Film Review: The Fury (1978)

Release Date: March 10th, 1978
Directed by: Brian De Palma
Written by: John Farris
Based on: The Fury by John Farris
Music by: John Williams
Cast: Kirk Douglas, John Cassavetes, Carrie Snodgress, Charles Durning, Amy Irving, Andrew Stevens, Fiona Lewis, William Finley, Dennis Franz, Gordon Jump, Daryl Hannah

Frank Yablans Presentations, Twentieth Century Fox, 118 Minutes

Review:

“…and what a culture can’t assimilate, it destroys.” – Dr. Jim McKeever

The Fury is a movie that I haven’t seen in a really, really long time. I’m talking, late night on cable when cable was still cool… that’s how long.

Also, I never saw it in its entirety from start-to-finish. I always kind of caught it in the middle and it’d be at times where I had to fight to stay awake in hopes of finishing it.

Having now watched it in its entirety for the first time without fighting sleep, I’ve got to say that it’s damn good and it just solidifies the greatness of Brian De Palma, especially in his early days.

This feels like a natural extension of some of the concepts De Palma worked with in Carrie but it isn’t bogged down by Stephen King-isms and it’s a hell of a lot cooler and expands on those concepts in a bigger way, as we now see psychic powered youngsters being abducted and turned into psychic super weapons.

The film stars two actors that are absolute fucking legends: Kirk Douglas and John Cassavetes.

Douglas plays the hero character, trying to save his son, who has been abducted and turned into an evil psychic killing machine. All the while, Douglas is trying to save a young girl from the same fate.

Cassavetes, who just does sinister so well, plays the main antagonist who betrays Douglas and tries to have him murdered so that he can abduct his psychic son and brainwash him while honing his skills. Cassavetes mostly succeeds in the opening of the film but doesn’t realize that Douglas survived the orchestrated assassination attempt.

The real highlight of the film for me was the big finale and the moments that led up to it, which saw the psychic son unleash his powers in twisted and fucked up ways. The special effects used here were simple, practical and incredibly effective.

There were a lot of psychic power horror flicks in the ’70s and ’80s but The Fury is certainly one of the best of the lot. If this type of stuff is your bag, you definitely should give it a watch.

Rating: 8.5/10
Pairs well with: other ’70s and ’80s psychic horror movies, as well as Brian De Palma’s other horror and thriller films.

Film Review: The Untouchables (1987)

Release Date: June 2nd, 1987 (New York City premiere)
Directed by: Brian De Palma
Written by: David Mamet
Based on: The Untouchables by Eliot Ness, Oscar Fraley
Music by: Ennio Morricone
Cast: Kevin Costner, Charles Martin Smith, Andy Garcia, Robert De Niro, Sean Connery, Billy Drago, Patricia Clarkson, Brad Sullivan, Clifton James (uncredited)

Paramount Pictures, 119 Minutes

Review:

“You just fulfilled the first rule of law enforcement: make sure when your shift is over you go home alive. Here endeth the lesson.” – Malone

While this isn’t one of my favorite Brian De Palma movies, it was one of my favorite mob movies back when I was a teenager. As a De Palma picture, though, it’s stylistically very different than his other films, especially those that came before it.

Don’t get me wrong, though, I still love the hell out of this movie.

The Untouchables is full of great actors giving solid performances and telling a really compelling and tragic story, as many of the heroes die very violently while trying to bring one of America’s most violent criminals to justice.

This is a balls out, unapologetic movie that doesn’t shy away from some onscreen carnage and while that’s what made me think this was cool as a teen, it’s actually what makes it so effective and real.

Granted, Robert De Niro’s portrayal of Al Capone is inaccurate, as the real man wasn’t as publicly careless as he appears to be in the film. That’s not De Niro’s fault, that’s the script’s fault but at the same time, I don’t mind it, as it is used artistically to convey who Capone was beyond the public facade.

I love the camaraderie between the four heroes in this film, as they all felt truly chummy and it transcended the picture and made their sacrifices come across as even more genuine. You feel it in your gut when Sean Connery is gunned down and it doesn’t really matter how many times one has seen this picture.

