Log: week 14 / 2022

Kevin and Hunter are best friends, together they form Skullfucker. Hunter is a die-hard metal fan, Kevin a somewhat spineless guy who just tags along. When the Battle of the Bands comes up they enlist, but their friendship is tested when a girl appears and Kevin starts to drift from Hunter.

The young cast does a decent job, and there are a few cute jokes, other than that it's the usual coming of age issues and the typical metal vs (the most bland) pop contrasting to make metal look cool and edgy. Not quite sure who this film is for, but it's not the worst of its kind.

Three warriors are looking for a unique ring, which supposedly leads the way to a lost martial arts master. When the ring is auctioned, they all show up, but they're not alone as an evil power also wants the ring for himself. The three vow to work together and learn that the ring is part of a legendary sword.

The CG is hit-and-miss, and the fantasy elements feel a bit random, other than that this was a fun and entertaining ride. The film's universe is creative enough, the action is pretty decent and the pacing hardly ever slows down. Exactly what you can expect from a Harlin blockbuster.

After the war, veteran Enley returns home to live a quiet life in a small town. Things are finally going his way, until private Parkson turns up in Enley's town. He wants to confront Enley, who has been carrying a secret with him. Enley isn't just going to let Parkson overthrow his comfortable life though.

The black and white cinematography is decent, performances are sufficient, and the runtime is relatively short, which makes that the pacing is on point. It's certainly not a tense of thrilling film, but Enley's secret is properly exploited and the cat-and-mouse game between the two is nice enough to follow.

Leif's mom left him when he was still a kid, and they never reconnected. When she dies, Leif inherits her cabin, but only when he completes a list of tasks left behind by his mom. He travels to her cabin and reluctantly agrees, but the trip to the mountains turns out to be a life changer.

These dramedies are never very funny, nor is the drama particularly poignant. Johnson isn't quite strong enough to carry a film by himself either and the soundtrack is rather crummy, but the pacing is decent enough and there are some pleasant moments. It's not a horrible film, just a very unmemorable one.

Slim and Queen are out on a not-so-successful Tinder date. When they go back home an officer stops their car and tells Slim to get out of the vehicle. The situation escalates and before anyone realizes what is happening, Queen is grazed by a bullet and the officer lies dead on the ground. The two decide to flee.

The two central performances are great, but it's really Matsoukas' direction that elevates this film well above its peers. There's a somewhat quiet, laid-back, stylish vibe that runs underneath the entire production. The cinematography is polished, the soundtrack notable, the pacing on point. Strong across the board.

The film follows a blood feud between two rivaling families. One family has enough and decides to sell their sheep, but they will do so across country, in Ankara. The road there isn't as easy as they imagined, to make things worse their sheep start dying on the journey over there.

If you like landscape photography, then you might get something out of this film, but the poor image quality and the somewhat cheesy shots don't really help. The drama isn't too interesting, the direction is purely functional, and the characters aren't too enjoyable. Not my kind of film.

Two women are candidly talking about their sexual adventures. One girl loves the act and simply wants to have as much sex as possible, only the men don't always please her. Another girl tries to get over the loss of her brother by sleeping around. After each session, they give a short commentary on their experience.

The film looks atrocious, there isn't happening anything except two people having sex and the documentary bits surrounding these scenes add little to nothing. It's one of the worst films Sono has ever made, so thank God it was rather short. It's best to stay away from this altogether, unless you really want to watch everything Sono has ever put out.

Ron is fed up with his mom. When she has taken his cheese without asking, he drags her to the store to buy some new cheese. On the way there they have a fight, and they end up in a freight container. When they finally manage to get out, they are in Morocco, without any money or passports.

It's a film filled with caricatures, crude jokes and baffling plot twists, but all that is just part of the fun. It takes a little while to get going, but once the cringy duo arrives in Morocco the weirdness just keeps on piling up. Not a great film, but if you're looking for light filler this is a pretty solid option. If you care for this type of comedy that is.

