By James Gracey
The stylistic and bloody excesses of the flicks of Dario Argento are immediately recognizable—his motion pictures lock violent deaths in a twisted include with a virtually sexual attractiveness. Narrative and good judgment are frequently misplaced in a relentless bombardment of surroundings, technical mastery, and provocative imagery.
Setting the tone with prior gialli motion pictures reminiscent of The Animal Trilogy and Deep pink, Argento has gradually driven the limits; via his elaborately gothic fairytales Suspiria and Inferno, correct as much as his more moderen contributions to Showtime's Masters of Horror series and the realization of his 3 moms trilogy, Mother of Tears: The 3rd Mother. alongside the way in which, his prowling digicam paintings, pounding rankings, and stylistic bloodshed have simply received in depth and opulence.
Argento maintains to create inimitable and feverishly violent motion pictures with a degree of artistry hardly obvious in horror motion pictures. His excessive profile and mastery of the style is proven along with his position as manufacturer on celebrated classics comparable to George A. Romero's sunrise of the lifeless and Lamberto Bava's Demons. His paintings has encouraged the likes of Quentin Tarantino, John wood worker, Martin Scorsese & many others.
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Directed by John Korty; cinematography by Bill Butler. With James Woods, Robert Emhardt, and Gino Ardito. Produced by Richard Shepherd; released by 20th Century-Fox. see When the Lights Go Down. Alex in Wonderland US (1970): Comedy 109 min, Rated R, Color Paul Mazursky's account of a movie director (Donald Sutherland), who has just made his first picture (Mazursky had just made his first, BOB & CAROL & TED & ALICE), fretting and fantasizing over his next project. Alex's fantasy life has no intensity-it's a series of emotionally antiseptic reveries, staged like the big production numbers in a musical.
Mickey Rourke plays a private eye who is hired by a mysterious client (Robert De Niro) to search for information about a crooner of the prewar era who has disappeared. Rourke searches in the murkiest holes in America-New Orleans is almost as dim as the New York slums. Every place Rourke goes is artfully arranged to be scuzzy, and he's scuzzy, although women don't seem to mind. He has a cajoling, intimate manner with Elizabeth Whitcraft as a ready-for-action blonde, with Charlotte Rampling as a sullen psychic, and especially with the sexpot Lisa Bonet as a teenage Mambo priestess who has a penchant for smearing herself with chicken blood.
The American Friend France-Germany-US (1977): Mystery 127 min, No rating, Color The young German director Wim Wenders is attracted to the idea of telling a story, but he can't quite keep his mind on it; he overdoses on mood-poetic urban masochism-in this adaptation of Patricia Highsmith's crime novel Ripley's Game. Wenders' unsettling compositions are neurotically beautiful visions of a disordered world, but the film doesn't have the nasty, pleasurable cleverness of a good thriller; dramatically, it's stagnant-inverted Wagnerianism.