Sentences with phrase «argento giallo»
There's just something about characters being offed one by one by a masked, knife - wielding menace that has never connected with me as a source of fear, whether it's in Halloween (which I love), a Mario Bava or Dario Argento giallo movie (ditto), or in one of the countless Friday The 13th - alikes that came out of the 1980s.
https://film.avclub.com/ Not exact matches
He draws his inspiration from the 80's culture with, on the one hand, SF and Horror movies (Blade Runner, Halloween, The Thing), and on the other, the 70's with the italian Giallos of Dario Argento and the dark era of pop - occult culture that ensues.
The dude went from Oscar winner, to lead in an Argento dud (Giallo) and now to bonafide macho action man.
Argento's World of Giallo Dario Argento (b. 1940 --RRB- has been making gialli for a long time.
Written and directed by Michele Soavi of Cemetery Man (1994) and The Church (1989) fame, this documentary from 1985 takes an in - depth look at Dario Argento, the master Italian director most well known for his «giallo» horror films.
I saw RIP TIDE (Aussie strictly Disney flick, cute for tweets but that's about it), Argento's DEEP RED (for the first time and on the big screen - was a gooey delight tripped up by the usual giallo issues), VICTORIA & ABDUL (odious and blandly crafted), and FIRST THEY KILLED MY FATHER (thankfully on the big screen since Anthony Dod Mantle's cinematography deserves it - the film is strong, even if Jolie is definitely not a subtle director).
Like a W magazine photo spread conceived by Baudelaire and art - directed in electric colours by giallo maestro Dario Argento, the opening of The Neon Demon offers a foretaste of the plasticated grand guignolerie that by the end of Nicholas Winding Refn's meretricious psychological horror movie has yielded both a feast and a bloodbath — in the precise senses of those words.
But the band's best - known work came in collaboration with giallo king Dario Argento, and while we love their droney, synth - tastic «Tenebrae» work (sampled by French electro titans Justice for their track «Phantom»), their finest hour is unquestionably via Argento's best film «Suspiria,» about an American ballerina (Jessica Harper) tormented by a witch's coven.
As you know, she's the offspring of giallo master Dario Argento and actress Daria Nicolodi, and this film seems to be a look into a world of fame and celebrity through a child's eyes, with Charlotte Gainsbourg and Gabriel Garko as the parental figures.
Details The Texas Theatre presents a 35 mm print of Dario Argento's cult classic giallo film Deep Red (1975), 8 pm, June 30, at the theater.
Dario Argento was the master choreographer of the distinctly Italian art of horror known as giallo, was a baroque, often sadistic kind of slasher movie that favors intricately - designed murder sequences and aesthetic beauty over logic.
Directed by Duccio Tessari (Death Occurred Last Night, A Pistol for Ringo), The Bloodstained Butterfly melds the lurid giallo traditions popularized by Dario Argento and Mario Bava with courtroom drama, resulting in a film that is as concerned with forensic detail and legal process as it is with grisly murders and audacious set - pieces.
Deep Red: Limited Edition (Blu - ray) Details: 1975, Arrow Video Rated: Not rated The lowdown: Another Italian giallo feature from Dario Argento, that nation's master of the macabre.
This second entry in the so - called «Animal Trilogy» found Argento further refining his distinctive style and cementing his reputation as the master of the giallo thriller.
Two early Dario Argento gialli (that's plural for giallo) debut on Blu - ray, neither of them among his masterpieces but both showing a young director exploring the possibilities of play within genre filmmaking and perfecting his technical skills and expressive talents.
The Bird With the Crystal Plumage Blu - ray (1970 — Italy) In 1970, young first - time director Dario Argento made his indelible mark on Italian cinema with «The Bird with the Crystal Plumage,» a film that redefined the «giallo» genre of murder - mystery thrillers and catapulted him to international stardom.
by Walter Chaw After years spent working alongside such luminaries as Joe D'Amato, Lucio Fulci, and Dario Argento, Michele Soavi made his directorial debut with 1987's StageFright (onscreen title: StageFright: Aquarius)-- not an update of Hitchcock's underestimated Jane Wyman vehicle, but a carrying of the giallo torch from one generation ostensibly into the next.
On the heels of Suspiria and Inferno, Argento released one such gem, Tenebrae (or Tenebre, if you prefer) in 1982, an Italian Giallo film that most consider to be one of his best.
Setting aside the return of their giallo series with Dario Argento's The Bird with the Crystal Plumage, a 35 mm screening of The Murder of Fred Hampton, the fascinating sounding Crossroads and The Exploding Digital Inevitable, Bruno Dumont's Joan of Arc movie Jeannette and the latest doc from sensory Ethnography Lab alum JP Sniadecki, El mar la mar, later in the week, this weekend they've got an exclusive of Hong Sangsoo's utterly delightful Claire's Camera (I'll be seeing it for the fourth time).
