Category Archives: Thriller

Blu-ray reissue: He Walked By Night (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 24, 2024)

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He Walked By Night (KL Studio Classics)

This tight 1948 police procedural from Alfred L. Werker (with  uncredited co-direction by noir stalwart Anthony Mann) was based on a case taken directly from the LAPD’s files. Richard Basehart stars as a psychopathic serial thief-turned cop killer who utilizes his expertise with electronics to repeatedly elude capture by law enforcement.

One of the earliest noirs to take a semi-documentary approach in order to inject an air of realism to the story.  Jack Webb (who plays the police department’s electronics expert in the film) was obviously taking notes, as that became the model for his future Dragnet TV series.

It’s also one of the first crime thrillers I’m aware of that plays to the gear heads in the audience; there’s lots of demonstrative tinkering with (then) state of the art electronic equipment (I see it as presaging The Conversation in this regard).

While the story is absorbing, the real star of this film is its cinematographer, the great John Alton. There are a number of stunning visual set pieces; particularly a climactic pursuit through L.A.’s underground tunnel system (it’s worth noting that this film was released a year before The Third Man).

Alton’s photography really pops in Kino Lorber’s absolutely gorgeous Blu-ray transfer, which is taken from a 16bit 4K scan of the 35mm fine grain. Extras include a new commentary track by film historian Imogen Sara Smith, and audio commentary by author/film historian Alan K. Rode and writer/film historian Julie Kirgo. This one is a must-have for noir aficionados.

Mask season: 25 movies for Halloween!

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 28, 2023)

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(With apologies to Rod Serling for my frightfully tacky paraphrasing) Good evening, and welcome to a private showing of 25 films. Each is a collector’s item in its own way—not because of any special artistic quality, but because each captures on a celluloid canvas, streaming in time and space, a frozen moment of a nightmare. And …Happy Halloween!

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Beauty and the Beast (1946)– Out of myriad movie adaptations of Mme. Leprince de Beaumont’s fairy tale, Jean Cocteau’s 1946 version remains the most soulful and poetic. This probably had something to do with the fact that it was made by a director who literally had the soul of a poet (Cocteau’s day job, in case you didn’t know). The film is a triumph of production design, with inventive visuals (photographed by Henri Alekan).

Jean Marais is affecting as The Beast, paralyzed by unrequited passion for beautiful Belle (Josette Day). This version is a surreal fairy tale not necessarily made with the kids in mind (especially with all the psycho-sexual subtexts). The timeless moral of the original tale, however, is still simple enough for a child to grasp: It’s what’s inside that counts.

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The Blair Witch Project – Love it or hate it, there is no denying the impact of this cleverly marketed horror flick. In the event that you spent 1999 in a coma, this is the one where a crew of amateur actors were turned loose in dark and scary woods, armed with camping gear, video cameras and a plot point or two provided by filmmakers Daniel Myrick and Eduardo Sanchez, who then proceeded to play creepy, “gotcha” mind games with their young troupe.

The result was surprisingly effective; after all, it’s the perception that “something” in the woods is out to get you that fuels nightmares-not a stunt man in a rubber monster suit lurching about in front of the camera. Arguably, you could cite The Last Broadcast (1998) or relatively more obscure 1980 cult flick Cannibal Holocaust as the progenitors of the “found footage” genre, but The Blair Witch Project took it to a an entirely new level.

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Bubba Ho-Tep – This 2002 tongue-in-cheek shocker from Don “Phantasm” Coscarelli could have been “ripped from the headlines”…if those headlines were from The Weekly World News. In order to enjoy this romp, you must unlearn what you have learned. JFK (Ossie Davis) is still alive (long story)…he’s now an elderly African-American gentleman (even longer story). He resides at a decrepit nursing home in Texas, along with Elvis Presley (midnight movie icon Bruce Campbell).

The King and the President join wheelchairs to rid the facility of its formidable pest…a reanimated Egyptian mummy (with a ten-gallon hat) who’s been lurking about waiting for residents to pass on so he can suck out their souls. Lots of laughs, yet despite the over-the-top premise, both Campbell and Davis’ portrayals are respectful; even poignant at times.

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Captain Kronos, Vampire Hunter – “What he doesn’t know about vampires wouldn’t even fill a flea’s codpiece!” This unusually droll Hammer entry from 1974 benefits from assured direction and a clever script by Brian Clemens (co-creator of The Avengers TV series). Captain Kronos (Horst Janson) and his stalwart consultant, Professor Hieronymus Grost (John Cater) assist a physician in investigating a mysterious malady befalling the residents of a sleepy hamlet…rapidly accelerating aging.

The professor suspects a youth-sucking vampire may be involved…and the game is afoot. Along the way, the Captain finds romance with the village babe, played by lovely Caroline Munro. The film was released at the tail end of Hammer’s classic period; possibly explaining why Clemens seems to be doing a parody of “a Hammer film”.

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Delicatessen– Love is in the air…along with the butcher’s cleaver in this seriocomic vision of a food-scarce, dystopian “near-future” along the lines of Soylent Green, directed with trademark surrealist touches by co-directors Jean-Pierre Jeunet and Marc Caro (The City of Lost Children). The pair’s favorite leading man, Dominique Pinon (sort of a sawed-off Robin Williams) plays a circus performer who moves into an apartment building with a butcher shop downstairs.

The shop’s proprietor seems to be appraising the new tenant with a “professional” eye. In Jeunet and Caro’s bizarre universe, it’s all par for the course (and just wait ‘til you get a load of the vegan “troglodytes” who live under the city). One memorable sequence, a comically choreographed lovemaking scene, stands as a mini-masterpiece of film and sound editing.

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Don’t Look Now – This is a difficult film to describe without risking spoilers, so I’ll be brief. Based on a Daphne du Maurier story, this haunting, one-of-a-kind 1974 psychological thriller from Nicholas Roeg (Walkabout, The Man Who Fell to Earth) stars Donald Sutherland and Julie Christie as a couple who are coming to grips with the tragic death of their little girl. Roeg slowly percolates an ever-creeping sense of impending doom, drenched in the Gothic atmosphere of Venice.

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Eating Raoul– The late great Paul Bartel directed and co-wrote this twisted and hilarious social satire. Bartel and his frequent screen partner Mary Waronov play Paul and Mary Bland, a prudish, buttoned-down couple who are horrified to discover that their apartment complex is home to an enclave of “swingers”. Paul is even more shocked when he comes home from his wine store job one day and discovers Mary struggling to escape the clutches of a swinger’s party guest who has mistakenly strayed into the Bland’s apartment.

Paul beans him with a frying pan, inadvertently killing Mary’s overeager groper. When the couple discovers a sizable wad of money on the body, a light bulb goes off-and the Blands come up with a unique plan for financing the restaurant that they have always dreamed of opening (and helping rid the world of those icky swingers!). Things get complicated, however when a burglar (Robert Beltran) ingratiates himself into their scheme. Yes, it’s sick…but in a good way.

