In New York four armed men hijack a subway car and take its passengers as hostages. The men demand 1 million Dollars within one hour and threaten to kill a passenger for every minute late. They communicate over the radio with transit police lieutenant Garber (Walter Matthau). Garber is determined to bring the situation to a peaceful end and detain the four men in the process.

The armed men have the code names Mr. Blue, Mr. Green, Mr. Grey, and Mr. Brown. Unsurprisingly, according to Tarantino, the similar color code names in Reservoir Dogs are an homage to The Taking of Pelham 123. The film was not only received well by Tarantino, but by the general public as well and even spawned two remakes, although the accurate portrayal of New Yorkers and the realistic, yet humoristic approach to the subject matter has generated this original film the biggest fanbase. Most of this praise stemmed from the screenplay, even though this screenplay is an adaptation of Morton Freedgood’s novel of the same name. Besides being a well-written thriller, the score alone makes the watch worthwhile. In short; there’s enough to admire while watching this one.

4. Dead of Night (1945)

Dead of Night is one of the earliest horror anthology films made and it might also be one of the best ones. In a house he’s never been before, with six people he’s never seen before, architect Walter Craig explains these six strangers how he has dreamed about them in this moment countless times. While his recurring dream is slowly becoming reality, the strangers take turns in telling their experiences with the supernatural.

It’s these supernatural tales that make up for the anthology part of the film. Charles Crichton and Robert Hamer each directed one of the flashback segments, while Alberto Cavalcanti directed two and Basil Dearden directed one and the overarching story. Arguably that overarching story is the best one, since it does such a great job at connecting all the short segments.

Though the real star of the film has to be the last short segment called ‘The Ventriloquist’s Dummy.’ It’s the short the film is best remembered and praised for, also by Tarantino whom called it “the greatest of all ventriloquist dummy movies” in the Hot Fuzz director’s commentary featuring Edgar Wright and Tarantino.

Besides the ventriloquist dummy segment, the overall film is well-worth the watch thanks to its thrilling and comedic moments as well as being a little history lesson into British horror classics.

5. The Bird with the Crystal Plumage (1970)

There are countless moments in Tarantino’s filmography that are homages to the Giallo genre. Especially Dario Argento’s work can be frequently seen in a Tarantino scene. The ‘photo snapping’ sequence in Death Proof is a direct recreation of the opening sequence of The Bird with the Crystal Plumage and if that wouldn’t be enough; music from the movie is also playing over the recreated sequence.

Sam Dalmas, an American writer living a Rome, witnesses a mysterious figure attack a woman from behind the glass doors of an art gallery, powerless to stop it. As a witness he’s questioned by the police, but he can’t seem to recall every detail of the incident. He decides to start his own investigation, putting himself and his girlfriend in danger.

Dario Argento’s debut film is an impressive one to say the least. It helped popularize the Giallo genre, but more importantly; it was the beginning of a career that gave us many more thrilling gems. From the other two entries in the ‘Animal’ trilogy, to the ‘Three Mothers’ trilogy, to a lot more. The Bird with the Crystal Plumage was the start of it all and is still as impressive today as it was back then.

10 Great Bizarre 1980s Movies You’ve Probably Never Seen

Mon, 03 Aug 2020 13:16:16 GMT

When it comes to 1980s cinema, it wasn’t a period that lacked in motion pictures. Though it certainly is not up to par with the bustling 1960s or the groundbreaking 1990s, there were a number of fine pictures made in the period, encompassing almost all genres.

The bizarre works were never quite the cup of tea of the mainstream, so you’re not likely to cross upon a number of weird titles while searching the “best-of” lists of the 1980s. There were, however, a few films here and there that achieved what could be labeled a cult-classic status in their time and place, but faded into obscurity later on.

Here are a few of the forgotten ones, from the cold steppes of Siberia to the hot and humid streets of Hollywood:

10. A Zed & Two Noughts (1985) – dir. Peter Greenaway

Starring the Deacon brothers (Brian and Eric) as twins dealing with personal losses, A Zed & Two Noughts is a pretty twisted picture, even when taking into account Peter Greenaway’s other works.

It is marked, as is usually the case with Greenaway, by great cinematography that is nothing short of beautiful and a bizarre plot that touches upon numerous themes in a way that will leave you speechless.

The film opened in the fall of 1985 to generally favorable reviews and was considered the strongest feature film of Greenaway so far by a noteworthy number of prominent critics. It had its share of detractors, though, who called it, among other things, vile, humorless and boring.

9. City of Women (1980) – dir. Federico Felini

By the year of 1980, Federico Felini held an insanely high status among the lovers of cinema, in Italy and worldwide, and was almost an untouchable figure. That’s why the fact that his City of Women was met with relatively lukewarm reviews for a person of Felini’s importance comes as a surprise. It was described in a language that obviously implicated the fear of critizing a legend in domestic newspapers.

The reception was even harsher abroad. At the Cannes Film Festival, the film was ripped to shreds by French journalists (critics and non-critics alike), as well as by Felini’s fellow filmmakers to a degree previously not seen in his career. It was a bit better received in the United States, but it failed to generate the expected revenue.

The fate of this motion picture happened to be truly unfortunate, as it quickly cemented its status of a terrible mishap in the life work of a master, without ever getting a second chance.

Looking back now, this charming, borderline surreal entry, starring the legendary Marcello Mastroianni as Snaporaz on his way of self-discovery and coming to terms with the women in his life, is a solid effort at the end of the director’s period of fame and fortune.

Today, it is generally held in better regard than it was at the time it hit the theatres, but there is still a pretty long way to go before La citta delle donne gets the praise it deserves.

8. Street of Crocodiles (1986) – dir. Stephen & Timothy Quay

The name of the Quay Brothers is a widely celebrated one in the world of stop-motion animation: their body of work began in the 1970s, and lasts to this day. Though they made two feature films, most of their films are in the 10-20 minute ballpark. Such is the case with our pick for this list, Street of Crocodiles.

Based on an autobiographical short story by Bruno Schultz, one of the greatest Polish writers of the past century, the film takes its source material and builds up a completely new narrative of its own around it. A narrative that is as bold and twisted as the Quays usually are.

Considering it wasn’t a commercial picture in the first place, Street of Crocodiles didn’t have a theatrical opening per se, so it never got the chance to be enjoyed by the masses and to get reviewed by the mainstream film reviewers. Its release was mostly limited to niche film festivals and so it remained obscure to this day.

Obscurity among the commonfolk, however, doesn’t denote obscurity among the legends of cinema, and this one was cited as an influence by numerous filmmakers throughout the years, especially those who dabbled in surrealism, clay motion and stop motion animaton. Among others, Street of Crocodiles in particular and Quay brothers in general were highly praised by Jan Svankmajer, Christopher Nolan, Terry Gilliam…

7. Parents (1989) – dir. Bob Balaban

For a film about a boy seeking to expose his cannibalistic maniac parents, Parents is unbelievably funny. On his way to find out the truth, little Michael will encounter many hillarious obstacles, and come to a handful of clues that will make him doubt his original claims.

The casting was absolutely phenomenal: our pre-teen hero is perfectly embodied by Bryan Madorsky, in what unfortunately proved to be the only well-known role of his short career. Moving on to the adult members of the acting ensemble, we encounter some pretty well-known names: Randy Quaid as the patriarch of the Family, Nick Laemle, Mary Beth Hurt as his significant other, Lily, and Sandy Dennis as Michael’s school guidance counselor by the name of Millie Dew.

Set in the charming 1950s, this one proved to be quite an impressive film, especially when taking in mind the fact that it was Bob Balaban’s (who is generally more comfortable with being an actor) directing debut.

6. Liquid Sky (1982) – dir. Slava Tsukerman

Liquid Sky is, more or less, the only noteworthy achievement in the career of Vladislav “Slava” Tsukerman. This man lived an extraodinary life, starting out in the Soviet Union, migrating to Israel, and finally settling for New York where set out to make a hit.

It is now considered a cult sci-fi low budget experience, in a vein similar to the somewhat superior Kin-dza-dza (we’ll get to that one a bit later), yet still not the first thought that will cross your mind when someone mentions 1980s, science fiction, or low-budget.

While it also attempts to come across as a fancy social critique, that’s not what it succeeds most at. As a matter of fact, Liquid Sky’s preachiness is one of its less appealing aspects. The wonderful confusion the film induces in the viewer, as well as the beautiful pallete of colors, are what makes the viewer glued to the seat, wondering what the hell did they just watch.

