Word: stomached
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Dates: during 1970-1979
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Halloween, while still cheaply made, is a much slicker, more flagrantly commercial movie than Assault, and it has been grossing big money. Carpenter employs a gliding subjective camera throughout, alternating between the killer's and the victims' points of view, producing a continual, stomach-tightening sense of menace. There is surprisingly little blood in the movie, scarcely any nudity, and, considering the story it comes out of, and the opportunities available for flat-out ghoulishness, Carpenter has produced a tame and tactful film. However, most of Assault's quirky humor and antic allusiveness have been rubbed away, and Halloween...
...DEFICIENCIES of Carpenter's films are easy to identify: too many of his scare effects start in the stomach rather than in the brain; his characters and the actors who play them have their purpose chiefly as puppets to be twitched along as the stories demand; he exhibits little knowledge of how people really talk and think, and the whole premise and intent behind each of his movies is as simple-minded and morally undernourished as the genres require. You would hope for a great deal more from his best movies--the best, even, of this limited, specialized kind--than...
Raymond did not go to the 1976 Olympics. He watched them on television from an Indian reservation where he and his wife were involved with a medical program. Or at least he watched as much of them as he could stomach...
...those who see the Silkwood saga as a puzzling mystery story, the current trial has been so narrowed that it may not answer some of the most perplexing questions of the case. It will not try to resolve whether Silkwood was so tranquilized by pills to calm a nervous stomach, as Oklahoma state police contend, that she ran off the left side of the highway. It will not decide whether, as a union investigation claims, the fresh marks on her car's rear bumper were evidence that she had been forced off the road. It may not explain...
...particularly violent, and what violence there is is curiously abstract and unemotional. More gore can often be seen on the television screen, and any number of films-Marathon Man, Death Wish, just about any Peckinpah film and certainly A Clockwork Orange-have contained far more stomach-churning brutality. Indeed, The Warriors' director, Walter Hill, goes out of his way to expunge any feeling of genuine menace or racial animosity. The gang called the Warriors is integrated; there are no scenes of sexual assault, so typical of this kind of film, and there is no attempt to scorn or bait...