the lady from shanghai review

Whatever the allegorical dimension of Michelangelo’s story as told here, it doesn’t divert Konchalovsky from the tactile realities, the grit and grime, of life in 16th-century cities. They won't be able to see your review if you only submit your rating. If certain plot points require some fairly significant suspension of disbelief, the film’s vision of a world in which we’re all being manipulated by our cherished products nevertheless rings chillingly true. Crisis’s most ambitious and potentially troubling story is also its most laughable. Bowen, No genre is better at processing our contemporary anxieties than horror, and perhaps no film has more fully captured the modern paranoia of living under constant surveillance by our own technology than Stephen Susco’s Unfriended: Dark Web. The Lady From Shanghai, a complex, involving puzzle-within-a-puzzle mystery story, is a showcase for Orson Welles, showing his singular talents and sensibilities as few other films have. Time Out says. Welles plays Michael O’Hara, a wandering Irishman who’s suckered into the heart of the resentments brewing between the show-stoppingly beautiful Elsa (Hayworth) and her aging, handicapped husband, Arthur (Everett Sloane), who’s also—hint—a wealthy and powerful defense attorney. Taylor stages violence with an unmooring sense of bodily concussion—which is rendered all the more disturbing by the film’s nasty comic streak. There’s the long commanding scene where … Portraying mental illness with all the nuance and insight of Jared Leto in Suicide Squad, writer-director Castille Landon’s Fear of Rain is a peculiar blend of psychological horror and weepy Lifetime drama. Bosley Crowther of The New York Timessimilarly found the murder plot to be a "thoroughly confused and baffling thing. Given its twilit suburban adventures and encroaching security forces, the story exudes a superficially classical sensibility, recalling Starman and Close Encounters of the Third Kind. Walken’s playing a classic Cronenberg protagonist: a gifted, temporarily empowered man who’s altered in a fashion that allows him to wrestle, tragically, with the differences between his internal and external selves. At the height of the film’s expressionism, “The Waltz of the Flowers” plays on the soundtrack as the couple languish in a waiting room. |, July 24, 2014 Necessary cookies are absolutely essential for the website to function properly. In a touch of rueful irony, one such agent reveals himself to be a highly skilled jazz trumpeter as he heads out to bring down a jazz band from the inside. More personally, there’s co-star Rita Hayworth, who was Welles’s estranged wife, and who controversially cut and dyed her iconic gorgeous red locks to a short piercing blond ‘do at her husband’s insistence—a move that certain gossip insisted was intended by Welles to deliberately ruin his wife’s career. Nick Prigge, Writer-director Brian Taylor’s Mom and Dad invests a hoary conceit with disturbing and hilarious lunacy. Cast: Brittany S. Hall, Will Brill, Gail Bean, Drew Fuller Director: Shatara Michelle Ford Screenwriter: Shatara Michelle Ford Distributor: Kino Lorber Running Time: 82 min Rating: NR Year: 2019. Lady from Shanghai is the fourteenth studio album by American band Pere Ubu. Nichols has an easy mastery of pacing and tension, employing a churning sound design (and a pulsing score by David Wingo) that allows moments of occasionally bloody action to arrive with a frightening blast or a deep, quaking rumble of bass, and the film moves with purpose to its final destination. He’s a master of informing potentially dry talking points and procedures with singular human anguish, as in the wrenching close-ups of Benicio del Toro in Traffic and the unnervingly clinical specificity and Cronenbergian dread of the carnage driving Contagion. Things are uneasy from the outset, and then take a turn for the worse when Sloane's partner Grigsby (Glenn Anders) offers him money out of the blue to commit a murder - on himself, Grigsby. A talking crab with the voice of Morgan Freeman is a briefly amusing curveball, though cheekily parodying the actor’s baritone voiceover wisdom is surely now even more hackneyed than deploying it sincerely. Read critic reviews. New York Times [Bosley Crowther] 1001 Movies before you die [Chanan Stern] A Film a Day [Sonia Cerca] All Movie [Lucia Bozzola] AMC Filmsite [Tim Dirks] An Evening Illuminated [Iain Stott] 5 out of 5 stars. [Sci-fi] cinema