10 Great Western Films You’ve Probably Never Seen

Sat, 01 Aug 2020 15:55:46 GMT

Westerns have been around since the beginning and earned their place at the heart of the movie culture and American iconography for decades. And through all this time, many people started to love watching those cowboys on horses with revolvers, tough guys, good vs. evil as well as those beautiful landscapes. During the Golden Age of the western, countless films were produced, but even in the later decades, westerns had always remained popular and always had a fan base.

Even though the genre was criticized for having often having similar formulas, westerns started to grow many subgenres and we got so much original stories through them. That said, for whatever reason, even some of the most acclaimed westerns among the genre lovers can go overlooked by the general audiences. These 10 films are some of the great ones that would please the fans of the genre.

10. Seraphim Falls (2006)

Even though the two Irish gentlemen in the leading roles are pretty big names internationally, “Seraphim Falls” ended up being an overlooked western, which is a bit understandable given the nature of the film. Similar to another revisionist western, “The Outlaw Josey Wales” to some degree, the film is about a former North American civil war officer who has exterminated a Confederate officer’s family and is now being hunted by the surviving head of the family and his clique. The chase keeps going until the time comes for the last duel.

“Seraphim Falls” tells the story of the paralyzing effects that revenge can inflict upon an individual as the perceived villain, Carver, relentlessly hunts down the seemingly innocent Gideon. You get a lot of great things from the movie; sure, it’s slow-paced but it keeps you engaged, it’s gritty, and the acting is perfect – especially Brosnan’s character. The plot is not exactly predictable; in fact, the third act has nice symbolism and the visuals keep getting better throughout the film. Also, yeah, Liam Neeson was an expert on taking revenge even before “Taken,” and the subsequent revenge stuff he got to do. It’s not the most multi-layered movie ever, but it sure is worth checking out.

9. The Salvation (2014)

Mads Mikkelsen and Eva Green previously starred in the great “Casino Royale” and they collaborated once again in a less seen but pretty cool western titled “The Salvation.” Mikkelsen is not a huge fan of the genre, but his acting fits like a glove to the setting and the tone of the film. In fact, his performance is one of the main reasons why this film works so well because mostly, “The Salvation” is a traditional western and that’s totally okay. It’s okay because once again it shows that if you know how to play the familiar beats, the movie can still end up being entertaining.

This is also notable for being a Danish film, which is another reason why the film is on the list since Denmark is not necessarily a country you think of where westerns are concerned. But everything works so great here; it has influences varying from Sergio Leone to Walter Hill, it doesn’t play like it’s overly original, but it serves as a beautiful homage that not any cliché would make you feel annoyed. The social commentary is delivered with such subtlety that it’s a joy to watch and the cinematography is absolutely top level. “The Salvation” is especially for those who love old school genre filmmaking and who don’t mind familiar stories as long as they’re done well.

8. Purgatory (1999)

Most of this list focuses on standard definitions of “western,” mostly classical, revisionist, or spaghetti movies. “Purgatory” serves as a change of pace for the list as it’s a fantasy movie and a very good one. A gang of outlaws attack the bank of a town. Some outlaws, some random people, and a prostitute are killed. The gang flees from the squad and then through a kind of tunnel they reach the town of Refuge, where they think they are safe for the time being. Some of the townspeople seem strangely familiar to everyone. The outlaws are slowly realizing that they are in purgatory and even guys like Doc Holiday and Wild Bill Hickok are here, trying to redeem themselves to get a chance to enter Heaven.

Even though it’s made for television, “Purgatory” almost feels like a big movie and even though it’s not dominated by a typical western setting, it’s something that would intrigue any fan of the genre. With great acting from Sam Shepard, Eric Roberts and Randy Quaid, “Purgatory” somehow gets a cool film out of an unusual premise without getting unnecessarily over-the-top, also just the right kind of pacing for a film to work. Who says supernatural elements don’t fit the western genre? It doesn’t act like it’s something much deeper than it is and that’s where the success of the film lies.

7. Conagher (1991)

Could there be a list of westerns without the great Sam Elliott? He’s an icon but would be an even bigger icon if he was around in the Golden Age of the genre. Not complaining of course, in fact, it’s cool that he didn’t stick to the genre that made him famous and we got to see the different sides of his talent from “The Contender” to “Grandma” that showed his versatility as an actor. But despite being known for a western roles in pop culture, not everybody is familiar with Elliott’s actual western work and if they premiered on television, they get even less heard. “Conagher” is maybe even the best Elliott western based on Louis L’amour’s adaptations, and if you’re unfamiliar with his stuff, you should better start with this before checking his other L’amour adaptations.

“Conagher” was co-written by Elliott himself and is also his own favorite movie. It doesn’t have much action going on but with several stories weaved into it, the film works on so many levels. You get to see your cowboy stuff but it’s also a beautiful romance, portrayed by Elliott and his real-life wife Katherine Ross. It’s a beautiful love song to the genre and the original book with great script, cinematography, and amazing acting. If you end up loving this film, check out other L’Amour adaptations starring Elliott, especially “The Quick and the Dead.”

6. The Big Gundown (1966)

“If you don’t kill me right now… it’ll be the last mistake you ever make.” Jonathan Corbett, a very successful and well-known, ready-to-retire bounty hunter, is persuaded by the wealthy tycoon Brockston to run as a senator. At an election campaign event, Corbett learns about the rape and murder of a 12-year-old girl, which the Mexican Cuchillo Sanchez is said to have committed. Corbett is now being instructed to quickly capture the fugitive Mexican and bring him to justice.

As you can expect from Sergio Sollima, this western also contains a socially critical message and sharp political angle. This underrated but very memorable western also benefits from Lee Van Cleef’s excellent screen presence, he does a bit of a variation of his role in a “For a Few Dollars More” and it works. It also features a brilliant score by Ennio Morricone and the cinematography is often great, feeling very stylish. Despite a slow start, the movie becomes very exciting when the chase starts and as you can expect, there are great gunfights and there’s always something going on to make you keep watching. Basically if you love the Italo-Western kickass movies but somehow missed this, you shouldn’t waste time and check this out as soon as possible..

10 Great Recent Horror Films On Amazon Prime You May Have Missed

Sat, 01 Aug 2020 03:02:09 GMT

For those of you who aren’t satisfied with the current horrors of living during a pandemic, there are plenty of horror movies to watch from the comfort of your couch. Streaming has made quarantine a heck of a lot easier, but it’s not always easy to find the right thing to watch. There are thousands of options available on a wide variety of different services, so homebound movie lovers might feel a little loss, but fear not! Taste of Cinema has you covered when it comes to the horror genre.

Though Netflix tends to reign supreme in the streaming world, they also lack smaller, lesser-known movies. That’s where the competition has the upper-hand. In particular, Amazon Prime is known for supplying viewers with a large quantity of obscure movies from different genres. Today, as stated, we’ll be focusing on horror.

Below, you’ll find ten relatively obscure horror movies that can be streamed on Prime Video. The goal of this list is to supply readers with things they may have missed. With the lack of theatrical releases, now is the perfect time to dive into something other than the latest Blumhouse release. You may find a new favorite buried in the Prime Video library. Just understand that titles come and go, so this list is most relevant immediately following its publication.

1. The Wailing (2016)

Because of Parasite’s big Oscar win, reluctant moviegoers have finally decided to give South Korean cinema the attention it deserves. Better late than never, huh? Unfortunately, they have a lot of catching up to do. South Korean cinema goes beyond Bong Joon Ho and Chan-wook Park; there’s a massive assortment of phenomenal movies waiting to be seen. The Wailing is just one example.

Specifically, it’s one example that fits the criteria of this list. This is a lesser-known horror movie that’s easily accessible through Prime Video. It’s also extraordinary, which explains its high placement.

The Wailing is massive in scale, so the story can’t be summed up in one short paragraph. To add to this, the unpredictable nature of the story means that even the lightest of spoilers could ruin your enjoyment. At its most basic, it revolves around a series of strange occurrences that start to happen after the arrival of a mysterious Japanese man, but that doesn’t do the story justice.

We all know it’s not that simple. The Wailing doesn’t settle for simple. The 156-minute runtime makes that very clear. This is a rollercoaster ride that rewards patient viewers. Whenever you feel like it’s about to overstay its welcome, it ropes you back in. The molding of different genres means that there’s always something new to see. The wildest part is that, by some miracle, everything just works.

2. Tumbbad (2018)

Tumbbad’s fantastical horror elements may be reminiscent of Pan’s Labyrinth, but don’t mistake it for a rip-off. Like Pan’s Labyrinth, Tumbbad blends period drama with fairytale-inspired thrills, but that’s where the comparisons end. This is its own beast, and it deserves to be treated as such.

