Posts Tagged ‘Thriller’

  • 31 Days of Horror: Day 23 – Peeping Tom

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    Peeping Tom One SheetMy original plan was to mention the Canadian movie Pin during the 31 Days of Horror. It is a fun little look at schizophrenia that scared the bejesus out of me when I was a teenager. Now that I have revisited it I spent some time trying to decide whether or not I’d recommend it. I’ve let it sit just floating around in my mind since I watched it back in the beginning of October and contemplated over it. I had pretty much decided to do the write up until this past weekend when I came across Michael Powell’s 1960 horror thriller Peeping Tom.

    In the opening scene of Peeping Tom we witness a solitary man (Carl Boehm) walking up to a lone woman standing in the street. On his way to her the camera focuses in on his front and we we see that he is holding a video camera. The view switches to that of the camera being held and we are witness to him picking up the prostitute and heading to her room near by. Once in the room she begins to undress while making some small talk. As she sits on the bed a strange look comes to her face as a bright light shines down upon her, she screams and we cut away. The woman has been killed and we learn from the police that they have never seen anyone look as scared as she did. We watch later as the killer views the film in a dark room.

    One evening on his way home the killer watches a birthday party taking place through a window. He enters into the house and starts to head up stairs. It is at this point that we learn that his name is Mark Lewis when he is invited in by Vivian (Moira Shearer) who’s birthday it is. Mark is shy and turns her down citing that he has to work. Vivian is attracted to Mark and comes up to see Mark. Mark at this point has already gotten ready to watch his film. He quickly cleans up and invites her in. The two hit it off and Mark is able to overcome his shyness when she wants to see his films. Mark proceeds to show her a film which his father filmed while he was growing up. Even with Mark being quite strange and the film obviously shows that Mark had a very difficult childhood Vivian is not deterred.

    He wants a relationship with Vivian and sees her as something perfect and is unwilling to ever film her. While his relationship is growing he continues on his path of murder. He makes friends with a stand in at the film studio for which he works with the offer of filming her and making her into a star. This leads to her eventual murder and the police linking the two murders by the similar look of terror on her face.

    The police are getting closer to tracking down Mark and he knows it but it does not bother him. He continues on his planned path with the intentions of finishing his “documentary”. Everything builds up to the point when Vivian finally views Mark’s film and her finding out just what Mark scares his victims with.

    Peeping Tom

    While Pin provides an excellent look at schizophrenia Peeping Tom does so much more that provide a look into a mentally unstable person. It touches on Freudian aspects of the relationship between Mark and his father and how someone like Mark could be created and delves into. Mark is quite the sympathetic murderer. We truly care for him and want him to be helped yet we also cant help but be drawn into watching the acts that he is committing. This is most interesting aspect of the film as it deals with the voyeurism. It is very easy to draw a relationship between the audience of Peeping Tom sitting in a dark room watching Mark murder women to that of Mark himself sitting the dark room viewing himself committing the murder.

    At the time of its release Peeping Tom was panned by the critics en masse. Now, 48 years later it is one of the classics of British Cinema and is lauded by critics and film maker alike. Martin Scorsese himself commented:

    “I have always felt that Peeping Tom and say everything that can be said about film-making, about the process of dealing with film, the objectivity and subjectivity of it and the confusion between the two. captures the glamour and enjoyment of film-making, while Peeping Tom shows the aggression of it, how the camera violates… From studying them you can discover everything about people who make films, or at least people who express themselves through films.”

    


  • 13 Tzameti Re-Make Announced

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    13 Tzameti Movie StillA few years ago I took a film class which required a presentation. Basically, you’d show a scene of a film and then talk about it for 5 minutes. Looking through my DVD shelf, I decided to show the class a short clip from Géla Babluani’s first feature, a crime thriller titled 13 Tzameti. At the time, it was a fairly low-key film but I can tell you that the scene peaked a whole lot of interest and for weeks after the fact, my DVD made the rounds to a whole lot of my fellow students.

