Word: malick
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Dates: during 1980-1989
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...movie, and you can hear its music too. There have been five for Bernardo Bertolucci, including the ravishing 1900. Gillo Pontecorvo's The Battle of Algiers and Burn!, brimming with political conscience and passion. John Boorman's Exorcist II: The Heretic, a witchy reverie of evil and redemption. Terrence Malick's edgy elegy to heartsick heartland America, Days of Heaven, took on the resonance of some dark folk ballad. And all Sergio Leone's pop-folk epics, from A Fistful of Dollars to Once upon a Time in America, have had their mythic dimensions deepened by Morricone themes. The music...
Blood Simple has plenty of flash--the sort of cinema virtuosity that can be overpraised precisely because it is so difficult to describe. Just as easily, the movie can be underrated as a film-school exercise, with visual strategies reminiscent of both Terrence Malick and Sergio Leone, and a grisly climax that borrows from Psycho and Ministry of Fear. But Blood Simple infiltrates the central nervous system even as it opens the cultist's sharp eye. Watch this film, and these film makers, closely. Neither will disappoint...
...exploits developed, from oral history to moral imperative, over the next thousand years. No visual style could capture his moment with historical accuracy. What is needed-and what Boorman and Production Designer Anthony Pratt deliver -is a ripe and consistent graphic vision. Excalibur is the handsomest film since Terence Malick's Days of Heaven, and is as alive to the subtle textures of earth, water and sky. The land leans gracefully toward the horizon to embrace Camelot, a fairy castle in Eden. The sword that will give Arthur his power rises suddenly, majestically, from a mercurial, brooding lake...
That case points to the central issue between Watt and environmentalists: their fear that he will let private oil and mining companies dig, drill and scrape at will on Western public lands. Says Chuck Malick, president of the High Country Citizens Alliance in Crested Butte, Colo.: "The West is being given away. We will become an energy colony for the East and West coasts...
...from the killer's point of view and we seem to be enjoying it, and to be dissociating ourselves from what it means. Responsible film artists have been warning us for years: Hitchcock told us, over and over, that we were voyeurs and sadists; Kubrick in Clockwork Orange, Malick in Badlands, Coppola in Apocalypse Now made epics of our dissociation; soldiers in Vietnam said it didn't feel like being there, it felt like being in a war movie; and Roger Rosenblatt writes in The New Republic that Son of Sam seems like just another psycho-on-the-loose movie...