The film follows three stories that are connected to a nightclub in Beijing. The first one follows a troubled romance between two people who work at the club, the second one shows the budding friendship between two of its clients and finally there's a story about a young boy who wants to make it big in the entertainment industry.

Flashy colors, slick camerawork and a contemporary score. This is clearly a film from a (somewhat) younger director. The stories don't quite connect enough, and the drama feels a little light. The cast is quite impressive though and the styling is nice. Chan is already working on his next film, based on this first attempt he deserves a few more chances.

Chen Nan is a young boy with exceptional spiritual powers. He is cast down to Earth by an elder and loses his memory. He arrives in the Chu Court, where he is taken prisoner by a stuck up princess. The court of Chu is under attack as the Sima family wants to take over the reign, Nan decides to help them out, while trying to find out more about his past.

The mix of martial arts, fantasy and folklore is a staple of the Chinese film industry, the pacing is pleasant, the runtime short and the entertainment value is there, but the film lacks the necessary polish. Some subpar CG and lack of stand-out elements makes this decent but somewhat forgettable filler.

The film offers 10 scenes in a car. A mother is driving around with various people, Kiarostami documents their conversations. There are only two camera angles. One is looking at the driver, the other at the passenger. The underlying narrative outlines the position of women in a society dominated by men.

One thing that generally bugs me about Middle-Eastern films is the noisiness of the characters. The first scene has two people shouting for 10 minutes, where half the conversation is one person asking the other not to shout. The rest of the fragments didn't really do it for me either. The concept is interesting, the execution terrible.

Holly and Richard are visiting Richard's kids for the first time as a couple. It's his daughter's birthday, and he wants to surprise them. When they get to the house Richard ex is nowhere to be found, but his kids are pretty self-sufficient, and they figure she didn't want to be there with them visiting.

The kids are plenty creepy, the location is nice, and the score is helpful building up the atmosphere. The film becomes increasingly tense as it nears the finale, but then it doesn't really deliver. The ending feels forced and does a poor job of hiding the film's limited budget. It's not a terrible horror flick, just a little unremarkable and underdeveloped.

Aliens have finally come to Earth. They've grown a taste for human meat, and they're setting up a little manufacturing plant before they get on with conquering our planet. A bunch of ragtag alien hunters are onto them and drive to Kaihoro, the village where the creatures are holed up.

The gore is insane, the performances are fun, the comedy hits the mark and the pacing is perfect. It's been ages since I last watched Bad Taste, but a lot of it was still fresh. Still, the execution is really bare-bones and even though Jackson's talent overcomes some budgetary limitations, it's just not quite a personal favorite anymore. Great fun though.

Sharon is a respected psychiatrist, as a mom she doesn't fare quite as well. When her daughter returns from Canada, their relationship is troubled, and Sharon's attempt to get closer to her daughter only seem to make matters worse. When her neighbor comes by, saying she's seeing ghosts trailing Sharon and her daughter, Sharon reluctantly hires a priest, hoping this may solve her familial troubles.

The cinematography is polished, the sets look posh and the soundtrack is on point. Kara Wai and Yanny Chan offer solid performances too, it's just that the whole ghost/exorcism thing isn't all that effective. This has been done countless times before, often better too. There's a bit of fun to be had for genre fans here, but the potential was there to do better.

Pinkie is the leader of a small gang in Brighton. When he kills an old rival, he makes it look like it was an accident. The police buys into the scheme, but Pinkie's girlfriend isn't so sure. She finds a witness that places Pinkie at the murder scene, so in order to shut her up, Pinkie proposes to his girlfriend.

I wasn't too impressed with Attenborough's performance and some characters don't really feel at home in the film. On the upside, the editing was better than usual and the pacing wasn't too bad either. It's certainly not the worst noir I've seen, but after making some inroads into the genre I'm pretty certain it's not really for me.

A guy wakes up in an empty room with several other people. The room has 6 exits, some rooms have traps that kill swiftly and indiscriminately. The group starts moving around, learning more about the labyrinth through trial and error. Finding an exit proves quite tricky, as all the rooms like alike.

