I'm just making this all up as I go along.
Offering (no pun intended) a lot of the same shameless hokum that would characterize The Amityville Horror three years later, Dan Curtis’s film pulls off a balancing act of tone that that later, more well known spook show didn’t even bother attempting.
Committed, intense performances from the main cast (Karen Allen, Oliver Reed, Bette Davis), along with scene stealing turns from supporting players (Burgess Meredith, Eileen Heckart, Dub Taylor) do a lot of the heavy lifting. They ground the proceedings…
Predictably, effects master Tom Savini’s remake of George Romero’s epochal zombie masterpiece increases the gore quotient—though not nearly as much as you might expect. The former stuntman’s direction also adds impressive physicality to the action with some bone-crunching stunt work.
But it’s Romero, returning to pen the new script, whom one can’t help but see as the true auteur once again. While adding in a healthy helping of four letter words for a more permissive age, his real purpose is…
There’s no question that the couple at the center of Don’t Look Now are haunted. They’re haunted by everything—ghosts of the past, visions of the future, guilt, obligations, responsibilities, suspicious locals, Italian cops, old English ladies, a killer on the loose in a city of shadows, the color red. The only time they get a break from all this haunting is during a brief timeout to have some really great sex.
Honestly though, aren’t we all just as haunted in…
Possible spoilers ahead, but you really should’ve seen this movie by now.
The banality of evil has never been more brilliantly, hilariously represented on film than it is in Rosemary’s Baby. It’s there in the people. It’s there in the setting. It’s there in the way the two interact with one another.
It was a stroke of genius on Ira Levin’s part to imagine an abusive witch’s coven made up of nosy neighbors and clingy friends. Beware the people who…