Horror Costuming: The Cell (2000)

by Cláudio Alves

Last year, when exploring the wonders of horror costuming, I sang the praises of Eiko Ishioka's Oscar-winning Dracula designs, a heady mixture of Nipponic fantasy and Victorian fashion. While that's a cinematic wardrobe for the ages, it's fair to say Eiko's most crucial big-screen collaboration wasn't with Francis Ford Coppola. Instead, that would be her decades-long teaming with Tarsem Singh. Indeed, the Japanese artist's work with the Indian director became so intrinsic to his filmography that she could be considered a co-author of those movies. Her vision is vital to their final form. So much so that, after her death, Tarsem's cinema lost some of its spark. He's yet to return to the visual heights he had achieved with Eiko. Of the four features they did together, The Cell's the only adventure in the horror genre, a nightmarish plunge into a serial killer's psyche…

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Daredevil 5-7

Previously: Episodes 1 and 2 and 3 and 4...

In the next three episodes the tension really escalates as Fisk starts taking down his own accomplices and Matthew's life gets far more crowded with thorny alliances.

Great moments in set decoration. Check that anonymity pledge behind Daredevil's altar ego Matthew Murdock

1.5 "World on Fire"
An extremely busy and successful episode: Claire & Murdock get closer holed up in his apartment and then suddenly further apart. Fisk & Vanessa get closer on a second date. Daredevil realizes he's been framed for last episode's beheading. Nelson & Murdoch get a client asking them to fight their slum lord and Fisk moves against the Russians with things-go-boom devastation. 

Major Characters Introduced: Elena Cardenes (Judith Delgado) the client in question. Marci Stahl (Ami Rutberg) Foggy's ex and a rival lawyer.
Crimes: Suicide Bombings, Mass Murder, Accidental Murder, Slum Lord Intimidation and Neglect, Police Brutality
Body Count: 5 blind Asians? 100 or so Russians? Guessing.
Cameo: Fun shout-out to superhero tropes: 'are you one of those billionaire playboys I've heard about' 
More... 

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Daredevil 3-4

Daredevil bum never splits Murdock suits... even while leaping wildly up fireescapesThe secret reason that it's healthy to write about Netflix shows: it slows down the binge-watching. The side-effects of binge-watching are unpleasant if too little discussed. Side effects include but are not limited too: Lack of productivity, lethargy, weight gain, glazed eyeballs, reduced moviegoing (VERY BAD), and a dichotomous relationship to impatience -- refusal to wait a week to see what happens each hour paired with the willingness to tolerate a lot of padding in your drama wherein you sit for 12 hours for anything to actually happen.

Not that things don't happen on Daredevil. I speak more of Bloodline which is good but kind of a slog, really. Like True Blood (curiously not a Netflix show) one gets the sense that the season's story is much much shorter than the time it's taking to tell it. Curiously the best episodes of Daredevil (#2 & #6) thus far seem to be the ones that get stuck and confined in one place wherein the things that happen, however few of them there may be, actually do feel as if they matter. 

1.3 "Rabbit in a Snowstorm"
The third episode begins with a innocuously familiar image, a bowling ball, that quickly turns into a murder weapon in the show's grisliest episode thus far. Thankfully most of the actual carnage is offscreen so those with Game of Thrones aversions (I know we are few and far between) can rest assured if not easy that they'll probably be able to stomach this series. Nelson & Murdock are hired by Fisk (unbeknownst to them...sort of) to defend the murderer.  In the B plot Karen is asked to sign a gag order by her former company which makes her even more curious about their wicked ways. More...

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Take Three: Vincent D'Onofrio

Craig here, back after a week away, with this week's Take Three. Today: Vincent D'Onofrio

Take One: Full Metal Jacket (1987)
The first thing I think about when I think about Stanley Kubrick’s Full Metal Jacket is D’Onofrio’s face sunken into a foul grimace by deep hatred – of himself and everything and everyone around him – as he sits on a toilet in the starkly Kubrickian military ‘head’ in the dead of night, loaded rifle by his side. “Hi joker,” he says, in a decidedly creepy fashion, as Matthew Modine shines a torch on his face. Somethin’s up. He’s not quite... there

I AM... in a world... of shit!”

  This exchange draws us into one of the film’s most powerfully effective scenes, one that stays wedged in your mind. (Nothing in the film’s explosive second half is as powerful as thi) It’s D’Onofrio’s last scene in the film, his big, terrible, final moment. All the prolonged abuse and intense physical strain he’s endured up until this point is distilled into his words, his desperate and maniacal expression. Outside of R. Lee Ermy’s shouty Golden Globe-nominated grandstanding, D’Onofrio walks away with the acting honours. The physicality required (D’Onofrio added an extra 70lbs, beating DeNiro’s bulk-up for Raging Bull) is complemented by his proficiency in conveying the inner workings of a broken army soul.  D’Onofrio’s Leonard “Gomer Pyle” Lawrence (nicknamed after a Jim Nabors character on The Andy Griffith Show) is key to understanding what Kubrick was getting at with Jacket.  Full Metal Jacket’s best moments and Kubrick's most pointed statements about war and military endeavor are translated through his bold, grimly-evinced performance.

two more takes after the jump

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