Into the Night
Released the same year as After Hours, Into the Night shares some similarities with Scorsese's masterpiece, with admittedly a fantastic performance by Goldblum, but Landis cannot balance this material in anything meaningful whatsoever. By the end of it, I was exhausted from boredom, and seeing the credits after nearly 2 hours was just the relief I needed.
The Lady From Shanghai
We might not be so lucky to ever get the full 1+ hour of extra footage that the studio chopped out of Welles' directors cut, but what the studios were admittedly good at achieving were creating lean, non-fat cuts of films, including to more than a few of Welles' pictures. If The Lady from Shanghai is this fantastic at 1h27m, I can only imagine what Orson had cooking with over 2 hours.
In any case, it's…
Done had myself a good old fashion Welles double feetch tonight. In both cases, I enjoyed each more than I did when I first viewed them.
Starting with The Third Man, nothing beats cinematographer Robert Krasker's Oscar winning imagery. The shadows, the beaming lights, the back and foreground movement.
It's a hell of a directed picture, and Welles' extended cameo performance is a complicated anomaly. We're taught to hate him for all the horrendous shit he's done, for which he's…
The World's End
There is nothing in this world quite like Edgar Wright's signature editing, movement, blocking, entertainment value, heart, action, and laughs. Absolutely nothing.