has been notoriously prone to cycles of exploitation and neglect, unsatisfactory mergings with horror films, thrillers, environmental and disaster movies.” So wrote J.G. The Lady from Shanghai. The 1979 film most explicitly riffs on delinquent racing movies and the kinds of crudely effective 1970s horror movies that would sometimes show a family being violated in a prolonged fashion, and there are sequences in Mad Max that could be edited, probably with few seams, into, say, Wes Craven’s The Last House on the Left. Check out the exclusive TVGuide.com movie review and see our movie rating for The Lady From Shanghai Join / Sign Up Keep track of your favorite shows and movies, across all your devices. Rather than medieval Russia, though, Sin takes us to the height of the Italian Renaissance, excerpting a chapter from the life of Michelangelo (Alberto Testone) that saw him struggling against limited resources, the shifting political winds, and his own obsessive perfectionism. | Rating: 5/5, July 23, 2014 Mort Rifkin (Wallace Shawn) is a retired film studies professor who scolds people for failing to appreciate European auteurs like Bergman, Fellini, Buñuel, and Godard. Welles' Irish accent is a little silly, but he makes up for it by investing the film in a lot of hyper-local flavor, shooting on real locations and including a lot of the languages and cultures that loosely make up San Francisco. By contrast, Jarecki’s filmmaking has, more times than not, an enervating back-and-forth quality that suggests three TV pilots that have been haphazardly woven together to prove obvious points. The premise also has an inviting bluntness: A few years into the future, global warming slips out of control, and humankind inadvertently initiates an ice age in its attempt to correct it. Coming Soon. Also dogged by the claims on his loyalty from both the Della Rovere and Medici clans, the man’s drive to create becomes stymied by the impediments of the physical world, in the form of an immovable slice of mountainside and an equally intractable climate of political corruption. Welles may use every cinematic trick in his repertoire, but the story and characters fail to captivate or engross. Beneath its show of smoke and mirrors, mercenary babes, and treacherous holograms, Total Recall is a story about a man who must choose between two possible, contradictory realities. Nevertheless, the film is one of his best and one of the best of its kind in American cinema. The police, called against Renesha’s consent, likewise do nothing to bring her attacker to justice. But even if the film’s depiction of Billie’s story feels straightforward, Parks finds some breathless surprise in the revelation of a pair of twists, each centering on betrayals that illustrate the increased instability of Billie’s world once the Feds fixate on her. Cinemark In a particularly patient and assured long take, we watch as Yakov sits down at a table, his back to Mr. Litvak, and pops in earbuds to listen to music. We aren’t, as the ubiquitous Microsoft commercial would have us believe, living in the future we always dreamed of, but rather in a nightmare of our own design. There’s the great absurd courtroom scene that climaxes with Arthur cross-examining himself, and, of course, there’s the legendary hall-of-mirrors shoot-out, which is known by people who haven’t even seen the film. Please enter your email address and we will email you a new password. The plot goes in way too many directions for anyone to stand a chance of grasping it and the lean 87 minute running time feels like an eternity. The Lady from Shanghai plays as a rough draft for Welles’s Touch of Evil. The Lady from Shanghai (1947) External Reviews. Not in a stinking world like this! The film treats adolescence, even a vampire’s arrested own, as a prolonged horror—life’s most vicious and unforgiving set piece. Your AMC Ticket Confirmation# can be found in your order confirmation email. That's a pretty bold declaration, and almost as attention-getting as the band naming its 2006 album Why I Hate Women (after a fictional novel). Seemingly taking a cue from André Øvredal’s similarly corpse-centric horror thriller The Autopsy of Jane Doe, Thomas’s confidently constructed debut hums with uncanny dread, milking the close juxtaposition of living and dead for all its worth. But when the group realizes that a house down the street still possesses power, Hugh (Hugo Armstrong) and Amir (Alex Manugian), adhering to standard