The 2020 Emmy ballots have been released by the Television Academy, so we now know which shows, actors, etc. are in contention for this year’s golden statues. Nat Geo’s limited series “Barkskins” accounts for two entries on the performer ballot, David Thewlis in lead and Marcia Gay Harden in supporting, and it’s a force to be reckoned with for creative Emmy contenders like composer Colin Stetson. This eight-episode series, based on Annie Proulx‘s 2016 novel, tells the story of European colonists trying to make a home for themselves in New France.
Nat Geo is no stranger to the Emmy Awards, earning Best Limited Series bids for “Genius: Einstein” (2018) and “Genius: Picasso” (2019). A third “Genius” installment, starring Cynthia Erivo as Aretha Franklin, was originally scheduled to air this season but was delayed due to the coronavirus pandemic. Will sprawling period drama “Barkskins” now fill the “Genius” void at the 2020 Emmys?...
Nat Geo is no stranger to the Emmy Awards, earning Best Limited Series bids for “Genius: Einstein” (2018) and “Genius: Picasso” (2019). A third “Genius” installment, starring Cynthia Erivo as Aretha Franklin, was originally scheduled to air this season but was delayed due to the coronavirus pandemic. Will sprawling period drama “Barkskins” now fill the “Genius” void at the 2020 Emmys?...
- 7/5/2020
- by Marcus James Dixon
- Gold Derby
No cinematographer speaks to television’s visual storytelling aspirations quite like James Hawkinson, and the best example is his work on “Hannibal,” the 2013 NBC crime procedural that was resurrected this month when Netflix made all three seasons available for streaming. Hawkinson’s cinematography helped elevate the network show into one of the most visually exciting series ever produced for any platform. Director David Slade, Hawkinson’s long-time collaborator, asked him to join the shoot. By then, creator Bryan Fuller and his staff had written five episodes that tried to toe the tricky line between Thomas Harris’ Hannibal Lecter novels and the structured storytelling of a network investigative procedural. “I remember leaving the edit session where we’d seen the first cut [of the pilot] and I was like, ‘We’re doing the wrong show,” said Fuller in an interview with IndieWire. “When I saw David Slade and Jim Hawkinson’s work, and really...
- 6/22/2020
- by Chris O'Falt
- Indiewire
“Barkskins” is the first novel by Pulitzer Prize winner Annie Proulx since the Oscar-winning adaptation of her source material for “Brokeback Mountain.” National Geographic actually optioned the rights to the epic in 2016, months before its publication and it is arriving on our screens four years later, just in time to qualify for the 2020 Emmys. Set in New France toward the end of the 17th century, Nat Geo has invested in the craft of this period drama as it eyes nominations below the line in Creative Arts categories. The network hosted the press privately at a virtual premiere event this past Sunday, featuring webcam panels that included not only the cast, but also costume designer Anna Terrazas and production designer Isabelle Guay, affirming a comprehensive push for the show as Emmy voting approaches.
Terrazas contends in the Best Period Costumes category, in which Nat Geo has been nominated twice in recent years,...
Terrazas contends in the Best Period Costumes category, in which Nat Geo has been nominated twice in recent years,...
- 5/25/2020
- by Riley Chow
- Gold Derby
Emmy®-winning director of photography James Hawkinson communicates compelling images for stories and themes via a range of mediums from television to features to music videos. James Hawkinson shot Amazon Studios...
- 8/28/2017
- by Jazz Tangcay
- AwardsDaily.com
IndieWire reached out to the cinematographers who received Emmy nominations for Outstanding Cinematography for a Single-Camera Series (One Hour), Single-Camera Series (Half-Hour), and Limited Series or Movie. We asked them which camera and lenses they used and why they were the right tools to achieve their show’s unique look.
Read More:Cannes 2017: Here Are the Cameras Used To Shoot 29 of This Year’s Films Cinematography for a Single-Camera Series (One Hour)
The nominees for outstanding cinematography in this category are Adriano Goldman (“The Crown”), Colin Watkinson (“The Handmaid’s Tale”), James Hawkinson (“The Man in the High Castle”), Tod Campbell (Mr. Robot”), John Toll (“Sense8”), Tim Ives (“Stranger Things”) and Paul Cameron (“Westworld”).
Last Year’s Winner: James Hawkinson for “The Man in the High Castle”
“The Crown”
Cameras: Sony F55s
Lens: Old Cooke Panchros rehoused by Tls UK
Dp Adriano Goldman: “Netflix requires a 4K workflow,...
