ICE-Vision: Mishima: A Life In Four Chapters (Paul Schrader, 1985)
Thursday, February 25 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“In Paul Schrader’s unusual biopic, Ken Ogata stars as Yukio Mishima, perhaps the most celebrated Japanese novelist of the last five decades. Originally titled Mishima: A Life In Four Chapters, the film is neatly divided into a quartet of acts, and the screenplay does not flinch in its depiction of Mishima’s hyperactive life. Among the many neat directorial touches is the decision to offer the narrative in black-and-white, while depicting scenes from Mishima’s novels in vibrant color.”
-All Movie Guide

ICE-Vision: The Boxer’s Omen (Chih-Hung Kuei, 1983)
Thursday, February 18 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“The Boxer’s Omen has long had a reputation for outrageousness with horror addicts and Asian film fans alike. Those unfamiliar with the film will be happy to know that the film truly lives up to that reputation, delivering a string of jaw-dropping magic-oriented horror sequences that deliver a few films’ worth of creatures, bloodcurdling transformations and psychedelic gore. It also boasts a unique plot built on not one but two revenge scenarios and some kickboxing filmed in a style reminiscent of Raging Bull. That said, the film is built on the ebb and flow of its horrific moments and director Chih-Hung Kuei handles these moments with a deft touch, making excellent use of grandiose sets and colored lighting to create a mood of candy-colored surrealism for all the scary goings-on.” -All Movie Guide

ICE-Vision: In A Lonely Place (Nicholas Ray, 1950)
Thursday, February 11 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“With his weary romanticism, Humphrey Bogart was made for Nicholas Ray, and together they produced two taut thrillers (the other was Knock on Any Door). In this one (1950, 94 min.), Bogart is an artistically depleted Hollywood screenwriter whose charm is inextricable from his deep emotional distress. He falls for a golden girl across the way, Gloria Grahame, who in turn helps him face a murder charge. The film’s subject is the attractiveness of instability, and Ray’s self-examination is both narcissistic and sharply critical, in fascinating combination. It’s a breathtaking work, and a key citation in the case for confession as suitable material for art. 94 min.”

-Dave Kehr (Chicago Reader)

ICE-Vision: Sweet Sweetback’s Badasssss Song (Melvin Van Peebles, 1971)
Thursday, February 4 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“Melvin Van Peebles’s 1971 independent film touched off a wave of imitative ‘blaxploitation’ features, few of which shared Van Peebles’s startling originality and fierce attack. The story of a male “performer” at a ghetto bordello and his run from the law, the film is a shrewd and powerful mix of commercial ingredients and ideological intent. R, 97 min.”
-Dave Kehr (Chicago Reader)