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97 Minutes | Thriller | 2018-10-24
📥 The Last Berliner 2018
📥 DOWNLOAD HERE
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101 Minutes | Thriller, Action | 2020-08-06
📥 Legacy of Lies 2020
📥 DOWNLOAD HERE
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145 Minutes | Thriller, Drama, Romance | 2016-06-01
📥 The Handmaiden 2016
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**In the circle of romance, deceive and defraud.**
Those who are into the world cinema, particularly the Korean, knows Park Chan-wook very well. But if you don't, then you must. His films are definitely for the grown ups. Like everybody else, my admiration for his work has started a decade ago with the film 'Oldboy'. He had tried his luck in Hollywood with 'Stoker'. Despite a good entertainer, it was criticised. I love Park Chan-wook doing hundred masterpieces like this in Korea than trying to do one in Hollywood. His ability to turn the good book into a great flick was phenomenal. Here it goes another one. This was based on the British novel 'Fingersmith' by Sarah Waters. The story of an orphan woman who assigned to be a maid for a young rich woman who is living under the shadow of her uncle since she has no parents.
Yeah, I was expecting it, but I did not think it would be another masterpiece from the director. I even thought the ratings could be exaggerated, and the reviews from his die hard fans like Nolan's or QT's fans does. The timeline of the story was prior to Second World War Korea under the Japan rule. A perfect setting for such theme. The film opened like it is an average film. That's where all I got wrong. Or probably I judged it too soon. The storytelling was split into three parts and the first part was a bit mix of fun and like any film, introduction, the platform for the rest of the narration filled with surprises.
The young orphan Sook-hee was recruited by a thief who is planning to trick a young woman named Lady Hideko with all the wealth left behind by her parents. The only obstacle for him is her uncle, a guardian. So Sook-hee becomes close to her. More than she had expected, but their plan is working. Now they have to wait for the perfect moment for a perfect strike. When it arrives, an unexpected twist takes the tale to go back to where the film originally had started. But even further earlier and this time, the perspective of the story was from the Lady Hdeko.
> ❝So even if my love for you leads me to ruin, don't pity me.❞
So, with that flashback, the second part begins. But literally it was a series of twist, that keep explaining us in another angle of the whole scenario I had witnessed in the previous part. Believe me, I have never seen such a long twist before. I was like unmoved for that entire segment. One of the best things I have ever in a film. The praise must go to the author, but the director and his actors as well did a fine job. There's a twist in every scene. So, for that one must pay close attention to the first part, despite slow moving story.
But above all, what I'm surprised was I did not know it was a lesbian film. Moreover, I did not think it could have bold scenes for such theme. Everything seemed perfect. I mean the erotic parts are sensual, but very artistic than unnecessary disturbance. Mainly because of stronger hold of the story narration than anything else. Even the pace picks up, like a crazy speed. Everything about the film you would learn in this section. All the secrets of the past revealed and what might comes are still kept under mysterious for the third and final part.
The most awaited, the conclusion part begins forth. For everything we saw so far, what might come after makes this film at its best. Just like the mid part, this is also full of twists. Because it will going to tell who ends where and what they get. Over two hours long film, and every frame are worth. The casting was best and so the setting of the 1930s Korea. Especially I must applaud the filmmaker's effort to turn the original setting from Europe to East Asia. It was great, but still now and then you can see the influence of the original source. I mean western culture, names, architect references which might have come from the book.
Not just the lesbian or a love triangle story, but something like a circle of love with deceive and defraud. You can notice that in the film poster with four main characters. So when it has a multiple strings attached, you could expect surprises/twists from each angle and it gives that more the convincingly. Put this into your must see list. This is not the first screen adaptation, but surely the best so far. Now we can expect a European or a Hollywood project in a big scale soon. Believe me the Oscars would pour in, because it's that kind of story. Highly recommended!
_8/10_
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98 Minutes | Horror, Thriller, Adventure | 2020-07-09
📥 Black Water: Abyss 2020
📥 DOWNLOAD HERE
'Black Water: Abyss' should have been a shrewd, scary situational suspense film along the lines of Alexandra Aja's minor classic 'Crawl' or Jaume Collet-Serra's underrated 'The Shallows', but a low budget, slack pacing and a lack of ideas sinks this one to the bottom of the swamp.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-black-water-abyss-abyss-mally-shoddy
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137 Minutes | Action, Thriller, Science Fiction | 1986-07-18
One of my all time favorites. It still contains some of the drama and suspense of the first but with far more action leading to what I find a far more appealing storyline. As with Cameron's movies he makes you feel for the core characters from the start rather than just a bunch of 'bad ass' marines (Although they are). The progression of Ripley was really defined by this movie the 'brave but scared' Ripley of Alien is gone and a more determined, meaner Ripley emerges with elements of the older nurturing character kept in check with a young girl called Newt. It definitely stands out miles compared to all the other 80's alien-type movies of that decade.
"Ripley and the Soldiers" can be found in two versions: the short version that cuts from Midway station directly to the Weyland-Yutani hearing, and the "director's cut" which cuts to a waiting room with a wall size "scenery channel" display.
When I first saw the short version, I wondered how Ripley was able to make an immediate connection with Newt. "Sister solidarity" sounded bogus, and the "director's cut" cleared up that mystery.
The more interesting "director's cut" reveals Newt's family on LV-426, a long discussion on what the surviving Marines are facing, and an action sequence featuring the deadly Sentry units.
As Ripley suggested, I.Q.s did drop sharply among the Weyland-Yutani brass, with Carter Burke sending a deadly directive to "Hadley's Hope."
In short: Ripley is living the blue collar life by day and experiencing a recurrent "Alien birth" nightmare at night. Carter Burke and Colonial Marine Lt. Gorman visit her, saying contact has been lost with LV-426. Signing a devil's deal with Weyland-Yutani, Ripley boards the "Sulaco" with a "company" of Colonial Marines. To her horror, an android, "Bishop" is part of the crew, recalling the murderous "Nostromo" science officer, Ash. The trash-talking Colonial Marines give Ripley's tale short shrift, as they prepare for the "Bug Hunt." The armed-to-the-teeth party finds no colonists, but evidence of a battle to the death. Then something streaks out of hiding, pursued by Ripley. "Mewt" is the sole survivor of "Hadley's Hope" who views the soldiers with a disdainful "it won't make any differene." A computer search finds the colonists clustered deep below the power plant.