Read More:Cannes 2017: Here Are the Cameras Used To Shoot 29 of This Year’s Films Cinematography for a Single-Camera Series (One Hour)
The nominees for outstanding cinematography in this category are Adriano Goldman (“The Crown”), Colin Watkinson (“The Handmaid’s Tale”), James Hawkinson (“The Man in the High Castle”), Tod Campbell (Mr. Robot”), John Toll (“Sense8”), Tim Ives (“Stranger Things”) and Paul Cameron (“Westworld”).
Last Year’s Winner: James Hawkinson for “The Man in the High Castle”
“The Crown”
Cameras: Sony F55s
Lens: Old Cooke Panchros rehoused by Tls UK
Dp Adriano Goldman: “Netflix requires a 4K workflow,...
- 8/22/2017
- by Chris O'Falt
- Indiewire
This year’s one-hour series Emmy contenders for cinematography are marked by some bold sci-fi and dystopian disruptors: “Westworld,” “Stranger Things,” “The Handmaid’s Tale,” “The Man in the High Castle” (last year’s winner), “Mr. Robot, and Sense8.” With dazzling visuals, they explored the impact of tyranny and hate, of societies turned upside down, struggling for a greater humanity.
That leaves “The Crown” as the lone historical drama. But it too was a disruptor of sorts in the way that it showcased the symbiotic relationship between the monarchy and Parliament in post-war Great Britain, steered by the young Queen Elizabeth (nominated Claire Foy) and the old warhorse, Winston Churchill (nominated John Lithgow).
But don’t be surprised if it comes down to a race between the dueling dystopias: “Westworld” and “The Handmaid’s Tale.”
“Westworld”
The clash of two worlds envisioned by showrunners Jonathan Nolan and Lisa Joy, the...
That leaves “The Crown” as the lone historical drama. But it too was a disruptor of sorts in the way that it showcased the symbiotic relationship between the monarchy and Parliament in post-war Great Britain, steered by the young Queen Elizabeth (nominated Claire Foy) and the old warhorse, Winston Churchill (nominated John Lithgow).
But don’t be surprised if it comes down to a race between the dueling dystopias: “Westworld” and “The Handmaid’s Tale.”
“Westworld”
The clash of two worlds envisioned by showrunners Jonathan Nolan and Lisa Joy, the...
- 8/15/2017
- by Bill Desowitz
- Indiewire
Four of the top cinematography contenders— “The People v. O.J. Simpson: American Crime Story,” “Sherlock: The Abominable Bride,” “The Man in the High Castle” and the “Downton Abbey” finale — play with period in ways that are eye-catching and often unusual.
Cinematographer Nelson Craig (“Homeland”), nominated in the limited series/movie category for the “O.J.” opener (“From the Ashes of Tragedy”) , wanted a naturalistic look that made it contemporary and brought us closer to the players from “The Trial of the Century.” That is why he’s the favorite to win the Emmy.
What Craig had in mind was Michael Mann’s “The Insider”: not stylistically showy because the drama and performances were sufficiently heightened already. In fact, director Ryan Murphy initially wanted to shoot on film for the grain and the period look, but Craig found it too cumbersome shooting four or five cameras (for navigating...
Cinematographer Nelson Craig (“Homeland”), nominated in the limited series/movie category for the “O.J.” opener (“From the Ashes of Tragedy”) , wanted a naturalistic look that made it contemporary and brought us closer to the players from “The Trial of the Century.” That is why he’s the favorite to win the Emmy.
What Craig had in mind was Michael Mann’s “The Insider”: not stylistically showy because the drama and performances were sufficiently heightened already. In fact, director Ryan Murphy initially wanted to shoot on film for the grain and the period look, but Craig found it too cumbersome shooting four or five cameras (for navigating...
- 8/24/2016
- by Bill Desowitz
- Indiewire
HBO’s “Game of Thrones” is once again the VFX frontrunner. The episode “Battle of the Bastards” created a spectacular crescendo for Season 6, bringing to a head the heated feud between Jon Snow (Kit Harrington) and his army of Wildlings, and the Boltons, led by nemesis Ramsay Bolton (Iwan Rheon).
Led by production VFX supervisor Joseph Bauer and the team at Australia-based Iloura, they used Akira Kurosawa’s “Ran” and other classic battle movies for inspiration. Historical reference informed army formation and tactics, and the body pile concept came from both Roman and Civil War accounts. The Pov stayed with Snow to relentlessly keep us inside the action.
