Benzadmiral
Call Me a Cab
- Messages
- 2,815
- Location
- The Swamp
Two films this weekend:
The Incredible Shrinking Man, screenplay by Richard Matheson from his novel, with Grant Williams (who looked sorta like the young Richard Chamberlain). I had not seen this since I was 9 or 10, and had forgotten just how good it is. The effects are marvelous for their time. And there are no less than 3 scenes that are nail-biters: when their housecat is hunting the dollhouse-sized Williams, when he is trying to cross a gap between two pieces of furniture in the cellar, and when he's fighting the tarantula. But then Matheson was Old Reliable when it came to on-screen tension: "Nightmare at 20,000 Feet" on Twilight Zone, the segment "Prey" in the '70s Trilogy of Terror with Karen Black, Duel, and plenty more.
The second was The Revenant, which I enjoyed except for the modern blue-grey lighting on everything except the blood. Haven't these people ever heard of Technicolor? But it is vivid and immediate, and features a better, more dramatic ending than the novel. If you dislike Leonardo di Caprio, never fear: he has very few lines of dialogue in the 2.5 hour film. He handles nearly everything by facial expression and body language, and does it quite well.
The Incredible Shrinking Man, screenplay by Richard Matheson from his novel, with Grant Williams (who looked sorta like the young Richard Chamberlain). I had not seen this since I was 9 or 10, and had forgotten just how good it is. The effects are marvelous for their time. And there are no less than 3 scenes that are nail-biters: when their housecat is hunting the dollhouse-sized Williams, when he is trying to cross a gap between two pieces of furniture in the cellar, and when he's fighting the tarantula. But then Matheson was Old Reliable when it came to on-screen tension: "Nightmare at 20,000 Feet" on Twilight Zone, the segment "Prey" in the '70s Trilogy of Terror with Karen Black, Duel, and plenty more.
The second was The Revenant, which I enjoyed except for the modern blue-grey lighting on everything except the blood. Haven't these people ever heard of Technicolor? But it is vivid and immediate, and features a better, more dramatic ending than the novel. If you dislike Leonardo di Caprio, never fear: he has very few lines of dialogue in the 2.5 hour film. He handles nearly everything by facial expression and body language, and does it quite well.