Going on to articulate her frustrations with the extreme restrictions she’s forced to deal with, she says, “If I can’t feed my kids, it’s child neglect.
Seen through a contemporary prism, The Naked City is potentially more uncomfortable than it was ever intended to be, as Hellinger’s faith in law and order is charged in an era wracked by existential arguments over the necessity as well as the specific nature of police reform. Requiem for a Dream is an uncompromised, relentless descent into hell with just one thing on its mind: Drugs are really, really bad for you. © 1996-2020, Amazon.com, Inc. or its affiliates. If I stay at home, then I’m lazy.
Taken together, these extras tend to repeat themselves, though the central story of The Elephant Man’s realization from a spec script to Lynch’s second film is rendered here with great detail. The Playmate of the Year is talking to Lance about her troubles and insecurities about being a Playmate. If they act a little confused and a lot self-involved, it’s because they’re artistically pubescent in the best possible sense of the misnomer, and their good looks have you giving them the benefit of the doubt even as you yourself start to approach your ugly, embittered In Praise of Love years or give up on cinema for the third or fourth time.
That edition is included here, as is Coppola’s newly crafted “Final Cut,” which splits the difference between the two versions, retaining the scenes set at the plantation while omitting some of the scenes that were rightly left out of the theatrical cut, such as the second encounter between Willard’s crew and the Playboy bunnies visiting on a U.S.O. Rated R Though the whiz-bang, comic book-panel aesthetic of Pierrot le Fou is as potentially intoxicating as any contemporaneous head movie, it’s also one of his most finely balanced works, one that successfully straddles generational gaps far wider than the one separating Ferdinand and Marianne—even the one separating 1960s-era Godard from latter-day JLG/JLG.
Carmody talks about getting the job as producer, casting a lot of local “wannabes” in secondary roles, his hands-on approach, and his later involvement with a number of cult Canadian genre films.
Cast: Víctor Urruchúa, Carlos Villatoro, A.N. It doesn’t answer the question “Why are/were we in Vietnam,” but what Western work of art or reportage truly has? These episodes are often intercut with a similar moment from one of Jodorowsky’s earlier films—from El Topo and The Holy Mountain to his more recent self-reflexive and semi-autobiographical films, The Dance of Reality and Endless Poetry—as though to emphasize the continuity of his vision from narrative cinema to documentary.
Merrick was discovered performing in a freak show by surgeon Frederick Treves, who eventually set him up in a suite at the London Hospital, where Merrick became an unlikely socialite and celebrity, earning praise and adoration beyond anyone’s wildest dreams. There are too many extras to enumerate, with featurettes on every single aspect of the film’s production, from its casting to its sound mixing.
It’s a baldly manipulative ploy straight out of a cheap melodrama that the filmmakers punch up by giving Clem a resilience and abrasiveness that keeps the audience’s pity and sorrow at bay. Med Hondo’s Soleil Ô opts for a logic-oriented critique of seemingly immovable systemic corruption. Willard told Chief that the whole crew can spend time with the Bunnies, but Chief refuses. In the original 1979 version, when Willard breaks off from the PBR crew at the Do Lung Bridge and is asked where he's going, he says "I gotta find somebody.
After a brief introduction, during which Jodorowsky lays out the major tenets of his technique, we witness a selection of individual case histories. There Coppola showed a shorter "Work in Progress" version of the film, which lasted about 3 hours and won the Palme d’Or, the highest award of the film festival. Francis Ford Coppola's legendary 1979 film, now in legendary quality. But the WCP’s diligent work—1,500 hours according to their own estimates—ensures those moments are few and far between. Willard scrolls less through Kurtz's dossier and is then no longer to be seen at his table. “The A to Z of The Holy Mountain,” a video essay from Ben Cobb, provides an abecedarian assemblage of random tidbits about the film that range from Penthouse interviews to a recipe for your very own edible Jesus statue. That means, in this case, leaving in the original and, unfortunately, difficult-to-read English subtitles that were burned into the only existing print. Soundtracks, The theatrical and Redux DVDs released by Paramount Pictures and Lions Gate Studios in the United States, as well as the earlier letterbox VHS and LaserDisc releases, were re-framed in DP. Willard is lectured about France's colonial history in Indochine as well as their military blunders. But it’s the film’s refusal to pull any punches and highlight the flaws of its main characters that prevents its somewhat optimistic portrait of black love from tipping into the maudlin.
William Wyler’s 1929 silent film The Shakedown is a boxing drama that staves off the saccharine sentimentality of a tried-and-true redemption story with its ribald sense of humor and hard look at its working-class milieu. The El Topo and The Holy Mountain cases each contain a soundtrack CD. Coppola himself now calls this version the Final Cut. Requiem for a Dream is also the film that firmly established Aronofsky as a primarily visual filmmaker. On the occasion of its 20th anniversary, Darren Aronofsky’s influential hellride of a film gets a sturdy 4K upgrade and a few new extras that extol its technical merits.
Journalist J.B. Kristano discusses the difficulties of studying Indonesian cinema when there’s hardly a single book on its history.
Once Käutner was out from under the censorial thumb of Adolf Hilter and Joseph Goebbels, the Nazi Party’s minister of propaganda, he sought to make amends, expressing his disdain for Nazism and directly addressing Germany’s recent transgressions through films such as Seven Journeys (the first German film released after WWII) and, later, Black Gravel, a savagely bleak portrait of a wholly corrupt Germany that’s yet to come to terms with its wartime legacy.
In this version. The napalm strike has ruined the favorable surfing conditions, so Lance and the others leave, much to Kilgore's dismay. She proves to be patient zero in the outbreak of slug-like parasites that invade the Starliner Towers, creatures described by Hobbes’s fellow medical researcher, Dr. Rollo Linsky (Joe Silver), as “part aphrodisiac, part venereal disease.” They are, of course, the result of a medical experiment gone horribly awry.
When compared to a standard picture, Dolby Vision can deliver spectacular colors never before seen on a screen, highlights that are up to 40 times brighter, and blacks that are 10 times darker.
Their provocative public performances were part secular ritual, part intentional scandal, replete with copious nudity and blasphemous religious imagery (elements not entirely lacking in Jodorowsky’s later films). Sourced from a new 4K digital restoration, the Criterion Collection’s transfer of Claudine is spectacular, boasting a consistently sharp image while still honoring the film’s gritty, rough-edged aesthetic. But it also serves as a potent metaphor for the volatile state of post-war Germany.
Before they leave, Willard steals Kilgore's surfboard. In other words, Lynch adopts the lucid point of view of Treves, tenderly regarding a cursed man who nevertheless savored beauty.
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