Nicolas Roeg
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Ad Astra (2019)
Directed by James Gray
influenced by Heart of Darkness (1994)
Plot Visuals Characters
The search riffs on the “Heart of Darkness” dynamic of Joseph Conrad, with Roy’s search for a father he has mirrored his career on.
I can think of any number of sci-fi films Ad Astra seems to be paying homage to, but it’s also clear Gray looked to Joseph Conrad’s Heart of Darkness as a model for the plot.
Gray and his fellow scribe, Fringe' s Ethan Gross, are clearly aiming for ( The Tree of Life 's Terrence) Malick-meets-Kubrick ( 2001 's Stanley) by way of Joseph Conrad ( Heart of Darkness , the book that inspired Francis Ford Coppola's Apocalypse Now ).
The “Heart of Darkness” template is, of course, anyone’s to draw upon, but what made Francis Ford Coppola’s film great is that he used Joseph Conrad’s classic as a frame on which to hang his psychedelic-slaughter vision of contemporary combat.
In this sense, Clifford is more like Kurtz in Joseph Conrad’s Heart of Darkness , transposed so brilliantly to Vietnam by Francis Ford Coppola in Apocalypse Now!
Under the Skin (2014)
Directed by Jonathan Glazer
influenced by The Man Who Fell to Earth (1976), Performance. (1970), Don't Look Now (1973)
Themes Characters Visuals
I’ve seen it compared to Nicolas Roeg’s The Man Who Fell to Earth (1976) — a film I love.
The casting of Johansson, too, proves additionally inspired; just as with David Bowie’s Thomas Newton in The Man Who Fell to Earth, the very nature of their iconic presence further distances the notion of mere actors-cum-aliens—they’re already elevated above the clouds in their stratospheric fame.
Wearing a fedora pulled down low—not unlike the one David Bowie sports at the end of Nicolas Roeg’s The Man Who Fell to Earth, another touchstone for Glazer’s film—and clutching the hand of Ryan Reynolds, her boyfriend at the time, Johansson barely camouflaged herself, taking the risk that she would not be swarmed.
There are echoes of the end of 2001: A Space Odyssey in this and in the observational alien tale The Man Who Fell To Earth.
Nic Roeg used David Bowie similarly in The Man Who Fell to Earth, but the juxtaposition with ordinary Glaswegian shoppers makes Scarlett – stonewashed jeans and fake fur only marginally dimming her glamour – seem even further adrift than the Thin White Duke.
A direct descendant of Nicolas Roeg’s classic “The Man Who Fell to Earth,” “Under the Skin” is the kind of movie people will be talking about, and dissecting and puzzling over, for years.
This is Wright, so nods and references abound, with the filmmaker paying homage to the work of Mario Bava, Nicolas Roeg’s Don’t Look Now , and Wes Craven’s Nightmare on Elm Street.
As always, Wright is a tad too slick: there’s a tidiness that doesn’t quite capture the flintiness of on-the-record inspirations Repulsion and Don’t Look Now .
It uses the stylish aesthetics of classic psychological horror films such as Don’t Look Now and Repulsion as a vehicle for a lecture about why the time period in which those movies were made was nothing that we should aspire to bring back, no matter how cool it may have looked on the surface.
The vivid use of colours from Argento’s Suspiria, the suspense of Don’t Look Now and Repulsion with the occasional sprinkling of Giallo/Hammer horror to measure.
It's a stylish, touching, overly cute film, much influenced by the French New Wave, though capable of nodding towards Nicolas Roeg's Don't Look Now.
There's even an unexpected nod to 1973's Nicolas Roeg masterpiece " Don't Look Now ," a sure-fire sign that director Richard Ayoade knows his cinema history.
Conventionally, you get characters that are male pyros, damp bedwets, but a female pyro in a Nic Roeg “Don’t Look Now”-Red Riding Hood anorak?
Jones, who is David Bowie’s son, explores similar themes to those in his father’s sci-fi classic The Man Who Fell to Earth.
Bowie, you may recall, once starred in a film called "The Man Who Fell to Earth." "Moon" should have been called "The Movie That Fell to Earth With a Thud."
(In this way it's reminiscent of "The Man Who Fell to Earth," a similarly temperate film in which Jones' father, David Bowie, starred more than 30 years ago.)
Except for the gung ho Star Wars crew, film spacemen were suddenly a lonely breed: Robert Duvall's character in THX 1138 (1970), Bruce Dern's plant-watering loner in Silent Running (1971), the fantasy-prone cosmonaut in Andrei Tarkovsky's Solaris (1972), and David Bowie's morose alcoholic in The Man Who Fell to Earth (1976) all slept unhappily or alone.
Ray, meanwhile, is incredibly miserable, finding Bruges to be totally devoid of anything bearing even a spark of life, except for his childlike glee at watching a movie shoot, where a dwarf (Jordan Prentice) is starring in a dream sequence in an homage to Nicolas Roeg's Don't Look Now , while a gorgeous drug dealer named Chloë (Clémence Poésy) sells to the cast and crew.