The real standout in the cast to me is Billy Drago, who plays Frank Nitti, the sadistic and blatantly evil henchman of Capone. Drago has been a favorite actor of mine since he played the villain, John Bly, in the grossly underappreciated television series The Adventures of Brisco County Jr. Since then, I’ve taken note of everything Drago has been in but then, he’s really hard to miss. Drago takes control of every scene he’s ever been in and can convey chilling villainy like no other actor. That being said, this is probably his greatest and most prolific role.

The movie also has a really unique score, composed by the legendary Ennio Morricone. Even for Morricone, it’s a strange soundtrack while also still sounding like his patented style. I like that this movie allowed Morricone to experiment in a way that he couldn’t when he was doing spaghetti westerns and Italian dramas.

The Untouchables holds up pretty well. It’s not a run of the mill, typical gangster picture. It certainly feels like it’s own thing and I feel like that’s why it still stands out, years later. While I can’t consider it as great as De Palma’s Scarface, Coppola’s Godfather movies or Scorsese’s Goodfellas, it’s still in the upper echelon of the genre.

Rating: 8.5/10
Pairs well with: other Brian De Palma crime films, as well as other Robert De Niro starring crime flicks.

Film Review: Scarface (1983)

Release Date: December 1st, 1983 (New York City premiere)
Directed by: Brian De Palma
Written by: Oliver Stone
Music by: Giorgio Moroder
Cast: Al Pacino, Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, Robert Loggia, Miriam Colon, F. Murray Abraham, Paul Shenar, Harris Yulin, Angel Salazar, Arnaldo Santana, Pepe Serna, Michael P. Moran, Al Israel, Dennis Holahan, Mark Margolis, Michael Alldredge, Ted Beniades, Geno Silva, Richard Belzer, Charles Durning (voice, uncredited) Dennis Franz (voice, uncredited) 

Universal Pictures, 170 Minutes, 142 Minutes (TV cut)

Review:

“[to Sosa] I never fucked anybody over in my life didn’t have it coming to them. You got that? All I have in this world is my balls and my word and I don’t break them for no one. Do you understand? That piece of shit up there, I never liked him, I never trusted him. For all I know he had me set up and had my friend Angel Fernandez killed. But that’s history. I’m here, he’s not. Do you wanna go on with me, you say it. You don’t, then you make a move.” – Tony Montana

After binging a bunch of my favorite Brian De Palma films over the course of a few days, I wanted to revisit Scarface, as I hadn’t seen it in ages and because it was one of my favorite movies in my teen years.

Once I hit the play button, I was immediately reminded of just how great this motion picture is. From the opening shots of Cuban refugees leaving their home country for America with the great musical score blasting through my speakers, it brought me back to where I was the first time I experienced this movie in a special theatrical showing for its tenth anniversary in 1993.

From there, the movie gets rolling and every scene is just as incredible as I remembered it. This movie didn’t disappoint and it’s greatness has held up. Actually, it made me yearn for a time when movies this superb were actually fairly common.

It should go without saying that the acting in this is stellar. Al Pacino kills it but then again, when doesn’t he? Especially back in his prime.

I also really liked Michelle Pfeiffer, who shows that she has incredible chops even as young as she was in this picture.

The real scene stealer for me though is Steven Bauer, a guy I’ve always loved because of this role and have always wondered why his career didn’t go to the moon after this. The man is super talented and to be so good that you can not just hang with Pacino in this era, but actually come across as his equal, is pretty damn impressive!

Beyond that, Mary Elizabeth Mastrantonio is prefect and sweet and then turns it up in the end and delivers an extremely heartbreaking end to her character.

We also get solid performances from legends like Robert Loggia and F. Murray Abraham, as well as the smaller bit players like Mark Margolis, Pepe Serna, Miriam Colon, Paul Shenar and others.

Shenar is especially great as Bolivian drug kingpin Alejandro Sosa. So much so, I wish his part would’ve been expanded somewhat.

The story is just as great as the acting that brings it to life. I liked this take on the story of a crime lord’s rise to power from nothing. For the time, it was incredibly topical and looking at the time frame, it’s rather impressive that this got into theaters by 1983 when the events that kicked off the backstory happened just three years earlier.

