Derived from a story and originally scripted by brothers Leonard and Paul Schrader, respectively, producer-director Sydney Pollack, fresh off The Way We Were (1973), had Robert Towne (Chinatown) attenuate the action and violence and put a greater emphasis on the culture clashes between east and west…
The absurdity of John Le Carré’s plot may have been the key attraction for Hill: an American actress working in a London rep theatre is recruited by the Israeli secret service to pretend she’s the lover of the bomber’s brother, acting out the role with her own real background until the bomber’s identified and ultimately neutralized…
Originally a project designed for Paul Newman, Bobby Deerfield went into creative turnaround when the blue-eyed star lost interest in the project, after which director Sidney Pollack approached Al Pacino, still glowing from the critical successes Dog Day Afternoon and The Godfather: Part II…
According to producer Thom Mount (who provided a commentary track for the film’s original 2010 DVD release), Tequila Sunrise came into being when Towne launched a lawsuit with Warner Bros. regarding his prior directing debut, Personal Best, and part of the settlement including the studio funding and releasing a film which the esteemed screenwriter would act as writer & director…
Soundtrack reviews of John Murphy’s Anonymous Rejected Filmscore (Taped Noise), Antonio Sanchez’ Birdman (Milan Records), Frederik Wiedmann’s Dying of the Light + James Newton Howard’s Nightcrawler (Lakeshore Records), and Tyler Bates & Joel J. Richard’s John Wick + Keep on Keepin’ On (Varese Sarabande).
Now Where Were We? Right. Let’s go back to LAST NIGHT (1998)
Don McKellar’s LAST NIGHT (1998) is the first review after a long pause in activities at KQEK.com
Gothic Steele: An Angel for Satan (1966)
Review of AN ANGEL FOR SATAN / UN ANGELO PER SATANA (1966), Barbara Steele’s last Italian Gothic, on Blu-ray from Severin Films
Spanish Giallo I: When a Cannibal is not a Cannibal, but When a Scream is Indeed a Scream
Severin Films showcases the work of Eloy de la Iglesia via two fine Spanish gialli entries: NO ONE HEARD THE SCREAM (1973) + CANNIBAL MAN (1972)
ArtScopeTO 10: Interview with Abstract Painter Donna Wise
For my occasional podcast series ArtScope TO, Abstract Painter Donna Wise discusses her unique techniques, and working during the 2020-2021 pandemic.
Podcast: Jason Pichonsky on Restoring Julian Roffman’s THE BLOODY BROOD (1959) + PHOBIA (1980)
Alongside a podcast with CanCon film historian Jason Pichonsky are revised reviews of Julian Roffman’s THE BLOODY BROOD (1959) + John Huston’s PHOBIA (1980), both from KINO Lorber / Unobstructed View.
Podcast: ANNE WITH AN E composers Amin Bhatia & Ari Posner
Podcast interview with ANNE WITH AN E’s composing team Amin Bhatia and Ari Posner.
Assorted characters collide and interact in the lead-up to Earth’s demise at precisely midnight.
BR: Angel for Satan, An / Un angelo per Satana (1966)
Had Barbara Steele remained in Europe – especially Italy – during the early 1970s, she may well have appeared in giallo thrillers…
BR: Cannibal Man / La semana del asesino / Apartment on the 13th Floor, The (1972)
Cannibal Man has a palpable crime-drama feel – the events unfold after daily title cards – and one can sense Hitchcockian sensibilities…
BR: No One Heard the Scream / Nadie oyó gritar (1973)
After the grisly thriller Cannibal Man (1972), Spanish auteur Eloy de la Iglesia opted for a far less graphic thriller which is part giallo…
DVD: Go-Go Boys: The Inside Story of Cannon Films, The (2014)
Produced and released around the same time as Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014), the approach by director Hilla Medalia is a more authorized chronicle…
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