The story is simple when you only observe it from a surface level. A father and son mess with the wrong demon when they go on the search for treasure. That’s the most basic summary, but there’s plenty more to talk about.

Tumbbad is a visually arresting treat with phenomenal worldbuilding and a surprisingly deep story. This is made better by the complex themes and motifs. Without the overarching message, it would still be fun to watch. With the overarching message, it’s damn-near perfect.

3. I See You (2019)

Given the numerous twists and turns, it would be wise to know as little as possible when approaching I See You. The trailer paints a picture of a simple kidnapping story, and that’s about all the average viewer should know beforehand. Just understand that there is far more beneath the surface.

Director Adam Randall’s first foray into the horror genre is a smashing success largely because he seems to understand the importance of tension. While the first half-hour plays out like a generic Blumhouse feature, things quickly turn around. As the plot unravels, the atmosphere changes. This change is designed to keep viewers on their toes. They’ll quickly understand that this isn’t a collection of jump scares; it’s something else entirely.

That “something else” can’t be detailed in a spoiler-free article, so it’s up to you to figure it out, but luckily the time commitment is worth it. You’re not going to get another bland horror movie about a spooky house. You’re going to get a horror movie that makes you second-guess yourself from beginning to end.

4. Deathgasm (2015)

With all of the chaos in the world, sometimes you just need to kick back, relax, and have a laugh. That’s reasonable, but why limit yourself to the same recycled Hangover-inspired comedy again and again? There’s a whole world of horror comedies waiting to be appreciated. It’s a relief to know that one of the best of the decade is easily available to stream.

Deathgasm is one of several horror films about black metal. Although the black metal horror flicks usually lean more toward horror than comedy, Deathgasm is a little different. It definitely fits the dictionary definition of horror, but the balls-to-the-walls insanity results in laughs that can only be found in a select few horror comedies.

The comedy is the main draw, but it’s not the only thing keeping this film afloat. Deathgasm benefits from loveable characters, catchy music, and gorgeous scenery. There’s a lot to enjoy here. Sure, it’s not the first thing people look for when they look for horror, but it still has plenty to offer.

5. Hell House LLC (2015)

The found footage boom of the early 2010s may have ended, but the genre isn’t dead. It’s just hiding behind streaming services. Movies like Hell House LLC aren’t getting theatrical releases, which makes sense given the eventual backlash that resulted from Paranormal Acitivity’s box office dominance. It’s a shame to see clever titles like this thrown into the VOD bin of shame, but that’s just how the movie industry works.

Maybe we shouldn’t feel too bad for it. Hell House LLC wasn’t a box office smash hit, but it is something of a cult classic. While it’s hardly a household name, it was popular enough to warrant two sequels. The strong word-of-mouth certainly helped this underdog find an audience, and we can all breathe a sigh of relief because of that.

The critical reaction is well-deserved. The film uses the found footage conceit to its advantage. This results in a gripping, if occasionally shallow, slice of horror. You won’t regret watching it.

10 Movie Masterpieces That Should Have Won Palme d’Or

Fri, 31 Jul 2020 12:28:31 GMT

Cannes Film Festival ranks at the very top in the eyes of cinema lovers when it comes to a consistent stream of quality pictures and artists. With a tradition dating back to 1930s, born out of spite and a wish to succeed, it never failed to give proper space to the established legends of the seventh art, as well the newcomers to the world of cinema.

However, it did have its fair share of misshaps every now and then. Sometimes spontaneously, and often intentionally in order to avoid the harsh political climates of the past times, the jury of the festival gave out accolades to motion pictures that were subpar to their competition in their respective years.

Here are a few that, due to a number of reasons, failed to take home the main prize at Cannes (some of them were accoladed other awards, such as Grand Prix, though):

10. No Country for Old Men (2007) – dir. Joel & Ethan Coen

Considered the magnum opus of Coen brothers, No Country for Old Men is the ultimate mash up of everything Ethan and Joel are so well known for: gritty, dark humor, excessive violence, silent villains without an obvious cause and a morally gray hero of the story are some of the Coenian elements present in this one.

It was an absolute hit in movie theatres around the world, garnering well over $ 150 million against a $ 25 million budget. It was a darling of the critics as well, receiving universal acclaim in the United States as well as abroad and many critics dubbed it one of the boldest works of the 21st century, and one of the best ones.

The film’s fate at the 80th Academy Awards ceremony was nothing short of phenomal, too: it took four Oscars from some of the most important categories, such as Best Picture and Best Directing.

Its reception at Cannes was not as fruitful. No Country for Old Men lost its only nomination to a fairly unremarkable Romanian film called 4 Months, 3 Weeks and 2 Days.

While this film’s reception in general is far from what one would consider polarizing (on the contrary, it was an almost instant classic), the fact that it didn’t win one of Europe’s biggest film prizes is quite unfortunate.

9. Drive (2011) – dir. Nicolas Winding Refn

The career of Nicolas Winding Refn has mostly been hit and miss. Even with that in mind, he is still one of the most revered Danish and Scandinavian directors of this century and this film is considered to be his best English language work to date by many.

Based on the eponymous novel by James Sallis, it was wonderfully brought to screen with combined efforts of the aforementioned director, as well as a handful of other creative workers, such as the Iranian screenwriter Hossein Amini who adapted Sallis’ story for the silver screen, and the great acting ensemble, with names such as Ryan Gosling and Bryan Cranston taking the lead roles in this one.

The film was met with widespread acclaim by the critics, though the audiences were a tad more divided with some labeling Refn and his body of work pretentious. It lost the Palme d’Or that year to Terrence Malick’s Tree of Life, a powerful comeback of a great master that, despite its numerous qualities, doesn’t match up to Drive in our opinion.

8. Cleo from 5 to 7 (1962) – dir. Agnes Varda

Agnes Varda just might be the greatest female director of all time. And one of the greatest in general. Her passing last year sent shockwaves through the film community. Starting her career during the period of French New Wave, a time of exceptional innovation, she never lacked what it takes to make a brave motion picture.

Cleo from 5 to 7 is generally considered her best effort, or at least her best one from the earlier stage of her career. Telling the tale of the titular heroine, a charming woman awaiting results after getting tested for cancer, it won the hearts of many worldwide with its relatable characters and subtly packed social commentary on the status of women in modern society.

It is now considered one of the genre defining works of feminist cinema, but back when it was released, the criticism of Cleo went as far as it being dubbed an anti-feminist film and a pro colonialist one that tries to portray women as simple minded and uncapable of caring for themselves.

The top prize at Cannes that year went to Anselmo Duarte’s The Given Word.

7. A Prophet (2009) – dir. Jacques Audiard

Malik El Djebena, a petty French criminal of Arab origin, is sent to prison. There he soon learns that life behind the bars is wildly different than anything he ever imagined. In a tale of betrayal and paranoia, Malik will walk out a completely different person.

Made by the great Jacques Audiard, A Prophet is a downright perfect, brutally honest portrayal of everything wrong in French prison system in particular and the country’s society in general.

It lost to another great, Michael Haneke and his The White Ribbon. While we hold that one in unusually high regard, we still believe Un Prophete was the film that deserved the Palme d’Or at the 62nd Cannes Film Festival, though the difference in quality between two motion pictures isn’t that huge.

6. Kwaidan (1965) – dir. Masaki Kobayashi

Masaki Kobayashi, a legend of Japanese cinema, is the epitome of slow burn filmmaking. His works are certainly not for everyone but if you give them a chance, they certainly won’t dissapoint. Some of the more famous ones are the Human Condition trilogy, Harakiri, and this one.

Richard Lester’s The Knack… and How to Get It took the prize in 1965, although it was one of the weaker titles in selection that year. Kwaidan, a deeply disturbing and extremely visually appealing nod to Japanese tradition didn’t fare as good among the Europeans as among the native audiences.

10 Great Prison Movies You May Have Never Seen

Fri, 31 Jul 2020 12:27:00 GMT

We love prison movies for many reasons. Sometimes it’s really for the escape part – we love to see the prisoners break, because we love to see the desire of freedom and how much they try to achieve it, even if they fail. We love that claustrophobic setting, characters that can’t escape anywhere and what happens or could happen in such settings.

There’s almost something mysterious about the whole environment for the majority of people. We often just want to know what’s going on in there. The stories use interesting and sometimes dangerous characters, highlighting good and evil in many ways. Whatever your reason, if you enjoy jail/prison movies, then hopefully you’ll find stuff to watch here that you’ve not seen before and you won’t regret watching.

