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A Film Odyssey: June 2006
http://afilmodyssey.blogspot.com/2006_06_01_archive.html
Thursday, June 22, 2006. Isn't it amazing how the same songs can be used to such varying effects? The two (equally enjoyable and hilarious) videos below add further proof. Enjoy (and thanks to Ryan for turning me on to the latter). Posted by rob humanick at 7:46 PM. Wednesday, June 21, 2006. With apologies to a good friend of mine: criticizing Sin City. No No satisfaction. But everything up until the that, will be a gas. Posted by rob humanick at 11:04 PM. Along with Kevin Smith’s debut film Clerks.
A Film Odyssey: July 2006
http://afilmodyssey.blogspot.com/2006_07_01_archive.html
Monday, July 31, 2006. Retrospective: Part I (The Prequels). It seems like hypocrisy to point out in the opening sentence of a mammoth article on all three films, no less that the Star Wars. Prequels (along with any other number of big-budget enterprises in the past few years, Matrix. Sequels and numerous Harry Potter. S among them) are among the most overly ballyhooed movies in recent memory (not to mention Star Wars. In general). So why, you ask, am I giving them even more. Represents, for me, part of ...
A Film Odyssey:
http://afilmodyssey.blogspot.com/2006/10/blob-1988.html
Bride of Frankenstein (1935). The Wicker Man (1973). Thank (or blame - you decide) David Cronenberg’s 1986 masterpiece remake of The Fly. For the existence of the 1988 remake of The Blob. A box office cash-in that is neither particularly good, bad, or ugly. Instead, it falls into the rare camp of being a quizzically interesting companion piece, building upon the original. Feature: Horror Marathon 2006. Posted by rob humanick on Wednesday, October 25, 2006 at 4:16 PM. Bride of Frankenstein (1935). 19th St...
A Film Odyssey:
http://afilmodyssey.blogspot.com/2006/10/wolf-man-1941.html
Bride of Frankenstein (1935). The Wicker Man (1973). James Whale’s homoerotic subversions aside, the Universal monster films, by their very nature, weren’t exactly open to the greatest range of subtext. This makes it all the more refreshing to see a gem like The Wolf Man. Which creates a far more nuanced and affecting personal conflict than many another works with far bigger canvas’s on which to work. Like 1933’s The Invisible Man. There is no true villain at the center of The Wolf Man. It's only a movie.
A Film Odyssey:
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The Phantom of the Opera (1925). The Cabinet of Dr. Caligari (1920). World Trade Center (2006). The one-two punch of 1931’s Dracula. Jumpstarted Universal’s long-running monsters series, and if the need to get a fresh product into theaters as quickly as possible was the prevalent feeling (so as to keep the box office dollars rolling), then 1932’s The Mummy. Is proof of what comes from studio executives with hungry dollar signs in their eyes. I might fault Dracula. I suspected a droll rehash of Dracula.
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15 év, 15 hét, -15%. A pénzeszsák másik élete. Sok mindenre használható a pénzeszsákok anyaga a jutaszövet, például egy mezőgazdasági kiállításon az asztalok elejére drapériát lehet belőle készíteni. Ráadásul meglehetősen stílusosat. Tovább: A pénzeszsák másik élete. A pólók minőségéről néhány szót. Érdemes néhány szót vesztegetni a pólók minőségéről is, hiszen nagyban befolyásolják a nyomat végső minőségét és sok minden mást is. A cégünkről alkotott véleményt is! Mennyivel szebb lesz a garázsajtó, nem?
A Film Odyssey
Thursday, October 26, 2006. Night of the Living Dead. Those who prefer their horror dealt out as formally as possible might take Night of the Living Dead. As camp, but what frightens us most often has that slightly unreal quality, and between its completely un-subtle scoring and sporadic use obtuse camera angles, Night. But even without these real-world parallels, Night of the Living Dead. Works its purebred terror without mercy. Says Roger Ebert in his initial coverage of the film. The film is rightfull...
An Odyssey Through Film
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Entre meninos e mães. Eu Matei Minha Mãe. J’ai tué ma mère, 2009), primeiro do jovem diretor Xavier Dolan, que aos 20 anos escreveu, produziu, atuou e dirigiu a película, relata a complicada relação entre mãe e filho. Um filme semi-autobiográfico e intenso, narra não só os desentendimentos com sua progenitora como também detalhes de sua homossexualidade, de uma relação maternal com sua professora e dos dilemas de um colégio interno. Um dos pontos fortes da filmagem são os constantes. A câmera busca capta...
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