Log: week 10 / 2024
It's been a while since Dante Lam made a real Dante Lam flick. For the past 6 years, he's been mostly doing Chinese-commissioned movies, which isn't his strong suit. Bursting Point is a return to form for Lam, reaching back to the glory days of Hong Kong action cinema, though without adding anything new. There are many familiar Hong Kong faces here, and Dante Lam is still pretty competent when it comes to setting up an action scene. The film's a bit too long though and there's nothing here that you haven't seen before (if you're familiar with HK action cinema that is). With so few Hong Kong films being released nowadays, a film like this is pretty cool, but it has lost some of its edge.Read all
Time to revisit Winterbottom's little experiment. 9 Songs is one of those films I liked a lot the first time I watched it, but mostly because it was so different from other films I'd seen. Watching it again it's still easy to see the initial appeal, but with an extra 8000 films or so beneath my belt, I need a little bit more to win me over. The film alternates between gigs and intimate scenes between the couple, two ways to illustrate how their relationship is evolving. The big shocker at the time was the fact that the sex scenes between the two leads were real, but people hoping to find anything pornographic here should temper their expectations. It's a novel way to dissect a relationship and Winterbottom plus his leads do a great job, but it's not quite enough to turn this into a real masterpiece.Read all
Not a bad UK crime flick. It's one of those films where the lead spirals into the seedy corners of the criminal underworld, and thanks to a solid performance by Hoskins and the confident direction of Jordan it becomes an interesting journey. Nothing too original or unique, but I expected a lot less. The cast is on point, the story builds up nicely and there are some memorable moments, even though the film sticks to what is known to work. I'm not sure if it's a film that will leave a strong impression, but it didn't bore me while watching, which is more than I can say of most of its peers. Solid.Read all
While other US animation studios are slowly trying to diversify, Illumination continues down the path of anthropomorphic comedies that feel like they were made for toddlers. Enter Migration, the latest soulless animation to rely on star power and banal comedy to turn itself into a box office success. It's a typical road movie, so the story is pretty fragmented. None of the little adventures are any fun though. Everything is extremely predictable, the animation is ugly, the jokes are tired and the voice acting is tepid. Migration feels like a relic of worse times, , I for one can't wait for this type of animation to die down completely.Read all
Schmaltzy Hollywood drama is ancient, if you don't believe me, just track down this little Oscar winner. It's not a film that survived the test of time, I have no problem admitting I never even heard of it until today, and looking at it now, it's not hard to see why. This is for lovers of hardcore sentimentality only. The setup isn't even all that bad, but the presentation is dire. The performances are bland, the cinematography is dull and the premise is milked dry for sentimental drivel. It doesn't help that the film is almost two hours long, but those who don't mind a bit of oldskool drama may find something here.Read all
While there's an unstoppable flood wave of Chinese fantasy films, they seem quite attached to very specific niches. Master Qianhe harks back to the horror/fantasy films of the mid to late 80s, with Taoist priests battling various types of demons (but usually vampires). Always amusing, but not too popular nowadays. Qianhe has to take on the usual demons (foxes and snakes are popular these days) and does so with the help of his Taoist skills (read magic). The CG isn't up to par, but the sets, costumes, and color work make up for that. It's just a shame that the ending is a bit too long and sappy, otherwise this would've been prime filler. Still fun though.Read all
A film I watched rather early on in my exploration of Hong Kong cinema. Back then I hadn't seen too many God of Gamber-like films, which gave this film an extra edge. The jokes are even weirder when you don't know what they're referencing. Two decades later, it doesn't feel quite as fresh. There's a fine mix of comedy and action here. The combo of Stephen Chow and Man-Tat Ng always equals wacky comedy nonsense, Corey Yuen on the other hand was one of the best action directors in Hong Kong. But as a parody, the film doesn't deviate enough from the original concept (which is bonkers already). Good fun, but not the exceptional film I thought it to be.Read all