10. Killer: A Journal of Murder (1995)

Carl Panzram was a horrible human being all-around; a serial killer, rapist, arsonist, robber, and burglar. He claims to have committed 22 murders, and more than 1,000 acts of sodomy on boys and men. There’s a very fine montage and somewhat cool editing work early in the film, which introduces us to his background a bit. He tried to escape several times, and was executed in 1930.

James Woods’ portrayal of Panzram in “Killer: A Journal of Murder” is chilling and enough of a reason to check out this drama. The movie takes place in the 1920s and mostly focuses on Panzram and a soft-spoken prison guard named Henry Lesser. Thanks to the performances, especially that from Woods, it is interesting to watch both men, and even when the script shows a weakness as a character study, the performances easily come over those weaknesses. The production design is also really good, giving you the feeling of the decade in which the movie is set.

The film is based on a 1970 book co-authored by Thomas E. Gaddis, who scripted the prison classic “Birdman of Alcatraz,” and James O. Long. Even though the actual case is far too complex to make into just 90 minutes of a movie, still “Killer” is a more intelligent film than you would expect it to be. Surely a film about Panzram’s psychology would make a better film, but still, the film’s exploration of two opposite men and their relationship is a compelling watch.

9. Animal Factory (2000)

Steve Buscemi recently said in an interview that Willem Dafoe was his main idol in his career, because Dafoe is a rare case of an actor who has achieved equal success in blockbusters and in arthouse cinema. Here in this prison drama, he finally gets a chance to direct Dafoe in a pretty strong performance.

Based on the novel of the same title by Edward Bunker, the story follows a young guy named Ron Decker (Edward Furlong) getting convicted of drug possession, and there, Earl Copen (Dafoe) takes him under his wing. He teaches him the ropes and how to spot a threat. It is actually a little similar to Buscemi’s previous film “Trees Lounge” in the way that the characters also reveal themselves because basically they’ve nothing else to do. It’s not a prison drama about power or action.

Going for a more low-key approach, it prefers to be more character-driven movie and it becomes very watchable because all the characters are interesting and realistic, the dialogues are very well-written, and even though the movie belongs to the main performers, especially Dafoe’s brilliant performance, the movie is full of great names. Danny Trejo shows up in a role you’d expect, but it’s Mickey Rourke who has the most unusual supporting role. Even more surprising than Rourke is Tom Arnold as the rapist – and it’s probably his best performance? “Animal Factory” is such an intelligent effort that one would wish that Buscemi would direct movies more often.

8. King of Devil’s Island (2010)

In 1915 on a Norwegian island, boys who came from broken families or who committed crimes were brought up to be adapted adults using brutal methods. A new boy coming to the island resists the conditions and also causes others to rebel. It’s not necessarily an unpredictable storyline, but it seriously contains a lot of things that people love about prison movies; it’s about injustice, it’s about abuse, and it’s about rebellion against brutality. So there’s no doubt that it’d appeal to many fans of the genre; not to mention, it’s a film that is careful about its character development and the cast does the best to even elevate the material even further.

Stellan Saarsgard in particular leaves an impression but apart from the acting, the movie keeps you engaged by its settings, cinematography, and haunting musical score. There’s that chilling tone the director uses for the film that works really great. And while it works more as a character-driven film, the last act has more action than the rest of the film and it’s also handled well. The movie did well in its homeland but still is somewhat of an unknown film to the audiences outside of Norway and its neighboring states. For some general audiences, the film can be too cold or dreary, but for prison movie fans, it sure is a great watch.

7. Last Light (1993)

In the 1990s, Canadian actor Kiefer Sutherland decided to try out directing; he never necessarily succeeded in making an acclaimed film as a director, but his debut – the very lesser-known Showtime drama film “Last Light” – can be considered his most successful work. Even though it’s slightly heavy-handed at times, this prison drama about a transformative friendship between a violent prisoner waiting for his execution and a death row guard who refuses to get violent with prisoners is an effective drama, mostly because the acting is strong but also because the script brings us interesting characters and well-developed scenes.

It’s not just two-hander, though – the supporting characters are actually really good. Sutherland has a pretty strong scene with Amanda Plummer, who plays his sister. There’s also a great sequence between Forest Whitaker’s character and his wife, played by Lynne Moody. Sutherland has played a lot of dark characters and some villains as well, but there’s a twist in here.

While in “A Time to Kill” or “Eye for an Eye,” his characters were there to disturb the audiences; here he reveals different sides of his seemingly violent character. In those two movies, you’d never want to know him in real life but in “Last Light,” you want to know more about him. The climatic ending is also tense and impressive. Despite having two well-known actors in the lead roles, unfortunately “Last Light” is mostly an unknown effort.

6. Brubaker (1980)

The 1969 book “Accomplices to the Crime: The Arkansas Prison Scandal” by Tom Murton and Joe Hyams, detailing Murton’s uncovering of the 1967 prison scandal, is the basis of this Stuart Rosenberg-directed drama. Robert Redford plays an inmate just arriving at Wakefield State Prison in the late ‘60s and he witnesses murder, terrible food, sexual assault, torture, and so on. Then we learn that this inmate is actually a new prison warden; he let himself in to see the conditions, and now he plans a reform that is not going to be easy between corrupt authorities, politicians, and greedy entrepreneurs.

The characters are all well-written and Redford leads a strong ensemble here, and the issues taken to deal with are pretty complex ones. This is not necessarily a feel-good film, but that’s where its strength lies – it takes the issues as they are, shows that they’re not easy to change sometimes, but they have to change. Those who love to see lone warrior movies may be impressed by this, considering how stubborn and dedicated Redford’s character can be, and the movie is exciting to watch throughout. The cinematography is pretty nice, the editing could have been better, but in general, “Brubaker” is a film worth checking out.

10 Great Recent Indie Movies You May Have Missed

Thu, 30 Jul 2020 13:39:38 GMT

Within this list there are an array of fantastic independent movies. It’s important to watch indie film and support these smaller movies as their budget is far smaller than the grand films seen today. Indie movies have been on a real wave of progression in recent times. Studios such as Amazon, A24, Roadside Attraction, Netflix and so many more have been producing a high calibre, standard of movies.

If you’re an indie movie fan, then these films should provide a real level of satisfaction. However, if you’re new to the genre, then these recommendations are a great place to start for your first taste of indie film. This list has many different styles of movies and there are a variety of topics covered. Such as crime-thrillers, social satires, coming of age dramas, family dynamics and tackling race relations.

To stress, there has been so many great Indie movies in recent times that it was very difficult to choose which movies should make the list. This list is not exhaustive and is an attempt to figure out films that the typical movie-goer has not seen or heard about. So this list represents that thought process rather than just picking the best movies or the ones that have had the most success. If there are any movies missed in this list, please do comment other indie movies that people could enjoy.

1. Blindspotting (2018)

This movie is written and starred in by Daveed Diggs (Hamilton) and Rafael Casal (The Away Team) who create an absolutely riveting and original film. The movie follows Collin (Diggs) and Miles (Casal), two best friends in modern day Oakland, California. Collin is trying to make it through the last three days of his probation without any hiccups, as he sees this as his chance at a new beginning. However, his best friend Miles is a troublemaker and Collin consistently has to help him out of precarious situations, putting his own life in danger and jeopardizing being put back into prison.

This film is important in relation to the social climate of the world right now. It tackles some supremely complex issues in society and addresses them in inventive ways. The approach it takes to these complex and severe issues is interesting, as it adopts a method of light-heartedness rather than being supremely serious throughout. However, this light-heartedness and comedic aspect to the movie doesn’t diminish the severity of these issues and Blindspotting is an extremely funny film. It also shows some beautiful locations of Oakland, locations that we may not normally see, adding a real atheistically pleasing aspect to it.

What ensues is one of the most original films of 2018. Its originality stems from the way it stays clear of the common Hollywood tropes and has a fresh and vibrant screenplay which all adds to the imaginativeness of this film. From the sublime acting, to the brilliant direction, to the beautiful cinematography and colour palette, all aid one of the most slept on movies of the modern era.

2. Waves (2019)

Directed by Trey Edward Shults (It Comes At Night), this movie provides a real visceral experience for the audience, which tries to fully immerse them into the movie. The film is set in modern day South Florida and follows a suburban African-American family and their navigation through love, loss and forgiveness. Tyler is a promising high school wrestler, but has to deal with all the pressures that being a young African-American man can bring. He has an overbearing father who pushes Tyler to be his best but sometimes may over step a boundary. Emily is Tyler’s sister and is quiet, but as the movie develops, she begins to shine.

