Directed By: Veronica Ngo Written By: Veronica Ngo, Nha Uyen Ly Nguyen, Nguyen Truong Nhan, Ngu Yen Ngoc Thach and Aaron Toronto Cinematography: Phunam Editor: Nguyen Cong Dang
Cast: Dong Anh Quynh, Toc Tien, Thuan Nguyen, Rima Thanh, Song Luan, Gi A Nguyen, Thanh Nhien Phan
A mysterious woman trains a trio of girls to take revenge on a criminal gang that abuses females. The three lady warriors risk everything to challenge this corrupt empire.
This film could have almost been nicknamed GET ‘EM GIRLS.
Now this film doesn’t reinvent the wheel. As it pretty much is predictable and you have seen it before. It does offer excitement as you watch it and tries to provide some twists and turns of its own.
This is the first female action-oriented film that I have truly been impressed by since CHOCOLATE. This film offers female action heroes and feels like a mixture of a revenge tale with parts of CHARLIE’S ANGELS & GUNPOWDER MILKSHAKE. Though luckily without as much humor as those films and less gunplay. As there are guns involved but this is more hand-to-hand combat with machetes and steel pipes. Think DAREDEVIL, the series’ action scenes.
So the film is a bit more vicious than expected.
The third act of the film feels like a video game with a henchman who looks like he came out of one. This goes along with the cartoonish main villain whose real danger is the threat from those who follow him in force.
Other than actually being a dangerous fighter on his own. Where the audience questions why they follow him in the first place then.
It even offers some drama just to up the stakes and meaning In These fight scenes.
The film is well-directed and has a danger to it. Like the other films I compared it to, it has a little gloss and lots of filtered and neon lighting. That leaves the film with plenty of styles.
Written & Directed By: Wong Kar Wai Based On The Book “The Eagle Shooting Heores” By: Louis Cha Cinematography By: Christopher Doyle & Pung-Leung Kwan Editor: Patrick Tam & Kit-Wai Kai Cast: Brigitte Lin, Leslie Cheung, Maggie Cheung, Tony Leung,
Ou-yang Feng lives in the middle of a desert, where he acts as a middleman to various swordsmen in ancient China. One of those swordsmen is Huang Yao-shi, who has found some magic wine that causes one to forget the past. At another time, Huang met Mu-rong Yin and under the influence of drink, promised to marry Mu-rong’s sister Mu-rong Yang. Huang jilts her, and Mu-rong Yin hires Ou-yang to kill Huang. But then Mu-rong Yang hires Ou-yang to protect Huang. This is awkward, because Mu-rong Yang and Mu-rong Yin are in reality the same person. Other unrelated plot lines careen about. Among them is Ou-yang’s continuing efforts to destroy a band of horse thieves. Oy-yang recruits another swordsman, a man who is going blind and wants to get home to see his wife before his sight goes completely. The swordsman is killed. Ou-yang then meets another swordsman who doesn’t like wearing shoes. Oy-yang sends this man after the horse thieves, with better results. We then find out what a man must give…
The original cut was released in 1994 I am reviewing the re-edited version of 2008
I will admit that I haven’t watched the original cut yet. This is the same film only re-edited to put emphasis on different things and look at the film in a different way. Sort of like what was attempted when the Mel Gibson film PAYBACK was put out on DVD and re-edited more to the director’s original vision before the production was taken outbid his hands and re-shot and re-edited it’s also similar to the APOCALYPSE NOW REDUX putting back in cut scenes to supposedly make the film richer in content and context.
This is a great movie… To have on in the background of a party continuously playing, but sitting through it is a challenge. I love Wong Kar Wai’s work but I couldn’t wait for it to end. It was like sitting through a music video with its camera work and rapid editing. Though a music video with a thin plot seems a simple reason to link scenes of action together.
This film feels moody as you have to be in a certain type of mood to watch, more open and accepting of the story it presents. I believe the reason I didn’t enjoy it as much as Wai’s other films are that one saw the masterpieces first and came back to watch this film which doesn’t match the greatness of his other films though you can see the seeds. It almost feels unfocused half of the time as to where it is going or what it wishes to convey.
