If you’re looking for some holiday binge-watching to satiate your Game of Thrones addiction, Netflix have their fingers crossed you’ll turn to Marco Polo. The series–originally intended for Starz before Netflix and the Weinstein Company swooped in–uses its thirteenth century setting to present a historical drama that’s been widely compared to Game of Thrones. The…
You could probably make an argument that Fear and Desire, Stanley Kubrick’s debut feature film (later described by the man himself as “amateurish”), is some kind of lost masterpiece. The argument would likely involve cherry-picking the film’s rudimentary anti-war themes and include a lot of stills. Unfortunately, when you actually watch the damn thing –…
Under the Skin is a challenging viewing experience. Those attending entirely off the back of “I heard Scarlett Johansson gets naked in this” will find themselves faced with a film more in tune with Kubrick’s 2001: A Space Odyssey than Species. From its opening screen of black inexplicably infiltrated by white lights and rings that…
It’s a rare film that can balance the supernatural and the psychotic. It requires walking the razor’s edge of taut surrealism without toppling into ridiculousness or incoherency. A few films have succeeded – Repulsion, The Innocents, The Shining, Eraserhead. And now, The Babadook. A feature length adaptation of Aussie director Jennifer Kent’s 2005 short Monster,…
As we were dutifully informed before the preview screening of Transcendence, Wally Pfister not only shot this movie on film, but he also developed the film photochemically rather than digitally. This isn’t surprising for Pfister, acolyte of fervent film fetishist Christopher Nolan, but it is reflective of this cinematographer-turned-director’s old-fashioned approach to the material. Old-fashioned…
Lars von Trier identifies Barry Lyndon as an influence on his 1993 experimental film, Dogville; his choice to break his film up into chapters was inspired by Kubrick’s film, as was his use of a detached, ironical narrator (John Hurt). The films have other similarities – a three hour runtime and a protagonist (Ryan O’Neal…
The Killing is designed to be confusing. Stanley Kubrick’s third feature concerns a crew of two-bit crooks who plan and execute a heist on a racing track. Their scheme is convoluted enough – six people needing to be in the right place at the right time doing the wrong thing – and is further complicated…