It has a youthful cast with Kelvin Harrison Jr (Luce) playing Tyler, who provides a really powerful and gut wrenching depiction of his character. It also features Sterling K. Brown (Black Panther) who gives a masterful performance as Tyler’s father, Ronald. He holds this rare quality where he can convey words without speaking. Taylor Russel (Escape Room) plays Emily, and this is a breakout role for Russel who is an actress to watch out for over the next few years. The way she is able to show her character’s development is sublime. The acting is a real strong aspect of this movie.

All the elements of Waves are meticulously chosen to convey certain feelings from the audience. The camera uses an array of different shots and moves organically to try and put us, as the audience, into the protagonist’s mind. The movie manipulates the lights, colour, framework and aspect ratio to create a visually stunning film. Waves is aesthetically dazzling and the cinematography is picturesque, with a colour palette that is so expressive. It can be a very disorientating and weighty involvement for the audience, but this only adds to the impact of the movie.

This movie is an example of masterful filmmaking as it’s so different to many movies that are being created today. The plot and structure of the film is also dissimilar to modern movies, which will not be disclosed, as it’s a very fascinating aspect of the movie.

3. Good Time (2017)

Good Time is a relentless crime-thriller directed by Josh and Benny Safdie, and is a movie that does not let go of its audience. Within this indie movie list, there are many movies that have been brought to us by A24 and Good Time is considered one of the best. The film follows a bank robber, over the course of a day and night, who will stop at nothing to get his mentally handicapped brother out of prison. This film is made in a way that doesn’t let the audience breath, it consistently tries to put the audience on the edge of their seat, wondering what is going to happen.

This movie could be seen as the catalyst for the resurgence of Robert Pattinson (Twilight saga) in cinema and the moment when everyone started to give him critical acclaim for his acting abilities. Pattinson plays Constantine Nikas, a real slimy and unlikeable character, as the film follows him on a wild night where he commits constant atrocities to pay for his brother’s release from prison. He is absolutely superb in this film and is consistently riveting. Benny Safdie plays Nickolas Nickas, the brother of Constantine, who has a mental disability. This is Benny Safdie’s first acting role and is great, as he is able to evoke some much emotion from his character.

This is a very unique film, which can be attributed to the way it is directed. The Safdie brothers have such an imaginative vision of city nightlife. They use a vast array of long takes and close up shots which give the film a documentary type feeling. Good Time is very grungy and through the characters and the actions they commit, represents a genuine and realistic depiction of what criminals would do in the situations they find themselves in. The movie is also very audacious, there are some scenes that are shocking and there is a certain level of respect that films receive for taking such risks which Good Time has been acknowledged with. Represented by the 5 nominations it received at the Independent Spirit Awards in 2018.

4. Mid90s (2018)

This is the debut directorial feature for Jonah Hill (Superbad). He creates a coming of age drama that follows a 13-year-old boy in Los Angeles and his navigation between a troubled home life and a new group of friends he has come across. Hill has described this movie as his “love letter” to this time and environment. It holds a heavy focus on skateboarding and represents how this theme held a strong influence on teenagers in LA in the 1990s.

Stevie (Sunny Suljic) starts off as a quiet character and suffers physical abuse from his brother Ian (Lucas Hedges). He also has a dysfunctional relationship with his mum (Katherine Roberston) and with no dad around, he does not have many people in his life. This is until he meets a group of older skaters and starts to hang around them, and they become his influencers. The movie makes the point that its important who you take influence from, as some of the boys have aspirations and goals, whereas others are heading down the wrong path.

All aspects of this movie are chosen to represent a supremely realistic depiction of the 90s skate scene. From the cinematography, to the music and costume, it is all representative of the time. The film is shot in 16 mm, in a 4-3 ratio, which really adds to the 90s feeling of the film. It’s all about nostalgia and creating as authentic a period piece as possible. Hill even chose non actors to play many of the lead roles. He chose actual skaters living in California to gain even more authenticity for the characters. This decision paid off, as the acting is superb, and solidifies the 90s feeling of the movie.

What’s important about this movie is that you do not need to have any idea about skateboarding or know anything about the culture to enjoy this movie. As it is very much a drama film and at its core represents the character arch of Stevie. It is framed and written in a way that engages all audiences. On the flip side, if you’re an avid skater and immersed in this culture, this movie provides a nostalgic and respectful representation of the skate scene in the 1990s. This film represents the clear potential Hill has for directing.

5. Wind River (2017)

Wind River is part of the trilogy of films written by Taylor Sheridan, as he wrote Sicario and Hell or High Water. He has received critical acclaim for all of these movies, however, Wind River was the only film he also directed. Wind River gives the audience an insight into the secluded and chilling life of people who live on the Wind River Native American reservation and how much this environment takes from these individuals.

The movie stars Jeremy Renner as Corey Lambert, who hunts predators on the reservation and Elizabeth Olsen as Jane Banner, an FBI agent. Corey has found the body of a dead women on the reservation and Jane is sent there to solve this murder even though she has no idea about conditions she will face or the lack of help that is available to the people who live there. The two characters’ team up to solve this mystery. This movie takes the audience on a real visceral experience that depicts the cultural barrier of this closed off and very isolated place. This film is thrilling, gut-wrenching, powerful and wants to shock the audience.

The shots of the reservation, full of snow, are not only beautiful but mesmerising. However, the film takes a real interest in making the audience feel like they are there. During the movie the audience can physically hear the wind, it tries to make them feel the chill and cold. Sheridan, who wants to make the town a character, forces the town to feel part of the film and represents how it is infecting everyone who lives there. Sheridan also uses brutal dialogue that he wants to cut deep into the audience’s core.

Breaking down the layers of this movie, from the message the film is trying to get across and the clear focus on the environment, the audience is left with a fantastic murder mystery movie. The slow and eerie storytelling is engaging and the film is very methodically put together and produces a supremely interesting action/drama/thriller movie. It is a slow build but once you reach the culmination of this movie, the payoff is so worth it and rewarding.

10 American Movie Remakes That Rivaled The Original Foreign Films

Thu, 30 Jul 2020 13:38:33 GMT

Americans have more than earned their reputation for botching remakes of successful pictures from around the world. They’ll add a happy ending when the brutal conclusion is what made it so unforgettable (The Vanishing); they’ll fail to capture that unique comic tone (Downhill, from Force Majeure) or at worst, they’ll simply ignore the classic source material to make mystifying pap (City of Angels, from Wings of Desire). But here are the exceptions, when Hollywood managed to match, or even exceed, the original.

1. Let Me In (Matt Reeves, 2010) – Let the Right One In (Tomas Alfredson, 2008)

For audiences adventurous enough to endure subtitles, the original Swedish version was an instant horror classic, a far more romantic and horrifying vampire romance than the Twilight saga ever aspired to be. Its handling of a preteen boy’s crush on the mysterious girl next door succeeds by grounding the material every chance it gets, but in stylish and unexpected ways. The boy is truly socially awkward and isolated. The vampire girl is staggeringly mature for having been around for a century or so, and her feeding isn’t tastefully rendered to make YA fans comfortable.

All of this would suggest disaster for the Hollywood remake, which due to the buzz was quickly greenlit. But Matt Reeves, fresh off the surprise hit of Cloverfield, directed a respectable recreation of the original. He shifts the action back to the early eighties in New Mexico, when American kids were able to roam freely afterschool and face the full wrath of the local bullies, or meet up with a little girl who only comes out at night. In perhaps the most striking accomplishment, the American leads, Kodi Smit-McPhee and Chloë Grace Moretz, have as much chemistry as their Swedish counterparts.

To his credit, Reeves seems to have done little to make the story more accessible to mainstream audiences by casting older leads, or making the little girl vampire any less feral. Some of the special effects rendering her with supernatural speed and grace don’t age well, but overall, he delivers the same notes just as ably as the original, which might be the reason it was one of the lowest grossing movies of that year, while still landing on lists like this one.

2. Quick Change (Howard Franklin & Bill Murray, 1990) – The Hold Up (Alexander Arcady, 1985)

The original Franco-Canadian picture may have starred the legendary French New Wave star Jean Paul-Belmondo, but was swiftly forgotten by most, except for one particular SNL vet. Bill Murray would earn his only director’s credit for the remake, co-directing it with Howard Franklin, whose eclectic output would stretch from an adaptation of Umberto Eco’s In The Name of the Rose (1985) to the all-star bird-watching comedy The Big Year (2011).

