Psychlogical horror film with impressive production design by Gene Rudolf and a typically committed performance by Jennifer Jason Leigh, both help elevate very silly material into something that's harder to shrug off than it should be. Some credit must be given to Matthew Chapman for embracing surrealism to the extent that he does, complete with a giant eye-ball breaking through a wall and an expressive use of a waterbed, but he never grounds anything in realism, it's all flights of…
Worth watching just for Alexander McQueen's fantastic runway shows over the course of his career, they hit just the main event ones but I would gladly watch another hour of lesser ones. This is a pretty straightforward documentary in terms of style and it's unfortunate that there's less footage of McQueen when his life began to unravel but that's also quite telling as it means all the people initially close to him were no longer there for him. I'm a big fan of his work and the brand he left behind, I briefly considered trying to get an Alexander McQueen suit for my wedding.
Second viewing of finished film, umpteenth viewing of film in some form and I watched all the dailies while I was working on the film as an Apprentice Editor before it was moved to the UK to finish editing in order to take advantage of rebates. I'm gobsmacked by Hanks' take on post traumatic shock every time I see it, I remember watching the dailies and the first take, the medic kept messing up her take but Hanks guided her…
Editors are not usually recognized as auteur figures but Hank Corwin is a special case, he has such a distinctive style that it shapes whatever material he touches and it becomes uniquely his own. You will notice a couple things if you look at his IMDB, one that he a credited editor on Oliver Stone's most aggressively edited features, NATURAL BORN KILLERS to U-TURN and I think it's fair to assume much of the hyperkinetic editing and jarring rhythms of…