A few years ago, in commemoration of the 10th anniversary of the death of influential film critic Pauline Kael, I wrote the following:
“I think (Kael) did a lot to expose the truth… that directors, writers and actors who often work awfully close to the surface may still have subterranean levels of achievement or purpose or commentary that they themselves may be least qualified to articulate. It’s what’s behind her disdain for Antonioni’s pontificating at the Cannes film festival; it’s what behind the high percentage of uselessness of proliferating DVD commentaries in which we get to hear every dull anecdote, redundant explication of plot development and any other inanity that strikes the director of the latest Jennifer Aniston rom-com to blurt out breathlessly; and it is what’s behind a director like Eli Roth, who tailors the subtext of something like Hostel Part II almost as...
“I think (Kael) did a lot to expose the truth… that directors, writers and actors who often work awfully close to the surface may still have subterranean levels of achievement or purpose or commentary that they themselves may be least qualified to articulate. It’s what’s behind her disdain for Antonioni’s pontificating at the Cannes film festival; it’s what behind the high percentage of uselessness of proliferating DVD commentaries in which we get to hear every dull anecdote, redundant explication of plot development and any other inanity that strikes the director of the latest Jennifer Aniston rom-com to blurt out breathlessly; and it is what’s behind a director like Eli Roth, who tailors the subtext of something like Hostel Part II almost as...
- 4/2/2017
- by Dennis Cozzalio
- Trailers from Hell
The origin of the slasher movie has always been of great interest to horror fans, who have long sought to pinpoint the film that launched one of horror’s most popular and enduring subgenres. For years, it was assumed that John Carpenter’s Halloween kicked off the movement, though in recent years that opinion has been widely revised to consider Bob Clark’s Black Christmas as patient zero. Now, Scream Factory has helped dig up 1971’s Blood and Lace, a movie that suggests the origins of the slasher film as we know it began three years before Black Christmas.
Opening with an extended Pov sequence seen through the eyes of a killer as a sleeping couple is murdered with a hammer (seven years before Halloween would open in similar fashion, though still 11 years after Peeping Tom), the movie eventually follows Ellie Masters (Melodie Patterson), daughter of the murdered couple, who...
Opening with an extended Pov sequence seen through the eyes of a killer as a sleeping couple is murdered with a hammer (seven years before Halloween would open in similar fashion, though still 11 years after Peeping Tom), the movie eventually follows Ellie Masters (Melodie Patterson), daughter of the murdered couple, who...
- 12/1/2015
- by Patrick Bromley
- DailyDead
Shock reviews the ultra-sleazy 1971 horror film Blood And Lace on Blu-ray. In the annals of PG rated horror films, director Philip Gilbert’s sordid Aip-released 1971 psychodrama Blood And Lace kind of stands alone. No, there’s no explicit sex or nudity, nor is the violence particularly graphic and certainly, nary a curse word is uttered.…
The post Blu-ray Review: Sleazy 1971 Classic Blood And Lace appeared first on Shock Till You Drop.
The post Blu-ray Review: Sleazy 1971 Classic Blood And Lace appeared first on Shock Till You Drop.
- 11/12/2015
- by Chris Alexander
- shocktillyoudrop.com
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