Argento's first three films, the so - called «animal trilogy» (The Bird with the Crystal Plumage, The Cat o» Nine Tails, Four Flies on Grey Velvet) deepened the giallo as introduced to cinema by the late, great Mario Bava.
Though the genre's invention (named after the yellow / giallo covers of Italian penny dreadfuls) is credited to compatriot Mario Bava (see, especially, his astonishing Blood and Black Lace), Argento's scary polish and cunning for film language bridged the cultural, mainstream / arthouse gap with agility and audacity.
Fourteen years removed from his last good movie (Opera), his latest film Sleepless (a.k.a. Non ho sonno), starring the inimitable Max Von Sydow and heralded as a return to Argento's roots in the giallo genre, hits North American shores months after bootleg copies of it have already circulated amongst the ranks of disappointed fanboys.
Directed by Duccio Tessari (Death Occurred Last Night, A Pistol for Ringo), The Bloodstained Butterfly melds the lurid giallo traditions popularised by Dario Argento and Mario Bava with courtroom drama, resulting in a film that is as concerned with forensic detail and legal process as it is with grisly murders and audacious set - pieces.
Leone's unlikely company in story credit here are giallo horror legend Dario Argento (Suspiria) and Oscar - winning epic auteur Bernardo Bertolucci (The Last Emperor, Last Tango in Paris), each soon to find their respective calling.
Dir Dario Argento (David Hemmings, Daria Nicolodi) Argento fans have a tendency to divide into two camps: those who prefer his relatively straightforward, plot - driven early giallo thrillers and those who revel in the surrealistic beauty of his post-Suspiria dream - movies.
New to this edition and featured on both Blu - ray and DVD editions is commentary by film historian and Mario Bava biographer Tim Lucas and the almost hour - long «Psycho Analysis,» an in - depth documentary on Blood and Black Lace and the origins of the giallo genre featuring interviews with directors Dario Argento and Lamberto Bava and screenwriter Ernesto Gastaldi among others.
If you're a giallo newbie and you're looking for a starting point into the world of wildly violent Italian horror films, seek out Dario Argento's disconcertingly beautiful Suspiria.
FrightFest has seen several attempts by Italian directors to revive their nation's giallo subgenre, but the broad pastiche of Dario Argento's Giallo and Federico Zampaglione's Tulpa merely elicited derisive guffaws from audiences knowing enough to see the turkeys beneath all the crystal plgiallo subgenre, but the broad pastiche of Dario Argento's Giallo and Federico Zampaglione's Tulpa merely elicited derisive guffaws from audiences knowing enough to see the turkeys beneath all the crystal plGiallo and Federico Zampaglione's Tulpa merely elicited derisive guffaws from audiences knowing enough to see the turkeys beneath all the crystal plumage.
Bringing with her name and presence the aura of Italian giallo cinema, Asia Argento adds both dignity and pathos to the often thankless role of femme fatale.
As much as the 1946 adaptation of The Postman Always Rings Twice has earned its place as an important American Film Noir, so too Ossessione is essential to Italy's history of lurid, intoxicating giallo cinema.16 Ossessione provides a perfect bookend to Calamai's final performance as Marta in Dario Argento's Profondo Rosso (1975): in both films Calamai embodies a similar bug - eyed feminine insanity, both characters pushed to the edge of violence and despair at their seeming invisibility to the men in their lives, and to society in general.
In case you're just joining us and you're a giallo fan, Sleepless in Seattle is not a sequel to Dario Argento's Non Ho Sonno set in the Pacific Northwest.
The Bird With the Crystal Plumage Details: 1970, Arrow Video Rated: Unrated The lowdown: Dario Argento made his directorial debut with this «giallo» genre thriller that brought the Italian filmmaker to the attention of the international cinema community.
Argento might be the father of giallo cinema, but it's Bava who laid the ground work with his 1963 film The Girl Who Knew Too Much and 1964's Blood and Black Lace, traces of which can even be found in Nicolas Winding Refn's The Neon Demon.
Meanwhile, Michael Coate has just posted a new History, Legacy & Showmanship column, featuring an interview with filmmaker Vincent Pereira on the subject of Dario Argento's classic giallo film Suspiria, which celebrated its 40th anniversary last year.
«Amer» is both tribute to and feature - length emulation of the giallo, the Italian brand of feverish psychosexual horror mystery suspense that originated in the»60s and is associated preeminently with Mario Bava and Dario Argento.
Borrowing formal and atmospheric motifs from 1970s giallo films by directors such as Mario Bava and Dario Argento, Walk - Through re-imagines CalArts as a site of potential intrigue, subtly calling into question the artistic and democratic tenets embedded in the school's founding ideology.