    Babluani’s film is about a young man who finds some cryptic instructions and heads out on an adventure that will likely make him a whole lot of money but he doesn’t know what he’s getting himself into until he arrives at a delapedated house and discovers that he’s become involved in a game of Russian roulette. The film makes some observations on the lengths people will go to for entertainment, the lengths some will take to survive and the dire situation of immigrants and though some of these themes are handled better than others, the film’s magnetic scene of round one is a crowning achievement in tension.

    It was only a matter of time before it happened but the wait is over. Screen Daily reports that Mickey Rourke, Jason Statham, Sam Riley and 50 Cent will all be appearing in the remake, simply titled 13, that will also be directed by Babluani (another director reamking his own film for an American audience). I can’t quite figure out what roles Rourke (the organizer?), Statham (the master of the game?) and 50 Cent (??) will play but I have a nagging feeling that Sam Riley (who was brilliant in last year’s Control) will play the lead role which was orinigally filled by the director’s brother.

    Considering the original wasn’t exactly a box office success, it doens’t appear to have played outside of the festival circuit in the US, chances are most people will be coming to it fresh. Though on the one hand I think the original trailer, which featured the film’s best scene, was a brilliant way to capture the audience’s attention, I’m hopefull that the Americanized version avoids using it in the trailer and saves it as a savoury surprise for film goers. I doubt it but a girl can hope.

    As for those looking to catch up with the original, the film was released on DVD by Palm Pictures. To see what I’m talking about, be sure to check out the trailer under the seat.

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  • 31 Days of Horror: Day 11 – The Sentinel

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    The Sentinel One SheetIt is “good” to know that much like today Hollywood has always grasped onto ideas and pounded them into the ground. Back in the 1970s a string of horror movies came out which focused on the Church, Satan, possession and devils. A lot of bad horror movies came out around this time that contained very similar themes but in addition to those bad ones there were a few really strong entries into the Horror genre. The most famous of the successes are The Exorcist and Rosemary’s Baby, but in addition to these two there is a lesser but still strong religious horror movie called The Sentinel.

    Before diving into the movie itself I thought it would be fun to list off the cast. Chris Sarandon, Cristina Raines, Ava Gardner, Burgess Meredith, Jose Ferrer, John Carradine, Eli Wallach, Martin Balsam, Arthur Kennedy, Christopher Walken, Jerry Orbach, Beverly D’Angelo, Tom Berenger, and Jeff Goldblum. I can’t think of another horror movie with this strong of supporting cast.

    In The Sentinel Christina Raines stars as Alison Parker a model with a very troubled past. She has attempted suicide in the past after discovering her father having an affair and is now living with a caring boyfriend, Michael Lerman (Chris Sarandon). While Michael is out looking for a larger apartment for both of them to move into after they are married, Alison is looking for a smaller apartment which she can move into. Alison wants tells her friend that she needs to be independent for a year or two before she can settle down and marry Michael. After some searching Alison discovers an beautiful furnished apartment that is affordable and she moves in. She immediate meets her next door neighbor an old friendly eccentric (Burgess Meredith). Later she meets her downstairs neighbors, a pair of women. Her initial visit with them does not go well as one of the women starts to fondle herself right in front of Alison. Eventually she is invited to a birthday party fro the eccentric’s cat where everyone but the lone blind priest who lives in the attic is attending. That night she is haunted by noises coming from the room above her. Alison seeks out the real estate agent to complain about her bizarre neighbors and she is told that other than herself and the blind priest there is no one living in the building. The rest of the movie deals with whether Alison is hallucinating and whether or not the house is haunted.

    The Sentinel

    What makes The Sentinel a success for me is a combination of a few things. First off the wonderful cast can not be ignored. Burgess Meredith as the friendly eccentric, Beverly D’Angelo as one of the lesbians in the basement, to John Carridine as the blind priest in the attic all help to contribute to a wonderfully quirky dark cast. Also when all hell breaks loose director Michael Winner chose to go the controversial route and use actual deformed people to represent demons and devils. This creates a very real dark feeling to a scene which could have been quite silly if they had gone the completely fake route. The final aspect which turns the The Sentinel into something more than just an Exorcist knock off is its potrayal of the Catholic church. Even though there are very few scenes involving the church itself The Sentinel still manages to create a sense of grandeur and presence which many other movies of the same ilk fail to achieve.

