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.
One of the greatest endings of all time in a pretty good movie (Kirk Douglas and John Cassavetes, can't go wrong there).
I want to make this into a TV show.
It's Brian DePalma, post Carrie, making magic on the screen in the most deliriously mashd-up movie of all time. Part horror, spy, action, romance (ala Romeo & Juliet), thriller, science fiction -- it's like he threw all of his art into a blender and made this amazing motion picture.
I'm a big fan. And I want to make this into a TV series.
Kirk Douglas threw EVERYTHING into his performance too, taking what could have been laughable and making a tortured father performance for the ages.
The Fury is a 2 Star movie with a 5 Star ending.
An oddity in the DePalma canon, dropping in between the excessive Carrie and Dressed to Kill, The Fury feels much more like a studio picture than the director's other works of the time. The film plods along at a snails' pace, struggling to get it's convoluted narrative to stick together and very much feels like there were too many cooks in the kitchen.
There's still plenty to enjoy in this movie, tho. There's a completely pointless, but memorable cameo from an uncredited William Finley. An almost unrecognisably thin Denis Franz. Amy Irving in a bathing suit. Kirk Douglas being Kirk Douglas. John Cassavettes being the best Bond villain…
The movie is wildly uneven, but De Palma evidently had a blast relishing in the campy fun of it (as he always does), and the audience does so too as a result. I can't help but admire him for it, no matter how ridiculous a premise might be, De Palma tries his damnedest to sell it.
Brian De Palma's supernatural thriller has some great scenes where the director has a ball with his typically dramatic visual and aural flourishes, culminating in an ending shot that is simply fantastic, but the plot unravels very slowly at times, making some segments a bit of a chore. Granted, ESP was in vogue back in it's day, and when I watched this during the 80's, I was riveted. John Williams provides an ominous score with a kick ass theme playing during the opening credits.
#Brian De Palma-thon
One of the greatest last scenes in the history of cinema?
There’s a lot of minor flaws about this movie, pacing issues, questionable narrative choices and uneven performances but a lot of that seems insignificant when paired with the magnificently tense editing, brilliantly gorgeous cinematography, insanely creepy visuals and great John Williams soundtrack. Too often films dealing with telekinetic powers fall into certain elements of genre silliness and while this film isn’t exempt it’s perhaps reduced as much as possible thanks to Brian De Palma’s visceral and confident direction.
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…
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…