This film could have had a x or higher rating if they had put more scares in the film.My partner and I were ying through the movie which part could have had a scary part in it.We both thought the same thing that this film was okay and it had a lot of missed opportunities.If I was the film director, next time I would put in more scare end e and try and get some people, not family and friends who would say it's good and have them tech and ask them their opinions.This is the way for the director to go.Only a four as I found this film could have been a lot, lot better.
I've watched this film twice within the year now, and the first time, I'll admit, I was a little too overwhelmed to write a review for this movie. It left me both confused and completely enchanted, and I knew immediately that I wanted to watch the movie again, now knowing how the film would progress. Indeed, this is a movie that I feel like needs either two viewings or a bit of prior knowledge to fully appreciate. It's absolutely one of a kind when it comes to production design, story structure, even atmosphere and acting. This movie is a rabbit hole down which the viewer falls, and the first time through, it's difficult to take in everything, because there is so much going on. When I sat down to watch this for a second time I knew what to look for, I knew the general storyline, and I felt myself not only enjoying the film as a story a lot more, but I also found myself appreciating the cinematic tricks and imagery more too. This is not an easy film to watch- it requires thinking, patience, and a lot of imagination, but if you're a cinephile who likes movies in the same vein as Jodorowsky or have an interest in production design, this is a film you wont want to miss.
Sanatoriy Scaricare Film
This mystical wide-screen allegory was inspired by the short stories of Bruno Schulz (the Polish Franz Kafka), but is closer in spirit to an Eastern European 'Alice in Wonderland'. The film has the rich visual texture and elliptical logic of a dream, but viewers unprepared for the haphazard structure and lack of any linear plot may find their patience wearing thin after a few scenes. It opens with a young man visiting his father in a remote sanatorium, where he enters into a kaleidoscopic world of real and imagined events spanning back and forth across time and memory (at one point he glances out a window and sees himself arriving at the front door). Like many post '60s head-trips the film has a devoted cult following, but the primitive, post-dubbed stream of consciousness style hasn't aged very well, and what may have once been a daring escape from the straitjacket of narrative convention can now seem like two full hours of sloppy self-indulgence.
John McCarten of The New Yorker called it "a movie that only a case-hardened wowser would fail to find beguiling. Even if you saw the play, I don't think your familiarity with the alcoholic hallucinations of Elwood P. Dowd, the hero, will diminish your enjoyment of the film, and though James Stewart, who plays Dowd in the picture, doesn't bring to his part all the battered authority of Frank Fay, the originator of the role, he nevertheless succeeds in making plausible the notion that Harvey, the rabbit, would accept him as a pal."[8] The Monthly Film Bulletin was less positive, writing that "Harvey himself scarcely begins to exist for the audience until the last few minutes. In his absence, the humours that can be extracted from the more obvious aspects of lunacy or suspected lunacy are wrung rather dry."[9]
TV Guide says James Stewart gave "one of his finest performances in this lighthearted film", and it currently has five out of five stars on their site.[10] The film holds an 86% "Fresh" rating on Rotten Tomatoes from 28 reviews.[11]
In March 1990, James Stewart recorded a special narrative introduction, that would be combined with many of the film's still photos, which would be added to the film's original release on VHS. MCA Home Video released Harvey on VHS in 1990. This also appears on at least one DVD release of the film.
Producer Don Gregory purchased the merchandising and film rights to Harvey from the Mary Chase estate in 1996. In April 1999, Gregory sold the rights to Miramax Films, who beat out several high-profile bidders, including Walt Disney Pictures (represented by the producing team Barry Sonnenfeld and Barry Josephson), Universal Pictures and New Line Cinema. However, Miramax still intended to have Gregory produce Harvey. Universal was interested in having Harvey with Jim Carrey starring and Tom Shadyac directing, while New Line saw it as an Adam Sandler movie. Harvey Weinstein of Miramax was also considering Carrey and Sandler, as well as Tom Hanks. Weinstein wanted Harvey to be set in a modern setting.[17] Weinstein eventually took the project to Dimension Films, who partnered with Metro-Goldwyn-Mayer to co-finance. Craig Mazin was hired by Dimension in November 2001 to adapt the screenplay.[18] John Travolta entered negotiations to star in March 2003,[19] but the rights for Dimension and MGM lapsed,[20] which were picked up by 20th Century Fox in 2008.[21] Jonathan Tropper was hired to write the script, which, in August 2009, drew interest from Steven Spielberg as director. As a result, Spielberg pushed back development for an Abraham Lincoln biopic (which was released in 2012); a remake of Oldboy and an adaptation of The 39 Clues. It was then announced that Harvey would be a joint 50/50 production between 20th Century Fox and Spielberg's DreamWorks, with Spielberg and Gregory also set to produce the film. Tom Hanks, who previously worked with Spielberg on Saving Private Ryan, Catch Me If You Can and The Terminal, was considered for the lead role.[21] Spielberg had also approached Robert Downey Jr., but in December 2009 Spielberg opted out after a dispute over his vision for the project.[22][23]
The 1977 comic book story, "The Harvey Pekar Name Story," written by Harvey Pekar and illustrated by Robert Crumb, alludes to the play/film when Pekar describes how childhood acquaintances made fun of his name by calling him "Harvey the Rabbit."[26]
In the Farscape television series, produced by The Jim Henson Company between 1999 and 2003, the main character Crichton was often "haunted" by visual-auditory hallucinations referred to as a neural-clone of his archenemy Scorpius, produced by an interactive neurochip embedded in his brain. This character is dubbed "Harvey" and called such by Crichton in direct reference to the original film.
The 2001 film Donnie Darko contains a six-foot tall rabbit named Frank, which haunts the titular character. Despite popular belief that this character was a reference to Harvey, Donnie Darko's writer/director Richard Kelly denies it. In an interview with Future Movies, he is quoted as saying: "I have never even seen the movie, it never occurred to me."[28] In 2002, the Aero Theatre in Santa Monica programmed Harvey and Donnie Darko as a double feature.[29]
The British indie rock band Her's included a song named "Harvey" based on the film on their 2018 debut album Invitation to Her's. Harvey was one of lead singer Stephen Fitzpatrick's favorite films.[31][32]
C.L.E.A.N. is a 2018 Croatian-German-British science fiction horror feature film directed by Aurelio Toni from a screenplay by Konstantin Georgiou. The Dream Team Pictures production stars Costas Mandylor, Jenny Paris, Vjekoslav Katusin, Maik van Epple and Tom Sizemore. 2ff7e9595c
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