    I remember when I was a kid I saw just a few scenes from this movie. The main one I remember is the introduction of the lesbian couple in the downstairs. I remembered it as being some major sexy scene. Now when I revisited this movie recently I see just how nasty, creepy and dark the scene is. Overall The Sentinel is just that, dark, nasty and creepy and it really is an overlooked horror gem.

    Be sure to check back tomorrow for Day 12 of the 31 Days of Horror.

  • VIFF Review: Hansel and Gretel

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    VIFF Banner

    Whereas American cinema is in the habit of looking East to Asia (and a lesser extent Europe) for inspiration for its horror films, Phil-Sung Yim’s film takes some of its inspiration from classic European fairy tales. But Hansel and Gretel isn’t a modern take on the Brother’s Grimm tale instead, it uses the basics of the story (children in the forest), turns it slightly on it’s ear and produces a dark fantasy that is more nightmare than fairy tale.

    Hansel and Gretel Movie Still Eun-Soo is driving along chatting on his cellphone, having a rather uncomfortable conversation with his pregnant girlfriend, when he veers off the road to avoid an animal. He wakes up a short time later disoriented and lost. Wandering around the dense forest in search for the road, he comes across a little girl who seems more of a dream than reality. She takes him home to spend the night only once there, it’s immediately apparent that things are not as perfect as they appear to be and Eun-Soo spends the next six days trying to escape the forest and “House of Happy Children” which seems to have drawn him out of reality.

    Though it features a few legitimately frightening jumps, Yim’s film is more of a thriller than a horror film. It features very little blood, brutality or physical violence though the mental exercises it puts the viewer through are enough to keep you on your toes. One of the film’s greatest assets is its production design. Nothing, and I mean nothing, in this film was left to chance. From the moment Eun-Soon lays eyes on the so-called House of Happy Children, it’s as though one is transported into some strange daydream. Inside, it’s a marvel for the eyes with candy coloured walls, intricate carpets and wallpaper, trinkets, toys and shinny objects at every turn. You could see this film a hundred times over and not pick-up all of the minute details which were so meticulously planned. The result is a dream scape too perfect to be wholly good and Yim takes full advantage of the perfection, using it to build the film’s creep factor.

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  • 31 Days of Horror: Day 4 – Identity

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    Idenity PosterI know a lot of people who aren’t too enamored with my next movie. I on the other hand really enjoyed the 10 Little Indians based horror thriller Identity. What it comes down to is if you can accept the actual premise then you will like this movie. If you can not, you will end up hating it most likely. I am in the former group and this is one of my favorite thrillers of the early 21st Century.

    I am going to avoid spoilers for this one completely but I can not promise that the comments will avoid them. So I really recommend watching the movie first before reading the comments below.

    Identity is the story of 10 travelers who become stranded at a small hotel in the middle of nowhere after the highway is flooded out. The 10 strangers are consist of a limo driver (John Cusack), an ‘80s TV star (Rebecca DeMornay), a cop (Ray Liotta) who is transporting a killer (Jake Busey), a call girl (Amanda Peet), a pair of newlyweds (Clea DuVall and William Lee Scott) and a family in crisis (John C. McGinley, Leila Kenzle, Bret Loehr). As the 10 strangers take shelter from the storm they soon discover that someone or something is killing them off one by one.

    Identity Asian PosterWhat really makes this movie a great thriller for me is the cast combined with the premise. I am a fan of pretty much all the actors. None of them are truly mainstream A grade actors but that is what makes it all the more interesting. They are all extremely strong and the overall story is very compelling.

    If you haven’t already figure it out I am being very vague when it comes to Identity. I want you to watch it but I do not want to tell you what is really going on and if I try to delve into the story or why several people I know dislike this movie too much will be said. All I can say is that at times it is as creepy at hell and I really enjoyed the tension that was created between the 10 as they slowly die one by one. I challenge you to see this and to let me know what you think. I’m also curious to know when you figured out who the murderer is.

