A Caress Of Twilight
Los Angeles private investigator Meredith Gentry happens to be a Faerie princess. In A CARESS OF TWILIGHT, she tries to avoid a sort of Faerie Terminator who has been sent from the land of Faeries to kill her.
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Hospitalized after being blinded in a riding accident, Sarah (Mia Farrow) recuperates at her aunt and uncle's country house. As Sarah returns from riding one day, she finds the house curiously silent. SEE NO EVIL begins slowly and conventionally, but once his blind heroine enters the apparently empty house, director Richard Fleischer produces an extraordinarily tense, creepy, and protracted sequence. There is no music, no dialogue. The camera is slung low, with Fleischer's unnerving, trademark off-kilter framing making it eerily apparently that something bad has happened. Gradually and stealthily, SEE NO EVIL--aided by Farrow's admirable performance as the frail but determined Sarah--gains in power and suspense, making the film a startingly effective thriller.DVD Features:Region 1Keep CaseWidescreen - 1.85Audio: Dolby Digital Mono - English
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Published in March, 1991, The Firm was hailed by reviewers, booksellers, and readers alike, and soon became the number one bestseller across America. Now comes Grisham's equally gripping new novel: an unforgettable story that begins with the simultaneous assassinations of two Supreme Court justices. . . .
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CANNIBAL HOLOCAUST was for years reviled as one of the most repugnant and morally questionable of the 1970s spate of cannibal films--and possibly the most horrifying ever. But director Ruggero Deodato embarked upon the project with the intention of criticizing the very violence he was portraying. Set in the Amazonian jungles, the film is a pseudo-documentary that follows Professor Harold Moore (Robert Kerman) into the
Green Inferno
as he searches for a documentary crew that came to the jungle the previous year to make a film about the storied cannibals that lived there, and never made it back. Now, Moore meets some natives and discovers the footage from the crew`s expedition, and upon returning to New York, he watches it to find out what really happened. The truth is too horrible for words, proving that savagery is not limited to indigenous peoples, and the morally outrageous film proceeds to indict the exploitative practices of certain documentary practices. However, the extremity of the violence portrayed was enough to put Deodato in hot water with the law, and with censors who claimed it was far too realistic. The career of the promising director, who had worked under a list of Italian luminaries that included Roberto Rossellini (ROME: OPEN CITY, PAISAN, VOYAGE IN ITALY), was essentially ended with this brutal, seminal film--for which he will nonetheless always be remembered.
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