If one must ascribe a theme to the Michel Hazanavicius project, it might be documenting the progression of film history: The Artist the silent era, Redoubtable the new wave, and now Final Cut the dreaded hyper-capitalist streaming era. Considering his 2014 Cannes completion entry and Fred Zinnemann remake The Search, likely one of the most-forgotten works of recent times, seemingly killed all his Hollywood crossover potential in one fell swoop, there’s likely some bitterness about being the rare French Academy Award winner still at the mercy of ever-changing markets.
Having (admittedly) never seen Shin’ichirō Ueda’s One Cut of the Dead I’m unsure to what degree his remake, Final Cut, is riffing or reinventing the basic premise, but it’s not hard to detect some personal angle when a seeming Hazanivicius stand-in, fading French director Remi (Romain Duris), serves as the lead. An opportunity for the helmer comes when...
Having (admittedly) never seen Shin’ichirō Ueda’s One Cut of the Dead I’m unsure to what degree his remake, Final Cut, is riffing or reinventing the basic premise, but it’s not hard to detect some personal angle when a seeming Hazanivicius stand-in, fading French director Remi (Romain Duris), serves as the lead. An opportunity for the helmer comes when...
- 7/14/2023
- by Ethan Vestby
- The Film Stage
Pop quiz: You’re a filmmaker. You’re making a zombie movie. The crew is … let’s be charitable and say “adequate.” The budget is somewhere in the high three-figure range at best. Your main actor is a pompous diva. Even worse, your lead actress isn’t giving you the amount of bone-chilling terror that you require. The climax involves her character killing the hungry corpse — also the man she loved — who’s now trying to eat her flesh. If she can’t sell the sense of sorrow and the scares,...
- 7/14/2023
- by David Fear
- Rollingstone.com
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