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Development [ edit ]
Ball cited the work of filmmakers Chantal Akerman, Stan Brakhage, Maya Deren, Stanley Kubrick, and David Lynch🧾 as influences on Skinamarink.[20] He also stated that he was influenced by the 1967 avant-garde film Wavelength and the 1974🧾 slasher film Black Christmas, saying of the latter: "Black Christmas has a lot of shots where there's just panning. I🧾 would refer to it when talking with my director of photography, who hadn't seen Black Christmas: 'This is my Black🧾 Christmas shot.'"[20]
Theatrical release [ edit ]
Rachel Ho of Exclaim! compared the narrative structure of Skinamarink to that of a dream,🧾 and wrote that it elicits fear through "a familiar dread that paints the entire film" rather than a conventional storyline.[11]🧾 She added that it "taps into our childhood nightmares, when the nonsensical made sense and the dark was a living,🧾 breathing organism to be feared", and wrote, "It's been awhile since I've been this scared while watching a movie, and🧾 it's not even because of jump scares or the boogeyman. It's the disarming and unsettling feeling Ball creates, and the🧾 anxiety that he builds that never quite dissipates."[11] Richard Brody of The New Yorker called the film "accomplished but seemingly🧾 unfinished—indeed, hardly begun", lamenting it as having "no referent world, no identifiable background, for [its {img} and sounds] to symbolize🧾 or suggest."[36] Richard Whittaker of The Austin Chronicle wrote that its 100-minute length "gives Ball more time to create subtle🧾 thematic vibrations, build up dreamlike symbolism and resonances through recurrent {img} [...] Yet it's also an eye-straining act of endurance🧾 [...] The pat defense is that Skinamarink is not for conventional horror audiences, and that's obvious, but at the same🧾 time it feels overextended as a conceptual piece."[37] Slant Magazine's Chuck Bowen felt that the film's "spell is broken by🧾 its sheer, ungodly slowness, which springs from a paucity of ideas. There's simply not much going on here. And with🧾 one's mind permitted to roam for vast stretches, there's time to consider Ball's borrowings."[38] Seeing the works of Robert Bresson🧾 as one such influence, Bowen wrote: "Ball's innovation is to present such enjoyable hokum with a kind of Bressonian anti-naturalism,🧾 turning the proceedings austere and humorless. [...] What this monotonous formalist exercise doesn't have, though, is Bresson's sense of how🧾 minute details reveal unexpected dimensions of a person's soul."[38]
Skinamarink received a polarized response from audiences;[12] this, in combination with its🧾 viral spread on social media following its festival leak, drew comparisons to The Blair Witch Project (1999), another horror film🧾 that garnered word-of-mouth anticipation and split audience reactions.[12][42]
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Call of Duty👌 2: Big Red One is a first-person shooter video game developed by Treyarch and High Voltage Software and published by👌 Activision for GameCube, PlayStation 2 and Xbox. It is a side-story of the original game Call of Duty 2, which👌 was released on PC and Xbox 360 in the same year.
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