No one is quite sure what the movie is about, but Chloë advises that "it's too strong to call it a homage to Don't Look Now."
They’re filming midgets!"), then learns the film-within-a-film is an homage to Nic Roeg’s Don’t Look Now, another film in a city with canals and dark corners, concerned with guilt and irrecoverable loss.
The film’s final joke will especially appeal to moviegoers who are fans of “Don’t Look Now,” another thriller set in a city that, like Bruges, is linked by canals (Venice).
And, too, it’s a corker of an action/monster movie: part RKO serial (natch); part square-jawed, testosterone infused manly romp; and part classic journey into the unknown that recalls and references, surprisingly and splendidly, Joseph Conrad’s Heart of Darkness – "Mistah Kong – he dead."
The dialogue is the weakest element and secondary characters, such the young crewman (Jamie Bell) who lifts a copy of "Heart of Darkness" from the New York Public Library, don't add much.
While at sea we meet the grizzled captain of the ship (Thomas Kretschmann); Hayes (Evan Parke), the African-American first mate; Jimmy (Jaime Bell), a castaway who is reading Joseph Conrad's Heart of Darkness; and Bruce Baxter (Kyle Chandler), the dashing and egocentric leading man.
New Zealander Peter Jackson of the Lord of the Rings trilogy fame, obviously thinks otherwise and forges ahead with this $200 million budgeted splashy eye-popping special effects extravaganza that mixes schlock and art (shamelessly alluding many times to Joseph Conrad's "Heart of Darkness," when the two sea stories couldn't be farther apart), and a hokey love story between a young woman so desperate for protection in the cruel world that she falls for a 50-foot gorilla.
Young Jimmy (Jamie Bell) is reading Joseph Conrad’s journey-into-madness classic “Heart of Darkness” and discusses it with father figure Hayes (Evan Parke) as they unwittingly enter into their own horrific adventure.
The casting of James Fox in a supporting role and the sporadic fracturing of continuity – in the middle of a fateful confrontation, the movie simply leaps ahead in time, filling in the gaps later with teasing flashback snippets – evokes memories of Nicolas Roeg and Donald Cammell’s Performance.
That opening scene serves as a dark and funny omen for what follows in this stylish thriller that evokes numerous British crime dramas like "Performance" and "The Long Good Friday."
Other pleasures include a chilling performance by Ian McShane, and the welcome reappearance of James Fox in a criminal setting, an echo of "Performance", more than 30 years ago.
The exploration of grief through the horror genre isn’t exactly a new concept — examples can be found as far back as 1973’s Don’t Look Now — but the trend has become increasingly prevalent in recent years.
It’s more in line with something like Nicolas Roeg’s “Don’t Look Now” than Tobe Hooper’s “Poltergeist.”
The other feel is that The Night House is a throwback to late 1970’s horror films such as The Amityville Horror , The Changeling , or Don’t Look Now , which all deal with couples or characters haunted by loss.
La exploración del duelo a través del género de terror no es exactamente un concepto nuevo -se pueden encontrar ejemplos desde Don't Look Now, de 1973-, pero la tendencia se ha vuelto cada vez más frecuente en los últimos años.
Based on a short story by Daphne Du Maurier, whose works have also inspired Alfred Hitchcock’s Rebecca (1940) and The Birds (1963), Don’t Look Now is a complex, challenging horror film, one that rewards greatly if you’re willing to give it the attention it deserves.
Based on a short story by Daphne du Maurier, the wordsmith whose works also fueled the Hitchcock classics Rebecca and The Birds, this stars Julie Christie and Donald Sutherland as Laura and John Baxter, a happily married couple who, reeling from the death of their daughter Christine, have temporarily settled in Venice so that John can assist in restoring an old church.
Director Roeg treads on Hitchcock territory with this Daphne Du Maurier ( Rebecca , The Birds ) story about a couple whose daughter has just drowned.
While many of the movies made of his work - The Witches, Matilda, Willy Wonka/Charlie and the Chocolate Factory - have been well received fan favorites, few have capture the underlying mischievousness of his motives…until now.
Roald Dahl's writing for children has only a moderate record of reaching the screen with its naughtiness intact - a pair of not-bad stabs at Charlie and the Chocolate Factory, a middling Matilda and Nicolas Roeg's paralysingly scary take on The Witches are among near-successes to date.
What happens next will remind viewers of the work of late English filmmaking auteur Nicolas Roeg (see his landmark “Don’t Look Now”).
In the sense that all works of genius are partially responsible for the lesser imitators they inspire, the most accurate square one for metaphorror would be triangulated as Nicolas Roeg’s 1973 masterpiece Don’t Look Now .
It’s a well-worn scenario of intense grief set somewhere lusciously photogenic, like Nicolas Roeg’s Don’t Look Now or Peter Medak’s The Changeling —only this time extremely British.