While the film is visually arresting. The story begins to get confusing and boring. When the film is on the verge of getting too boring it redeems itself with an action scene.
Director, Wong Kar wai shows that he is capable of stunning action sequences, which are rather rare in his films, but then he messes them up in this film by making the. In slow motion. Almost like a delayed slow-motion capture. This messes up the fluidity of the choreographed action, but when the scenes run at regular speed they are a sight to behold. This film had an exhausting effect on Wong Kar Wai. While on hiatus during the editing process, he wrote CHUNGKING EXPRESS to “clear his head”.
This is a visually beautiful movie, low budget with a few too many close-ups for no reason it seems. I will prefer and enjoy the first cut just like APOCALYPSE NOW REDUX.
What is interesting about Wong kar wai when it comes to most of his films is that he is a visual stylist as a director, but not, in the same way, directors like Tim Burton works most of the time in his movies. The camera stays still and he lets the sort be about the characters as they reveal relationships and the big story. Now when this is happening the lighting and colors are usually immaculate and use the landscapes to their fullest. And when the camera moves the angles he uses in the scenes are strange, but breathtaking that you feel the movie so much more because at the heart of most of his films are relationships.
It’s like Woody Allen films with less dialogue, no comedy, and no archetypes yet more open and visual. More seems to be at stake and the characters are usually young with more modest incomes plus more sensual than sexual.
It hurts to give this film such a low grade. He has made strides since this film it is an early work that hints at his future vision and genius. Still one of the better and More Interesting filmmakers still working today
Directed By: Peter Cattaneo Written By: Simon Beaufoy Cinematography By: John De borman Editor: David Freeman & Nick Moore
Cast: Robert Carlyle, Mark Addy, Tom Wilkinson, Emily Woof, Tom Speer, William Snape, Steve Huison, Paul Barber, Hugo Speer, Lesley Sharp, Paul Buttersworth, Dave Hill
Six unemployed steel workers form a male striptease act. The women cheer them on to go for “the full monty” – total nudity.
This film was part of a wave of British films (Usually Romantic Comedies) that became Surprise hits in the united states. I remember this one being so popular when it first came out it made me resent it and not want to see it at all. I avoided it on purpose in theaters. I waited for the home video and then only rented it because my mother wanted to see it badly. Needless to say, she loved it and can say one was entertained by it. At its heart is really a man’s movie that was made for a female audience. The film touches on the need to take care of a family and how powerful you can become if you can’t
The premise is so simple and full of sentiment While it is built around depressing subject matter. That it remembers to touch on now and then, But not too much of a downer. Luckily not over-the-top sugary sweet either. it finds a nice balance. it never feels false, sour, or like it is pandering to the audience like a film such as THE BUCKET LIST, yet it is so crowd-pleasing, That one is surprised that no American studio thought it up.
It is the rare crowd-pleaser one can stand and recommend because it’s easy to watch. Though it offers some eye candy for the ladies. While none truly have additional on-screen bodies. They do come in all sizes, shapes, and colors
One of the original aspects of the film is that not all men are hunky they come in all shapes, colors, sizes, and ages. Some are even in the closet gay. The film does represent each demographic to appeal to the audience without them realizing it. The film moves along quickly, but the events happen at a natural pace that makes the film feel smooth.
You can feel the film pull you in certain directions and try to dictate how you should feel and react, it does manage to do in subtle ways instead of blunt.
The film has a great cast. Each character has their own reason and a dramatic situation that they are dealing with. It was especially shocking that one of the main stars was Robert Carlyle who one can remember playing the sadistic Begbie in TRAINSPOTTING. He made one hell of a transformation as one totally forgot his previous role and believed him in this one.
The film Has a strong retro soundtrack to bring the audience into the good times when the songs were originally released, Adding to their memories. That works almost like a Jukebox Musical only not devoted to one particular singer or time period. ironically the film would have a Broadway version. Which truly showed how beloved the movie, story, and characters were.
The characters are all working class from different aspects of life. So they are steadily identifiable to the audience. As we learn enough about each character to care about their plight and discover their particular quirks. Almost like members of a Heist crew. Where there is the recruitment for their gifts and what they bring to the table under the leadership of the leader who planned the heist in the first place.