Iloura raised its photoreal game with 400 audacious shots featuring 3,000-strong armies, a hybrid of real and CG people and animals and massive crowd simulations, as well as hundreds of flying body parts, blood, weapons, mud, smoke, fire and mist.
For realistic-looking horse and rider animation,...
Led by production VFX supervisor Joseph Bauer and the team at Australia-based Iloura, they used Akira Kurosawa’s “Ran” and other classic battle movies for inspiration. Historical reference informed army formation and tactics, and the body pile concept came from both Roman and Civil War accounts. The Pov stayed with Snow to relentlessly keep us inside the action.
Iloura raised its photoreal game with 400 audacious shots featuring 3,000-strong armies, a hybrid of real and CG people and animals and massive crowd simulations, as well as hundreds of flying body parts, blood, weapons, mud, smoke, fire and mist.
For realistic-looking horse and rider animation,...
- 8/19/2016
- by Bill Desowitz
- Indiewire
At Thursday’s Comic-Con panel, Isa Dick Hackett (exec producer and Philip K. Dick’s daughter) promised that we will meet “The Man in the High Castle” in Season 2. Meanwhile, cinematographer James Hawkinson, taking a break from prepping in Vancouver, teased by phone that we can expect more alternate worlds opening up.
“Philip K. Dick didn’t believe in reality and it offers so many possibilities for parallel worlds,” offered Hawkinson (“Hannibal”).
This was alluded to at the end of Season 1 with the introduction of mysterious films and physical travel to an alternate timeline by Tagomi (Cary-Hiroyuki Tarawa).
It’s all part of the “retro-futurism” of the Amazon series that received craft noms not only for Hawkinson’s work on the pilot but also for production design, VFX and main title design.
Read More: ‘The Man in the High Castle’ Season Two Clip: Ridley Scott Introduces New Sdcc Footage
In...
“Philip K. Dick didn’t believe in reality and it offers so many possibilities for parallel worlds,” offered Hawkinson (“Hannibal”).
This was alluded to at the end of Season 1 with the introduction of mysterious films and physical travel to an alternate timeline by Tagomi (Cary-Hiroyuki Tarawa).
It’s all part of the “retro-futurism” of the Amazon series that received craft noms not only for Hawkinson’s work on the pilot but also for production design, VFX and main title design.
Read More: ‘The Man in the High Castle’ Season Two Clip: Ridley Scott Introduces New Sdcc Footage
In...
- 7/22/2016
- by Bill Desowitz
- Indiewire
There’s good reason newcomers “The People v. O.J. Simpson,” “Mr. Robot” and “The Man in the High Castle” distinguished themselves with Emmy craft noms: they brought authenticity to stories that tap into the racial divisiveness, violence and alienation that are weighing heavily on our minds this Presidential election season. And riding the surge of female empowerment, impeccably produced “Outlander” and “Crazy Ex-Girlfriend” also landed craft recognition.
FX’s “The People v. O.J. Simpson: American Crime Story” grabbed 22 noms (including cinematography, costumes, makeup and editing), second only to Emmy leader “Game of Thrones” with 23. What they achieved with recreating “the trial of the century” in the ’90s was bringing it eerily full-circle today.
Verisimilitude, of course, was crucial. For cinematographer Nelson Cragg, the Bundy Drive crime scene where Nicole Brown Simpson and Ron Goldman were murdered provided one challenge. Since the Brentwood condo no longer exits, they had to...
FX’s “The People v. O.J. Simpson: American Crime Story” grabbed 22 noms (including cinematography, costumes, makeup and editing), second only to Emmy leader “Game of Thrones” with 23. What they achieved with recreating “the trial of the century” in the ’90s was bringing it eerily full-circle today.
Verisimilitude, of course, was crucial. For cinematographer Nelson Cragg, the Bundy Drive crime scene where Nicole Brown Simpson and Ron Goldman were murdered provided one challenge. Since the Brentwood condo no longer exits, they had to...
