Reviews

That brings us to the aspect of Lifeforce that's painful for film purists - the fact that Tobe Hooper's final cut of the film was taken by the distributor and executives - well after editor John Grover (a Bond film stalwart - being involved with the editing of Bond films from The Spy Who Loved Me in... ...

He'd end up editing a film with a very similar vibe - 1973 Nicolas Roeg film Don't Look Now, before moving on to The Rocky Horror Picture Show and The Man Who Fell to Earth. ...

While various carpenters and builders were creating the town of Presbyterian Church, as it slowly grows in the film, they were given period costumes and allowed to work as filming was underway, becoming the various tradesmen you see in the background of the film. ...

Tobe Hooper had cinematographer Andrew Laszlo brought on board primarily because of how much he admired his work filming The Warriors - and once again the vibrant colour is alive in every shot for this film. ...

I've always seen the inclusion of Donald in the film to be Charlie's more commercial side - the part of his brain that's perfectly willing to sell out sometimes, and the one that has the dumb kind of ideas that he might reject but which, once out, film executives love and won't let go of. ...

The film also managed to garner an Oscar nomination for Robert Altman himself - a dizzying achievement when you consider just how abused and mistreated he'd been by studios and critics for his work (his previous film, That Cold Day in the Park deserved far more recognition.) The film's box office su... ...

The film's edit is credited to Larry Carroll, but a lot of the film was constructed with Tobe Hooper grinding everything along while negotiating the funds that would be needed to finish the film. ...

Poltergeist happens to be one of those films I've seen many times, and one of those films that has held up - while other films have dipped and showed their flaws, this one never has. ...

The soundtrack is not overflowing with music that will help guide you through the film, there's only Karen Souza's pleasant version of Radiohead's 'Creep' which we hear a couple of times. ...

The film got the visuals to match the fascinating story on MGM sound stage sets (the film was shot entirely indoors) that were created by primarily by art director Arthur Lonergan (the crowning achievement of his career - one that would include an Oscar nomination for his set decoration on 1966 film... ...