    Oh and the poster over on the right is an Asian version which I really like. I’ll never understand why they dropped the cool hand print or even the Asian one when it came time for the DVD release. They picked the most generic boring image. You can check it out here.

    


  • Ownen and Watts in Tom Tykwer’s The International Trailer

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    Clive Owen, Naomi Watts, Armin Mueller-Stahl – wait. Is this a semi Eastern Promises reunion that Viggo Mortensen wasn’t invited to? Maybe not but it’s interesting that we have Watts and Mueller-Stahl reunited in such close succession.

    The International stars Owen as an Interpol agent attempting to expose a high-profile financial institution’s role in an international arms dealing ring. I’m sure the involvement of Watts in this project is enough to make a few salivate but I’m much more excited at the opportunity to see another project directed by Tom Tykwer of Perfume: The Story of a Murderer and Run, Lola, Run fame.

    Unsurprisingly, this trailer is awesome and there’s one scene in there, an overhead shot of hundreds (maybe thousands) of ant like creatures running away. That made me a little giddy.

    Sadly, we’re still months away. The International doesn’t open until February 13th.

  • Bone Deep Adds Cast

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    Hayden ChristensenHow does a production company fuck up a project before it even gets off the ground? Simple. You cast two of the most dry, boring and barely skilled actors in the business.

    Screen Gems is currently casting a crime thriller titled Bone Deep about a group of criminals whose $20 million heist goes sideways when a hard-boiled detective starts poking around. Directed by John Luessenhop, the film already has Matt Dillon in the role of the detective and now there are reports that Paul Walker and Hayden Christensen have also been cast in the film. Can you say bomb?

    Are the folks at the production company that out of touch that they don’t realize the whole they’re digging themselves into? Christensen is a pretty boy with little talent and his good looks are only going to take him so far – especially when you consider he keeps taking roles that don’t necessarily appeal to his tween fangirl demographic – and Paul Walker…well, he’s had it rough. Fast and Furious looks like it’ll be fun but of everything I’ve seen him in outside of the car-love franchise, the only one in which he displays any talent is the surprisingly good Running Scared and even there he’s stretching himself pretty thin.

    It matters little, the project doesn’t sound particularly appealing to me, but I find it oddly funny that a company would shoot themselves in the foot quite this badly. Casting either of these guys would be a mistake but casting them both in the same film is critical (and probably box office) suicide.

  • Vincenzo Natali’s Elevated is Online

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    Canadian director Vincezo Natali is a favourite around my house. I caught on to the talented director with 1997′s Cube and I haven’t looked back since. From that paranoid sci-fi thriller to the paranoid sci-fi comedy Nothing, Natali has yet to fully disappoint (though I’ll admit I was rather unsatisfied with Cypher).

    Around here, we’re a little excited about his upcoming film Splice which features Sarah Polley, Adrien Brody and Natali regular David Hewlett. But while we eagerly anticipate the release of that sure to be masterpiece, what better way to kill some time than with a old school Natali?

    The boys of Quiet Earth have tracked down Natali’s first film, a short titled Elevated starring Vickie Papavs, Bruce McFee and, you guessed it, Hewlett (all of whom returned for Cypher). The short thriller showcases many of Natali’s strengths, particularly his effective use of small spaces and dedication to the actors who never fail to deliver.

    Elevated Part 1


    Part 2 is under the seat!

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  • Hathaway and Wilson in Passengers Trailer

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    Passengers Movie StillIt’s always nice to see an actor one likes make a bit of a splash but I’m not sure Patrick Wilson is really going down the right road. Since I first spotted him in Hard Candy I’ve been curious about Wilson whose performance was overshadowed by Ellen Page. For the most part, his performances since then have ranged from great (Little Children) to wasted (Evening) and it looks like he’s headed down a bad road.