- 7/15/2016
- by Bill Desowitz
- Indiewire
It doesn't seem coincidental that The Man in the High Castle's best episode yet was shot by James Hawkinson, the visual artist who turned Hannibal into one of television's most striking shows, and directed by Brad Anderson, the filmmaker behind Session 9, Transsiberian and The Machinist. The writing and performances were top-notch in this episode, but I don't think it would be as much of a success without Hawkinson's visual fluency and Anderson's confident hand."Truth" begins where the last episode left off: Smith (Rufus Sewell) has caught Joe (Luke Kleintank) rifling through the folders in his home office. As Smith stands in the doorway, he expresses his disappointment in a deeply menacing way. He orders Joe to tell him everything that happened in Canon City: "Truth time. Tell me about the girl." Meanwhile, Juliana (Alexa Davalos) has discovered that her stepfather Arnold (Daniel Roebuck) works in a surveillance...
- 11/25/2015
- by Brian Tallerico
- Vulture
Hey, there was a new "Hannibal" on tonight! Last night, I spoke with Bryan Fuller about the show's potential future, or lack thereof, somewhere other than NBC, and now I have a review of tonight's episode coming up just as soon as I politely refuse your offer of chocolate... "I know what's coming for you, Will. You don't have to die on me, too." -Jack Last week's episode pushed the show's abstract style to its limit, where the "pretentious art film" approach Bryan Fuller understandably favors for this show left things feeling more inert and confusing than enticing. "Aperitive" isn't exactly the show doing a stylistic 180 and resembling an episode of "NCIS." It bounces back and forth in time, it plays with characters' appearances and how we are allowed to see them(*), and it lets other characters' imagination overtake the narrative in a way that usually only Will's does. But...
- 6/26/2015
- by Alan Sepinwall
- Hitfix
As we conclude our conversation, James Hawkinson correctly notes that HitFix doesn't do many interviews with cinematographers. While my departing colleague Kris Tapley actually has done a spectacular job interviewing big screen DPs for the site, Hawkinson is almost certainly the first TV cinematographer I've spoken with. If you're going to talk to one TV cinematographer, though, it's hard to think of a better candidate than Hawkinson, who has shot NBC's "Hannibal" since its pilot. No matter what Emmy voters may think, "Hannibal" is currently in its third season as one of the most breathtaking visual spectacles on TV. It's a world of richly saturated colors, subtle gradations of darkness, teasing tricks of focus and the ability to get equal beauty out of a flayed body, a tower of corpses or a dinner composed of succulent preparations of "human" flesh. There's really nothing close on TV, like a little weekly...
- 6/25/2015
- by Daniel Fienberg
- Hitfix
Hannibal lays some solid groundwork for its eventual endgame in this week's revealing episode. Here's Laura's review...
This review contains spoilers.
3.2 Secondo
When we started this Hannibal journey, it was as if most of us were caught in a strange trap. It's probably fair to say that most people who tuned in knew at least some of the story of Hannibal Lecter, either from the books by Thomas Harris or the movies based upon those novels. But certainly much of the audience came in with the understanding that what made Lecter so dangerous was not an indiscriminate penchant for violence, but his razor-sharp mind which decided when and how that violence was unleashed, and upon whom.
And yet, we also knew one other important thing: that Lecter gets caught. No matter how smart he is, someone manages to outsmart him and he ends up subject to imprisonment and the not-so-tender mercies of Dr.
This review contains spoilers.
3.2 Secondo
When we started this Hannibal journey, it was as if most of us were caught in a strange trap. It's probably fair to say that most people who tuned in knew at least some of the story of Hannibal Lecter, either from the books by Thomas Harris or the movies based upon those novels. But certainly much of the audience came in with the understanding that what made Lecter so dangerous was not an indiscriminate penchant for violence, but his razor-sharp mind which decided when and how that violence was unleashed, and upon whom.
And yet, we also knew one other important thing: that Lecter gets caught. No matter how smart he is, someone manages to outsmart him and he ends up subject to imprisonment and the not-so-tender mercies of Dr.
- 6/22/2015
- by rleane
- Den of Geek
Hannibal is back with a glorious new episode. Here's Laura's review of Antipasto...
This review contains spoilers.
3.1 Antipasto
Just like every other devotee to Bryan Fuller’s Hannibal, I’ve spent the 12+ months since its last episode trying to convince everyone I know to watch the show. The reasons for this are many.
First, frankly, it is, quite simply, an amazing piece of cinema. Yes, I know it’s on television, but trust me, it might as well be on the silver screen at a film festival for the level of auteuritsm on display. If you aren’t watching, you’re missing out.
Second, many people don’t watch because they are convinced that the show is nothing but an excuse to bring more violence to television. And I am not going to pretend that the show isn’t violent. The season finale last year was nothing less than...
This review contains spoilers.
