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THE QUIET EARTH (1985) Often cited as an underrated Sci-Fi and 80s film, THE QUIET EARTH earns the distinction. New Zealand Director Geoff Murphy's heady apocalyptic thriller (based on a Craig Harrison novel) is one of the best Last Man On Earth scenarios.
Zac (a really good Bruno Lawrence) is a scientist working on an international energy project. He gets jerked awake and finds himself seemingly the only person around - or, maybe, on earth. Eventually, a couple of other 'survivors' make themselves known, but the early portion with Zac alone is quite well done. The love triangle material is a bit of a subgenre cliché, but the actors (Alison Routledge and Pete Smith acquit themselves well). What's most interesting here is how Zac tries to piece together what happened and what could happen in the future. Did the rest of the planet really vanish, or is this some kind of alternate universe? The finale is an all-time mind-blower.
Director Murphy directed YOUNG GUNS II, FREEJACK and UNDER SIEGE 2 before returning down under to collaborate with Peter Jackson directing second unit on the Lord Of The Rings films. THE QUIET EARTH has become quite the cult film for genre fans, and just cinefiles in general.
Zac (a really good Bruno Lawrence) is a scientist working on an international energy project. He gets jerked awake and finds himself seemingly the only person around - or, maybe, on earth. Eventually, a couple of other 'survivors' make themselves known, but the early portion with Zac alone is quite well done. The love triangle material is a bit of a subgenre cliché, but the actors (Alison Routledge and Pete Smith acquit themselves well). What's most interesting here is how Zac tries to piece together what happened and what could happen in the future. Did the rest of the planet really vanish, or is this some kind of alternate universe? The finale is an all-time mind-blower.
Director Murphy directed YOUNG GUNS II, FREEJACK and UNDER SIEGE 2 before returning down under to collaborate with Peter Jackson directing second unit on the Lord Of The Rings films. THE QUIET EARTH has become quite the cult film for genre fans, and just cinefiles in general.
NOSFERATU (2024) Robert Eggers' version of the classic tale is an occult erotic fatalist take versus the haunting expressionism of Murnau's silent masterpiece and the brooding dread of Herzog's fine 1979 edition. Lily-Rose Depp's Ellen Hutter is already in the grip of Nosferatu/Byron Orlock (Bill Skarsgard) as the movie opens which is a departure from the earlier films. Her husband, Thomas Hutter (Nicholas Hoult) ventures to Transylvania in order to settle the deed to the property of a decrepit home in Wisborg Germany.
Eggers' script essentially follows the pattern of the original film's storyline but with added details (in addition to the Ellen's connection to the vampire). Once Nosferatu and Thomas return to Wisborg, the screenplay hews fairly closely to the previous works (of course, all of them using Bram Stoker's Dracula as the true inspiration). Nosferatu brings pestilence and disease with him to the town. Aaron Taylor-Johnson and Emma Corrin play the Hardings, who also fall into the clutches of the evil creature. Willem Dafoe is Professor Von Franz - the Van Helsing role. It's an oddly drawn character, and, most surprisingly, the usually reliable Dafoe is a bit off key here due in no small part to Eggers' writing and direction. Depp is asked to display such extreme swings in emotion, that it's difficult to gauge her overall performance.
Eggers does expand on the model with lengthy diversions like the gypsies and villagers in Transylvania, but some of them seem designed more to show off the handsome production values than add to the story. And, it is a mighty impressive film visually with Jarin Blaschke's superb lensing (in 35mm and a boxy 1:66 aspect ratio) showing off Craig Lathrop's remarkable Gothic designs.
The possession angle here is novel, but it curiously makes it feel more removed in some ways with all the Exorcist-like gyrations and speaking in tongues. The idea that Nosferatu could have a hold on Ellen since she was young (and thousands of miles away) is curious to a point, but unconvincing. In addition, the third act's more dialogue heavy writing is more than a bit patchy. Character motivations seem a bit off. The processed voice for Skarsgard makes him hard to understand at times.
Fortunately, the finale is a sexually charged tour de force, and an improvement on the two predecessors. Skarsgard and Depp powerfully engage in a battle of wills. It's brutal, but daringly enthralling. It goes a long way to justify (along with look and atmosphere) this take on the classic tale even if Eggers never quite makes it his own.
Eggers' script essentially follows the pattern of the original film's storyline but with added details (in addition to the Ellen's connection to the vampire). Once Nosferatu and Thomas return to Wisborg, the screenplay hews fairly closely to the previous works (of course, all of them using Bram Stoker's Dracula as the true inspiration). Nosferatu brings pestilence and disease with him to the town. Aaron Taylor-Johnson and Emma Corrin play the Hardings, who also fall into the clutches of the evil creature. Willem Dafoe is Professor Von Franz - the Van Helsing role. It's an oddly drawn character, and, most surprisingly, the usually reliable Dafoe is a bit off key here due in no small part to Eggers' writing and direction. Depp is asked to display such extreme swings in emotion, that it's difficult to gauge her overall performance.