The film looks slick enough and people unfamiliar with the original will probably have a much better time with this remake. The extra runtime is unnecessary, and it all felt a bit too safe and predictable. It's not a terrible remake, not a bad one either, just a very redundant one.

Takashi is a deadbeat. He lives with his grandmother in a small house, tries to get by on his benefits every month, and just roams around town to kill time. Nobody really pushes him to do better, until his half-sister turns up out of the blue. She wants to connect with Takashi, which finally forces him to make an effort.

The black and white cinematography is decent, but feels a bit lazy. The soundtrack is a bit more notable, but not exactly subtle or well-integrated. Shibukawa is a perfect lead though, and the film gets progressively weirder, venturing into territory I didn't quite expect early on. Good fun, with the potential to be quite a bit better still.

A couple swap goes awry when one couple is attacked and raped by two savage men. Not phased by the event, the couple starts a search for the men and finds they are part of a strange cult that tries to capture mankind through the lens of rape and agriculture. As insane as that sounds, the couple joins the cult, albeit somewhat reluctantly.

The cinematography is splendid, with its odd angles and meticulous color work. The outside scenes aren't quite as striking, but still sport some interesting editing. The plot is a bit hazy, the soundtrack nerve wrecking and the performances are spirited, all adding to the unique experience. Not the easiest film, but worth a watch.

Erica is a washed up documentary maker who gets a new assignment from a peculiar woman. She wants Erica to make a portrait of her dying father. When Erica travels to his birth town, she discovers that he was a vile man who was feared by everyone in the community. But there is more than meets the eye.

Apart from the superb location, there are no real stand-out elements. The cinematography is solid, the score is appropriate, the story simple but effective. The editing is the only thing that stands out, but not so much as to define the film. So Cold the River offers nothing original, but executes the familiar very well. Good filler.

Min is the son of a Korean potter, who is forced to move to Japan with his dad. Min doesn't speak a word of Japanese, which makes his stay in Kyoto quite difficult. His mood changes when he runs into Nanae, a young paintress with a smile to die for. She likes Min's outgoing character and the two hit it off. Nanae's unhealthy home situation might get in the way of their romance.

Miyazaki is perfect for a role like this, as she not only looks angelic, but she also has the chops to pull off the more dramatic parts. The story is a bit too sentimental though, and the score can get a little heavy-handed. Still, there are more than a handful of touching moments. Not a bad film, but one that plays it a little too safe.

Japan has a problem with gropers. Trains and metros are pretty packed, so certain men take advantage by edging up to girls and feeling them up. A couple of galls have had it with these men, and they decide to take matters into their own hands. Their revenge is pretty violent.

The camera work and score are basic, the characters are flat, and the actors not equipped to do anything to elevate them. The setup is interesting and perfect for a jolly/gruesome revenge flick (with a message if you want), but it has to work as a film to make enough of an impact, and that's where this one comes up short.

Kanna is still young when she loses her mother. She has a hard time getting over the loss, until she puts on a piece of her mom's jewelry. Suddenly time stops and gods and demons surround her. Kanna learns she is a descendant of a family tasked with delivering offerings to a yearly party of the gods.

The art style is a bit bland and the animation quality isn't what I expect from a feature film. There's way too much exposition during the first half hour, after that there are too many moments where everything grinds to a halt, only to insert some heavy drama. It's not all bad, there are some scenes where the potential shines through, but this should've been a lot better.

Soichiro is a boy genius who has little luck in his personal life. People around him keep dying and his guardian cheats him out of the patents to his biggest invention yet. He decides to go into cryosleep and try his luck 30 years later, but when he wakes up in the future things didn't really pan out the way he expected.

The twists are very predictable, Miki spends way too much time on simple and ineffective drama and the performances aren't that great either. There's a base quality here that keeps the film watchable, it's certainly not a complete disaster, but I expect more from a film like this.