3.1 Antipasto
Just like every other devotee to Bryan Fuller’s Hannibal, I’ve spent the 12+ months since its last episode trying to convince everyone I know to watch the show. The reasons for this are many.
First, frankly, it is, quite simply, an amazing piece of cinema. Yes, I know it’s on television, but trust me, it might as well be on the silver screen at a film festival for the level of auteuritsm on display. If you aren’t watching, you’re missing out.
Second, many people don’t watch because they are convinced that the show is nothing but an excuse to bring more violence to television. And I am not going to pretend that the show isn’t violent. The season finale last year was nothing less than...
- 6/10/2015
- by rleane
- Den of Geek
Based on traditional ratings alone, NBC's "Hannibal" is among the least-watched shows on the traditional broadcast networks. But its reputation among the sorts of fans who come to Comic-Con has grown with each passing year. Two summers ago, it was just one half of a Bryan Fuller-focused panel (which also focused on his attempt to reboot "The Munsters" as "Mockingbird Lane") in a very small room. Last summer, it moved to a slightly bigger room to accommodate Fuller and Hugh Dancy. This year, even without Dancy or Mads Mikkelsen or Laurence Fishburne, "Hannibal" has graduated to the big time, taking over the Convention Center's mammoth Ballroom 20 for a panel subtitled "Embrace the Madness," featuring Fuller, director David Slade, writer/producer Steven Lightfoot, longtime Hannibal Lecter producer Martha DeLaurentiis, and supporting players Caroline Dhavernas, Scott Thompson and Aaron Abrams, and moderated by Jonathan Ross. Given that Dhavernas' Dr. Alana Bloom...
- 7/24/2014
- by Alan Sepinwall
- Hitfix
A great weight was lifted from our shoulders when NBC renewed "Hannibal," but it's only getting heavier for Will as we head toward the season finale. First we (and Hannibal, it seems) have to get through next week's Episode 2.12, "Tome-Wan." Check out some photos and a promo.
As a bonus - two bonuses actually - more installments of the show's companion web series, "Post Mortem with Scott Thompson," have arrived so be sure to watch co-star Caroline Dhavernas discuss her character, her name, and Will Graham's irresistible flaws.
She's followed by cinematographer James Hawkinson talking about the show's signature look, how he breaks down a script, and shooting in northern light.
NBC also just released the synopsis for the Season 2 finale, Episode 2.13, "Mizumono," so we've included that as well if you'd like to know even more about what's coming. If you'd rather not, we've put it at the bottom...
As a bonus - two bonuses actually - more installments of the show's companion web series, "Post Mortem with Scott Thompson," have arrived so be sure to watch co-star Caroline Dhavernas discuss her character, her name, and Will Graham's irresistible flaws.
She's followed by cinematographer James Hawkinson talking about the show's signature look, how he breaks down a script, and shooting in northern light.
NBC also just released the synopsis for the Season 2 finale, Episode 2.13, "Mizumono," so we've included that as well if you'd like to know even more about what's coming. If you'd rather not, we've put it at the bottom...
- 5/10/2014
- by Debi Moore
- DreadCentral.com
Review Paul Brian McCoy 22 Apr 2014 - 09:29
A bit of a palate cleanser this week - though it's one that signals the arrival of far bigger things to come...
This review contains spoilers.
2.8 Su-zakana
Each episode of Hannibal this season has been named after a dish in the Japanese banquet dinner Kaiseki. The meal overall is a tour of Japanese haute cuisines balancing taste, appearance, and colors to emphasize seasonal themes. Each dish is beautifully arranged and decorated with flowers and edible garnishes designed to resemble animals or plants.
Su-zakana is a traditional palate cleanser before moving into a second round of larger dishes, and episode eight, Su-zakana, serves that purpose exquisitely. With the cleansing of the palate comes a return to familiarity as well, with Will back consulting with Jack and in therapy with Hannibal. Structurally, Hannibal returns to the procedural format, providing the semblance of normalcy despite everyone involved knowing full well,...
A bit of a palate cleanser this week - though it's one that signals the arrival of far bigger things to come...
This review contains spoilers.
2.8 Su-zakana
Each episode of Hannibal this season has been named after a dish in the Japanese banquet dinner Kaiseki. The meal overall is a tour of Japanese haute cuisines balancing taste, appearance, and colors to emphasize seasonal themes. Each dish is beautifully arranged and decorated with flowers and edible garnishes designed to resemble animals or plants.