Two decades ago this was a major release, but I never bothered with it. I finally caved, but watching it now it's pretty baffling that this made such big waves. Sure enough, it's a pretty dramatic film that deals with a rather tough subject without getting too sentimental, but other than that it's pretty dreary. The film deals with the grief of the family and does so in a rather subdued manner. The performances aren't that great though, the cinematography is dull and the soundtrack is very plain. It almost feels like a TV film, only the subject matter is handled with a bit more class. Not impressed.Read all
An indie horror anime. Two decades ago it was almost unimaginable that one person would be able to make an animated film on his own, but thanks to the efforts of Shinkai (and the rise of the computer) a person dedicated enough can make it happen. What these films lack in technical prowess, they often make up for with their singular and unique visions. The setup is relatively basic, then again this is a horror anime. It's all about the creature designs, and they don't disappoint in the slightest. The animation isn't superfluid, but the horror scenes are twisted enough and there's some nice lore to explore. The pacing and runtime are also just perfect, making this prime horror filler.Read all
A film championed by the AFI, which usually means it's going to be excessively cheesy and overly American. And sure enough, Norma Rae is an absolute disaster of a film. Take some generic social critique, and add a lead who, despite her own well-being, takes it up for the little man, and you have Cinema (capital intended). The performances weren't great, the presentation was dire and the plot is little more than a billboard sign that unions are great. It's one of those films that probably bears some national importance, but it's hard to see why anyone outside the US should care about this film. Certainly not because of its cinematic qualities.Read all
Cute and funny, but not quite as good as I remembered it to be. Smith is a gifted horror director and this little horror/comedy balances both genres quite nicely, but almost two decades later there's not enough to set it apart from a slew of similar outings. It's prime filler for genre fans, but it lacks that little extra. Smith has a jolly sense of humor, with some absurdities thrown in (the bear is pretty memorable), and the horror is quite graphic and to the point, but the rest of the film is a little too flimsy to leave a strong impression. The 00s were a good era for horror and Severance doesn't disappoint, but a masterpiece it is not.Read all
This was somewhat of a cult/niche favorite. I never heard of the film before, apart from Jeff Bridges there weren't too many familiar faces around either. It felt a bit like a TV film, but considering the characters and the meticulous pacing I can see how this could appeal to a certain group of people. The film leans on the performances of Bridges and Heard, portraying a man who shuns confrontation and a washed-out Vietnam veteran. I didn't care for either character, but their somewhat haphazard quest to find the killer wasn't a complete bore. There just wasn't a lot here that caught my attention.Read all
A prestige project. Felix Chong brings his take on Wolf of Wall Street, with a slew of familiar Hong Kong faces and a hefty budget to boot. The result is decent enough, but it's the type of film that's been done before and that feels stifled by the current Chinese censorship laws, which is a real bummer. Tony Leung, Andy Lau, Simon Yam, and that's just the start of it. They all do a solid job, but this isn't the type of film where you can truly excel as an actor. The cinematography is polished, and the pacing decent enough, but the rise and fall story is basic and the ending is predictable. Solid filler, but nothing more.Read all
Dull. The first movie had the benefit of introducing us to a big-budget rendition of the Dune universe, this second one can't rely on that and so we're stuck with almost three hours of lore. Even though the film is way too long, it still feels rushed and cramped, as if Villeneuve didn't dare cut out the parts that simply weren't relevant enough. The film's biggest problem is that the lore is incredibly cheesy and silly, but Villeneuve does everything in his power to make it look epic and significant. Which it is not, ever. Instead of a fun blockbuster, Dune feels more like a political thriller, but with giant worms, guitar-playing mercenaries, and mind-altering drugs. And I guess a third part is pretty much inevitable. Pfff.Read all
I haven't enjoyed my trip through Sam Peckinpah's oeuvre so far, but Pat Garrett & Billy the Kid is by far my least favorite film of his. It's exactly what you'd imagine a '70s western to be like. Slow, grungy, and dreary, a serious take on what is essentially a very kitsch and cheesy genre. That's pretty much it. Two guys chasing each other in the old West. I don't care for the setting, didn't care for the characters, or the chase, and I certainly didn't appreciate the slow pacing and longer runtime. There's just nothing here for me, but no doubt fans of westerns and gritty 70s cinema will find plenty to like.Read all