That was the work. He understood it so well. He prepared for a year because he was the thing itself. He was a judo champion and then became a dancer.
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He had a tenderness and fragility, and was very sexual, but he also had a violence and fury. You feel it. He could explode at any second. He was limitless. All of your films address issues of desolation and madness. Why are these such key themes in your work? I think my films are about people that take themselves very seriously—not in an ego way, or a stupid way, but in a way where they feel as if they understand or grasp something and follow these things until they find hell in paradise. They follow it until they recognize the deeper truth.
But when you follow a principle to the end, it puts you in conflict with existence. And in odd moments, you lose your sense of humor and why life has humor. You also explore issues of identity and nationality. There are ideas here about birth and corruption, the individual versus the masses, citizenship and rights. It seems like you deliberately set out to make viewers puzzle over lots of things. I think Synonyms is broadly a political film.
For Yoav, his national identity and Israel is like a dragon that he should kill and destroy and fight against—this mythological enemy. And, as you know, these mythological enemies are always yourself. But the film is attracted and seduced and fascinated by all the elements of nationalism. The moment in the metro where Yaron is humming the Israeli national theme—it creates a polemic in Israel, but [Yaron] has his problems. I think the film has a right to flirt with nationalism while condemning it.
For the zombie film or comic book, or cable TV drama , that boilerplate was struck by George A.
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In post-Romero, hyper-allegorized zombie cinema, the hulking undead mass can be generally understood as the anti-Draculean annihilation of capital. Flesh and blood are acquired but not retained; civilization is destroyed but not remodeled. At their apex of their allegorical authority, zombies may fundamentally destroy, as attested by our favorite zombie films of all time.
John Semley. Lucky for them, as it happens, that their hard-ass old man taught them how to shoot the shit out of an Uzi—and look adorable doing it. Budd Wilkins. The film opens with the vision of bucolic scenery blighted by the scourge of industrialization: rolling hills sliced up by concertina-capped fences, billowing smokestacks visible in the hazy distance. Erich Kuersten. They Came Back is a triumph of internal horror, and unlike M. Taken on its own terms, it works quite agreeably as a visceral blow to the breadbasket, with one of the most outrageous and apocalyptic final scenes in the entirety of the subgenre.
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Attacks come fast and furious now, setting a frenzied pace that later zombie films like Evil Dead II and Dead Alive will utilize to infinitely more comic effect. Adrift on the open sea, they catch a radio broadcast from New York. As it will in every mid-period Fulci film, hell has broken loose, and zombie hordes have overrun the outlying boroughs.
In the fantastic final shots, as the panic-stricken newscaster narrates the zombie invasion of his radio station, a mass of zombies cross the Brooklyn Bridge into Manhattan. These are the films from this millennium that have most shocked us by plumbing our deepest primordial terrors. Horror films remain perennially popular, despite periodic and always exaggerated rumors of their demise, even in the face of steadily declining ticket sales and desperately shifting models of distribution.
Into the new millennium, horror films have retained their power to shock and outrage by continuing to plumb our deepest primordial terrors, to incarnate our sickest, most socially unpalatable fantasies. Hoody-clad sadists attack a couple, alone in their country home.
The silence that deadens the air between each new assault becomes more and more disquieting as the film goes on. Simon Abrams. Grim aesthetics and an even grimmer worldview define Black Death , in which ardent piousness and defiant paganism both prove paths toward violence, hypocrisy, and hell. Nick Schager. Returning to the rambling house where he and Eden once lived for the first time since the death of their son, Will finds himself inundated anew by his heartache, and the film, which otherwise hews to crisp, clean realism, is run through with these painful stabs of memory.
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The film masterfully builds itself around the inevitability of a mass terror, aligning our foreknowledge of that with the anxiety felt by the main character, Dani Florence Pugh , in the wake of a recent family tragedy. Pat Brown. Told as it is using a highly symbolic, ravishingly engorged language of dreams, this bloody valentine to Los Angeles naturally leaves one feeling groggy, confused, looking forward and back, hankering to pass again through its serpentine, slithery hall of mirrors until all its secrets have been unpacked.
Much like Ringu , Sinister concerns a cursed film whose audience dies after exposure to it, but here the curse is disseminated not by clunky videotape, but by a box of 8mm films. The projector, more than simply outmoded, is regarded here as practically archaic, and as with Berberian Sound Studio and its reel-to-reel fetishism, Sinister makes quite a show of the mechanics of the machine, soaking in the localized details and milking them for their weighty physicality. Calum Marsh. A gimmick, yes, but more than just a means of superficially keying us into the psyche of the main character, Frank, an antique mannequin salesman played memorably by a minimally seen Elijah Wood.
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Throughout, the film it remains firmly focused on its thesis of Frankenstein as a lens for examining modern society. He diagnoses the rot of our era through these solipsistic men that pour their prejudices and their insecurities into Adam, an open book eventually read back to its authors with a violence they cultivated themselves.
Steven Scaife. The Rage virus itself feels particularly topical in our angry modern times. Jeremiah Kipp. A limo drifts through the lightless void of the Hollywood Hills, red taillights burning in the blackness. An enigmatic woman, ebony hair and curvaceous red lips lending her the air of a tragic beauty, sits in the back by herself.
The woman climbs out of the wreckage stupefied and traipses into the hills, leaving behind the mangled metal and bodies. Soon, a stoic detective arrives on the scene.
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He looks like a lawman, serious, a little sad, his face etched with the wrinkles of time. He examines the cars, offers a few terse observations, gazes out at the nocturnal city sprawling before him. Forster was one of those great actors who appeared in far too few great films. His filmography is rife with bad films, though he was invariably a dependable presence in everything he did.
He played a private eye in s Hollywood in the show Banyon his role in Mulholland Drive almost feels like a brief homage to the short-lived series and appeared in a slew of genre movies for the rest of the s and s. Tarantino fought for Forster to get the part. One less square shooter. One less good man. One less wonderful father.
One less marvelous actor. I remember all the breakfasts we had at silver spoons. All the stories. All the kind words. All the support. I will miss you dearly my old friend. Whereas Michael Ontkean exuded a mercurial youthfulness on the original series, that of a warm-hearted, just man capable of fiery spontaneity, Forster plays the elder Sheriff Truman rather pensively, sagacious and serene.
Which is to say, he acts with the wisdom accrued by experience. The actor brings a sense of honor and dignity to the role, as he did with every role. Forster was a safe, reliable presence, someone you trusted, unflustered, earnest, whether he was fighting monstrous alligators or swooning after air stewardesses. L ike Google, Netflix has evolved over two decades from a Silicon Valley venture to a legitimate verb in the cultural lexicon.
Ten years after expanding from DVD-by-mail to streaming service, and four since debuting its first original series with House of Cards , Netflix all but dominates the online TV landscape.