    First in the bad comes Lakeview Terrace, the crazy neighbour thriller with Samuel L. Jackson which looks worse by the minute and close on its heels is Passengers, a horror film about a plane crash survivor who emerges from the disaster with extrasensory perception (Wilson) and then falls for the grief counselor (Anne Hathaway) followed closely by bad things unforlding.

    To its credit, Rodrigo García’s film is not a remake and though the concept isn’t exactly fresh (I keep thinking The Mothman Prophecies) it’s nice to see something vaguely original. I only wish it looked better because this trailer doesn’t show a whole lot to get excited over (other than a Hathaway love scene which seems to get the boy’s attention). As for Wilson, here’s hoping these are only small tumbling blocks on the road to better things. The furture is looking mildly better with 2009′s Watchmen.

    Passengers opens in limited release on October 24th.

    Trailer is tucked under the seat!

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  • Review: Baghead

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    Baghead One Sheet

    Directors: Jay Duplass, Mark Duplass (The Puffy Chair)
    Writers: Jay Duplass, Mark Duplass
    Producers: Jay Duplass, Mark Duplass, John E. Bryant
    Starring: Ross Partridge, Steve Zissis, Greta Gerwig, Elise Muller, Jett Garner
    MPAA Rating: R
    Running time: 84 min


    Like Dogme 95, Mumblecore is a term that only entered my vernacular last year. The idea of seeing a film shot on digital cameras with non-professional actors and dealing with the personal relationships of individuals who think they’ve got issues when, in fact, they’re just whiny twenty somethings with nothing better to do, made me want to run the other way. And with titles like Puffy Chair, LOL (for real?) and Frownland (you’ve got to be pulling my leg), I was really not interested at all.

    Baghead Movie StillA few weeks back Vancouver was home to the ten film exhibit “The New Talkies: Generation D.I.Y.” and though I had intentions of checking out one or two of the films, partly to see what all the fuss was about but also to confirm whether my initial reaction was warranted, but the exhibit came and went before I could put my shoes on.

    Though I’d heard a few grumblings about the movement, I had yet to hear anyone say “You have to watch this film” and maybe it was for that reason, along with all the other apparent detractors, that pushed me away. But then something happened. Earlier this year folks had talked rather fondly of a little film which premiered at Sundance. Baghead sounded just as strange as the rest. Dumb-ass new millennium title, odd poster complete with, you guessed it, a guy with a paper bag on his head. I didn’t think I’d have the opportunity to see it but when Sony Pictures Classics released the film wide enough that it opened in town, I jumped on the opportunity to see it.

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  • Review: The X-Files: I Want to Believe

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    The X-Files: I Want to Believe One Sheet

    Director: Chris Carter (The X-Files)
    Writer: Chris Carter, Frank Spotnitz
    Producers: Chris Carter, Frank Spotnitz
    Starring: David Duchovny, Gillian Anderson, Amanda Peet, Billy Connolly, Xzibit, Callum Keith Rennie
    MPAA Rating: PG-13
    Running time: 105 min


    For me, “The X-Files” will for ever be linked with one of the most traumatic days of my life. I was 15, home on a Friday night. Mom was working and dad was in the yard and at 8:30PM, my sister and I started to pack up the evening activities. We changed into our PJ’s, poured ourselves a glass of milk and wrapped ourselves in a blanket in preparation for the final hour before bed time. The minute long set-up came on and then Mark Snow’s much hummed theme music kicked in. “The X-Files” was about to begin. It was at that moment, partway through the theme, that we smelled smoke. That was the night our house burned to a cinder and when asked about it years later, I can clearly recall the circumstances of our escape.

    The X-Files: I Want to Believe Movie StillI always imagined that at some point in my life I’d come to associate the show with that tragic event in my life but it never happened. If anything, over the years we, my sister and I, have become even more fanatical about the show that provided us with hours of midnight chats and nightmares. While the show was on the air, we collected everything from comic books (to this day sealed and protected in limited edition numbered plastic wrap) to trading cards (the entire first season including the specialty cards). It’s fair to say that I’m a big fan of the show. Yet, when the production headed South in season six, I started to lose interest. The move, in combination with the release of the film in 1998, marked a difference in the series and almost immediately, the tone of the show seemed to change. It was darker, the characters a little more pessimistic and overall, less interesting. I stuck around for a few more seasons until Fox left the show at which point, I completely lost interest. I caught it here and there when nothing else was on TV but gone were the days of ritualistic weekly viewing.

