Sunday, 16 January 2011

@Phil - Regards to the referencing

Thanks for reminding of the harvard referencing on the review. I thought a good idea would be to to put up the Bibliograpgh of my reviews as a whole. So I decidede to leave them out until my 'Correction Thursday'. Due to this I thought I would consider askign is it wise to collate my quotes and imagery in to a single post or have them in place at the bottom of each review i have completed? Below is my Note for of where I have taken my qoutes from. I do understand that this isn't harvad refencing but I have left links below to help me rectify the harvard criteria on Thursday.

The Haunting (1963)

The Haunting has so many of those familiar clichés, the prodding suggestions of countless supernatural tales, it should be laughable but there is deeper, subtler creepiness at work here — the shadowy recesses of the human mind.’ -  Ian Nathan

‘The success of this spooky movie is in what it leaves to our imagination. Sure, things do go bump in the night but we never see them.’ –
‘But stick with it because the star of the film is undoubtedly the house, and once inside it begins not only to haunt the characters but the viewer too. Cinematographer Davis Boulton extrudes considerable atmosphere from the gothic splendour of the house.’ - Almar Haflidason

Rosemary’s Baby 1968

‘Ira Levin's story erodes Rosemary's sanity drip by drip. A pierced ear, a foul smelling charm, a chocolate mousse with a chalky flavour, these are the unlikely fertilisers of her paranoia. In Polanski's hands their significance remains chillingly ambiguous as he explores the natural alienation of pregnancy. Truly terrifying.’ –

‘Ambiguity is constant, in that we are never sure whether Farrow's paranoia about a witches' coven is grounded in reality or a figment of her frustrated imagination.’ – GA

But even at the last minute you can't be sure she isn't crazy. Maybe they're all nuts. We never see what is in that black-draped cradle. It's that smile playing on Rosemary's lips, suggesting that her maternal instinct and the conspirators' hold on this vapid baby doll have prevailed, that provides the biggest chill - Angie Errigo

The Tenant 1976

‘This seems almost an anthology of Roman Polanski’s favourite, oppressive themes – presenting a Paris apartment which is as threatening as the London digs of Repulsion, nasty neighbours who are as demonic as those in Rosemary’s Baby and identity-switch games as humiliating as Cul-de-Sac.’ -  Kim Newman

‘Frustratingly, because so much of the film is so odd, little is ever explained. But the macabre tone and eerie appearance (thanks to Ingmar Bergman's cinematographer Sven Nykvist) mark it out as an intriguing depiction of mental breakdown built round a dark comic performance by the director himself.’ –

‘It's a wonder nobody was killed in the rush to get out. "The Tenant's" not merely bad -- it's an embarrassment. If it didn't have the Polanski trademark, we'd probably have to drive miles and miles and sit in a damp basement to see it.’ - Roger Ebert

The Shining (1980)

Alive with portent and symbolism, every frame of the film brims with Kubrick's genius for implying psychological purpose in setting: the hotel's tight, sinister labyrinth of corridors; its cold, sterile bathrooms; the lavish, illusionary ballroom. This was horror of the mind transposed to place (or, indeed, vice versa). – Ian Nathan

Kubrick refuses to characterize the hotel as a conventionally haunted house. Its corridors are brightly lit, nothing goes bump in the night. Even the strange visions, when they begin to appear, are not necessarily to be seen as spooky apparitions, but as the hallucinations of a mind — Nicholson's — allowing itself to be drawn toward the violent conclusion the child has foreseen.

Scaring the viewer is easy - a hack job like "Friday the 13th" is probably scarier than "The Shining" (and just as irrational, by the bye). What is harder, and what Kubrick does so ingeniously here, is to accentuate the horrifying aspects of things that are familiar. - JANET MASLIN

Blue Velvet (1986)

Lynch's modern masterpiece is obsessed with the strangeness that hides in the nooks and crannies of suburban America. It's essentially a detective story, in which two all-American heroes, Jeffrey (MacLachlan) and Sandy (Dern), try to solve the mystery surrounding a chopped-off ear. In the process, they discover that their hometown isn't quite as boringly innocent as it first appears. – Jamie Russell

Dennis Hopper's Frank becomes a kind of satanic assault on normalcy. He's a rapist and kidnapper and if Dorothy's desire to be physically hit by Jeffrey is any indication, Frank's perversion easily spreads. But, then again, Lynch seems to suggest that love is as potent in Frank's fetishistic strange world as it is in Sandy's happy-go-lucky one.   -  - Ed Gonzalez

The whole feeling of the film is off-balance and sinister. The time period is unsettled. It more or less seems to be taking place in the present day, but it mashes together elements from several eras. Never mind that it seems the height of improbability that Lumberton would have a nightclub with a chanteuse, it has one with a chanteuse singing into a microphone that might be from the 1940s. All of it creates an atmosphere that’s at once penetrating and nebulous. - Ken Hanke

Repulsion (1965)

‘When Carol retreats to a cavernous Earls Court flat, Polanski terrifyingly depicts her hallucinations – clutching hands which reach through the walls – and parallels the decay of her mind with the rotting of a rabbit she intended to cook but has just left out on the sideboard.’ – Kim Newman

Polanski employs a host of wonderfully integrated visual and aural effects to suggest the inner torment Deneuve suffers: cracks in pavements, hands groping from walls, shadows under doors, rotting skinned rabbits, and - as in Rosemary's Baby - the eerie, ever-present sound of someone practising scales on a piano. – Geoff Andrew

Distortions in the rooms of the apartment tacitly reveal her mental state. Phantom arms that punch through the walls and seize her visualize her nightmare insanity. - Bosley Crowther

Eraserhead (1977)

What emerges most clearly from the film, post-Twin Peaks, is the offbeat humour. The old black comedy is still there — Henry's crazy in-laws and their nervous tics, the mini-chickens which come alive on the plate, the final infant apocalypse — but it is now boxed in by a more insistent tone of uncanny menace which surely amounts to a put-on. Think of the smiley lady-behind-the-radiator stomping the foetal worms which are ruining her act, or the creepy, echoey sound-effects, or Nance's puzzled reaction shots — they are like that moment of blankness which precedes a surprise party. Except, with Lynch, the blankness goes on forever and the party never happens. - Steve Beard

There is certainly a strong sexual undercurrent combined with the trappings of commitment in relationships. But while there are some stark and shocking moments, they're floating in an undisciplined exercise in experimentation. - Almar Haflidason

The black-and-white world of “Eraserhead” disturbs, seduces and even shocks with images that are alternately discomforting, even physically off-putting, and characterized by what André Breton called convulsive beauty - MANOHLA DARGIS

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