the suspect ( 1998 film )
david denby has been a staff writer and film critic at the new yorker since 1998 .
visual anthropology review 14, no. 1 (spring / summer 1998), 45 - 57 .
the last broadcast (1998), a cult horror
found footage
film, was notable as the first feature - length video shot and edited entirely on personal, consumer - level digital video equipment (for a reported $ 900) - without the use of celluloid film. it was the first feature to be theatrically - released digitally via satellite to theaters across the united states, on october 23, 1998 .
a computer scientist running a virtual reality simulation of 1937 becomes the primary suspect when his colleague and mentor is murdered .
a man begins to suspect his neighbors are not what they appear to be and their secrets could be deadly .
roland emmerich' s 1998 godzilla was many things (most of them bad), but it wasn' t really a godzilla movie .
taylor has also been the subject of continuing creative analysis and self - analysis: his autobiography, private domain, published in 1987; matthew diamond’s 1998 film dancemaker. now comes another. it’s very good .
after a simple jewelry heist goes terribly wrong, the surviving criminals begin to suspect that one of them is a police informant .
the whole film feels superimposed, while the story underneath remains frozen and lifeless .
we don' t have enough data to suggest any movies based on the suspect. you can help by rating movies you' ve seen .
some interpreted the film as an adaptation of the tragic greek myth about orpheus and eurydice .
winston, brian 1995 claiming the real: the documentary film revisited. london: bfi .
a triumphant accomplishment stemming from the danish dogme 95 movement, vinterberg’s stripped down, intensely emotional 1998 film, mixes comedy and misery as it navigates the story of a family gathering in which disturbing truths emerge about the respected family patriarch. winner of the top prize at the cannes film festival, the celebration, is unquestionably one of the most influential films of the last few decades. 105 minutes .
bordwell, david 1985 narration in the fiction film. madison: university of wisconsin press .
gene hackman and willem dafoe in the 1988 film mississippi burning. photograph: allstar / cinetext collection
who needs subtitles when a film has as much slam - bang action as the suspect, the second south korean spy thriller to arrive here in as many months. reflecting the heavy influence of the bourne movies, this hyperkinetic pulp entertainment features enough car chases, shootouts and fight sequences to please genre aficionados of all ethnicities .
crew: camera (cinevex color), simon duggan; editor, suresh ayyar; music, david hirschfelder; production designer, richard bell; costume designer, jeanie cameron; sound (dolby), john wilkinson; technical adviser, davie; assistant director, karan monkhouse; casting, greg apps. reviewed at uip screening room, sydney, march 2, 1998. (in melbourne film festival - opening night; montreal film festival - competing; london film festival .) running time: 101 min .
after reappearing, laura herself became a prime suspect in the murder case, since it was possible that laura killed diane redfern out of jealousy for her association with shelby. another suspect was anne treadwell (judith anderson), laura' s wealthy, amoral spinster aunt who was neurotically in love with shelby and decidedly defensive and jealous of the younger laura, her engagement, and her possible forthcoming marriage to carpenter .
first - rate performances from hugo weaving and tony martin distinguish
the interview ,
a taut, consistently intelligent drama about the grilling of a murder suspect by a tenacious, though flawed, law officer. basically a three - hander, debut film from director craig monahan is a rich cinematic experience despite its claustrophobic settings .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
this solid action thriller from ringo lam is more competent than spectacular, which registers the film as an eventual disappointment .
barnouw, erik 1974 documentary: a history of the non - fiction film. new york: oxford university press .
this film is not currently playing on mubi but 30 other great films are. see what’s now showing
now granted, emmerich and devlin obviously know their b - film history, and that being the case may well have been aware beast from 20, 000 fathoms (along with king kong) was a fundamental inspiration for 1954’s gojira, but that doesn’t change the fact that, despite their use of the name, what they made was a reboot of the 1953 film, not the 1954 film or any of the godzilla films that followed .
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
barsam, richard meran 1973 nonfiction film: a critical history. new york: e. p. dutton .
first - rate performances from hugo weaving and tony martin distinguish “the interview, ” a taut, consistently intelligent drama about the grilling of a murder suspect by a tenacious, though flawed, law officer. basically a three - hander, debut film from director craig monahan is a rich cinematic experience despite its claustrophobic settings. pic had a generally enthusiastic launch as [ … ]
crew: camera (color), joey forstyte; editor, william mercer; original music, shark; music supervision, pajama party prods. ; production design, robert harbour; costumes, shanna gold; sound, dwayne dell; casting, mary margiotta, karen margiotta. reviewed at sundance film festival (american spectrum), jan. 24, 1998. running time: 90 min .
