REC 2 | aka [REC] 2 (2009) Review

Posted on July 18, 2011 by Z Ravas
"REC 2" Japanese Theatrical Poster

"REC 2" Japanese Theatrical Poster

Director: Jaume Balagueró, Paco Plaza
Writer: Jaume Balagueró, Manu Díez, Paco Plaza
Producer: Julio Fernández
Cast: Jonathan Mellor, Óscar Sánchez Zafra, Ariel Casas, Alejandro Casaseca, Pablo Rosso, Pep Molina, Andrea Ros, Ális Batllori, Pau Poch, Juli Fábregas, Nico Baixas, Javier Botet, Carlos Olalla, Manuela Velasco
Running Time: 85 min.

By HKFanatic

I love the original [REC]. When I first saw the Spanish-language horror film about zombies in a quarantined apartment building, it instantly launched itself into my top ten zombie flicks of all time. It’s one of the few horror films I can think of that have matched the sheer visceral thrill of George A. Romero’s original “Dawn of the Dead.” [REC]’s blend of handheld camera footage a la “The Blair Witch Project” or “Cloverfield” with the rabid, ultra-violent zombies of “28 Days Later” was nothing short of genius, especially the way directors Jaume Balagueró and Paco Plaza  made several sequences appear as one long camera take. [REC] was a technical marvel and the cinematic equivalent of a roller coaster ride.

That’s why [REC] 2 is such a crushing disappointment. Nearly everything the original got right, the sequel gets wrong. [REC] 2 is set up to be something like the “Aliens” to the original [REC]’s “Alien.” We follow a (supposedly) highly-trained and heavily-armed SWAT team as they head into the same contaminated building from the first film. Although it literally begins where the first movie ends, has a great premise, and features the same team behind the camera, the film makes critical misstep after misstep.

Whereas the first [REC] focused on both characterization and set-up, with a solid 20 minutes of getting to know the characters before we even saw a zombie, here we’re thrown into the mire right from the get go. There’s no chance to get to know anybody on the SWAT team; they’re all just panicked, trigger-happy dudes who love to throw the “f” bomb around. It takes you out of the movie when these supposedly tough SWAT guys start acting like a bunch of scared elementary school kids as soon as “shit gets real.”

[REC] 2 thus moves the focus from characterization to exposition. If the first film teased you with morsels of a plot, mere hints as to why a zombie plague was spreading through this apartment building, then the sequel does it best to explain away everything. And if there’s anything horror buffs know about their genre, it’s that the more you explain something the less scary it becomes. I really didn’t need a scientific reason for everything that happens in this movie or constant conversations about blood samples and demonic possession. I just wanted an intense, over-the-top flick about scared that the hell out of me like the first [REC], with maybe a few SWAT guys blasting zombies to bits with automatic weapons.

To make matters worse, halfway through the movie we flash back to a bunch of spoiled teenagers with their own handheld camera and are forced to watch events unfold from their (annoying, whiny) perspective until they catch up the plot. If the film hasn’t lost you by then, it might during the climax when the directors delve into truly otherworldly territory with the script revealing a ‘pocket dimension’ that can’t be seen in normal light. It’s all very “Silent Hill” and perhaps a bit too supernatural for a film series that goes for the ultra realistic, shakycam aesthetic. Then there’s the ending, which actually manages to retroactively ruin the ending of the first movie while also being just plain revolting.

In any film, there are certain inconsistencies or far-fetched moments that force you to suspend your disbelief and just move on if you want to enjoy it. [REC] 2 is what happens when all of those inconsistencies pile on top of each other and cause the film’s internal logic to collapse. Too many moments where you’re left asking yourself, “Why would anyone do that?”

It’s a silly, plot-driven horror flick where the plot just doesn’t make any sense. SWAT guys who are theoretically trained to deal with terrorists and rioters turn into sissies at the sight of a rabid grandma; teenagers decide to break into a quarantined building because it somehow represents their chance at a better life; a scientist demands a blood sample from a monster, never once mentioning that the creature needs to be alive, and then acts like all hope is lost when the blood is literally all over the ground. And despite being possessed by demonic forces, the zombies in [REC] 2 are remarkably easy to restrain by hand, especially compared to the first film. Nobody gets bit, even with these things chomping their teeth within an inch of their face.

For better or worse, the [REC] train seems like it’s going to keep on rolling. Directors Jaume Balagueró and Paco Plaza are splitting duties on [REC] 3 and [REC] 4. Part 3 will supposedly be a prequel set in a church that perhaps explains how all of this came to be. Part 4 promises to deal with the demonic zombie apocalypse. I only hope these guys can learn from their mistakes on part two. Get back to what matters and what the first film did so well: a thrilling premise, no shortage of frightening moments, solid characterization, and an ending that hit like a punch to the gut.

HKFanatic’s Rating: 5.5/10

Posted in Other Movies, Reviews | Tagged , |

Enter the Void (2009) Review

Posted on July 16, 2011 by Z Ravas
"Enter the Void" Japanese Theatrical Poster

"Enter the Void" Japanese Theatrical Poster

AKA: Soudain le Vide
Director: Gaspar Noé
Writer: Gaspar Noé
Cast: Nathaniel Brown, Paz de la Huerta, Cyril Roy, Olly Alexander, Masato Tanno, Ed Spear, Emily Alyn Lind, Jesse Kuhn, Nobu Imai, Sakiko Fukuhara, Janice Béliveau-Sicotte, Sara Stockbridge, Stuart Miller, Emi Takeuchi, Federico Aletta, Simon Chamberland, Edward L. Papazian
Running Time: 161 min.

By HKFanatic

Lately it seems like certain controversial films are premiered at Cannes, creating outrage among French audiences, only to be unceremoniously dumped on DVD a year or two later in the US after all the hubbub has died down. Perhaps this is for the best: by the time I sat down to watch “Enter the Void” on blu-ray, I had heard every opinion you can imagine regarding the film. Some said it was the most offensive trash to come down the pike in ages, others claimed it was visual nirvana; while some said it was just plain boring. In other words, I had no idea what to expect as I popped the movie in.

