Full Contact is a contemporary tale of a man trying to find new purpose in life after accidentally bombing a school through a remotely operated drone plane. Ivan, operating the plane from a far away air force base, has never been to the foreign countries of his attacks, nor has he ever touched the plane he uses to kill. Modern warfare keeps him safe and disconnected from his prey. However, after this incident Ivan’s disconnectedness starts to apply to everything in his life. He is overwhelmed by feelings of guilt that he is unable to process. Continue reading
SYNOPSIS: A defense lawyer risks his career to expose a killer no one else believes exists in this tense noir thriller.
When a farmer and his housekeeper are murdered by an intruder, the police arrest George Braden (John Craven), a hired hand who confesses to spare his pregnant wife Ellen (Teresa Wright) the stress of interrogation. Angering the tight-knit community by agreeing to defend the accused, attorney Doug Madison ( Macdonald Carey) tries but loses the case, and Braden is sentenced to die. With time running out and the execution just hours away, Madison races the clock to find the real killer and prove his client’s innocence. Eerily anticipating the 1959 killings that would later inspire In Cold Blood, Count the Hours was shot by John Alton, an Oscar-winning cinematographer whose credits include the classic noirs He Walked by Night, Raw Deal and T-Men. Continue reading
‘A band of hooded men have formed a court and they are exacting justice upon the criminals who have escaped the reach of the law. The sentence they exact is death by hanging. Using the hangman’s rope from the Scotland Yard Museum they leave their victims hanging from various locations with a file detailing the case against them pinned to the body. Scotland Yard is stumped and have assigned their best man to break the case. Meanwhile another fiend is on the loose, one who is neatly severing the heads of young women. The bodies are found the heads are not.’
– dbborroughs Continue reading
After a night of partying in a mansion with a swimming pool, teenager Tina starts to experience weird things. She hallucinates a violent deja-vu, and hears discomforting sounds. At home she is haunted by a mysterious creature that only she can see. The film suggest several explanations for her visions. Is she overly tense? Psychotic? Drugged? Jealous? Her parents and friends seem to think she is going through a phase. Tina is convinced that the creature is for real, and she starts identifying with in a way that prompts her parents to take drastic measures on her behalf.
DER NACHTMAHR (“the nightmare”) is best characterized as an atmospheric thriller or indeed like a dream: at times feverishly slow, at other times restless and shifting. A vibrant electronica-soundtrack and superb acting from Carolyn Genzkow in the leading role makes it a captivating film experience. Continue reading
A divorced father picks up his eight-year-old daughter Lea. It seems pretty much like every second weekend, but after a while Lea can’t help feeling that something isn’t right. So begins a fateful journey.
Cinema as a mode of fabricated observation can be fascinating because, unless instructed to do so, the camera doesn’t judge. This is the key to entering Patrick Vollrath’s powerful domestic drama Everything Will Be Okay, which chronicles a divorced father’s initially fun day out with his daughter during which life-altering decisions are made. The movie opens with Michael (Simon Schwarz, “About a Girl”) impatiently waiting for young daughter Lea (Julia Pointner) outside her mother and stepfather’s home. He’s itching to go and can’t wait to get her in the car and race her off to the toy store, an innocent start to their time together. Continue reading
Brian De Palma’s trickiest and most ambitious movies often earn the harshest reactions from audiences and critics. Many of the filmmaker’s most sophisticated acts of cinematic gamesmanship are seen by much of the populace, assuming they’re seen at all, as operating on an aesthetic plane that’s roughly equivalent to a fitfully amusing midnight Skinamax entry. Body Double, Femme Fatale’s cynical older cousin, weathered many of the usual accusations of the director’s unoriginality and misogyny. Continue reading
Restored by “La Cinémathèque Française” in 1988
A ghost has been seen during the night in the Louvre Museum (Paris), and a guard is found dying near the statue of Belphégor, a god of Moabites and Ammonites. A young reporter, Jacques Bellegarde, begin to investigate but soon he’s being threatened by some letters sent by … Belphégor
It’s a silent mini-serie in 4 parts, after a popular book of Arthur Bernède, in the style of the 1st Fantômas (in fact, René Navarre was Fantômas in the Louis Feuillade’s movie)
Nearly 40 years later, a remake of this serie was made with Juliette Greco and met a great success in France, and is much better known that this one. Continue reading