#friedkin

hugo friedkin time out corner

Finally watched ‘sorcerer’ last night as a sort of comparison to ‘the wages of fear’ I watched a week or 2 ago, and I have to say I preferred ’the wages of fear’, maybe cause I saw it first and kinda knew what was gonna happen in ‘sorcerer’ but I also think it was a better made movie, the pacing was tighter and the plot made more sense in ‘wages of fear’. That’s not to say that ‘sorcerer’ is bad, it’s not, there were a couple tense moments, particularly the one in the gif above with the truck crossing the bridge. It def works in the movie, but sadly is the prob the most tense part of the movie, as compared to ‘wages of fear’ where there was one tense scene after another, again maybe it has to do with seeing ‘wages of fear’ first… idk… but I don’t think so. ‘Sorcerer’ looks really good, and the acting is fine, I’d recommend it, but maybe someone watch ‘sorcerer’ first and then ‘wages of fear’ and say which works more. I’d still wager it’s ‘wages of fear’.

friedkin

To Live and Die in LA (1985, dir. William Friedkin, cinematography by Robby Muller)

bartleby, anthony friedman 1970

good morning tumblr meet friedkin :-) (named by the illustrious @lobstersinmyhouse ) he is made out of a wire and tinfoil armature, air dry clay, acrylic paint, and copious amounts of love. he is the size of a cat and can be held very gently in your arms.

The Exorcist: Father Merrin

Sorcerer is a wonderful example of Letterboxd’s value in witnessing a film’s reputation evolve over time. When the site began over a decade ago, Friedkin’s follow-up to The Exorcist and The French Connection would not have usurped those immediately canonized pictures, and certainly, audiences at the time of its release didn’t put it anywhere near the same ballpark. This is the definition of a high riser, a movie that has undergone a massive critical reevaluation over the decades and now sits firmly planted at the top of this list of Friedkin’s finest.