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  • The Bride Wore Black 1968

    ★★★ Watched 24 Oct, 2014

    Apparently this simple story of revenge was praised upon its initial release as something Alfred Hitchcock would be proud of. Why, I can't really understand. It is indeed based on a novel written by William Irish/Cornell Woolrich who also wrote Rear Window, and it is scored by Bernard Herrmann, but Truffaut's presentational technique is much less elegant than Hitchcock's; he doesn't unfold the narrative in any intriguing ways, nor has he got the master's brilliant aesthetic sensibility. There are many…

  • Blackout 1985

    ★★★★ Watched 22 Oct, 2014

    A narrative so heavily bombarded with red herrings it almost drowns in them, Blackout is the type of thriller that, depite the fact it has its chilling moments, is fun/worth watching because of its unpredictability rather than for its scares. It's a hidden guilty pleasure to be sure, where solid direction makes up for at times ham-fisted plot swerves, uneven acting and an overall quite cheap TV-movie look and feel. Hopefully Arrow Video or a similar label will add it to their Blu-ray catalogue at some point.

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  • The Royal Tenenbaums 2001

    ★★★★★ Rewatched 14 Jan, 2013 4

    Wes Anderson's films are known primarily as Wes Anderson films, which is not very surprising seeing as he has developed his very own style, consisting of symmetrical colorful photography/art direction infused with sweet sounding pop songs, a combination that it takes mere seconds to recognize as distinctly andersonsonian. When looking back it's clear though that it was Anderson and Owen Wilson as a pair that had something really special going in the late 90s and early 00s. It was their…

  • Black Swan 2010

    ★★★★ Watched 25 Dec, 2010 4

    What begins as a classic fairy tale with rivalry between noble, overly sensitive ballerina and a free-spirited dancing partner, guilt-inducing mother and a character that resembles an evil queen with cruel intentions (Cassel's dirty minded instructor), derails via the more mature themes of personality disorder, sexuality and mutation, slowly and steadily into a beautifully controlled, complex mess. Neither Portman nor Aronofsky has ever been better.