Friday, June 17, 2016

Day of the Outlaw (1959)



Cf., additionally:
Lunch date at Café Kitsch in Spontaneous Combustion (1990)
Sarah and Khalid encounter inside elevator in Djinn (2013) (I contend as solid, well-constructed a scene as in any Oscar-baity, sophisticated fare you can think of last year.)

Frames as triangulations, precise shot/reverse shots, evolving frames (not just around tables.)

Thursday, June 16, 2016

from Day of the Outlaw (1959), dir. Andre De Toth

Cf.:
Staircase Time-Lapse in Eggshells (1969) 
Fay, Angie, and Roy Arrive at the Starlight Motel, and Judd and Buck's transaction in Eaten Alive (1977)
Judd monologues descending the staircase in Eaten Alive (1977)
Climax in the basement of The Funhouse (1981)
Carol Anne contacting in the living room in Poltergeist (1982)
Observation room with passed out Dr. Armstrong in Lifeforce (1985)
NASA Mission Control Room in Invaders from Mars (1986)
The military outpost in prologue of Spontaneous Combustion (1990)
Salama's prayer in Djinn (2013)

Thursday, June 9, 2016

Retribution (Kiyoshi Kurosawa, 2006)/Spontaneous Combustion





Retribution (Kiyoshi Kurosawa, 2006)







 Spontaneous Combustion (Tobe Hooper, 1990)

Wednesday, May 11, 2016

Images from 'The Damned Thing'


The Damned Thing is the retrograde television recapitulation of everything already contained in Mortuary, there in purer and more graceful form.  Whereas Mortuary cobbled together its Lovecraft, monster movie, and vulgar teen movie elements into a fluffy velvet firmament with which to hang stars and statements on the epic human scale of the horror film (just as Rivette did with mystery films), The Damned Thing is also epic and tragically-minded (even more so, surely, the image of a compass spinning uncontrollably the clear sign of that), but incapable of achieving success or subtlety, instead furiously single-track in its thinking.  It is a story that yearns to be a feature-length study or meditation, to have a true amount of time to draw out its tangle of characters and the dissolving of human gentility via psychological mud creature (a la Mortuary), but it is instead scripted without a sense of what would be realistic to convey within its means and limitations, and so without finesse, without a sense of self-editing, lost in the search to be all-encompassing.












At times The Damned Thing seems like the piece of 50% profiles - conversations and stand-offs caught in Leone-esque close-ups.