Missing films I can't locate on Letterboxd:
Blonde Ambition (1981)
I Like to Watch / Caballero (1982)
Mona the Virgin…
An experience in terror and suspense.
A government agent is determined to come to his son's rescue, when a sinister official kidnaps him to harness his extremely powerful psychic abilities.
Oh, Brian, you insanely talented man. All the way through The Fury I was thinking "This isn't so great... meh." That is, until the last scene and that last fucking shot. You got me, you really got me. That was best final shot in any movie, ever. Holy fuck, really, De Palma!? You had the balls to even roll the credits after that. Genius. Pure genius.
The Fury stars Kirk Douglas, John Cassavetes, and Amy Irving. Douglas was fit, man. He looked like he could lift a horse. Cassavetes sported a sling throughout the film. I'm sure it was a character choice as he doesn't have much to do here. He still is as creepy as all fuck. Irving isn't…
Liberace's dad on a relentless quest to find his missing son. A fun day at the beach ends in disaster. Free your mind and the rest will follow. Bloody visions. Roid rage. Frisbee with a dog. Playing Pong. Skinny Dennis Franz. Busting out of a nuthouse. Whiskey cures toothaches. Telepathic puppeteering. Tragic falls. The blue eyed glow of death. Douglas is great. Cassavetes fucking owns, but both needed more screen time. I didn't click with Amy Irving and she has way too much screen time for me to fully enjoy. Douglas in a speedo mowing down baddies with an AK-47 is the shit though.
Being a parent is hard. One day you're a superhero, a literal giant, necessary for your child's survival. Then all of a sudden they're bigger and faster than you, smarter and more mature, and off to college where they learn to use their minds to blow up fascism and the agents of darkness and they don't need you anymore.
Film is seen through sight. Images translate to our brains through our eyes into materiality – what is the becomes that, evidence of something that was in a place in time. But it is only an illusion that our eyes deceive. "Let that screen fill your mind," we are told. And yet, we cannot touch. We can desire to touch—out of lust, anger, fear, or love—but to touch is to destroy the screen.
Perhaps more than Blow-Out, De Palma's The Fury addresses our relationship to cinema, except through the most insane, backwards way possible: a conspiracy thriller with a psychological horror fantasy bent. But every moment in this film is either one of sight or touch. Sight is what allows…
"I didn't have to touch you to hurt you."
cinema as psychic phenomenon, the image is a weapon.
Demasiadas páginas que necesitan reescritura y demasiados planos que necesitan repetir toma. Es una película extraña, no sé si por culpa de dejar que el novelista escribiese el guión y respetase demasiado el material, o por fichar a Kirk Douglas y querer darle un protagonismo forzoso sin tener muchas ideas para ello. El mejor ejemplo es esa secuencia exagerada, la del escondite y la huida, que no tiene sentido en ese punto ni por necesidad de acción ni porque aporte mucho al personaje. Así que el mayor interés recae en el personaje de Amy Irving, y porque ella es capaz de darle un encanto extra que sobre el papel solo viene de sus poderes.
El desarrollo de todo es bastante…
So after making Carrie, Brian De Palma filmed another movie where the main girl has telekinetic powers. But if you were to assume this film would be anything at all like Carrie then you would be wrong! It's quite a strange film really. Across the film there are two seemingly very different side stories, one is about Peter (Kirk Douglas) who is a bit like a spy. His son (who also has telekinetic powers) has been kidnapped in a bizarre opening scene where terrorists invade a beach with machine guns and start shooting everyone in sight. We follow Kirk Douglas as he is a wanted man, so he stealthily has to sneak past those that are out to get him…
I'm sorry Cronenberg but this is better than Scanners.
I'm sorry everybody but this is better than Carrie.
Any movie that ends like that is a five star movie.
oh wow oh wow oh wow
De Palma's The Fury starts out seemingly as a spy thriller, a youth abducted and his father assassinated by rogue militia in the "Mid East, 1977", however it all takes a sharp turn into paranormal territory. The story is a bit of a mess, unsure of whose story it really is and jumping between a far too many genres for its own good, by turns a thriller with cold war hangovers, psychological thriller in the vein of Don't Look Now and part coming-of-age horror. It's both overlong and oddball but still fun.
Thankfully, de Palma delivers the story with enough (now kitschy) style to keep it interesting, frequently using his trademark slow zooms to sell the uneasiness, building up to a sinister and crazed final act.
Two short years after “Carrie”, director Brian DePalma returns with “The Fury” and both films are eerily similar in every way except for quality. The first of a seemingly endless parade of Stephen King adaptations is far superior to this familiar, plodding movie that is light on horror and heavy on paranoia and unanswered questions.
DePalma is a masterful director and he has made some of the best suspense movies ever made, but he was clearly slumming here. The film is surprisingly subdued and short on style. It’s also far too heavy on plot, with more dialogue than special effects.
It’s obvious from the distinguished names in the cast that the makers wanted this to be taken seriously, but when…
The Fury / Scanners cinematic universe. ¿Lo vería? Les daría todo mi dinero, estudios hollywoodenses.
Superhumans, good guys and bad guys walk in the company of us normal folk. They make their way through the noise of television, people chatter, talk radio, videogames, placed among the people in the streets, apartments, school cafeterias, theme parks, malls. De Palma plays with civilian reaction as well as civilian presence, trying to immerse us by bringing the fantastic into our day-to-day.
He also works on compassion built through the image. Two later sequences are designed to evoke two earlier ones drawing parallels in our minds of what these characters mean to each other. It's a shame that they aren't as fleshed out in the writing as they could've been, the tragic payoff falls pretty flat as a result…
Carrie: Part Duex feat. John Cassavetes
Missing films I can't locate on Letterboxd:
Come hell or high water I will watch these films this year.
They are a mixture of things I haven't…
All the films I could find that QT uses as reference points in his films.
1-48 Reservoir Dogs (Django of…