first - rate performances from hugo weaving and tony martin distinguish “the interview, ” a taut, consistently intelligent drama about the grilling of a murder suspect by a tenacious, though flawed, law officer. basically a three - hander, debut film from director craig monahan is a rich cinematic experience despite its claustrophobic settings. pic had a generally enthusiastic launch as the opening night attraction of the melbourne film festival, and is about to embark on the international fest circuit. it should perform solidly in arthouses in australia and, if carefully handled, in other key territories .
the set - up to this film is elaborate, and there was an obvious expense in the film’s locale and cast of hundreds. still, the result is more bland than anything else, as there is a distinct lack of passion in the film. though ringo lam has never been an emotional character director, his ability to craft gripping, intense situations is unparalleled in hk. that ability escapes him here, as the story is interesting but ultimately uninspired .
` 'deceiver'' is a chinese box of a movie, in which we learn less and less about more and more. it' s centered in a police interrogation room, where a rich kid undergoes a lie detector test in connection with the murder of a prostitute. did he do it? at first it seems he did. then he turns the tables on the two cops running the polygraph exam, and by the end of the film everyone is a suspect .
jayne heitmeyer and jacob tierney play mother and son in the film even though in real life, she is only 9 years older than him .
out of jail after serving 12 years for murder, ex - assassin don (louis koo) is asked to kill a presidential frontrunner by his buddies max (julian cheung) and chan hung (simon yam). when don refuses the job, they made him the obvious suspect after the candidate is assassinated .
one of the reasons the godzilla films seem so silly to american audiences is that this self - consciousness and the deep, specifically japanese roots were often excised by american distributors or were simply missed by american audiences. most attempts to americanize godzilla end up stripping away everything he represents to his original audience, and in the case of the 1998 movie, that left us with nothing more than a big mutated dinosaur .
known in the uk as' liar'. great film, clever story, good twists and totally original, probably the best part i' ve seen tim roth play
ginsburg, faye 1995
the parallax effect: the impact of aboriginal media on ethnographic film ,
visual anthropology review 11 (2): 64 - 76, fall .
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
bordwell, david, and kristin thompson 1993 film art: an introduction. fourth edition. new york: mcgraw hill, inc .
in the film, celebrated, snippy gossip columnist waldo lydecker (clifton webb) functioned as laura' s svengali - like mentor and protective confidant in a platonic relationship, when he helped her become a successful advertising executive. womanizing, effete southern playboy shelby carpenter (vincent price), whose marriage to laura had been recently called off, was also a prime suspect (he confessed later to being present at the murder scene when the off - screen shooting occurred) .
ellis, jack c. 1989 the documentary idea: a critical history of english - language documentary film and video. englewood cliffs, nj: prentice hall .
after krishna sets fire to his brother’s motorbike, his mother abandons him at the apollo circus and tells him not to return home until he can afford 500 rupees to pay for the bicycle. he takes a train to bombay where he finds a job selling tea, but the streets aren’t kind to krishna as he struggles to survive among seedy individuals in hope of one day returning home. the film earned an oscar nomination for best foreign language film and won the golden camera and prix de publique awards at the 1988 cannes film festival. 113 minutes .
plans for those two sequels were quickly scrapped. toho snatched the licensing rights back from sony, and immediately began damage control by pushing ahead with their own godzilla 2000 in an effort to get the true series back on track. there’s even a sly, snide jab at the emmerich / devlin film at the beginning of 2001' s godzilla, mothra, king ghidorah: giant monsters all out attack. upon hearing about a monster attacking the east coast of the us in 1998, a student asks ,
that was godzilla, right ?
a fellow student responds ,
the americans say it was, but the guys over here have their doubts. ”
claims that he and john ad - libbed most of their dialogue. this may be true, due to the fact that they often interrupt their own lines and stutter in the film .
though most of the film is set in the drab interview room, cinematographer simon duggan pulls out all the stops to make “the interview” a potent visual experience. occasional flashbacks are hardly necessary, but do succeed in lightening the claustrophobic mood at key intervals .
production: a globe films (australia) release of an australian film finance corp. presentation of a pointblank picture / interview films production, with the assistance of the australian film commission. (international sales: southern star films, sydney .) produced by bill hughes. directed by craig monahan. screenplay, monahan, gordon davie .
kelman, ken 1978 las hurdes. in the essential cinema. ed. p. adams sitney. new york: anthology film archives. pp. 122 - 126 .
in this enigmatic, cinematically puzzling, allegorical and ambiguous new wave film - a black and white, slow - moving, expressionistic film and fragmented tale from director alain resnais - it mixed time (past and present), and reality (fantasy vs. memory). it was about dreamy seduction, memory, the past and the present, the reconstruction of reality, and time. [ note: in the original screenplay by alain robbe - grillet, there was an explicit forceful rape, but it was not fully pictured in the film. ] many critics have regarded the film as having a strong influence on stanley kubrick' s the shining (1980), david lynch' s mulholland dr. (2001) and inland empire (2006) .
