Nacho Vigalondo
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Connections, in both directions
One recalls the time 'loopiness' of Nacho Vigalondo's "Timecrimes" and the circular lost in the woods disorientation of "The Blair Witch Project."
There have already been a few others: the rightly little-seen 2014 thriller Open Windows did something similar; and there was the appalling Unfriended sequel, Dark Web, just earlier this summer.
Other computer thrillers have hit theaters before Searching (2014‘s Open Windows, 2014’s Unfriended and the 2018 sequel Unfriended: Dark Web), but it’s safe to say that this film is much more inventive and strikes some important and sympathetic themes.
Nacho Vigalondo demostró que no se le resiste nada y entregó en Open Windows la angustiosa odisea de un chaval (Elijah Wood) acosado por un hacker mientras espía a su actriz favorita (la reina del cine para adultos Sasha Grey) desde su portátil.
Una compleja sistemática ya utilizada por Levan Gabriadze en la estupenda Eliminado (2014), aún antes por su pionero en el largometraje, Nacho Vigalondo, en Open Windows (2014), y, desde luego, por los fundadores del procedimiento narrativo, Patrick Cederberg y Walter Woodman, en el corto Noah (2013).
While Italian gore-meister Nacho Vigalondo technically got there first the same year with the Elijah Wood–starring Open Windows, the creative team behind Unfriended perfected the style on the first try.
While the concept of unfolding the story primarily over a computer screen is less innovative in the wake of the opening act of 2010's " Catfish ," as well as 2014's " Open Windows ," 2015's " Unfriended ," and 2018's " Unfriended: Dark Web ," writer-director Chaganty and co-writer Sev Ohanian use it in a natural, dramatically sound way.
Fans of 2004's mind-bendingly complex time-travel exploration " Primer ," as well as those viewers that found that heady indie film too difficult to follow, should be first in line to see the Spanish-language "Timecrimes" ("Los cronocrímenes").
Less a mindfuck on the level of 2004's ingenious Primer than a sort of mental canoodle, this modestly diverting slice of shoestring Spanish sci-fi from writer/director/co-star Nacho Vigalondo proves yet again that time travel is an ambitious low-budget filmmaker's jumbo Erector Set.
But the same holds true for J.B. Priestley's play "Dangerous Corner," or the films "Back to the Future" or "Memento" or the little-known indie "Primer."
Similar in tone to Shane Carruth's too-smart-for-its-own-good Primer (in which a pair of Dallas engineers inadvertently whip up a time machine in their suburban garage) but far more engaging, Timecrimes has nabbed a spate of awards, among them the Next Wave award at 2007's Fantastic Fest.
Filmmaker Nacho Vigalondo has infused the proceedings with an unapologetically hard-edged sensibility that's ultimately reminiscent of Shane Carruth's similarly-themed 2004 effort Primer, although there's little doubt that Timecrimes fares a whole lot better than its intriguing yet hopelessly impenetrable predecessor - as Vigalondo generally does a nice job of ensuring that the movie remains easy enough to follow for the duration of its appropriately brisk running time.
Timecrimes (Los Cronocrímenes), Nacho Vigalondo's zero-budget exercise in kitchen-sink quantum metaphysics, doesn't fuck itself with an unearned sense of smug self-satisfaction like Shane Carruth's Primer , but it does prove to be more tantalizing than satisfying.
BOTTOM LINE “Garden State” meets “Godzilla” in this highly original indie-kaiju comedy.
It’s as if Garden State (2004) became a special effects movie.
With a few trims the film could be entirely different and blandly realistic — messed-up protagonist returns to hometown for a bittersweet spiritual cleanse; we've seen a few indies along those lines, for sure, even if you don't include "Garden State."
That sounds like one sort of picture, yet another dour variation on the “Garden State”/ “Return of the Secaucus Seven” nostalgia model.
(It’ll also disappoint people exclusively turning out for the former; it’s deployed more for its metaphorical value than as a way into Pacific Rim territory.)
Needless to say, there’s a lot more happening on the human level here than anything found in “Pacific Rim.”
Colossal is way more clever and fun than Pacific Rim with far fewer visual effects shots.
This isn't a monster movie, not even a distant cousin of Cloverfield or Pacific Rim.
Well, this isn’t “Pacific Rim,” but there are some pretty cool monsters and they do a lot of damage.