The film’s music is also pretty incredible from the pop tunes to the grandiose and remarkable score by Giorgio Moroder. I had forgotten just how important the music in the film was in regards to setting the tonal shifts. It’s certainly a soundtrack I need to track down on vinyl.

The most important element to this picture’s greatness, however, is Brian De Palma. As one of the greatest directors of his generation (and all-time, frankly) De Palma already had a half dozen classics under his belt by this point but this was, at the time and maybe still, his magnum opus.

Beyond directing the actors, De Palma proved just how good his eye was at creating a unique, artistic composition. There are touches of Stanley Kubrick’s visual style in this but the film is still very much De Palma’s from start-to-finish. But man, the cinematography, lighting and general tone is stupendous regardless of where the scene takes place from Miami, New York City and Bolivia.

Scarface is one of the all-time great crime films. It will continue to be till the end of time. And while there have been many great films within this genre, this one will always stand out due to its unique style, story and character. It’s a film that has been emulated and homaged countless times but no one has truly come close to replicating its magic.

Rating: 10/10
Pairs well with: other crime films starring Al Pacino, as well as other Brian De Palma movies.

Documentary Review: De Palma (2015)

Release Date: September 9th, 2015 (Venice Film Festival)
Directed by: Noah Baumbach, Jake Paltrow
Cast: Brian De Palma

Empire Ward Pictures, A24, 110 Minutes

Review:

I watched three of Brian De Palma’s neo-noir thrillers two months back when I was celebrating the month of Noirvember. It was the first time that I had seen Dressed to Kill, Blow Out and Body Double and all three of them instantly became favorites of mine but in different ways. But they also inspired me to give this documentary about the man’s work a watch. And since this had been in my queue for a few years, I felt it was long overdue.

Sometimes documentaries about director’s careers can be bogged down by talking head interviews and choppily edited insight that the documentary director is using to make their point. However, this one just features Brian De Palma talking about his films and because of that, this was a spectacular filmmaking documentary.

To start, I like the vast majority of the man’s films, especially his work in the ’70s and ’80s. And what’s really awesome is that he spends a good amount of time talking about each film in his oeuvre: going through the behind the scenes details, the casting, the story ideas and the inspiration behind his work.

De Palma is a charismatic and interesting guy and having just him in this was a treat. Sure, I’d like to hear from some of the actors he worked with, as well as his peers, but I’m sure there will eventually be another De Palma documentary that allows others to discuss the man and his stellar work.

As far as I know, this is the only real comprehensive piece about De Palma’s whole career but this is a damn fine film that accomplishes what it set out to do, as it shined a light on some of the greatest motion pictures of all-time.

Rating: 9/10
Pairs well with: other documentaries about other iconic filmmakers’ total bodies of work: Spielberg, Stanley Kubrick: A Life In Pictures and Magician: The Astonishing Life & Work of Orson Welles.

Film Review: Body Double (1984)

Release Date: October 15th, 1984 (New York City premiere)
Directed by: Brian De Palma
Written by: Brian De Palma, Robert J. Avrech
Music by: Pino Donaggio
Cast: Craig Wasson, Gregg Henry, Melanie Griffith, Deborah Shelton, Guy Boyd, Dennis Franz, Al Israel, Barbara Crampton, Slavitza Jovan

Delphi II Productions, Columbia Pictures, 114 Minutes

Review:

“I do not do animal acts. I do not do S&M or any variations of that particular bent, no water sports either. I will not shave my pussy, no fistfucking and absolutely no cumming in my face. I get $2000 a day and I do not work without a contract.” – Holly Body

Having now seen all three movies in Brian De Palma’s neo-noir trilogy from the early ’80s, I’d have to say that this one is the weakest but it is also the most fun. But I’ll explain what I mean.

The first two movies in De Palma’s noir thrillers came out back-to-back. This third film, however, came out after he did Scarface. I feel like I need to mention that, as this feels like a weird amalgamation of the style from the other noir pictures, as well as the style from Scarface, which was poppier, livelier and had an early ’80s neo-noir aesthetic in its own way due to its use of lighting, shadows and neon accents. Scarface almost had vibrant giallo tones and they carried over into this movie.

