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Tag Archives: The French Connection (1971)
My 2014 Melbourne International Film Festival top ten
The Melbourne International Film Festival (MIFF) kicks off in few days. As usual, there’s a packed program full of cinematic goodness. If you’re wanting to check some films out but are stumped as to what to see, here’s my ten picks.
Sorcerer, 1977
The newly remastered print of Sorcerer, William Freidkin’s 1977 homage to Henri-Georges Clouzot’s 1953 classic, The Wages of Fear, is up there as one of my top MIFF picks for the festival. The story is about a group of four men, each of them on the run from various sins committed in their past life, who are hired to transport a truck load of volatile dynamite across an incredibly hostile stretch of Central American jungle. Freidkin may be better known as the director of The French Connection (1971) and The Exorcist (1973) but this hard boiled slice of pure cinematic noir is, in my opinion, his best film.
Electric Boogaloo: The Wild Untold Story of Cannon Films – 2014
I really enjoyed Mark Hartley’s documentaries, Not Quite Hollywood (2008), about Australia’s Ozsploitation film scene, and Machete Maidens Unleashed (2010), his look at American film making in the Philippines in the seventies and eighties, so expectations are high for this one. Electric Boogaloo is the story of Cannon Films, the Hollywood B-studio responsible for such cinema gems as Lifeforce (1985) and the pre-Rambo, Rambo film, Missing In Action (1984).… Read more
Posted in Crime fiction and film from China, Crime fiction and film from South Korea, Crime film, Melbourne International Film Festival, True crime
Tagged 2014, A Hard Day (2014), Alejandro Jodorowsky, Black Coal, Concerning Violence (2014), Don't Think I've Forgotten (2014), Dune, Electric Boogaloo: The Wild Untold Story of Cannon Films (2014), Frank Herbert, Jodorowsky's Dream, Mark Hartley, Not Quite Hollywood (2008), Phase IV (1974) Saul Bass, Sorcerer, The Exorcist (1973), The French Connection (1971), The Legend Maker (2014), Thin Ice (2014), Whitey: The United States of America v. James Buglar (2014), William Freidkin
Melbourne International Film Festival: progress report
A couple of weeks ago I posted on the crime movies I was going to catch at the Melbourne International Film Festival. Nearly half way through, here’s my progress report.
First, the bad news. Killer Joe, which I checked out last night. I’m very partial to cinematic tales of money, lust and murder set in the underbelly of rural small town life. Throw in a corrupt lawman who moonlights as a pimp/pusher/contract killer, whatever, and as far as I’m concerned you’re on a winning formula. No matter how many turkeys he’s made, I’ve also got a major reserve of goodwill towards the director, William Friedkin for To Live and Die in LA (1985) and The French Connection (1971).
Killer Joes has all the signposts associated with this sort of movie, down at heel locations, sleazy sex and a criminal plot that quickly spirals out of control. But none of this makes up for the poor performances and a scarcely believable story line.
A small town cop cum contract killer (Matthew McConaughey) is hired by a white trash Texan family to murder their mother for the insurance money. The key conspirator, Chis (Emile Hirsch), scarcely has the brains to tie his own shoelaces let alone instigate a murder plot. When he can’t pay his would be assassin up front as expected, Joe takes Chris’s sister, Dottie (Juno Temple) as collateral and seduces her.… Read more
Posted in Crime fiction and film from India, Crime fiction and film from Latin and Central America, Crime fiction and film from Thailand, Crime film, Jim Thompson, Melbourne International Film Festival, William Friedkin
Tagged Emile Hirsch, Gangs of Wasseypur, Gina Gershon, Golden Slumbers, Headshot (2011), Jim Thompson, Juno Temple, Killer Joe (2011), Matthew McConaughey, Miss Bala (2011), Nopachai Chaiyanam, Oren Moverman, Pen-Ek Ratanaruang, Rampart (2011), Stephanie Sigman, The French Connection (1971), The Messenger (2009), Thomas Hayden Church, To Live and Die in LA (1985), William Friedkin