Su-zakana is a traditional palate cleanser before moving into a second round of larger dishes, and episode eight, Su-zakana, serves that purpose exquisitely. With the cleansing of the palate comes a return to familiarity as well, with Will back consulting with Jack and in therapy with Hannibal. Structurally, Hannibal returns to the procedural format, providing the semblance of normalcy despite everyone involved knowing full well,...
- 4/22/2014
- by sarahd
- Den of Geek
Hannibal Season 2, Episode 2 “Sakizuki”
Directed by Tim Hunter
Written by Bryan Fuller
Airs Thursdays at 10pm Et on NBC
Hannibal season 2 serves a second course with “Sakizuke,” the grandest guignol Bryan Fuller and director Tim Hunter have produced yet. Will Graham assists the FBI in tracing down a serial killer from within his cell, while Hannibal Lecter continues his mind games. Hannibal delivers another standout episode; and “Sakizuke,” ranks with the most upsetting of them.
Most interesting is how the first two episodes of season two play out like a feature length film. Here we have a serial killer who’s constructing a human mural, with bodies sewn together within a silo, so when viewed from above, they form the image of an eye. The opening sequence in “Sakizuki” is not for the faint of heart, as one of the victims of the skin tone killer awakens amidst the mass of dead bodies,...
Directed by Tim Hunter
Written by Bryan Fuller
Airs Thursdays at 10pm Et on NBC
Hannibal season 2 serves a second course with “Sakizuke,” the grandest guignol Bryan Fuller and director Tim Hunter have produced yet. Will Graham assists the FBI in tracing down a serial killer from within his cell, while Hannibal Lecter continues his mind games. Hannibal delivers another standout episode; and “Sakizuke,” ranks with the most upsetting of them.
Most interesting is how the first two episodes of season two play out like a feature length film. Here we have a serial killer who’s constructing a human mural, with bodies sewn together within a silo, so when viewed from above, they form the image of an eye. The opening sequence in “Sakizuki” is not for the faint of heart, as one of the victims of the skin tone killer awakens amidst the mass of dead bodies,...
- 3/9/2014
- by Ricky da Conceição
- SoundOnSight
At first blush, “Hannibal” looks like the conceptual twin of CBS timeslot rival “Elementary,” a series that seeks to leverage a brilliant literary character to sell a moody procedural. It’s also a little like “It Takes a Thief,” only here substituting a serial killer. Stick with the series through a handful of episodes, though, and it’s clear that showrunner Bryan Fuller has brought a semi-hypnotic quality to this prequel adaptation of Thomas Harris’ Hannibal Lecter character — ungainly and messy, but at times visually arresting, and thanks in large part to the central trio of Mads Mikkelsen, Hugh Dancy and Laurence Fishburne, quite interesting. Bon appetit.
Granted, NBC’s Thursday lineup is a devalued piece of real estate, and sustaining the show for any length of time seems like a high-wire act. As A&e’s “Psycho” precursor “Bates Motel” demonstrates, the benefits associated with such a well-known property can...
Granted, NBC’s Thursday lineup is a devalued piece of real estate, and sustaining the show for any length of time seems like a high-wire act. As A&e’s “Psycho” precursor “Bates Motel” demonstrates, the benefits associated with such a well-known property can...
- 3/28/2013
- by Brian Lowry
- Variety Film + TV
Coming as it does at the end of an awards-film season full of Holocaust dramas, The Unborn’s release seems appropriately timed. Writer/director David S. Goyer’s entry in the possession-film stakes eschews the subgenre’s usual Catholic trappings in favor of a demon with its roots in both Jewish mythology and the WWII persecution of that religion.
Not that it demonstrates a particular sensitivity toward the subject; a line like “It has fallen to you to finish what began at Auschwitz” can’t help but give a viewer pause no matter what the context. And in the end, the Jewish elements are just window dressing on a film stocked with well-worn horror conventions, yet one that behaves like it’s the very first movie to feature a creepy kid, an elder in a nursing home who must be consulted for crucial dark information and a teenaged girl slowly...
Not that it demonstrates a particular sensitivity toward the subject; a line like “It has fallen to you to finish what began at Auschwitz” can’t help but give a viewer pause no matter what the context. And in the end, the Jewish elements are just window dressing on a film stocked with well-worn horror conventions, yet one that behaves like it’s the very first movie to feature a creepy kid, an elder in a nursing home who must be consulted for crucial dark information and a teenaged girl slowly...
- 1/7/2009
- Fangoria
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