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nitin wrote: Mon Oct 28, 2019 10:03 pm How can you say that when it probably has his best set piece in the museum scene? That’s about as perfect a 10 minutes in cinema as there is.

I honestly had to google it to show how much staying power it has for me in context. Even something simple like the tracking shot in Raising Caine has more effect and remembrance for me.

domino harvey wrote: Tue Oct 29, 2019 1:13 am We actually have an entire earlier thread exploring this angle

And the stuff discussed herein is essentially my main issue with the film. Caine's character's violent criminality comes not from real legitimate means (As legitimate from a psych perspective as they can be) but from the trans identity itself. Combine that with other lackluster elements of the film and you've got a really uneven thriller that relies on a really transphobic twist.

I don't have too much to add that hasn't already been expressed. For me, I was really enjoying the movie up until Angie Dickenson's murder in the elevator. I found the film goes downhill from there, since I found Nancy Allen's character and performance less enjoyable than Angie Dickenson's. Once it became obvious that De Palma was doing a Pyshco pastiche, the murder mystery element and twist became boring and predictable. Combine that with the transphobia discussed in this thread and the other one linked by Domino and you have a disappointing film.

I often find myself hit-and-miss with De Palma. I enjoy his visual style, but as a fan of both giallo and Hitchcock, I find that when he is constructing stories that are assembled bits from Hitchcock/Argento movies, I'd rather watch something by either of those two directors.

Do you think in a couple decades an Argento descendant will make Do You Like De Palma?

If Helene Cattet and Bruno Forzani lurk on these forums, I think they may have found their next project.