All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Who Has Seen This Woman?
A young man begins an obsessive search for his girlfriend after she mysteriously disappears during their sunny vacation getaway. His three-year investigation draws the attention of her abductor, a seemingly mild-mannered professor who, in truth, harbors a diabolically clinical and calculating mind. When the kidnapper contacts the man and promises to reveal his lover’s fate, The Vanishing unfolds with intense precision, culminating in a genuinely chilling finale that has unnerved audiences around the world.
With an ingenious plot structure and a black heart that seems to revel in breaking the audience's own, The Vanishing is a bleak thriller that might not have the technical bravado of Nicolas Roeg's Don't Look Now, but feels very similar in effect. A devastating loss, a study of grief and obsession, and an ending that is simply cruel, but feels just right. Adapted from Tim Krabbé's novella, The Golden Egg, it's a great example of the benefit of keeping the author on to co-write the screenplay. The pacing and structure work together to keep the plot barreling ahead (something other psych-thrillers occasionally stumble on by concerning too much runtime to developing the mood explicitly instead of letting the story…
Dutch brilliance. What one man is willing to do to uncover the truth of a missing loved one. What one man did that will send shivers up your spine. Thrilling. Edgy. Creepy. No Hollywood ending, but pure satisfaction after viewing.
Included In Lists:
Criterion Collection - #133
Review In A Nutshell:
The Vanishing is the story of a woman who suddenly disappeared and her friend, after 3 years of searching, starts to receive postcards from a mysterious person.
I found the plot of the film to be potentially intriguing, sadly it failed to keep me interested due to its unfocused characters and the lack of tension during the bulk of the film's first hour. To clarify, the setting up of the film's complication was certainly interesting and it did help set up the film's suspense and mystery which would then benefit the latter half of the film. The issue is found during the film's second act, going back and forth…
This is a story of two men. On one hand, the pain and suffering of one consumed by his grief and on the other, the fulfilment of a dark fantasy by a man who creates the perfect plan. Strangely for a thriller, there is little to no mystery over how or even why the events take place and that makes for an even more involved and powerful story.
Rex and Saskia are a young couple in love, driving their way across Europe into France. They are happy and playful, wrapped in each others space as they encompass the vast expanse of countryside heading toward their destination. She warns him about their low petrol gauge but being the typical know-it-all guy…
Wow, I forgot just how unsettling this movie truly is.
Raymond Lemorne has to be one of the most frightening, brilliant, insane villains in movie history. Hannibal Lecter's got nothing on this guy. And the way the audience finds out his goals and methods and strategy - without resorting to exposition - is simply masterful.
So much has been said about the climax of this film, so I will say no more and let you experience it for yourself. You will not forget it.
Beer: Samuel Adams Blackberry Witbier - 3.5/5 (an oldie but goodie!)
You start with an idea in your head, and you take a step...
I saw the remake of this film once, 20 years ago, and to be honest I had no idea it was a remake at the time. Only learned years later of the original's existence when I saw it was part of the Criterion Collection and eventually finding out it was in fact not the one I had already seen. Since the remake didn't leave much of an impression on me (I didn't even remember Sandra Bullock was in it) my interest in seeing the original film wasn't exactly sparked.
I was very happy to discover this movie because of its subtlety and unique take on themes that are well-tread, to say the least. I would put it in a group with Detour, Vertigo, Lost Highway, etc. in its concerns and narrative inventiveness. It builds intensely toward a complex, not easily assimilated ending. It's one of those movies that didn't hit me fully when I finished watching it, but stuck in my thoughts. It's also unique in being a movie that is utterly horrifying but has only a handful of violent scenes.
If the acting isn't exactly fist rate, it's very good and avoids cliches. The score sounds a bit dated because it's performed with very 80s synth tones, but is also very hypnotic. The new Criterion disc looked and sounded great to me.
Utterly mesmerizing and with one of the greatest and most uncompromising endings I've ever seen.
I'm beginning to develop a theory that most films should end somewhere between two and six minutes before they actually do; great film, by the way.
Third viewing confirms my suspicion that this is a brilliant script, somewhat indifferently directed. Sluizer only manages one memorable shot: the flash-cut to Raymond in the car seen from the outside after Rex drinks the drugged coffee, his face obscured by flowing water, looking like some kind of demon in the process of transformation. But he makes some real directorial mistakes: Rex's "freakouts" are embarrassing, almost humorous in this context, the musical score is absolutely horrid, and why, oh why did they have to show the shot of Raymond burying the coffin when it would have been ten times more effective to simply cut to Rex being inside it?
All that being said, this is one of the most brilliantly…
That ending, tho.
What's amazing about this movie is you feel like you've seen it before. What's more amazing is that you haven't, really. The sensibilities are all off. Sure, we have mystery thrillers like this in the US. But the European lense is totally different. The way the characters are portrayed and the way the story plays out just wouldn't be that way if made for an explicitely American audience. Which is funny, considering that they remade this in the US (with the same director) and it absolutely tanked.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
- Donnie Darko
- Morvern Callar
- Irma Vep
- Miami Blues
- Babe: Pig in the City
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…