I’ve talked about De Palma also tapping into Alfred Hitchcock for these films and honestly, this might be his most Hitchcockian of the lot, as it channels parts of Rear Window and Vertigo.

As simply as I can state it, Body Double channels Rear Window in how it explores voyeurism and it channels Vertigo in how it features two women appearing as one with some noir styled trickery.

This might also be tapping into Dial M for Murder due to the use of the phone as a narrative prop when the girl that the protagonist is obsessing over has a killer in her midst.

There’s really a lot going on in this movie and it’s a solid homage to all of these great things but it is very much its own film that taps multiple creative wells but still comes up with something refreshing and unique.

I thought that the plot was well conceived and executed and even if you can start to put it together fairly early, there is still a bit more to the big reveal than you’ll anticipate.

While this might be the worst acted of De Pama’s neo-noir flicks, no one in it is bad and the performances kind of add to the bonkers proceedings. I feel as if the performances are a bit hammy because the tone of the film called for that. And that’s not to say that this isn’t a serious movie, it is, but it seems pretty self aware that it is tapping into schlock territory while still being real cinematic art.

The film also uses some gore and it works well here. De Palma has used gore before; look at Sisters for instance, as that had some brutal moments in it. But the use of gore really adds something to the dreamlike quality of the film. While this takes place in the real world, there is something fantastical and magical about the look and feel of the picture.

On a side note: I love the use of Frankie Goes to Hollywood’s “Relax” in this film. It briefly turns the film into a bizarre ’80s style MTV music video with a bit of sexploitation thrown in. It may sound odd for someone who hasn’t seen this film but it’s the moment where I realized that I love this picture. And it’s that moment where the film really commits to the bit and shows you that despite the harsh moments and violence, this is a film that’s really having fun with itself. It’s like cinematic masturbation of the highest regard.

And thinking about that moment, it really helps to set this film apart from the other two that are so closely associated with it. Where the first film was really dark and gritty, the second one started to let some light into it and then this third picture, really embraces the bright lights and becomes somewhat chipper, creating a lot of contrast from the beginning to the end of De Palma’s neo-noir work. In fact, the visual tones also remind me a bit of De Palma’s very lively Phantom of the Paradise.

Due to the length of this review, it seems that I have more to say about this picture than the other two, which I still feel edge it out. But I think that’s due to the fact that this gave me the most to chew on and it feels like the most Brian De Palma film of all-time, as he calls back to a lot of his previous work and his main influences.

Despite this being my least favorite of the three noir thrillers, it’s still a damn fine film and honestly, it’s probably the one I will revisit the most.

Rating: 8.5/10
Pairs well with: Brian De Palma’s other neo-noir thrillers from this era: Dressed to Kill and Blow Out.

Film Review: Blow Out (1981)

Release Date: July 24th, 1981
Directed by: Brian De Palma
Written by: Brian De Palma
Music by: Pino Donaggio
Cast: John Travolta, Nancy Allen, John Lithgow, Dennis Franz

Cinema 77, Geria Productions, Filmways Pictures, 108 Minutes

Review:

“Ya know, the only trouble I ever got into was when I was too careful!” – Sally

After watching Dressed to Kill about a week ago, I didn’t want to waste much time before checking out another neo-noir thriller by Brian De Palma. I decided to go in chronological order so I picked Blow Out over Body Double but I do plan to watch that other one in the very near future.

Another reason why I wanted to get into this one was to see how it measures up to Dressed to Kill, as it came out just a year later and it featured some of the same players in Nancy Allen and Dennis Franz. Also, this re-teams Allen with this film’s lead, John Travolta. The two also starred alongside each other in De Palma’s 1976 adaptation of Stephen King’s Carrie.

While this is the second film in a row where Allen plays a lady of the night, this character is very different from her character in Dressed to Kill. Here, she is more ditzy and too trusting where in Dressed to Kill, she was sharp as a tack and weary of those around here. I actually really like her in both roles and despite playing similar characters, they’re both different enough to show her range as an actress. And honestly, I’ve underrated her work and didn’t really recognize her ability until seeing her in De Palma’s films.

