The fact that it’s a very complicated matter even identifying the “I” and “you” in “I See You” is just a sample of the narrative tricks in this very tricksy thriller. Working from an impressive first produced screenplay by actor Devon Graye, Adam Randall’s film is an eerie suspense exercise that starts out looking like a supernatural tale — one of several viewer presumptions this cleverly engineered narrative eventually pulls the rug out from under. Saban Films opens it on 10 U.S. screens this Friday, while Paramount is handling concurrent home-formats release. Long-term viability as a streaming offering is assured, while the distinctive plotting may well lure offshore remake bids.
Philipp Blaubach’s probing, restless camera charges the very air with unseen menace from the start, as a 10-year-old boy bicycles home through a picturesque small-town, his progress down a forest trail violently curtailed by some invisible barrier or force.
Philipp Blaubach’s probing, restless camera charges the very air with unseen menace from the start, as a 10-year-old boy bicycles home through a picturesque small-town, his progress down a forest trail violently curtailed by some invisible barrier or force.
- 12/5/2019
- by Dennis Harvey
- Variety Film + TV
Red Riding Hood; The Veteran; Tomorrow, When the War Began; Scream 4
Considering the affection and admiration which I hold for Catherine Hardwicke's work on the much-mocked (but much more loved) Twilight series, it's a real shame that I can't be more positive about Red Riding Hood (2011, Warner, 12). On the surface, the subject matter – a gothic fairytale in which a feisty teenage girl has to balance the allure of buff, well-coiffed suitors against the threat of wolfish violence – seems tailor-made for Bella and Edward's first director. Having earned her genre spurs in the underrated Jennifer's Body, Amanda Seyfried seems perfectly cast as Valerie, a prototype "final girl" who finds herself trapped in a theatrical cross between The Crucible and Sleepy Hollow.
A strong supporting cast including the always impressive Virginia Madsen and a subtly sinister Julie Christie adds to the appeal, suggesting heavyweight thespian delights. As for Gary Oldman,...
Considering the affection and admiration which I hold for Catherine Hardwicke's work on the much-mocked (but much more loved) Twilight series, it's a real shame that I can't be more positive about Red Riding Hood (2011, Warner, 12). On the surface, the subject matter – a gothic fairytale in which a feisty teenage girl has to balance the allure of buff, well-coiffed suitors against the threat of wolfish violence – seems tailor-made for Bella and Edward's first director. Having earned her genre spurs in the underrated Jennifer's Body, Amanda Seyfried seems perfectly cast as Valerie, a prototype "final girl" who finds herself trapped in a theatrical cross between The Crucible and Sleepy Hollow.
A strong supporting cast including the always impressive Virginia Madsen and a subtly sinister Julie Christie adds to the appeal, suggesting heavyweight thespian delights. As for Gary Oldman,...
- 8/20/2011
- by Mark Kermode
- The Guardian - Film News
The Veteran opens in UK cinemas Friday, April 29, 2011.
Before attending an early screening Mathew Hope's new urban thriller The Veteran, our own Hal MacDermot sat down with the director to pick his brain about the film.
Read the entire interview with Mathew Hope after the break.
"Hal: Talk to me about the inspiration for The Veteran.
Matthew: The inspiration for The Veteran is twofold . the story came out of conversations I had with the co-writer and technical advisor Robert Craft. He.d spent 24 years in the military. We were talking a lot of about soldiers returning from Afghanistan and it was born out of those conversations. Also I was inspired by Taxi Driver, the anti-hero and first person narrative. I was also into Paul Schrader.s ideas from the mid-70s . the man in his room waiting for a mission - Also, Schrader.s interest in Bresson.s movies Pickpocket...
Before attending an early screening Mathew Hope's new urban thriller The Veteran, our own Hal MacDermot sat down with the director to pick his brain about the film.
Read the entire interview with Mathew Hope after the break.
"Hal: Talk to me about the inspiration for The Veteran.
Matthew: The inspiration for The Veteran is twofold . the story came out of conversations I had with the co-writer and technical advisor Robert Craft. He.d spent 24 years in the military. We were talking a lot of about soldiers returning from Afghanistan and it was born out of those conversations. Also I was inspired by Taxi Driver, the anti-hero and first person narrative. I was also into Paul Schrader.s ideas from the mid-70s . the man in his room waiting for a mission - Also, Schrader.s interest in Bresson.s movies Pickpocket...
- 4/26/2011
- QuietEarth.us
The Disappearance of Alice Creed, the first feature of British writer-director J Blakeson, is a taut, minimalist crime drama executed with precision and permeated by relentless tension.
A crisp, dialogue-free opening sequence witnesses ex-con partners Vic (Eddie Marsan) and Danny (Martin Compston) stepping through the necessary preparations for a calculated abduction. A nearly furniture-less apartment is lined with soundproofing, restraints are fastened to the bed frame and numerous locks are bolted to the door before the pair snatches up socialite Alice Creed (Gemma Arterton) and tosses her in their stolen van. Only after she’s bound and gagged do their three distinct personalities begin to emerge.
Blakeson and his cinematographer, Philipp Blaubach, make full use of the limited space, (essentially a three-room flat) to craft a riveting thriller packed with clever twists and surprises. It’s difficult to discuss the film’s finer points without divulging the script’s secrets but,...
A crisp, dialogue-free opening sequence witnesses ex-con partners Vic (Eddie Marsan) and Danny (Martin Compston) stepping through the necessary preparations for a calculated abduction. A nearly furniture-less apartment is lined with soundproofing, restraints are fastened to the bed frame and numerous locks are bolted to the door before the pair snatches up socialite Alice Creed (Gemma Arterton) and tosses her in their stolen van. Only after she’s bound and gagged do their three distinct personalities begin to emerge.
Blakeson and his cinematographer, Philipp Blaubach, make full use of the limited space, (essentially a three-room flat) to craft a riveting thriller packed with clever twists and surprises. It’s difficult to discuss the film’s finer points without divulging the script’s secrets but,...
- 8/3/2010
- by Jeff Leins
- newsinfilm.com
Release Date: April 3
Director: Rupert Wyatt
Writers: Daniel Hardy and Rupert Wyatt
Cinematographer: Philipp Blaubach
Starring: Brian Cox, Joseph Fiennes, Liam Cunningham, Seu Jorge
Studio Information: IFC Films, 102 mins.
The Escapist, directed by Rupert Wyatt, is a high-octane, efficiently executed British film about a prison break. The story runs along two tracks: One shows us the escape itself, which begins with the film’s first shot, and the other flashes back to gray-haired inmate Frank Perry (Brian Cox) and his band of accomplices who are planning their flight to freedom.
Director: Rupert Wyatt
Writers: Daniel Hardy and Rupert Wyatt
Cinematographer: Philipp Blaubach
Starring: Brian Cox, Joseph Fiennes, Liam Cunningham, Seu Jorge
Studio Information: IFC Films, 102 mins.
The Escapist, directed by Rupert Wyatt, is a high-octane, efficiently executed British film about a prison break. The story runs along two tracks: One shows us the escape itself, which begins with the film’s first shot, and the other flashes back to gray-haired inmate Frank Perry (Brian Cox) and his band of accomplices who are planning their flight to freedom.
- 4/3/2009
- Pastemagazine.com
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