The Marines descend into the sub-sub-basement level and find out how true Ripley's tale is. After retreating from Hell, the survivors seal themselves off from the "Xenomorphs" as best as they can, dispatching "Bishop" to bring down the other drop ship. The Aliens attack and the soldiers fall one after another, leading to an abduction and a face off in an egg-filled chamber. This sequel is superior to the first movie, and leads to "Ripley and the Convicts." 8/10.
**The Disney film of the franchise**
A basic shoot 'em up that comes complete with soldiers greasing up and watching each others muscles and also added an annoying kid straight out of Oliver Twist.
Cameron took everything Ridley Scott slowly built up and tossed it in the trash can to make a cheap shot Stallone/ Schwarzenegger style action fiasco.
People who like this one tend to not be fans of horror movies as they complain about the _dark nature_ of the horror film Alien 3 - LOL - and this is precisely the reason Aliens fails as part of the horror franchise that is Alien.
- Charles Dance
My mommy always said there were no monsters - no real ones - but there are.
Ripley has been found in deep space by a salvage ship and brought back to a space station to be awoken from her 57 year sleep. Here she is mortified to find that the planet on which herself and her now deceased Nostromo crew found the Alien, LV-426, has been colonised by Weyland-Yutani Company. Suffice to say that when The Company representative, Burke, tells her that all contact is lost, she's not in the least bit surprised. Unable to get anyone to believe her about what happened to the Nostromo crew, Ripley is cajoled into going back to LV-426 with a crack team of space marines to seek, destroy or rescue...
How do you make a sequel to one of the finest, most loved modern era films ever? This was something that director James Cameron must have pondered on many a dark night once he had agreed to make Aliens. The answer was to rightly not copy the format so brilliantly laid down by Ridley Scott and his team for Alien, but to embrace its mood and enhance it with thrills spills and exhilaration. This was only Cameron's third feature length movie, and here he was working with the crew who had made Scott's movie so special. Also writing as well as directing, this could have gone very wrong indeed, but Cameron rose to the challenge admirably and set up his marker on how his film would succeed. Keep the premise simple and seamlessly connected to Scott's film, and lets have more. Not just one bad ass acid bleeding alien, but an army of them, and their mother too!
They mostly come at night - mostly.
Where Alien was a splicing of sci-fi wonderment and basic horror terrors, Aliens is a blend of war film staples to compliment both of those earlier picture things. Thus in keeping with Cameron's more is more work in progress skeleton. Another thing that Cameron instinctively called right was to make Aliens about Ripley (Sigorney Weaver simply brilliant), it's her story. Be it a parental thread or a feminist heroine fighting off the phallic hoards, cinema got in Ripley's extension one of its finest and strongest female characters ever (Weaver was nominated for Best Actress but lost out to Marlee Matlin for Children of a Lesser God).
Thematically Aliens has been pored over in regards to metaphors about Vietnam, foreign policy and corporate greed at any cost, and rest assured that Aliens isn't merely one big excuse for a shoot them up bonanza. But realistically, and explaining why it was such a huge box office success, it's with the thrills and terror that Aliens most succeeds. The action scenes are slick and at times breath taking, and the tension is often palpable. None more so as we enter the film at the half way point, because here we realise that we have characters to care about. Blood, brains and brawn, all led by a heroine of considerable guile and guts. 10/10
How Disappointing !
This movie, Aliens (1986) is a real fiasco. Especially compared to Alien (1979).
James Cameron ruined the spirit and soul of Alien for several reasons.
The first one, according to me, is that, unlike Alien, he is using too many characters. Almost all of the actors are lacking of charism, even Sigourney Weaver.
The soldiers show more muscles than intelligence and this is not reality, it is almost ridiculous.
I do not understand why Cameron did that. It's unbelievable for a director who made in 1984 Terminator and in 1991 Terminator 2.
The second one, is the length of the movie : about 2h20mn. Too long, much too long.
The third one is the lack of entertainment. I'm sorry, but, compared to Alien, this film cannot hold the comparison.
It lacks of depth, and sometimes, it is better not to shoot a second part of a blockbuster.
I recently watched Chinatown (1974), Rosemary's Baby (1968), Alien (1979), Fatal Attraction (1987) and all of them were great, but not Aliens.
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109 Minutes | Horror, Drama, Thriller | 1960-06-22
Psycho 1960 IMDb ~ Directed by Alfred Hitchcock With Anthony Perkins Janet Leigh Vera Miles John Gavin A Phoenix secretary embezzles forty thousand dollars from her employers client goes on the run and checks into a remote motel run by a young man under the domination of his mother
Psycho Definition of Psycho by MerriamWebster ~ Psycho definition is a deranged or psychopathic person —not used technically How to use psycho in a sentence
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Psycho 1998 IMDb ~ Directed by Gus Van Sant With Vince Vaughn Anne Heche Julianne Moore Viggo Mortensen A young female embezzler arrives at the Bates Motel which has terrible secrets of its own
Psycho 1960 film Wikipedia ~ Psycho is a 1960 American psychological thriller film directed and produced by Alfred Hitchcock and written by Joseph stars Anthony Perkins Janet Leigh John Gavin Vera Miles and Martin Balsam and was based on the 1959 novel of the same name by Robert film centers on an encounter between a secretary Marion Crane Leigh who ends up at a secluded motel after stealing
Psycho 1960 Rotten Tomatoes ~ Alfred Hitchcock was a master at film and Psycho is evidence of the genius at work The film is unpredictable and showcases a wide range of challenges for the viewer
Psycho film by Hitchcock 1960 Britannica ~ Psycho American suspense film and psychological thriller released in 1960 that was directed by Alfred Hitchcock and is loosely based on the reallife killings of Wisconsin serial murderer Ed Gein After secretary Marion Crane played by Janet Leigh impulsively absconds from her job with
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Required viewing.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
“We all go a little mad sometimes. Haven't you?”
