paul verhoeven movies ranked

In a rare instance of the director also nabbing a writing credit (one of only four times so far in his career), Verhoeven’s film dabbles in some intriguing ideas around class divide, moral ambivalence and Stockholm Syndrome. These smaller moments in Total Recall bring to light what we go to the movies for, what they say about who we are and who we’d like to be. Materializing in the middle of the horror genre’s most transgressive decade, this is a cacophony of piercing shrieks, metallic clanks, and roaring machinery that looks back to Psycho’s view of ingrown monsters even as it outdoes the older film in sheer, visceral impact. Kanye West has come back from the precipice of what feels like certain career suicide more than just about any other popular music artist.

Verhoeven’s most new wavey film blurring the sequence of events early on with a flashback structure, dream sequences and staggering shifts in tone. I knew I wanted to do that in a feature film. Because I’ve already acted out all these parts, and I think they know it and can feel it on some level. I do trace it in some ways back to both of my parents, but certainly my father. But, for all its sex and violence, for all its staple Verhoeven-isms, this is a film that falls disappointingly flat. Totally. I think the Margaret thing was a little bit like my muscles are still warm from this. Decades of sequels, remakes, and imitators can’t take away its scabrous power.

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Oh, is that true?! Even held against the flashback-laden psychosexual hysteria of Don Siegel’s version, The Beguiled feels concise to the point of constipation.

It’s an art film that follows a codified set of traditions that were particularly in vogue in the ‘60s and ‘70s. Fox) and Doc Brown (Christopher Lloyd) need to accomplish and its steadily mounting series of mishaps demonstrating how they can go wrong represent probably the most carefully scripted blockbuster in Hollywood history, but the film’s real coup (and what separates it from the increasingly fluent pack of Spielberg knockoffs) is in how it subtly mocks the political pretensions of the era—not the 1950s, but rather the 1980s. The conflict inherent in this structure came to a head on last year’s Lover, which produced pop-centric, radio-friendly singles like “ME!” and “You Need to Calm Down,” as well as the rootsier title track and the lilting “Afterglow.”. The erstwhile downsides of these formats—the isolation of the home theater or hermetically sealed family car—turn out to be their primary advantages in our current context. Blade is the pimp daddy of all comic book heroes, an African-American superman trying to save humanity from a vampire apocalypse. October 4, 2020 - George Nash assesses the cinematic output of the subversive Dutch provocateur Paul Verhoeven… Elevated by a compelling screen performance by the ever-magnetic Isabelle Huppert — a performance that earned her an Oscar nomination — Verhoeven’s film is disturbing, provocative and constantly engrossing. Kiernan Shipka, Lucy Boynton, Emma Roberts, Lauren Holly, and James Remar are poignant in their minimalist roles, and writer-director Oz Perkins arranges their characters in a cleverly constructed narrative prism that simultaneously dramatizes violence and its aftermath in an endless chain reaction of perpetual cause and effect. The sexually explicit hallmarks are all there, but, from its jolting, violent opening (which later turns out to be a hangover fantasy), this quaint romantic dramedy, like his big-budget output years later, immediately works to dislodge its audience. And maybe that’s a good thing: Looking back at the emotional exhibitionism that defines West’s incredible work, it’s starkly clear how much of himself he’s put into his art, but less clear how much more he can afford to give.

Our aesthetic perception is linked to our perception of Henry himself, so that the film becomes a study of empathy through aesthetics. So, yes, I would say absolutely, there’s a way in which everyone realizes how much is embedded in their work and that you can open it all up. As this film’s Bling Ringers raid sprawling manses for McQueen sunglasses, Alaia dresses, and Birkin bags, Coppola responds with a propulsive collage of modern pop iconography, filling the screen with paparazzi shots, step-and-repeat footage, mock Facebook pages, and breathless montages of red-carpet stars who strut through these teenagers’ hollow dreams. The last film Verhoeven made in the Netherlands before Black Book, almost a quarter century later, the prickly, deliberately nauseating, and decidedly Polanski-esque The 4th Man bears as a striking familial resemblance to Basic Instinct in more ways than one, with more subtle connections to such distant cousins as Total Recall and Elle. Whether it be it chimpanzees, bizarre pool sex, cartoon sound effects or any of the dozens of other absurdities there’s no denying the worldbuilding that emerges from all the muck or the catharsis of seeing our psychotic hero ascend from it. The most exciting part of Black Book is how Verhoeven manages to invoke a sense of Hollywood glamour in the most desperate situations. During the closing moments of John Carpenter’s They Live, a sound collage of news readers and media pundits is unfurled, one of them indignantly blasting the low culture wrought by the likes of George A. Romero and Carpenter himself. The Fourth Man is also one of Verhoeven’s funniest works. In contrast to the intoxicating late-night groove of Lovers Rock, which showcased the loosest, funkiest filmmaking of McQueen’s career, Mangrove finds the director at his most formally conservative, wrapping this story of resistance, rebellion, and racial terror in a disappointingly stuffy package.
When I look at what she’s done, it was obvious in class her willingness to reveal herself in her work. Hollow Man (2000)

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