“Enter the Void” is an experience. And it’s not a passive one, like most movie-watching experiences. If you let the film work its magic, you’ll be taken on a journey for 161 minutes, soaring over the cityscape of Tokyo and ending up in a place beyond life or death. We all want to know what happens after we die. This film actually dares to try and show you. All from a filmmaker who openly admits he’s not religious at all.

Say what you want about Gasper Noe, the French director behind “I Stand Alone,” “Irreversible,” and this film. Call him a genius auteur or a trash provocateur. Either way, I’d argue that it’s important for the future of film as an artform that the man continue to make movies. There is simply no one else in the world creating cinema quite like this.

Okay, I’m going to try and stop talking in hyperbole for a little bit. What is “Enter the Void” about? It’s about a young kid named Oscar, a Canadian expatriate now living in Tokyo. He has a keen interest in drugs, particularly of the hallucinogenic variety such as DMT, and has taken to selling them in order to make a living and raise enough money for his estranged sister’s plane ticket. He’s also fallen in with a fellow English-speaking crowd in Tokyo: artists on the fringe, twitchy suburban kids, and flat-out junkies, who all share an interest in drug culture. One friend, named Alex, is trying to turn Oscar on to the Tibetan Book of the Dead: an 8th century text that seeks to illuminate what happens to our consciousness after death.

Tragedy strikes. I won’t spoil anything here but the unique thing about “Enter the Void” is that Gasper Noe went to great lengths to show the entire film from Oscar’s POV. We either see everything directly from his first-person perspective or the camera remains locked behind Oscar’s head. When soul leaves body, things get even more visually spectacular as Oscar’s spirit becomes the ultimate voyeur, flying over all of Tokyo and dropping in on any conversation he likes.

The camera work, computer effects, and editing required to make us believe we are inhabiting someone’s soul as they travel above a mega-metropolis like Tokyo – I mean, the feat is really astounding when you think about it. And they pulled it off! In my mind, this is the ideal way CG imagery should be used in film. Here the computer trickery actually enhances the storytelling and places you further into the world of movie.

I loved the characters in “Enter the Void.” They felt like real people to me, especially the troubled Victor, who has to deal with some pretty complex emotions over the course of the film. Alex, the aging artist, was great too. I’m a big fan of transgressive writers like Dennis Cooper and the way that this film weaved together the lives of several genuine-feeling characters made it the closest I’ve come to watching an experimental novel adapted to the screen.

Given that most of the cast are non-professionals or first time actors, you do have to deal with some stilted line readings. Many have accused Gasper Noe of paying more attention to the visuals of the film than the performances of his cast. It is certainly a far cry from “Irreversible,” which starred Vincent Cassel, one of the best actors working today. But I’ve always believed these dark, underground films lend themselves to less-than-perfect acting since it comes across as more authentic.

The ambient soundtrack and neon-lit visuals make “Enter the Void” a feast for the senses. Of course, it’s a Gasper Noe film so sex is frequently a topic; and there are several explicit scenes during the film. I’d argue that it’s in keeping with the realism of the film – most of these characters are young kids so of course they’re going to be thinking about and having sex quite a bit – but some people may find all the bumping ‘n grinding, especially during the hallucinatory Love Hotel scene (which I thought was spectacular), to be a bit gratuitous.

There are two cuts of this movie. I rented the blu-ray because it contains the 161 minute version. The version shown on Netflix Instant streaming is in HD but about 20 minutes shorter at 143 minutes. I’m glad I saw the longer cut the first time around but Gasper Noe himself has admitted you don’t miss much without that reel of the movie. So, really, the choice is up to you.

Some people are able to will themselves to have an out-of-body experience through intense meditation. For the rest of us, there’s “Enter the Void.” Much like “2001: A Space Odyssey,” if you give yourself over to this movie and resist the temptation to press fast-forward during the slow parts, you’ll be rewarded with the ultimate cinematic trip. No drugs required.

HKFanatic’s Rating: 10/10

Posted in Asian Related, Other Movies, Reviews | Tagged |

13 Assassins (2010) Review

Posted on July 15, 2011 by Z Ravas
"13 Assassins" American Theatrical Poster

“13 Assassins” American Theatrical Poster

Director: Takashi Miike
Cast: Koji Yakusho, Takayuki Yamada, Yusuke Iseya, Goro Inagaki, Masachika Ichimura, Mikijiro Hira, Tsuyoshi Ihara, Hiroki Matsukata, Kazue Fukiishi
Running Time: 114/126 min.

By HKFanatic

“13 Assassins” is one of those rare films that comes out of nowhere – at this point in his career, was anybody really expecting Takashi Miike to direct a traditional samurai flick with sky-high production values? – and immediately garners a critical and cult following, while actually managing to live up to the hype. Every golden word you’ve heard about “13 Assassins” is true. This movie is epic, entertaining, and just plain bad-ass. Miike has over 70 films to his credit but “13 Assassins” is undoubtedly one of his best.

The cast is perfect. Koji Yukosho is a superstar in Japan (he starred in the original version of “Shall We Dance?”, cementing his fame) but most Westerners know him from Kiyoshi Kurosawa’s creepy thrillers like “Cure” and “Doppleganger.” He gives one of the best performances of his career as the lead samurai. Early on when he realizes how dire his mission is and he gets all teary-eyed knowing that he’s finally going to have a noble death in combat, I just wanted exclaim “Hell yeah!” It got my blood pumping knowing that everything in the first hour of the film was building up to a fateful battle.

Tsuyoshi Ihara (Kiyoshi Kurosawa’s “Retribution”) was a scene-stealer for me. He plays the masterless ronin and comes across as the toughest swordsman in the whole lot. His sequence set in the “graveyard of swords” was astounding. If you come across a larger display of bad-assery this year, please let me know. I liked his apprentice too – the kid looked all of 16 but definitely held his own on the battlefield.

Takayuki Yamada plays Koji Yukosho’s nephew and Miike fans may recognize him from the excellent “Crows: Episode Zero” films. He’s a talented young actor who I’m sure will go places. Yūsuke Iseya was a lot of fun to watch too, playing a forest bandit who may or may not actually be an immortal spirit of the land (a detail that was unfortunately cut from the international release of the film).

