Word: thrillers
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Dates: during 1970-1979
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...over-emphasized clues aside, the movie is a fine, taut thriller. Meyer even finds a good excuse for the mayhem of the obligatory car chase scene--the fact that Wells, in pursuit of Stevenson, must manuever San Francisco's considerable hill without knowing how to drive. In blessed contrast to The Crucifer of Blood, another recent Jack the Ripper film, Meyer keeps the gore to a minimum. In one murder, we see only the flush of his knife, followed by a tear of blood on his face--a masterful bit of understatement...
...thriller The Conversation, he offered the most sophisticated indictment of Watergate-era politics yet to appear onscreen. Given his talent for fusing ideas with the diverse demands of big-budget entertainment, Coppola was the only real candidate to make the definitive film about Viet Nam. Apocalypse Now promised to go beyond the narrow scope of Coming Home, beyond the wrenching drama of The Deer Hunter. These promises, though broken, can still be seen in the film. Like other legendary movie mishaps, from D.W. Griffith's Intolerance to Bernardo Bertolucci's 1900, Apocalypse Now is haunted by the ghost...
...advertisements for The In-Laws herald it as "The First Certified Crazy Person's Movie." That's a silly label indeed for this comedy-thriller-you don't know whether it's meant to refer to the star or the director...
Like leftover props from a sci-fi thriller movie, strange apparitions are appearing across the U.S. In the deserts of New Mexico, huge banks of motorized mirrors track the sun and focus its rays into a cyclops-like eye of red heat. A mountain in North Carolina has been crowned with what appears to be a giant aircraft propeller. A large man-made atoll, resembling a top that Gulliver would have spun for the Lilliputians, may soon be floating off the coast of California. All are imaginative, experimental devices to help find and develop alternative energies, which would alleviate...
Devour the Snow is a profoundly moral play in the guise of a murder thriller. Polsky probes areas of guilt, self-deception, self-corruption and the agonizing question of "What price survival?" The cast is exemplary, and Jon De Vries as the tormented Keseberg sculptures a portrait of hell in ice. Toward the end, Polsky resorts to melodramatic devices that break the play's stark tension, but he is a welcome addition to the select company of playwriting naturals...