Category: Uncategorized

FUNNY GAMES (2008) (REMAKE)

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Written & Directed By: Michael Heneke 
Cinematography By: Darius Khondji 
Editor: Monika Willi 
Production Design: Kevin Thompson 
Art Direction: Hinju Kim 

Cast: Tim Roth, Naomi Watts, Michael Pitt, Brady Corbet, Devon Gearheart, Siobhan Fallon, Boyd Gaines 

In this English-language remake of a deconstruction in the way violence is portrayed in the media, a family settles into its vacation home, which happens to be the next stop for a pair of young, articulate, white-gloved serial killers on an excursion through the neighborhood.

Not as good as the original of course I think the real weakness of the film is not only going back and repeating something that was never wrong, to begin with just to expose it to a massive audience that might have not seen the film the first time just because it was in a foreign language.   

The remake doesn’t show growth but hey rockstars have to play their classic hits once in a while, Even with new band members. If they are willing to pay you to do it why not.


I think one other weakness this film has is that it is opened up more than the original, with more characters. Who are minor but it opens it up. which in the beginning was scarier and more intense because it was more intimate.


It’s not a shot-for-shot remake but is similar enough. Maybe the film doesn’t affect you because we already saw the original and know what’s going to happen. Whereas when you see the original it’s a shock and keeps you on the edge of your seat. Watching this is like watching an imitation even though it is by the same director. Maybe it is also because whereas there were no stars in the original. So anything could happen and It felt realistic. Seeing stars in this you know it’s just fake and doesn’t penetrate any of my emotions like it seems to be directed to. By bringing well-known actors into the film also gives them nothing to do but whimper in pain for two hours there are no great characters to play or great lines unless you have the villain’s role in this film.


you also notice that in the original the female star was in her underwear for a scene then gets clothed. Here Naomi Watts spends most of the movie in her underwear. Sure it’s great to look at but I guess it was meant to tap into American horror films as usually the females run around naked and in their underwear as they are stalked and killed rarely do they survive. In fact, there is no real violence shown only the aftermath. The only time there is violence it happens to one of the villains.


The main villain also doesn’t speak to the audience as much as he did in the original, maybe it was deemed annoying. The remote scene which seemed daring in the original seems like a gimmick here. Here in making it bigger, it is marketed as a thriller but shot like an art film with attention to detail and colors but with no real shown violence that the audience is waiting for.


It also plays with the conventions of films such as foreshadowing and making an excuse for the violent behavior, breaking the fourth wall, and the illusion that in the end, everything will turn out fine. The false hope that it can all turn around because that’s what happens in the film. They wouldn’t be that messed up.


It plays with the rules that you have come to expect and then just when you think it will follow narratives you have seen it switches it upon you.

The pacing also seems off that it makes the film almost seem boring. Some could look at it as satire. It is obviously a message movie because all that happens in the film makes you realize your own bloodlust and includes you as a co-conspirator in all that happens because you are sitting there watching for entertainment.

SPOILER:


Like the scene where Anna is then taken to the boat where she attempts to cut herself loose with the knife shown earlier in the film, only to have it taken from her as a way to mock the standard Hollywood foreshadowing. She is then dumped overboard and drowns as the two boys discuss school fiction and state the message of the film quite clearly by stating (in reference to a novel they read) “the family was real, the hero was in fiction”, demonstrating that violence is real and what occurs for entertainment happens in reality, however rising above the odds and becoming a hero only happens in fiction. And as a note, all of the killing is off-screen, this is a pro-reality but anti-violence film in its own brutal right

SPOILER END


Now I didn’t exactly write the last paragraph but it is summed up pretty well that I agree with it I say if you didn’t see the original this might be interesting but if you did you don’t really have to bother with this film. Trust me rent the original it’s a lot better.

GRADE: C

FATALE (2020)

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Directed By: Deon Taylor

Written By: David Loughery

Cinematography: Dante Spinotti

Editor: Eric L. Beason & Peck Prior

Cast: Hillary Swank, Michael Ealy, Mike Colter, Damaris Lewis, Tyrin Turner, Danny Pino, Geoffrey Owens, David Holpin, Sam Daly 

After a one-night stand, a successful married man finds himself entangled in a cunning police detective’s latest investigation.

This is a film I could see more getting made out of desperation or at least being seen out of that same feeling. As this seems the cheapest kind of entertainment when there might not be anything else to watch so you settle for it.

The film seems to hate or villainous women throughout. As there seems to not be a single positive female character. As the major ones are conniving, cheating or manipulative, and downright evil.

While one is happy to see multiple best actress Oscar winner Hillary swank in a leading role and she is good in the role but she definitely deserves better. As it seems Hollywood never quite knew how to use her or never seemed to find a stream of roles that worked with her strengths. As one of her talents is being a chameleon so she can fit into most roles. The problem is that leads her to have a light presence when a strong one is needed. 

The film does offer her a kind of Fatale role as the title tries to showcase her. Though even as she has a glamorous entrance and looks the part the movie has her in an initial seduction scene where we barely see any action and then another sec scene that is sudden and rushed. Far from being sensual. Which can only remind some of her role in THE BALCK DAHLIA the last time she was in a more erotic role. Which unfortunately seemed to damage a lot of the stars of that film. 

