Alan Morris, distraught over the failure of his marriage, shoots his estranged wife, Nikki, a Las Vegas go-go dancer, and vows to kill Michele and Iris, Nikki’s dance partners, whom he blames for his marriage breakup. He seeks out Michele and Iris as they leave the hospital where Nikki has died and runs over Iris and the police officer assigned to protect the two women. Terrified, Michele leaps into her car and flees to Los Angeles. There she finds a job at the Loser’s Club and strikes up an acquaintance with Joe, the club’s parking lot attendant. Alan learns of Michele’s whereabouts, hitchhikes to Los Angeles, murders the man from whom he accepted the ride and steals his car, and begins stalking Michele, who, by now, has moved into Joe’s apartment. After a final narrow escape in which the police arrive as Alan corners Michele at the zoo, he confronts her in Joe’s apartment. His plan is to kill her after forcing her to witness Joe’s murder. Minutes before Joe arrives, Michele breaks free, douses Alan with kerosene, and sets him on fire. Continue reading
The Canyons is a 2013 American erotic thriller film directed by Paul Schrader, written by Bret Easton Ellis, and produced by Braxton Pope. The film is set in Los Angeles and stars Lindsay Lohan, James Deen, Nolan Gerard Funk, Amanda Brooks, Tenille Houston, and Gus Van Sant. The plot focuses on youth, glamour, sex, and surveillance.
For passion, betrayal and murder… there’s still no place like home.
Michael Chambers returns home to celebrate his mother’s marriage. Michael had been ousted from his home town due to his gambling indiscretions and had left his wife to deal with the mess he created. He now must reassimulate back into the town, renew his relationships with his family and friends (and enemies) and, most-of-all, seek out his ex-wife to woo her again. In the process, he obtains a job working with his mother’s new husband as an armored car driver. He almost seems the perfect prodigal son as he finds his niche back in the community and his way back into his ex’s heart. His troubles surmount when he and his wife are caught in the act by her hoodlum boyfriend/fiancée. To get out of this predicament, Michael must concoct a plan to heist of a payroll being carried by his armored car company. Continue reading
Plot Summary: In spring 1976, a 19-year-old beauty, her German-born mother, and her crippled father move to the town of a firefighter nicknamed Pin-Pon. Everyone notices the provocative Eliane. She singles out Pin-Pon and soon is crying on his shoulder (she’s myopic and hates her reputation as a dunce and as easy); she moves in with him, knits baby clothes, and plans their wedding. Is this love or some kind of plot? She asks Pin-Pon’s mother and aunt about the piano in the barn: who delivered it on a November night in 1955? Why does she want to know, and what does it have to do with her mother’s sorrows, her father’s injury, this quick marriage, and the last name on her birth certificate? Continue reading
In the sleepy Spanish town of Granada, a mild-mannered tailor and secret cannibal unexpectedly finds himself falling in love with his latest prospective victim, in director Manuel Martín Cuenca’s disturbing yet intoxicating tale of bizarre romance. Carlos (Antonio de la Torre) works as a tailor in Granada, one of Spain’s sleepy southern cities where time seems to have stopped — and where things that lurk in the shadows can remain unnoticed. Carlos lives alone and rarely interacts with anyone beyond his clients. No one would imagine that this shy and respectable tradesman is actually a murderer and a cannibal, remorselessly targeting Eastern European women who have no papers and filling his freezer with their flesh. Then the truly unexpected occurs: Nina (Olimpia Melinte), the Romanian twin sister of one of his victims, appears at his front door, and love slowly creeps in. Continue reading
One of the Netherlands’s most adventurous filmmakers, Alex van Warmerdam specializes in creepy, fractured riffs on folk tales, and acerbic, surreal analyses of contemporary European society. His latest, Borgman, opens with a tribe of strange nomads being driven from their elaborate network of underground shelters. Their ostensible leader, Borgman, approaches an upper-middle-class home and aggressively begs for money. The infuriated husband, Richard, responds by beating the stranger senseless in front of his appalled wife, Marina. Soon after, Borgman infiltrates their lives — and Marina’s dreams — while Richard begins exhibiting his own increasingly erratic and violent behaviour. Then, Borgman’s associates begin circling the house. While somewhat related to the recent home invasion sub-genre, Borgman is primarily about the tensions, both economic and racial, inherent in modern-day society — especially the psychosexual tensions that characterize the bourgeoisie. Richard can’t help but look at his wife or his children as his property. Marina initially seems quite happy with her function as a trophy mother, but the moment the facade starts to crack she’s more than willing to consider the better offer. Driving the narrative arc and intensifying the disturbing tone is van Warmerdam’s refusal to place his characters morally. The open-ended nature of his allegory makes it feel all the more contemporary and unsettling, and therefore genuinely worthy of that overused term, Kafkaesque. ~ tiff Continue reading
Edmond, a man in his sixties whose wife has recently passed away, is told about a secret establishment where men can spend an entire night in bed alongside beautiful, sleeping young women, who stretch, roll over and dream, but never awaken. Bedazzled by their seductive yet innocent tenderness, but distressed about the reason for their deep sleep, he delves into the mystery of the house of sleeping beauties. Continue reading