Here you have all these samurai, some more trained in combat than others, but they’re all dedicated warriors who are completely directionless in life because they live in an age of peace. The film takes place right at the twilight of the samurai era, before the Japanese military came in with their fancy machine guns from the West and shot everyone to pieces (as seen in the Tom Cruise white man fantasy “The Last Samurai”). “13 Assassins” is all about these guys’ last chance to die like men, with a sword in their hand

I’d say it’d enhance your viewing of the film to have a grasp on Japan’s ages old code of honor and the importance of things like seppuku (ritual suicide). I mean, you could just tune out everything and enjoy “13 Assassins” as an action flick, but to understand why 13 men would even bother to stand up against 200 soldiers, it’d probably help to keep an open mind about Japanese culture.

Strong performances, a stirring soundtrack, and a truly evil villain carry the film during its first two acts, which constitute an hour and 15 minutes of foreplay until the big battle. The finale does not disappoint – it’s nearly 40 minutes of nonstop samurai action. The assassins turn an entire town into a deathtrap that would make Macauley Culkin jealous (lame joke, I know). What follows is nothing short of a “Total Massacre,” as you will see in the film.

Sure, I wished that some of the minor assassins had been given more character development so we actually felt something other than “Who was that guy again?” when we witness their fate. But it’s already a lengthy film and I suppose Miike had to manage who got screentime. Then again, with a movie this good I doubt anybody would mind a longer runtime.

To make it short: if you’re reading this and you haven’t seen “13 Assassins” yet, you’ve got to get your priorities straight. This film is a legitimate modern classic and is guaranteed to go down as one of the best samurai movies of the past 20 years. True, Japan doesn’t make as many as they used but Takashi Miike has earned his place among the best. And here we never even suspected he had it in him.

HKFanatic’s Rating: 9/10

By Mighty Peking Man

Naritsugu (Goro Inagaki) is into kidnapping, sadistic torture, rape and murder. He’s the type of guy that would kill a child just to pass time. If a woman accommodates him with hot tea, he’ll most likely end up sexually assaulting her, if not stabbing her to death. Sometimes his victims are left speechless – literally – because he’s been known to mutilate their physical appearance by not only cutting off all their limbs, but also their tongues…

Here’s the rub: Naritsugu is the Shogun’s younger brother, so whether you love him or hate him, he’s extremely untouchable. Even saying something disrespectful about him can get you into serious trouble. What’s even worse is Naritsugu is about to ascend to a higher political position, which will make him more powerful than ever.

Naritsugu must be stopped.

Shinzaemon (Koji Yakusho) is a decorated samurai who accepts a secret mission to assassinate Lord Naritsugu. To complete his objective, he handpicks 12, exceptionally skilled samurai warriors to accompany him. However, it won’t be easy. Lord Naritsugu will be surrounded by 70+ of his loyal men on the day of the planned ambush. Shinzaemon and his team will have to rely more on luck, than skill, to come out victorious.

The fate of Feudal Japan’s future rests in the hands of these 13 brave men. If they fail, the psychotic Lord Naritsugu could one day become Shogun himself.

Takashi Miike’s “13 Assassins” (which is supposedly based on factual events) is a remake of the Eiichi Kudo’s 1963 film of the same name, which in turn was heavily inspired by Akira Kurosawa’s “Seven Samurai” (1954). I haven’t seen the original, but if it’s anything like Miike’s, definitely count me in. Judging from certain scenes in the trailer, I can tell that Miike’s remake is very on-point with it.

I know I’ve said this many times, but I love it when a film has a simple, linear plot. I’m cool with surprises here and there, but I don’t need all these multiple twists and turns that seem to dominate a lot of movies these days.

“13 Assassins” is a straight forward samurai flick, at least as straight forward as a Takashi Miike film can get; In other words, there’s nothing extremely over the top, so if you’re expecting the outrageousness of “Visitor Q” or “Ichi the Killer,” you might be a tad disappointed. Even then, there should be enough blood, gore and unexpected shock value to keep you happy. I would honestly be surprised if there was a single soul out there who didn’t like this movie no matter what expectations they have (those awaiting Michael Bay’s next “Transformers” movie don’t count).

As far as action goes, it takes a good 40 minutes or so for “13 Assassins” to kick into gear, but that doesn’t mean the rest of the movie is slow. Everything that makes the bloody finale so great is due to the film’s brilliant build up: The introduction of just how sinister Naritsugu is; the background of the main characters; and the training and objectives of our 13 heroes.

Takashi Miike has made over 70 films since his debut in 1991. It’s well documented that there are some pretty spotty movies in his extensive, multi-genre filmography; which makes a lot of sense when you’re pumping out an average of 3 films a year. I’ve never came across a terrible film of his, but then again, I’ve only seen seen a handful of his movies.

Takashi Miike may not have a flawless track record, but with films like “13 Assassins” and “Audition,” he proves that he’s a master of his craft.

Highly recommended.

Mighty Peking Man’s Rating: 9/10

Posted in Japanese, Reviews | Tagged |

Memories of Murder (2003) Review

Posted on July 15, 2011 by JJ Bona
"Memories of Murder" Korean Theatrical Poster

“Memories of Murder” Korean Theatrical Poster

Director: Bong Jun-Ho
Producer: Cha Seung-Jae
Cast: Song Kang-Ho, Kim Sang-Kyung, Kim Roe-Ha, Song Jae-Ho, Byun Hee-Bong, Ko Seo-Hee, Jeon Mi-Sun, Park No-Shik, Park Hae-Il, Seo Yeong-Hwa
Running Time: 127 min.

By Raging Gaijin

“Memories of Murder” was a blockbuster hit in South Korea in 2003 and it’s just now finally seeing a DVD release in the US. The film is the chilling tale of South Korea’s first recorded case of a serial killer. Given the movie’s success and its subject matter, one might expect “Memories of Murder” to be a slick, commercial thriller modeled after “Seven” and “Silence of the Lambs”. Fortunately, nothing could be further from the truth. “Memories of Murder” is an irreverent and unconventional detective film that is original in nearly every way. Simply put, this is one of the best Korean films I’ve ever seen.