John Travolta is also on his A-game here and in fact, he’s dynamite. This may be one of the top two or three performances I’ve seen from Travolta and it’s surprising to me that not too long after this, his career sort of floundered and he didn’t bounce back till 1994’s Pulp Fiction.

The real scene stealer though is John Lithgow, who just has the uncanny ability to play crazy, really damn well. He’s played these types of characters multiple times but this is the oldest example of it that I can think of or that I have seen. He’s got the incredible ability to be a lovable patriarch on one had and to be an absolutely chilling bastard on the other. And here, with De Palma’s direction, he is a pretty intense predator that exudes danger from his very presence.

The fact that Travolta’s day job in this film is as a sound engineer for slasher pictures actually adds a lot to the film’s tone and narrative style. While this isn’t a slasher picture, it does present Lithgow as a slasher like character, as he stalks his prey (pretty women) and brutally murders them.

While this film shares a similar tone to Dressed to Kill it is less cerebral and is more of a straightforward political thriller. That certainly doesn’t mean that it is lacking. It still carries on De Palma’s Hitchcockian vibe that has been alive and well in his pictures before this. Because of that, though, this film has an energy and a style to it that is enthralling and intriguing. And despite channeling Hitchcock, De Palma’s films still have a certain panache that is all their own.

Looking at Dressed to Kill and Blow Out side-by-side, I prefer the former. But that doesn’t mean that Blow Out is less of a film. Dressed to Kill was more my cup of tea because it’s damn twisted, somewhat taboo and a bit darker.

That being said, Blow Out is still a fantastic thriller and in the upper echelon of Brian De Palma’s oeuvre.

Rating: 8.75/10
Pairs well with: Brian De Palma’s other noir-esque films: Dressed to Kill and Body Double.

Film Review: Dressed to Kill (1980)

Release Date: July 25th, 1980
Directed by: Brian De Palma
Written by: Brian De Palma
Music by: Pino Donaggio
Cast: Michael Caine, Angie Dickinson, Nancy Allen, Keith Gordon, Dennis Franz, William Finley (voice, uncredited)

Filmways Pictures, Cinema 77 Films, 104 Minutes

Review:

“Doctor, I am not paranoid. Bobbi was making threats over the phone. She said she’s going to hurt me. My patient was slashed to death. And now my razor is gone. Now you don’t have to be a detective to figure it out, do you?” – Doctor Robert Elliot

I wasn’t sure what to expect going into this picture but if Brian De Palma’s early films are any indicator, I knew that this would be bizarre, artistic and intelligent.

And it was those three things but it was also damn compelling and honestly, damn impressive.

I loved this film and it’s a shame that I hadn’t seen it before this. It was intense, melodic, sweet, scary and most importantly, intriguing.

While this picture is very De Palma-esque, maybe the most De Palma-esque of the man’s work, it is also very Hitchcockian, as the narrative and the shot framing displays a young De Palma’s callback to Hitchcock’s style and tropes.

Still, this is very much De Palma’s composition and not a cheap attempt at trying to emulate one of the masters before him. Honestly, it comes off as a respectful homage that creates a familiar framework that De Palma could then artistically build off of.

This is also very much a noir story. It has twists, turns, mystery, secrets that evolve and a shocking reveal when all is said and done. It’s pretty damn impressive that they were able to do some of the stuff they did in the time that this was made.

What really solidifies this as a great movie, aside from the solid direction and story by De Palma, is the cast.

Nancy Allen really carries this movie once she becomes the focus. And honestly, I’ll always love Allen simply for being a huge part of RoboCop but I never really thought much of her as an actress. Not to say she’s bad, she’s perfectly fine. But in this film, she really got to do some daring things. Honestly, it has motivated me to check out De Palma’s Blow Out in the near future as it also features her under De Palma’s direction.

I was really impressed with Keith Gordon and Angie Dickinson as well.

Michael Caine also plays an very important role but it’s Michael Caine, so one should expect a damn fine performance because I don’t think I’ve ever seen the guy not deliver.

