A peaceful architect becomes a one-man vigilante squad after his wife and sister are raped and murdered by street punks. He goes out and randomly exterminates all kinds of criminals on the mean streets after dark.
This obscure Turkish Death Wish version easily rivals the original one in brutality and mayhem. The last surviving print was found in relatively good condition and released on dvd by Onar Films in only 500 copies.
With Serdar Gökhan, Emel Özden, Melek Ayberk, Reha Yurdakul & Oktar Durukan. Continue reading
Carol Reed reached the peak of his form with this classic noir, an elegy for American innocence and European elegance. Joseph Cotten, in fine form, stars as unemployed pulp-novelist Holly Martins. When he arrives in post-WWII Vienna on the promise of a job from his old friend Harry Lime (Orson Welles), he finds that Lime has recently died in a dubious car accident. Against the advice of British sector authority Major Calloway (Trevor Howard), who accuses Lime of criminal behavior, the indignant Martins decides to stay to investigate his friend’s death. He searches this city of rubble-strewn streets and bombed-out buildings, earnestly questioning Lime’s associates, a cynical, war-weary collection of black-market hustlers. At length, he realizes that the stories he’s hearing are so full of contradiction, he’s getting nowhere. Yet, he’s entranced by Lime’s beautiful girlfriend, Anna Schmidt (Alida Valli), who, unlike the others, seems to have loved Harry. Continue reading
“A man plans a hold-up with a group of trusted fellows, he gets his hands on the money, and the girl – what could go wrong? Almost everything.”
The Locksmith Killer.
Daniel Boisett (Robert Hossein) and his friend Paul Genest (Jean Sorel) are disturbed by the home owner during an attempted safe-cracking. In the ensuing mêlée, Paul accidentally kills the home owner and both men flee the scene in panic. Paul manages to escape but Daniel is shot and wounded by police and is promptly sentenced to a lengthy stint in prison. Continue reading
With Unit 7, Alberto Rodriguez paid homage to his native Seville whilst producing a fine urban thriller. Now he does the same for rural Spain, moving an hour south to the marshlands of Andalucia. While 7 was explosive, Marshland is noirishly tense on different levels, its tight focus on character, its realism, it’s sense of place and its social critique adding up to a grippingly intense whole — and that’s not to mention it’s satisfyingly twisting plotline. Though puzzlingly it’s been overlooked by the Spanish Film Academy as the country’s foreign film nomination, Marshland merits international exposure as an example of both one of the year’s best Spanish-language films and of how to fold significance into genre. Continue reading
A small-town detective searching for a missing man has only one lead: a connection with a New York prostitute. Continue reading
Three young hedonistic sociopaths find themselves in deep, deep trouble in Alexandre Stockler’s ugly 2002 teen drama Cat’s Cradle. Longtime pals and recent high school graduates Gabriel (Cainan Baladez), Cristiano (Caio Blat), and Francisco (Rodrigo Bolzan) are all from privileged Sao Paulo households, and as such, spend the vast majority of their time seeking entertainment in any way, shape, or form. The depths of their depravity become fully apparent when the trio captures and gang rapes a young woman — who dies in the midst of this horrific crime. In a panic, the gang of rapists/murderers try to cover up their crime and quickly discover that the cover-up is oftentimes more egregious than the initial crime, with more death and mayhem following suit. Cat’s Cradle marked the first film of the newly formed TRAUMA (Trying to Realize Anything Urgently and with a Minimum of Audacity) school of filmmaking, a so-called “ironic Latin American response to Dogma 95” co-founded by director Stockler. ~ Ryan Shriver, All Movie Guide Continue reading
Brian De Palma has often been accused of ripping off Hitchcock, the director he most admired as a young man. Nowhere is this influence more apparant than in Obsession which is so heavily inspired by Vertigo as to be suspiciously familiar. Having said that, De Palma’s film is very entertaining in its own right and full of technical virtuosity that serves the story as well as being impressive on a purely aesthetic level.
On a technical level, the film is astonishingly well made. It’s here that De Palma really demonstrates his imaginative brilliance as a director. This was present in large portions of Sisters and Phantom of The Paradise, and even in his early work like the obscure Get To Know Your Rabbit and the underrated Hi Mom, but it flowers in Obsession into a signature style that he has been using ever since. Continue reading