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- The term “voyeurism” often denotes certain connotations bracketed with perversion, and often of a sexual nature. When we hear that something is voyeuristic our.
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The 2. 5 Best Movies About Voyeurism « Taste of Cinema. The term “voyeurism” often denotes certain connotations bracketed with perversion, and often of a sexual nature. When we hear that something is voyeuristic our knee- jerk reaction usually, and inaccurately, involves a sexual deviant, maybe with binoculars, spying on pillow- fighting coeds perhaps. But voyeurism, in a broader definition, details any type of surveillance or espionage, and this motif has dogged cinema since day one. Films are inherently voyeuristic – the very act of watching movies entails a certain degree of espial in itself – the viewer is given a privileged perspective over those involved, at no risk, enjoying the act of seeing without being seen. Certainly this speaks to a certain degree of cinema’s escapist potential and popularity. The following list looks to the finer points of voyeurism as depicted on the silver screen, and many of the films listed are showpieces by imaginative talents.
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Jessica Lu, Actress: Awkward. Jessica Lu was born on April 18, 1985 in Schaumburg, Illinois, USA. She is known for her work on Awkward.
And while these films aren’t specific to any one genre or dictum, they do all share a will- less and self- reflexive bias, which makes for viewing that is observant, alert, and often meta, promising a titillation and an uncertainty that is absent in other, safer films. The Osterman Weekend (1.
Sam Peckinpah’s final film, The Osterman Weekend, adapted by Alan Sharp from the Robert Ludlum novel, is a startling suspense thriller, overdone, and excessively violent, it’s frequently cited as the great director’s weakest film, but nonetheless it offers perverse pleasures and, who knows, may one day get the reassessment it aspires. Starting with Burt Lancaster’s CIA director Max Danforth, who seems obsessed with a hidden camera sex tape featuring agent Laurence Fassett (John Hurt), the voyeuristic premise is initiated straight away.
A rather convoluted plot unravels, involving Omega, a Soviet spy network, a controversial and outspoken TV journalist named John Tanner (Rutger Hauer), as well as spies played by Dennis Hopper, and Chris Sarandon. Once the titular weekend arrives, the centerpiece of the film, at TV producer Bernard Osterman’s (Craig T Nelson) abode where agents will be tricked into exposing themselves, hidden camera surveillance and spy- versus- spy antics ensue along with double- crosses, wiretapping, and Cold War paranoia. It’s as stylish and overstuffed with lechery as anything Peckinpah has done, who cares if the whole thing makes sense? It’s life in the fast lane as only Peckinpah can package and present it. Their eccentric neighbors include nosy, freeloading Art (Rick Ducommun, hilarious) and NRA- approving nutcase Rumsfield (Bruce Dern, delightful) who, along with Ray, are certain that new residents the Klopeks, have something sinister to hide. Ray and Art spearhead some silly Hardy Boys scenarios as they rummage through the Klopek’s trash, snoop inside their home when they’re out, and, via confirmation bias, try to convince the rest of the neighborhood that these guys are murdering, Satan worshipping cultists.
It all plays out rather ridiculously, with an ending that’s suitably OTT, making for a fun, if trifling, comedy. The Final Cut (2. Using the paranoiac speculative fiction you might expect from Philip K Dick with a satirical sting on over- mediated lives in the modern age, writer- director Omar Naim (Dead Awake) presents a thriller set in an alternate history that’s eerily similar to our own but with addition of technology developed by a Kafka- esque corporation known as EYE Tech. EYE Tech engineer implants into people when in utero, if their parents agree and pay for it, of course, which will, record the child’s entire life, even their dreams. The Final Cut stars a subdued Robin Williams as Alan Hakman, a cutter for EYE Tech. As a cutter, Alan’s charge is to edit the memories of the recently deceased into a feature length memorial, often hagiographic in nature.
Alan also follows a code that forbids the selling of memories or requisiting their own implants. It’s a fascinating premise which also details some surreal imagery as well as a mystery when Alan is assigned a memorial where the deceased is guilty of a terrible crime. Naim’s film abetted by Williams’ believable performance as well as a high concept, a stirring visual sweep, production design that echoes, at times, Terry Gilliam’s Brazil, and a curious central mystery that is hard to turn away from.
A surveyance sleeper worth checking out. Minority Report (2. Minority Report makes that rare consummation of Hollywood heavyweights, here Steven Spielberg and Tom Cruise, with a philosophically complex sci- fi story resulting in a blockbuster with brains. Based off Philip K Dick’s 1. John Anderton (Cruise), part of a Pre.
