Originally Posted by psycho d (Post 871074)

Cemetery Man AKA Dellamorte Dellamore (1994). Dancing between the philosophic underpinnings of death and macabre humor, between a style that rivals Argento and a silliness that must be seen to be believed, and between the bizarre nature of love and downward spiral of depression built upon the isolation of the pariah comes the genius that is Dellamorte Dellamore. Michele Soavi's masterpiece shows that he was paying attention as Argento's understudy, maybe even surpassing the master. With so many genres rolled into one, this flick's originality allows its occasional zaniness to be smoothly taken in stride. With an almost whimsical plot, it conveys a meaning, or maybe purpose, of death that is felt more than it is understood. This fascination with death is furthered through its illicit eroticism. Rupert Everett's acting was sublime, with a subtle sense of delivery that is masterful. His nearly mute sidekick was equally wonderful. Anna Falchi's presence is a blessing that will send most guys to church, begging for more. Michele Soavi's direction was simply perfect, and the stylish camera work was delivered with an unequaled flair. The production set was both low budget and incongruently elaborate. Like any meditation of death, this goes beyond a mortal's capacity of comprehension, making for a movie that would be appreciated by horror fans and the intelligentsia alike. Grazia.
Genru'

Originally Posted by psycho d (Post 871074)

Cemetery Man AKA Dellamorte Dellamore (1994). Dancing between the philosophic underpinnings of death and macabre humor, between a style that rivals Argento and a silliness that must be seen to be believed, and between the bizarre nature of love and downward spiral of depression built upon the isolation of the pariah comes the genius that is Dellamorte Dellamore. Michele Soavi's masterpiece shows that he was paying attention as Argento's understudy, maybe even surpassing the master. With so many genres rolled into one, this flick's originality allows its occasional zaniness to be smoothly taken in stride. With an almost whimsical plot, it conveys a meaning, or maybe purpose, of death that is felt more than it is understood. This fascination with death is furthered through its illicit eroticism. Rupert Everett's acting was sublime, with a subtle sense of delivery that is masterful. His nearly mute sidekick was equally wonderful. Anna Falchi's presence is a blessing that will send most guys to church, begging for more. Michele Soavi's direction was simply perfect, and the stylish camera work was delivered with an unequaled flair. The production set was both low budget and incongruently elaborate. Like any meditation of death, this goes beyond a mortal's capacity of comprehension, making for a movie that would be appreciated by horror fans and the intelligentsia alike. Grazia.
Genru'