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…
Cosas que molan de La Furia:
- No es un De Palma menor. De hecho, en la puesta en escena, en el montaje dentro del plano y en todo lo demás, está el De Palma de Carrie, pero también el de Vestida para matar.
- Es un thriller de conspiraciones gubernamentales y de gente con poderes psíquicos.
- Tiene ciencia chiflada y se utiliza la palabra "psychotronic".
- Amy Irving. Qué guapa y qué bien está en las pelis de De Palma.
- La musicaza de John Williams. Las músicas de Pino Donaggio para De Palma están muy bien, pero en La Furia Williams se sale.
- Uno de los mejores finales de la Historia del Cine.
Cosas que no molan:
Carrie: Part Duex feat. John Cassavetes
How good is Amy Irving here?!
"Disjointed" is putting it mildly. On the one hand, it's Brian De Palma clearly cashing in on the success he had 2 years earlier with his surprise hit Carrie, with The Fury being almost a hybrid of that film and a David Cronenberg film (I won't be surprised if Cronenberg took a note or two from this film). Yet on the other hand, De Palma is also taking advantage of a higher budget by having Kirk Douglas in the cast, having John Williams - at the height of his powers after doing Star Wars, no less - doing the score and having the plot be about a former CIA agent on the run who's searching for his kidnapped son (and…
There is a lot going on in this movie, as it combines secret agent action and psychic magic and government conspiracy and teenage hormones and lots of other stuff, but somehow De Palma pulls it all together really well. I think the Kirk Douglas spy stuff drags a bit at the beginning but once things get going I was super into it. Gonna go watch Scanners right now and revel in my new fave double feature idea.
Also god Amy Irving is, like, really good here. And really really pretty.
To echo glenn " ?????????????????!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "
That ending is like when your parents buy you a Schwinn when you already have one .
Muddled thriller, an extrapolation from de Palma's Carrie that stumbles due to a somewhat convoluted and dull government agency plotline. As expected there's some visual punch and the various psychic battles are well done (with some splendid gory finishes) but it takes a long time to get much steam up.
This review reportedly contains spoilers. I can handle the truth.
It was sort of blah, with a silly plot and Kirk Douglas being as smarmy as her could be. The last scene where John Cassavetes dies though, yasssssssssssssssssssssssss one one of the best movie deaths ever.
A progenitor of De Palma's obsessive surveillance and voyeurism motifs, overlaid with a bombastic telekinesis plot that makes Carrie look like a restrained social drama. Psychic powers visualized as cinema (when Amy Irving peers into the minds of others, she sees their memories projected as if onto a big screen), where mere touch is deadly (all we can do is watch). Kirk Douglas, the most badass 60-year-old in history, leaping from rooftops bare-chested and handling an AK-47 with ease. And John Cassavetes, slimy and evil with a dead arm and wicked words; he may have been phoning it in for the paycheque, but what a phone.
Also one of the greatest final shots in cinema.
One of the worst De Palma films I have seen. Yes, even worse than Passion. It's just so dull, even when displaying some of the destructive psychic powers that the film revolves around.
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…