Based on a novel by Jay Cronley, the story features one of the most simple and clever ideas for a heist ever devised, which won’t be spoiled here. As foolproof as the heist is, the getaway is another matter, and complications ensue, in ways as simple and clever as the heist itself. Murray plays the mastermind here, with Geena Davis as his girlfriend and Randy Quaid in fine dunderheaded form as the sidekick. The performances are highlights of all three of their careers, subtle, specific and flat-out hilarious.

Nevertheless this low-key comedy might have turned off audiences that showed up expecting A Ghostbuster Robs A Bank, and was a notorious flop in Murray’s career. The original played the comedy far more broadly, akin to Cannonball Run, and the approach might actually have improved the box office of the American version. But the smart, delicate execution here is precisely why it’s become a rediscovered gem.

3. The Pledge (Sean Penn, 2001) – It Happened In Broad Daylight (Ladislo Vajda, 1958)

The original was a celebrated Swiss-West German- Spanish co-production that would be remade six more times, in countries ranging from Italy to India, which is odd given the relative pedestrian logline of an aging detective moving to the countryside to bait a killer of young girls out of hiding. The screenwriter, Friedrich Dürrenmatt, was so livid about the happy ending of the original that he wrote a novel to correct this error, and that novel became the basis for Sean Penn’s version.

Penn’s early directing efforts were all ambitious, probing works of wounded masculinity that often were relentlessly monotone (Indian Runner) or deliriously melodramatic (The Crossing Guard) it was hard to discern just how skilled he was, even as those remain insanely watchable exercises. The Pledge would prove his finest effort so far, and this now stands as the last time its star Jack Nicholson would submerge his persona wholly into a character, with his bushy ‘stache and slumped posture making him seem ready to flinch at a stiff breeze, as he’s less cop on the edge than one already falling off the cliff.

In a refreshing break from genre tropes, Nicholson and Penn don’t treat the cop’s obsession as remotely effective in catching the killer. Instead, Nicholson plays him as a social cripple that slowly heals with ordinary life in the country, only to risk it all in the end. It’s the rare procedural that gathers more steam towards the end, where its haunting conclusion must have exceeded the original screenwriter’s intent for it.

4. Insomnia (Christopher Nolan, 2002) – Insomnia (Erik Skjoldbjærg, 1997)

Christopher Nolan’s follow-up to his indie smash Memento has been overshadowed by his Batman trilogy and his big, fat original blockbusters for adults that virtually no one else gets to make anymore. The original Norwegian thriller has a deceptively simple premise of a cop trying to solve a young girl’s murder in the Arctic Circle, where the sun never sets, leaving him short on sleep and sanity. Early on, the cop (Stellan Skarsgård ) finds the killer, but in the fog and chaos of the chase, he ends up shooting his partner instead. And because that killer witnessed it all, the cop is left to diligently steer the investigation away from him to keep them both of trouble.

Skarsgård’s exhausted, broken-hearted detective shambles about the movie, showing us his canny smarts, his good intentions and how little they matter to what he ends up doing. The performance, and Skjoldbjærg’s deft directing, including an excellent use of swish pans and arrhythmic cutting to boost the delirium, sells every twist along the way.

To his credit, Nolan refrained from his dense plotting to keep the straightforward spine of the story intact, and shifts the location to Alaska, where the sun also never sets for a spell. Al Pacino plays the lead, in one of the most restrained performances in the midst of his “Hoo-Ah!” era. Robin Williams plays the killer here, weaponizing his persona of a gentle, overgrown Hobbit to become a sick, ingratiating manipulator. And Hilary Swank plays the local cop looking into his partner’s death, adding shades to her character that were not present in the original.

Nolan’s subdued directing let the performances shine and the plot unfold at a deliberate, but steady pace, which feels obvious, until one thinks at how much young indie directors are eager to show off when they make it to the big leagues. It was a surprise hit no one saw coming, paving the way for Warner Brothers to hand him their most valuable piece of IP to handle next.

5. Scarlet Street (Fritz Lang, 1946) – The Bitch (Jean Renoir, 1931)

It’s rare to have two directors of such outsized gifts and vastly different dispositions tackle the same story, but Fritz Lang remade Jean Renoir’s second sound picture, creating something like a bleak echo of the first. Renoir was still maturing as a filmmaker in his version, but his gifts were still on full display in the original.

In both, a beautiful woman and her grifter boyfriend con a middle-aged Walter Mitty-esque man, who’s stuck in a loveless marriage, and whose only escape is Sunday afternoon painting. Renoir sidesteps the misanthropy of the premise by constantly revealing new sides to the characters, like the futile bluster of that abusive boyfriend, the selfish calculations of their mark, and the woman’s own frustrations that she has to seduce some middle-aged bore to support her true love. Renoir’s title is tongue in cheek, as she’s no worse than anyone around her.

As the young lovers’ ruse unravels and their middle-aged “victim” takes his revenge, Renoir stages it all as folly. Everyone is clearly short-sighted and unlucky, trapped by their own appetites and ambitions, rather than actually mean-spirited, and by the end, Renoir strikes a note of bemused acceptance that this is merely how life shakes out sometimes.

Lang strips the material down to its noir essentials for his Hollywood remake, repeating every major story beat, but as an indictment of all involved. Edward G. Robinson plays the middle-aged mark here, and still manages to strike some tender notes in Lang’s death trap. The ingenue (Joan Bennett) is cold and conniving, though very much under the thumb of her boyfriend (Dan Duryea), and both are keen to exploit Robinson for all he’s worth.

This was Lang’s fifteenth sound picture and it shows, for what he loses in the complexity of the characters here, he gains in tension, built from his immaculate staging and precision camerawork. And Lang’s ends the picture not with a chagrin, but a howl of the unforgiven.

10 Great Horror Movies Made By World-Class Directors

Thu, 30 Jul 2020 04:17:58 GMT

One of the most noticeable aspects of cinema that came out of the last decade was that the horror genre had seriously picked up its game. With auteurs such as Ari Aster, Robert Eggers, Jennifer Kent and Jordan Peele leading the way into perhaps a new golden era of terror. However over the years, some of the greatest filmmakers of all time have made an indelible impact into the world of horror by producing some of the finest films not only in the genre, but also in the history of cinema itself.

Out of fairness, I have decided to leave out Hitchcock’s Psycho, Kubrick’s Shining, Spielberg’s Jaws and Scott’s Alien simply because their vast influence has already been noted and written about to the point of oversaturation. That is why I have made the decision to include films that while they are still classics, have either been unfairly judged alongside the previously mentioned masterpieces or for some reason or another, have simply not been viewed as much by mainstream audiences.

1. Hour of the Wolf (1968, Ingmar Bergman)

We start the list with quite possibly the single most celebrated and revered film director ever to have lived, Ingmar Bergman. The Swedish auteur’s expansive filmography is littered with masterpieces that continue to be studied and enjoyed by film lovers across the world. Lauded for the ability in his work to examine the human condition by raising difficult questions for the audience answer for themselves. His films tackle themes such as existentialism, religion and most notably in his 1968 horror film Hour of the Wolf, insanity.

The plot follows a married couple on the brink of complete collapse as a result of the husband’s deteriorating mental health. The husband, played by the legendary Max von Sydow, is the epitome of a tortured artist. He’s a painter who draws sketches of the horrifying creatures he sees in his nightmares. The wife, played by the equally legendary Liv Ullman, is on the brink of a mental breakdown herself due to the stress of looking after her ailing partner.

As the film progresses, the horrific visions become more and more real, and by the time at night called ‘Hour of the Wolf’, the demons are fully running amok. Critics and movie theorists posits that the husband represents Bergman himself, while not the director exactly, more of an alter ego. It is common knowledge that Bergman suffered from mental health issues all his life, even being hospitalized at one point for severe depression. So it is not difficult to transpose the director into the place of his protagonist, meaning we as an audience are actually watching the legendary filmmaker fighting his own demons onscreen instead.

2. Don’t Look Now (1973, Nicolas Roeg)

Over the years, Nicolas Roeg’s reputation as an influential filmmaker only seems to be getting stronger. Cutting his teeth as a cinematographer, working with acclaimed directors Roger Corman, John Schlesinger and Francois Truffaut among others. But by the end of his career, many of Roeg’s films as a director has inspired some of the leading directors today, including Danny Boyle, Christopher Nolan and Ridley Scott. But out of his entire filmography, there is one film that stands out from the pack.

Adapted from a short story by the acclaimed author, Daphne du Maurier, Don’t Look Now is now seen as one of single most important horror films ever made. The movie’s two leads, Donald Sutherland and Julie Christie, each portray perhaps the most realistic depiction of grief in the history of cinema, but to me it’s Roeg who proves to be film’s real star from behind the camera. His sheer revolutionary use of flashbacks and flash-forwards evokes confusion and distress in the audience that instantly puts them in the protagonist’s shoes. Not to mention his composition shots are simply works of genius, showing the full introspection not just into the character’s fragile psyche but also into film’s location itself.

