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Warning Shot (1967) - Review PDF Print E-mail
Film Reviews - Mystery Thriller
Written by Jonathan Lonczak   
Friday, 12 September 2008 04:14

 


Warning Shot (1967)

Director: Buzz Kulik

Writers: Whit Masterson (Novel) & Mann Rubin (Writer)

 

 

Film Review - Warning Shot - Title Screen

Colors behind title change, blend, and even disappear - what is perceived is uncertain 

 

Warning Shot is an solid mystery thriller which keeps you guessing the whole way while containing some great cinematographic sequences. This film possesses some excellent scenes that build up a suspenseful atmosphere and draws the audience deeper in to the proceedings. When you're finished watching the movie, you'll barely notice how the time went by.

 

The movie tells the story of Sgt. Tom Valens (David Janssen) who is on a stakeout in order to capture a murderous pyscho killer on a cold foggy night. While on the stakeout, he sees a mysterious figure who refuses to halt when Valens confronts him - even when he announces himself as a cop. A chase ensues through the stormy night. During the course of this pursuit, the running man turns around and pulls a gun on Sgt. Valens. Valens is forced to draw his own gun in self-defense and kills the man who had pulled the gun on him. After clearing the scene of the crime, the victim's gun is never found and he is announced to be the doctor named James B. Ruston (Donald Curtis), who has a slate so clean that he is considered a saint by others. Valens is now forced to find the gun, prove his innocence, expose the doctor's guilt, and clear his name.

Last Updated ( Saturday, 13 September 2008 17:36 )
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Elevated (1997) - Review PDF Print E-mail
Film Reviews - Sci-Fi Thriller
Written by David Schwenker   
Wednesday, 03 September 2008 00:56


Elevated (1997)

Director: Vincenzo Natali

Writers: Vincenzo Natali and Karen Walton

 

Film Review - Elevated - Titles

 

Note: The short film that is being critiqued within this review can been seen in its entirety (and for free) at the end of the page.

 

Elevated is a science fiction thriller directed by Vincenzo Natali, whose two other science fiction thrillers – Cube (1997) and Cypher (2002) – demonstrate that not only is he very adept at the said subgenre, but he’s quite possibly the best director currently working within it.

In addition, Natali is very much an auteur. All of his films, including his sci-fi comedy Nothing (2003), focus upon similar themes and issues such as justifiable paranoia, corporate distrust, social distrust, dehumanization of people, dependency on technology, and the credulousness of the populace – all very Orwellian ideas.

Even though Elevated is a short film only nineteen minutes in length, as well as Natali’s first cinematic work ever, all these themes are still very much present – not just present but forcefully and vigorously conveyed.

Last Updated ( Friday, 12 September 2008 18:07 )
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Funny Games (1997 and 2007) - Review PDF Print E-mail
Film Reviews - Horror Thriller
Written by Jonathan Lonczak   
Tuesday, 19 August 2008 19:20

Funny Games (1997 and 2007)

Director: Michael Haneke

Writer: Michael Haneke

 

Funny Games is a brilliant treatise on violence in cinema. This film is meant not to entertain the audience, but to educate them through a system of punishment which reflects Nietzsche's principle that we learn morality through punishment. Funny Games was written by Michael Haneke to criticize American cinema's fascination with violence on screen. With films such as Hostel, The Hills Have Eyes, and the Saw series we can see that his concerns about our obsession with violence are valid. What Michael Haneke intended to do was to create a film which would draw in viewers expecting another Hostel and show them how horrible sadism really is.

Funny Games Comparison 01

An fact to note about this movie is that it is a virtually exact copy of the original. The original Funny Games was made in 1997, 10 years earlier than the remake. However, the message of the original still holds true today. One of Michael Haneke's goals in creating the original movie was to display it's message to the American audience. Due to the fact that Americans tend to avoid movies with subtitles, Haneke recreated the movie exactly the same; shot by shot, scene by scene. The only differences in the movie are brought about by the transition of the script into English, such as changing the word "cheeky" to "rude." Also some minor differences can be seen in the pictures placed throughout this review.

Also the trailer to Funny Games (2007) is made to draw in an audience looking for another Hostel or Saw. This encouraged the kind of audience to see the film that most needed the films message.

The movie tells the story of a upper class family - George(Tim Roth), Ann (Naomi Watts) and son Georgie (Devon Gearheart) - who go on vacation in Long Island. This up-scale family lives in peace & seclusion performing normal family chores until a young man named Peter (Brady Corbet), whose dressed in white, appears at their door asking for eggs. Ann presents Peter with the eggs that he asks for but as soon as Peter moves out of her sight the eggs are broken. This process of borrowing & breaking is repeated again and again. This symbolizes the way that we entrust our young to the media and to Hollywood. Hollywood and the media appear to be good and look the part, but as soon as they are out of the parents sight our children are dropped into the corruptive entertainment of the media.

Shortly after the egg breaking process, Paul (Michael Pitt) appears on the scene. Ann has started to get angry with Peter for his repeated clumsiness and begins to take it out on him. This is where Paul intervenes and where the movie turns in to a variation of the home invasion scenario. Irony may even be taken by the fact that this movie in itself is a home invasion horror film - we willingly allow violent and pornographic movies to invade our homes in the same way that these two young men begin to invade.

