To the trained eye of an advanced mystery movie sleuth, spotting the writing team of Pierre Boileau and Thomas Narcejac as the authors of the film you're about to experience is a darn good indication you're in for a treat. Sure enough, Georges Franju's 1961's mystery, Pleins feux sur l'assassin ‒ which shall be referred to henceforth by its English title, Spotlight on a Murderer ‒ is such a treat. While it may have only been the third feature film for the late visionary filmmaker, Spotlight on a Murderer should serve as an inarguable example of just how far one
Results tagged “Thriller”
A most unique mystery/black comedy from Georges Franju receives a long-overdue opportunity to shine in the US thanks to Arrow Academy.
Writer Jordan Peele makes a winning theatrical debut as director.
Get Out was a surprise critical and commercial box-office success earlier this year, seemingly coming out of nowhere to make a lasting impression. Although its themes borrow liberally from disparate film predecessors, primarily Guess Who’s Coming to Dinner and The Stepford Wives, the movie as a whole is a welcome breath of fresh air in the overwhelmingly formulaic U.S. film industry. It’s principally marketed as a horror film, and while it certainly has its share of thrills, it’s more of a Black Mirror alternate-universe mindgame than a typical gory, blood-soaked horror flick. The movie follows an eventful weekend for a
Arrow Video busts Kinji Fukasaku's gritty, offbeat crime drama out of the Toei vaults.
A full quarter of a century before he would stun filmgoers around the world with Battle Royale in 2000, the late Kinji Fukasaku was already blowing his own established cinematic perimeters out of alignment with violent and gritty crime dramas. Certainly, 1975's Kenkei tai soshiki bōryoku ‒ which shall be known henceforth by its international English moniker, Cops vs Thugs ‒ is no exception. It is, however, quite a bit different than the many similarly-themed yakuza flicks of the time, inasmuch as its main protagonist is a cop this time around; one who has learned an effective (though highly questionable)
Two classic features from the one and only Joan Crawford return to DVD thanks to the Warner Archive Collection.
While previously released to DVD by Warner Bros. Home Entertainment, a number of Joan Crawford classics had fallen into that unfavorable "Out of Print" status movie collectors so hate to see. Fortunately, a total of six Crawford vehicles ‒ Dancing Lady, Sadie McKee, Strange Cargo, A Woman's Face, Flamingo Road, and Torch Song (the latter five of which comprised the bulk of The Joan Crawford Collection, Vol. 2 from 2008) ‒ have re-emerged from moratorium thanks to the Warner Archive Collection, two of which are reviewed here. In A Woman's Face, a 1941 thriller from director George Cukor, we not
An all-growed-up Joe Dallesandro stars in this nifty (and violent) little Italian crime drama, recently rescued from obscurity by Arrow Video.
Fresh from appearing in several collaborations for Paul Morrissey and the legendary Andy Warhol ‒ a union which culminated with two of the most notorious horror-comedies ever made, Flesh for Frankenstein and Blood for Dracula ‒ model-turned-actor Joe Dallesandro found himself alone in Europe. Much to his surprise, his underground popularity as a Warhol factory superstar in the US was synonymous with that of "famous" abroad. And it wasn't long before he was being asked (or conned) into making a handful of motion pictures in the continent. One such film was Pasquale (I Am the Law) Squitieri's L'ambizioso, aka The
Elio Petri's forgotten, strange, and very dark satire makes a long-overdue debut in the US from the newly launched Arrow Academy.
The first feature film from Property Is No Longer a Theft director Elio Petri, The Assassin (L'assassino) is an interesting, early test run for the filmmaker's later (and better known) 1970 hit Investigation of a Citizen Above Suspicion by way of Franz Kafka's The Trial. Albeit a very Elio Petri fashion, of course. Interestingly, some Italo movie aficionados around the globe see The Assassin as something of a proto-giallo, as many elements would later become staples in the gialli movement. It also, coincidentally enough, features a character similar to legendary TV detective Columbo, a year after the character first appeared
The Warner Archive Collection shows off two showcases of animators Ray Harryhausen and Jim Danforth in these splendid catalog releases.
