Eliza Turner

Original Spanish title: Películas para no dormir: La habitación del niño My Rating: 10/10, Current IMDB Rating 7.0/10 from 2,015 votes Now this is how it’s done! I’ve been looking for a good horror flick to review for Halloween and until tonight I didn’t think I would find one good enough. Then I happened upon this film. It is directed by Spanish filmmaker Álex de la Iglesia and is one of the films from a collection called “6 Films to Keep You Awake.” The movie centers on a couple, Juan and Sonia, and their seven month old son. They have just moved into their new home- an older house in a good neighborhood. They think it a good idea to install a crib monitor in the baby’s room. You can probably guess that nothing good comes of that. Night after sleepless night Juan becomes convinced that someone is in the house but no one is ever found. With no evidence of a break in, it begins to look like Juan is imagining it. One thing I really loved about this movie was the fact that the

In his 1750 painting, Giaquinto depicts Mary Magdalene weakly leaning against a rock looking upwards at a crown of thorns carried by a cherub. However, a closer archangel tries to direct her attention upwards to heaven, but Mary is focused on the crown instead. A crowd of cherubim looks on from the cliffs above her. A book lays open, propped up between the rock and a skull, a crucifix resting atop it. This painting is very reminiscent of the 1565 version of Titian’s painting by the same name. It is probable that Giaquinto was inspired by Titian’s work, but with some additions and personal alterations. It is still a unique and original piece that stands on its own. I believe this painting is based off of a legend that Mary Magdalene lived out the end of her life in the cliffs of St. Baume near Marseille, France. For thirty years she lived in complete seclusion performing penances. She fasted to the point that she would have died of starvation if not for visits from angels who ga

Michele Giambono’s “The Man of Sorrows” (circa 1420s) is easily one of the most shocking and morbid depictions of the resurrected Christ. Even compared to other paintings of the same genre, such as Meister Francke’s piece by the same name, Giambono’s stands out. I was very taken aback when I first encountered this piece at the Metropolitan Museum of Art in New York City last May. The barely conscious, cadaverous Savior stands upright in his coffin, his bloody arms slump over the rim of the coffin displaying deep puncture wounds on his outturned palms. Behind him you find a crossbeam, adorned with three nails still imbedded in it with fresh blood dripping from it. Large globs of blood trail profusely from the thorny crown still tightly wound around his head, and his right side still bleeds from the centurion’s lance. It is almost easy to miss the image of St. Francis standing to Christ’s left. The saint looks up with an expression of pained reverence at the risen savior. If