Eggers does expand on the model with lengthy diversions like the gypsies and villagers in Transylvania, but some of them seem designed more to show off the handsome production values than add to the story. And, it is a mighty impressive film visually with Jarin Blaschke's superb lensing (in 35mm and a boxy 1:66 aspect ratio) showing off Craig Lathrop's remarkable Gothic designs.
The possession angle here is novel, but it curiously makes it feel more removed in some ways with all the Exorcist-like gyrations and speaking in tongues. The idea that Nosferatu could have a hold on Ellen since she was young (and thousands of miles away) is curious to a point, but unconvincing. In addition, the third act's more dialogue heavy writing is more than a bit patchy. Character motivations seem a bit off. The processed voice for Skarsgard makes him hard to understand at times.
Fortunately, the finale is a sexually charged tour de force, and an improvement on the two predecessors. Skarsgard and Depp powerfully engage in a battle of wills. It's brutal, but daringly enthralling. It goes a long way to justify (along with look and atmosphere) this take on the classic tale even if Eggers never quite makes it his own.
ABOUT DRY GRASSES (2024) Master filmmaker Nuri Bilge Ceylan continues in his current vein of taking a novelistic approach to his films. Spanning over three hours, ABOUT DRY GRASSES isn't concerned with the rhythms of even an arthouse feature.
Samet (Deniz Celiloglu) and Kenan (Musab Ekici) are teachers who room together in a remote section of Anatolia, Turkey. Their more or less sedate bachelor lives are altered by a pair of events: They meet a teacher from another school, Nuray (Merve Dizdar), who takes an interest in both of them, although Samet seems to pass her along to Kenan. Sevim has an artificial leg as a result of a terrorist bombing. On a professional level the men are roiled when a couple of their young students accuse them of inappropriate touching. Sevim (Ece Bagci) is one of the pupils, and she has a devilish quality that bewitches Samet in particular.
While Ceylan's films are quite dialogue heavy, what sets them apart are the often stunning visual imagery. The Director uses landscape like no filmmaker since perhaps Tarkovsky. The irony of the title is that almost the entire movie takes place during a harsh and snowy winter. Samet is an art teacher (as is Nuray) which add to the pictorial pleasures here (Samet is also an amateur photographer).
Ceylan's script (with a pair of collaborators, Akin Aksu and his wife Ebru Ceylan) is very leisurely. It comes to a head in a brilliant intimate dinner sequence between Samet and Nuray. Samet's selfishness is clearly revealed, but Nuray is more than capable of parrying him at every turn. Ceylan breaks the fourth wall at one point, although it more interesting for the fact that such a formalist filmmaker would do it, than for any real revelation. Be that as it may, it's an excellent centerpiece, and more interesting than the school material.
Ceylan's work may only appeal to a certain sector of the cinefile community, but, to those, he's a genuine treasure even if ABOUT DRY GRASSES isn't at his top level.
Samet (Deniz Celiloglu) and Kenan (Musab Ekici) are teachers who room together in a remote section of Anatolia, Turkey. Their more or less sedate bachelor lives are altered by a pair of events: They meet a teacher from another school, Nuray (Merve Dizdar), who takes an interest in both of them, although Samet seems to pass her along to Kenan. Sevim has an artificial leg as a result of a terrorist bombing. On a professional level the men are roiled when a couple of their young students accuse them of inappropriate touching. Sevim (Ece Bagci) is one of the pupils, and she has a devilish quality that bewitches Samet in particular.
While Ceylan's films are quite dialogue heavy, what sets them apart are the often stunning visual imagery. The Director uses landscape like no filmmaker since perhaps Tarkovsky. The irony of the title is that almost the entire movie takes place during a harsh and snowy winter. Samet is an art teacher (as is Nuray) which add to the pictorial pleasures here (Samet is also an amateur photographer).
Ceylan's script (with a pair of collaborators, Akin Aksu and his wife Ebru Ceylan) is very leisurely. It comes to a head in a brilliant intimate dinner sequence between Samet and Nuray. Samet's selfishness is clearly revealed, but Nuray is more than capable of parrying him at every turn. Ceylan breaks the fourth wall at one point, although it more interesting for the fact that such a formalist filmmaker would do it, than for any real revelation. Be that as it may, it's an excellent centerpiece, and more interesting than the school material.
Ceylan's work may only appeal to a certain sector of the cinefile community, but, to those, he's a genuine treasure even if ABOUT DRY GRASSES isn't at his top level.