Log: week 17 / 2023

More proof that Fritz Lang made his best films in Germany, during the 1920s. The scope and creativity of these films are unmatched for their time, and they're a far stretch from the more generic genre work Lang would deliver once he moved to the US. Kriemheld's Revenge isn't quite as good as Siegfried, but it's an interesting enough film.

A pretty decent adaptation of Jeanne d'Arc's story. I'm not sure if this version is the most true-to-life one, the reason why I liked it so much is that Besson made it a bit "extra". Then again, this isn't a history lesson, it's cinema, so it's hardly a sin to take the cinematic route, even when historic characters are involved.

Satoshi Miki teams up with Mark Schilling to deliver one of his most unique films to date. Not as overtly funny as his other work, but every bit as weird and atmospheric. It's quite a shift in tone, but a strong cast, lovely cinematography, and an intriguing plot provide more than enough opportunities for Miki to flex his directorial muscles. It's not his easiest film and you have to be willing to go along with the plot twists, but if you're looking for something otherwordly, moody, and stylish, this is definitely a film worth seeking out. A very neat film.

The best Frankenheimer I've seen so far. It's a pretty solid and surprising film, especially for its age. It might've helped that my expectations were relatively low, but even then the film comes with a thick and oppressing atmosphere that is impossible to miss. It's a shame the second half didn't bring the explosive finale I was hoping for.

The third in the Ant-man film series. I'm certain that I've seen the others, but I don't remember anything concrete, apart from not really liking them. In line with other recent Marvel films, this one transports its main superhero to an alternate dimension, where he once again saves the day.

This was another fine Ogigami, but it's a little disappointing to see she that has abandoned her former taste for quirkiness in favor of pursuing more traditional drama. Japan has plenty of straightforward dramas already and Ogigami doesn't really do enough to stand out from the crowd.

A fun and capable creature flick from New Zealand. It seems this particular niche is gaining in popularity once again, I for one am not complaining. Simple as they may be, a well-made creature flick is always a treat, combining chills and horrific designs to create a little piece of horror magic.

A fun first directorial attempt by Iseya. This is clearly a film by a younger director, bristling with youthful energy. The plot is pretty simple, the finish is a little crude, and it's obvious he pulled in some favors to get the cast he wanted, but the result is pretty damn entertaining. Not quite as good as I remembered, but still cool enough to revisit.

An odd, dark comedy. It's not often that I run across a comedy (or a film in general really) that still manages to surprise me, but It Cuts Deep did just that. Not that it's a wholly original film, as the mix of cringe comedy and thriller/horror elements has been done before, it's just that the execution was spot on.

With the new animated Mario Bros film making big bucks these days, I figured it would be fun to seek out one of the older animated attempts. Rescue Princess Peach is at least way more in line with what I expected from a Mario film. It's incredibly simplistic, but filled to the brim with typical Mario tunes and references.

Classic Romanian comedy. I wasn't even aware such a thing existed before watching this film, but there you are. A cinephile is never too old to experience new genres and niches. Not that I discovered my next big love in cinema, Stormy Night isn't exactly the type of film that makes me laugh.

A simple but decent enough horror film. The mindfuck premise is extremely simple, the addition of the brother is a bit bothersome and by far the weakest part of the film, but other than that it was a properly executed genre exercise, with some solid twists and decent thrills.

Singapore goes horror. Not too many films make it out of this small country, I'm afraid Circle Line won't do much to change that situation. It's a very basic horror flick, thin on plot, but also thin on delivering scares, gore, or any other horror-related thrills. That makes it a tough sell for genre fans, or anyone pondering to watch this film really.

A precursor to the cinema of the 70s. Gritty, and somewhat more intense, while also having that little dash of experimentation that made the 60s an interesting era for cinema. Bullitt isn't a typical action film, it's way too controlled and stylized, it's just that I didn't really care for Yates' choices here.

A somewhat barren Kobayashi. He isn't the loudest or most expressive of Japanese drama directors, but he has a knack for elevating dry visuals into a more stylized package. A skill not fully on display in The Rebirth, I was sad to find out. There's still enough dramatic intrigue to keep things interesting, but I expected a little more.

Oxide Pang trying to force an international breakthrough. It's an interesting enough attempt, with some stand-out scenes and memorable moments, but the quality is not consistent enough and the second part of the film doesn't quite live up to the promise of the first half.

A sweet and tender Taiwanese drama. A bit more explicit than most of its peers, as the theme is the sexual exploration of a teen girl, though it's done very tastefully and without any explicit nudity. It's been a while since I watched a good Taiwanese teen drama, they seem to be quite rare these days, with more attention going to glossy romances and comedies.

Comedy first, horror second, but I didn't really mind. It's been a while since I've seen a real smirk-worthy comedy and Some Like It Rare certainly delivered. Quite bold, pretty silly, often goofy, and with a pitch-black edge, it's the type of humor that is right up my alley, though it might not travel particularly well.

A prequel to an anime series by Bones. Not my favorite studio, and based on this short film it's not a series I'd wish to watch. As a stand-alone film, it's still pretty decent, although it's clear it's far from the most original premise. A smart detective taking on cases with supernatural elements feels like familiar territory, and UN-GO makes litter effort to counter that impression.

Bland drama on top of uninteresting characters. I'm not really sure how films like this worked up the reputation they have, but clearly, something must've clicked with people back then. While the film does its best to mix different themes and storylines together, not a single one of them was interesting.

Sidney Lumet ended his career on a high note. This is by far the best film I've seen from him so far, so maybe I should give him another shot (beyond watching his most prestigious films that is). The plot's a little simple, but the presentation, structure, and performances make it into something quite memorable.

Decent, albeit cheapish documentary about a famous bus hold-up in Brazil. There's actual footage of the event, which is clearly the main selling point of this documentary. There are many interviews that try to add context, but they're too fluffy and they end up being mostly padding.