Each has its romantic history and mojo that needs kindling or rekindling. There is even an LGBTQ blossoming romance
While there are clearly leading performers who we follow. The whole team is needed to complete the tasks and overcome the roadblocks.
Written & Directed By: Matt Ruskin Cinematography: Ben Kutchins Editor: Anne McCabe
Cast: Keira Knightley, Carrie Coon, Chris Cooper, Alessandro Nivola, Rory Cochrane, David Dastmalchain, Peter Gerety, Robert John Burke, Ryan Winkles, Morgan Spector
Loretta McLaughlin was the reporter who first connected the murders and broke the story of the Boston Strangler. She and Jean Cole challenged the sexism of the early 1960s to report on the city’s most notorious serial killer.
The film is well shot almost like an episode of the show MINDHUNTER. This might be why it feels like an R-rated tv-movie, but it lacks the drama, tension, and strength of that television show.
In fact, it ends up representing those made for cable movies of the 1990s and 2000s. That was meant to be an event. where they got an all-star or established cast of recognizable names.
The movie plays like it’s own version of SHE SAID, though instead of tackling the Harvey Weinstein case. There is two female reporters who are looked down upon. One established and one rookie, cracking a case wide open that established reporters didn’t. As they are even the first to notice a pattern.
Similar to that film we get to see their domestic lives while also tackling this story. Only here Kiera Knightley gets more screen time. As the rookie and how this case is also disrupting her domestic situation.
The film short changes Carrie Coon a bit. As she is the mentor to Knightley’s character. We learn a bit less about her. She also doesn’t have as much screen time or moments.
I can admit so far I have never been a fan of the movies based on this true crime case. Including the film THE BOSTON STRANGLER from 1968
Directed by Richard Fleischer and starred Henry Fonda, Tony Curtis, and George Kennedy. Though that movie focused more on the killer and the police detectives.
As a true crime movie, you could easily look up the case to discover the ending as well as the ins and outs. What the film does actually do successfully is offered up the surprise of the suspects and the realization of how many men got away with murder using the M.O. of the strangler, but when not being able to be linked with the other crime of the strangler were let go.
As towards the end, a character pretty much defines what the movie is about and sums up the point of this dramatization. Which is the changing times and realizations of things either kept hidden, quiet or never acknowledged. That was unfortunately showing that society could never go back to being so innocent.
Though the film at least offers some hope for two female reporters challenging the status quo and finding courageousness and leading a way for females in the future. Even as they are pretty much the prey out there at that time.
Written & Directed By: Chloe Okuno Based on a Screenplay By: Zack Ford Cinematography: Benjamin Kirk Nielsen Editor: Michael Block
Cast: Maika Monroe, Karl Glusman, Burn Gorman, Madalina Anea, Daniel Nuta, Stefan Iancu
A young American woman moves with her husband to Bucharest and begins to suspect that a stranger who watches her from the apartment building across the street may be a local serial killer decapitating women.
The film offers no real thrills or chills. Though it looks great visually.
The film never lived up to the potential that it seems to set up. Though it finally comes alive in the final 15 minutes. Which is when we believe it is over. Then it seems determined to try and surprise us finally.
The ending feels a bit tacked on in the final Minutes. Downtrodden and stronger but killer wouldn’t be able to get away. As this has to make sense or have a payoff for sitting through all of this.
It’s a consistently sad film though nothing throughout makes you care or endears her to the audience other than she is the protagonist and a human being.
As the film plays heavily into the cliche belief that the lead is seeing things or losing her mind rather then what she sees’s being real and believed. So that it almost plays like a drama more than anything.
As the film immersed us in her situation and world which is foreign to her and us.
This feels like a Brian DePalma movie without the inventive cinematography
Though if you are a fan of actress Makia Monroe, we are with her through most of the film. Plenty of shots of her looking beautiful her wardrobe was immaculate
This is more of a film you gaze at that could be played in the background. You would study it for its Look and shots. Nothing much of note happens.
It does offer up that common fear of being a stranger in a strange land and being alone. Yet when you should feel safe not truly feel that way. As there is always a creepy element or even a person who personifies that feeling. No matter how lavish the surrounding.
