After the success of the first two films, it is no surprise they were keen to make a third. Albeit, the weakest of The Omen trilogy.
Directing and writing duties were passed on to a third combination here with, largely straight to video director, Graham Baker taking the helm and Andrew Birkin who later picked up credits with The Name of the Rose (1986 Dir Annaud) and Perfume (2006 Dir. Tykwer) acting as scribe.
There were always a few ridicilous…
It is largely recognised that we judge historical films differently to others. A large part of that centers around ideas of authenticity and accuracy.
Firerand finds both its weakness and strength in this. In many ways it feels so authentic. It captures both the opulence and grotesque nature of the court and looks and sounds exactly as you would imagine. Jude Law makes for a surprisingly strong Henry. One who is, on one hand joyous and larger than life, yet…
There is no denying how visually sunning Nosferatu is. If you are going to see it you should definitely see it on the biggest screen you can. No expense has been spared on the costumes and set design while camera work and lighting by cinematographer Jarin Blaschke continues to impress.
There are a few shots that feel a little awkward and draw attention to themselves but, on the whole, this is impressive looking stuff.
Nosferatu is Robert Eggers's most accessible…
Haunting and powerful. Eerie and enticing.
Sophia Coppola has long stated that Peter Wier's film has been the biggest influence on her career and it is easy to see how. Coppola's sublime, The Virgin Suicides (1999) echoes this film in many ways, in tone, looks and themes.
Some films are just able to create a powerful tone and atmosphere. This isn't achieved by fluke. Weir's use of slow motion, superimposition, his creeping camera which often positions us as voyeurs, spying…
