Olikosse Cronenberggi joka tosissaan meinasi Ranxista vilmiä tehdä. Tekemättä jäi, nyt Taavi tekee toista sarjista elokuvaxi.
http://www.kvaak.fi/naytauutinen.php?articleID=261Mutta Ranxerox on kuin onkin filmillä:
OBSESSION: A TASTE FOR FEAR (1989). Starring Virginia Hey, Gerard Darmon, Gioia Scola, Carlo Mucari, Dario Parisini, Teagan Clive, Eva Grimaldi, Kid Creole. Directed by Piccio Raffanini. Meandering, stupid Italian thriller about an icy "art" photographer (Hey) whose trés decadent lifestyle is mildly jostled when one of her models is murdered. The film manages to maintain a fairly consistent air of unpleasantness and ineptitude all the way through. One potentially interesting device, the detective in charge (emoting all kinds of grizzled attitude, which mainly consists of him sporting a 25 o'clock shadow) having the dead girl's electronic appointment book and following her intended schedule, is clumsily handled at first and then just abandoned. While this is sometimes listed as a giallo, the genre it seems to have the most in common with in tone is the tidal wave of direct to video "erotic thrillers" that have glutted the market over the past decade. The filmmakers idea of sexy seemed to be bathing every other scene in incandescent blue and red lights, making it look as if these characters live in some kind of city-sized strip club. At least I thought this was supposed to be a stab (no pun intended) at eroticism, until an out-of-nowhere, smack-in-the-face of a scene in which the cop, pursuing the killer, fires his gun and a freaking laser beam comes out of it! Whoa, nellie! Was this supposed to be some kind of futureworld scenario? Why was I not informed of this earlier? But then, on further consideration, I found this actually explained a few things; things I had perhaps taken for granted as dippy, trendy affectations: Hey's hideous sportscar with one of those Delorean lifting-doors which is basically nothing more than a safety bar; the aforementioned electronic schedule which is actually a digital watch; the cop's tinfoil shirt, etc. Yes, this definitely clarified things. Of course it didn't make the film any better and it certainly didn't make it any less nonsensical, if anything the exact opposite. But it did clarify things for me, save of course for the tears in my eyes having spent an hour and a half watching this horsestuff. What it comes down to is that the main thing this film has to recommend it is a) the cast features a lot of very attractive women, b) there's truckloads of nudity (some fairly explicit), c) do the math. Those delightful boys at StompTokyo (stomptokyo.com) have often cited nudity in the first scene of a film as an immediate warning sign (this has that and in a rather tasteless context), but I wonder what they would say about a film that has an end credits sequence that is a virtual nudie montage as it is here? I think I can probably guess. The only other interesting thing I can say is for all of you adult comic fans out there. A scene in a dance club features a very brief cameo by Ranxerox, the star of Gaetano Liberatore's ultra-violent graphic novels.--Reviewed by Marc Beschler
