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De Palma a la Mod

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Recent Headlines
a la Mod:

Domino is
a "disarmingly
straight-forward"
work that "pushes
us to reexamine our
relationship to images
and their consumption,
not only ethically
but metaphysically"
-Collin Brinkman

De Palma on Domino
"It was not recut.
I was not involved
in the ADR, the
musical recording
sessions, the final
mix or the color
timing of the
final print."

Listen to
Donaggio's full score
for Domino online

De Palma/Lehman
rapport at work
in Snakes

De Palma/Lehman
next novel is Terry

De Palma developing
Catch And Kill,
"a horror movie
based on real things
that have happened
in the news"

Supercut video
of De Palma's films
edited by Carl Rodrigue

Washington Post
review of Keesey book

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Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
of Dumas book

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« September 2014 »
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Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


Enthusiasms...

De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site

Phantompalooza

No Harm In Charm

Paul Schrader

Alfred Hitchcock
The Master Of Suspense

Alfred Hitchcock Films

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a la Mod

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a la Mod

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and the Infield
Fly Rule

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Directorama

The Filmmaker Who
Came In From The Cold

Jim Emerson on
Greetings & Hi, Mom!

Scarface: Make Way
For The Bad Guy

The Big Dive
(Blow Out)

Carrie: The Movie

Deborah Shelton
Official Web Site

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Offices of Death Records

The Carlito's Way
Fan Page

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Guillotine

FilmLand Empire

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italkyoubored

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So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

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This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds

EatSleepLiveFilm

No Time For
Love, Dr. Jones!

The former
De Palma a la Mod
site

Entries by Topic
A note about topics: Some blog posts have more than one topic, in which case only one main topic can be chosen to represent that post. This means that some topics may have been discussed in posts labeled otherwise. For instance, a post that discusses both The Boston Stranglers and The Demolished Man may only be labeled one or the other. Please keep this in mind as you navigate this list.
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Monday, September 22, 2014
REVIEW EXCERPTS - FINCHER'S 'GONE GIRL'
Robbie Collin, The Telegraph
"But above all, it’s is a delicious exercise in audience-baiting: what begins as a he-said, she-said story of mounting, murderous suspense, lurches at its fulcrum into the kind of hot mess Brian De Palma might have cooked up 20 years ago in his attic."

Graham Fuller, Screen Daily
"Psycho is a touchstone (as is Body Heat), though Fincher utilises suspense as a smokescreen for social critiquing. As it traces what went wrong in the marriage, Gone Girl simultaneously evolves as a mordant satire of the mediating of domestic violence as mass entertainment."

Michael Nordine, Indiewire
"Fincher likely prides himself on turning coal into diamonds at this point, but Flynn's script can feel so retrograde at times that one wonders whether it might have been better served by a De Palma, Bigelow, or even a Verhoeven — which is to say, a filmmaker less concerned with making the lascivious seem prestigious. (It's doubtful anyone else could have filmed a certain blood-soaked scene with such unsettling verve, however.)"

Xan Brooks, The Guardian
"In the meantime the film keeps changing costumes, covering its tracks. It’s nodding freely to everything from Fatal Attraction, to Alfred Hitchcock’s Suspicion, to The War of the Roses; all but tripping over itself in its rush to the climax. Thank heavens for Fincher, who keeps the tale so coiled and intense that we are prepared to stick with it, even as it pitches towards outright hysteria. He whips up a bracing, scalding sketch of a marriage in meltdown; a banner-headline study of the domestic hell that we make for each other."

Justin Chang, Variety
"Among other things, “Gone Girl” functions as a wickedly entertaining satire of our scandal-obsessed, trash-TV-addicted media culture; this is a movie as conversant with the tawdry true-crime sagas of Scott Peterson and Casey Anthony as it is with classic thrillers of domestic entrapment like Rebecca, Diabolique, Rosemary’s Baby and Fatal Attraction.”

Jake Wilson, The Sydney Morning Herald
"Thematically, the film can be seen as a sequel to Fincher's Facebook origin story The Social Network, engaging rather more directly with the contemporary reality of social media. Once news of the disappearance goes public, TV pundits and everyday folk are equally quick to take sides – Team Amy or Team Nick? – even as the viewer is made to suspect that both parties have plenty to hide.

"As narrators of the book, Nick and Amy address the reader directly, commenting on the distance between their public and private selves. While Fincher can't replicate this effect on film, he achieves an equivalent kind of irony simply by putting the naturally smarmy Affleck in a role that capitalises on the unbelievability of his good-guy screen persona. Other instances of stunt casting are comparably astute, from Tyler Perry as a purring defence attorney to Neil Patrick Harris as the kind of well-spoken nutcase John Lithgow used to play for Brian De Palma."

David Ehrlich, Badass Digest
"Working from a script by Flynn herself, Gone Girl is a domestic horror show that grows more discomfortingly familiar as it balloons to a national scale. As if Brian De Palma remade Hitchcock’s Mr. & Mrs. Smith and set it inside of the wettest dream that Nancy Grace has ever had, Fincher’s latest is perhaps most remarkable for how it exceeds the sum of its parts."


Posted by Geoff at 8:27 PM CDT
Updated: Monday, September 29, 2014 2:19 AM CDT
Post Comment | View Comments (2) | Permalink | Share This Post

Thursday, October 2, 2014 - 7:44 PM CDT

Name: "harry georgatos"

I would watch Dressed To Kill and Body Double with Eyes Wide Shut, Fatal Attraction and Basic Instinct for some slick sleaze to the immensely detailed Gone Girl which pays homage through black comedy to all these filmmakers along with Georges Slouziers Dutch film The Vanishing. Finchers effort betters all these filmmakers. Maybe not The Vanishing?

Friday, October 3, 2014 - 2:12 AM CDT

Name: "rado"
Home Page: http://rado.bg

Matt Zoller Seitz:

Like a lot of Hitchcock—and like certain domestic nightmares by such filmmakers as Brian De Palma and Luis Bunuel—each scene in the movie refers, however obliquely, to real fears, real emotions and real configurations of love or friendship. ... They laugh tentatively at first, then with an enthusiasm that gives way to a full-throated, "I endorse this madness!" gusto during the final half-hour, when the story spirals into DePalma-style expressionism and the picture becomes a maelstrom of blood, tears and other bodily fluids.

 

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