Indicator’s sixth box set of Hammer movies, Night Shadows, is a bit of a mixed bag, with a silly but entertaining Old Dark House throwback in John Gilling’s The Shadow of the Cat (1961), an overwrought psycho thriller in Freddie Francis’ Nightmare (1964), a historical adventure in Peter Graham Scott’s Captain Clegg (1962), and a pseudo-Gothic horror in Terence Fisher’s The Phantom of the Opera (1962).
Thanksgiving weekend brought an excess of eating and drinking (but no turkey!) and three great movies – plus one dud.
Yet another mixed bag of viewing from classic westerns to Asian fantasy/horror, black comedies and science fiction, musicals and monsters.
Indicator’s fifth box set of Hammer movies moves away from the famous horrors to the fringes of the studio’s production, gathering a mediocre contemporary thriller by Michael Carreras and three entertaining historical adventures by John Gilling.
Social isolation and “working from home” mean a lot of time for movie-watching … and the volume far outstrips my ability to say anything substantive about many of the films I do watch: so here I mostly just acknowledge what I’ve been viewing in the past 4-6 weeks. Part two of four.
Social isolation and “working from home” mean a lot of time for movie-watching … and the volume far outstrips my ability to say anything substantive about many of the films I do watch: so here I mostly just acknowledge what I’ve been viewing in the past 4-6 weeks. Part one of four.
Criterion’s new Blu-ray edition of Benjamin Christensen’s Häxan (1922) reveals a startlingly complex and modern work; a multi-layered essay on the subject of the European witch craze of the 14th to 17th Centuries, the film is richly detailed exploration of religion, power and madness which still has relevance today.
More random viewing: two obscure independent films from the BFI, Margaret Tait’s poetic Blue Black Permanent (1992) and Maurice Hatton’s gritty fake-umentary about the film business, Long Shot (1977); and three from Twilight Time – George Sluizer’s interesting Americanization of his existential thriller The Vanishing (1993), Terrence Young’s straightforward fact-based crime saga The Valachi Papers (1972), and D.W. Griffith’s monumental but deeply troubling Birth of a Nation (1915).
Indicator’s third box set of Hammer movies highlights some interesting issues about the treatment of race in popular culture.
Criterion’s Blu-ray release of Robert M. Young’s The Ballad of Gregorio Cortez (1982) gives new life to a remarkable but too-little known film which takes on greater urgency in the current political climate in the U.S.