A Phoenix secretary, Marion Crane (Janet Leigh), embezzles $40,000 and rashly flees town, ending up at a remote motel in Fairvale, California, where she encounters the eccentric Mama’s boy Norman Bates (Anthony Perkins). Mixed into this web is a private investigator (Martin Balsam), Marion’s sister (Vera Miles) and Marion’s secret beau (John Gavin).
Directed by Alfred Hitchcock based on Robert Bloch’s book, “Psycho” made a huge impact when it was released in 1960. It contains a plot development that was groundbreaking at the time shared by England’s “City of the Dead” (aka “Horror Hotel”), which went into production six weeks earlier than “Psycho” and was released in the UK at the same time, but not in America until 2 years later. While they’re both good, “Psycho” is way superior. It was followed by three sequels (1983, 1986 and 1990), the last being a semi-prequel, all starring Anthony Perkins as Norman with Vera Miles returning for the first one.
One thing I don’t like is that it was shot in B&W. Check out the sequels and the 1998 remake to observe the same settings in living color.
The film runs 1 hour, 49 minutes and was shot primarily at the backlot of Universal Studios, Universal City, California, with other parts in Los Angeles & Gorman, California, and Phoenix, Arizona.
GRADE: A
My most favourite film from the master of suspense.
This psychological horror is widely considered to be the first ever slasher film. Powered by great performances from Anthony Perkins & Janet Leigh, and the outstanding score by Bernard Herrmann which adds such great tension throughout the film, it is unarguably the greatest thriller ever made. Only Alfred Hitchcock could make a film so entertaining and so horrifying at the same time.
The climax continues to haunt me forever.
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151 Minutes | Drama, Thriller, Crime | 2006-10-05
📥 The Departed 2006
📥 DOWNLOAD HERE
I decided to celebrate the Summer Solstice by watching 'The Departed'. Don't ask me why. I had previously loved the Hong Kong-made 'Infernal Affairs' trilogy on which this is based. Usually I hate when international masterpieces get remade, but this was a sterling exception. This was controversial when it took in a cartload of Oscars, particularly finally a directorial nod for Scorsese, but don't be misled--it's easily one of his finest works.
This is my Golden Rule on both remakes in general, but especially American remakes of international (particularly foreign-language) great films. When in doubt, check the label:
1. Director? (check)
2. Cast? (check)
3. Script? (check)
'The proof is in the pudding!'
The only one that can do what I do is me. Lot of people had to die for me to be me. You wanna be me?
The Departed is directed by Martin Scorsese and written by William Monahan, Alan Mak and Felix Chong. It stars Jack Nicholson, Matt Damon, Leonardo DiCaprio, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga, Anthony Anderson, Mark Rolston and Alec Baldwin. Music is by Howard Shore and cinematography by Michael Ballhaus.
An Irish gang in South Boston becomes aware there is a rat in their midst, whilst the police force has a mole to contend with - with each one trying to out each other before the other does...
Martin Scorsese remakes Hong Kong thriller Infernal Affairs (2002) for the English speaking world, and promptly bagged his first Best Director Oscar in the process. It's a thrilling picture packed with suspense and edginess, a psychological gangster picture driven by two men leading double lives that is leading them to the abyss. When the violence comes it erupts in thunderous strokes, all while the narrative pulses with paranoia. There are some irksome contrivances, but with a uniformly strong set of turns from the cast, great musical accompaniments, and a director returning to gangster form, The Departed is a sure fire winner. 8.5/10
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99 Minutes | Thriller, Drama, Mystery | 2020-03-06
📥 The Burnt Orange Heresy 2020
📥 DOWNLOAD HERE
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138 Minutes | Drama, Thriller, Mystery | 2010-02-14
📥 Shutter Island 2010
📥 DOWNLOAD HERE
Nice movie
This was a random thing. We didn't even know the schedule and I was just wearing a random shirt and shorts. I just wanted to drink mango shake but then we randomly decided to go to eastwood and check the schedule. We were supposed to watch Diary of a Wimpy Kid but since Shutter Island's showing, then Shutter Island it is. But then wearing my "pambahay" outfit didn't really help since I saw 2 people from AC. grrrrrr. When I dress up, I don't see anyone I know but when I'm not properly dressed and I look like a mess, suddenly all these people come up to me and say hi. Note to self: always dress up.
I liked it. Watching Leonardo is not bad at all. I liked the twist of the story. Although you'll have some hints here and there, you'll think "oh I'll wait and see what it really is". And then the twist happens and you'll be like "I knew that all along". But that doesn't stop me from liking this movie. I'm so jealous of the girl playing his daughter. I mean first kiss...Leonardo Di Caprio???? Wow. I would take her place anytime. Michelle Williams...I'm not really a big fan of her. And after seeing this and being jealous also of her because of how she sat on the lap of Leo, I can say I don't like her at all. lol. Leonardo is awesome as always. It's amazing how good of an actor he is and he still hasn't won any Oscars. His time will come. I know he will win. And that flashback scene, he looked really good. Yum Yum Yum!
I rate this movie as A. Love the story. Love the actor.
Mind-tripping psychological-thriller from Martin Scorsese, a bit of a change-up for him, with great performances all around of course including DiCaprio and Kingsley. This was my first viewing as I had procrastinated watching this for whatever reason, but found it highly entertaining with amazing, foreboding atmosphere. **4.5/5**
Don't you get it? You're a rat in a maze.
US Marshal Teddy Daniels (Leonardo DiCaprio) travels to an island asylum facility for the criminally insane with his newly assigned partner Chuck Aule (Mark Ruffalo). Their reason for being at Ashecliff Hospital is to investigate the mysterious disappearance of murderess Rachel Solando. But Teddy has another issue to deal with at Ashecliff, namely a meeting with Andrew Laeddis (Elias Koteas), the man he believes responsible for the death of his wife (Michelle Williams). Nothing is what it seems at the facility though, and the further Teddy & Chuck investigate, the murkier the truths of Ashecliff become.
