This flawed but intriguing little film has been maligned a bit over the years as a forgotten dud, made about a year after three of the principles – stars Dustin Hoffman, Mia Farrow, and director Peter Yates – had achieved major box office stardom in The Graduate (1967), Rosemary’s Baby (1968), andBullitt (1968), respectively…
Woody Allen’s Zelig drew plenty of attention for its bravura visual effects in which fictional Leonard Zelig (Allen, of course) and others were seamlessly blended with real newsreel and archival film footage, creative a perfect mockumentary that feels like some previously lost, one-time, feature-length Fox Movietone production that was initially aborted and later completed decades after the footage was discovered in some dank vault holding RKO oddities…
Drawing from his one-act comedy play “Death,” Woody Allen expanded his Franz Kafka riff into an overt homage to German Expressionism, that moody film style characterized by shadowy B&W cinematography where daylight is barely seen,..
From William Shakespeare’s classic play A Midsummer’s Night’s Dream of fairy dusted lovers true and accidental, errors in judgment, and wacky hijinks between various couples, to Ingmar Bergman’s variation Smiles of a Summer Night (1955) in which said hijinks are isolated to one extended night, we have another extrapolation from Woody Allen…
Woody Allen’s gem of a fantasy is drenched in nostalgia for the era – Depression Era 1930s, the elegance of Fred Astaire and Ginger Rogers, warm woody tones, tweed outfits and caps, and the cacophony of street diners – but it’s probably most beloved for exploring the secret fantasy of many movie lovers: What would happen if a character you adored in a movie came to life?
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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