The ideas rattling around in the earlier film are as skeptical as they are profuse—guns, cars, ad copy, catchphrases, and wordplay dominate the mise-en-scène—but haven’t yet rotted into real-deal contempt. Stephen Frears’s The Hit, which receives a fine 2K upgrade but no new bonus materials from Criterion, is an enigmatic, existential fable about crime and punishment. The film then talks to people like critic Scott Weinberg, and cinema programmers Tim League, Jesse Hawthorne Ficks and Zach Carlson (who got a Troll 2 tattoo) about the appeal of the film. Even though Best Worst Movie doesn't include an audio commentary, there's a Q&A on here that's without a doubt the next best thing. As a huge fan of Fragasso’s film, Stephenson’s love letter to his acting debut is extremely impressive and I feel that the uninitiated will have no choice but to run out and watch Troll 2 afterwards. The documentary – for the most part – focuses on George Hardy, the father from the film, who practices dentistry in Alabama. The Story of Anvil and summarily outdistancing that self-serving and unchallenging crowd-pleaser. For one thing, mob informer Willie Parker (Terence Stamp), actually reads. The film begins with Ferdinand (Belmondo) apparently scraping together a nice bourgeois existence for himself and his wife, whose economic contentment is summed up by the fact that she can go to parties in her new panty-less, invisible girdle—a device that Godard, through Ferdinand, declares the apotheosis of modernism. Talk about your Foucauldian “power-knowledge.”. And while Rupert, a garbageman, is patient and sweet with Claudine and her much less-enthused kids, he’s left a trail of ex-wives and estranged children in his wake that speaks to his own troubled past. Still, it’s at least mildly Recommended to check out. Criterion presents Pierrot le Fou in a new 2K restoration that’s a few notches above their already excellent—and long out-of-print—2009 release in terms of color saturation and the clarity of fine details. William Wyler’s flawed yet fascinating The Shakedown offers a look at a future Hollywood master in the nascent stage of his career. An important and successful work of the first wave of Iranian cinema, Bahram Beyzaie’s Downpour, set in pre-revolutionary Iran, achieves a comparable effect through its satirical focus on the foibles of Mr. Hekmati (Parviz Fanizadeh), a newly relocated schoolteacher who struggles both to reign in his rambunctious students and connect with his neighbors. But it’s painful to watch shut-in Margo Prey, also known as the frail mother in Troll 2, callously made to look like as a batty cat lady that sacrificed her meager career to take care of her elderly mother. First off, I love the movie Troll 2. Now imagine working very hard on a film and having it only receive recognition because everyone agrees that it's just a terrible piece of shit. Finally, the set includes a thick illustrated booklet that contains a 1969 review of the film by Andrew Sarris, a 1965 interview with Godard, and a 2007 essay by film critic Richard Brody that explores the improvisatory nature of Godard’s process, and never more so than in Pierrot le Fou. There’s a 1988 episode of TV series Parkinson One to One featuring Stamp, who discusses his working-class Cockney roots, finding fame, becoming the face of 1960s Swinging London, and trying to put the moves on Rita Hayworth. With considerable aide by cinematographer Freddie Francis, production designer Stuart Craig, art director Robert Cartwright, among others, Lynch conjures a menacingly beautiful, overpopulated Victorian London that’s rife in smoke and shadows, and the primordial industrial sounds that haunted the drab warehouse world of Eraserhead.
In a cut to a close-up of Dave, Wyler highlights the conflicted nature of his protagonist’s reaction, finding him simultaneously horrified and proud that the boy is already so streetwise at such a young age. As for extras, there is a collection extended interviews/deleted scenes with the fans and the people involved in making Troll 2 (58 min. Scorsese’s intros each clock in at less than three minutes and provide key details about a film’s production and restoration efforts. If you want to know what its about, just check out IMDb or the main site. National Junk Food Day: 5 Killer Treats in Horror. Best Worst Movie has, on DVD, the look of a scrappy underdog DIY documentary, which is to say the transfer probably isn’t of utmost importance to the movie’s fans. The yellows, browns, and reds that dominate the film’s color palette also really pop off the screen. BEST WORST MOVIE, directed by Troll 2’s once-disgraced child star, Michael Paul Stephenson, unravels the improbable story of a sunny, small-town Alabama dentist-turned-cult-movie-icon and a self-deluded Italian filmmaker who struggles to come to grips with his internationally revered cinematic failure. Hellinger’s devotion to this idea allows for details that are now common of police shows and films, as many passages here concern fingerprinting, fabric analysis, and the successes and dead ends that result from interviewing witnesses. The film’s freak show ringleader, Mr. Bytes (Freddie Jones), is a drunken tyrant out of a fairy tale, while Merrick (John Hurt) is a holy innocent who coaxes the best out of mostly the upper class. In the case of a film like Downpour, where extant materials were either incomplete or irrevocably damaged, the restoration efforts don’t overcompensate with digital manipulation; the film is simply presented in accordance with the technology that produced it.