I’d love to go deeper into the story and analyze some of it but I don’t want to spoil this for anyone. It’s a film that needs to be seen without knowing much about the plot and a Google search will probably spoil some major details.

If you like De Palma, Hitchcock influenced cinema or neo-noir, than you’ll probably like this picture.

Rating: 9.5/10
Pairs well with: other early Brian De Palma films, especially Blow Out and Body Double.

Film Review: Phantom of the Paradise (1974)

Also known as: Phantom, Phantom of the Fillmore (working titles)
Release Date: November 1st, 1974
Directed by: Brian De Palma
Written by: Brian De Palma
Music by: Paul Williams
Cast: Paul Williams, William Finley, Jessica Harper, Gerrit Graham, Rod Sterling (voice, uncredited)

Harbor Productions, 20th Century Fox, 91 Minutes

Review:

“[to Beef] Never sing my music again. Not here, not anywhere. Do you understand? Never again. My music is for Phoenix. Only she can sing it. Anyone else who tries, dies!” – The Phantom

This film often gets lumped together in conversations with The Rocky Horror Picture Show. The films came out around the same time, share a lot of similarities and have both developed cult followings. However, this film is far superior and I find it strange that it’s cult following is nowhere near as massive as Rocky Horror‘s.

I think this film has the edge in that it was written and directed by Brian De Palma, who was one of the top up and coming directors of the time. He was at a creative high and even though this film merges a lot of genres and is overly surreal and very absurdist, it’s kind of a masterpiece in that all the parts fit together and there has never been anything like this since. Well, at least nothing like this that was anywhere near as good as this.

Additionally, I’ve gone on record multiple times about my general dislike of musicals. Well, De Palma made a musical with this film and it is one of my absolute favorite films of the 1970s. In fact, I dig the hell out of the music in this picture and it all works in a way that makes sense. And I guess it’s not a musical with a traditional musical structure but it is chock full of tunes that progress the story without unnaturally pulling you out of it for the sake of wedging in another musical number.

The film stars actual rock star Paul Williams in what is my favorite role he’s ever had, playing Swan, a demonic record producer.

But the film is really carried by De Palma favorite, William Finley. It’s Finley’s over the top and batshit crazy performance that takes this film to heights it would not have reached without him in the title role as the Phantom. Finley is always great but this truly is his magnum opus, as he gives great range, exudes his passion for this role proudly with every frame and commits to the bit full throttle.

As good as both Williams and Finley are though, the film is also bolstered by the talent of Gerrit Graham. He’s had a lot of great roles within the horror genre but this is Graham at his best, as well. He plays a rock star simply named Beef. His onstage performance is incredible, his comedic timing is superb and he is a big, sweet cherry on top of this already perfect sundae.

And then there’s Jessica Harper. She’s most famous for being the lead in the original Suspiria from 1977 and even has a small role in the 2018 remake. She plays the apple of the Phantom’s eye and she’s terrific. Her performances are also solid and she has a lot more spunk in this film than what fans of Suspiria might expect. It’s really cool seeing her play a role that’s a departure from the one she’s most known for.

Phantom of the Paradise also boasts some incredible visuals. The film feels like a true rock opera of the highest caliber and even if this was made on what I guess was a modest budget, De Palma takes advantage of his surroundings, his sets and the talent he had working on this picture.

The cinematography is damn good and it is greatly impacted by the lighting, as well as the camera movement and shot framing of De Palma. It’s not just the colorful characters on the screen and the stupendous tunes that give this film all of its energy. A lot of it comes from the camerawork and the attention to detail within every single frame of this picture.

I can accept the fact that most people probably won’t view this movie the same way that I do and that’s fine. But from where I sit, it’s a damn fine motion picture that is incredibly unique and a pillar of imagination and creativity.

Rating: 10/10
Pairs well with: I guess The Rocky Horror Picture Show is the closest film to this but it pales in comparison.