Directed by Martin Scorsese, Shutter Island is adapted from the best selling novel of the same name written by Dennis Lehane ("Mystic River/Gone Baby Gone"). It finds the talented director getting closer to horror than at any point in his career, it also finds him arguably over cooking his grits. Lehane's novel is a page turning lesson in thriller writing, there's no need for deep cranial thinking or fill in the blanks like musings. Scorsese has crafted a movie that, whilst both stylish and moody, is far more intricate than it needed to be.
From the off we saw reams of amateur reviewers dissecting the film and searching for other worldly cinematic meanings. The truth is, is that they don't exist, it is just a great story pinging with psychological twisters. Lehane himself said he felt it was a book he kind of knocked out while in his flow (he undersells himself mind). Scorsese, clearly loving the source to be sure, has crammed too much in for the film to be an across the board winner. Technically accomplished? Without doubt. Depth to the story? You bet. But the reality is that the depth isn't enough to sustain all the genre blending atmospherics that is Marty's want. One is inclined to feel that he so aware that he is treading on well worn genre ground (spot the homages to film noir, old time horror and Hitchcockian grandeur), that he's trying to steer the viewers away from the obviousness on offer. The film is further let down by the second half, where it positively crawls along, something not helped by the fact that the first hour bristles with moody excitement and a promise of clinically executed terror. Anticipation can be a real killer at times...
Yet as is normally the way with a professionally assembled Scorsese picture, there's still so much to enjoy and moments that ensure it will always be a divisive film in the New Yorker's cannon. The cast are mostly great, DiCaprio delivers a stunning performance, one that can only be appreciated once the story has reached the climax. Ruffalo (restrained), Ben Kingsley (shifty) & Max Von Sydow (troubling) all do what is needed and in keeping with the tone of the piece. While the girls - Emily Mortimer, Patricia Clarkson & Williams - have small but crucial parts to play.
Then there's the supporting characters played by some quality character actors. Koteas is joined by Jackie Earle Haley, Ted Levein & John Carroll Lynch. How many of you noticed that we here have a roll call of cinematic serial killers? Edgar Reese, Freddy Krueger, Buffalo Bill and Arthur Lee Allen! (OK, Allen was not proved but "Zodiac" the movie lends us to believe it was him). The music used is suitably heart pounding and Robert Richardson's photography is on the money, especially within the dimly lit Ashecliff walls (the foreboding Medfield State Hospital for location filming). The costumes also have a nice 50s look to them, our first encounter of Teddy & Chuck sees them splendidly adorned in film noir hats and coats. While Thelma Schoonmaker's editing is up to the usual tight standard.
It's always tricky when great directors are involved, so unsurprisingly we witnessed at the start a difference of opinion with the critics as to how good Shutter Island is? What most agreed on was that the film fluctuates in quality and should have been, given the talent behind and in front of the camera, a much better picture. There's also no getting away from the fact that if you have read the book first the impact of the ending is considerably weakened. Personally I feel Scorsese was the wrong director for this particular source, but that's me, and be that as it may, he still manages to come out of it in credit with his fans - though even if he just passed gas some of them would proclaim it as a masterpiece... 7.5/10
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142 Minutes | Crime, Drama, Mystery, Thriller | 1963-03-01
📥 High and Low 1963
📥 DOWNLOAD HERE
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120 Minutes | Thriller, Drama, Crime | 2019-09-18
📥 Three Days and a Life 2019
📥 DOWNLOAD HERE
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149 Minutes | Mystery, Thriller, Drama | 2014-10-01
📥 Gone Girl 2014
📥 DOWNLOAD HERE
Good cast and decent story, although the end is not very convincing.
The cut of the movie is really good and Rosamund Pike is genuinely scary.
Not a master piece but quite good given the lack of passable movies lately.
Rosamund Pike is outstanding as the wronged wife and Ben Affleck is very good as the husband. It is convoluted, and you do start to think is this just going over the top, but the end just shows Pike's character to be a damaged high-functioning psychopath. So at the final sequence, even if it's a tad far fetched even if you feel that Affleck deserves everything coming to him, the look she gives to the camera is that of an pure evil. As my youngest daughter used to say when she was a kid, she's got scary eyes.
"This man might honestly kill me".
The story is about Nick Dunne, as he finds out his wife has gone missing. As increasing police and media pressure mount, the facade of a loving and blissful union crumbles and amidst the lies and behavior of Nick, the question remains - did he kill her?
David Fincher is a true master class when it comes to directing, because Gone girl is one of the best films of this year.
Ben Affleck was perfect for this role, because Ben Affleck through out he's career had a lot of hate from the media and the critics that mostly slammed him in every role that he was in. And that's why he was outstanding in this movie.
Rosamund Pike acting in this film was pure brilliant and spectacular. She was so good in this role she might get a Oscar nomination for this. Tyler Perry in this movie was actually pretty damn good, and am so surprise saying that because Mr. Perry was in such awful films like: MADEA trilogy, Alex cross and the list goes on. But in this movie he did good.
What this movie does so brilliantly well is how we view media today, because most of the stories you hear on the news might not be true and how the media can spread lies about people and ruining their lives. Everybody always believes what the media says even if it's true or not, because we don't know what that person on the news is going through, and this movie got that message out they so perfectly.
My only problem with this movie is Neil Patrick Harris character. Now let me just say that Neil Patrick Harris wasn't terrible in the movie, but his character to me slowed the film down.
Overall Gone Girl is a fantastic film.
