4 items from 2014
Before he spiraled into a critical nose-dive from which he’s yet to recover, M. Night Shyamalan was heralded as the next great American filmmaker. (No, seriously.) Before his gimmickry become obvious–all the twist endings, the important details withheld, trickery in lieu of genuine cleverness–Shyamalan crafted a genuine masterpiece that remains as potent as ever, regardless of the spoiling of its sneaky surprises. Bruce Willis has never approached the grace and subtlety of his performance here; his empathetic, sorrowful turn as a child psychologist searching for redemption deserved an Oscar nod. Maybe he woulda gotten one had this movie not come out in the insanely good movie year of our lord 1999. Willis is matched every step of the way by Haley Joel Osment, giving one of the great childhood performances, and lending credence to lines that could have »
- Greg Cwik
In an odd turn of events, this list has a number of films that don’t have English-language titles. They just go by whatever the original title was. Good for us. What we do see in this portion of the list is a few movies that weren’t really created specifically to be horror films, but their themes and visuals made it so. In addition, we have some heavyweights of non-horror cinema creating horror films that push the genre all the more upward. “Thinking man horror,” if you will.
20. Le locataire (1976)
English Language Title: The Tenant
Directed by: Roman Polanski
Roman Polanski has made one of the greatest horror “trilogies” of all time with 1965′s British production Repulsion, 1968′s American production Rosemary’s Baby, and 1976′s French production The Tenant, completing his “Apartment Trilogy.” Unlike the other two, Polanski actually stars in The Tenant as Trelkovsky, a reserved man renting an apartment in Paris. »
- Joshua Gaul
The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the 1980s (with a particular focus on filmmakers from the New Wave), offering a comprehensive overview of French cinema. The Mystery Of Picasso will screen as part of the festival at 7pm Friday, June 20th at the St. Louis Art Museum.
In 1955, Henri-Georges Clouzot, the acclaimed director of “The Wages of Fear” and “Diabolique,” joined forces with artist Pablo Picasso to make an entirely new kind of documentary, a film that could capture the moment and the mystery of creativity. Together, they devised an innovative technique: The filmmaker placed his camera behind a semi-transparent surface on which the artist drew with special inks that bled through. Clouzot thus captured a perfect reverse image of Picasso’s brushstrokes, and the movie screen itself became the artist’s canvas. »
- Tom Stockman
In the words of James McAvoy Filth is a “bold, brave, controversial and a rare and precious film in English speaking cinema.” One could almost be mistaken for thinking that Scotland’s leading man was referring to his own performance, if it were not for that one singular word “film.” Every great actor at the mention of their name has that one singular film that immediately comes to mind, or in the case of Robert de Niro a handful of films that can spark a furious impassioned debate amongst red-blooded cineastes. For James McAvoy the character is Bruce Robertson; the film Filth.
Whilst in my introduction to Jon S. Baird’s interview I stated that Filth “delivered a shock to the system, and shook up the cinematic social consciousness with a bold and courageous piece of filmmaking.” Equally McAvoy’s full blooded performance delivered the same shock and shakes that »
- Paul Risker
4 items from 2014
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