Screening Log
This new site feature is a collective effort to summarize our viewing habits. Occasionally, you will find titles here that are coming to a theater near you, in addition to films viewed on television, and even films viewed in piecemeal. The screening log is archived each month; to view past entries select a month in the menu below.
October 2006 activity
Total Log Entries: 57
- Adam (6)
- Andrew (0)
- Chet (0)
- Chiranjit (3)
- David (0)
- Eva (0)
- Evan (0)
- Ian (3)
- Jenny (0)
- Katherine (0)
- Leo (9)
- Megan (0)
- Rumsey (16)
- Teddy (0)
- Thomas (4)
- Timothy (0)
- Victoria (0)
Total Comments: 43
- Don’t Look Now (1)
- Little Children (1)
- Running with Scissors (0)
- The Prestige (2)
- Dumbland (0)
- Art School Confidential (0)
- Aguirre: The Wrath of God (0)
- The Hills Have Eyes (0)
- Brick (0)
- The Host (0)
- Sólo con tu pareja (1)
- Marie Antoinette (0)
- Lighten Up (0)
- Heavy Metal Drummer (0)
- Click (0)
- Poseidon (0)
- Dracula (0)
- Kissed (0)
- The Pit (0)
- Airplane II: The Sequel (0)
- Endless Descent (0)
- Wolf Creek (0)
- The White Diamond (1)
- The Departed (1)
- The Queen (0)
- The Last King of Scotland (9)
- Bobby (1)
- The Science of Sleep (1)
- The Departed (0)
- Storefront Hitchcock (0)
- passage à l’acte (0)
- pièce touchée (2)
- The Spirit of the Beehive (0)
- Death Of A President (1)
- The Da Vinci Code (1)
- The Hard Way (1)
- The Departed (2)
- The Departed (0)
- Frenzy (0)
- The Trouble with Harry (0)
- The Best of Everything (0)
- Purple Noon (3)
- Election (11)
- A Journey to Avebury (0)
- Blue Velvet (1)
- Old Joy (0)
- Blood Sucking Nazi Zombies (0)
- World Trade Center (1)
- Silent Hill (0)
- The Last King of Scotland (0)
- Army of Shadows (0)
- Harlan County, U.S.A. (0)
- 9 Songs (0)
- Shock Treatment (0)
- Children Of Men (1)
- Happy Gilmore (1)
- Manic (0)
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Don’t Look Now / UK / Italy / 1973
Don’t Look Now is that rarest of beasts: a beautiful, deeply profound horror film. Though the horror genre has been hybridized with virtually every other type of film imaginable, it almost never comprises both the grotesque and the exquisite in a single film, and certainly not to the degree of Roeg’s film. Its success in this regard is no doubt attributable to the gothicism of DuMaurier’s material and to the aspic-preserved labyrinth of Venice. But it’s also thanks to Roeg and Tony Richmond’s rich, dark cinematography, with its warped, wide-angle lensing, its ghostly tracks, and its unsettling, exuberant moments of handheld camerawork; to Graeme Clifford’s intensely erratic montage, matching cuts, overlapping dialogue, and mashing-up image upon image; and two highly idiosyncratic, but affecting performances.
by Leo Goldsmith | Source: Paramount DVD
31 Oct 2006 1:41 PM | Comments (1)
Beverly / 31 October 2006 / 4:37 PM
Thanks for your wonderful site. I, too, found it after watching GREY GARDENS.