Decades before civilized man would figure out new and inventive ways to suck the life out of that good ol' fashioned movie magic previous generations grew up looking up to, a species of gifted animators roamed the great halls of special effects studios near and far. Out of all the long-leggedy beasties, none were as revered and respected as the Hausenusharrius Rayus ‒ better known as Ray Harryhausen to us laymen ‒ whose magnificence and might effectively crowned him King of the Stop-Motion Animators. And it is with one of his tales that we begin this peek at two recent
The Warner Archive Collection brings us two remarkably different ‒ but nevertheless essential ‒ offerings from the inimitable Audrey Hepburn.
In case you missed it, 2017 is already a great year for Audrey Hepburn fans. Twilight Time recently unveiled a gorgeous transfer of Stanley Donen's Two for the Road, wherein cinema's most beloved beauty co-starred with Albert Finney. And now the Warner Archive Collection ‒ who have been unveiling more classic catalogue releases on Blu-ray for film lovers to cherish ‒ presents us with two more for the road in what I can only call an "Audrey Two-fer" (yes, Little Shop of Horrors fans, that may have been a reference). The first title being perhaps the most popular of the
Elio Petri's forgotten, strange, and very dark satire makes a long-overdue debut in the US from the newly launched Arrow Academy.
The final entry of a surrealistic motion picture trio ‒ known to fans as the "Trilogy of Neurosis" ‒ Elio Petri's strange little 1973 comedy Property Is No Longer a Theft (La proprietà non è più un furto) makes a very late US debut via the newly launched North American wing of Arrow Academy, the much more artsy side of Arrow Video. One of several titles inaugurating the Academy (which also includes the celebrated Cinema Paradiso, and offerings from Luchino Visconti and Walerian Borowczyk), Property Is No Longer a Theft is, in one word, "bizarre." But of course, that's what
The Warner Archive Collection brings us the groundbreaking precursor to the revenge film genre in what is easily one of the most beautiful transfers of the year.
A stranger arrives in a small town, only to discover he isn't wanted. While such a premise may have been quintessential in the storyline of every other classic oater western made in the '30s and '40s ‒ to say nothing of many a hicksploitation thriller that graced grimy screen throughout the '60s and '70s ‒ said diegesis has never been more at home than in John Sturges' 1955 Bad Day at Black Rock. Here, in a performance that would earn him a Best Actor award at the Cannes Film Festival that same year, the one and only Spencer Tracy portrays
Pedro Almodóvar's career-defining, groundbreaking dark screwball comedy gets the Criterion treatment ‒ and is just as awesome as you'd expect it to be.
There are few films which can combine failed romances, hysteria, spiked gazpacho, the fine art of voiceover acting, and get fully away with it. And, truly, Pedro Almodóvar is only one filmmaker in the world who could pull such a feat off, which he does flawlessly in his breakout hit, Mujeres al borde de un ataque de nervios. Effectively managing to mix the classic Hollywood screwball comedy with the esoteric humanity of Jean Cocteau and the artistic stylings of Alfred Hitchcock, Almodóvar's acclaimed, award-winning tour de farce returns to delight once more as part of the Criterion Collection ‒ and
Anthony Hopkins stars in a four-year-old dud based off of a decades-old, rejected sequel to 'Se7en,' ineffectively re-written to rip-off the recently revoked 'Hannibal.'
From its opening frame, Solace leaves one with an immediate impression similar to what you might experience were you to take a swig of discounted milk from a bargain market without checking its expiration date first. It feels old. It seems slightly off. The sour taste of Solace only grows worse as all of the the markings of incompetence are repeatedly stamped over it, much like the proverbial image of well-traveled early 20th century Rockefeller's well-worn luggage would sport numerous luggage labels from different parts of the world. Alas, Solace never gets off of the runway, as its director is
The Warner Archive Collection shows us its dark side with two more gems from the fabulous world of film noir.
While history's greatest philosophers wise men may have brought forth many a pertinent question as to the purpose and situation of the human race, it was a total wise-ass the history books have unapologetically miscredited as a guy named Murphy who really seemed to hit the nail on the head with the phrase "Anything that can go wrong, will." In fact, Murphy's Law is one of the few philosophies which can be applied into storytelling without fear of alienating an audience, because if there's one thing any adult who has ever had to work for a living can tell you,
Chan-wook Park's sumptuous period piece is masterfully mounted, compelling, erotic, but is more compelling than involving.