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Ed Wood – Director Tim Burton and his favorite leading man Johnny Depp have worked together on so many films over the last several decades that they are surely joined at the hip by now. For my money, this affectionate 1994 biopic about the man who directed “the worst film of all time” remains their best collaboration. It’s also unique in Burton’s canon in that it is somewhat grounded in reality.

Depp gives a brilliant performance as Edward D. Wood, Jr., who unleashed the infamously inept yet 100% certified cult classic, Plan 9 from Outer Space on an unsuspecting movie-going public in the late 50s. While there are lots of belly laughs, there’s no punching downward at Wood and his decidedly off-beat collaborators; in a way the film is a love letter to outsider film makers. Martin Landau steals his scenes with a droll, Oscar-winning turn as Bela Lugosi. Also with Bill Murray, Sarah Jessica Parker, Patricia Arquette and Jeffrey Jones.

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Forbidden Zone – Picture if you will: an artistic marriage between John Waters, Max Fleischer, Busby Berkeley and Peter Greenaway. Now, imagine the wedding night (I’ll give you a sec). As for the “plot”, well, it’s about this indescribably twisty family who discovers a portal to a pan-dimensional…oh, never mind. Suffice it to say, any film that features Herve Villechaize as the King of the Sixth Dimension, Susan Tyrrell as his Queen and soundtrack composer Danny Elfman channeling Cab Calloway (via Satan), is a dream for some; a nightmare for others. Directed by Danny’s brother Richard.

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I Married a Witch– Clocking in at 77 minutes, Rene Clair’s breezy 1942 romantic fantasy packs in more wit, sophistication and fun than any ten modern “comedies” you’d care to name put together. I’ll tell you what else holds up pretty well after 80 years…Veronica Lake’s allure and pixie charm. Lake is a riot as a witch who re-materializes 300 years after putting a curse on all male descendants of a Puritan who sent her to the stake.

She and her equally mischievous father (Cecil Kellaway) wreak havoc on the most recent descendant (Fredric March), a politician considering a run for governor. Lake decides to muck up his relationship with his fiancé (Susan Hayward) by making him fall in love with his tormentor. All she needs to do is slip him a little love potion, but her plan fizzes after she accidentally ingests it herself. And yes, hilarity ensues.

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J-Men Forever!– Woody Allen may have done it first (What’s Up, Tiger Lily?) and the Mystery Science Theater 3000 troupe has since run the concept into the ground, but Firesign Theater veterans Phil Proctor and Peter Bergman did it best with J-Men Forever.

I am referring to the concept of re-appropriating footage from corny, no-budget B-films and re-dubbing the soundtrack with comic dialogue. I’ve been a devotee of this film since it aired on the USA Network’s after hours cult show Night Flight back in the 80s (alright, raise your bong if you remember that one).

The creators had a sizable archive from the old Republic serials to cull from, so they were not restricted by the narrative structure of one specific film. As a result, Proctor and Bergman’s wonderfully silly concoction about saving Earth from a nefarious alien mastermind called “The Lightning Bug” benefits from quick-cut editing, synced with their trademark barrage of one-liners, puns and double entendre, all set to a rock ‘n’ roll soundtrack. “Schtay high!”

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Mulholland Drive – David Lynch’s nightmarish, yet mordantly droll twist on the Hollywood dream makes The Day of the Locust seem like an upbeat romp. Naomi Watts stars as a fresh-faced ingénue with high hopes who blows into La-la Land from Somewhere in Middle America to (wait for it) become a star. Those plans get, shall we say, put on hold…once she crosses paths with a voluptuous and mysterious amnesiac (Laura Harring).

What ensues is the usual Lynch mind fuck, and if you buy the ticket, you better be ready to take the ride, because this is one of his more fun ones (or as close as one gets to having “fun” watching a Lynch film). This one grew on me; by the third or fourth time I’d seen it I decided that it’s one of the iconoclastic director’s finest efforts. Peter Deming’s cinematography is stunning. The truly fascinating cast includes Justin Theroux, Ann Miller, Michael J. Anderson, Robert Forster, Lee Grant, Chad Everett, Dan Hedaya, and, erm, Billy Ray Cyrus.

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Multiple Maniacs – Warning: This 1970 trash classic from czar of bad taste John Waters is definitely not for the pious, easily offended or the faint of heart. The one and only Divine heads the cast who became Waters’ faithful “Dreamland” repertory (Edith Massey, Mink Stole, David Lochary, etc.) in a tale of mayhem, filth and blasphemy too shocking to discuss in mixed company (you’ll never see a Passion Play the same way).

Watching this recently for the first time in several decades, I was suddenly struck by the similarities with the contemporaneous films of Rainier Werner Fassbinder (Love is Colder than Death and Gods of the Plague in particular). Once you get past its inherent shock value, Multiple Maniacs is very much an American art film.

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The Mystery of the Wax Museum (1933) – “Images of wax that throbbed with human passion!” Get your mind out of the gutter…I’m merely quoting the purple prose that graced the original posters for this 1933 horror thriller, directed by the eclectic Michael Curtiz (Adventures of Robin Hood, The Sea Hawk, Yankee Doodle Dandy, Casablanca, Mildred Pierce, King Creole, et.al.).

Beautiful (and busy) Fay Wray (who starred in King Kong the same year) captures the eye of a disturbed wax sculptor (a hammy Lionel Atwill) for reasons that are ah…more “professional” than personal. Wray is great eye candy, but it is her co-star Glenda Farrell who steals the show as a wisecracking reporter (are there any other kind of reporters in 30s films?). Farrell’s comedy chops add just the right amount of levity to this genuinely creepy tale. A classic.

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Night of the Hunter – Is it a film noir? A horror movie? A black comedy? A haunting American folk tale? The answer would be yes. The man responsible for this tough-to-categorize 1957 film was one of the greatest acting hams of the 20th century, Charles Laughton, who began and ended his directorial career with this effort. Like a great many films now regarded as “cult classics”, this one was savaged by critics and tanked at the box office upon its initial release (enough to spook Laughton from ever returning to the director’s chair).

Robert Mitchum is brilliant (and genuinely scary) as a knife-wielding religious zealot who does considerably more “preying” than praying. Before his condemned cell mate (Peter Graves) meets the hangman, he talks in his sleep about $10,000 in loot  stashed on his property. When the “preacher” gets out of the slam, he makes a beeline for the widow (Shelly Winters) and her two young’uns. A disturbing tale unfolds. The great Lillian Gish is on board as well. It’s artfully directed by Laughton and beautifully shot by DP Stanley Cortez.

