This film is a very art
house type film about a guy obsessed with following serial killers.
Not exact matches
The other day, his wife Ingrid texted him, saying that a
film crew had showed up at their
house in California,
typing something along the lines of there's a
film crew, you're already 15 minutes late, we're all waiting here, that's so rude.
Both the original novel and the
film version of
House of Sand and Fog (the latter captures the essential concerns of the book) shed light on certain features of American life, at least certain social
types or personalities, although they hold themselves back from a penetrating or satisfying portrayal.
The opposing force in this
film is not a
type of personal conflict, but an embodiment of a past way of life, dealing with the calamity in one's past before they started employment at a boring job, and put themselves into a situation where sneaking in sexual intercourse becomes an event because of a baby that is in the
house.
Synopsis: Screen legends Gregory Peck (On the Beach) and Richard Widmark (Road
House) co-star in this brilliantly cast western epic featuring an unusually fine story and magnificent direction by the great William Wellman (The Ox - Bow Incident)-- unleashing dramatic power seldom found in this
type of
film.
Also, the
film contains several virtual - reality
type sequences that push the limits of mixing both practical sets and CGI (Computer Generated Imagery), especially one visually impressive sequence involving a virtual reality experience where Tris is trying to rescue her mother from a burning
house floating in air amongst the ruins of Chicago that also incorporates standout stunt choreography.
While such earlier
films of the
type as We're Not Married and O.Henry's Full
House, both from 1952, and which I wrote about in US # 34 and US # 40, respectively, tells each story successively, Allen intercuts between all four.
Of the twenty - two extant «Ferus
Type» Elvis works, eleven are in museum collections, including the canvas Bob Dylan insisted on taking in exchange for his presence in a Warhol
film, now
housed at the Museum of Modern Art, New York.