after the ritual sacrifice of a rooster in the opening sequence - - not unlike the slitting of the eye at the opening of an andalousian dog, which, in buñuel' s words ,
moves the spectator into the cathartic state necessary to accept the subsequent events of the film
( edwards 1982: 59) - - we are primed to enter las hurdes .
when buñuel' s film went into commercial release in 1937, the british film director basil wright praised it as an important work of non - fiction, while criticizing the inappropriate voice - over commentary and poor choice of music. wright was one of the most respected documentary filmmakers of his generation; as much as anyone, he helped define the parameters of the form. he concludes his enthusiastic 1937 review of land without bread with the following comment ,
unfortunately ,
of course, those subtitles will come handy when it comes to discerning the complexities of the exposition - heavy, flashback laden narrative. with a bloated running time of 137 minutes, the film threatens at times to wear out its welcome .
in london, steven grlscz helps the suicidal maria vaughan in the subway and seduces her. after a period living with maria, steven kills her in his apartment drinking her blood and dumps her body in the sea. steven becomes a suspect for the londoner police and is chased by inspector healey. meanwhile steven meets the structure engineer anne labels and she falls in love with him. however, she discovers a dark secret about her lover that needs to survive .
in the fictional republic of zubrowka, a legendary concierge, gustave h. (ralph fiennes) and his lobby boy turned personal assistant, zero (tony revolori) run a popular alpine resort well known for providing wealthy clientele with “exceptional services. ” when one of gustave’s lovers, an elderly hotel guest, dies mysteriously, gustave finds himself the owner of a priceless artifact and the primary suspect of her murder. nominated for 9 academy awards including best picture, wes anderson’s latest film has earned widespread critical acclaim for its unique style, charm and elegance. 100 minutes .
land without bread marshals a host of devices conventionally associated with non - fiction film, for example, the introductory intertitle that proclaims ,
this is a filmed essay in human geography made in spain in 1932 .
the film appropriates the style of an
illustrated lecture
to introduce viewers to the secluded region of las hurdes. it explores with apparent scientific rigor the way of life of a people. it is worth recalling what many consider the canonical work in this genre, robert flaherty' s popular first feature nanook of the north (1922), the most famous ethnographic film of the pre - world war ii era. as critic ken kelman first noted, land without bread bears important stylistic similarities with nanook of the north (1978: 125) .
after his ex - wife dies in a fall from her balcony, police sgt. henry smovinsky gets custody of his troubled teenage son. smovinsky soon finds out that his ex - wife was a high - class hooker, her death was not a suicide and that the police have chosen him as their prime suspect. maggie furness is the only cop willing to help him protect his son and track down the real killer .
mission accomplished, tweaky tim doesn’t let it rest. indeed, he encourages the police to suspect chris of foul play, seduces latter’s girlfriend emma (keri russell), and finds other ways to “have a little fun. ” mean - while, natalie commits suicide — for real. loyalties between remaining trio grow ever more uneasy, leading to inevitable cliff - side finale .
in another sequence, we are informed, in words taken almost verbatim from legendre' s book (1927: 126), that
one eats goat meat only when one of the animals is killed accidentally. this happens sometimes when the hills are steep and there are loose stones on the footpath .
a remarkable two - shot sequence ironically illustrates this claim. in the first image, at the moment the goat slips in the distance, a puff of smoke appears in the lower right - hand side of the frame. a reverse angle match - on - action shot then shows the animal falling from above. from one image to the next, the camera shifts from one side of the mountain to the other. to fabricate an illusion of continuity, the film crew shot the goat, hauled its carcass up the side of the mountain, and threw it off again. by leaving the traces of this process in the film, however, the director undermines the illusion and exposes the artifice of montage .
when a prisoner transport plane crashes, one prisoner, mark sheridan, skillfully escapes and saves lives at the same time. deputy sam gerard and his team of u. s. marshals pursue relentlessly, but gerard begins to suspect that there is more to the exceptional fugitive than what he has been told. meanwhile, sheridan struggles to avoid capture while seeking answers of his own. until the final scene, both gerard and sheridan are in jeopardy of the unknown .
the film' s message was that there were different archetypal roles to be played by the talents of various apartment tenants to assist story in getting home, but they needed to be matched up correctly during her departure ceremony. heep received assistance from film critic harry farber (bob balaban), but was misled in the match - ups, and then story was mortally wounded by the scrunt. eventually, heep succeeded in identifying the four proper roles, to assist story in returning safely to her world :
in the film' s forward, intrigued local documentary film - maker and reporter david leigh (david beard) explained (to the camera) his motivation for studying a recent series of ritualistic homicides of tv show hosts and crew, allegedly committed by one of their team members, jim suerd. the convicted murderer suerd (who had died in prison after sentencing -
under mysterious causes
) was thought to be troubled and emotionally - disturbed .