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No Such Thing– Director Hal Hartley’s arch, deadpan observations on the human condition either grab you or leave you cold, and this modern Beauty and the Beast tale is no exception. TV news intern Beatrice (Sarah Polley) is sent to Iceland to get an exclusive on a real-life “monster” (Robert Burke), an immortal nihilist who kills boredom by drinking heavily and terrorizing whomsoever is handy.

After her plane goes down en route, her cynical boss (Helen Mirren) smells an even bigger story when Beatrice becomes the “miracle survivor” of the crash. The Monster agrees to come back to N.Y.C. if Beatrice helps him track down the one scientist in the world who can put him out of his misery.

The pacing in the first half is leisurely; dominated by the Monster’s morose, raving monologues, set against the stark, moody Icelandic backdrop (I was reminded of David Thewlis’ raging, darkly funny harangues in Naked). Once the story heads for New York, however, the movie turns into a satire of the art world (a la John Waters’ Pecker), as the couple quickly become celebrities du jour with the trendy Downtown crowd.

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Psycho – Bad, bad Norman. Such a disappointment to his mother. “MOTHERRRR!!!” Poor, poor Janet Leigh. No sooner had she recovered from her bad motel experience in Touch of Evil than she found herself checking in to the Bates and having a late dinner in a dimly lit office, surrounded by Norman’s unsettling taxidermy collection. And this is only the warm up to what Alfred Hitchcock has in store for her later that evening (anyone for a shower?).

This brilliant thriller has spawned so many imitations, I’ve lost count. While tame by today’s standards, several key scenes still have the power to shock. Twitchy Tony Perkins sets the bar for future movie psycho killers. Joseph Stefano adapted the spare screenplay from Robert Bloch’s novel. Also in the cast: Vera Miles, John Gavin, Martin Balsalm, and Simon Oakland.

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The Rocky Horror Picture Show – Speaking of Fay Wray…50 of years of midnight showings have not diminished the cult status of Jim Sharman’s film adaptation of Richard O’Brien’s stage musical about a hapless young couple (Barry Bostwick and Susan Sarandon) who have the misfortune of stumbling into the lair of one Dr. Frank-N-Furter (Tim Curry) one dark and stormy night. O’Brien co-stars as the mad doctor’s hunchbacked assistant, Riff-Raff.

Much singing, dancing, cross-dressing, axe-murdering, cannibalism and hot sex ensues-with broad theatrical nods to everything from Metropolis, King Kong and Frankenstein to cheesy 1950s sci-fi, Bob Fosse musicals, 70s glam-rock and everything in between. Runs out of steam a bit in the third act, but the knockout musical numbers in the first hour or so makes it worth repeated viewings.

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Rosemary’s Baby“He has his father’s eyes!” Roman Polanski put the “goth” back in “gothic” in this devilish 1968 metropolitan horror classic.  A New York actor (John Cassavetes) and his young, socially phobic wife Rosemary (Mia Farrow) move into a somewhat dark and foreboding Manhattan apartment building (the famed Dakota, John Lennon’s final residence), hoping to start a family. A busybody neighbor (Ruth Gordon) quickly gloms onto Rosemary with an unhealthy zest (to Rosemary’s chagrin). Her nightmare is only beginning. No axe murders, no gore, and barely a drop of blood…but thanks to Polanski’s impeccable craft, this will scare the bejesus out of you and continue to creep you out after credits roll. Polanski adapted the screenplay from Ira Levin’s novel.

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The Shining “Hello, Danny.” It has been said that Stephen King hated Stanley Kubrick’s adaptation of his sprawling novel about a family of three who hole up in an isolated Rocky Mountain hotel for the winter. Well-that’s his personal problem. I think this is the greatest “psychological” horror film ever made…period (OK that’s a bit hyperbolic-perhaps we can call it “a draw” with Polanski’s Repulsion).

Anyway…Jack Nicholson discovers that all work and no play make Jack a dull boy. Jack Nicholson discovers that all work and no play make Jack a dull boy. Jack Nicholson discovers that all work and no play make Jack a dull boy. Jack Nicholson discovers that all work and no play make Jack a dull boy, etc.

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The Shout – This unsettling 1978 sleeper was adapted from a Robert Graves story by Michal Austin and its director, Jerzy Skolimowski. The late John Hurt is excellent as a mild-mannered avant-garde musician who lives in a sleepy English hamlet with his wife (Susannah York). When an enigmatic vagabond (Alan Bates) blows into town, their quiet country life begins to go…elsewhere. This is a genre-defying film; somewhere between psychological horror and culture clash drama. I’ll put it this way-if you like Peter Weir’s The Last Wave (which would make a great double-bill) this one is in your wheelhouse.

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Siesta – Depending on who you ask, Mary Lambert’s 1987 thriller is either a compelling riddle, wrapped in a mystery, inside an enigma…or an unfinished film in search of a narrative. It was not well received by critics, but has a modest cult following, of which I am a card-carrying member.

Ellen Barkin stars as an American daredevil who wakes up on a deserted runway in Spain, dazed, bruised and confused. As she wanders about getting her bearings, pieces of her memory return. She encounters assorted characters in increasingly weird scenarios. The film lies somewhere between Carnival of Souls and Memento.

Also with Gabriel Byrne, Julian Sands (who passed away this year), Isabella Rossellini, Martin Sheen, Grace Jones, and Jodie Foster. Patricia Louisiana Knop (9½ Weeks) adapted the screenplay from Patrice Chaplin’s novel. Atmospheric score by Miles Davis. Long out-of-print on DVD, this is a film begging for a Blu-ray release (should any boutique reissue label folks be reading this…hint, hint!).

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Trollhunter – Like previous entries in horror’s “found footage” sub-genre,  Trollhunter features an unremarkable, no-name cast; but then again you don’t really require the services of an Olivier when most of the dialog is along the lines of “Where ARE you!?”, “Jesus, look at the size of that fucking thing!”, “RUN!!!” or the ever popular “AieEEE!”.

Seriously, though- what I like about Andre Ovredal’s film (aside from the convincing monsters) is the way he cleverly weaves commentary on religion and politics into his narrative. The story concerns three Norwegian film students who initially set off to do an expose on illegal bear poaching, but become embroiled with a clandestine government program to rid Norway of trolls who have been terrorizing the remote areas of the country (you’ll have to suspend your disbelief as to how the government has been able to “cover up” 200 foot tall monsters rampaging about). The “trollhunter” himself is quite a character. And always remember: while hunting trolls…it’s best to leave the Christians at home!

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Ugetsu Monogatari – Kenji Mizoguchi’s eerie 1953 ghost story/morality tale was adapted from several short stories by 18th-Century writer and poet Ueda Akinari.