Best Worst Movie is an affectionate, enjoyable movie, and it's more than just a look at this particular film and the oddballs who love it. And though the film feels a little bit formless at time, Stephenson does a great job of capturing all the facets of what being a cult success means for everyone involved. Yet Lynch brings to this story an ecstatic, hallucinatory tactility that belies the understanding of audiences (including some critics) who seem to experience films only in terms of their narrative beats. Best Worst Movie is about what happened when the cast of Claudio Fragasso’s notoriously inept fantasy-cum-kiddie flick discover that their movie has been embraced by a thriving cult audience and celebrated as an experience unto itself. Utilizing an entire stable of visual tricks, from split-screens to slow- and fast-motion to rhythmically repeated inserts, these early moments are an exciting and purely cinematic experience.
Black Gravel is a bleak yet vital interrogation of West Germany’s struggles after World War II, and Kino’s Region 1 Blu-ray is one of the year’s essential releases. The film may be a comparatively “straight” entry in Lynch’s filmography, but it’s nevertheless a rapturously beautiful and moving art object. Ironically, as popular and lovingly heralded as masterpiece films are, sometimes their stark opposites manage to still find a loyal fanbase ready to bask in the anti-glory. DVD Report Staff DVD, dvd reviews, wfdvdreport. The depths of sexual perversity to which Starliner residents will sink can just as easily be seen as signs of revolutionary sexual liberation. But while he had a career to go back to when production was completed on Troll 2, a lot of the actors didn’t. Aronofsky’s remains the most engaging of the two, as its enriched by his recollections of growing up in Brooklyn, among other things, while Libatique’s is good listening for anyone fascinated by the film’s technical attributes. He truly is a lovable person and its obvious that people adore him from what is seen in the film. Like the first two volumes of WCP restorations released by the Criterion Collection, the first in December 2013 and the second in May 2017, the third is both indispensable and flawed, as the six films collected here have no immediate relationship to one another aside from having been restored by the WCP.
But above all, its sincerity is what really sells it. In another new interview, critic Imogen Sara Smith unpacks director John Berry’s diverse career in film and theater, focusing on his years in France after he was blacklisted, his return to Hollywood in the ‘70s, and his surprising connections to Orson Welles, Billy Wilder, Anna Karina, and Jean Seberg.
Overall, if you’re a fan of cult “classics” then most likely you’re familiar with the movie, and you’ll probably get a kick out of this. Conventions are visited, Q&A’s are attended, newfound stardom is experienced, and almost every single cast member is interviewed, but questions that are posed during the documentary remain unanswered. In the disc’s liner notes are a terrific article by Luc Sante, discussing the differing voices of Hellinger and Dassin, as well as correspondence by Hellinger himself on The Naked City’s climactic chase sequence.
In fact, this black-and-white London suggests something like the progenitor of that realm, as Lynch shows the rising industrial age to be a fount of quick and easy miracles—gas lanterns and machines that enable mass factory work and around-the-clock amusements—that lend themselves to pollution, workplace drudgery, violence, and casual alienation. Arch Hall Jr. isn't necessarily the worst actor, its just his dad's fault for putting him in his terrible movies. Bought it in person and stored safely in collection ever since. This is the cult experience distilled, a process of coming together that cannot be manufactured. An unconventional British gangster film from director Stephen Frears, The Hit largely avoids the usual trappings of the genre—in particular, the penchant for ultraviolence on display in roughly contemporary films like The Krays—opting instead for a thoughtful, even philosophical, character study. It materializes spontaneously for whatever reasons, and if you can get into whatever scene is at hand, the effect approaches cosmic proportions on a very intimate scale. Ships free in bubble wrap. The film’s relentless sound editing and Clint Mansell’s remarkable score is perfectly presented, never sacrificing the clarity of the dialogue. It’s a baldly manipulative ploy straight out of a cheap melodrama that the filmmakers punch up by giving Clem a resilience and abrasiveness that keeps the audience’s pity and sorrow at bay. (The film’s skewed attitude toward fathers in general is compounded by the “Have you met my daughter, Erica?” gag later on.) Black Gravel is a bleak yet vital interrogation of West Germany’s struggles after World War II. Also, there’s a short film that played before the Troll 2 at the Rolling Roadshow called Ogre, and I’m confused as to why it didn’t make it on the disc. Townshend in particular loves the film’s sensuality and authenticity, contrasting it with the many blaxploitation films released at the time, in which black male sexuality is much more heightened and sensitivity hidden beneath a veneer of virility. When the mother sees the daughter dead at the morgue though, she collapses into tears—an action that Klein invests with agonizing gravity.
Particularly in the era of its release, when blaxploitation films driven by violence and exaggerated black masculinity were at the height of their popularity, Claudine was a true outlier: a tender and sobering rendition of the African-American experience from a female perspective, grounding the intense love and passion between Claudine and Rupert in a gentleness and vulnerability that wasn’t yet typically afforded to black characters on screen. Film scholar Charles Ramirez Berg explains how the coming of sound saved Mexican cinema, with Dos Monjes playing a key role in that momentous event.
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