Gillespie worked in the art department (on films such as “The Suicide Squad” and “Pacific Rim”) and Kostanski in makeup special effects (on “The Suicide Squad” and “Crimson Peak”).
He gets more than he bargained for, however, when a bandaged (à la The Invisible Man) madman attacks him with a pair of scissors.
Here’s a little Guillermo del Toro, there’s a dash of Frankenstein and The Creature From the Black Lagoon, with a shaker of Frankenheimer’s Seconds, all simmered in a stew of Philip K. Dick.
" The Time Machine ," the "Back to the Future" trilogyare usually fascinating, but not always easy to pull off.
But the same holds true for J.B. Priestley's play "Dangerous Corner," or the films "Back to the Future" or "Memento" or the little-known indie "Primer."
This Spanish, sci-fi thriller is thematically linked to the archetypal time-travel puzzles and predicaments found in Primer and Back to the Future.
When his hero, Hector, finds himself bounced back in time by a few hours, he operates under the assumption that his presence in the past is much like Marty’s adventure in Back to the Future.
After all, it was Videodrome, the Canadian auteur’s 1983 what-is-reality mindfuck that set the pattern for several generations of cinematic headtrips of which Vigalonda’s film stands as the latest example.
So was the way Elejalde's putty face seems to transform from Rowan Atkinson to Sam Raimi's "Darkman" to Boris Karloff to the Toxic Avenger with a simple application of gauze or gore.
Coherence (2014)
Directed by James Ward Byrkit
influenced by Extraterrestrial (2011), Timecrimes (2007)
Themes Plot
Its transformation of mundane interactions into something otherworldly actually reminded me of another brilliant, lesser-known sci-fi film from a couple of years ago, Spanish director Nacho Vigalondo’s Extraterrestrial .
Playing like the relationship issue version of Nacho Vigalondo’s Timecrimes , the initial set-up reaches dizzying heights of possibility and discussion worthy instances.
Whether intentionally or not, Vigalondo peppers this, his first feature, with references to other movies - "Frankenstein," "The Elephant Man," "Lost Highway," "Seconds" and "The Time Machine" immediately come to mind.
Like Nacho Vigalondo's Timecrimes (2007), J.A. Bayona's The Orphanage (2007), or Daniel Monzón's Cell 211 (2009), Non-Stop exhibits showmanship in its construction and execution alike—one gets the impression the filmmakers had good fun putting it together.
Working with cinematographer Flavio Labiano (The Day Of The Beast, Timecrimes ), Collet-Serra continually crisscrosses the interior of the plane—seemingly modeled on a Virgin Atlantic flight and lit hazy purple—with long handheld takes and down-the-aisle dolly shots.
There’s also a nice sense of claustrophobia and space in the first half, as cinematographer Flavio Labiano (“Timecrimes,” “Unknown”) works in long, unbroken shots through the cabin, sometimes out a window and back in again.
Timecrimes ) will have some idea of what to expect from the twists, despite the originality of the basic concept.
Whether intentionally or not, Vigalondo peppers this, his first feature, with references to other movies - "Frankenstein," "The Elephant Man," "Lost Highway," "Seconds" and "The Time Machine" immediately come to mind.
The story is ingeniously mounted, too, and the tricky cinematography by Flavio Martínez Labiano (2001's " Bones ") is both dynamic and menacing.
" The Time Machine ," the "Back to the Future" trilogyare usually fascinating, but not always easy to pull off.
Whether intentionally or not, Vigalondo peppers this, his first feature, with references to other movies - "Frankenstein," "The Elephant Man," "Lost Highway," "Seconds" and "The Time Machine" immediately come to mind.
It starts out as a "Rear Window"-style thriller where the protagonist sees a strange-acting woman in the woods while viewing his country estate through binoculars.
A là Rear Window, the man pulls out a pair of binoculars and, as seen through a series of POV shots, glimpses a few ominous shapes arising out of the woods and, eventually, a young woman exposing her breasts.
Steven Zaillian (who won an Oscar for his screenplay for Schindler's List) will produce; and it is rumored that David Cronenberg (A History of Violence, Eastern Promises) is on the shortlist as director.
The Human Centipede (First Sequence) (2009)
Directed by Tom Six
influenced Colossal (2017)
Characters
Frank starts as a cipher, and stays one, but Dr. Kay is a god complex embodied, a woman who does her own defying of expectations, and also a cross between Dieter Laser in The Human Centipede and Alec Baldwin in Malice.