Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…
The Past Can Never Be Rewound
When his wife is killed in a seemingly random incident Harry (Turturro), prompted by mysterious visions, journeys to discover the true circumstances surrounding her murder.
Would make a great companion piece to Vallhalla Rising. Like Rising it's more of a mood film than narrative driven. This is his most Lynchian film by far.
Nicolas Winding Refn is my everything.
Picked this up because of the Hubert Selby Jr connection without knowing the screenplay was co-written and the film directed by Refn.
People seem to mistakenly slap a 'thriller' label on this one. It is not. Like so many of Refn's films it is something else. You will either love it on Saturday or hate it next Wednesday, but either way John Turturro is gonna fuck you in the ass.
This review reportedly contains spoilers. I can handle the truth.
Feeling the Refn charge after Only God Forgives, I felt inspired to keep the flame alive and dip into this curious little gem that I had somehow missed, and boy am I glad I did!
John Turturro in an astonishingly nuanced performance plays Harry, a recent widower trailing clues to find the murderer of his wife. he spends his evenings sifting through security footage tapes and succumbing to strange visions that lead him to a result that he was not quite prepared for.
This slow-burner from writer Hubert Selby Jr. (Requiem for a Dream, Last Exit to Brooklyn) is totally riveting and unsettling and what Nicholas Winding Refn brings to the table is his ability to impress and frustrate his…
“I think I'm going to Montana.”
“You mean, the state?”
Full disclosure: I am not one of Nicolas Winding Refn's detractors. In fact, I would consider myself one of his fans. I think that the man has a fantastic visual sense—a real eye for creating completely spellbinding cinema—and I dig his style. I do not, however, dig him as anything else other than director, because a little Refn goes a long, long way.
Fear X is an awful movie—and rest assured that I do mean one-hundred percent awful, in every way—but not outright hate-worthy; just awful in the sense that you want it to end the second that it begins, and once it finally does…
A film in which information about what is going on is conveyed to John Tuturro's character Harry via blurred and obscured security video footage. Harry obsseses over tiny details of the security video footage, interpreting what are basically non-images as being extremely important clues. In the end, the film does the same thing, forcing those that watch it to interpret and decide what happens to Harry from what is essentially non-images. I love it.
Even though Fear X never reaches the level one hopes it to but it's still a film full of ideas - especially the visual ones from which Refn is remembered. Fear X is probably the point where Refn really realized what kind of cinema he wants to make despite the fact that Pusher deserves a place as one of the finest 90s debut films. The slow pace with low-key lighting creates the nightmarish atmosphere where it always feels like something isn't right as if something is forgotten. Piece is missing and that makes us feel uneasy all through the film. The settings also feel like labyrinth; footage of tapes, shopping mall, hotel... This is without a doubt some kind of sister piece to Only God Forgives.
John Turturro: Mall Cop
The movie that almost killed Refn's career is really not even bad. It has a reputation of being a failure but I thought this was overall pretty interesting.
There's a lot of David Lynch and Stanley Kubrick bouncing around director Nicolas Winding Refn's head while he makes this enigmatic thriller about a mall security guard searching for answers following his wife's murder. This definitely falls within the same mindspace as Refn's later Valhalla Rising and Only God Forgives rather than his more accessible work, and it's fascinating for it. Unfortunately, the ultimate theme of letting go of the tragedies in one's life isn't as interesting as getting there -- it's powerful, sure, but not particularly memorable in this case. Yes, it's a "journey, not destination" movie, but it feels like the journey itself is truncated. I'll probably keep thinking about this one and raise its rating periodically, but…
Obscure narrative: it's a fine line to tread. How far do you lead your audience into the dark while keeping your characters authentic? Turturro's Harry Caine is clueless as to why his wife was shot. He gets partial resolution by confronting the killer, but in the end he basically lets go of the unanswered questions and moves on. But Refn is canny enough to provide the audience with more information, and there are enough clues to piece together a working hypothesis. Refn achieves a sympathetic character portrait working through an intriguing mystery (which appears to be some kind of Magnum Force conspiracy). While it's not completely successful — the role of chance seems suspiciously large, and the pulp conspiracy plot deflates the more serious psychological themes — it's a courageous film. Refn indulges his love affair with the colour red, and the hotel sequences provide a clear projection toward the mighty Only God Forgives.
Slow indie movie that somehow avoids being boring although most of the time it's just Turturro searching an answer why his wife was killed. His presence is enough to be worth watching. Eno's soundtrack sets the mood perfectly.
The thriller motives are on the surface. My take: You can question what life is about but sometimes it's better not to worry and go ahead. Thus, I don't mind the open end. But why on earth were the photos left at the house next door to Harry?
Interesting coincidence; Turturo starring in this movie about a security guard obsessed with investigating the murder of his wife in a parking garage just a year before he took on the role of the brother of a detective obsessed with investigating the murder of his wife in a parking garage in the "Monk" television series. "Fear X", as you might imagine, is a bit darker. It's a slow burning oblique paranoid thriller that doesn't resolve until the credits end (if then - it's still a bit uncertain on first viewing). Turturo is, naturally, brilliant. Refn is still finding his footing as a director, but it's pretty confident footing even in this, his third movie. And he just keeps getting better.
This review reportedly contains spoilers. I can handle the truth.
Early Refn and early Turturro. Both show potential, and both are outstanding at their craft.
I'm not sure I understand the ending, but I'd like to talk to you about it sometime.
With the announcement of the line-up for the 2013 FrightFest Halloween All-nighter, I thought it was about time there was…
It's close to midnight
Something evil's lurkin'in the dark
Under the moonlight
You see a sight that almost stops your…