Although it tackles a grisly topic, “Memories of Murder” is actually full of quirky humor and laughs. The central characters are a group of colorful and unique cops, each with their own distinct personalities. Their various methods and inadequacies at tracking down the killer provide the “Memories of Murder” with an unexpected charm and humor. Kang-ho Song (JSA, Shiri) shines in the lead role as a simple cop whose life in the countryside has left him totally unprepared for such a cunning serial killer. He and his partner’s idea of interrogation is hanging a suspect upside down and beating him until he gives them the confession they want to hear, regardless of whether or not the prisoner is guilty. Once it’s clear that they’re in over their heads, a streetwise detective from Seoul is set in to help them. Sang-kyung Kim gives an incredible performance in this role and, in my mind, he slowly but surely steals the film as the most interesting character to watch. When he is first introduced to the case, he is calm, methodical, and ready to catch the killer. His world is gradually pulled out from underneath him, however, when he begins to learn that even his university education and big city sleuthing may not be enough to solve the case.

The cinematography is gorgeous: the opening shot immediately grabs your attention and the film doesn’t let go until it’s over. Joon-ho Bong’s direction is fluid, superb storytelling. There’s honestly very little to critique about this film. I’m sure a few minutes could have been trimmed here and there (the movie is over two hours long) but it rarely seems slow or tired. There are several scenes which are hilarious yet they don’t feel out of place, even though it’s a film about a serial killer. Joon-ho Bong effortlessly maintains this tone where anything can happen, whether it’s Kang-ho Song belting it out in a karaoke bar, the cops taking part in a violent bar brawl or stumbling upon a pervert dressed in women’s underwear trying to pull a Pee-Wee Herman, or the killer springing forth from out of nowhere when you least expect him. In “Memories of Murder”, anything can happen and it makes the movie that much more exciting to watch.

I sat down to watch “Memories of Murder” expecting to see a grim and gloomy film about a serial killer terrorizing the citizens of South Korea. What I got was one of the most entertaining and offbeat Korean films I’ve seen in a long time. One thing that always made me laugh was the cops’ way of stopping suspects; whenever they needed to apprehend someone, they would usually leap through the air with both legs straight out to perform a drop-kick. They’d typically jump off a hill or table first as well. It’s hilarious; just another example of this film’s off-the-wall humor.

“Memories of Murder” is based on a true story (it actually takes place during the 80’s as well). I’m not sure how much of it corresponds to reality as sometimes the movie gets rather strange; but, hey, truth is often stranger than fiction. Regardless, “Memories of Murder” is a film I highly recommend to anyone with an interest in Korean cinema. It’s simply a delight to watch, and a movie I won’t be forgetting any time soon.

Raging Gaijin’s Rating: 8/10

By Equinox21

Before I get into this review, I’d like to post a disclaimer· I am NOT a psycho. I have never killed a person, nor do I ever intend to. That said, on with the review·

I LOVE serial killer movies. Not necessarily the “stylized” and “flashy” serial killer movies out of Hollywood (such as Seven [even though I loved it, it wasn’t the type of “serial killer movie” I prefer] and The Cell [which was fairly lame]), but instead the realistic and gritty ones. I love seeing the process the police use to narrow in on the killer, catch him [I say “him” as there’s only been one recorded case of a female serial killer], and see the resolution and an end to the killings. I don’t know WHY I enjoy them so much; maybe it’s because in my impressionable youth I saw the events of the media extravaganza that was the Jeffrey Dahmer case play out in my home town of Milwaukee. But, don’t worry, my interest in them is only in knowing about and even studying them. I even applied for the FBI (and even though, at the time of writing this review, I haven’t heard back from them yet, I am, unfortunately, pretty confident that I won’t be an FBI agent), because I would have liked to have been a part of those types of investigations.

So, when I found out about a Korean movie based on a real-life serial killer in rural Korea in the 80’s, I was excited. I was really anticipating this movie, and was thrilled when it was finally released and I got the chance to take it in, and I certainly wasn’t disappointed. The movie starts out by saying that it was based on “an unresolved criminal investigation”, so you know right off the bat that they never find the killer. However, that’s not enough to make you disinterested, because you’re able to make up your own mind about which of the potential suspects you think is the killer, if it’s even one of them.

Detective Park (Song Kang-ho) is a rural cop, none too experienced in solving crimes such as serial murders. Though as a detective, he has undoubtedly “solved” regular murders (is there such a thing?) in the past. Normally, he and his sidekick just beat confessions out of suspects they feel perpetrated the crimes they’re investigating, guilty or not. However, after the first two bodies are discovered murdered in a similar fashion, Seoul Detective Suh (Kim Sang-kyung) joins them in an effort to help crack the case. The first half of the movie has Park and Suh constantly butting heads over how to proceed with the investigation; with Park set in his small town ways, without many realistic ideas as to how to track down a serial killer, and Suh resented by Park for his big city ideas, and no knowledge of the area or community he finds himself in. Eventually, as they get closer and closer so the murderer, their differences get worked out, and they find themselves on the same page.

This was the best element of the movie, in my opinion. They start out barely talking to each other with Park even laughing and ridiculing the ideas that Suh comes up with (which ultimately tend to be the best ideas). But, eventually their relationship grows to the point that they’re working together like a well-oiled machine and making real progress on the investigation.

The cinematography was pretty amazing as well. There were lots of long shots of green fields (which inevitably became crime scenes), grey skies and, whenever the murderer struck, lots of rain. The inside settings were dank, dark basements and cement buildings, all with very little color. There was very little color in any of the characters’ clothes, as well. There just seemed to be no color anywhere, except in the vivid red clothes that the victims usually were wearing. There were very few bright, sunny scenes. Perhaps this was to convey the dark, depressing and constricting feel of the military dictatorship that South Korea was under at the time. Whatever the reason, it worked wonders for the feel of the film.

I needn’t dwell on the acting, which was as expected· brilliant. At this year’s Grand Bell Awards, Song Kang-ho won Best Actor and Joon Ho-bong won Best Director for their work on this film, which also took home the Best Film Award.

If you like realistic cop/investigation movies, this is definitely one to check out. I really feel like I want to dock it points because of the ending, but as it simply followed real life events it can’t be blamed. So, it’s pretty much a flawless film.