The story is set in 16th-Century Japan, in the midst of one of the civil wars of the era. A potter of modest means and grandiose financial schemes (Masayuki Mori) and his n’er do well brother (Eitaro Ozawa) who fantasizes about becoming a renowned samurai warrior ignore the dire warnings of a local sage and allow their greed and ambition to take full hold, which leads to tragic consequences for their abandoned wives (Mitsuko Mito and Kinuyo Tanaka).

Beautifully acted; particularly strong performances by the three female leads (Mito, Tanaka, and the great Machiko Kyo as the sorceress Lady Wakasa). It’s a slow-burning tale, but if you just give it time the emotional wallop of the denouement will floor you.

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Young Frankenstein – Writer-director Mel Brooks’ 1974 film transgresses the limitations of the “spoof” genre to create something wholly original. Brooks goofs on elements from James Whale’s original 1931 version of Frankenstein, his 1935 sequel, Bride of Frankenstein, and Rowland V. Lee’s 1939 spinoff, Son of Frankenstein.

Gene Wilder heads a marvelous cast as Dr. Frederick Frankenstein (pronounced, “Franken-schteen”) the grandson of the “infamous” mad scientist who liked to play around with dead things. Despite his propensity for distancing himself from that legacy, a notice of inheritance precipitates a visit to the family estate in Transylvania, where the discovery of his grandfather’s “secret” laboratory awakens his dark side.

Wilder is quite funny (as always), but he plays it relatively straight, making a perfect foil for the comedic juggernaut of Madeline Khan, Marty Feldman, Peter Boyle, Cloris Leachman (“Blucher!”), Terri Garr and Kenneth Mars, who are all at the top of their game. The scene featuring a non-billed Gene Hackman (as an old blind hermit) is a classic.

This is also Brooks’ most technically accomplished film; the meticulous replication of Dr. Frankenstein’s laboratory (utilizing props from the 1931 original), Gerald Hirschfeld’s gorgeous B & W photography and Dale Hennesy’s production design all combine to create an effective (and affectionate) homage to the heyday of Universal monster movies.

Hitch by 10 Best

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 9, 2023)

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I wonder what Franz Kafka would have to say about the social media phenom of “doxxing” (apart from “Whad’ya expect?!”). In case you missed it, here’s a chilling story from 2020:

By the standards of the pandemic, Thursday had been a normal day for Peter Weinberg. A 49-year-old finance marketing executive, he worked from his home in Bethesda, Maryland, right outside of the District of Columbia, staying busy with Zoom meetings and the new rituals of our socially isolated world.

Then, around 10 p.m., he received an irate message on LinkedIn from someone he didn’t know. He brushed it off, thinking it was probably just spam. Then he got another. And another. The third message was particular strange, as it mentioned something about the cops coming to find him. Perplexed, he watched as the messages continued to pile up. They were all so similar: angry, threatening, accusatory. His profile views suddenly soared into the thousands.

He began to panic. He decided to check Twitter. Although he’d had an account for more than a decade, Weinberg didn’t use the social platform very much. He mostly followed mainstream news outlets, politicians from across the ideological spectrum, entrepreneurs, and financial analysts. He had what you might call “low engagement.” But not anymore.

In his mentions, disaster was rapidly unfolding. People accused him of assaulting a child. Of being a racist. They shared a selfie he’d taken in sunglasses and his bike helmet and analyzed it alongside blurry images of another man in sunglasses and a bike helmet.

The other guy had been captured on video hitting children and ramming his bike into an adult after becoming enraged that they were posting fliers around the Capital Crescent Trail in support of George Floyd, the unarmed black man killed by white police officers in Minneapolis on Memorial Day.

Weinberg hadn’t seen the viral story about the trail where he regularly biked. He didn’t know that, for several days, the video had circulated online as law enforcement crowdsourced help in locating the suspect. Now that he had seen it, he didn’t think he looked anything like this guy. And he didn’t understand why anyone thought he was him. […]

As he attempted to piece together what was happening, Weinberg called the number for a detective provided by the Maryland-National Capital Park Police. “We are seeking the public’s assistance in identifying the below individual in reference to an assault that took place this morning on the Capital Crescent trail. Please contact Det. Lopez with any information,” read a tweet sent June 2 from the department and shared more than 55,000 times.

But the Park Police had made an error. “Correction, the incident occurred yesterday morning, 6/1/2020,” they wrote in a follow up tweet. As with most such clarifications, it had only a fraction of the reach: a mere 2,000 shares.

It was based on that initial, false information that Weinberg had become a suspect for the internet mob. To his surprise, the app that he used to record his regular rides from Bethesda into Georgetown via the Capital Crescent Trail shared that information publicly, not just with his network of friends and followers. Someone had located a record of his ride on the path on June 2, matched it to the location of the assault from the video, matched his profile picture — white guy, aviator-style sunglasses, helmet obscuring much of his head — to the man in the video, and shared the hunch publicly.

It took off. Weinberg didn’t know what “doxing” meant, but it was happening to him: Someone posted his address. Detective Lopez didn’t answer his call, but soon someone with the police department contacted Weinberg to let him know that officers would be patrolling the area around his home because he might be in danger.

Detective Lopez reached him around 11 p.m. and they agreed to meet the next morning. At 11:47, Weinberg tweeted, “I recently learned I have been misidentified in connection with a deeply disturbing attack. Please know this was not me. I have been in touch with the authorities and will continue to help any way possible.”

His fiancée in New York, he spent the night alone, refreshing Twitter, watching helplessly as people tried to destroy his life. And Weinberg wasn’t even the only one: Another man, a former Maryland cop, was wrongly accused, too. The tweet accusing him was retweeted and liked more than half a million times.

At 7 a.m., Weinberg brought his bicycle and his helmet with him to the police station. Detective Lopez told him he was free to go and the department would issue a report excluding him as a suspect. […]

On Friday, police arrested Anthony Brennan III, a 60-year-old from Kensington, Maryland, and charged him with three counts of second-degree assault.

Weinberg told a reporter he was “dizzy” after what he went through.

“You may hear more from me in time as I reflect on this experience,” he tweeted. “For now I will say this. We must align in the fight for justice and equality — but not at the cost of due process and the right to privacy and safety.”

As for the woman who shared his home address: She deleted it and posted an apology, writing that in all of her eagerness to see justice served, she was swept up in the mob that so gleefully shared misinformation, depriving someone of their own right to justice. Her correction was shared by fewer than a dozen people.

“Fewer than a dozen people.” It’s worth noting that there are 12 people on a jury. Inversely, the numbers in a mob are legion. When I originally read and shared the piece, I Tweeted:

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Set in New York City, Hitchcock’s 1956 thriller stars Henry Fonda as a musician who is (wait for it) wrongly accused of committing a crime. It begins with a mundane errand; bereft of funds, Fonda applies in-person for a $300 loan against his wife’s (Vera Miles) insurance policy to help pay for her dental work. Unfortunately, once the insurance office staff gets a gander at him, they misidentify him as a slippery felon who has twice robbed their premises. A Kafkaesque nightmare ensues for husband and wife, turning their lives upside down.