In the end, it’s a little predictable and pretty traditional. While there is something special here in its sharp direction. It never rises to the greatness it could have been. Even with an ending that tries to make up for all the slower pace in the beginning.
Directed By: Richard Styles Written By: George Edward Fernandez Cinematography: Orson Ochoa Editor: Carolyn J. Horton
Cast: Tony March, Lisa Stahl, Tom Law, Carol Cadby, Donna Balton, Just Kelly, Vince Turner, Greg Todd David, Merry Rozelle
When four young college girls stumble upon a murder, they find themselves targeted by a killer who will stop at nothing to silence them.
This is not the exceptional thriller that was one of Director Danny Boyle’s first films. This is seemingly rushed to video spring break thriller.
The film almost could have been a decent television thriller. Except that the first half has a few lingering nude scenes and a scantily clad character. Who strangely never gets a chance to do any unveiling and truly seems to be the most stereotypical single-minded character.
The film is silly in parts but it keeps the audience’s attention. The first half of the film feels more exploitative than anything. As after all, it’s supposed to be a spring break T & A film.
The second half plays more like a thriller and a race against time. As each moment of mercy or hope is dashed at the last second.
Though there is an instance of nudity in the second half of the film that isn’t really needed and feels cruel.
The film opens with a bad yet believable PSYCHO homage only with more nudity.
Along the way, the characters meet with a pair of college boys who seem like Dimwitted heroes but prove to be more red herrings. For the majority of the movie, we watch how the murderer is going to try to cover his tracks and get to any witnesses.
The film opens promising before going very dark and never quite looks back. Definitely can give it points for trying.
This Film is practically THE LAST AMERICAN VIRGIN of thrillers only not as good as that film. The ending is that much of a gut punch, but also feels mercilessly cruel throughout to our Protagonists.
It’s sweaty, sleazy, and exploitive. So long as you know what you are getting into, you can find it repulsive or entertaining.
Directed By: James Foley Written By: Doug Jung Cinematography By: Juan Ruiz Amchia Editor: Stuart Levy
Cast: Ed Burns, Rachel Weisz, Dustin Hoffman, Paul Giamatti, Brian Van Holt, Morris Chestnut, Louis Lombardi, Andy Garcia, Robert Forster, Robert Pine, Leland Orser, John Caroll Lynch, Luis Guzman, Donal Logue, Tony “Tiny” Lister, Franky G, Nicole Lenz
Jake Vig is a consummate grifter about to pull his biggest con yet, one set to avenge his friend’s murder. But his last scam backfired, leaving him indebted to a mob boss and his enforcer.
I have never seen a film try so hard to be a modern version of THE STING.
The film offers likable quirky thieves and a handsome protagonist. Who is in over his head? An untrustworthy femme fatale and a big-name legendary actor playing the villain raise the stakes of the endeavor and make it seem like a challenge to the other actors to impress him or even hold the screen with him.
Then you get the requisite double crosses. Everyone is who they seem or say they are. I really wish I could have disliked this film. It ends up winning you over as long as you don’t look too deep. As it is a film that openly challenges you and wants the audience to overthink. So that while you are doing that it is sneaking stuff right by you.
Ed Burns is the lead con man. I will admit that when it usually comes to him in acting performances. He tries to play more laid-back characters but there is a certain arrogance in his performance that is perfect for the character he is playing here. Here he has his qualities actually work for him.
It helps that this film is stocked to help support him with so many character actors. Who he actually holds his own with. Under those conditions, you have to bring you a game and pray that some of their talent and charisma Rub off.
It’s hard to talk about this film and really have too much to say, when most of the enjoyment comes from watching these twists and turns in action.
It’s actually quite a charming film that is perfect to watch with an audience. Though you will probably only need to see it once. Since after that you know what it is all about. And not as much fun.
Watching it feels like you are playing a game. Once you watch it will All have the same outcome.
The film tries to be gritty but it comes off more as fascinating. As the film is much better than you would expect and is stylish to a degree, but feels like it is a victim of itself when it comes to the intelligence of the script. It thinks it’s smarter than it actually is. Even includes the will they or won’t they sexual tension between the con man leader and the new sexy recruit.