a thousand feet beneath the sea, the blackest holes are in the mind ...
however, it was also criticized for its blatant similarities to the blair witch project (1999), although it was actually made first. this inventive mock - documentary horror film took the approach of re - creating the events by a sleuthing documentarian, while blair witch favored the approach of watching unexplained recovered footage .
geis, cinematographer tom hurwitz, and executive producer robert aberlin have done a superb job. aside from the hero - worship, the only other criticism is why it took so long to put this film together. taylor created three dubious memories in 2010; it premiered in early 2011. the work did not receive strong reviews, and is already, at least temporarily, out of the repertory. but it’s the creation of the dance, not the dance itself or its critical reception, which is the film’s subject, so the length of time it took is only a somewhat irrelevant observation. and as for that hero - worship – this is paul taylor. it goes with the territory .
jasmin münchgstettner, a german tourist from rosenheim, finds herself stranded in the middle of the california desert after quarrelling with her husband on their travels. she stops at the bagdad cafe, a truckstop run by the brawny and tenacious, c. c. h. pounder, a woman going through marital problems of her own. the unlikely pair gradually become friends as the film tracks their transformative journey through a colorful cast of cafe regulars. nominated for an oscar, percy adlon’s english - speaking debut film is a heartwarming and humorous celebration of unlikely relationships and the unpredictable directions our lives take. 95 minutes .
' character, was also the name of a real - life chemist and physicist who did pioneering work in the field of electromagnetism. michael faraday is also the name of a street in reston, virginia, in which the film takes place. faraway made a cage of copper, faraday cage, it cuts off electronic signals
grim, gritty, smart, and full of surprises, tim roth plays a very rich, very smart young man being questioned by two detectives who aren' t all that they seem on the surface. the detectives (chris penn and michael rooker) are investigating a gruesome murder for which they have few leads. tim roth' s character, wayland, becomes the prime suspect although the evidence is weak. we are never sure who is in charge of the interrogation, as wayland is very manipulative and the detectives are not squeaky clean, either. this one had the viewer hooked from start to finish .
in addition, the future of anthropological cinema must be nurtured by greater understanding of past endeavors. visual anthropologists need to re - examine the rich history of ethnographic film, including not only forgotten works such as the smithsonian - funded by aeroplane to pygmyland, stirling new guinea expedition (1927), but also the extensive research footage stored in archives. ethnographic filmmakers, like their literary counterparts, should return to the scenes of earlier works. we need, for example, a film on the making of robert gardner' s dead birds (1963) which also explores the remarkable transformations in the highlands of western new guinea after decades of indonesian rule .
as clyde pressed the send button on the phone to the bomb - attached cellphone, rice quickly exited the cell and locked the door behind him. he repeated :
after the daughter of a prominent businessman is brutally murdered, high profile defense attorney kitt devereux takes the case of the accused murderer, rising rapper bobby medina. with a history of drugs and violence, medina is a likely suspect, but devereux suspects there' s more to the case as she locks horns with her ex - husband, d. a. jack campioni, and a wealthy woman whose son is a presidential candidate. dealing with her own tainted past and the unreliable medina, devereux struggles to prove her client' s innocence even to herself .
balakian, anna 1959 surrealism: the road to the absolute. new york: the noonday press .
14. i agree wholeheartedly with sitney' s concluding remarks on land without bread ,
although the film does present a devastating image of the wretchedness of hurdane life, it even more powerfully indicts the documentary genre itself and urbane audiences who respond to it
( 1985: 203). (back )
someone (presumably not buñuel) has added to the film a wearisome american commentary, plus the better part of a brahms symphony. as a result, picture and sound never coalesce
( 1971: 146). while mistaken, wright' s comments hint at the central tension of buñuel' s work .
conley, tom 1987 documentary surrealism: on land without bread. in dada and surrealist film. ed. rudolf e. kuenzli. new york: willis, locker & owens. pp. 176 - 198 .
death hangs over every frame of land without bread, just as the skulls over the church door
preside over the destiny
of the albercans in the opening sequence. for example, the film asks us to believe that shortly before the expedition arrived in las hurdes ,
three men and eleven mules
were killed by honey bees. (the weight of convention remains so powerful that many viewers accept this ludicrous statement as fact .) having seen an itinerary of how death visits the hurdanos - - whether by accident, starvation, or infection - - we begin to wonder how there is anyone left for the film to record. nevertheless, in flagrant contradiction, the narrator matter of factly informs us, after the death of a baby, that
a death is a rare event which can be recorded in this miserable village .
the rush of village women
in crowds to the dead' s house
similarly contradicts the earlier, outrageous, neglect of the child lying in the
lonely street .