Presented in a stark, docudrama style, The Wrong Man is one of Hitchcock’s more noir-ish entries, utilizing subjective techniques for Fonda’s character. Consequently, you feel yourself being inexorably pulled into the protagonist’s ever-escalating sense of helplessness; a sobering reminder that at any given moment, we are all subject to the Fickle Finger of Fate. This is Hitchcock’s only film based on a true story (the script was adapted from Maxwell Anderson’s non-fiction book The True Story of Christopher Emmanuel Balestrero , and co-written by the author and Angus MacPhail).

I won’t keep you in suspense…here are 9 more of my top Hitchcock picks (alphabetically).

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The Lady Vanishes – This 1938 entry is my favorite Hitchcock film from his “British period”. A young Englishwoman (Margaret Lockwood) boards a train in the fictitious European country of Bandrika. She strikes up a friendly conversation with a kindly older woman seated next to her named Mrs. Froy, who invites her to tea in the dining car.

The young woman takes a nap, and when she awakes, Mrs. Froy has strangely disappeared. Oddly, the other people in her compartment deny ever having seen anyone matching Mrs. Froy’s description. The mystery is afoot, with only one fellow passenger (Michael Redgrave) volunteering to help the young woman sort it out.

The Master keeps you guessing until the end. Witty and suspenseful, with delightful performances all around. I could be wrong, but I suspect that this film was an influence for Wes Anderson’s 2014 film The Grand Budapest Hotel (particularly the production design).

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Lifeboat – This taut 1944 war drama (adapted from a John Steinbeck story by screenwriter Jo Swerling) is essentially a chamber piece, centering on a small group of passengers who survive the sinking of their vessel by a German U-boat, which also goes down in the skirmish. A floundering survivor who is later pulled aboard the already overcrowded lifeboat turns out to be a member of the U-boat crew, which profoundly shifts the dynamics of the group.

A sharply observed microcosm of the human condition, with superb direction, great cinematography (by Glen MacWilliams), imaginative staging (especially considering the claustrophobic setting) and outstanding performances by the entire ensemble, which includes Tallulah Bankhead, William Bendix, Walter Slezak, John Hodiak, Mary Anderson,  Canada Lee, and Hume Cronyn.

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The Lodger: A Story of the London Fog – Mrs. Bunting is a pleasant landlady, but we’re not so sure about her latest boarder. There’s a possibility he’s “The Avenger”, a brutal serial killer who is stalking London. Ivor Novello plays the gentleman in question, an intense, brooding fellow with a vaguely menacing demeanor. Is he or isn’t he? This suspense thriller has been remade umpteen times over the last eight decades, but for my money, none of them can touch this 1927 Hitchcock silent for atmosphere and mood. The screenplay was co-adapted from Marie Belloc Lowndes’ eponymous novel by Eliot Stannard and Hitchcock.Novello did a reprise as the mysterious lodger in Maurice Elvey’s 1932 version.

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Marnie –I know it’s de rigueur to tout Vertigo as Alfred Hitchcock’s best “psychological thriller” (it just never floated my lifeboat) but my vote goes to this 1964 entry, which I view as a slightly ahead-of-it’s-time precursor to dark, psycho-sexual character studies along the lines of Roman Polanski’s Repulsion and Robert Altman’s That Cold Day in the Park.

Tippi Hedren stars as an oddly insular young woman who appears to suffer from kleptomania. Sean Connery is a well-to-do widower who hires Marnie to work for his company, despite his prior knowledge (by pure chance) of her tendency to steal from her employers.

Okay, he’s not blind to the fact that she’s a knockout, but he’s also objectively fascinated by her as a kind of clinical study. His own behaviors slip as he tries to play Marnie’s employer, friend, lover, and armchair psychoanalyst all at once. One of Hitchcock’s most unusual entries, bolstered by Jay Presson Allen’s intelligent screenplay.

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North by Northwest – I’m hard-pressed to find a more perfect blend of suspense, intrigue, romance, action, comedy and visual mastery than Hitchcock’s 1959 masterpiece. Cary Grant, Eva Marie Saint, James Mason and Martin Landau head a great cast in this outstanding “wrong man” thriller. Nearly every set piece in the film has become iconic.

Although I never tire of the crop-dusting sequence or the (literally) cliff-hanging Mt. Rushmore chase, my favorite is the dining car scene. Armed solely with Ernest Lehman’s clever repartee and their acting chemistry, Cary Grant and Eva Marie Saint engage in the most erotic sex scene ever filmed wherein participants remain fully clothed (and keep hands where we can see them!). Bernard Hermann’s score is one of his finest.

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Notorious – It’s a tough call to name my “favorite” Hitchcock movie (it’s like being forced to pick your favorite child). I can only narrow it down to three: North by Northwest, The Lady Vanishes, and this superb 1946 espionage thriller (no, I don’t have a man-crush on Cary Grant…not that there would be anything wrong with that). Grant does make for a suave American agent, and Claude Rains a villain you love to hate, but it’s Ingrid Bergman who holds my interest in this story of love, betrayal and international intrigue, set in exotic Rio. Bergman plays her character with a worldly cynicism and sexy vulnerability that to this day, few actors would be able to sell so well. Ben Hecht adapted the script from a John Tainter Foote story, with additional dialog contributed by Hitchcock and Cliffor Odets (both uncredited).

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Psycho – Bad, bad Norman. Such a disappointment to his mother. “MOTHERRRR!!!” Poor, poor Janet Leigh. No sooner had she recovered from her bad motel experience in Touch of Evil than she found herself checking in to the Bates and having a late dinner in a dimly lit office, surrounded by Norman’s unsettling taxidermy collection. And this is only the warm up to what Alfred Hitchcock has in store for her later that evening (anyone for a shower?).

This brilliant thriller has spawned so many imitations, I’ve lost count. While tame by today’s standards, several key scenes still have the power to shock. Twitchy Tony Perkins sets the bar for future movie psycho killers. Joseph Stefano adapted the spare screenplay from Robert Bloch’s novel. Also in the cast: Vera Miles, John Gavin, Martin Balsalm, and Simon Oakland.

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Strangers on a Train – There’s something that Wim Wenders’ The American Friend, Rene Clement’s Purple Noon (and Anthony Minghella’s 1999 remake, The Talented Mr. Ripley) all share in common with this 1951 Hitchcock entry (aside from being memorable thrillers). They are all based on novels by the late Patricia Highsmith. If I had to choose the best of the aforementioned quartet, it would be Strangers on a Train.

Robert Walker gives his finest performance as tortured, creepy stalker Bruno Antony, who “just happens” to bump into his sports idol, ex-tennis star Guy Haines (Farley Granger) on a commuter train. For a “stranger”, Bruno has a lot of knowledge regarding Guy’s spiraling career; and most significantly, his acrimonious marriage.

