Convoluted Euro-caper with plenty of characters and plotlines, its double crosses and double agents proving quite appropriate in view of the central doppelgänger theme. The film is stylish and enjoyable, but not up to the level of director Lupo’s subsequent effort YOUR TURN TO DIE. Editing is nicely used throughout by way of visual puns, just as Francesco De Masi’s breezy thriller score (cue colourful and animated opening credits) is adapted to the “horse opera” milieu that opens the narrative,…
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The Hunchback of Notre Dame 1911
By chance, I read this film’s entry in the “FrenchFilms.org” website, about which the author was very enthusiastic as to its seminal nature (upon the Horror genre) and stylistic quality (mainly with respect to editing). However, having watched it myself (running a mere 38 mins.) on the strength of his positive assessment, I can’t say I saw much of anything about it that was innovative – but this doesn’t mean that it isn’t worth watching, especially being the oldest surviving…
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Unforgiven 1992
The film that finally made critics take Clint Eastwood seriously as an artist was, as a matter of fact, not especially different from his previous work (particularly that within the Western genre); indeed, his climactic appearance as an “Angel of Death” here harked back to HIGH PLAINS DRIFTER. Interestingly, while some had commented that his transformation from pig-farmer (albeit a reformed gunslinger) to this vengeful incarnation was too rushed (because the former persists even after he has embarked upon the…
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The Companions 2024
Coping with tragedy is never an easy subject to tackle, and very subjective. While this may offer a fresh take on it, the way it bends over backwards so as not to give the twist away (basically by turning the whole into a lugubrious musical) goes a long way towards dissipating its effect. How could the protagonists not recognize their own car in the wreck they witness, and how could the couple be the victims if they were on foot and coming from the opposite direction?
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