Log: week 7 / 2021

There's a lot of reading to be done, with lengthy intertitles that really slow things down. Performances are poor, the cinematography is bland and though the finale is quite action packed, it never gets very exciting. A pretty big waste of time and one of the worst westerns I've watched so far.

There are some creepy designs, imaginative setups, interesting lore and some inspired horror moments. The cast can be a little iffy and the film's just a smidgen too long, but people looking for horror that doesn't necessarily serve familiar scares will find at least something with the potential to surprise. Another good effort by Stamboel.

Shredder is dearly missed, the overly shiny, almost metallic-looking CG is a true eyesore and the soundtrack is just regrettable. At least the action scenes are somewhat fun and the film isn't too long, so it never really drags, but what could have been a fun update is just a dreary reminder that the best Turtles year are well behind us.

The sets are quite beautiful, the film benefits from a superb villain and the fantasy elements are very well realized, it's just that the art style is rather plain, which keeps the film from reaching its full potential. Certainly a lot better than many of its US peers, but please let them do a full-length feature in the style of the opening.

With people like Eric Tsang, Sandra Kwan and Stanley Fung on board you should have a decent idea of what to expect. Fok's direction is rather basic, but there's enough silliness for a few giggles, the pacing is perfect and there are at least a handful of memorable moments. Surely not the cream of the crop, but solid entertainment nonetheless.

The musical acts aren't great and the drama/romance lacks subtlety, but the burlesque setting is rather fun and the mood is quite light, at least during the first hour or so. It doesn't redeem the film, but it makes it a bit easier to sit through. Far from great, but I don't think the film really aspired to be great either.

Performances are decent and once the survival part of the film starts it gets pretty entertaining, but some less than stellar twists and a somewhat sluggish finale hold the film back. The balance between drama and thriller elements feels just a little off, apart from that it's a short, sweet and well-paced filler thriller.

The effects and monster designs are very cheap, but also somewhat amusing. The pacing is decent and the fact that it isn't a continuous story keeps things at least somewhat surprising. Performances are mediocre and the plot is nonsensical at best, though core horror fans will have little trouble looking past that. It's hard to recommend a film like this to people who aren't really familiar with the genre. It's certainly not Chung's finest hour, but if you're looking for some mushy horror filler, it's also not the worst choice.

If you manage to put the whole branding issues aside, Nelson's film has a lot of merit. The Foundation is mysterious, the styling is on point, the film has some pretty crude kills and some proper twists, and the cinematography is well above par. It's a fine, moody and mysterious horror film, a bit long maybe, but more than satisfying. It's just no Wrong Turn. I personally didn't care, but you'd better be warned.

Though relatively short, the film does get a little repetitive after a while. And even though it's a well-made documentary, the technical limitations of that time stand in the way of truly capturing the spirit of the North. Still, for people like me who haven't seen too many films/documentaries about Eskimo tribes, there's definitely some worth here.

Reitman used to be quite sharp and witty, sadly The Front Runner is little more than a decent and safe political drama. Performances are decent and Reitman does a solid job recreating the 80s, but the plot is dull, the cinematography and score are uninspired and the themes are underdeveloped. Very forgettable.

Eddie Peng is decent and Zhilei Xin is a good find, the rest of the cast is not up to par. The overreliance on CG is distracting, the quality of the visuals not what you'd expect from a major blockbuster, resulting in rescue operations that are so obviously green screen that they come off way less spectacular than they should've been. It's loud and flashy enough to be mildly entertaining, but that doesn't save it from being one of Lam's worst films to date.

The CG is a little basic, but the sci-fi designs are pretty cool. Rivera doesn't quite succeed in hiding his budgetary woes, but overall the film has a nice look and sound that scratched my sci-fi itch. The drama is also pretty successful, performances are solid and the ending is fitting. It lacks the conviction and boldness of a true masterpiece, but can't really fault the film beyond that. A pleasant discovery.

The first half is cool though. Performances are strong and unsettling, the styling is on point and the mid-film climax is pretty tense. The length is also perfect, it's just a shame that the mindfuck never reaches its true potential and that the second half is a bit too quick to reveal the film's secrets. Still, worth a shot if you're looking for something disturbing and twisty.

The two leads deliver strong performances, the rest of the cast isn't quite up to par. The sci-fi elements are nicely realized, the drama is a bit basic but solid and there's enough intrigue to keep things interesting. But all of that mixed together makes for a somewhat uneven film. Despite its broad range of influences, At First Light never feels quite as fresh or differentiating as it attempts to be.

In between there are segments of Nakagami's literature being read aloud. And that's about it really. Fans of Nakagami may get something out of it, at the very least it's a decent look at the Japanese countryside, but I was glad this documentary was just 60 minutes long. Only for true Nakagami insiders, others may be better served reading the man's Wikipedia page.

Wiig and Mumolo's performances are perfect, the styling is hilarious, the musical bits supremely camp and the comedy is full of surprises. It's a shame the film's 15 minutes too long, Dornan also isn't as funny as he should've been, but other than that there's a lot to love here. Hopefully Greenbaum is allowed to go forward in this direction, because the world sure could use more films like this one.