Larry Cohen
7 connections found
View:
Connections, in both directions
Phone Booth (2003)
Directed by Joel Schumacher
influenced by God Told Me To (1976), Q (1982), It's Alive (1974), Original Gangstas (1996), Hell Up In Harlem (1973), Black Caesar (1973), The Stuff (1985), The Ambulance (1990)
The movie’s premise is said by screenwriter Larry Cohen (himself no slouch in the gripping-movie department, having directed It’s Alive! and God Told Me To) to be a project that Hitchcock had long desired to develop.
It's written by the king of exploitation films Larry Cohen ("God Told Me To"/"Q") and directed by the ham-fisted Joel Schumacher ("Batman Forever"/"Flatliners").
Responsible for some of my favourite weirdo low-tech cult films (Q, God Told Me To, It's Alive!), underground auteur Larry Cohen's output is a lollapalooza of high-concept hokum invested equally in the Catholic and the apocalyptic.
It's written by the king of exploitation films Larry Cohen ("God Told Me To"/"Q") and directed by the ham-fisted Joel Schumacher ("Batman Forever"/"Flatliners").
The story is the brainchild of writer Larry Cohen, hitherto known for B-movie and schlock horror flicks like "Maniac Cop" and "It's Alive."
Yet, somehow, screenwriter Larry Cohen (whose credits range from "Original Gangstas" to "Guilty as Sin") overlooks murderers, rapists, robbers and other societal scum as suitable targets of the caller's wrath.
The narrative is acted out in such a superficial and awkward way, that a sober viewer might be driven to drink and a viewer with cinema smarts and common sense might split from the theater to go home and watch instead the superb 1976 missing person horror pic of Larry Cohen’s “God Told Me To.”
Dr. Jekyll and Mr. Hyde initially seems to be a template, but Fargeat instead taps into hardboiled 1980s nightmare fuel, like Larry Cohen's The Stuff (1985), anything by Frank Henenlotter, and, in its final act, Brian Yuzna's Society (1989).
In Larry Cohen’s more coherent horror-comedy Wicked Stepmother (1989), Bette Davis reappears in the person of Barbara Carrera, but the change is clearly presented and fully explained, while the introduction and reappearance in Get Out are not.
American Gangster is not Scott's Black Caesar or Scarface.
Like “The Stuff,” but with slavery instead of killer yogurt?
So Blazing Saddles is funny, yet in another way it’s quite serious – especially if you place the movie in context with the blaxploitation genre, which by 1974 had recently peaked with the likes of Shaft , Super Fly and Black Caesar .