That…. The gorgeously photographed ennui of the rest of the film matches Antonioni’s usual style, but this beginning betrays some of the director’s self-awareness regarding his image. Wyler’s flawed yet fascinating film offers a look at a future Hollywood master in the nascent stage of his career. Suggesting a distaff spin on Fight Club, 2011’s Kotoko uses Tsukamoto’s disorienting editing techniques to put us squarely inside the headspace of the title character (Cocco), who suffers from schizoid visions of aggressive doppelgangers. In effect, the bustle of contemporary life and proliferation of new technologies aren’t the endpoint of Antonioni’s critique, but a tangible metaphor for the disparity between humanity’s social advancement and our biological and psychological ability to handle these changes. And this time around the male leads are given something of a backstory involving childhood trauma and amnesia. Bong Joon-ho’s historic international breakthrough receives a superlative Blu-ray package, though it inadvertently calls attention to Criterion’s slowness in pivoting to UHD. The Ipcress File’s narrative also feels a bit at odds with the filmmakers’ intentions. When the film’s hero, Harry Palmer (Michael Caine), awakens blurry-eyed, putting on his thick pair of glasses before going about his mundane morning tasks, he feels very much like an ordinary bloke. The titular substance takes on a literal, material function in regards to reconstruction, specifically the building of a road around the air force base. Though Vittoria and Piero begin a relationship, it is not one without difficulties, and their commitment to one another is tested during an eclipse. In Antonioni’s films, it’s the geographical compartmentalization of urbanization that, paradoxically, finally gives one a sense of the overwhelming size of the world. The conversation also covers the film’s attempts to function as a deglamorized reaction to the early James Bond films and offers insight into the visual style employed by Furie and cinematographer Otto Heller, whose work here influenced the great Vittorio Storraro. Tetsuo II: Body Hammer, from 1992, expands on the original in a number of ways. After splitting from her writer boyfriend, Riccardo, Vittoria meets Piero, a lively stockbroker, on the hectic floor of the Roman stock exchange. Clem is something of a more youthful, slightly less corrupted version of Dave, as underlined in a scene where Clem reveals that he used loaded dice to swindle locals out of a few bucks. Nothing is trying to be solved or worked out, it is existential like the others, but more in a selfish and pessimistic way. For this Blu-ray release of The Shakedown, Kino Lorber has sourced Universal’s recent 4K restoration of the film from a 35mm duplicate negative. Michelangelo Antonioni’s L’Eclisse, the conclusion of his informal, early-‘60s trilogy on modern malaise, likely won’t dissuade anyone of the director’s reputation as an icy, inscrutable miserabilist. Cinema on the other hand has always been very predictable, highly commercial and always dealt with the most simplistic formulas to guarantee entertainment for the audience. kinda like particular moments in Mad Men, a bunch of disillusioned racist capitalists drown in ennui, desperate to fill a void in their hearts that sex, money and mindless hedonism can never come close to fulfilling, while living a destiny destined to burn itself out. You can still see all customer reviews for the product. Everything brings forth a perpetual aura of decay as if the whole damn thing is rapidly falling apart, walls crumble, streets crack, words falter, film unravels, every word spoken carries the tone of futility. The audio track is Master Audio 2.0 mono, which across the dialogue cleanly and clearly, aside from a few moments of reduced volume, doubtless attributable to the original sound conditions. If I could I would give it 10 stars...my personal favorite of the trilogy (La Notte, L'Avventura, L'Eclisse) although I must say the entire trilogy is breath taking. Following the exploits of a truck driver, Robert (Helmut Wildt), involved in a scam to steal a couple of loads of the gravel he delivers each week, the film presents Germany as being stuck in a purgatorial state of recovery. For this Blu-ray, Kino has transferred both the uncensored “premiere” version of the film and the slightly shorter, censored “distribution” cut, sourcing a print of the premiere version that was preserved by the Friedrich Wilhelm Murnau Foundation in 2016. Lynch shows similar restraint in staging the narrative’s emotional crescendos, of which there are many. The resultant contrast between abundant light and incipient darkness, as Braddock faces his own certain demise, makes for a truly compelling final flourish. He is really what can be called a modernist. Between these men on the film’s moral spectrum is Treves (Anthony Hopkins), whose own exploitation of Merrick, in terms of displaying the man to medical professionals, is mentioned but largely unexamined. How can you not love this movie? Typical of the film’s high-wire act, the comment is clearly said in mockery of both consumerism and feminine concerns, but the image—that of a perfectly aligned Madison Avenue-engineered derrière—is just as clearly appreciative of what youth, fashion, and mass media can accomplish: great ass. My wife has been anxiously awaiting this review, so here it goes. It’s the sort of gag that could easily have been in a late Chaplin film, a mordantly funny critique of capital-driven postwar life that executes a simple setup with sophistication. Your recently viewed items and featured recommendations, Select the department you want to search in, Reviewed in the United States on September 24, 2016. Where most of Tsukamoto’s earlier films had been concerned with acquiring self-knowledge through the process of transformation, 2004’s Vital explores techniques of stripping away as a means to wisdom and existential acceptance. The scene also doubles as a perverse sort of baptism into a new state of being, administered, ironically enough, by the very woman who would have been his one true love in a more conventional scenario. (It’s worth mentioning that his next film, Masculin Féminin, isn’t quite as magnanimous about the harmless dangers of pop music.) We often hear little about the German films made between Leni Riefenstahl’s propaganda films for the Nazi Party and the works of the New German Cinema of the late ‘60s, almost as if the German film industry were at a standstill during that time. Both emphasize the breakdown of social structures, as well as the potential for their perversely polymorphous restoration. The 1001 Greatest Films, ranked as objectively as possible, The 100 Greatest Documentaries, ranked as objectively as possible, The 500 Greatest Movies of All Time, according to statistics. I respect Bergman, I don't care too much about Godard but Antonioni is interesting because he's perhaps the weirdest and most severe of them all, so he merits attention in a sense different from the others. That holds true for the final shots, haunting as they are. William Wyler’s 1929 silent film The Shakedown is a boxing drama that staves off the saccharine sentimentality of a tried-and-true redemption story with its ribald sense of humor and hard look at its working-class milieu.
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