scary-movie convention, go sleuthing. And as you stare at this scene for what comes to feel like an eternity, you may even start to see things that aren’t really there. Like its predecessor, the film plays out in real time, only this time it drops its main character into the darkest corners of the internet, where life is cheap and everything’s a game. Rita Hayworth went blonde for this film, which apparently led to the ire of her fans, but she's a knockout and on top of it, she delivers a strong performance. But Day—making, like Ross did 50 years ago, her feature-length debut in the role—already has quite a bit of Billie in her voice. With the notable exception of the first scene, which shows the buildup to her sexual assault by another white man (Drew Fuller), the first third of the film adopts the objective camerawork of a realist drama, following the characters at a slight remove as their relationship unfolds in linear time. The Lady From Shanghai, film review: Welles brings a mix of charm, naiveté and fatalism (PG) Orson Welles, 87 mins Starring: Orson Welles, Rita Hayworth, Everett Sloan Energetic and inventive, The Lady from Shanghai overcomes its script deficiencies with some of Orson Welles' brilliantly conceived set pieces. / Street Date January 27, 2014 /available at the TCM Shop / 24.99 Starring Rita Hayworth, Orson Welles, Everett Sloane, Glenn Anders, Ted de Corsia, Erskine Sanford, Gus Schilling, Evelyn Ellis, William Alland. Thirty-five years after releasing The Modern Dance, Pere Ubu delivered Lady from Shanghai, an album that bandleader David Thomas described as "dance music, fixed." That's why The Lady from Shanghai falls so flat for me. This new restoration of Orson Welles’ 1947 The Lady from Shanghai is back on the big screen this month following its world premiere at the 2013 London Film Festival. For, like any great monster movie, this isn’t a film strictly about a monster—or, for that matter, the monstrous countries that spawned it—but about something else: the significance of sustenance. At Hayworth's urging, he takes a job on her husband's yacht; her husband (Everett Sloane) is a rich, invalid lawyer who is having his wife followed. With a few notable exceptions, such as Paul Wegener and Carl Boese’s silent classic The Golem and Michael Mann’s The Keep, Jewish themes have remained largely unexplored in the annals of horror cinema. Ridley Scott’s Blade Runner, for example, simply mines some of the concepts from Phillip K. Dick’s Do Androids Dream of Electric Sheep? In Arbitrage, Jarecki skillfully merged melodrama and agitprop, utilizing a seductive movie-star performance by Richard Gere as a hedge-fund magnate to illicit our complicity with an attractive architect of social disfunction. "The Lady from Shanghai" is okay boxoffice. After she and a friend (Gail Bean) go out for a girl’s night to celebrate Renesha’s new job at a nonprofit animal shelter and are drugged by a pair of predatory entrepreneurs, the image lapses out of focus, with Ford’s use of slow-motion making every action appear heavy and sluggish as the country song playing in the background fades to a soporific murmur. Ballard, and Don DeLillo: He finds the thematic center of the source material, pruning or changing whatever’s necessary to heighten it. We also use third-party cookies that help us analyze and understand how you use this website. Time and again, Crisis shortchanges the human elements of its stories—in other words the drama—for drug stats that can be Googled in a matter of seconds. The mystery is fun, and the story moves along quickly enough that it's never boring, but Welles' main character doesn't seem to have any depth at all. Now, Day has re-enlivened not only the song but the singer who made sure everyone heard every word. It was produced by Pere Ubu's front-man David Thomas and it was released on January 7, 2013, on Fire Records label. Verified reviews are considered more trustworthy by fellow moviegoers. | Rating: 5/5 Though the film is set at the San Sebastian Film Festival, it could be shot against a blank wall for all the interest that Allen evinces in the Spanish resort city or the miniature communities that spring up at festivals; working with the great Vittorio Storaro, Allen fashions astonishingly beautiful pillow shots that have all the specificity of postcards. “She looks like a million bucks, but she feels like nothing,” one of Billie’s closest confidantes (Miss Lawrence) explains, and Day captures that