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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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« December 2015 »
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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

Snake Eyes
a la Mod

Mission To Mars
a la Mod

Sergio Leone
and the Infield
Fly Rule

Movie Mags

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

The Phantom Project

Welcome to the
Offices of Death Records

The Carlito's Way
Fan Page

The House Next Door

Kubrick on the
Guillotine

FilmLand Empire

Astigmia Cinema

LOLA

Cultural Weekly

A Lonely Place

The Film Doctor

italkyoubored

Icebox Movies

Medfly Quarantine

Not Just Movies

Hope Lies at
24 Frames Per Second

Motion Pictures Comics

Diary of a
Country Cinephile

So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

Cashiers De Cinema

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.
All topics ал
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Thursday, December 17, 2015
PETER BRADSHAW LINKS 'CARRIE' TO 'HATEFUL 8'
YET THE THRILLER IS DISTINCTIVELY TARANTINO, SAYS CRITIC
The Guardian's Peter Bradshaw posted a five-star review of Quentin Tarantino's new film, The Hateful Eight, calling it an "old-fashioned three-hour masterpiece." He also mentions a strong resemblance to Brian De Palma's Carrie:

"The Hateful Eight are snowed in together like Agatha Christie characters in a country house, or indeed the Big Brother house," states Bradshaw in the review. "But unlike an Agatha Christie story — but very much like, say, Reservoir Dogs — there is no notional authority figure to exert control over everyone. The only authority is violence and superior firepower, or the superior firepower of talk — the threat of violence. Everyone is armed of course, and there are other weapons to hand, and the mere presence of criminals with bounties on their heads creates a market force in favour of violence. The pre-violence tension, including the scattershot N-bombing, is unbearable, and coolly sustained by the dialogue. It is itself a kind of violence and leads to a quite extraordinary climax just before the Intermission. That, along with the Overture, is part of the film’s old-fashioned furniture.

"There is a little of Sergio Leone and the classic pulp westerns of Elmore Leonard, and as a big drama in a little place it could almost be a Sam Peckinpah version of a swearified Harold Pinter. Later, for obvious reasons, it will look like Brian De Palma’s Carrie. But this movie is just so utterly distinctive, it really could be by no-one else but Tarantino. The inventive, swaggering dialogue is what drives it onward: quintessentially American. (I continue to think that Inglourious Basterds [is] the weakest of Tarantino’s films because he strays away from the American wellspring.) And The Hateful Eight repeats a classic trope from Reservoir Dogs: the idea of being in unbearable pain from a gunshot wound, but still talking, still being a threat. There is a horrible kind of black-comic heroism in continuing to threaten and crack wise while being in the same kind of unbearable agony you are planning to inflict on someone else. 'Thriller' is a generic label which has lost its force. But The Hateful Eight thrills."

Previously:

TARANTINO HAD 'DJANGO' CREATIVES WATCH 'CARRIE'

BASTERDS CLIMAX CHANNELS CARRIE

MUIR LINKS BASTERDS TO SCARFACE & CARRIE


Posted by Geoff at 11:58 PM CST
Updated: Friday, December 18, 2015 12:24 AM CST
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