There’s a quote that I have always liked in Jacques Tourneur’s film noir Out of the Past: “All I can see is the frame. I’m going in there now to look at the picture.” What does that mean to a detective? You know there’s something wrong with a story but you can’t put your finger on what it is. Things don’t quite add up. Part of the effort in my recent Netflix project Wormwood was to construct a picture from various narrative fragments and pieces of evidence. But it’s even more complicated than that. You have various narratives, but part of the narrative is a desire to efface that narrative – to obscure it,
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Jacques Tourneur’s pirate classic had sexuality pulling off its sleeves. irector Jacques Tourneur made a lot of eclectic films during his career, though few were as positioned as amorously in their genre as Anne of the Indies. Featuring a female pirate captain that takes what- (or whom-) ever she wants and a trove of suggestively […]
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Four Faces West
Kl Studio Classics
1948 / B&W / 1:37 flat Academy / 89 min. / Street Date December 19, 2017 / available through Kino Lorber / 29.95
Starring: Joel McCrea, Frances Dee, Charles Bickford, Joseph Calleia, William Conrad.
Cinematography: Russell Harlan
Film Editor: Edward Mann
Original Music: Paul Sawtell
Written by C. Graham Baker, Teddi Sherman, William & Milarde Brent from the novel Pasó por aquí by Eugene Manlove Rhodes
Produced by Vernon E. Clark, Harry Sherman
Directed by Alfred E. Green
Faith-based westerns exist, but much more numerous are lightly inspirational sagebrush pictures that deal
FILMeX unspooled at venues in Tokyo Nov. 18-26 and gave its prizes on Saturday.
Both winning directors are Indonesian women whose films have traveled the international festival circuit. “Seen,” a drama that enters a child’s dream world, has played at Vancouver, Toronto and Busan, while “Marlina” debuted in this year’s Cannes Directors’ Fortnight.
The FILMeX audience award went to “Sennan Asbestos Disaster,” veteran documentarian Kazuo Hara’s film about a lawsuit filed by victims of asbestos poisoning in Osaka. Eight years in the making, the 215-minute film earlier played at the Yamagata documentary festival in October. Hara also served as Filmex jury chairman, a fact he jokingly alluded to in accepting the award.
Of course, Rko didn’t shy away from horror. While their output wasn’t nearly as prolific as, say, Universal’s, it was still quite impressive, boasting some of the most formative and important horror films of old Hollywood. Rko saw the release of a few all-time classics, including I Walked With a Zombie, The Thing From Another World, King Kong, and the topic of today’s Crypt,
Read More:Edgar Wright’s 40 Favorite Movies Ever Made (Right Now): ‘Boogie Nights,’ ‘Suspiria’ and More
Wright wrote an introduction to his list, in which he makes it clear this is simply a list of 100 favorite titles and not his definitive list of the best horror films ever. You can read Wright’s statement below:
Here, for Halloween, is a chronological list of my favorite horror movies. It’s not in any way
Crime of Passion
1957 / B&W / 1:85 widescreen / 84 min. / Street Date September 5, 2017 /
Starring: Barbara Stanwyck, Sterling Hayden, Raymond Burr, Fay Wray, Virginia Grey, Royal Dano.
Cinematography: Joseph Lashelle
Art Direction: Leslie Thomas
Original Music: Paul Dunlap
Original Story and Screenplay by Jo Eisinger
Produced by Herman Cohen, Robert Goldstein
Directed by Gerd Oswald
A key title in the development of the Film Noir, 1957’s Crime of Passion shows how much the style had departed from the dark romanticism and expressive visuals of the previous decade. The best mid-’50s noirs strike a marvelously cynical and existentially bleak attitude regarding crime and society.
Try it yourself: Find a trailer for a recent horror movie on YouTube, then watch it both with and without sound. Likely what you’ll find is as the trailer mounts toward a fright, so does the soundtrack until the scare, when it becomes a speaker-rattling blast of noise. Muffle the sound, and you’ve got a series of visuals that don’t say ‘boo!’ until the final moment.
Read More:‘mother!’: Why Darren Aronofsky and Jóhann Jóhannsson Scrapped the Original Score for a More Expressive Soundscape
However, this isn’t the sole domain of trailer editors. It’s also become a staple of modern horror movies, including the hit adaptation of Stephen King’s “It.”
“It” features a terrifying character/supernatural force, disgusting hard-to-look-at-gore, spooky atmospherics that
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