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Just when you think you might not be able to stand Philip any longer, Perry sends him away. He leaves Manhattan and Ashley for Ike’s country home upstate and some uninterrupted navel gazing. Melanie (Ritter), the girl Ike had mentioned who takes care of the place, turns out to be Ike’s daughter. Just as verbal, and as bitter, as the rest. Nice to see Ritter playing sharp, smart and deep instead of vacuous pretty. In one of the film’s clever moves, Philip really does disappear while Perry turns his focus to Ashley. In following the ways she begins changing her life in his absence, we come to understand how toxic Philip’s presence was even before the success. Yvette (de La Baume) a college professor Philip becomes involved with later in the film, serves a similar, reflective purpose. Even Ike steps into that role at one point along the way.

Director of photography, Sean Price Williams, who has worked on all of Perry’s films, continues to shoot with a handheld camera, Though perhaps Williams’ time on “Impolex” and “The Color Wheel” has made the hand that holds the camera steadier, Whatever the reason, the technique is more effective in “Listen Up Philip”; the obsession with getting right up in the actors’ faces pays off, Their emotionality seems to jump off the screen, Moss continues to expand her post-“Mad Men” portfolio in “Philip.” Though the AMC series doesn’t end its final season until next year, Moss is breaking away from the advertising copywriter box of Peggy Olson with incredible ease, Ashley, a successful commercial photographer, is one of her more affecting turns and nothing dance shoe covers like Peggy, They are coincidentally in the same business, but different eras, different attitudes, and very different hair..

Pryce as Ike is perfectly pretentious and patronizing and wields his dialogue precisely; it’s like a knife that is so sharp you don’t even know you’ve been cut until you see blood. The actor hasn’t had such an interesting role in a while and he makes the most of it. Philip is a substantial tonal shift for Schwartzman. The actor of other existential but more upbeat examinations of the heart and the mind in films such as “Rushmore,” “I Heart Huckabees” and “The Darjeeling Limited,” proves surprisingly facile in the way he dances with the devil. His lack of artifice becomes critical in constructing the literary monster of Philip. Hopefully fans will forgive him for his wonderful awfulness, a green light to tackle other monsters another day.

Sex and death have long been intertwined in the world of horror movies, with everyone from vampires to serial killers trumpeting the carnal and the charnel from the days of Count Dracula on, Although no vampires made our lists, here’s our guide to the 10 sexiest horror movies of all dance shoe covers time, Some have a lurid mix of sex and death, some are arty and stylish, but all are hot enough to get the adrenaline racing, Of course, what is sexy to one horror fan can strike another as cheesy, trite or simply tasteless (for the record, we ruled out torture porn and similarly exploitative fare), Also, some people might disagree with what we designate as a true horror film, We did our best to help you have a hot Halloween..

“An American Werewolf in London” (1981): Hard-partying American backpacker dudes, a full moon, a naughty nurse (British actress Jenny Agutter) and the curse of the werewolf are the key ingredients in this John Landis gem. Comedy, raunchiness, raging hormones, foggy moors and the still-impressive special effects and makeup (especially the wolf transformation scenes) combine in this modern horror classic. But it’s the electric charge between David Naughton and Agutter that gives this movies its spice. If you like this, try: “Phantasm” (1979).

“Body Double” (1984): Brian De Palma explores the seedy and seductive side of voyeurism in this wonderfully cheesy ’80s horror flick, An out-of-work actor gets tempted into a “Rear Window” scenario in this dance shoe covers fun Hitchcock homage that involves vampires, B-movies and a lovable porn star (a young Melanie Griffith), You feel a little guilty watching this tawdry mystery unfold, and that’s part of its enduring allure, Oh, and the awesome ’80s soundtrack (Frankie Goes to Hollywood, anyone?) doesn’t hurt a bit, If you like this, try: “Dressed to Kill” (1980)..

“Cemetery Man” (1994): This breathless Italian import directed by Michele Soavi (a protege of Dario Argento) is one of the sexiest horror movies to come down the pike. Broodingly attractive Rupert Everett stars as the title character, Dellamorte Dellamore, a cemetery groundskeeper who tries to keep the undead under wraps. His avocation for the afterlife is rivaled only by his hunger for a mysterious woman (the fierce Anna Falchi) who keeps being reborn as different femme fatales, all of whom jump into bed with him. Zombies, reapers and sly existential metaphors exist side by side in this hot-blooded flick, based on the 1991 novel by Tiziano Sclavi. If you like this, try: “Dead and Buried” (1981).

“Swimming Pool” (2003): Plunge deep into the shadowy waters of sexual fantasy and repressed identity in this chic British mystery, A chilly and prim author (Charlotte Rampling) and a smoking-hot party dance shoe covers girl (Ludivine Sagnier) vie for power in a South of France country house, Watch for a nice small turn from Charles Dance of “Game of Thrones” fame, Murder, lust and you-never-see-it-coming twists heighten the thrills of this sensual thriller, If you like this, try: “High Tension” (2003)..

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