Watching this at the time it seemed part of a bunch of movies that were trying to be about con games or at least trying to fool the audience. That also seemed more in being self-promoting. This is worth a shot but more as entertainment than anything else.
Written & Directed By: Brandon Cronenberg Cinematography: Karim Hussain Editor: James Vandewater
Cast: Alexander Skarsgard, Mia Goth, Cleopatra Coleman, Thomas Kretschmann, Jalil Lespart, Adam Boncz, Amanda Bruegel, Jeff Ricketts, John Ralston, Caroline Boulton, Anita Major
James and Em Foster are enjoying an all-inclusive beach vacation in the fictional island of La Tolqa, when a fatal accident exposes the resort’s perverse subculture of hedonistic tourism, reckless violence, and surreal horrors.
When it comes to the films of Brandon Cronenberg so far at least for me is that I like his films but I believe I like the concepts more than the follow-through.
So far they have focused on body horror usually through some kind of transaction, rather than a natural occurrence. That helps you to believe that the characters bring it on to themselves.
This film is not really any different. Though it seems to speak to more positions of class. Through its twists and turns, as well as double crosses it is like a more disturbing version of the movie THE GAME without a happy ending.
Mia Goth is good in her role, one that she seems perfect for. As her character is more alluring, and seductive than in X Or PEARL. Though in those movies her characters had more of innocence. Here she always knows what she is doing and is in command.
Cleopatra Coleman is good here, I only wish the film had more for her to do. As she is such an onscreen presence. Though there seems to be no room for her here. As the film gives her the responsible kill-joy companion.
WARNING There are spoilers ahead
The film is a good example of showing class and how it works. As it has a seemingly well-to-do couple mixing with another that is rich or more the haves in a third-world country resort.
An accident happens when they break the rules in a car that was procured illegally and outside of the resort grounds which results in death. In this country, they have a choice whether they can be sentenced to death or a long prison term or if can pay the price. They will clone you and your clone is dealt the punishment for you.
After the first occurrence, it gives the main character is a failed writer who has married into money. A kind of second lease on life and he ends up meeting all these other wealthy characters. Who has had the same experience and now they form a little club where it quickly becomes hedonistic and unlawful. Believing they can do anything because they have the money.
At first, he is appalled and then joins in, but things get more dangerous and he gets pulled in more erotically and narcotically. Soon not only does he not know what is real and what is not. He begins to question who he really is, an original or a clone. Also is he with them or against them. As the group seems to feel a certain ownership of him.
By the end they do win him because they have done this so much their new game or jollies is getting someone who believes they are one of them and putting them through the wringer for their own entertainment and treating them almost like a pet or newly found toy and breaking them.
Then by the end treat them like vacation friends like nothing happened. Asking if they are going to come back next year. Now they are more part of the group and the next year they can indoctrinate another new person into the group.
Even in trying to get him under their thumb, they use and abuse or downright kill so many innocents. That they know they can get away with it because they have money. Those who they hurt are not seen as on their level. So they can be victims and never thought of as anything more than that.
Which can also be seen as an allegory to what has happened in modern politics. Where you get a base of people riled up and fighting for the things you say. Making them believe that they and you are the same, but then once they have done the dirty work for you sell them out to a degree.
The film is provocative in that way. As it pushed along the idea and story. While touching on many subjects vaguely. If it wasn’t so hardcore in Its material it would be a more accepted science fiction classic.
Written & Directed By: David Cronenberg Cinematography: Douglas Koch Editor: Christopher Donaldson
Cast: Viggo Mortensen, Lea Seydoux, Don Mckellar, Kristen Stewart, Scott Speedman, Nadia Litz, Lihi Kornowski, Tanaya Beatty, Weller Bungue
As the human species adapts to a synthetic environment, the body undergoes new transformations and mutations. With his partner, Caprice, Saul Tenser, a celebrity performance artist, publicly showcases the metamorphosis of his organs in avant-garde performances. Timlin, an investigator from the National Organ Registry, obsessively tracks their movements, which is when a mysterious group is revealed… Their mission – is to use Saul’s notoriety to shed light on the next phase of human evolution.