Crime Unit who use psychics, dubbed “precogs”, to predict and prevent deadly crimes before they occur. The futuristic crystal gazing, including personalised computer advertisements, drone- strike matter of course, and institutionalized inequity, anticipated the social media, NSA, and civil unrest zeitgeist that today is inescapable, but wasn’t around in 2. Spielberg made the film.
And Anderton, as fugitive on the run in an over- mediated society with surveillance cameras on every street corner makes for compelling, exciting, and compulsive viewing. Minority Report is also one of the best Philip K Dick adaptations ever made. American Beauty (1.
Video helps me remember. Ricky is forever filming via camcorder the lives of those around him, and his favorite subjects seem to be the Burnhams; patriarch and midlife crisis maven Lester (Kevin Spacey) and matriarch/motivational mantra adherent and real estate queen Carolyn (Annette Bening). Sam Mendes directorial debut, a satirical stab at middle class America and middle age masculinity is somewhat overpraised but still a fascinating treatise on contemporary family life. For all of it’s ample clich. As far as mainstream 9.
American Beauty is a head turner. Redacted (2. 00. 7)Brian De Palma’s companion film to his 1. Casualties of War, Redacted is a controversial, contemptuous, and overwhelming anti- war film, obsessed and overrun with dark and dejected voyeuristic leitmotifs.
Forever the formalist, Redacted is filmed entirely with a combination of security camera footage, cell phone cameras, laptop cameras, and the cameras mounted on the soldier’s helmets and uniforms, as well as what’s supposed to be raw unedited footage from a film crew accompanying the soldiers. It’s an intriguing premise, one that adds a level of authenticity that’s impossible to capture any other way, and that De Palma populates his film with a cast of largely unknowns, this feeling is further underscored and asserted. One Hour Photo (2. Mark Romanek (Never Let Me Go), mostly known as a music video director, made his feature- length debut as writer/director with this unnerving voyeuristic psychological thriller, a stylistic stroke of genius with a restrained and ribald performance from Robin Williams at its crux. Seymour Parrish (Williams) is, on the surface, a mild- mannered photo- technician who’s unhealthily obsessed with a young couple (Connie Nielsen and Michael Vartan) and their son (Dylan Smith), regular customers whom he photographs and fantasizes about in reticent yet increasingly disquieting fashion.
Impeccable in its construction, One Hour Photo is more than an effective thriller that makes some startling and outright ugly ruminations on why we take photographs; a bitter pill for the selfie obsessed. Lost Highway (1. 99. Lost Highway is a cruel compendium of director David Lynch’s off- kilter themes and fixations, voyeurism being at the forefront. Sultry saxophonist and soon- to- be convicted murderer Fred Madison (Bill Pullman), is driven to the brink via a series of videotapes left on his doorstep. These tapes depict an intruder filming inside his very home and then, terrifyingly, him and his wife Ren.
The 2. 0 Worst Movies Ever Made « Taste of Cinema“Not funny enough, or dramatic enough, or sexy enough, or bad enough, to qualify as entertainment in any category.”That’s Leonard Maltin’s verdict on Striptease (1. Demi Moore vehicle that proves not all bad movies are uproarious fun. Anyone who enjoyed Plan 9 From Outer Space or Troll 2 would go out of their minds if locked in a cinema during a screening of this turkey. Maltin’s words also serve as a good definition of what makes a picture truly bad as opposed to enjoyably bad. Hi-Def Quality The Challenge (2017) there.
Plan 9 may be a failure on every conceivable level, but it fails upwards (so to speak), whereas Moore’s film is so flat and forced you’ll check your watch every two minutes. Tragically for lovers of good bad movies, the latter trend is now standard at the multiplex. Jack & Jill, Ouija and A Haunted House 2 weren’t just bad, they didn’t even have the decency to amuse, intentionally or otherwise.
Everything is subjective, of course, but any viewer who cares to argue the merits of the following clearly has no love for their fellow audience members. Leonard Part 6 (1.
Lots of money, talent and product placements for Coca Cola went into Leonard Part 6, and the film certainly isn’t lacking for ideas or set pieces – they’re just not very good ideas or very clever set pieces. Bill Cosby is spy- turned- restauranteur Leonard Parker, who’s brought out of retirement to track down a “vegetarian and former ecologist” with a formula for controlling the minds of various creatures. Said formula turns lobsters, frogs and gophers into crazed killers capable of throwing cars through the air, and only Cosby can save the day with his underarm rocket launcher and flying ostrich. Which might sound like goofy fun, and in the hands of Barry Sonnenfeld it could’ve been another Men In Black, but every single joke lands with a thud.
