It was a good weekend of movie watching. I started with Michael Powell’s masterpiece Peeping Tom, then got my Lee Marvin fix with John Boorman’s Point Blank and topped it off with Walter Hill’s ultra cool The Driver.
Peeping Tom is Michael Powell’s career ending opus about one man’s obsession with fear. It’s creepily beautiful, chilling and makes a strong point about the exploitative nature of filmmaking.
John Boorman’s Point Blank is the kind of film Terrence Malick would have made if he was interested in crime instead of nature. It features a fractured narrative that skips back and forth and languid pacing. The vibrant colour scheme makes the cinematography pop, and of course, Lee Marvin has never been better.
Perhaps my favourite of the bunch is Walter Hill’s little crime thriller The Driver. It clips along at a brisk pace, features an engaging story and the driving scenes are phenomenal. Shot primarily at night, The Driver contains some of the coolest night shots of a Los Angeles (I think) ever committed to celluloid.