dichotomy with an emotional clarity that the The United States vs. Billie Holiday sometimes lacks elsewhere. Religious, sci-fi, and psychosexual imagery intersect in chaotic, kaleidoscopic visions of personal and global hell, all passing through the shattered mind of the show’s child soldier protagonist. Billie finds herself in a series of sometimes-overlapping foul relationships with men who will come to abuse her. Influential modern critics including David Kehr have subsequently declared it a masterpiece, calling it "the weirdest great movie ever made." Barb and Star Go to Vista Del Mar ultimately gives the impression that its co-writers and stars are coasting, showing just as much disregard for other people’s judgments of them as their characters do. Some of these depictions are humorous, others haunting. “The [sci-fi] film has never really been more than an offshoot of its literary precursor, which to date has provided all the ideas, themes and inventiveness. Like all of the director’s films, The Lady from Shanghai is cloaked in all sorts of baggage, which includes the usual problem of post-production tinkering that was unintended and uninvited, reportedly resulting in the trimming of nearly an hour of footage in an effort to move the narrative along at a more conventional clip. Although The Lady from Shanghai initially received mixed reviews, it has grown in stature over the years, and many critics have praised its set designs and camerawork. While the film is ostensibly a classic noir, there are elements of black humor, awkward cinematography choices, and a plot that is essentially all over the place. When the film opens, Michelangelo is already well established as Italy’s foremost sculptor, addressed by everyone from his workshop laborers to the Pope and his vassals as “maestro.” The balance of power in the Vatican is shifting, though, from the Della Rovere family that holds the papal office and Michelangelo’s loyalty to the Medicis. Review Date March 16th, 2015 by David Krauss. To make such a claim, especially as an inexperienced writer, is inherently ludicrous, but such sentiments out of the mouth of a man pushing 80 sound positively delusional. Cast: Alberto Testone, Jakob Diehl, Adriano Chiaramida, Massimo De Francovich, Federico Vanni, Roberto Serpi, Alessandro Pezzali, Yulia Visotskaya Director: Andrei Konchalovsky Screenwriter: Andrei Konchalovsky, Elena Kiseleva Distributor: Corinth Films Running Time: 134 min Rating: NR Year: 2019. Bowen, A Quiet Place, like John Carpenter’s The Thing before it, contributes a strikingly original monster to the genre of horror films focused exclusively on surviving an invasive threat. The Lady from Shanghai cannot be called one of Orson Welles’ more successful pictures—once again Welles’ film was butchered by the production company, Columbia Pictures, and it’s arguable that Welles didn’t have much passion for the project to begin with—but it does stand as one of his strangest and most fascinating creations (which is saying something). Billie knows that the song, like a radioactive element only she controls, is both treasure and weapon. Glenn Anders looks like a maniacal Mike Ditka while making this proposition - oh wait, Mike Ditka already looks maniacal, but you get the idea. The mystery is fun, and the story moves along quickly enough that it's never boring, but Welles' main … Genres: Film noir, Mystery, Drama, Crime. Don't have an account? Soon after, all that remains of humanity are the passengers of an ultra-equipped, self-sustaining train that suggests Noah’s Arc as a speeding elevated bullet. You're almost there! Another is Welles' direction, which is intelligent and provides interesting camera angles. These films show us utopias, dystopias, distant planets, and our own Earth destroyed. The percentage of users who rated this 3.5 stars or higher. He can’t afford to waver, but it’s our privilege to do so. Tasjan! Ford rips the rug out from under the realist drama and shows how the conventions of realism can serve as a vehicle of manipulation. Now, though, Allen’s male protagonists, more times than not, appear unable to engage with the sensual and spontaneous elements of life because that’s the only problem that he can imagine them suffering from. Welles' dazzling direction more than makes up for any lack of viewer understanding. Harry Anslinger (Garrett Hedlund), Holiday’s enemy and the commissioner of the Federal Bureau of Narcotics, is a racist caricature—as he