( 1995: 84 - 5). macdougall notes the documentary' s
provocatively surrealist
nature in a footnote to his essay on voice in ethnographic film ,
whose story is it ?
( 1992: 39). (back )
'' deceiver'' is similar to'' the usual suspects'' in the way it coils around its central facts, looking at them first one way and then another. it also has a less obvious parallel with quentin tarantino' s practice of working arcane knowledge into the dialogue of his characters. carefully polished little set pieces are spotted through the film; the action stops for well - informed discussions about vincent van gogh, the dangers of absinthe, the symptoms of epilepsy and the relative intelligence of the two cops .
in a dance of seduction, the two unnamed' lovers' recounted a fragmented tale of their perceived reality and unrealized (?) love affair. the puzzling film never clearly ascertained whether x' s claim of a relationship was true or false. what really happened
last year
?
oh, and fun digression time, because the 20th century fox film was very r - rated, fox had to hold off the debut of the first teaser for star wars episode one: the phantom menace and instead timed it with paramount' s the rugrats movie two weeks later. but theaters had no problem running it with walt disney' s r - rated will smith thriller enemy of the state, which opened on the same weekend as rugrats. a similar situation occurred when universal pulled their mummy returns teaser from prints of the grinch out of fears that the pg - 13 movie' s teaser would scare young moviegoers. fair enough, but i remember a number of pg - 13 trailers from other studios playing before that opening weekend showing of the grinch. now the grinch became the highest - grossing film of 2000 anyway, but i would imagine the siege could have used a boost on its opening weekend via star wars fans buying tickets to the siege and then sneaking into the waterboy after the trailer had played .
this film reminded me strongly of all of the student films i was forced to watch and participate in during college. the dialogue is inane, the acting more wooden than charlie mccarthy, and the cinematography and editing reminiscent of that done by young men in their twenties who want to be steven spielberg when they grow up. the editing often cuts too late or too quickly. the cinematography tries way too hard to be avante garde, and instead looks like something sam raimi would have done in the 1970s. dropping in on this film makes me feel like ed wood is still alive, or at least was in 1997 to make this picture. this is bad, people... very bad .
in the film' s conclusion, lydecker attempted to kill laura a second time with a shotgun (hidden in the base of a grandfather clock) in a murder / suicide, rather than leave her to the
vulgar pawing of a second - rate detective
- - but she was saved in the nick of time by mcpherson as lydecker was mortally wounded in an exchange of gunfire with the police .
explores some of the varied faces of lying and deception in our society from the inconsequential to the deeply harmful .
injured but surviving officer white (sitting mute in the back seat) departed with veronica lake - look - alike prostitute lynn bracken (kim basinger), on her way home to arizona after quitting the high - class whore business. as lynn departed and kissed him, she told exley (in the film' s last line) :
macdougall, david 1992 whose story is it? in ethnographic film: aesthetics and narrative traditions. eds. peter i. crawford and jan k. simonsen. aarhus, denmark: intervention press. pp. 25 - 42 .
the vigilante film opened in 1999 (a flashback actually) during the philadelphia home invasion of intelligent engineer - inventor clyde alexander shelton (gerard butler). clyde was watching as his 10 year - old daughter heather (ksenia hulayev) was making him a letter cube - beaded bracelet with the word
daddy .
two intruders broke in :
in the film, mrs pell (frances mcdormand), wife of sheriff' s deputy and lynch mob leader clinton pell (brad dourif), reveals a police conspiracy. this leads anderson and ward to another of the guilty men, who they soon intimidate into a confession. all of these characters are fictional. in place of mrs pell, there was a
mr x
, who has subsequently been named by journalists as highway patrolman maynard king. rather than resorting to the vigilante tactics used by anderson in the film, the fbi allegedly paid cash for information to crack the case. seven men (out of 18 accused) were convicted on relatively minor conspiracy charges. the only man convicted of the manslaughter of the three activists was edgar ray killen, who was finally prosecuted in 2005 .
an image in a government briefing book helped a state department official see “the forest for the trees” in the west bank—and then was shared with the president .
in the small town of cherry falls, a psychotic murderer is killing off the virgins of the local high school .
saving private ryan
is a powerful experience. i' m sure a lot of people will weep during it. spielberg knows how to make audiences weep better than any director since chaplin in
city lights .
but weeping is an incomplete response, letting the audience off the hook. this film embodies ideas. after the immediate experience begins to fade, the implications remain and grow .
