Word: screens
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...siblings. As for Spillane's attention to the particulars of violence, it has pretty much taken over action films, including the most ambitious ones. It's in the acrobattles of Sin City and the blood-love of Quentin Tarantino. The crimson orgasms that Sam Peckinpah brought to the screen in The Wild Bunch, Spillane had put on the page 20 years earlier, and reaped much the same condemnation...
...made from his novels than Hammer did that afternoon with Charlotte. He sold his movie rights to the English director-producer Victor Saville. "I always thought that Saville would have the sense to do what was right," Spillane told Collins. "He never did." The result was four '50s big-screen adaptations: three cheap little dogs (I, the Jury, The Long Night and My Gun Is Quick) and one large, strange, rabid animal (Kiss Me Deadly...
...began to understand by watching this extraordinary man’s magnanimous example. The notion of going slightly out of your way to touch a stranger wasn’t just the basis of a contrived tear-jerker movie, something that could only happen on the silver screen. No—it was something possible and real, something every human being could do with minimal effort. It was a humbling lesson that took some time to fully comprehend, a lesson I still haven’t managed to work into my daily life no matter how hard...
...maelstrom that ensues, Giamatti becomes a great compass for the viewer’s voyage. When he is on-screen, the picture becomes a bit more serious, a bit more honest, and a lot more believable. His half-minute elegy at the movie’s close could save any film...
...shattering the fourth wall from the movie’s outset. But when the Lady asks Shyamalan’s character to do nothing short of—seriously—saving the world, ignoring the director’s metatextual presence is a lost cause. Even off-screen, he is visibly descriptive with his camera work, framing original point-of-view shots and probing angles that sustain the film’s suspense...