Movies that depend on plot twists have a number of complications forced on them, in order to be good and not just "twisty". The first problem is that the twists have to be big enough that they change the audience's perception of what has gone before, but not so wild that they discount everything that has happened. You want to twist the audience's head from one side to the other, but not clean off. And since most twists occur in order to bring characters into a new light, it's important that the audience has a firm grasp on character before
Imagine a seven-and-a-half-hour compilation of nothing but horror movie previews from the '80s. Then go one step further.
Before the days of easily comprised playlists, which can be effortlessly constructed via an MP3 player synced up to something resembling iTunes, we adults had to deal with the complexities of assembling party mixes with using archaic technology such as analog cassette tapes. If you were lucky, you had a dual-cassette boombox with high-speed dubbing capabilities, but that hardly made editing a breeze: you either knew when and where to release the pause on Deck One as you hit the 'record' button on Deck Two or you didn't. And that was just for audio mixes, kids ‒ compiling a video
Susan Hayward, Anthony Perkins, Tony Curtis, and Shelley Winters commit killer performances in this assortment of murderous movies.
As it has been stated time and time again, the only two things we can be certain of in life are death and taxes. Onscreen, however, within the magical realms of cinematic art (where applicable), the subject of taxation ‒ with the notable exception of various legends hailing from Loxley and perhaps a song by The Beatles ‒ is one of the dullest subjects to spend your money on. Death, on the other hand, is a timeless and bankable topic. Few people would take note of a newspaper headline reading "Taxes Paid" (unless it's a politician or religious leader), but
The Warner Archive Collection brings us both a legendary man and a man of legend in these two High-Def offerings.
Some things simply go well together, hands down. Things like chocolate and peanut butter, Burt and Loni, and ‒ of course ‒ the fine art of combining totally true stories with complete and utter bullshit. And apart from politics and people on social media who should not be permitted to access the Internet, there is no great force behind blending fact with fiction than Hollywood. And for those of you who can't handle a little truth without a bit of falsehoods being thrown into the fray, these two "true stories" ‒ recently released to Blu-ray from the Warner Archive Collection
Runaway locomotives, trainspotting hoboes, rail-hopping escapees, and deep-rooted Deep South prides and prejudices highlight this delivery of Blu-ray goods.
Generally, my attempts at finding a common link between Twilight Time's monthly releases leaves me a lot of room to improvise. In the instance of the label's October 2016 releases, however, I didn't have to delve in too terribly far beneath the surface, especially with titles like Runaway Train, The Train, and Boxcar Bertha staring me right in the face. Combine that with the fact there is an awful lot of Southern drama involved in a large portion of the mix ‒ specifically in The Chase and Hush… Hush, Sweet Charlotte ‒ and, well, I'm sure you get the idea
From classic tear-jerkers to vintage knee-slappers, these goodies are sure to warm the hearts and tickle the funnybones of movie buffs.
It's that time of the year once again, videophiles. And with all of the crazy mixed-up offerings 2016 has been pulling on us from the very beginning, there is some considerable comfort to be found in what Universal Studios Home Entertainment has put together for the holiday season. First and foremost is the prospect of you and yours spending a very Marxist Christmas (or perhaps Hanukkah would be more appropriate) with one of the most eagerly awaited Blu-ray box sets for classic comedy lovers everywhere. I speak, of course, of The Marx Brothers Silver Screen Collection: a three-disc High-Def item
The groundbreaking madness of John Carpenter. The murderous manifestations of Dario Argento. The deranged imagination of Frank Henenlotter. On boy, here we go!
While none of the titles covered in this article are necessarily new to the world of home video by any means, it is with a certain amount of pride I announce these four offerings have received what could very well be their definitive editions. And that's not an accomplishment which is easily accomplished, given the various histories of each flick. John Carpenter's The Thing ‒ now considered one of the finest science fiction/horror hybrids ever made ‒ was initially met with a great amount of disdain upon its debut in 1982, when timid audiences would have much rather consumed the