Roeg makes great use of Venice’s classical architecture, crumbling buildings and twisting alleys so that the city presents a haunting atmosphere, filling us with a constant sense of dread, building and building until the film’s iconic climax, cementing Don’t Look Now as an all-time masterwork in psychological terror.

3. Deep Red (1975, Dario Argento)

Dario Argento is perhaps the most recognizable name to come out of the giallo genre. He is seen as one of the defining directors of horror and was positioned by many critics as being the heir apparent to Hitchcock as the new ‘Master of Suspense’. While his recent work has been seen a major deterioration of the director’s reputation, his earlier films are still seen as masterpieces. Perhaps the most famous of his films is the occult classic Suspiria, but the movie that preceded it is often argued as his true magnum opus, Deep Red.

Deep Red has all the traits of a great giallo film; these include beautiful cinematography, vivid colours and of course lots and lots of violence. The movie stars David Hemmings as a pianist turned sleuth who investigates a series of gruesome murders by a black glove-wearing psychopath. The most notable scenes in the film are the slayings themselves, whether it’s being hacked to pieces by meat cleaver, drowned in a scalding hot bath or someone’s head being crushed by speeding car.

The most iconic scene in the film however involves perhaps the creepiest-looking doll in cinema history (that’s right, take that Annabelle). The reason I believe why some people prefer Deep Red to Suspiria is because this is Argento at his least restricted, with every gruesome death it feels like the director is having the time of life. It would almost be disgusting if we weren’t all along for the ride enjoying it with him.

4. Eraserhead (1977, David Lynch)

It’s safe to say that after its release in 1977, David Lynch’s Eraserhead evoked a strong reaction from cinemagoers. It was as much praised as it was reviled, but everyone who has seen it unanimously agrees one one thing, there had never been another film quite like it. To this day, Eraserhead continues to leave audiences stunned, sickened and most likely confused by its surreal images of body horror that has gone on to solidify Lynch’s reputation as the mad genius of cinema.

The film is full of nightmarish moments that have become ingrained into the memories of anyone who has seen it. These include perhaps the most awkward dinner scene in film history that includes a miniature turkey squirming and oozing blood as it’s being carved into, a newborn that resembles an overgrown sperm than it does a human child and of course who can forget the disturbing yet soothing rendition of ‘In Heaven’ from a deformed character credited as ‘Lady in the Radiator’.

The film should also be praised for its frequent uses of dark humour, including a particular scene where the main character’s eraser-shaped hairstyle becomes a self-professed prophecy when he dreams of his decapitated head being taken to a pencil factory. Stanley Kubrick went on record calling Eraserhead his favourite film of all time, if that isn’t enough of a reason to check this movie out then I don’t know what is.

5. Nosferatu the Vampyre (1979, Werner Herzog)

F.W. Murnau’s Nosferatu is generally seen not only as one of the most impactful horror films ever made, but perhaps the greatest German movie of all time. At least that is what director Werner Herzog felt, that is why in 1979, he decided to direct a remake of Murnau’s masterpiece as a loving homage to his cinematic idol. Herzog had already earned a reputation as a leading figure in German cinema, his films Aguirre, Wrath of God, The Enigma of Kaspar Hauser and Stroszek still hold up as classics to this day. But still, it seemed like a huge step at the time for one of Germany’s best young filmmakers to remake the most influential film in the country’s history.

Herzog reunited himself with his long-time onscreen muse, the controversial Klaus Kinski who plays the iconic role of Count Dracula with such intense menace that at times he surpasses Max Schreck’s portrayal of the iconic character. The film also includes an impressive supporting cast including legends of European cinema, Isabelle Adjani and Bruno Ganz.

Not once does Herzog’s Nosferatu suck the life out of the original’s legacy but instead breathes new life into it, as well as making perhaps the single greatest remake of a classic horror film ever, just think of the ground that covers. The movie contains the right amount of grimness and gore that you want in a vampire flick, while also postulating on themes of abject loneliness and immortality, that positions Dracula as a tragic character, albeit a frighteningly monstrous one.

10 Underrated American Movie Masterpieces of The 1990s

Wed, 29 Jul 2020 12:11:28 GMT

At Taste of Cinema we’ll be the first to admit that the term “masterpiece” gets tossed around more than a beachball at a Coldplay concert, often designated to films that are very of-the-moment but lack any kind of longevity or lasting resonance (this explains how high-profile Oscar winners like Forrest Gump, Crash and Green Book can initially win accolades only to be universally derided and mocked once the honeymoon is over). It’s with a little of that 20/20 hindsight that the following list has been made, looking back at fairly recent cinematic history to the American films that have left an undeniable and influential mark and yet, largely remain overlooked outside of niche audiences, often of fellow filmmakers or cineastes.

The 10 films that follow were released in the 1990s and in the years since have proven their influence and artistic merit, guaranteeing startling reveals, original and/or reworked expressions and ideas that may well become your new cinematic obsession. Enjoy!

10. Tombstone (1993)

One of the unexpected pleasures of George Cosmatos’s revisionist western Tombstone is Val Kilmer’s scene-stealing supporting turn as an enervated yet altogether dangerous Doc Holliday. “I’m your huckleberry,” he ripostes, trying to veneer his exhausted, TB-racked frame. Doc, along with Wyatt Earp (Kurt Russell) and his brothers Morgan (Bill Paxton), and Virgil (Sam Elliott) take on the Clanton gang, bringing justice and decorum to the off-course town of Tombstone, Arizona.

Riding the renewed wave in westerns that returned during the 1990s, Tombstone’s untraditional genre reshaping renounced historical accuracy, narratively speaking, in favor of, amongst other things, feminist philosophy — the women in Tombstone, particularly Josephine (Dana Delaney) is lax, liberated, and impossibly contemporary — and flashy window-dressing. It’s swagger is trivial for all the fist-pumping action sequences and indelible one-liners it delivers.
“You’re a daisy if you do.”

9. Welcome to the Dollhouse (1995)

Todd Solondz’s second feature as writer-director is the bitterly amusing coming-of-age black comedy Welcome to the Dollhouse (his first feature film was 1989’s little seen musical comedy Fear, Anxiety & Depression), and it was the toast of Sundance in ‘95, where it took home the Grand Jury Prize.

Set in one of writer-director Solondz’s favorite locales, middle-class suburbia, Welcome to the Dollhouse unrolls amidst a New Jersey adjacency where a ruthlessly teased middle-school student, eleven-and-a-half-year-old Dawn Wiener (Heather Matarazzo) lives. Painfully shy and reluctantly nicknamed “Wiener Dog” by her peers, Dawn is the middle child caught between her snobby nerd of an older brother Mark (Matthew Faber) and her fawned over little sister Missy (Daria Kalinina), with little room for herself to fit in and be a pre-teen.

A frequently dark and oftentimes cruel tale of 7th-grade exploitation –– this is a Solondz film, after all –– Dawn isn’t always portrayed in a sympathetic or even pleasant light. She’s rather flawed, and frequently contentious, even when being harassed and hazed by her tormentor Brandon (Brendan Sexton III). A critically lauded picture, and something of a sleeper, this is a quirky and rather cold-blooded account of the awkward stage before adulthood, told with provocation and spite, yet guiltily as amusing as it is mean.

8. Trust (1990)

Writer-director Hal Hartley (Simple Men, Amatuer) is in fine form in this engaging, darkly romantic, and delightfully droll indie comedy, Trust. A favorite amongst Hartley fans, this clever and quirky film features two brilliant performances from leads Adrienne Shelly and Martin Donovan as unlikely Long Island love interests Maria Coughlin and Matthew Slaughter.

Maria is a high school dropout and expectant teen mother and Matthew is an unemployed electronics wizard –– he just told off his boss before locking his head in a vise –– who has issues controlling his temper and has one dick of a deadbeat dad (John MacKay).

Hartley’s dialogue sparkles, and while the world he has created is bleak and bereft, it’s populated with engaging and intelligent characters, wry observations, and clever complications. The stylized and formal presentation, which is quite creative considering the low budget and largely unrecognizable cast, may take some warming for audiences unfamiliar with Hartley’s sophisticated approach to storytelling and postured subtlety, but for fans, this film is catnip. Self-conscious, stubborn, and fanciful perhaps to a fault, Trust is an arthouse gem that’s as sardonic and sincere as the two young lovers at its generous heart.

