Hall Baltimore used to be a celebrated writer. His first novel, Fortune’s Pilgrim, was even heralded by the New York Times. But these days he’s reduced himself to witchcraft-themed genre quickies, excessive drinking and arguing with his wife via Skype. We meet Baltimore in the midst of a book-signing tour, albeit one that flits from small town to small town rather than city to city. His current destination, as Tom Waits’ narration informs us, is a place “for those who want to be left alone”. It’s a town so small that its bookshop is, in reality, just a couple of shelves in the hardware store. It does, however, have some very distinctive features: a seven-faced clock-tower, each of which tells a different time; a mass murderer “a while back” who slaughtered twelve children; a very famous visitor, once upon a time, in the guise of Edgar Allan Poe; and a corpse in the morgue with a stake through her heart. —Thedigitalfix.com
He was born in 1939 in Detroit, USA, but he grew up in a New York suburb in a creative, supportive Italian-American family. His father was a composer and musician Carmine Coppola. His mother had been an actress. Francis Ford Coppola graduated with a degree in drama from Hofstra University, and did graduate work at UCLA in filmmaking. He was training as assistant with filmmaker Roger Corman, working in such capacities as soundman, dialogue director, associate producer and, eventually, director of Dementia 13 (1963), Coppola’s first feature film. During the next four years, Coppola was involved in a variety of script collaborations, including writing an adaptation of This Property is Condemned, by Tennessee Williams (with Fred Coe and Edith Sommer), and screenplays for Is Paris Burning?, and Patton, the film for which Coppola won a Best Adapted Screenplay Academy Award. In 1966, Coppola’s 2nd film brought him critical acclaim and a Master of Fine Arts degree. In 1969, Coppola and George… read more
Honestly, I didn't finish it. The visuals were just so bad and the script was so brutal. Val Kilmer was actually hilarious, whether intentional or not.
I was kind of alienated already at the beginning, but soon came to realize that I had my expectations of what I was watching completely wrong. And I think that concerns a lot of people watching Twixt. In the end, I found this to be a visually magnificently grafted, fine piece of modern auterism. Not that much a suspenseful thriller of usual, narrative film-making, and I suppose many a viewer get that initially wrong.
Has its problems, especially for a story that's so preoccupied with endings, but as a fan of horror, it's rare to get a film that articulates the relationship between fiction and inner life, especially horror fiction, the way this one does. Especially when it's narrated by Tom Waits.
The French film journal has unveiled their choices for the best films of the year.