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160 Minutes | Action, Thriller, Crime | 2012-06-22
📥 Gangs of Wasseypur - Part 1 2012
📥 DOWNLOAD HERE
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139 Minutes | Crime, Thriller, Comedy | 2018-10-05
📥 Andhadhun 2018
📥 DOWNLOAD HERE
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| Action, Thriller, Adventure | 2020-10-28
📥 Black Widow 2020
📥 DOWNLOAD HERE
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| Thriller | 2020-11-11
📥 Deep Water 2020
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136 Minutes | Mystery, Thriller | 1959-07-08
📥 North by Northwest 1959
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North by Northwest is famous for its famous action sequences such as hanging on Mount Rushmore and the crop duster plane scene.
Essentially it is a film of mistaken identity as advertising executive Roger Thornhill (Cary Grant) is mistaken for George Kaplan by some bad guys in league with a foreign power presumably Russian.
The trouble is Kaplan is a made up operative created by the CIA to flush out the film's villain, the urbane but deadly Vandamm (James Mason) and his cronies such as the fey henchman Leonard (Martin Landau) who are out to get Thornhill.
Thornhill in order to prove his innocence must evade capture from the bad guys and also the police as he is wanted by everyone. Only a beautiful blonde Eve (Eva-Marie Saint) aids him in this cross country chase but she is more than an innocent bystander as she might be in league with Vandamm.
This is an escapist action film that mixes tension with some comedy and Grant was always adept with light comedy. The film is overlong, it just feels 15 minutes too long and the villains motives seems to be rather cloudy.
I hate user/critic review websites strictly because of movies like this. People will go see like, Gran Torino, be entertained, admire a couple symmetrical shots and smooth camera pans or whatever, and rate the thing a 4.5/5, 9/10, 95%, etc. But then there are movies that have a ten minute chase scene with Cary Grant scaling down Mount Rushmore, every second of which you're screaming at the screen. Of course my most pompous entry is for an Alfred Hitchcock. But please, for progeny's sake, save the high ratings for ones that earn em
Sometimes the truth does taste like a mouthful of worms.
Roger O Thornhill is a harmless and amiable advertising executive who is absurdly mistaken for a government agent by a gang of ruthless spies. Forced to go out on the lam, Thornhill lurches from one perilous scenario to another. Can he survive to prove his innocence? Is the gorgeous blonde who is helping him really a friend? All will be revealed in Alfred Hitchcock's majestic thriller.
If deconstructing it you find that this isn't a perfect Hitchcock movie, for it under uses James Mason's coolly vile Phillip Vandamm (which is a crime), and it also doesn't have a female lead acting with any great urgency since Eva Marie Saint as Eve Kendall fails to fully fulfil the promise of Kendall's arrival in the movie. Yet this film rightly earns the right to be on any critics top 100 list, to be a favourite amongst the legion of Hitchcock fans (of which I'm one of that number), for it is escapist entertainment in its purest form, Hitchcock's most accessible popcorn entertainment piece.
From the moment at the film's opening when you hear Bernard Herrmann's wonderful music, it's enough to send goose pimples all over the body. For it is a musical portent that signifies we are about to get a fusion of thrills, mystery, and some cheeky Hitchcock humour, accompanied by heroes and villains all condensed purely for our enjoyment. Fronted by a diamond Cary Grant performance as the man wrongly mistaken for another that leads to him being pursued frighteningly across the states, the pic is never found wanting for genre high points. Coming as it did after the darkly brilliant and soul sapping Vertigo, Hitchcock clearly wanted to hang loose and enjoy himself.
Working from a fabulous script by Ernest Lehman, North By Northwest's very reason for being is purely to entertain those wanting to invest a frame of mind with it, with Hitchcock cunningly putting us on side with what is ultimately a shallow character in Grant's Roger O (the O doesn't stand for anything) Thornhill. It's a neat trick from the master of trickery and devilment. Some of the scenes on show are now almost folk lore such is the esteem in which they are held by movie fans and makers alike. A crop dusting aeroplane attack (the prelude to which has those goose pimples popping up in anticipation), a pursuit on Mount Rushmore and the often forgotten drunk car on a cliff sequence, these are all trade mark pieces of work from Hitchcock.
North By Northwest is in my humble opinion one of the true greats of cinema history, where as bleak and as unnervingly brilliant as Vertigo was the previous year, this is the polar opposite in structure and fable, but the result is most definitely equally as great. One of the reasons I fell in love with cinema in fact. 10/10
***It has its points of interest, but any 60’s Bond flick is a better choice***
When an ad executive in Manhattan (Gary Cooper) is mistaken for a government agent by a foreign spy & his cronies (James Mason, et al.) he finds himself a fugitive traveling by train to Chicago wherein he meets a woman that seems to have his favor (Eva Marie Saint). After a curious encounter with a crop dusting plane everything culminates at Mount Rushmore, South Dakota.
"North by Northwest" (1959) is an adventure/thriller by Hitchcock with a huge reputation. It obviously influenced the James Bond flicks of the 60s, which started three years later with “Dr. No” (1962), but it’s very toned down by comparison because the hero in this case is not a trained spy. It’s entertaining to a point, but also seriously overrated due to some glaring problems…
Jessie Royce Landis plays the protagonist’s mother when she was only a little over 7 years older than Cooper and it’s too obvious; the story drags too much at this point (when he’s hanging out with his mother); his chance meeting with a key character on the train (Saint) is too coincidental; their make-out sessions are premature, unconvincing and painfully dull; what happens to the plane is stupefying; the crop dusting encounter supposedly takes place in rural Indiana when it’s clear that it’s nowhere within a thousand miles of Indiana (actually it was shot at the southern end of Central Valley, California, outside of Bakersfield); speaking of which, the geography is too noticeably disingenuous: e.g. during the drunk driving episode there are no cliffs like that on Long Island (it was actually shot at Potrero Valley, Thousand Oaks, CA, and obviously so).
Still, there’s enough good here to enjoy if you favor Hitchcock & the cast and don’t mind quaint movies.
The film runs 2 hours, 15 minutes (unnecessarily overlong).