If you didn’t think Wild Wild West had enough half- baked ideas, you might enjoy it. The Creeping Terror (1. Written by the director of a 3. D softcore porno, directed by a conman and starring its own investors, this creature feature has little enough going for it even before the . Described by Harry and Michael Medved as “a man- eating carpet from outer space”, our antagonist is just that – a carpet draped over several students, whose feet we can see at the bottom of the screen. The opening sequence sets the tone: bad acting, bad lighting and bad cinematography topped off with mismatched stock- footage and stale narration.
Director Art J. Nelson (who also plays the lead under the alias “Vic Savage”) either shot the picture without sound or lost the soundtrack in post- production; either way, he brought in a local newsreader to narrate the picture, leading to several scenes where conversations between characters are paraphrased in voice- over. Any movie where a girl wears a bikini for a picnic in the woods isn’t aiming for High Art, but that doesn’t excuse the level of technical incompetence on display here. Along with all the visible ropes, wires and crewmembers, we’re also treated to the sight of the cameraman’s cigarette smoke drifting into shot following an onscreen death, making you wonder what Nelson actually did. An Alan Smithee Film: Burn Hollywood Burn (1. While Flashdance, Jagged Edge and Basic Instinct made Joe Eszterhas notorious, Sliver, Jade and Showgirls turned him into a joke, so Burn Hollywood Burn was the screenwriter’s attempt to bite the hand that fed him, an .
It should’ve been brilliant. It’s not. Endorsed by Roger Ebert as “a spectacularly bad film – incompetent, unfunny, ill- conceived, badly executed, lamely written and acted by people who look trapped in the headlights”, Burn centres on Trio, a $2. Alan Smithee (Eric Idle), would rather steal the negative and hold it to ransom than attach his name to it.
You see, he can’t adopt a pseudonym because the name used by the Director’s Guild when a filmmaker refuses credit is. No, really, this is the funniest . When a picture’s comedic heavyweights include Robert Evans, Sylvester Stallone and Ryan O’Neal, you know you’re in trouble. Blackenstein (1. 97.
Following Blacula and Dr Black Mr Hyde, another public domain horror title gets the Blaxploitation treatment, only this time the results are much less interesting. Dr Stein, an evil genius who has “just won the Noble Prize for solving the DNA genetic code”, is puttering around his lab when a former student arrives with some news – her boyfriend Eddie, who lost his arms and legs in Vietnam, is coming home. Knowing that the Doc is an expert at limb reattachment, she requests his help, and you know what that means. Don’t get excited, because half the movie is over before Eddie gets off his slab and begins lumbering about, punishing those that tormented him.
In fact, there’s no reason to bother at all with this time waster, which looks cheap, is full of uninteresting characters and worst of all, doesn’t have the decency to be funny. The Beast Of Yucca Flats (1. A filmmaker with such appalling taste that he allowed John Carradine to sing the theme song to one of his movies, Coleman Francis achieved a dubious honour – each of the 3 films he directed was parodied on Mystery Science Theatre 3. Francis’s debut feature, The Beast Of Yucca Flats, was shot MOS (“Mit Out Sound”) and dubbed in post- production, but instead of bringing in actors to dub in lines, Francis narrates the entire picture in deadpan style, and the results are at best mystifying. The “plot” revolves around a “noted scientist” (played by Swedish wrestler Tor Johnson) wandering onto a nuclear testing ground. Francis’s debut feature, The Beast Of Yucca Flats, revolves around a “noted scientist” (played by Swedish wrestler Tor Johnson) who transforms into the eponymous monster after stumbling onto a nuclear testing ground.
Which might’ve made for an entertaining B- movie if only Francis hadn’t decided to shoot the film MOS (“Mit Out Sound”) and dub it in post- production. Download Whole A Quiet Passion (2017) Movie there. Instead of hiring actors to dub in lines, Francis narrates the picture in deadpan style, and the results are at best mystifying.
As the police close in on Johnson, Francis says, “Find the beast and kill him. Kill or be killed! Man’s inhumanity to man!” When characters are shown puzzling over the beast’s disappearance, Francis says, “Flag on the Moon. How did it get there?” You can only scratch your head in wonder. This doesn’t sit well with Kiel, who vows to get her back while screaming the one word he speaks during the film: “Eegah!”Producer- director- actor Arch Hall Snr reportedly came up with the concept after meeting Kiel, cast his secretary as the female lead and attempted to create an Elvis- like persona for his son, hence the bizarre song I Love You Vicky – which is sung to a girl named Roxy. Incredibly, Eegah! Became a Drive- in hit, earning back its $1.