7. Twin Peaks: Fire Walk with Me (1992)

David Lynch is certainly no stranger to exposing the darkness belying the underbelly of small town America, and this is exemplified and epitomized both in his groundbreaking neo-noir mystery film Blue Velvet (1986), and his iconic 1990s TV series Twin Peaks.

Morally ambiguous and deliberately arthouse, Fire Walk With Me appeared in multiplexes a year after the Twin Peaks TV series was unceremoniously sacked (thankfully resurrected in 2017), and fans hoped it would shed light on the cryptic and confusing series finale – itself a small-scale masterpiece of expectation subversion – the film was, for better or worse, a hallucinatory and amusing mindfuck.

Lynch, with his uncanny talent for sidestepping easy categorization makes challenging, adult-oriented cinema, Fire Walk With Me, which was critically derided and outraged fans of the TV show back in ‘92, has, in recent years, been reassessed and rightly recognized. And while it didn’t pick up where the series ended, it’s a kinda sorta prequel that details both FBI Special Agent Chester Desmond’s (Chris Isaak), and Agent Sam Stanley’s (Kiefer Sutherland) murder investigation of Teresa Banks (Pamela Gidley), pre-dating the Twin Peaks murder mystery slant, as well as the days leading up to Laura Palmer’s (Sheryl Lee) disappearance and death.

Made complete with standout performances – Ray Wise is terrific, as is David Bowie in a small role, and Kyle McLachlan’s Special Agent Dale Cooper is a customary cult icon – an atypically haunting Angelo Badalamenti score, and a formalistic and denotative directorial style. Mental misery is given a masterclass, and the whispered line, “he’s under the fan now” is pure nightmare fuel, is it not?

6. Ghost Dog: the Way of the Samurai (1999)

Ghost Dog is, simply put, just another one of those hip-hop gangster movies infused with Japanese warrior folklore, filtered through the French existential thrillers of Jean-Pierre Melville, with a splash of Seijun Suzuki for added sting. Got that?

Forest Whitaker astounds as the eponymous Ghost Dog, a contract killer without peer, also the retainer of a Jersey City-based Mafia don named Louie (John Tormey), who saved his life years ago.

An obvious homage to Melville’s Le Samouraï (1967), Ghost Dog is an imaginative, stylish, surreal fever dream of a film with a poignant lead performance from Whitaker, a genius score from Wu-Tang Clan’s RZA, and the familiar flourishes and arthouse embellishments that Jim Jarmusch (Down By Law, Dead Man) fans have come to expect. That said, this is a melancholic, meditative, and anodyne affair, and not your typical action-thriller by any means. If you like your films subversive, off-kilter, deliberately paced and unpredictable than you better bay at the heels of Ghost Dog. And if Jarmusch and his fans have their way, a long awaited and hotly anticipated sequel just might materialize in the not too distant future.

10 Great Lesser-Known Movies Made By Legendary Directors

Wed, 29 Jul 2020 12:07:33 GMT

The people featured on this list have all made a lasting influence on cinema as a way of artistic expression. Time in which they created their finest works differs, their beliefs differ, their styles and methods differ, yet every one of them touched our minds and souls in a way that made us feel.

Fortunately, most of them pumped out quite a number of good films. Some became instant classics, winning the hearts of the audiences the moment they hit theaters. Some spent some time in the shadows before getting recognized and are now celebrated as the very best of their respected genres, cinematic landmarks and turning points in the history of art.

Some, however, never got the chance. Whether because they collided with the morals of the society of their time, or because their makers still didn’t make a name enough for themselves, or because something else got in their way to the theaters and homes of movie lovers, these flicks were sentenced to a life of obscurity.

They still lurk in the thick shadows of the luckier creations of their masters, desperately waiting to be seen and appreciated. This is a list about them.

1. Dementia 13 (1963) – Francis Ford Coppola

Coppola made quite a breakthrough in the industry in 1972 with The Godfather, then went on a masterpiece spree with the 1974 sequel and Apocalypse Now before slowly fading away to a less succesful period, with occasional semi-hits such as the final part of the trilogy or Rainmaker.

His pre-72 career is a thing of mystery for everyone except for the hardcore fans of his, who, frankly, are not all too numerous. It is riddled with a handful of attempts at the extreme, from borderline porn to a few cute little cheesy scares such as this one.

After the troublesome production in England, the film opened to not-so-great reviews and commercial gains, and it didn’t have the lucky fate of many hidden gems of the greats that wind up rediscovered many years after their painful failures, so it is still not often brought up when discussing Coppola’s career. Unfairly, though: a masterpiece it absolutely is not. A short little picture with a running time of less than 90 minutes and a handful of scares and laughs it most definitely is.

2. Dark Habits (1983) – Pedro Almodovar

As is often the case with unusually prolific filmmakers, Almodovar’s body of work ended up huge, at moments watered down, and too large to get properly grasped by the general public. The start of his cinematic ventures began with camp, unraveling to a more mature, albeit less successful phase.

His early days are marked by films of great silliness and oftentimes questionable moral values, serving as a lashout of a man of unbridled perverty, long supressed by the Franco regime. Even with that in mind, this one takes it a step farther than most of his flicks.

The story is centered on a woman who joins a group of nuns hoping to find inner peace after some unusual troubles in her private life, but it doesn’t end up the way she or you might have expected: the nuns are a bunch as filthy and morally corrupt as everyone else, and they endulge in every single vice one could think of, from premarital sex to hard drugs.

While Almodovar was never a stranger to censorship, Dark Habits was kept from the public eye and rejected by every major film festival and organization of its time in a weirdly meticulous way. The chief reason was the content of the film, which, besides the scenes that were shocking in their visuals and content, also critiqued organized religion (the Catholic Church in particular) as a hypocritical concept in a way that wasn’t exactly subtle or tasteful.

3. The Goddess (1960) – Satyajit Ray

Hindi cinema is undeservedly neglected by even some of the more open minded film connosieurs. Mister Ray is sadly more known as a persona, a godfather of Bengali film of sort, while his actual works are not seen and analyzed even by those well aware of his significance.

The Apu trilogy remains his best known set of works by far. The rest of his opus is mostly unknown as a whole, so to group any of the remaining ones in the „lesser-known“ category wouldn’t be that much of a mistake.

Devi made the cut for this list, however. Despite what we previously said about almost the entirety of Ray opus qualifying for this list, this film wasn’t chosen at random.

Combined with slight comedic overtones, it is a powerful story of a wealthy Indian aristocrat whose life is coming to an end. He has a vision of his teenaged daughter-in-law being a human incarnation of a goddess, and clings on to her as his last hope. She soon begins to be venerated by Hindu believers from the surrounding towns and villages, especially the downthroden ones, who believe that she posseses special powers required to turn the course of their wretched lives in a different directon.

Perhaps this comment is coming from a subjective point, but none of Ray’s work, and he sure worked a lot, came close to dissecting the Indian society’s views of human interaction, religion and social hierarchy as much as this one.

4. The Hunters (1977) – Theo Angelopoulos

Coming shortly after the fall of Greek iron-fist military dictatorship, this film makes a political commentary mixed with nightmarish sequences, sometimes apparently unrelated, reaching the climax and cooling off in a fever dream-like way, unusual even for generally experimental Angelopoulos.

Six wealthy snobs, that rose from the ashes in the aftermath of the bloody civil war of the 1940s stumble upon a frosted corpse of a communist partisan, their former opponent, looking fresher than it should after rotting away for three decades.

That is roughly the plot, but this isn’t a neccessarilly a plot-oriented experience and, although it tries its hand at critiquing right-wing politics, it also explores many other themes throughout the roughly three hours of its running time, and isn’t trying to send it message in an on-the-nose way, so you should forget all your worries about this film’s potential overt political undertones if you are not particularly inclined to agree with its leanings.

5. Chimes at Midnight (1965) – Orson Welles

Beginning his life as a Hollywood boy-wonder, climaxing with the head-spinning fame and acclaim of Citizen Kane, Welles’ life slowly spiraled down to an impoverished bohemian on the streets of Europe doing gigs of questionable quality for a buck or two, and was filled with interesting titles, spanning across all phases of his work.

That made this choice incredibly hard, but there is something about Chimes at Midnight that makes it stand out in the Welles catalogue moreso than the avant-garde F for Fake or the classically charming Macbeth and Othelo. Unlike the two fine but straightforward adaptions, this picture draws upon the Shakespeare character of Falstaff (the film was marketed with the name of the main character in the majority of European countries at the time of the release), while also building a completely new narrative that is Wellesian as much as Shakespearean.