GRADE: B-/C+
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154 Minutes | Thriller, Crime | 1994-09-10
📥 Pulp Fiction 1994
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***The cream of the crop of quirky crime thrillers***
RELEASED IN 1994 and written & directed by Quentin Tarantino, "Pulp Fiction" is a drama/thriller/black comedy about two hit men in Los Angeles (John Travolta and Samuel L. Jackson), their mob boss & his wife (Ving Rhames and Uma Thurman) and a champion boxer who incurs the wrath of the boss (Bruce Willis).
The lurid, droll tale is told in a non-linear fashion, but it's easy to follow and the final act ties everything up nicely. The dialogue's witty and the story maintains your attention, despite its 2 hour and 34 minutes runtime. The film's stylish and pulsates with energy and innovation; it understandably influenced many 90's films and beyond.
I put off seeing this iconic picture until almost twenty years after its release because the protagonists are all big city gangsters or somehow involved with 'em. These are lawless people who would kill a person without batting an eye. Their god is money or hedonism. Let ’em shoot each other to smithereens for all I care. But if you can look beyond this and the constant profanities, the film's worth your time. What redeems it for me, besides the all-around entertaining movie-making, is that it's a tale of redemption and the high price of stubborn folly: The wise person recognizes God’s grace and responds accordingly while the fool doesn’t and blithely goes on his (doomed) way. Once a person receives grace they naturally extend it to others. There are additional gems spiced throughout.
Both Travolta and Jackson shine here. There are several other celebrities on hand, like Harvey Keitel, with many in cameos, e.g. Christopher Walken; not to mention several formidable females, like curvy Julia Sweeney (Raquel), cutie Maria de Medeiros (Fabienne), Angela Jones (Esmarelda) and voluptuous Susan Griffiths (Marilyn Monroe).
BOTTOM LINE: If you're in the mood for a quirky crime drama/thriller you can't go wrong with "Pulp Fiction." It's top-of-the-line in every way, including the subtext.
THE FILM WAS SHOT in the Greater Los Angeles area. ADDITIONAL WRITER: Roger Avary.
GRADE: A
Insane movie!
One of the bests(if not the best) Tarantino's movies!
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136 Minutes | Drama, Thriller, Horror | 2018-09-23
📥 The Nightingale 2018
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Even with its flaws, this feminist Western is too violent, too dirty, too bloody, and too barbaric to be forgotten easily. When the lights in the cinema came on, the woman next to me was crying and, a few rows over, someone murmured that they had now had PTSD. 'The Nightingale’ is not an easy film to watch and certainly not one to expect to come out of laughing or feeling terrific. But it will make you will feel something, which is a rare thing for a film to be able to do today.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-the-nightingale-a-blunt-and-brutal-period-piece
Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
**_A superb, albeit harrowing drama about colonial violence, misogyny, and racism_**
>_Whether the Blacks deserve any mercy at the hands of the pioneering squatters is an open question, but that they get none is certain. They are a doomed race, and before many years they will be completely wiped out of the land._
- Harold Finch-Hatton; _Advance Australia! An Account of Eight Year's Work, Wandering and Amusement in Queensland, New South Wales and Victoria_ (1885)
>_If Judas Chamberlain can find a black, or brown or yellow race in Asia or Africa, that has as high a standard of civilisat__ion and intelligence as the whites, that is as progressive as the whites, as brave, as sturdy, as good nation-making material, and that can intermarry with the whites without the mixed progeny showing signs of deterioration, that race is welcome in Australia regardless of colour._
- _The Bulletin_ (June 22, 1901)
>_The land is my mother. Like a human mother, the land gives us protection, enjoyment and provides our needs – economic, social and religious. We have a human relationship with the land: mother, daughter, son. When the land is taken from us or destroyed, we feel hurt because we belong to the land and we are part of it._
- Djiniyini Gondarra; Quoted in Ian R. Yule (ed.), _My Mother the Land_ (1980)
>_The attacks on the character and the efficiency of Van Diemonian smallholders bear striking similarities to those made on the Irish and Scottish at this time. In both cases unfavourable contrasts with both 'old English' (hierarchical ordered rural society) and 'new English' (improved and efficient agricultural productivity) were commonly made. In both cases the people were seen to be, if not quite 'savages', at least not fully 'civilised.' And in the penal colony, just as with the Celtic fringe, this judgement was to justify eviction and rigorous social control measures which would deliver exclusive 'ownership' and control of the most productive land to a powerful and privileged elite._
- James Boyce; "An environmental history of British settlement in Van Diemen's Land: The making of a distinct people, 1798- 1831" (2006)
Hollywood has always had a curious relationship with colonialism. Whilst the British colonisation of the Americas tends to be frowned upon, one of the most popular genres of all-time, the western, was, for many decades, an un-ironic celebration of the white mans' subjugation of the Native American populace. It was only with the revisionist westerns of directors such as John Ford, John Sturges, Sam Peckinpah, and Sergio Leone that the genre began to embrace introspection, deconstructing its own codes and rendering problematic its colonialist tropes. Written and directed by Jennifer Kent, _The Nightingale_ could certainly be categorised as a revisionist western, albeit set in Van Diemen's Land (modern-day Tasmania), an island about 150 miles off the southeast coast of Australia, but it's probably more accurate to class it as a colonial revenge. On the surface, it's very much a genre picture, a rape/revenge drama set in a western _milieu_. However, as it progresses, it gradually reveals itself as less concerned with hitting genre beats than engaging with issues such as racism, misogyny, innocence, the fine line between barbarism and civilisation, and the cathartic potential of violent revenge (or possible lack thereof). Much as Kent's debut, the exceptional _The Babadook_ (2014), was a horror in name only, its genre serving as a means to a thematic end, so too with _The Nightingale_. Brutally violent (but never gratuitously so), extremely unpleasant, and downright nihilistic at times, it's not going to pack them in at the multiplex, but for those who think of cinema as art first, entertainment second, this is an important, relevant, and mature study of mans' innate capacity for cruelty.