As for Bruno, well, he kind of hates his father. A lot. The  silver-tongued sociopath is soon regaling Guy with a hypothetical scenario demonstrating how simple it would be for two “strangers” with nearly identical “problems” to make those problems vanish. The perfect crime! Of course, the louder you yell at your screen for Guy to get as far away from Bruno as possible, the more Bruno pulls him in. It’s full of great twists and turns, with one of Hitchcock’s most heart-pounding finales. The screenplay was adapted by Raymond Chandler, Czenzi Ormonde, and Whitfield Cook.

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The 39 Steps – Many of the tropes that would come to be labeled “Hitchcockian” are fomenting in this 1935 entry: an icy blonde love interest, a meticulously constructed, edge-of-your-seat finale, and most notably, the “wrong man” scenario. Robert Donat stars as a Canadian tourist in London who is approached by a jittery woman after a music hall show. She begs refuge in his flat for the night, but won’t tell him why. Intrigued, he offers her his hospitality.

He awakens the next morning, just in time to watch her collapse on the floor, with a knife in her back and a map in her hand. Before he knows it, he’s on the run from the police and embroiled with shady assassins, foreign spies and people who are not who they seem to be. Fate and circumstance throw him in with a reluctant female “accomplice” (Madeleine Carroll).

Suspenseful, funny, and rapid-paced. Charles Bennett and Ian Hay adapted the screenplay from the novel by John Buchan.

SIFF 2023: Mother Superior (***)

By Dennis Hartley

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Submitted for your approval: A young woman in 1970s Austria hired as a live-in elder care nurse for a demanding Baroness is about to embark on a strange psychic journey, making an unscheduled stop at the corner of Sunset Boulevard and Hotel Terminus.  Writer-director Marie Alice Wolfszahn’s gothic chiller/Wagnerian nightmare is economically paced, well-acted and stylishly photographed, marred slightly by a “gotcha” dénouement that makes what proceeded it play like an extended Twilight Zone episode.

Marvel-less: Top 10 of 2022

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 10, 2022)

It’s time for the obligatory list, culled from the first-run films I reviewed in 2022:

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Day by Day – Felix Herngren’s dramedy (scripted by Tapio Leopold) is a delightful, life-affirming road movie from Sweden about…death. Before a terminally ill man (Sven Wallter) can make his getaway for a solo trip to a Swiss assisted-suicide clinic, several of his longtime friends at the retirement home catch wind of his plans, and it turns into a group outing (much to his chagrin). Lovely European travelogue (nicely photographed by Viktor Davidson). Funny and touching (yes …I laughed, I cried). Sadly, Wallter passed away soon after the film wrapped, adding poignancy to his performance.

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Drunken Birds ­– Ivan Grbovic’s languidly paced, beautifully photographed culture clash/class war drama (Canada’s 2022 Oscar submission) concerns a Mexican cartel worker who finds migrant work in Quebec while seeking a long-lost love. Grbovic co-wrote with Sara Mishara. Mishara pulls double duty as DP; her painterly cinematography adds to the echoes of Terrence Malick’s Days of Heaven. It also reminded me of Ang Lee’s The Ice Storm; a network narrative about people desperately seeking emotional connection amid a minefield of miscommunication. (Streaming on Prime Video)

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Hallelujah: Leonard Cohen, A Journey, A Song – Several years ago, I saw Tom Jones at the Santa Barbara Bowl. Naturally, he did his cavalcade of singalong hits, but an unexpected moment occurred mid-set, when he launched into Leonard Cohen’s “Tower of Song”. Jones’ performance felt so intimate, confessional, and emotionally resonant that you’d think Cohen had tailored it just for him. When Jones sang, I was born like this, I had no choice/I was born with the gift of a golden voice, I “got” it. Why shouldn’t Tom Jones cover a Cohen song? I later learned “Tower of Song” has also been covered by the likes of U2, Nick Cave, and The Jesus and Mary Chain.

A truly great song tends to transcend its composer, taking on a life of its own. The reasons why can be as enigmatic as the act of creation itself. In an archival clip in Dan Geller and Dayna Goldfine’s beautifully constructed documentary, the late Cohen muses, “If I knew where songs came from, I’d go there more often.” Using the backstory of his beloved composition “Hallelujah” as a catalyst, the filmmakers take us “there”, rendering a moving, spiritual portrait of a poet, a singer-songwriter, and a seeker. (Streaming on Prime Video)

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The Integrity of Joseph Chambers – This psychological thriller has a slow burn, but really gets under your skin. Early one morning, a white-collar father of two (Clayne Crawford) rolls out of his warm bed and readies himself to go deer hunting. His half-awake (and concerned) wife reminds him he has never gone hunting by himself and has limited experience with firearms. Undeterred, he insists that the best way to get experience is to “just go out and do it.” After stopping at a friend’s house to borrow his pickup truck (and a rifle), he heads for the woods. What could possibly go wrong? Anchored by Crawford’s intense performance, writer-director Robert Machoian has fashioned a riveting tale infused with a dash of Dostoevsky and a dollop of Deliverance.

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The Man in the Basement (aka L’Homme de la Cave) – There are fifty shades of Chabrol in Philippe Le Guay’s “neighbor from hell” thriller (scripted by Le Guay with Gilles Taurand and Marc Weitzmann).  One of my favorite contemporary French actors, François Cluzet (Tell No One) plays a quiet fellow who buys the unused basement of an upper-crust couple’s Parisian apartment, presumably for storage. With the ink barely dry on the deed, the couple realize too late that he clearly intends to live in the cellar (sans plumbing). It gets worse when they find out that his online persona is every liberal’s nightmare. Always check references!

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Moonage Daydream – David Bowie invented the idea of “re-invention”. It’s also possible that he invented a working time machine because he was always ahead of the curve (or leading the herd). He was the poster boy for “postmodern”. Space rock? Meet Major Tom. Glam rock? Meet Ziggy Stardust. Doom rock? Meet the Diamond Dog. Neo soul? Meet the Thin White Duke. Electronica? Ich bin ein Berliner. New Romantic? We all know Major Tom’s a junkie

Of all his personas, “David Jones” is the most enigmatic; perhaps, as suggested in Brett Morgen’s trippy film, even to Bowie himself. More On the Road than on the records, Morgen’s kaleidoscopic thesis is a globe-trotting odyssey of an artist in search of himself. This is anything but a traditional, linear biography. Morgen doesn’t tell you everything about Bowie’s life, he simply shows you. Even if David Jones remains elusive as credits roll, the journey itself is absorbing and ultimately moving. Think of it as the Koyaanisqatsi of rock docs. (Full review) (Streaming on Amazon Prime)

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My Love Affair With Marriage – It’s a safe bet that the most oft-asked question throughout history (well, after “Where’s the restroom?”) is “What is love?”. Philosophers, poets, writers, psychologists and even scientists have tackled this age-old query, and come up with just as many disparate explanations. This lack of consensus informs the clever conceit behind Latvian animator Signe Baumane’s mixed-media feature.