very much appears to have been in real life—who announces to his team, “This jazz music is the devil’s work. Review: Aaron Lee Tasjan Stakes Out a Distinct Identity on Tasjan! The film’s Renaissance Italy stands in stark contrast to Pier Paolo Pasolini’s equally vivid but significantly more lively depiction of the era in The Decameron. Casual viewers barely familiar with the legend of writer-director-actor Orson Welles may see the comic noir as a charming diversion, while cinephiles will attempt to wrestle with it in the context of the auteur’s well-documented struggle to survive Hollywood on his own terms. Perhaps best exemplified by its fixation on culottes, which a title card explains is a hugely popular garment for women of a certain age, their film never really feels like more than a half-formed in-joke between close friends. The plots, which are nearly irrelevant, are always similarly primitive even by the standards of low-budget genre films: In a bombed-out future version of the outback, a vicious gang pisses off a brilliant highway daredevil, Max (Mel Gibson), and stunning vehicular mayhem ensues. The film’s structure plays according to type, a tense radio interview with a crude and callous host, Reginald Lord Devine (Leslie Jordan), giving way to a flashback as Billie recalls how the government’s frenzied obsession with “Strange Fruit” led to her imprisonment on trumped-up drug charges before her attempted return to the limelight. Just leave us a message here and we will work on getting you verified. It's exploitable and has Rita Hayworth's name for the marquees. But it isn’t long after she returns home to her doting parents, Michelle and John (Katherine Heigl and Harry Connick Jr.), that her intrusive thoughts are making their presence felt again. Crisis suggests that Jarecki has forgotten this trick, as it’s populated by rigid pawns who test or stimulate the audience in no way and who aren’t to be distracted from their missions, aside from a few obligatory asides that suggest a screenwriter checking off boxes. And the film’s second half, in a manner reminiscent of Welles’s heavily re-edited The Magnificent Ambersons, collapses into a series of brief punctuations of incident that rush the viewer through to the end of the story just as it appears to be gathering gravity and motivation. and to receive email from Rotten Tomatoes and Fandango. But while topicality can sometimes hamstring a work of art, narrowing its scope and relevance to a specific cultural moment, the film sacrifices none of its urgency while shaking up narrative conventions in the service of a searing, yet nuanced, interrogation of the racism and sexism baked into our society at every level. Christoph Waltz and Sergi López, among others, also briefly appear to check off other boxes: the former as a parody of The Seventh Seal’s Death in what may charitably be estimated as the director’s thousandth Bergman reference, and the latter as a stereotypically raging, womanizing Spanish artist a la Javier Bardem’s character from Vicki Cristina Barcelona. Copyright © Fandango. The Lady from Shanghai (1947) Welles, always the master showman, works his magic by taking the film noir to dizzying new heights. While the film is ostensibly a classic noir, there are elements of black humor, awkward cinematography choices, and a plot that is essentially all over the place. A seaman becomes involved in a complex murder plot when he is hired to work on a yacht. This classic film noir has it all - a tight script, great scenes on location, and the seductive and beautiful Rita Hayworth. Early on, a “talking club” for middle-aged women illustrates the passive aggression that often simmers below the surface of relationships between women like Barb and Star, with Vanessa Bayer stealing the scene as the cheerily authoritarian host. “The Lady From Shanghai” offers a metaphor for Orson Welles’s plight in Hollywood. Showing all 90 external reviews. Jesse Cataldo, The film’s first-person perspective is so ingeniously sustained throughout the lean 96-minute running time that you’re liable to swat at your face when a man covered in steel and wielding a flamethrower sets Henry (Andrey Dementyev) on fire, or hold on to the edge of your seat when he battles the telekinetic warlord Akan (Danila Kozlovsky) atop a skyscraper from which a free fall seems inevitable. Please reference “Error Code 2121” when contacting customer service.

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