Van Diemen's Land, 1825. A British penal colony, the island is in the midst of the Black War, with the British army attempting to eradicate the indigenous Palawa population. In an isolated colony, Clare Carroll (a star-making turn from Aisling Franciosi) and her husband Aidan (Michael Sheasby) are Irish convicts with an infant daughter, indentured to garrison commander Lt. Hawkins (an odious Sam Claflin). Convicted of petty theft in Ireland over seven years prior, Clare has served her sentence and is waiting for Hawkins to sign her long overdue letter of recommendation, which would render her and Aidan free citizens. However, Hawkins, who calls her his Nightingale on account of her beautiful singing voice, responds by raping her, and not for the first time. Meanwhile, Cpt. Goodwin (Ewen Leslie) visits the colony to evaluate Hawkins for promotion and a more prestigious command. The night after the rape, Aidan drinks too much and gets into a brawl with Hawkins, the sadistic Sgt. Ruse (Damon Herriman), and the naïve Pvt. Jago (Harry Greenwood). Seeing the brawl, and already unimpressed with the conduct of Hawkins's men, Goodwin tells him he will not be recommending him for promotion. Infuriated, Hawkins orders Ruse and Jago to accompany him on foot through the treacherous bush to Launceston, where he intends to make an in-person appeal for promotion to army brass. However, before they leave, Hawkins and Ruse rape Clare and brutalise Aidan and their baby. And so, determined to exact revenge, she sets off in pursuit of the trio, hiring "Billy" Mangana (an exceptional debut from dancer Baykali Ganambarr), a Palawa tracker and one of the last of his people, who hates whites as much as Clare hates Hawkins.
Having spent over five years researching the frontier wars, Kent made _The Nightingale_ in collaboration with Palawa elders, with the story of Clare and Billy serving as Australia-specific synecdoche for the general oppression and violence of British colonialism. Both Clare and Billy have been deeply wronged by colonialists – her as a convict and woman, him as a Palawa. However, one of Kent's masterstrokes is to complicate their dynamic, whereby neither is capable of seeing their similarity to one another, with both convinced their racist point of view is legitimate. When Clare is first told she'll need a Palawa tracker, she responds, "_I'm not travelling with a black. I'll end up in someone's pot of dinner_". And in literally the next scene, when Clare tries to hire Billy, his response is, "_I'm not working for a bloody white woman._" It doesn't matter to him that Clare is in Van Diemen's Land against her will – she's part of the white race that has murdered his people and taken his land. At the same time, her view of him is based on the crudest of colonial stereotypes – that all Aborigines are cannibalistic savages. Indeed, for much of the first half of the film, she refers to him as "_boy_" rather than his actual name and exerts her authority over him in a not entirely dissimilar manner to how Hawkins exerts his authority over her.
However, it's not exactly a spoiler to say that much of the film concerns itself with the duo coming to understand the oppression experienced by the other, recognising their parallel experiences. Indeed, in one of the strongest scenes in the film, their first real connection comes as they sit at an open fire, each cursing their oppressors in their respective native tongue, linguistically rebelling by rejecting the colonial signifiers and codes. In the hands of a lesser director, their story arcs could easily devolve into the worst kind of facile and clichéd movie sentimentality. Kent, however, keeps everything so grounded in bleak reality, the character beats so organic, and the themes so understated (there are no "cry now" moments), that virtually every stage of the relationship rings true, with unnecessary, authorial imposed plot never overwhelming characterisation.
Hawkins, for his part, is a representative of the worst aspects of British colonialism, not just the kind of jingoistic and xenophobic thinking that made such colonialism possible, but so too the misogyny, racism, and savagery that underpinned the formation of the largest empire in human history (at its largest (around 1920), the British Empire included 23% of the world's population and covered 24% of the globe). Crucially, however, Hawkins is utterly banal; believing himself destined for greatness, he's incapable of accepting what is apparent to Goodwin and the audience – he's a poor officer, an amoral and mediocre man whose lofty ambitions infinitely outweigh his negligible potential. He's a symbol of the toxic masculinity that engendered colonialism, but so too is he a flesh-and-blood person with characteristics relatively unrelated to his savagery. This is important insofar as, yes, he's an irredeemable monster, but he's never a pantomime villain.
Although, on the surface, _The Nightingale_ is a rape/revenge genre piece, Kent argues that this is to miscategorise the film, telling _BUILD_,
>_it's being classed as a rape/revenge film because it's got rape in it and people who are feeling the need for vengeance, but it doesn't follow any of the tropes of that genre. In fact, if people who like those kinds of films come and see it, they're going to be infinitely disappointed, because it provides no catharsis. It actually kicks up the question of why are you wanting revenge in that way. Do you really believe it? It's a fantasy, this idea that revenge provides catharsis, it's largely a fantasy._
This is an important point, as one of the film's main themes is whether revenge can lead to peace of mind. Does revenge provide fleeting satisfaction, even though it's ultimately futile, or is it a necessary and important part of the healing process? Most troublingly of all, however, Kent asks, irrespective of one's awareness of the heavy psychological cost of violent revenge, are there acts which are so abhorrent, inhuman, and evil that revenge is the only possible response. And if so, how does one reconcile the futility of revenge with its necessity?
From an aesthetic point of view, as one would expect from the makers of _The Babadook_, _The Nightingale_ looks exceptional. Kent and cinematographer Radek Ladczuk shot the film in Academy ratio (1.37:1), with the claustrophobic nearly square frame trapping the characters within it, in direct opposition to the vast open plains in which they often find themselves. Especially important are the BCUs of faces, particularly the recurring motif of shooting from above characters as they lie on their back looking up into the sky, usually at night time. Faces in general, and Clare's in particular, are the film's roadmap insofar as the violence is never abstract; it happens to a person, not a depersonalised body, and it has real consequences – compare, for example, Clare's face prior to and after the second rape, with Franciosi's exceptionally modulated performance communicating more than language ever could. Indeed, the economy of Kent's visual language is evident from the opening scene, which sees Clare walking through the bush with her baby, as the camera shows us she's carrying a knife – establishing her independence and strength of character whilst also communicating how dangerous this place is, all without a word of dialogue.
