Boris Arkadin is a horror film maker. His pregnant wife was brutally murdered by a Manson-like gang of hippy psychopaths during the 1960s. He becomes a virtual recluse - until years later ...
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Jill's an artist. Adam's a filmmaker. And their love life is off the chain. There's no experience too wild, no dare too dangerous -- not even when Jill lets Adam strap her to a gurney in ... See full summary »
Basil, a businessman and Chauffeur, Nick, drive into the heart of the rocky mountains in the midst of perilous weather. When the journey becomes potentially fatal, Basil must decide whether he's prepared to sacrifice his life for another.
Boris Arkadin is a horror film maker. His pregnant wife was brutally murdered by a Manson-like gang of hippy psychopaths during the 1960s. He becomes a virtual recluse - until years later he directs his own snuff inspired movies. He invites actors to take part in an audition at his country manor house - blurring the lines of what is real and what is fiction. Written by
The walls of the mansion where much of the film takes place are decorated with posters of Boris Arkadian's fictitious films 'Premature Burial' (the clip seen at the beginning of the film), 'Pit of Death,' 'Bedlam' and 'The Embalmer.' The credits shown on the posters include not only many members of the crew, but also John Malkovich and Steven Berkoff, both of who were considered for the role of Boris Arkadin. See more »
This isn't a horror film as much as it is a film about horror.
In a Don Quixote-ian attempt to create features outside of the "Holywood" norm, Bernard Rose has created another horror film..but this time, it seems, with no restrictions whatsoever. This has all the feel of the classical "content" driven horror films of the seventies. Don't Look Now - comes to mind as well as other low budget thrillers that have achieved cult status. The director takes us from Hammer Horror to online snuff footage in just a couple reels. Rose has proved himself very capable of handling the genre of horror films with his extensive catalogue, including Candyman and Paperhouse.
Rose is attempting to showing us the unreality of the horror genre and all media in general. The ultimate lies that are inherent in film making...from framing a camera shot to editing to sound design they can all be manipulated to create any response desired. Our response is utter shock at the depravity of the action in this film.
At times the film becomes deprecating and so self referential that I had to laugh. Even the characters laugh at themselves at some of the references. For instance one "actor" is told he, "is the care taker." At that point he realizes the reference himself.
There is a cavalcade of characters from recent history that the film refers to; from Sharon Tate and Roman Polanski (Boris Arkadin Character) to Private Lyndie England, It seems Rose has addressed more in this movie and he's creating more questions than he's answering. Which is fine because, quite frankly, I already forgot what happened in the last "Chucky" movie.
I am glad to see a director let loose and have total control of the production. I would like to see more of it. This isn't mindless or passive theatre and it is definitely worth a more than one viewing.
It is most certainly going to be either loved or hated.
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