There are some films in this world that deserve another go.
It's just three months away from the premiere of the eagerly anticipated 'Suspiria' remake starring Dakota Johnson and Tilda Swinton; a film that has deserved a Hollywood makeover since the Italian original by Dario Argento was released back in 1977.
Of course, it's always touch and go with English remakes of foreign horror movies; will it be critical success like 'The Ring' and 'Let Me In', or will it flop dramatically like 'Quarantine' and 'The Uninvited'? We'll find out soon. Meanwhile, here are 7 other international horror films that ought to see a Hollywood reboot:
Continue reading: 7 Foreign Horror Movie Remakes We'd Love To See
The plot is simplicity itself. The Rosenbergs (played by Liv Ullman and Max von Sydow) are a youngish couple enjoying average happiness on an island that's part of a larger, unnamed country. (The fact that Bergman chooses not to specify the film's setting, nor to clarify the conflict that follows, contributes to the film's surreal yet universal feel.) Both are musicians; they farm a little, too, and they drive their ailing truck into town to sell their produce. It's not an idyllic existence, exactly; the two are not above bickering, for instance, and in their discontented moments they may feel that they've settled for something. But it's essentially (and believably) a happy life.
Continue reading: Shame Review
Wild Strawberries is exactly this type of film, a short but often unbearable production about an ancient doctor grappling with a death that is just around the corner. He ends up on a road trip, filled with false starts, wrong turns, and fantastic dream/fantasy sequences, all designed for him to confront death and question the existence of God. But nothing is really questioned, it is simply presented as bleak and nasty, with our hero facing the inevitability of a void in lieu of the afterlife. The film does not provoke any questions or debate about either death or God.
Continue reading: Wild Strawberries Review
Bergman showed a penchant for family drama with Fanny and Alexander and Wild Strawberries, among others. He enjoys mixing the imaginary world of his characters with their reality. This can lead to a deeper emotional entanglement with the characters; it's human nature to reflect and react based on internalized stimuli. Unfortunately for Faithless, Bergman is revisiting territory he excelled in some 40 years ago, without shedding any new light on his subjects.
Continue reading: Faithless Review