‘Sleepless’ (2001) more like a pleasant horror dream than a nightmare
Frightening Friday (Movie review): If you’re into giallo, Argento’s first film of the new century is a nice trip down memory lane.
Foreign Films
‘Sleepless’ (2001) more like a pleasant horror dream than a nightmare
Argento’s ‘Phantom of the Opera’ (1998) a kitschy experiment
Frightening Friday (Movie review): While the film isn’t completely awful, it furthers the case that Argento is better with original material.
In ‘One, Two, Three’ (1961), Wilder knows the ABC’s of good comedy
Wilder Wednesday (Movie review): Wilder shows “Some Like It Hot” was no fluke by delivering this exhausting but clever romp.
Bava lays a foundation with ‘Blood and Black Lace’ (1964)
Frightening Friday (Movie review): But later works would put his style innovations to scarier use than this procedural murder plot.
‘A Bay of Blood’ (1971) shows where ‘Friday the 13th’ came from
Frightening Friday (Movie review): The style and practical gore effects remain outstanding, but the plot of this Bava film has never been strong.
‘Stendhal Syndrome’ (1996) is stupid but rather engaging
Frightening Friday (Movie review): Asia Argento plays the least plausible cop ever, but her father Dario’s directorial style remains a high point.
‘Rebecca’ (1997) is more faithful to du Maurier’s gothic tragedy
On a Hitchcock kick (TV review): It’s a tad less masterful than the master’s version, but this longer, faithful adaptation isn’t lost in the smoke.
Argento comes stateside for hidden gem ‘Trauma’ (1993)
Frightening Friday (Movie review): Rydell and Asia Argento are excellent in this serial-killer mystery that blends giallo with noir.
Hitchcock stumbles into sound era with ‘Juno and the Paycock’ (1930)
On a Hitchcock kick (Movie review): Although Sean O’Casey’s play is well-regarded, Hitchcock’s adaptation is rightly cited by many as his worst film.
‘People on Sunday’ (1930) explores human nature, cinema’s potential
Wilder Wednesday (Movie review): At the time, it was an experiment in using non-actors; today, it’s a time capsule of peaceful, pre-Hitler Germany.