Lynch's take on the dePalma voyeurism-thriller in which a horny young man gets a glimpse of something which upsets and thrills him at the same time; McLachlan's "Why are there people like Frank? Why is there so much trouble in this world?" line is very protests-too-much.
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Cop 1988
On one level as blunt and straightforward as its title (it even has a played-completely-straight "turn in your badge and gun" scene, which I haven't seen in ages). Complicated somewhat by James Woods playing the title character as a total sleazebag - there's a scene where he blows away a suspect and then immediately starts hitting on the dead man's date. Ends on a bleak, nihilistic note which in retrospect is completely inevitable. Gross, but entertaining.
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Sunset Boulevard 1950
Billy Wilder, man. One of the greatest simultaneous tributes to and takedowns of Hollywood. The cast is perfect, as is the script. A classic Wilder protagonist, who dreams big but not big enough to hide his failings. And the all-time record for actor/director stunt-casting.
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Point Blank 1967
It's been so long since I saw this that I remembered it in brief, impressionistic flashes - which as it turns out, is perfect for the experience of the film itself. It's a brutal pulp narrative shattered into shards and weaved back together with New Wave grammar and a touch of straight-up surrealism.
Lee Marvin, suited to lurking in monochrome noir, is here turned loose in a blazing daylight 60s modernist Technicolour nightmare. Boorman makes great use of Los Angeles…
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