|
このページは大阪弁化フィルタによって翻訳生成されたんですわ。 |
Lucio Fulci Conquest was to be a star vehicle for Mexican matinee idol Jorge Rivero, who had begun working more frequently in American and European cinema. More importantly however, it was intended to cash in on the revived interest in the “sword-and-sorcery” genre after the success of John Milius and Oliver Stone’s Conan the Barbarian. To his credit, Fulci took what could have been formulaic exercise in genre and, as he did with Zombi 2, created a film that is arguably superior to the one it was intended to imitate.
Review by David Carter on 10 Jan, 10:47 PM
Lucio Fulci In a 1982 interview with Starburst magazine, Fulci called The Beyond, “an absolute film… a film of images, which must be received without any reflection.” Manhattan Baby is not “an absolute film” and it is doubtful that Fulci would have considered it to be, but it is incorrect to view it as a failed attempt at such. It is a synthesis of Fulci’s two modes of operation, the sublimely surreal and the mercenary, and comes far closer to achieving a balance to these competing concepts than any of his other films.
Review by David Carter on 09 Jan, 9:13 PM
Luio Fulci The New York Ripper’s incredibly realized scenes of violence were primarily responsible for the ire the film drew upon its release. Though not necessarily more violent than that of Fulci’s other films of the period, the violence is not couched in the realm of the fantastic. Instead of presenting the murder as a beautiful set piece in the style of an Argento film, he makes it impossible to remain detached from what is occurring.
Review by David Carter on 08 Jan, 12:17 PM
Lucio Fulci As a haunted house movie, House by the Cemetery possesses a multitude of menaces and scenes of authentic gruesomeness, and although things will get wrapped up somewhat customarily at the end, at great expense to the comfort of the Boyle family, it remains decidedly incoherent. Fulci entertained a preference for atmosphere in his previous film, The Beyond, and the same describes this film: an Italian horror film set in America, pivoting around a child with a curious appellation, and occurring at a house with a cemetery in the front yard.
Review by Rumsey Taylor on 05 Jan, 6:06 PM
Lucio Fulci That Fulci was going for something more grandiose than his previous efforts is evident in the film’s Italian title: E tu vivrai nel terrore—L’aldila. Translating to And you will live in terror—The Beyond, this title implies that the director was not content to depict people dying in inventive ways – as he had in City of the Living Dead – but rather to show characters driven to the brink of madness by the uncanny. Thus The Beyond dispenses with the narrative style of horror and replaces it with one predicated on the absurd.
Review by David Carter on 20 Oct, 3:17 AM
Lucio Fulci Part supernatural mystery, part psychological thriller, part grisly zombie horror, Fulci’s City of the Living Dead is a multifaceted, character-driven tale of terror that manages the impressive feat of creating an appreciable atmosphere of fear while holding its death-defying denizens in check for the bulk of the picture.
Review by Thomas Scalzo on 19 Oct, 3:00 AMThe fact that Contagion counts the entire global populace among its characters means we don’t have much time to care about most of them, but the final scene and coda are so cooly effective that I find myself not caring.
by Michael Nordine on 04 Dec, 10:52 PMShame makes for a clear contrast to American Psycho, countering that film’s histrionic violence with histrionic sex. Both films, however, are about emotionally vacant men and their disconnection from the people around them, and the chief conceptual difference between them is that …
by Rumsey Taylor on 04 Dec, 1:36 PMEvery time Michael Fassbender’s Brandon gazes at a woman for more than a few seconds in Shame, we know exactly what’s about to happen. Since Steve McQueen does, too, he rarely wastes much time getting there. This eventually proves problematic. If we already …
by Michael Nordine on 02 Dec, 7:10 PMMartha Marcy May Marlene depicts a young girl who becomes a part of some sort of spiritual cult for two years, although “cult” is in this case an extrapolation on my part. (The end credits do, however, denominate some of the secondary actors as members …
by Rumsey Taylor on 23 Nov, 9:03 AMAFI FEST Ralph Fiennes exhibits a sort of dignified intensity in his roles that’s hard to articulate. There’s a certain level of eloquence and class to his performances (including and especially his darker turns in such films as The English …
by Michael Nordine on 13 Nov, 2:51 PMAFI Fest During the post-screening Q&A for her lush lesbian romance With Every Heartbeat, writer-director Alexandra-Therese Keining talked about the importance of making a gay-themed movie that embraced beauty and happiness, specifically not leaving its main characters miserable at the end. <…
by Josh Bell on 10 Nov, 6:22 PMRT @FilmComment: Ben Gazzara, Peter Falk, and John Cassavetes on the Dick Cavett Show, back when talk shows were awesome: http://t.co/vswY1EJ9
