Christofer has written 4 reviews for films rated ★★★★★ during 2014.

  • The Hunger

    The Hunger

    ★★★★★

    There's no distinction to be made between the "arthouse" Tony Scott of early works and the "blockbuster" Tony Scott of yesterday, after all DOMINO is a radical potentiation of everything present in THE HUNGER. Through a bizarre, music video-influenced montage Scott occasionally manages to achieve something close to filmic serialism (it's not Adrian Lyne at work here), a strong dissonance of sensations. Scott is the only one I can think of who mastered atonal editing within narrative cinema, which might…

  • Salem's Lot

    Salem's Lot

    ★★★★★

    "The house was a monument to evil sitting there all these years holding the essence of evil in its smoldering bones."

    Constituted by the same dread and hopelessness that infects every frame of Nosferatu, only transposed to a secularized America. There is no good act, a sacrifice in the end to redeem any of the characters, what stays is the image of an already corrupt city being destroyed, and the screams of its people transformed by said evil, even of those who escape.

  • God Told Me To

    God Told Me To

    ★★★★★

    The camera refuses to establish meaningful relationships, shots show the relation between the protagonist and other people, the city/surroundings or religious symbols, but they interrupt the development of any dialogue... Visual dialogue. All scenes are filled with dissonance, like close-ups in abstract perspective, unrelated to anyone engaging in the conversation. Characters are always isolated. The narration is aggressive from the very beginning, but the violence of its images is disturbingly mundane. It does not need more than loose allusions to conflicts in contemporary society, no matter how banal some may seem, to set up an absolute dystopia.

  • The Hunted

    The Hunted

    ★★★★★

    When we get to the knife combat, there is no surprise in the way Friedkin approaches the scene, as his filmmaking is about constant conflict and there is not one moment in the film when interactions cease to be aggressive, even in the most banal communication between characters. All scenes are connected in a way that makes violent action incessant (just see the way flashbacks are presented) and the very open spaces in which these men have to operate are detailed only by their relation to it and how this will lead to brutal confrontation between them. Everything leads to self-destruction.