During a future ice age, dying humanity occupies its remaining time by playing a board game called "Quintet." For one small group, this obsession is not enough; they play the game with living pieces ... and only the winner survives.
This mostly unrelated sequel to Cat People (1942) has Amy, the young daughter of Oliver and Alice Reed. Amy is a very imaginative child who has trouble differentiating fantasy from reality,... See full summary »
It's New Year's Eve. Three drunkards evoke a legend. The legend tells that the last person to die in a year, if he is a great sinner, will have to drive during the whole year the Phantom ... See full summary »
At midnight on Walpurgis Night, an English clerk, Renfield, arrives at Count Dracula's castle in the Carpathian Mountains. After signing papers to take over a ruined abbey near London, ... See full summary »
Enrique Tovar Ávalos
This film contains four distinct, separate stories. "Black Hair": A poor samurai who divorces his true love to marry for money, but finds the marriage disastrous and returns to his old wife... See full summary »
A woman and her daughter-in-law are raped and murdered by samurais during the time of civil war. Afterwards, a series of samurai returning from the war through that area are found ... See full summary »
Like Polanski's heroine in Repulsion, Susannah York's character is one that is seemingly haunted by memories of undisclosed magnitude. These memories are perhaps rooted in some sort of past sexual turmoil that causes York's character to see men as inherently the same. Written by
Early one morning about two months ago, I watched IMAGES for the first time; it's still a movie memory that haunts me. The empty house I was in seemed to grow more and more cavernous as I took in this unforgettable story of a woman whose guilt and grief are driving her further into a stark inner world of madness. Yes, there are similarities to Polanski's REPULSION and even to Antonioni's BLOW-UP (in shot composition); but that is not to say it lacks a feel all its own. Altman shows his typical good judgment as a filmmaker, employing Vilmos Zsigmond as cinematographer, shooting in Panavision with rich, saturated colors oozing through each frame. He was also wise to get John Williams to compose an even-then atypically noisy score, for which the film garnered (wrongly) its only Oscar nomination. How Susannah York escaped at least a nomination as the film's star and co-writer is beyond me; her performance is one of the greatest ever committed to film. She truly seems confused, horrified, and at her wit's end. Her screams will pierce your soul. I can say more, but I will leave it at this: IMAGES is Robert Altman's neglected masterwork, a film that will scar your mind, if you have the strong countenance to endure it.
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