The revolution will be televised. And marketed. It will be massaged and scrubbed. The manifesto will be broken down into easily digestible soundbites, infographics and memes. Performance metrics will be taken.
Please send in photos and tell us your experience of the revolution.
While Franco's relatively faithful adaptation has its faults, Lee's portrayal of a greying and weary Boyar is possibly my favourite Dracula. You really get the sense that he's been there, seen it, done it and left a trail of impaled corpses in his wake.
Also of note is the unique and ghostly way that Franco shows Dracula's brides rising from their coffins, Kinski's quietly insane Renfield, Soledad Miranda's child-murdering Lucy and some pretty effective, no-budget effects consisting of a few shadows and silhouettes.
An unusually restrained outing from Franco but one I thoroughly enjoyed.
A tedious and fawning, single-take, artistic tour of an odious aristocracy by a pair of irritating time-travellers, one of whom has the most soporific voice in the history of cinema whilst the other spends most of his time huffing, puffing, blowing dubbed raspberries and spouting irrelevances, during which we learn nothing other than that the Tsars and Tzarinas were misunderstood and without whom art would have perished; the serfs, meanwhile, are conspicuous by their absence (serfdom/slavery was only abolished in…
That intro with John Shaft just casually walking across a busy street and expecting cars to just stop for him, builds his character perfectly. No exposition or flashbacks needed; just a bloke walking across a road. Shaft is indeed a bad mother-fucker and he owns his city.
Great dialogue, terrific NYC locations, full of great fleshed-out characters, THAT score by Chef and The Bar-Kays, the final rescue, Richard "I'm a handsome fucker" Roundtree.
Cool as fuck.
The "Soul in Cinema: Filming 'Shaft' on Location" extra on my DVD was pretty damned fine as well and includes Isaac Hayes and The Bar-Kays recording the score.