High-Rise (2015)
Directed by Ben Wheatley
influenced by The Man Who Fell to Earth (1976), Don't Look Now (1973)
Themes
“Don’t Look Now” director Nicolas Roeg nearly made it his follow-up to David Bowie vehicle “The Man Who Fell To Earth; “Sexy Beast” producer Jeremy Thomas struggled to get it made ever after.
Jump and Wheatley chose to locate the action of "High-Rise" in 1975, so their film is a retro-futurist nightmare, full of massive sideburns and shirt collars, as well as orgies and ennui freely inspired by the works of Lindsay Anderson ("O Lucky Man!"), Stanley Kubrick ("A Clockwork Orange") and Nicolas Roeg ("The Man Who Fell to Earth").
“Don’t Look Now” director Nicolas Roeg nearly made it his follow-up to David Bowie vehicle “The Man Who Fell To Earth; “Sexy Beast” producer Jeremy Thomas struggled to get it made ever after.
This is also when the filmic allusions start piling up into their own sort of zombie brigade: scare quotes, if you like, from Don't Look Now, Carrie, Apocalypse Now, The Blair Witch Project, the Gollum sequences in The Lord of the Rings, The Texas Chainsaw Massacre, the original Alien, and in one sudden flash-reveal of a whole brigade of crouching monsters, a direct lift from Aliens.
The material provided here is paper thin: After a tragic prologue lifted from the screenplay structures of "The Changeling" "Don't Look Now" and "Dead Calm", "The Descent" settles into it's main narrative of six young ladies who decide to reclaim a sense of youthful danger in their responsible adult lives by going on a caving expedition in the Appalachian mountains.
They include explicit allusions (in addition to the movies already mentioned above) to " Picnic at Hanging Rock ," " Carrie ," “ 2001: A Space Odyssey ,” " The Third Man ," "The Fourth Man," " Don't Look Now ," " The Blair Witch Project " " Vertigo ," " Apocalypse Now "... and plenty more.
I'd replace The Shining with Nicholas Roeg's Don't Look Now, however, in that there's a suggestion throughout that the ghost of Sarah's child is trying to warn her.
Personal Shopper (2016)
Directed by Olivier Assayas
influenced by Don't Look Now (1973), Bad Timing (1980)
Visuals Themes
Assayas echoes Stanley Kubrick (those hotels) and Michael Haneke (death’s mesmeric pull) but the film-makers whose ghosts most haunt this film are Hitchcock, always a dab hand at torturing his heroines, and Nicholas Roeg at his finest – particularly Bad Timing and Don’t Look Now .
Following her 2015 Cesar win for her performance in his “Clouds of Sils Maria,” Kristen Stewart reunites with French auteur Olivier Assayas for “Personal Shopper,” a modern-day ghost story recalling such classy and often deliberately ambiguous examples of the genre as “Don’t Look Now” (1973) and “The Haunting” (1963).
Assayas echoes Stanley Kubrick (those hotels) and Michael Haneke (death’s mesmeric pull) but the film-makers whose ghosts most haunt this film are Hitchcock, always a dab hand at torturing his heroines, and Nicholas Roeg at his finest – particularly Bad Timing and Don’t Look Now .
The Village (2004)
Directed by M. Night Shyamalan
influenced by Don't Look Now (1973)
Themes Visuals
Speaking of the derivative aspects of The Village, you'd be better off watching Don't Look Now (1973), The Blair Witch Project (1999) and any episode of The Twilight Zone, chased by a Fantasy Island.
The first sight of one of the red cloaked wood creatures recalls the dwarf of Nicolas Roeg's "Don't Look Now" and one characters death tableau evokes St. George's slain dragon as imagined by Maurice Sendak.
Mama begins with a crazed father failing in his attempt to murder his two children before turning the gun on himself (an homage to the opening of Nicolas Roeg's Walkabout?).
Aster grounds the film in realism, so you can look at Hereditary as a tragic drama about a dysfunctional family coping with grief and/or as a psychological horror film in the vein of Don't Look Now which it would make a great double feature with.
Hereditary blurs the line, while suggesting — in the grand tradition of Roman Polanski in Repulsion and Rosemary’s Baby, Nicolas Roeg in Don’t Look Now, e.g.
Taking cues from Roman Polanski’s “Rosemary’s Baby” and Nicholas Roeg’s “Don’t Look Now,” ″Hereditary” has you turn over and over questions of what’s really happening.
McGregor recalls a young Donald Sutherland here, his understated panic not unlike Sutherland’s in Klute and Don’t Look Now.
Though Kassell falls into typical first-time filmmaker traps with some heavy-handed Little Red Riding Hood allegory and an over-reliance on ‘70s aesthetic rip-offs (a poignant sex scene references Don’t Look Now), at least she’s using the tried and true cinematic tools of former masters Nicolas Roeg and Hal Ashby.