Equinox21’s Rating: 10/10

Posted in Korean, News, Reviews | Tagged , |

Bad Blood | aka King of Triads (2010) Review

Posted on July 15, 2011 by Z Ravas
"Bad Blood" Chinese Theatrical Poster

“Bad Blood” Chinese Theatrical Poster

AKA: Mie Men, Mit Moon
Director: Dennis Law
Cast: Simon Yam, Andy On, Bernice Liu, Hung Yan Yan, Chris Lai Lok Yi, Pinky Cheung Man Chi, Jiang Lu Xia, Ken Lo, Chan Wai Man, Lam Suet, Eddie Cheung, Hau Woon Ling, Hon Chun, Amy Tan En Mei
Running Time: 95 min.

By HKFanatic

Can I recommend a movie based solely on the strength of its fight scenes? If that were the case, I’d tell just about anybody who enjoys Hong Kong action movies to find a way to watch “Bad Blood.” But no – this is not a good movie, at least not one I can recommend with a clear conscience. Despite some astounding fight choreography, “Bad Blood” fails in just about every other way.

I lay the blame on Dennis Law – he wrote, produced, and directed the thing. The story is decent enough: it focuses on the feud that arises among the remaining members of a Triad organization after their leader is killed. Everybody’s backstabbing everybody in order to get their hands on the Triad’s money. The cast includes Simon Yam, who could play this kind of role in his sleep (and he kinda does here).

To put it bluntly, Dennis Law’s direction is lazy and borderline-incompetent. The production values are great but camera-takes linger way longer than necessary, creating awkward silences between cast members. Law films his cast of talented and attractive people doing the most mundane of things like putting on make-up, changing their underwear, or starting their cars. There are a disconcerting number of scenes of Simon Yam sitting at a table, sucking on (yes, sucking on) peanuts. Despite several films to his credit, with “Bad Blood” Dennis Law seems to lack the most basic knowledge of what is compelling to watch onscreen. In a sense, the guy has got to go back to Filmmaking 101.

But the fight scenes are good enough that they nearly redeem the entire production. I suspect they were more or less ghost directed by choreographer Nicky Li, a former member of Jackie Chan’s Stunt Team. I’ve heard that in Hong Kong, the director will often leave the set during fight scenes and lets the action choreographer take over. That would probably explain why the fight sequences in “Bad Blood” are so visceral, kinetic, and well-shot compared to the rest of the movie. And, thankfully, they are numerous.

Andy On (“Black Mask 2,” “White Dragon”) is one of those guys who’s always seemed like a competent martial artist but has never had a movie that really showcased his talents. “Bad Blood” is his movie. His moves are just wicked in this flick; you believe his kicks could really send someone flying across the room, and he’s particularly lethal with a blade. Alongside him, Luxia Jiang of “Coweb” fame continues to cement her status as a female fighting force. Her acting range is limited here by the fact that her character is mute, but the action scenes are where she really shines. Her fight with Andy On is superb and, later on, she has a standout moment where she takes on about 20 thugs armed with aluminum bats.

The choreography is excellent, with a minimal use of wires; there’s only one moment in an actual fight where the wires are obvious, the rest are a few instances of parkour-style leaps. “Bad Blood” attempts to get back to that vintage, no-frills Hong Kong feel – at least when it comes to the action. The movie itself suffers from some really pedestrian filmmaking. Also distracting is the fact that everyone in the movie wears gaudy as hell 80’s fashion, even though it’s set in present times. The music, too, draws negative attention to itself since it’s 90% guitar rock noodling.

I should probably mention Bernice Liu (“The King of Fighters,” Miss Chinese International 2001), who plays the femme fatale character. Despite her numerous fight scenes, I never once bought her as a real martial artist. Her motions appear artificially sped in post production to make her look like The One or something. But, hey, she’s good at playing a bitch.

If great fight scenes are all it takes to make you enjoy a film, or at least not feel embarrassed that you watched it, then “Bad Blood” is not a poor way to spend an evening. Fans of Andy On and Luxia Jiang will definitely go home happy with the way their stars are represented here. More discerning critics may wonder how so many decent actors signed up for a movie with such a shoddy a script or how Hong Kong circa 2010 could produce a movie with worse directing than a student film.

HKFanatic’s Rating: 6.5/10

Posted in Chinese, Reviews | Tagged , , , , , , , , |

Dazed and Confused Blu-ray/DVD (Criterion)

Posted on July 15, 2011 by JJ Bona
Dazed and Confused Blu-ray/DVD (Criterion)

Dazed and Confused Blu-ray/DVD (Criterion)

RELEASE DATE: October 25, 2011 America, 1976. The last day of school. Bongs blaze, bell-bottoms ring, and rock and roll rocks. Among the best teen films ever made, Richard Linklater’s Dazed and Confused eavesdrops on a group of seniors-to-be and incoming freshmen. A launching pad for a number of future stars, Linklater’s first studio effort also features endlessly quotable dialogue and a blasting, stadium-ready soundtrack. Sidestepping nostalgia, Dazed and Confused is less about “the best years of our lives” than the boredom, angst, and excitement of teenagers waiting… for something to happen. Check out the trailer here.

DIRECTOR APPROVED DEFINITIVE SPECIAL EDITION:

– High-definition digital transfer of the director’s cut, supervised by director Richard Linklater and cinematographer Lee Daniel
– Dolby Digital and DTS 5.1 soundtracks
– Audio commentary by Linklater
– Making Dazed, a fifty-minute documentary by Kahane Corn
– Rare on-set interviews and behind-the-scenes footage
– Footage from the ten-year anniversary celebration
– Audition footage and deleted Scenes
– Original theatrical trailer
– A booklet featuring essays by Kent Jones, Jim DeRogatis, and Chuck Klosterman; memories of the film from the cast and crew; character profiles; and the original film poster by Frank Kozik

Posted in DVD/Blu-ray New Releases, Other Notable Titles |

Kuroneko Blu-ray/DVD (Criterion)

Posted on July 15, 2011 by JJ Bona
Kuroneko Blu-ray/DVD (Criterion)

Kuroneko Blu-ray/DVD (Criterion)

RELEASE DATE: October 18, 2011

In this poetic and atmospheric horror fable, set in a village in war-torn medieval Japan, a malevolent spirit has been ripping out the throats of itinerant samurai. When a military hero is sent to dispatch the unseen force, he finds that he must struggle with his own personal demons as well. From Kaneto Shindo, director of the terror classic Onibaba, Kuroneko (Black Cat) is a spectacularly eerie twilight tale with a shocking feminist angle, evoked through ghostly special effects and exquisite cinematography. Check out the trailer here.

