![]() ![]() The story of “Under the Skin” - which was adapted from a novel by Michel Faber - doesn’t amount to all that much. Dick, but in its finely calibrated formalism and vivid atmospherics, it’s pure Glazer. As a speculative piece of fantasy and warily somber mood piece, this erotically charged thriller recalls Philip K. “ Under the Skin,” Glazer’s third film, offers new evidence of that promise, even if it doesn’t entirely deliver on it. The film’s borderline genre between psychological horror and domestic melodrama, and Glazer’s clear commitment to rigorously austere composition and carefully centered framing, suggested he might be this generation’s most likely standard-bearer of the legacies of Roman Polanski and Stanley Kubrick. ![]() “Sexy Beast” was a ramped-up, hyper-verbal explosion of Britishisms and a singular, soaringly vulgar patois, which made Glazer’s sophomore effort so surprising: “ Birth,” a lamentably under-seen drama featuring a shattering performance by Nicole Kidman, contained relatively little dialogue, instead creating an atmosphere of bizarre, creeping dread by way of stately, meticulously controlled images and pristine sound design. One of the most astonishingly assured directorial debuts of the early 21st century was Jonathan Glazer’s “ Sexy Beast,” a stylishly vicious crime thriller that erased any chance of Ben Kingsley being typecast as a Gandhi figure. ![]()
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