Oh, I definitely will. She loves 'em handsome and foreign (though her preference for the Dick Cavett-type won over with my dad). Rutger Hauer, Jeroen Krabbé, and Dick Bogarde are other examples of her taste in men.
I've only seen a handful of his films: Blade Runner, Batman Begins, and Confessions of a Dangerous Mind. I should watch that movie where he escapes from a concentration camp at some point.
That's a hard choice to make, but I'm going to go with Nighthawks and The Hitcher.
They're both complementary to each other and could, if you wanted, make a fine doublefeature.
Both films rely on his physicality and his expressions more than dialogue, which is something that sells me on a performance; not how one delivers lines, but how they embody the character.
In both films, he is an antagonist who forms nearly symbiotic relationships with the protagonist. In Nighthawks, he's a terrorist who Stallone is aboslutely crazed about catching; in The Hitcher, he purposely seeks out C. Thomas Howell's character and is unrelenting in tormenting everyone else around them, as he wants Howell to kill him
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The Hitcher is director Eric Red's most notable work. He has a particular eye for lighting and sound and is adept at establishing mood and atmosphere. Kathryn Bigelow collaborated with him often, as working with him helped get her started in directing; they both have a similar style and approach to filmmaking that I adore.
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I know my parents quite liked Agent Orange, along with his American '80s films.
Oh, and Nighthawks! I nearly forgot that one. That was his first American film, I believe. He and Stallone were both excellent in that one.
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They're both complementary to each other and could, if you wanted, make a fine doublefeature.
Both films rely on his physicality and his expressions more than dialogue, which is something that sells me on a performance; not how one delivers lines, but how they embody the character.
In both films, he is an antagonist who forms nearly symbiotic relationships with the protagonist. In Nighthawks, he's a terrorist who Stallone is aboslutely crazed about catching; in The Hitcher, he purposely seeks out C. Thomas Howell's character and is unrelenting in tormenting everyone else around them, as he wants Howell to kill him ( ... )
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