Last Updated ( Friday, 12 September 2008 18:07 )
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Eagle Eye (2008) - Review PDF Print E-mail
Written by Jonathan Lonczak   
Monday, 29 September 2008 19:14

Eagle Eye (2008)

Director: D.J. Caruso

Writers: John Glen, Travis Wright, Hillary Seitz, & Dan McDermott.

 

 

Eagle Eye (2008)

 

 

Eagle Eye is an entertaining Hollywood film with good performances by both Shia LaBeouf and Michele Monaghan. The plot is fairly straight forward and is basically a mix of 2001 Space Odyssey and the television series 24. The action sequences are well thought out and unrealistic, but still within the realm of possibility and entertaining.

 

Shia LaBeouf's character is Jerry Shaw a Stanford dropout, who decided to travel the world instead of going to school, and so ends up working as a “copy boy.” His twin brother, a highly intelligent air force officer, dies and soon after Jerry Shaw has his life cascade out of control. He goes home to his apartment to find a weapons cache and receives a phone call telling him he has 14 seconds to leave the house before it will be raided.

 

In the course of his escapades he meets Michele Monaghan's character Rachel Holloman. Rachel is also obeying the voice on the phone and fleeing the police for her life. Their adventures continue and the story quickly builds explaining what they are doing, and who the voice on the phone is that they are doing it for.

 

The most unique and entertaining element to this film is the action sequences which are completely engineered down to the quantum level by the unknown voice on the phone. The voice has the power to overload power lines and cause them to explode in such a way to kill one man while letting two others live. It also has the power to guide Jerry Shaw and Rachel Holloman through a stream of speeding traffic relatively unharmed, by telling them the exact speed to maintain. The precision is exemplified by the car beside them being flipped over by the oncoming traffic because of it's small difference in position and speed.

Last Updated ( Monday, 29 September 2008 19:34 )
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A Lizard in a Woman’s Skin (1971) - Review and Analysis PDF Print E-mail
Film Reviews - Giallo
Written by David Schwenker   
Thursday, 28 August 2008 16:36

A Lizard in a Woman’s Skin (1971)

Director: Lucio Fulci

Writers:  Lucio Fulci, Roberto Fianviti, José Luis Martínez Mollá, and André Tranché

 

Film Review - Lizard in a Woman's Skin - Titles
 

Note: What began as a review of A Lizard in a Woman's Skin soon grew into a lengthy interpretative analysis of the film's themes as well as Lucio Fulci's career as a whole. Therefore, this isn't purely a review - though the film is certainly critiqued  - but rather it is more of a detailed analysis of the social issues and Freudian concepts present within the film and how it relates to Fulci's oeuvre. I apologize for the unconventionality of this review...

 

Lucio Fulci

  LUCIO FULCI - REPRESSED ARTISTRY 

 

Italian director Lucio Fulci is a rather perplexing figure – with 57 films accredited to him as director, he is certainly a prolific filmmaker; by working in so many genres (western, adventure, sci-fi, comedy, giallo, horror, etc.), he certainly proves his malleable filmmaking abilities; and by merely looking at the mise-en-scène he evokes, he certainly proves his technical proficiency. Indeed, it’s quite obvious he’s a man of talent.

So why is it that I generally don’t like the work that he has done in film?

To put it bluntly, I believe he is a hack. However, let me first clarify what I mean by “hack” as it is a term which has become misconstrued over time – I am not saying he is untalented. In fact, I believe the opposite – I perceive him as a man of great artistic capacity. Unfortunately, I perceive him also as a man who has sadly exploited his creative abilities, producing rather banal and mediocre work in the hope that this would gain him a greater degree of commercial success. This is why I perceive him as a hack – not because he lacks an artistic capacity but rather because he deliberately avoids using that said capacity.

Yet let me reiterate that I do not intend to sound as malicious towards Fulci as I do – I genuinely believe that the man had great talent (albeit never fully removed from his exploitative tendencies) but it was only in his transition from his more restrained and subtle works of film to the exploitative fodder of his latter career that I see him as nothing more than a hack. Again, it is only in his latter films where he played to the lowest common denominator that I see his artistry being replaced with ineptitude.

However, the worst aspect of this transitional point is not the decline of artistry within his films but rather his hope for prosperity was fulfilled – he garnered the most commercial success and international notoriety of his career for his sleazy, gory, and exploitative films (ie. Zombi 2, City of the Living Dead, and The Beyond) rather than for his more artistic, subtle, and restrained works (ie. Seven Notes in Black, Don't Torture a Duckling, and A Lizard in a Woman’s Skin). As a result, he was encouraged to continue along this avenue of producing exploitational fare rather than returning to his seminal artistry.

Now Fulci is seen as a cult icon that is praised for his violent works, earning the nickname “The Godfather of Gore.” Indeed, it is a nickname that is well deserved as his latter films feature disembowelment, the gouging of eyes, dismemberment of limbs, the ripping of flesh, the slaughtering of animals, and even the murder of children. It’s an affectionate title, I guess, if you consider displaying those images with technical skill as positive thing.

Last Updated ( Friday, 12 September 2008 18:07 )
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