Film Review: Sisters (1972)

Also known as: Blood Sisters (Ireland)
Release Date: November 18th, 1972 (Filmex)
Directed by: Brian De Palma
Written by: Brian De Palma, Louisa Rose
Music by: Bernard Herrmann
Cast: Margot Kidder, Jennifer Salt, William Finley, Charles Durning, Olympia Dukakis, Art Evans (uncredited)

American International Pictures, 92 Minutes

Review:

“I saw a murder, and I’m going to prove it!” – Grace Collier

Brian De Palma is a very talented director. This early film from him has him tapping into Alfred Hitchcock territory. While De Palma is no Hitchcock, this is as good as Hitchcock’s ’70s films, after he moved on from his prime.

Funny enough, De Palma got Bernard Herrmann to do the score for this film. For those that don’t know, Herrmann was a regular collaborator with Hitchcock. He also did the scores for Citizen KaneThe Magnificent Ambersons, The Day the Earth Stood Still and a slew of other classic pictures.

Herrmann’s score here is incredible and this wouldn’t be the same movie without Herrmann’s melodic, enchanting and otherworldly music. Sometimes the score is slow and beautiful, other times it is pounding, a bit shrill but always interesting.

De Palma channels his inner Hitchcock in his style and narrative structure. This is like a Hitchcockian thriller turned up to 11. This is a murder mystery story but it has very dark and unusual twists. In fact, I had never seen this before and having now seen it, I can see where all these other films and novels I’ve enjoyed have taken cues from the story’s twist.

The visual style is also heavily borrowed from Hitchcock but De Palma does it so well that this is much more of a strong and respectful homage than the director simply emulating a master.

The dream/hallucination sequence towards the end is majestic and nightmarish.

De Palma also taps into Hitchcock’s cinematic obsession of voyeurism. There are elements of Rear Window and Psycho in this but De Palma pulls this all off without a hitch.

This was a really cool film, which makes me appreciate the early work of De Palma even more.

Plus, Margot Kidder was absolutely superb in this. Jennifer Salt was a lot of fun too.

Rating: 7.75/10
Pairs well with: other early De Palma films: Obsession, Dressed to Kill, Phantom of the Paradise and The Fury.

Documentary Review: Spielberg (2017)

Release Date: October 5th, 2017 (New York Film Festival)
Directed by: Susan Lacy
Cast: Steven Spielberg, George Lucas, Francis Ford Coppola, Martin Scorsese, Brian De Palma, Richard Dreyfuss, John Williams, J.J. Abrams, James Brolin, Bob Balaban, Tom Hanks, Drew Barrymore, Peter Coyote, Leonardo DiCaprio, Harrison Ford, Oprah Winfrey, Frank Marshall, Christian Bale, Liam Neeson, Ralph Fiennes, Ben Kingsley, Laura Dern, Jeff Goldblum, Robert Zemeckis, Cate Blanchett, Holly Hunter, Dustin Hoffman, Daniel Day-Lewis, Sally Field, Tom Cruise, Eric Bana, Daniel Craig

HBO Documentary Films, Pentimento Productions, 147 Minutes

Review:

This was a pretty stellar documentary for fans of not just Steven Spielberg but filmmaking and film history in general.

It reminded me a lot of the 2001 documentary Stanley Kubrick: A Life In Pictures, in that this spent a lot of time breaking down most of the key movies in Spielberg’s oeuvre.

Every segment here was rich, detailed and featured interviews with some major directors, actors and producers. But the film also gets into Spielberg’s personal life and how real life experiences influenced his movies.

This was a lengthy documentary, just as the Kubrick one was and rightfully so. In fact, this could have been the length of a ten part, two hour apiece Ken Burns documentary and I still would have been fully engaged.

Spielberg’s career has been long and full of at least a dozen classic films that will be remembered forever. Each segment could’ve been it’s own documentary film and it actually kind of sucks that a few films were mentioned but not given as much detail, most notably A.I.: Artificial Intelligence, the Jurassic Park sequels and some of his production work like Back to the Future.

Still, this is pretty thorough and there is so much to unpack and take away from this. It is one of the best documentaries on a filmmaker’s life and career.

Rating: 9/10
Pairs well with: other documentaries on specific directors but this reminded me a lot of Stanley Kubrick: A Life In Pictures.