– New high-definition digital restoration (with uncompressed monaural soundtrack on the
Blu-ray edition)
– Video interview with director Kaneto Shindo from the Directors Guild of Japan
– New video interview with critic Tadao Sato
– Theatrical trailer
– New and improved English subtitle translation
– PLUS: A booklet featuring an essay by film critic Maitland McDonagh and an excerpt
from film scholar Joan Mellen’s 1972 interview with Shindo

Posted in Asian Titles, DVD/Blu-ray New Releases, Martial Arts Titles |

Harakiri Blu-ray (Criterion)

Posted on July 15, 2011 by JJ Bona
Harakiri Blu-ray (Criterion)

Harakiri Blu-ray (Criterion)

RELEASE DATE: October 4, 2011

Following the collapse of his clan, an unemployed samurai (Tatsuya Nakadai) arrives at the manor of Lord Iyi, begging to be allowed to commit ritual suicide on the property. Iyi’s clansmen, believing the desperate ronin is merely angling for a new position, try to force his hand and get him to eviscerate himself—but they have underestimated his beliefs and his personal brand of honor. Winner of the 1963 Cannes Film Festival’s Special Jury Prize, Harakiri, directed by Masaki Kobayashi is a fierce evocation of individual agency in the face of a corrupt and hypocritical system. Check out the trailer here.

Posted in Asian Titles, DVD/Blu-ray New Releases, Martial Arts Titles |

Aftershock DVD (New Video Group)

Posted on July 15, 2011 by JJ Bona
Aftershock DVD (New Video Group)

Aftershock DVD (New Video Group)

RELEASE DATE: October 18, 2011

Also known as “Tangshan Great Earthquake” is a 2010 Chinese drama film depicting the aftermath of the 1976 Tangshan earthquake directed by Feng Xiaogang. The film stars Xu Fan and Zhang Jingchu, with a supporting cast including Li Chen. It was released in China on July 22, 2010, and is the first “big commercial film” IMAX film created outside the US. Check out the trailer here.

Posted in Asian Titles, DVD/Blu-ray New Releases |

Netflix does an asshole move: 60% price increase

Posted on July 14, 2011 by JJ Bona
Assholes.

Assholes.

Netflix was awesome 24 hours ago.

I was currently paying $9.99 a month for a plan that included Unlimited Streaming and Unlimited DVDs (1 out at-a-time). Now, starting September 1st, if I want to continue, it’ll be $15.98 instead of $9.99. They call this inscrease a “split into 2 distinct plans,” I call it an asshole move. Check out the email they’ve been sending to all their members:

Dear Mighty Peking Man,

We are separating unlimited DVDs by mail and unlimited streaming into two separate plans to better reflect the costs of each. Now our members have a choice: a streaming only plan, a DVD only plan, or both.

Your current $9.99 a month membership for unlimited streaming and unlimited DVDs will be split into 2 distinct plans:

Plan 1: Unlimited Streaming (no DVDs) for $7.99 a month
Plan 2: Unlimited DVDs, 1 out at-a-time (no streaming) for $7.99 a month

Your price for getting both of these plans will be $15.98 a month ($7.99 + $7.99). You don’t need to do anything to continue your memberships for both unlimited streaming and unlimited DVDs.

These prices will start for charges on or after September 1, 2011.

You can easily change or cancel your unlimited streaming plan, unlimited DVD plan, or both, by going to the Plan Change page in Your Account.

We realize you have many choices for home entertainment, and we thank you for your business. As always, if you have questions, please feel free to call us at 1-888-357-1516.

–The Netflix Team

Well, f–k you, too.

Even though I’m not happy about the increase, I still prefer Netflix’s $15.98 fee a month compared to a trip to whatever is left of the Blockbuster Video Chain (a couple of visits to this place can easily equal $18) or even the hassle of a Redbox (I don’t know about you guys, but I don’t want to rent something for a buck knowing I have to stop by a grocery store the next day to return it; and don’t get me started on the person in front of me taking their sweet time, browsing titles, WHILE on their cell phone).

Or maybe I should cancel my 1 out at-a-time DVD option and just keep my Netflix streaming plan for $7.99 a month. But I gotta be honest: I get sick of Michael Paré’s face and the so-called “visually striking” movies that never seem to change.

I have to admit, seeing movies like “I Saw The Devil,” “Copland” and “Straight Time” (in HD) on Netflix streaming always puts a smile on my face.

Either way, Netflix is still an asshole.

Update: Netflix speaks out.

Posted in News |

Scorsese’s George Harrison documentary on HBO

Posted on July 14, 2011 by JJ Bona
Something about the way his guitar weeps...

Something about the way his guitar weeps...

Paste Magazine reports: After acquiring the North American television rights to Martin Scorsese’s George Harrison: Living in the Material World, HBO will air the documentary in October.

The film will give viewers a rare glimpse to the world of this much-beloved musician. The Oscar-winning director traces Harrison’s life from his Liverpool origins and through his journey as one of the world’s most influential musicians. The documentary combines never-before-seen footage with interviews with the former Beatle, performances, home movies and photographs.

Read full article here. – Thanks to Tony F. for the heads up

Posted in News |

Princess Madam | aka Under Police Protection (1989) Review

Posted on July 14, 2011 by Brmanuk
"Princess Madam" Chinese Theatrical Poster

“Princess Madam” Chinese Theatrical Poster

Director: Godfrey Ho
Cast: Sharon Yeung, Moon Lee, Michiko Nishiwaki, Anthony Tang, Liu Kai Chi, Yueh Hua, Kenneth Tsang, Cheng Yuen Man, Mark Houghton, Steve Tartalia, James Ha Chim Si, John Ladalski, Lau Shung Fung, Lee Chun Hwa
Running Time: 92 min.