Much has been made of the film's violence, particularly the scene where Hawkins and Ruse rape Clare. At both screenings at the Sydney Film Festival, multiple audience members walked out, and North American distributors IFC included a trigger warning independent of the MPAA rating details, stating, "The Nightingale _features potentially triggering acts of sexual violence towards women, violence towards children and violence motivated by racism._" Personally, although I found the rape scenes disturbing, I didn't think they were as bad as has been made out, and if you've survived films such as Wes Craven's _The Last House on the Left_ (1972), Lukas Moodysson's _Lilja-4-ever_ (2002), or Gaspar Noé's _Irréversible_, you'll be fine with _The Nightingale_. In any case, the violence (whether sexual or otherwise) is never gratuitous, exploitative, or immature – Kent is no Quentin Tarantino; violence in her work has stomach-churning consequences, and when she chooses to show such violence, there is always a point, whether it be thematic or character-driven, it's never arbitrary violence-for-violence's-sake, or worse, violence-for-titillation's-sake.
In terms of problems, as the Sydney screenings attest, the brutality on display will simply be too much for some – this most definitely is not a date movie, or a popcorn movie, or a popcorn date movie – it's dark, brutal, and unrelenting and it asks a lot of the audience. I didn't see this as a problem myself, but certainly, some people believe cinema should entertain, and entertain only, and if you're of that mindset, you'll get nothing from _The Nightingale_. A more objective criticism is that at 136 minutes, it's a tad too long, and it does lapse into repetition from time to time – if the middle act had been tightened up a bit, cutting maybe 10 or 15 minutes, it would have played better. The _dénouement_ is also somewhat rote, which is disappointing given the strength of the filmmaking leading us to that point. I wouldn't necessarily say it doesn't work, but it's the only part of the where it feels like a genre piece.
These issues aside, however, this is exceptionally strong filmmaking. With not a hint of sentimentality in its unflinching depiction of the horrors inherent in the subjugation of an entire people, _The Nightingale_ confirms Kent as a major _auteur_ with a distinctive voice and the courage to remain true to her subject-matter, however abhorrent such truth might be.
Jennifer Kent delivered one of the best horror movies of the decade, The Babadook. With The Nightingale, only her second feature film, she offers one of the most visually brutal, shocking, jaw-dropping, violent revenge stories ever. This movie is the definition of “not for everyone.”
Rating: A-
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109 Minutes | Horror, Drama, Thriller | 1960-06-22
Psycho 1960 IMDb ~ Directed by Alfred Hitchcock With Anthony Perkins Janet Leigh Vera Miles John Gavin A Phoenix secretary embezzles forty thousand dollars from her employers client goes on the run and checks into a remote motel run by a young man under the domination of his mother
Psycho Definition of Psycho by MerriamWebster ~ Psycho definition is a deranged or psychopathic person —not used technically How to use psycho in a sentence
Psycho Definition of Psycho at ~ Psycho definition a psychopathic or psychotic person See more
Psycho 1998 IMDb ~ Directed by Gus Van Sant With Vince Vaughn Anne Heche Julianne Moore Viggo Mortensen A young female embezzler arrives at the Bates Motel which has terrible secrets of its own
Psycho 1960 film Wikipedia ~ Psycho is a 1960 American psychological thriller film directed and produced by Alfred Hitchcock and written by Joseph stars Anthony Perkins Janet Leigh John Gavin Vera Miles and Martin Balsam and was based on the 1959 novel of the same name by Robert film centers on an encounter between a secretary Marion Crane Leigh who ends up at a secluded motel after stealing
Psycho 1960 Rotten Tomatoes ~ Alfred Hitchcock was a master at film and Psycho is evidence of the genius at work The film is unpredictable and showcases a wide range of challenges for the viewer
Psycho film by Hitchcock 1960 Britannica ~ Psycho American suspense film and psychological thriller released in 1960 that was directed by Alfred Hitchcock and is loosely based on the reallife killings of Wisconsin serial murderer Ed Gein After secretary Marion Crane played by Janet Leigh impulsively absconds from her job with
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Psycho 1998 film Wikipedia ~ Psycho is a 1998 American horror film produced and directed by Gus Van Sant for Universal Pictures and starring Vince Vaughn Julianne Moore Viggo Mortensen William H Macy and Anne Heche in leading and supporting roles It is a modern remake of the 1960 film of the same name directed by Alfred Hitchcock in which an embezzler arrives at an old motel run by an insane killer named Norman Bates
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Required viewing.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
“We all go a little mad sometimes. Haven't you?”
A Phoenix secretary, Marion Crane (Janet Leigh), embezzles $40,000 and rashly flees town, ending up at a remote motel in Fairvale, California, where she encounters the eccentric Mama’s boy Norman Bates (Anthony Perkins). Mixed into this web is a private investigator (Martin Balsam), Marion’s sister (Vera Miles) and Marion’s secret beau (John Gavin).
Directed by Alfred Hitchcock based on Robert Bloch’s book, “Psycho” made a huge impact when it was released in 1960. It contains a plot development that was groundbreaking at the time shared by England’s “City of the Dead” (aka “Horror Hotel”), which went into production six weeks earlier than “Psycho” and was released in the UK at the same time, but not in America until 2 years later. While they’re both good, “Psycho” is way superior. It was followed by three sequels (1983, 1986 and 1990), the last being a semi-prequel, all starring Anthony Perkins as Norman with Vera Miles returning for the first one.
One thing I don’t like is that it was shot in B&W. Check out the sequels and the 1998 remake to observe the same settings in living color.
The film runs 1 hour, 49 minutes and was shot primarily at the backlot of Universal Studios, Universal City, California, with other parts in Los Angeles & Gorman, California, and Phoenix, Arizona.
GRADE: A
My most favourite film from the master of suspense.
This psychological horror is widely considered to be the first ever slasher film. Powered by great performances from Anthony Perkins & Janet Leigh, and the outstanding score by Bernard Herrmann which adds such great tension throughout the film, it is unarguably the greatest thriller ever made. Only Alfred Hitchcock could make a film so entertaining and so horrifying at the same time.
The climax continues to haunt me forever.