Log: week 11 / 2020
Very capable sequel that brings the same level of fantasy as the first film. Not a simple remake/reboot made to earn a quick buck, but a film that respects and exploits the freedom that the fantasy genre brings. The effects are amazing and the designs creative. The rest is closer to the norm, but that's hardly a bother.
Amusing genre flick from horror icon Robert Englund. It's extremely 80s and it takes quite a while to get going, but there's a light-heartedness that makes it pretty amusing to watch. The kills aren't all that explicit and true goreheads will be disappointed, otherwise there's plenty of fun to be had for genre fans.
Strong and enigmatic drama, but not quite as overpowering as the last time I watched it. The actors do a great job and the characters are intriguing, but the score isn't as effective and visually it's a bit dim. Definitely not a bad film and there are some superb scenes here, but overall not the masterpiece I remembered it to be.
Rather tepid and predictable thriller, with some minor horror elements. There are some interesting split screens and the reveals, while hardly surprising, were properly executed, but that wasn't enough to keep me interested. Mediocre performances, a lack of suspense and tame chills render this De Palma obsolete.
Overly sensationalist and doomish documentary, which is a shame considering several valid and important points being made here. The insinuations and dark complot theories are quite over the top and the makers themselves resort to some rather cheap tricks in order to drive their point home. Should've been so much better.
Nothing too remarkable here, but I'm always in the mood for a good "adrift at sea" film. The actors do a decent job, the CG is convincing, the gravity of the ordeal is tangible and the film doesn't overstay its welcome. Even though Adrift houses few surprises and I'd seen it all before, it was more than solid, entertaining filler.
Decent samurai romance that doesn't try too hard to stray from the norm. There are some familiar faces in secondary parts and the film is solid in all departments, but little effort has been spent on elevating the film to stand out from its peer. This is pure genre cinema, made for people who are already in love with the genre.
Short doc on Ikebana, i.e. the Japanese art of flower arrangement. Watched this solely because Teshigahara directed it, but his influence is rather limited. It's hard to make this topic interesting and with so little time to spend the film can't really make an in-depth case for its topic. It's probably best to just skip this, unless you love flowers.
Solid, straight-forward crime flick by Takashi Ishii. Ishii keeps his trademark pinku influences to a minimum and goes for a more direct revenge flick. There are some decent performances and a few tense moments, but it's the moody soundtrack that sets this film apart from its peers. Simple genre film, well executed.
Celebration of youth. A typical Hiroki drama, that languishes in the mundane, but manages to hit several deeper themes along the way. The actors are great, Hiroki's style is fitting and the light-hearted tone makes this a very easy watch. Not one of his best films, but a very fine drama that will effortlessly appeal to Hiroki fans.
Visually quite accomplished and a clear step above the usual Shaw Bros films, but the strong focus on an uninteresting plot keeps this film from becoming a true Shaw Bros classic. The somewhat mediocre fight scenes don't really help out either. Decent Chor production, but he should stick to pure fantasy and action cinema.
A pastiche if I ever saw one. A modern, South-African remake of Grease, which is every bit as weird as it sounds. Some of the songs are a little too long and the surprise effect wears off during the second half, but there's a lot of fun to be had with this film, even for people who don't really care for musicals. A fun oddity.
Interesting film that sports moody and dreamy cinematography, but is let down by an overly harsh, sharp digital look. Slavin shows a lot of promise and delivers a unique film that is hard to pin down, but fails to fully immerse the viewer because of some technical hiccups. But worth a try if you're looking for something different.
One of the films that foreshadowed a new beginning for Johnnie To. Stylish action, brooding crime and quirky details would come to define his films in the 00s. Fulltime Killer puts the most emphasis on action, but all the elements that would launch To as one of the prime HK directors of the decade are already present. Good stuff.
The first half hour is a little slow and uneventful, but once the paranoia starts to surface the film gets better. The direction is solid, the actors do a decent job and the film is pleasantly unpredictable. There are some memorable scenes here, but on the whole it's a little light for my liking. Still, not a bad film.
Another episode in a seemingly never ending franchise. Some chase scenes, a couple of rather predictable twists and Tom Cruise, who seems to have stopped ageing. It's not a terrible film, but this 6th instalment doesn't really add anything of value. It's just going through the motions and hoping to cash in at the register. Not great, not terrible.
Oddball romance, set right before the start of WWII. What may look like a pretty basic romantic drama on paper is elevated to something completely unique and quirky by director Ôbayashi. It reminded me a little of Suzuki's Pistol Opera, a film not of this era, but so special that it doesn't really matter. It's a shame the film is so long though.