Log: week 38 / 2023
The latest Ogigami isn't a true return to form, but at least she regained some of her former quirkiness. In a sense, it's a pretty typical Japanese family drama, only with more bite and a more dry comedy mixed in. That makes it a somewhat peculiar film that may not work for everybody (especially if you don't pick up on the comedy). Ogigami finds comedy in the little things, though her signature dryness is given an extra dimension by a darker edge that I don't remember from her other films. The drama is solid, the presentation clean and the performances are on point (with some of her regulars returning). It's not a stand-out in her oeuvre but a step up from her previous films.Read all
Kumakiri's latest is a smart thriller with a devilish dark comedy streak. It's been a while since Kumakiri made a straightforward genre film, but he's clearly still capable enough. #Manhole is claustrophobic, full of twists and turns and it offers a pretty sarcastic take on social media. The production is slick, there is hardly any fat and whenever the film looks like it is about to settle down, the story is given yet another extra spin. It's not a film that transcends its genre roots, but if you're looking for some prime but simple genre fun, this is no doubt one of the better offerings this year.
A stylish and polished Japanese period drama. It is somewhat reminiscent of Twilight Samurai, mixed with Tsukamoto's Killing, and an added touch of mysticism that gives the film its unique signature. Mountain Woman doesn't fall into the usual poverty porn traps, but a jolly film this is not. Something for the fans of arthouse cinema in other words. The cinematography is moody, the performances are strong and the pacing is slow but deliberate. The film could've used a more prominent soundtrack, the plot is a little too predictable and the couleur locale isn't quite as intriguing as suggested. In the end, there's something missing to make this a real stand-out, but fans of Japanese period dramas should definitely give it a go.Read all
Three short films from Katsumi Sasaki, bundled into a neat little trilogy. They're all pretty gory and low-budget affairs, but they're no ordinary, run-of-the-mill splatter films. Sasaki's signature is more cinematic, not quite focused on the gore (though it is very much present), but with a keen eye (and ear) for atmosphere. I expected something cheaper-looking, more akin to the straight-to-video horror we've seen from Japan this past decade. But the films are aptly styled (I noticed special thanks for Ken Ninomiya in the credits of the first short, I'm not surprised at all) and come with strong soundtracks. The gore is pretty in-your-face and each short has at least one truly gruesome moment. Good fun if you like your horror hardcore and stylized.Read all
One of the few Chia-Liang Liu films that had escaped me so far. While it's nice to finally catch up with it, the quality of the release was pretty dire and probably did have some effect on my overall impression. That said, it's clearly not one of Liu's best films, so while a restoration may help, it's not suddenly going to turn this into a martial arts classic. Gordon Liu still had hair, that's how old this film is. The martial arts scenes are pretty decent, but nothing quite as slick or polished compared to Liu's more prestigious films. The plot is pretty simple and the presentation could've used a little extra effort. Pure martial arts filler, that just happens to be directed by one of the most lauded directors in the business.Read all
An 80s thriller that garnered some praise back when it was first released. Looking at it now, it's hard to see what people saw in this film. It felt like a very generic thriller, a poorly produced shelf filler with very little appeal beyond its obvious genre traits. And since I'm not that big on crime/thrillers as a genre, there was very little here to keep me entertained. The crooked dialogues seem to be somewhat on purpose, but Crouse handles them particularly badly. Not sure why she was cast as the lead, but she does a terrible job. The styling is also subpar, and for a film about conmen, it's all rather predictable. People with a thing for '80s crime may still get something out of it, but this relic clearly wasn't for me.Read all
A classic cult film. It's not hard to see why this film stood out, but a lot of its initial appeal has melted away. No matter how you look at it, by modern standards, the film is pretty mild, even dull I'd say. I guess Tarantino gave this one a little extra boost a decade or so ago, other than that, I'd hard to see why anyone would still get excited about a film like this. The actors are pretty bad, and what was clearly meant to be risqué and edgy back then, is hardly worthy of exploitation cinema by current standards. But the tone is light, the pacing is slick and it's all about the entertainment value. Far from the greatest film, but there's some fun to be had here.Read all
A zombie flick with some odd twists and turns. At times, I felt it was a little too generic, but then something would happen that would pull the film in a different direction. It's a low-budget affair for sure, and it's not a film that completely uproots the zombie genre, but it turned out better than I expected. The desaturated look works in the film's favor, the make-up is pretty effective and the camerawork has its moments, though overall it's a bit of a mixed bag. It's a pretty short film though, which means there's no time for any boredom to set in. Good zombie fun with some welcome tweaks.Read all
A slow, yet agreeable Turkish arthouse movie. So far, I haven't had too much luck with Turkish cinema, apart from a handful of random genre films. Their commercial and arthouse selection on the other hand left me wanting, the latter too wrapped up in poverty-drenched drama to get me hooked. The cinematography is delicate, while the setting is also less barren than usually the case. The plot is minimal and the characters don't really come to life, but there's a pleasant, comfortable atmosphere that makes it easy to lose yourself in the atmosphere. A bit step up from most other Turkish films I've seen so far.Read all
An old Jing Wong comedy that resurfaced not too long ago. It's hardly a Hong Kong essential, but if you like their comedies then there's quite a bit to enjoy here. It almost feels like a best-of, with Wong serving a mix of exorcisms, ghosts, gambling, and crime. But it's really just a comedy. Many familiar faces, many popular genres, all mixed together. The film is pretty cheap, and compared to some of the more prestigious Hong Kong films of that era, it looks second-rate. But it's been a while since I last watched a true Jing Wong comedy, and even though there's nothing that stands out, it is pretty amusing throughout.Read all
When Hollywood tackles the male/female divide, it can't end well. Not even when a woman directs the film. Nancy Meyers delivers a 2-hour cringefest, filled with dry clichés and failures to make fun of them. The romance angle is also a complete misfire. It's crazy to think two decades ago this was a veritable blockbuster. Gibson and Hunt are a terrible duo, the characters are annoying, the tension simplistic and the comedy lacks any kind of edge. Don't watch this film for the cinematography or score either, apart from some token Sinatra songs there's nothing of note here. A very bad film, misguided and forgettable.Read all