By Brmanuk

Directed by the king of cut-and-paste Godfrey Ho, ‘girls and guns’ flick Princess Madam is actually one of the director’s better efforts. When a secretary agrees to testify in court against a semi-retired Triad boss, two cops, Moon (Moon Lee) and Lisa (Sharon Yeung), are ordered to protect her from being assassinated. When Moon kills a would-be assassin, his girlfriend (played by Michiko Nishiwaki) vows revenge. Matters are complicated further when Lisa’s stepfather, an accomplice of the Triad boss under investigation, is ordered to sever all ties with his stepdaughter. Add in a plot twist and you have a decent narrative which unfortunately becomes muddled due to shoddy editing.

The problem, it seems, is that Godfrey Ho couldn’t decide which plot line to focus on, and as such, Princess Madam meanders between numerous sub-plots before dropping most of them almost all-together. The film eventually finds its focus about half-way through and concentrates on Sharon Yeung’s character, Lisa, who is torn between upholding the law and honouring her stepfather. Yeung brings some surprising depth to her character and, along with Moon Lee, provides some decent, if slightly generic action sequences. With the presence of Moon Lee, Michiko Nishiwaki and Sharon Yeung, one would have expected the action scenes to have been better than they are. Whilst they are entertaining they certainly don’t break new ground, and the film has a tendency to rely a little too heavily on poorly choreographed shootouts.

Although the film appears to have been made very cheaply and, judging by the muddled editing, very quickly, Princess Madam is a fun flick which keeps a steady pace and never becomes boring. It’s just a shame that Godfrey Ho didn’t hire a better editor.

Brmanuk’s Rating: 6/10

Posted in Chinese, Reviews | Tagged , , , , , , , , , |

Hobo with a Shotgun (2011) Review

Posted on July 14, 2011 by Z Ravas
"Hobo with a Shotgun" International Theatrical Poster

“Hobo with a Shotgun” International Theatrical Poster

Director: Jason Eisener
Writer: John Davies
Cast: Rutger Hauer, Gregory Smith, Molly Dunsworth, Brian Downey, Robb Wells, Nick Bateman, Peter Simas, Jeremy Akerman
Running Time: 86 min.

By HKFanatic

One thing you can’t accuse “Hobo With a Shotgun” of is false advertising. No matter what happens during its unrated, 86-minute runtime, you will witness a shotgun-wielding hobo. The film’s content may shock and appall the religious right or anyone with a weak stomach, but if you pulled up your lawnchair to watch Rutger Hauer blast people to bits with a pump-action shotgun then you will get what you came for.

Beyond that, I can’t really say if this film met my expectations or not. This is basically a Troma movie like “The Toxic Avenger” except with Rutger Hauer in the lead role. It’s got that sadistic streak to its funnybone, maybe a bit like the original “Death Race 2000,” that involves homeless people and children slaughtered for pure shock value. I suppose what “Hobo With a Shotgun” is missing is the sense of fun inherent in those films. Instead this just felt mean-spirited and depraved for the hell of it.

The gore is plentiful and holds nothing back, like Takashi Miike in his direct-to-video days. The script is a series of brain-dead one-liners and sexually explicit dialogue, like “I just love the smell of your asshole” and “The only thing I’m gonna let slide, is my dick and your pussy.” Most of the characters act in a hyper-exaggerated, cartoon sort of way, like Biff from “Back to the Future” on steroids.

In other words, I get the feeling that this movie might have been unwatchable without Rutger Hauer. But he’s in it and he’s so damn good. Where else are you going to see the man given some decent monologues to deliver at his age? I’m not sure if he’s acting broken-down and weary because he’s getting in to his hobo character or because he has to be in a movie like this, but whenever he’s onscreen you can’t take your eyes off him. He plays the whole movie straight, without a trace of irony or winking at the camera, and even manages to sell all of his corny, hobo-related one-liners (“I’m gonna sleep in your bloody carcasses tonight!”).

I agree with Ningen’s critique that his voice is kind of low and hard to hear at times, which might be the result of bad mic-ing, but if you can hear him Rutger manages to take mundane dialogue and make it seem like poetry. From “Blade Runner” to “The Hitcher” to now, the man just has this otherworldly quality that makes him immensely watchable. It’s damn good to have him back even if he’s stuck in a rather thankless role in a “grindhouse” flick when he deserves something as meaty as a Colonel Hans Landa in “Inglorious Basterds.”

“Hobo Without a Shotgun” is not without its highlights. The score is frequently fantastic, with bubbling 80’s synthesizers and gated drums that will remind you of your favorite ratty VHS tapes. A pair of villains are introduced late in the film, known as The Plague, and they’re about as gleefully over the top as you could hope for in a flick like this. Dressed head to toe in a cross between medieval armor and bondage gear, they stalk the halls of a hospital and slaughter people in a highly efficient manner. Later on, a wall of portraits reveals their past executions and the list includes Jesus Christ, Joan of Arc, and the Easter Bunny. Word has it that writer/director/editor Jason Eisener is planning a spin-off film devoted exclusively to The Plague. Now that I would genuinely be interested in.

Maybe this sounds silly considering it’s called “Hobo With a Shotgun” but I think I was hoping for more more heart to this film. The movie presents a city so infested with murder, sexual torture, child molesters, and street gangs that it’s beyond redemption, and then plays everything for laughs – you have to wonder where the entertainment value is supposed to come from. Yeah, it’s great to see Rutger Hauer cleaning up the streets but here he’s clearly fighting a losing battle – against crime, and in trying to give a respectable performance in the film.

HKFanatic’s Rating: 6.5/10

By Ningen

Rutger Hauer plays a traveling bum who wanders into a really bad neighborhood which has degenerated into a community of people too desensitized or corrupt to clean it up. Hauer’s character is only really interested in owning a lawn mower, but is forced to buy a shotgun and rid the city of the criminal elements when they push him too far. But the only help he can count on is the support of a sympathetic prostitute named Abby. Does he have a chance against the kingpin, Drake?

