Thomas Hardy's romantic Victorian novel of class, labor and the fickle finger of love, «Far From the Madding Crowd,» earns a stately yet earthy and full -
blooded film treatment from the Danish director Thomas Vinterberg.
Not exact matches
But where a
film like The Silence of the Lambs perversely reassures its captive audience that no matter the procreative ingenuity of a predator's unslakeable bloodlust, there's always a corn - fed, buttermilk - scrubbed farm girl there to put him away (and Taking Lives falls into this camp), there are
films like granddaddy In Cold
Blood (and great - grandpappy Psycho) that disdain the easy
treatment of societal cancers.
The ramifications of killing for art's sake have long been fair game for
film treatment, especially in movies that tap the horror - comedy vein, whether the target of the humor is the reception of the resultant artworks (Roger Corman's A Bucket of
Blood gives it in the neck to Beatnik poseurs) or else their inspiration (Herschell Gordon Lewis's sanguinary variation on the theme, Color Me
Blood Red).
When Chang starts swinging his devilish sword — an implement that gets the lingering close - up
treatment of a phallus in a porn
film — limbs go flying, rib cages are split from top to bottom, and torrents of
blood pour forth as victims moan.
After acting in a lot of genre
films and directing that segment of V / H / S, I was interested in asking some questions about the
treatment of women, and about the general curiosity about violence and
blood and things like that.