Comments on: 966 (108). Bad Timing (1980, Nicholas Roeg)

By: humorous_duet_acting

humorous_duet_acting — Tue, 29 Sep 2009 07:22:49 +0000

I'll post the same information to my blog, thanks for ideas and great article.

By: Andy

Andy — Sat, 18 Jul 2009 09:05:20 +0000

Miss Russell makes gestures that involve her whole body, gestures that are almost frighteningly carefree..

By: Concerned Friend

Concerned Friend — Thu, 25 Jun 2009 06:42:40 +0000

Kevin,

look out!!

Matt Zoller Seitz wants to get into your pants!

By: alsolikelife

alsolikelife — Tue, 16 Jun 2009 17:40:48 +0000

Thanks Matt (hooray, a certifiable sentient commentor among the zombie spam!)

I'd give the archness of the approach more credit as genuine “feeling” than I think you might – at least I think it's about the brute primacy hidden behind attempts to intellectualize our emotions. The rape scene is as naked as I've ever seen Roeg's filming. It makes everything that plays before it amount to the fragmented mental patterns of a repressed trauma slowly coming into the clear.

Interesting connection – I always associated THE LIMEY with POINT PLANK – which begs the question of what link there might have been between Boorman and Roeg – and why Roeg basically took over making POINT BLANK type cinema while Boorman went more conventional.

By: Matt Zoller Seitz

Matt Zoller Seitz — Sun, 14 Jun 2009 01:03:58 +0000

A technically ambitious movie that doesn't quite work dramatically; you sort of have to make up your mind to believe that the characters are thinking and feeling what the movie indicates they're thinking and feeling (the frankly not-quite-baked nonlinear editing and the slightly closed-off performances make the whole thing feel a tad theoretical). But it's still worth seeing because of its sheer ambition, in every department, and for its utter disinterest in being liked.

I would love to see the tribute reel Soderbergh cut for the 2009 British Academy of Film and Television Awards tribute to Roeg. Soderbergh clearly learned a lot from the guy, and “The Limey” often plays like the leanest, warmest movie Roeg never made.

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