Hobo with a Shotgun is clearly for people who grew up on 70s and 80s grindhouse tough-guy films in which the good and bad guys were clearly defined, but not as much as the gore. This director really knows his “testosterone-sploitation” flicks, as you can see homages to movies as varied as Ricki Oh (where both characters are forced to eat broken glass) and The Toxic Avenger. Hell, even the music is retro, with frequent 80s syth-inspired tracks playing in the background. Plus, they still shoot videos on VHS tapes and drive DeLoreans in this “world”.

However, Hobo is not as “R-rated friendly” as its predecessors, as it goes in directions with its violence which you won’t believe they’d allow. It’s not as gory as you think, though it does deliver in that area. Rather, it intentionally screws with your preconceived notions of who lives and dies in these types of movies.

As for Hauer himself, he’s likeable, but either his accent or the ADR hurt the delivery of his lines. The audio occasionally lacks in terms of balance. But that just makes me wonder if they weren’t intentionally going that way to remind people of older films on tape which did not have good recordings.

The action itself is brutal, but not so disgusting that you can’t keep your lunch down. Though your mileage may vary on violent content. The main villains could use more work in terms of standing out better, but the actors do a good enough job of making you despise their characters. The story’s short and simple, so people tired of having to sit through “action” movies padded out at 2-3 hours with only about 15 minutes of actual combat will be overjoyed at being remembered again. I’d say the only thing the film lacks is the cheap and gratuitous sexual thrills which made these things a staple of the b-movie circuit. I know seeing “Grandpa” Rutger score would turn off a lot of people, but at least they can give us some non-Hobo softcore porn.

Still, all in all, Hobo’s a great reminder of what action movies used to be like before they became focused on pointless details like characterization: Gritty, not afraid to pull punches, and dealing with situations outside of the Internet. It won’t win any Oscars, but it does serve its purpose.

Ningen’s Rating: “Holy shit, they did not just go there!” moments: 10/10 Actual fights: 8/10 Memorable baddass ranking: 7.5/10 Overall satisfaction: 8/10

Posted in All, Other Movies, Reviews | Tagged |

G.I. Joe: The Rise of Cobra (2009) Review

Posted on July 13, 2011 by JJ Hatfield
"G.I. Joe: The Rise of Cobra" Korean Theatrical Poster

“G.I. Joe: The Rise of Cobra” Korean Theatrical Poster

Director: Stephen Sommers
Cast: Channing Tatum, Sienna Miller, Christopher Eccleston, Karolina Kurkova, Joseph Gordon-Levitt, Rachel Nichols, Marlon Wayans, Ray Park, Lee Byung-hun, Dennis Quaid, Jonathan Pryce, Gerald Okamura
Running Time: 118 min.

By JJ Hatfield

The overall response to the newest “first” chapter of the “Joe” world seems to be mostly positive. In other words from the studio to the Hasbro company cranking out new and improved “Joe” items, everyone is happy making money.

Perhaps I am too jaded and seen too many movies marketing but it seemed to me the only reason to make this movie was for a quickie cashcise (a new word for greedy franchises). However I dispensed with pre-determined judgments and watched the movie. With virtually no background in “G.I. Joe” I was not certain who belonged in that world and who did not and had to wait until the movie begins to fill in the huge craters of a plot.

The plot is only one of the problems in Joe land. Channing Tatum is “Duke” who is recruited to be in the special “Joe” unit. They must have needed him to shore up a set. His wooden performance could be confused with an inanimate object except for when he is screaming or lamely tossing out one liners. This guy can dance with or without clothes? Even knowing nothing about Joe Land I immediately was confused by Snake Eyes and his ridiculous looking upper body with abs and a good physique literally built right into the suit he was forced to wear. Apparently the studio thought it looked ridiculous as well but it’s hard to believe they agreed to the silly costume. The director audio commentary stated that “they tried to shoot around the suit, or hide it behind something”.

The only real type sort of martial arts is when Snake Eyes and Storm Shadow meet. In one of the very few scenes I liked was a bit of back story behind Snake Eyes and Storm Shadows relationship and partially at least why they loathe each other.

Lee Byung-hun plays Storm Shadow but he isn’t given much to work with but demonstrates he can perform in English speaking movies. To see some of his work check out “A Bittersweet Life”. As for Snake Eyes (Ray Park) how could you possibly tell if he can act or not? He doesn’t speak and that gawd awful suit – it could be anyone in there! The Big Guy in all of this is “Joe” General (Dennis Quaid) who barks one liners and pep talks so old they turned to dust as he says them.

One aspect I didn’t understand was why there was not more about the COBRA importance. It’s not just an evil group name and they do use cobra venom, etc., but it just isn’t discussed.

There are side stories about the main characters, I can’t even call them sub plots that are thinly sketched with no substance. Another problem is having a connection between a “Joe” and the evil Baroness. Apparently Duke needs her later as he cannot fly and fire at the same time. (insert your own joke) The special effects were just not special and in some cases made the scene look completely unreal. Taken all together I cannot go any higher than 5.5. However after talking with a number of mostly men who had fond memories of “Joe” and it was a kick to see it again for them I decided to add a half point for true fans.

JJ Hatfield’s Rating: 6/10

Posted in Asian Related, Reviews | Tagged , , , , , , , , , , , |

Dead Alive aka Braindead Blu-ray (Lionsgate)

Posted on July 13, 2011 by JJ Bona
Dead Alive aka Braindead Blu-ray (Lionsgate)

Dead Alive aka Braindead Blu-ray (Lionsgate)

RELEASE DATE: October 4, 2011

Throw out all your preconceptions about the limits of horror! A new standard has been set with DEAD ALIVE- The Mother of All Horror Films. A young man’s mother is bitten by a Sumatran rat-monkey. She gets sick and dies, at which time she comes back to life, killing and eating dogs, nurses, friends, and neighbors. Dead Alive is dripping with state-of-the-art special effects that feature mutilations, rock ‘n’ roll dismemberments and household appliances, combining into the most bizarre ending ever filmed. Directed by Peter Jackson (“Lord of the Rings Saga”) and starring Timothy Balme, Diana Penalver, Elizabeth Moody and Ian Watkin. Check out the trailer here.

Posted in DVD/Blu-ray New Releases, Other Notable Titles |
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