Bernard Rose
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British director Joe Wright has had considerable success with adaptations of Jane Austen (Pride and Prejudice) and Ian McEwan (Atonement), so he's well-prepared to take on Russian novelist Leo Tolstoy's timeless Anna Karenina.
Keira Knightley is hardly in the same league with those icons, but she makes a decorative centerpiece in this troubled remake by her mentor, director Joe Wright, who guided her in two previous films, Pride and Prejudice and Atonement.
The last time director Joe Wright (“Atonement,” “Hanna”) teamed with Keira Knightley on an adaptation of classic literature (“Pride and Prejudice”), she scored a Best Actress Oscar nod.
Director Joe Wright and his favorite star, Kiera Knightley (“Pride and Prejudice,” “Atonement”) have produced a ravishing, highly theatrical version of Leo Tolstoy’s classic “Anna Karenina.”
After all, I liked the 2005 version of "Pride and Prejudice" that just so happened also to feature this film's star & director combo of Keira Knightley (in front of the lens) and Joe Wright (behind it).
Leo Tolstoy's novel is the subject of a lavish and ambitious new screen treatment from British director Joe Wright ("Pride and Prejudice," "Atonement"), a guy who's never erred on the side of caution.
Some scenes remind of Bernard Rose's Candyman --the wrong-man intrigue (and Whannell makes a clever reference to Thornhill's U.N. trouble from North by Northwest ) resulting in institutionalization.
She’s manipulated and gaslit at every turn, and I was reminded at times of Candyman , Bernard Rose’s chiller in which a woman has the damnedest time convincing everyone around her that an urban legend is very much alive.
The Bye Bye Man (2017)
Directed by Stacy Title
influenced by Candyman (1992)
Plot Visuals Characters
Writer Jonathan Penner (Title's spouse) reaches further back into the horror canon to the 90s with a simple set-up that bears comparison to Bernard Rose's seminal Candyman , with characters doomed to hallucinate and enact violence if they dare to utter the titular character's name.
This PG-13 rated schlock masquerades as another of those urban legend staples borrowing heavily from the visualizations of Sinister (2012) and without the kind of subtext which still makes Candyman (1992) feel like a relevant attempt at contemplating the kind of power belief holds as far as personifying fear.
We’re spared the bullshit “based on true events” tagline here, because the character as written by Schneck was essentially Clive Barker’s Candyman.
The live-action portions, the best of them, remind of Bernard Rose's melancholic Paperhouse, but the sum is a bit less than its parts.
A haunting heartbreaker, "Labyrinth" belongs in a class with director Bernard Rose's spellbinding psychological thriller "Paperhouse" and Gunther von Fritsch and Robert Wise's "The Curse of the Cat People" as one of the few films that dares to enter a troubled child's mind to sympathetically sort out the contents.
To that you could add a soupcon of other precursors, including Georges Méliès, whose work is glimpsed repeatedly on a television screen, Bernard Rose’s little-seen gem about children’s creative imagination, “Paperhouse,” James Wan’s fixation on creepy puppets, and more importantly, burgeoning feats of portraying female hysteria, such as Emily Watson’s magnificent performance in “Breaking the Waves.”
Amadeus (1984)
Directed by Miloš Forman
influenced The Devil's Violinist (2013), Immortal Beloved (1994)
Characters Visuals Themes Plot
It's an audacious mixture of Citizen Kane and Amadeus, with some Fantasia-like musical sequences added for good measure.
No other great artist suffers quite like this movie's Beethoven: Not loveless Toulouse-Lautrec in "Moulin Rouge," not crushed, divine Mozart in "Amadeus," not misunderstood and tortured Van Gogh in one film after another.
It's a warning that this film will seldom be staid, though it's much less shrill than "Amadeus" and much less feverishly intense than any of Ken Russell's musical biographies.
Columbia may have hoped that “Amadeus”-like lightning would strike twice for this heavy classical goulash, but domestic audiences aren’t likely to belly up in any sizable numbers.
Although lacking the dynamic conflict inherent with rival Amadeus composers Mozart and Salieri and fairly predictable in outcome, Rose's screenplay creates enough dramatic tension to carry the film.
(The Devil’s Violinist tries to hit a lot of the same notes as Amadeus … but misses all the charm, suspense, and drama.
(Actually, that one is uttered by Candyman's Tony Todd, who has a cameo as an all-knowing mortician who babbles for about two minutes about "Death's sadistic design.")
A cameo by horror/sci-fi veteran Tony Todd (Candyman, Night of the Living Dead) injects a Crypt Keeper-ish mood.
Tony Todd (1992's "Candyman"), as an arcane morgue attendant, pops up for a five-minute cameo, but his appearance is rather supererogatory.
Each victim hears John Denver music just before they get whacked, for instance, and horror icon Tony Todd, from the cheezeball "Candyman" flicks, has a cameo as a soothsaying mortician.
Virginia Madsen was amazing in Electric Dreams, Sideways and Candyman.
Anna Karenina; The Kreutzer Sonata; best so far, ivans xtc, his Hollywood modernisation of The Death of Ivan Ilyich.
It’s a topic the genre has brushed up against—with the black protagonist of Night of the Living Dead, a rare sight in 1968, or in Bernard Rose’s 1992 classic Candyman, in which the titular figure in part represented America’s history of slavery and repression.
Race is rarely explicitly mentioned in horror films, and when it is, the racial and ethnic “others” are usually cast as the monster, such as in Candyman (1992), whose vengeful slasher is the spirit of a post-Civil War black man gruesomely lynched for impregnating a white woman.
The villainous robots resurrect their leader, Megatron (Hugo Weaving), who now takes his orders from the title character, the Fallen (voiced by "Candyman" Tony Todd).
Obsession is a movie which plays like a love letter to classic 80s-90s horror, such as The Evil Dead series, Creepshow, Tales From The Crypt, Re-Animator, almost every John Carpenter movie ever shot, Hellraiser, and Candyman…
The location photography here is abnormally good: in the 23 years since, I can't name a half-dozen films to have taken advantage of Chicago anywhere near as well, and perhaps only one - The Dark Knight - to have topped it.