After Don’t Look Now, I was clearly in the mood for more 1970s horror movies with twist endings starring Donald Sutherland. Though this one is more of a straightforward sci-fi, with a lot more alien goo and Leonard Nimoy.
A haunting adaptation of Daphne du Maurier’s novella, Don’t Look Now only turns into true chilling horror during its shocking conclusion, but that’s not to diminish the film’s ability to get under your skin (and make Venice, of all places, feel truly creepy).
My previous Christie novel was set in Jordan, and this entertaining standalone spy thriller continues the Middle Eastern pattern.
I felt that it was time to strategically sprinkle in another of Christie’s big-time stinkers into my re-readathon. Like The Big Four, Passenger to Frankfurt is another of Dame Agatha’s failed attempts at a spy novel about a world-wide conspiracy out to destroy the existing social order. While the former is just plain terrible, the latter also has the dubious distinction of being probably the weirdest book Christie ever penned, and not in a good way. It was first published in 1970 to mark her 80th birthday, and, at the most charitable, it can be seen as a window into Christie’s view of the world she found herself in the twilight of her years.
A stylish and eccentric thriller that feels thoroughly French despite the English-speaking cast and the New York setting, with Natalie Portman in what surely must be one of the most memorable child performances of all time.
A rare addition to the list of good Stephen King film adaptations, Gerald’s Game also impressively succeeds at making the practically unfilmable source material work as cinema.
Jake Gyllenhaal’s unnerving performance as a sociopath for the ages is the main reason to watch this visually sleek film, which rests somewhere in between a dark nihilistic thriller and biting media satire.
An engrossing Oscar-winning German thriller about spying, fear and oppression in the East Germany, in the fittingly Orwellian year of 1984.
I’ve been rewatching some of my old favourites lately, including this underappreciated 1999 thriller written and directed by Anthony Minghella. Though, judging by the amount of online articles that seem to be popping up to celebrate the film’s 20th anniversary, maybe it’s not so underappreciated after all.