Baumane’s semi-autobiographical study follows “Zelma” as she navigates the various passages of sexual self-awareness from childhood to adulthood…which then presents her with the complexities of love and relationships. Zelma’s vignettes are interspersed with neuroscience/biochemistry analyses done in the style of high school educational films (remember those?), with the odd musical number thrown in. Funny, touching, and insightful.

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Nude Tuesday – I must warn you: this film (from New Zealand) is complete gibberish. Literally…the dialog is spoken in a made-up language. Frankly, I was fully prepared to find this gimmick annoying, but thankfully a) there are subtitles and b) the film is nonetheless entertaining.

Writer-director Armagan Ballantyne’s off-the wall dramedy concerns middle-aged couple Laura and Bruno (co-screenwriter Jackie van Beek and Damon Harriman), who have hit a roadblock in their marriage. Bruno’s mother browbeats them into attending a couple’s retreat, to rekindle their passion. The resort is lorded over by a free-spirited sex guru (played with aplomb by Jemaine Clement). Vacillating between riotous cringe comedy and surprising sweetness, the film also pokes gentle fun at “self-actualization” culture (reminiscent of Bill Persky’s 1980 satire Serial).

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Sweetheart Deal ­– Dopesick and finding temporary solace from an RV-dwelling man of means by no means dubbed “The Mayor of Aurora Avenue”, four sex workers (Kristine, Sara, Amy, and Tammy) strive to keep life and soul together as they walk an infamous Seattle strip. With surprising twists and turns, Elisa Levine and Gabriel Miller’s astonishingly intimate portrait is the most intense, heart-wrenching, and compassionate documentary I have seen about Seattle street life since Streetwise.

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Polystyrene: I Am A Cliché – I reckon few artists consciously set out to be “groundbreaking” or “influential”, but whether by accident or design, 19-year-old Poly Styrene came out of the gate flying in the face of fashion. She not only fearlessly waded into the male-dominated punk world of the late 70s (which, despite its association with an anti-racist, anti-fascist ethos, was an overtly “laddish” club), but did  so as a woman of color (the Anglo-Somali singer-songwriter is credited as the progenitor of the Riot Grrrl and Afro-Punk movements).

If you’ve ever seen X-Ray Spex’s video for “Oh Bondage Up Yours”, you know that Styrene had a charismatic presence and a unique, powerful voice that belied her diminutive stature. With its “fuck you” lyrics and strident vocal, that song is now a feminist punk anthem; but according to this absorbing documentary (co-directed by narrator Celeste Bell and Paul Sng, with additional narration by Ruth Negga) Styrene never really identified as a feminist or a punk. A lovely portrait of a troubled but inspiring artist. (Full review). (Streaming on Hulu)

Honorable mentions:

A couple of 2022 releases I didn’t initially review, but recommend:

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Kimi– I somehow missed this tight little thriller from Steven Soderbergh when it dropped on HBO Max earlier this year, but stumbled across it recently (so much content, so little time). Zoe Kravitz gives a terrific performance as an agoraphobic tech who works from home for a corporation called Amygdala, monitoring their A-I product “Kimi” (rhymes with “Siri”). When she happens across a digital file that may have captured audio of a woman’s murder, her world gets turned upside down. A clever mash-up of Rear Window, Repulsion, and The Conversation, with a whiff of The Parallax View… updated for the age of pandemic paranoia. David Keopp scripted.

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Confess, Fletch – First, my confession that I’ve always had a soft spot for the first Fletch film with Chevy Chase (never saw Fletch Lives). But I was intrigued to see a resurrection of the franchise 33 years after the previous entry, and pleasantly surprised at how entertaining Greg Mottola’s adaptation of Gregory McDonald’s eponymous 1976 comedy-mystery was. I swear Jon Hamm is channeling Cary Grant throughout, and he is ably supported by a delightful cast that includes Marcia Gay Harden, Kyle MacLachlan, and Roy Wood, Jr. Granted, it’s lightweight fare, but I haven’t laughed this hard at a modern comedy for grown-ups in quite some time.

…and just for giggles

Holy Krampus…have I really been writing reviews here for 16 years?! I was but a child of 50 when I began in November of 2006 (I was much older then, but I’m younger than that now). Here are my “top 10” picks for each year since I began writing for Hullabaloo.

(You may want to bookmark this post as a  handy reference for movie night).

[Click on title for full review]

2007

Eastern Promises, The Hoax, In the Shadow of the Moon, Kurt Cobain: About a Son, Michael Clayton, My Best Friend, No Country for Old Men, Pan’s Labyrinth, PaprikaZodiac

2008

Burn After Reading, The Dark Knight, The Gits, Happy Go Lucky, Honeydripper, Man on Wire, Milk, Slumdog Millionaire, Vicky Cristina Barcelona, The Visitor

2009

The Baader Meinhof Complex, Inglourious Basterds, In the Loop, The Limits of Control, The Messenger, A Serious Man, Sin Nombre, Star Trek, Where the Wild Things Are, The Yes Men Fix the World

2010

Creation, Inside Job, Joan Rivers: A Piece of Work, Little Big Soldier, A Matter of Size, My Dog Tulip, Nowhere Boy, Oceans, The Runaways, Son of Babylon

2011

Another Earth, Certified Copy, The Descendants, Drei, Drive, The First Grader, Midnight in Paris, Summer Wars, Tinker/Tailor/Soldier/Spy, The Trip

2012

Applause, Dark Horse, Killer Joe, The Master, Paul Williams: Still Alive, Rampart, Samsara, Skyfall, The Story of Film: an Odyssey, Your Sister’s Sister

2013

The Act of Killing, Big Star: Nothing Can Hurt Me, Computer Chess, 56 Up, The Hunt, Mud, The Rocket, The Silence, The Sweeney, Upstream Color

2014

Birdman, Child’s Pose, A Coffee in Berlin, The Grand Budapest Hotel, Kill the Messenger, The Last Days of Vietnam, Life Itself, A Summer’s Tale, The Wind Rises, The Theory of Everything

2015

Chappie, Fassbinder: Love Without Demands, An Italian Name, Liza the Fox Fairy, Love and Mercy, A Pigeon Sat on a Branch Reflecting on Existence, Song of the Sea, Tangerines, Trumbo, When Marnie Was There

2016

The Curve, Eat That Question, Hail, Caesar!, Home Care, Jackie, Mekko, Older Than Ireland, Snowden, The Tunnel, Weiner

2017

After the Storm, Bad Black, Becoming Who I Was, Blade Runner 2049, A Date for Mad Mary, Endless Poetry, I Am Not Your Negro, Loving Vincent, The Women’s Balcony, Your Name

2018

Big Sonia, BlacKkKlansman, Fahrenheit 11/9, The Guilty, Let the Sunshine In, Little Tito and the Aliens, Outside In, Ryuichi Sakamoto: Coda, Wild Wild Country, Won’t You Be My Neighbor?

