By Jonathan Moore

In a riveting story of suspense and terror at the excessive seas, Bram Stoker Award nominee Jonathan Moore pits people opposed to nature—and whatever a ways deadlier: one another.

Kelly Pratihari-Reid and her husband sail their yacht into Antarctic waters, considering their gravest issues can be ice and storms—and their cracked marriage. A British woman shrieking throughout a short-range VHF frequency ends that phantasm. It's coming, she screams. It observed us and it's coming again! Her voice is drowned via a tide of signal-jamming static, and Kelly sees a aim at the radar monitor: a boat is coming for them.

Thus starts an unforgettable cat-and-mouse video game throughout stormy polar seas and dire landfalls. Kelly's pursuers will attempt her to the boundaries of her endurance—and past. For the send in her wake is crewed by way of pirates, with a tender chief informed to exploit the main sadistic tortures in pursuit of his final goal . . . a objective as stunning because it is terrible.

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The film ends, as it began, with a funeral - this time a double one. The manipulation may be blatant, but it works infallibly: there were few dry eyes at the Udine screening. Despite such evident mechanics (not to speak of the music, which this time adds the "Pathétique" to the repertory), Maxu's soaring imagination and vision remain supreme. In Midnight Song II the influence of James Whale is more apparent: a scene where the Phantom comes upon a crowd of villagers listening to a professional storyteller has something of the look of fear without frontiers Maxu Weibang Hollywood Transylvania, but this, and some exotic mountain scenes, apparently done on location, have a grandeur and painterly style that the Universal stages could not rival.

All Yu quotations are this source. 2 opposite: Anthony Wong in The Executioners. hk (8 July 1997). 4 Bordwell, D. (2000) Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge: Harvard University Press, 155. hk (9 November 1998). hk (13 March 2001). 7 Shohat, E. and R. Stam (1994) Unthinking Eurocentrism: Multiculturalism and the Media. London: Routledge, 112. 8 Ibid. 9 Cheuk-to, L. (Summer 1989) "Political Censorship: The Fatal Blow", Cinemaya 4, 44-45. 10 Actor Karen Mok deplores the retrograde trend of 1990s "rape films requiring little budget and production" that manufacture as well as mirror the ideological notion that men both desire to, and in fact do, violently control women.

31 Brazil above: Marins is famous for auditioning potential female co-stars by testing their ability to tolerate all manner of insects and reptiles crawling on their bodies. 32 submits them to several "tests of bravery", which include attacks by dozens of tarantulas and snakes. Marins wanted to do a film even more shocking than the first one, thus the idea of using real snakes and spiders. With that in mind, he started auditioning actors for the parts. The examination included some very repulsive examples of method acting: candidates were asked to lick snakes, caress tarantulas, and kiss frogs.

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