though deceiver sometimes confuses being manipulative with being clever, it has enough twists and turns to make it an interesting ride. to say it' s smart would be a bit of a stretch, the plot is a bit outlandish, but it is unique enough to give the film a fresh feel. one might become easily frustrated by its non - traditional narrative, but its not meant as such, instead focusing on the characters, and their role in this mind game, almost in the style of a lynch film. this emphasis on character succeeds largely due to the underrated tim roth, who owns almost every scene he' s in. 3. 5 / 5 stars
wright, basil 1971 land without bread and spanish earth. in the documentary tradition: from nanook to woodstock. ed. lewis jacobs. new york: hopkinson and blake. pp. 146 - 147. [ originally published in film news (london), december 1937. ]
8. tom conley' s 1987 essay includes a shot - by - shot description of the film along with numerous photographs. conley breaks the film down into fourteen sections :
credits ,
la alberca ,
the countryside and abandoned churches ,
the first hurdano village scenes ,
school and writing ,
the lower depths: extreme hurdano town and country ,
scaped goats ,
daily economy and tribulation: beehives ,
cultivation and gathering of food ,
mosquitoes and death ,
dwarfs ,
death: a child' s funeral ,
home life: interior scenes and the death knell ,
and
the end
( 1987: 189ff). (back )
by film' s end, x' s ambiguous allegations about what had happened were completely uncertain, although it appeared that the protagonist had gradually succeeded in readying a to leave the hotel one night for an unknown destination, as m watched them depart from a staircase. however, x' s voice - over account was unreliable and described in the past tense :
one of the ways it undermines its characters is by upstaging them with the plot. we get several theories about the death of the prostitute, and lots of flashbacks in which wayland' s tortured childhood offers explanations for actions he may or may not have taken. facts are established, only to be shot down. having seen the film twice, i am prepared to accept that its paradoxes are all answered and its puzzles solved, although unless you look closely and remember the face of an ambulance driver, you may miss the explanation for one of the big surprises .
this visually captivating and eerie masterpiece follows the journey of an extraterrestrial (scarlett johansson) who is obsessed with luring unsuspecting men into a dangerous and intriguing web. one of the most thought provoking films of 2014, this sci - fi horror combines erotic energy with an unsettling and enigmatic plot. nominated for best international film at the 2015 independent spirit awards. 108 minutes .
dan followed jack to the sf international airport terminal and into an off - limits airplane maintenance hangar for a deadly stand - off. the film ended with allayne, who had flown to sf, shooting jack to death as he was poised to kill her husband - and then in another shocking twist, she admitted her involvement with jack :
and then in one of the film' s most surprising moments set in a getaway airport hotel room, jack suddenly shot partner vickie in the stomach - his plan was to pin vickie' s death on dan and have the diamonds all to himself; but things went awry when a bloodied, still - alive vickie stumbled out into the hotel corridor where jack had to pursue and kill her, allowing dan to escape .
check out highlights from some of the best recent trailers including mandy, the predator, zoe, and the king of thieves .
the turning point in the film comes, i think, when the squadron happens upon a german machinegun nest protecting a radar installation. it would be possible to go around it and avoid a confrontation. indeed, that would be following orders. but they decide to attack the emplacement, and that is a form of protest: at risk to their lives, they are doing what they came to france to do, instead of what the top brass wants them to do .
the film could somewhat simplistically be described as good willing hunting (which i also like quite a bit, save for its
responsibility is for losers !
ending) in the navy with denzel washington in the proverbial robin williams role. and yes we do get a story about a troubled young man and the psychiatrist who heals himself while attempting to heal his patient, along with a token love interest who helps the young man come out of his shell. but antwone fisher doesn' t have the gimmick of making its protagonist into a boy genius, and thus is by default a more realistic film. mr. fisher (derek luke) is simply the victim of an endless stream of societal failures, as parental abandonment leads to abuse in the foster care system and homelessness. already prone to violence and with a bad temper, fisher sees the navy as the last chance to make something of his life, but an altercation puts that in jeopardy .
as story was about to be rescued by the giant eagle, the tartutic monkeys in the trees attacked the wolfish - scrunt and killed it, and she was safely taken .
if there is one single living legend among american choreographers, it is paul taylor. his body of work over a sixty - plus year career needs no elaboration. like balanchine, graham, and cunningham, each of whom he danced for, and tharp, who danced for him, his name alone is sufficient to spark adulation, and to rekindle memories. his was the first modern dance performance that i loved as much as appreciated. the first time i saw his company, i flew out of the theater on an aureole - induced euphoric cloud, while wondering how that piece could have sprung from the same mind that gave us big bertha. and i suspect that everyone remembers their first esplanade .