    I tried some of Chris Carter’s other projects; “Millennium” was excellent while it lasted and “Harsh Realm” seemed to have potential before it was canceled but nothing nothing seemed to stick any more. Carter, who had once seemed a bright beacon in TV land, seemed to be fading and when “The X-Files” finally went off the air in 2002, Carter seemed to go into seclusion. Over the years there was occasional talk of another film but those rumours never seemed to go anywhere. So when David Duchovny started to talk about the potential for another movie, no one paid much attention. It wasn’t until the film was finally announced that fans started to believe something could come together. So here we are, a little over a year since the initial announcement of the film and The X-Files: I Want to Believe has brought back the once unstoppable team of David Duchovny, Gillian Anderson and Chris Carter. The fans have been anxiously awaiting the return but was it worth the wait? In one word: yes.

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  • Finite Focus: The Sound of Awakening (The Conversation)

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    The ConversationWhere to even begin with Francis Ford Coppola‘s The Conversation? Well first off, for any cinema-buff worth their salt, it is mandatory viewing. A film made in the short space between the two widely acclaimed Godfather films and smack dab in the middle of the challenging and vital period of the 1970s (considered by many to be the banner decade of American cinema). Eschewing the artistic bombast of much of his 1970s work, The Conversation is a model of tightly wound tone and visual restraint (it is a decidedly American take on Michelangelo Antonioni‘s fabulous Blow Up; Antonioni‘s pacing combined with some good old American paranoid thriller).

    Harry Caul (Gene Hackman) is a socially awkward, but highly profession sound and surveillance man who has a job recording people against their will and without their knowledge. Using multiple hidden microphones and long range parabolics, he attempts to make a clear recording of a couple who are walking through a crowded park and speaking softly, a mixture of the clandestine and the mundane. Coppola establishes this beautifully in the opening scene of the film, in which the visuals are not nearly as important than the sound cues. There is a fetishization of the construction and craft of sound recording. While the direction is not showy here, yet it is still a highly complex rhythm of images, sounds and articulated theme that qualifies it (for me personally) to sit in the 10 best films ever made. I qualify this with the following: Cinema is a voyeuristic act in where one views the dramatization of private and intimate moments of the films subjects, characters, etc., thus The Conversation acts not just as a great story with a timely theme, but also as a comment on the medium in and of itself.

    Considering the nature his job, Harry is a bit of a paranoid person, no personal phone, multiple door locks, and his own nature, past and values are kept under tight control. Because of some instance in his past that is never fully articulated, Caul tries his best to focus on the craftsmanship of his work, and not the content. And his coworker (here played beautifully by John Cazale) hits a major nerve, the the point of Caul almost firing him on the spot, by analyzing the content of the current recording project. Like nearly ever scene in the film (perhaps excluding the quite explosive finale) this is handled small and subtle, with a savour for character detail in the acting first and foremost. You can see as Caul denies his coworkers curiosity, it is already beginning to gnaw at him why these two quite innocent folks are targeted by some large and private rich fellow to be recorded. How this plays out, is best left discovered in the film. But this individual scene is the movie in microcosm, the rigorous precision of a job well done balanced by the moral nature of the work in question. A fitting summation of the decade of Watergate, Nixon and Deep Throat. Way, way ahead of its time this adolescence-period of technology overtaking morality has much resonance today in world where ‘The Grid’ of Google, Carnivore-esque information scavenging tools, bank and credit card statements, consumer tracking incentive-programs, street-level cameras, the Patriot Act, et cetera can offer someone with access or means to all manners of personal privacies. The Conversation may be the spiritual father of action blockbusters along the lines of Enemy of the State and The Bourne Identity, but judging from this scene (and others) its headspace is more in line with Philip K. Dick and A Scanner Darkly or Michael Haneke and Cache.

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