2019

David Crosby: Remember My Name, Dolemite is My Name, Driveways, The Edge of Democracy, The Irishman, Monos, Once Upon a Time in Hollywood, Putin’s Witnesses, This is Not Berlin, Wild Rose

2020

Bloody Nose, Empty Pockets, Capital in the Twenty-First Century, Desert One, Love Spreads, Never, Rarely, Sometimes, Always, Pacified, 76 Days, Tommaso, The Trial of the Chicago 7, Weathering With You

2021

Brian Wilson: Long Promised Road, Fire Music, Heist of the Century, Kurt Vonnegut: Unstuck in Time, The Last Film Show, The Paper Tigers, The Pebble and the Boy, Surge, Waikiki, Whelm

Blu-ray reissue: An Unsuitable Job for a Woman (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 20, 2022)

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An Unsuitable Job For a Woman (Indicator UK & US)

In his original review of Christopher Petit’s 1982 mystery-thriller, Financial Times reviewer Nigel Andrews wrote:

Petit has a wonderful compensatory feel for the drip torture of English emotion. Motive and passion are squeezed out drop-by-drop in a rural England landscape that seems bloated with past rain, and ever cloaked with pencil-grey cloud or thin sun.

In two sentences, Andrews not only nails the atmosphere of An Unsuitable Job for a Woman, but articulates what I find so inexplicably compelling about Petit’s stunning 1979 debut, Radio On…a film that I simply must revisit annually, and of which I wrote:

As the protagonist journeys across an England full of bleak yet perversely beautiful industrial landscapes in his boxy sedan, accompanied by a moody electronic score (mostly Kraftwerk and David Bowie) the film becomes hypnotic. A textbook example of how the cinema can capture and preserve the zeitgeist of an ephemeral moment (e.g. England on the cusp of the Thatcher era) like no other art form.

Now the embarrassing part. I had no clue that a feature film adaptation of An Unsuitable Job for a Woman existed until this Blu-ray reissue was out. I am a fan of the eponymous 2-season UK television series from the late 90s (in fact, I own it on DVD), but this was an interesting discovery.

Adapted from a P.D. James novel (co-scripted by the director and Elizabeth McKay), Petit’s film stars Pippa Guard as Cordelia Grey, a young woman who unceremoniously inherits a small detective agency after discovering her boss dead in his office (little explanation is offered, and not unlike Helen Baxendale in the TV version, Guard plays Cordelia in an oddly detached manner…not having read James’ original novels, I’ll assume this is how the character is written?).

Her first case is investigating the alleged suicide of a free-spirited young man who is the son of a powerful businessman (a quietly menacing Paul Freeman). The story is more of a perverse family melodrama than a conventional mystery-thriller; but it’s fascinating watching Cordelia as she spirals into an obsession with the victim that recalls Dana Andrews’ unrequited detective in Laura. And it’s always a pleasure to watch the great Billie Whitelaw do her voodoo (as Freeman’s P.A.). This kind of slow boil may not be for all tastes; but again, this film is mostly about atmosphere.

Indicator’s transfer is taken from a new 4K scan of the original negative, accentuating DP Martin Schäfer’s artful and unique use of Afgacolor stock. Plenty of extras, including new interviews with the director, Ms. Guard’s brother Dominic (also featured in the cast), and producer Don Boyd. The exclusive limited-edition booklet includes an insightful new essay by Claire Monk and more.

Tribeca 2022: The Integrity of Joseph Chambers ***½

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 18, 2022)

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This psychological thriller has a slow burn, but really gets under your skin. Early one morning, a white-collar father of two (Clayne Crawford) rolls out of his warm bed and readies himself to go deer hunting. His half-awake (and concerned) wife reminds him he has never gone hunting by himself and has limited experience with firearms. Undeterred, he insists that the best way to get experience is to “just go out and do it.” After stopping at a friend’s house to borrow his pickup truck (and a rifle), he heads for the woods. What could possibly go wrong? Anchored by Crawford’s intense performance, writer-director Robert Machoian has fashioned a riveting tale infused with a dash of Dostoevsky and a dollop of Deliverance.

SIFF 2022: The Man in the Basement (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 23, 2022)

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There are fifty shades of Chabrol in Philippe Le Guay’s “neighbor from hell” thriller (scripted by Le Guay with Gilles Taurand and Marc Weitzmann).  One of my favorite contemporary French actors, François Cluzet (Tell No One) plays a quiet fellow who buys the unused basement of an upper-crust couple’s Parisian apartment, presumably for storage. With the ink barely dry on the deed, the couple realize too late that he clearly intends to live in the cellar (sans plumbing). It gets worse when they find out that his online persona is every liberal’s nightmare. Always check references!

SIFF 2022: Hinterland (**1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 23, 2022)

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Stefan Ruzowitsky directed this expressionist police procedural set in post WWI Vienna. A PTSD-afflicted veteran (Murathan Muslu) who was a policeman before the war is drawn into the investigation of a serial killer who is picking off his former fellow POWs one-by-one. A cross between Babylon Berlin and Sin City (with a hint of Berlin Alexanderplatz), it’s stylish and visually arresting, but hobbled by slow pacing and a boilerplate murder mystery. Co-written by the director, along with Robert Buchschwenter and Hanno Pinter.

 

Blu-ray reissue: Memories of Murder (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 10, 2021)

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Memories of Murder (The Criterion Collection)

Buoyed by its artful production and knockout performances, this visceral and ultimately haunting 2003 police procedural from director Joon-ho Bong (Parasite) really gets under your skin. Based on the true story of South Korea’s first known serial killer, it follows a pair of rural homicide investigators as they search for a prime suspect.

Initially, they seem bent on instilling more fear into the local citizenry than the lurking killer, as they proceed to violate every civil liberty known to man. Soon, however, the team’s dynamic is tempered by the addition of a more cool-headed detective from Seoul, who takes the profiler approach. The film doubles as a fascinating glimpse into modern South Korean society and culture.

The 4K digital restoration (supervised by cinematographer Kim Hyung Ku and approved by the director) and new 5.1 surround DTS-HD Master Audio soundtrack makes my Palm DVD copy superfluous. There are several commentary tracks; two from 2009 with the director and crew members, and a new one with critic Tony Rayns. Other extras include a new interview with Bong about the real-life crime spree the film was based on, a 2004 “making of” doc, deleted scenes, a 1994 student film by Bong, and much more.