the film flows seamlessly from rehearsal to interview to commentary to rehearsal, back and forth until the dance’s premiere. gradually, without undue fanfare, the choreographic creation yields to the finished product. jennifer tipton’s lighting design is made to look almost an afterthought, but its impact is apparent and requires no elaboration. while there are some unfortunate fade - outs as the premiere performance progresses, three dubious memories appears indeed rashomon - like as taylor originally described it. the three memories are not of the same event, but rather demonstrate how malleable memories, like taylor’s creative process, can be .
go behind the scenes of the mission: impossible movies, check out the latest videos and trailers, and see which spy movies topped the box office in our mission: impossible guide .
at the execution of ames, clyde had replaced the potassium chloride in the execution drip canister with skin - boiling acid that made the criminal painfully bleed through his skin. authorities investigated the incident as' cruel and unusual punishment.'
monahan and his co - writer, gordon davie, cleverly create a kafkaesque atmosphere in which questionable authority figures may be persecuting a perfectly innocent man. on the other hand, these cops may just be trying to do their job in the most difficult circumstances, attempting to extract a confession from a cunning and dangerous killer. davie, who also acted as technical adviser on the film, is a former police officer who worked for 16 years with the victorian crime squad .
17. in the same review, basil wright discusses joris ivens' spanish earth (1937), for which ernest hemingway wrote, and read, the voice - over commentary. having described the voice - over to land without bread as
wearisome ,
wright contends that hemingway provided spanish earth with
the best commentary in the history of the sound film
( 1971: 147). from my perspective sixty years later, buñuel and unik' s multi - layered commentary in land without bread is far superior. predictably, the first word wright uses to describe spanish earth is
sincere
( 1971: 146). a detailed comparison of the two films would be instructive in understanding the range of documentary approaches in the 1930s. (back )
on december 16, 1995 at 11: 57 am, suerd made a confused and shocked pay phone call to 911 about his missing team members (he said that he had
a really bad feeling about it
). the mutilated bodies of two of them (wheeler and clackin) were found in the new jersey pine lands, with blood in the snow and the hat of the third individual (avkast). leigh covered the subsequent investigation and trial of suerd beginning in june of 1996. suerd was accused, charged and tried as a major suspect (there was blood evidence from all three on his shirt). suerd was found guilty (in mid - july 1996) of two counts of first - degree murder, and sentenced to two consecutive life terms. then, in early january 1997, suerd died in prison of questionable causes .
the name of the character played by renée zellweger ,
elizabeth loftus
is a reference to the distinguished psychologist of the same name, noted for her studies in clinically created false memories .
this
cited by
count includes citations to the following articles in scholar. the ones marked
flaherty' s documentary on the struggle for survival of one inuit family opens with a series of intertitles that introduce the
barren lands
and
sterile
environment of northern canada. against this harsh background, nanook of the north celebrates the nobility of the inuit. as arthur calder - marshall noted, the definitive experience of flaherty' s career was
the discovery of people who in the midst of life were always so close to death that they lived in the moment nobly
( 1963: 67). the second intertitle of land without bread reads ,
las hurdes is a sterile and inhospitable area where man is obliged to fight, hour by hour, for his subsistence .
like flaherty, buñuel frames his work as a conflict of man against nature. but this drama is not fulfilled by the account he provides. nature is not the principal adversary of the hurdanos. the film inverts the epic heroism characteristic of flaherty' s work; though the hurdanos also live close to death, buñuel refuses to grant them a comparable noble savagery .
widely considered one of the most influential films of the 90s, pulp fiction tells the story of two hit men, a boxer, a gangster’s wife, and a pair of diner bandits as their lives intertwine in four tales of violence and redemption. nominated for 7 academy awards including an oscar win for best writing, the film has become a cult classic with spectacular performances from uma thurman, john travolta, and samuel l. jackson. 154 minutes. begins at 6: 30pm !
performance chronicles the story of chas, a violent and erratic east london gang member, who hides out in washed - up ex rockstar turner’s london flat. lifestyles and cultural values collide as the two men embark on a journey filled with sex, violence and, ultimately, transformation. directed by donald cammell and nicolas roeg, this cult film from the 70s is renown for its bold, shocking visuals and mick jagger’s stunning performance. 105 minutes .
basically the story of a man forced to finally see the injustice around him. riley’s movie is designed to do the same thing to you. …
sobchack, vivian 1981
synthetic vision: the dialectical imperative of buñuel' s las hurdes ,
millennium film journal 7 - 9: 140 - 150, fall / winter. 1988 no lies: direct cinema as rape. in new challenges for documentary. ed. alan rosenthal. berkeley: university of california press. pp. 332 - 344 .