The film feels like director David Cronenberg chooses to begin the movie with a shock in the middle of beauty. As it shows how quickly things can go from simple to shocking. Which is to prepare the audience for what comes after and throughout. Even though the rest of the film is similar in quality though some might turn away because of the more graphic scenes. The film never feels like a horror film.
Not really a horror film. As it does involve what could be considered body horror even though in theory it does explore a society where bodies can create phantom limbs. Extends more into science fiction and in exploring that phenomenon where it is special but a little more commonplace. Thought leans itself towards science fiction or more hardcore fantasy as it does build not only a world only bit in visuals but more in small details that makes it more intimate and more disturbing how close it can be to more of a civilized reality in design. Which is a marvel In itself.
So that while the film might be disturbing to some. It never quite reaches the heights of disgust, but as with most David Cronenberg films, there is a sensational aspect that tries ti be subtle. That for some might be lightly provocative but feels more there ti be provocative but that factor is more the director every day and for his audience, it might actually feel aggressive
It tries to go to some extremes and while it might shock some audience members for Cronenberg’s fans or those used to his movies. It comes with the territory. If not expected when it comes to his films. If anything it is more shocking when his films are lighter or shows restraint. This isn’t a man you expect to take the road or provide any out-and-out comedy from.
The film for all of its raciness still strangely feels a bit tame, Never as exciting as it lets on or seems to be headed. Even one of the biggest stars in the movie comes off as more goofy than credible or irritating.
Lea Seydoux is committed to her role and truly gives her all. One of her most expressive English language roles. She also adds a kind of European oddity to this artistic expenditure. She also adds a memorable nude scene.
Cronenberg’s expression of ideas and imagination always seems to provoke. Who might believe he is out to shock though here it seems done to build a world.
One can’t say that they understood everything. Though you go with it as it keeps you invested, especially visually. As the effects are simple yet effective. It could be his presence his story and the effects matter of fact or rather than aiming to disgust
The film does succeed in building a world where all of this is a result of one another.
The film feels experimental in lotus ten Stewart’s performance. As the rest of the film feels assured.
Not as shocking, not sure if that is due to what he has done before and we are used to it, or in this climate, it’s more here to shock us or move us.
As this film feels more like a presentation than anything else. The film never quite feels full or it feels like a beginning to something but not a thorough ending.
Directed By: Alain Robak Written By: Alain Robak and Serge Cukier Cinematography: Bernard Dechet Editor: Elizabeth Moulinier
Cast: Emmanuelle Escourrou, Christian Sinniger, Jean-Francois Gallotte, Roselyne Geslot, Francois Frapier, Thierry Le Portier
When a strange creature crawls into a woman’s uterus she becomes a killer in order to feed the tiny terror growing within her.
This is one of those movies that came from nowhere for fame. I had never previously heard of this film and decided to take a chance at it. While scrolling through Shudder.
This Is definitely a film made for horror fans. The theme of this film seems to be literally at first men’s horniness will be the death of them. Most don’t come off well throughout the film.
As the lead female played with total commitment and energy by Emmanuelle Escourrou. who gets infected by this parasite at first is reluctant to go through with what the parasite is forcing her to do. Working her way as a seductress to entice more victims. As she already had men all over her, even when not trying, though she was in an abusive relationship and the one man she wanted to have no interest.
The parasite in her uterus wants her to kill but not for blood or the remains. The film never seems to answer the reasons why. Just the act sets this film apart from similarly themed films in its wake like GRACE or PREVENGE.
As the parasite grows into a baby after sex and while psychically communicating and controls her more through pain and threats. So it’s almost like she is in an abusive relationship again.
The film presents the killings not from a need, not from a maternal instinct of trying to help her child survive. As it says it wants blood but we rarely see her take it.
The first half of the film is presented episodically like short stories of her next kill. While still on the run.
The film offers plenty of nudity and some sex, but it’s never quite erotic, exotic, or sexy. The filmmakers do have some artistic tendencies in the film, but it seems like with a Troma Studios-type budget. That ends up having the movie feel slightly exploitative.
The film at times feels quite silly, but it never lets loose to have fun with its wacky premise.
The film never goes where you expect. As once you believe you have it figured out. It goes another way.
Cut To The Chase 