boldly shifting from a first - person to a third - person perspective, leigh burst in to michelle' s studio, struggled with her and slowly smothered her with plastic sheeting. he then faced his own video camera and announced that he was going to continue staging his re - enactment of the original killings - to prove suerd was innocent of the murders. he bundled up michelle' s body in his back of his van, and drove out to the pine barrens camp site. he continued videotaping himself at the woodsy site as the film concluded .
a man must survive a prison where hardened criminals battle to the death for the wardens' entertainment .
the following articles are merged in scholar. their combined citations are counted only for the first article .
response to, and even critique of, the much - publicized anthropological expedition. at a time when griaule was collecting artifacts in africa, buñuel recognized that anthropology could find subjects in europe as well. the twenty - seven - minute film is distributed in two different english - language versions, land without bread and unpromised land, as well as french and spanish versions. there are small but significant variations among these versions. for the sake of clarity, i am limiting my discussion to the version of land without bread with the american voice - over commentary. 3
renton, deeply immersed in the edinburgh drug scene, tries to clean up and get out, despite the allure of the drugs and influence of friends .
when the nihilists are ordering pancakes in the restaurant, the female nihilist orders
heidelbeer pfannkuchen
( blueberry pancakes) which one of the other nihilists incorrectly translates to the waitress as
lingonberry pancakes .
( this may be because the nihilists don' t care enough to get her order right. )
when the tables were turned, exley shot lapd capt. smith in the back as he walked away, with his hands in the air. the killing recalled capt. smith' s earlier advice to exley, that a detective should be willing to shoot a guilty man in the back for the greater good .
his cinematographer, janusz kaminski, who also shot
schindler' s list ,
brings a newsreel feel to a lot of the footage, but that' s relatively easy compared to his most important achievement, which is to make everything visually intelligible. after the deliberate chaos of the landing scenes, kaminski handles the attack on the machinegun nest, and a prolonged sequence involving the defense of a bridge, in a way that keeps us oriented. it' s not just men shooting at one another. we understand the plan of the action, the ebb and flow, the improvisation, the relative positions of the soldiers .
q: how do i solve the
to shell beach ...
game on the dvd ?
a spaceship is discovered under three hundred years' worth of coral growth at the bottom of the ocean .
a law - abiding family man, after an atrocious murder of his family, became a crime victim - the lone survivor of his family' s massacre and a man with a score to settle. he planned to conduct an elaborate personal vendetta against his family' s killers - a mission which became highly irrational, uncredible, uncontrollable and implausible by film' s end .
paul taylor: creative domain, directed by kate geis, is not a fly - on - the - wall film like the recent ballet 422, which allowed the viewer to sit in on the creation of new york city ballet’s 422nd ballet by justin peck. rather, it’s a documentary that’s part intrusive camera, part cinéma vérité, and part interviews and narrative, all assembled creatively and coherently. unlike ballet 422, where nycb’s grand scale is broken down to its component parts to illustrate the evolution of one new ballet, paul taylor: creative doman is small scale and intimate. its focus is not on the ingredients that go into creating a new ballet (although they’re included), but on the ‘how’ and the ‘why’ of taylor’s creative process .
john dahl' s modern - day dark noir featured lethal, sexy, amoral, cold - blooded and brainy femme fatale bridget gregory (linda fiorentino), who used her sexual wiles to manipulate a dumb, love - struck boyfriend to murder her husband. [ she followed in the footsteps of two other great femme fatales in film noir - jane greer and barbara stanwyck. ]
the
st. louis federal building
discussed at 21: 00 in the classroom is actually showing the 25 june 1996 aftermath of the khobar towers in saudi arabia. 19 us military were killed in this attack .
10. during the spanish civil war, unik and buñuel worked together again on a film supporting the republican cause. according to helen schawlow, this archival documentary, españa leal, en armas! (1937), also features a
maddeningly detached and ironic
voice - over commentary (1989: 86). unik spent five years in german labor camps during wwii only to die of exposure in 1945 after having escaped from the schmiedberg camp (schawlow 1989: 123). (back )
viewers with long memories may compare monahan’s film to a trio of other famous examples of the police - interview subgenre – robert siodmak’s berlin - made “preliminary investigation” (1931), french director claude miller’s “garde a vue” (1983) and giuseppe tornatore’s “a pure formality” (1994). like those thrillers, “the interview” is confined in scope and marked by fluid direction and camerawork, and its seemingly cut - and - dried case develops in unexpected ways.
the suspect is a 1998 hong kong action film written and directed by ringo lam and starring louis koo , julian cheung , simon yam , ray lui , ada choi and eric moo
the suspect is a 1998 hong kong action film written and directed by ringo lam and starring louis koo, julian cheung, simon yam, ray lui, ada choi and eric moo
the suspect is a 1998 hong kong action film written and directed by ringo lam and starring louis koo, julian cheung, simon yam, ray lui, ada choi and eric moo