This is the type of movie in classic Hollywood would be more of a throwaway meant to bring together either studio contract stars who were on the way out and appeared out of contractual obligation or it would be a movie meant to bring two superstars together in the big screen and no matter how silly the film the audience was more there for the star power. 

The film goes in many different directions where it seems to confuse itself as to what exactly its Intentions are, for instance, the event that causes their reunion ends up being more intricate. Though we never even quite solve it.

It might be because the film tries to add so many different elements. Then wants to make sense or try to explain different motivations but has a hard time out of how ridiculous it has gotten through all of this is done with a straight face. Where by each passing scene it feels like it is losing its audience. As it comes across more like a season of a soap opera rolled into one movie. 

Shot by Dante Spinotti the film looks great as do the locations and actors. Trying to make it stand out colorfully and filmed more like a noir. 

So busy trying to titillate that it’s credibility flies . As things are heightened but with little payoff. 

The film Seems to have a happy cookie-cutter ending. Even though for all the entanglements that seem rather impossible. 

Grade: F

THE HOT SPOT (1990)

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 Directed By: Dennis Hopper
Written By: Nona Tyson & Charles Williams 
Based on The book “ HELL HATH NO FURY” by: Charles Williams 
Cinematography: Ueli Steiger 
Editor: Wende Phifer Mate

Cast: Don Johnson, Virginia Madsen, Jennifer Connolly, Willam Sadler, Barry Corbin, Charles Martin Smith, Leon Rippy, Jack Nance, Jerry Hardin, Virgil Frye 

Upon arriving at a small town, a drifter quickly gets into trouble with the local authorities – and the local women – after he robs a bank.

This is one of those films I have heard about over the years that has gained a certain reputation. As for some, it’s a lost classic for others it might be an overhyped potboiler. 

The film seems to be slow as the story is revealed in what feels like real-time. Which could feel monotonous for some audience Members, but actually works for the film. Not only as a slow burn but leaves the audience to kindly walk in the shoes of the characters. Never quite knowing what is going to happen next or the next shoe is going to drop.

As we go throughout of course this is a noir tale that feels familiar. As we recognize the types but still offers surprises. As to the depths of certain characters and the ever-present blackmailing of characters.

Though from the outset it seems obvious who is going to fall into bed with whom. As the obvious more attractive members of the cast are set. Showing who are the true stars of the film. They work in their roles but can’t say they subtly appear with the rest of the cast.

As director Dennis Hopper has so much talent in front of the camera and behind. Filled with plenty of character actors who more set the scenes even though they don’t have much to do but be there and be witnesses to the actions going on around them.

This fits into noir more comfortably as it is a cynical film where the more innocent characters are either made to suffer or are natural-born victims. Whereas the more deprived characters seem to be the more successful ones and the ones the film and more interest in as more naturally they are more interesting even if they all don’t make it to the end.

The film has the aura of the type of film you would find for straight to cable or straight to how. Video in it’s days of release. That is how it was more discovered after being a box office bomb. Though it clearly deserved more credit than that. 

While the film certainly feels dirty and sleazy. it never quite feels as erotic or sexy as it should. That element while here and strong, especially As Virginia Madsen scorches the screen and has one of her finest performances. As a character who could easily have been cliche but offers up some surprises. It never feels like it rises to the occasion.

As it feels though, a driving force to the story oddly secondary and more means to an end. It’s necessary but not concentrated and maybe Dennis hopper as a known hedonist decided to try to pull back a little and focus on performances.

Strangely Dennis Hopper directed movies other than EASY RIDER & OUT OF THE BLUE. Always come off as sterile to a degree which includes this one. Though that might be out of expectations considering the man and his legacy. His later directed films seem more sedate as they slowly come from wilder independent to oddly more mainstream studio films. 

Jennifer Connolly plays the young innocent who is hiding her own secrets though also pulls at the heartstrings of the amoral drifter. Who he kind of see’s as his salvation or someone for him to rescue. As she seems usually In over her head or taken advantage of. Though in this film there is no denying her talent or her beauty.

As here he makes no short cuts or quick cuts. It feels kind of old school. As when these types of stories are brought to the big screen. Commonly they either play slick like they are smarter than the audience or believe the audience knows all the cliches so they offer more a sense of humor or spin on them or they tighten the narrative and scenes so much that each one feels either rushed or full of tension even when there doesn’t need to be. 

This takes its time and still offers up its own little surprises as well as what is expected. 

Grade: C+

ALPHABET CITY (1984)

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Directed By: Amos Poe
Written By: Amos Poe & Gregory K. Heller
Story By: Gregory K. Heller
Cinematography: Oliver Wood 
Editor: Grahame Weinbran 

Cast: Vincent Spano, Kate Vernon, Michael Winslow, Jami Gertz, Clifton Powell, Ray Serra, Daniel Jordano, Zohra Lempert, Tom Mardirosian, Tom Wright 

A New York City drug dealer decides to get out of the business, but has to flee from mobsters.

It took a while for me to watch this film. As the DVD and video cover made it look like some revenge movie from a third-world country all bathed in brown and gold.

Once I finally saw a trailer for the film it intrigued my interests.

One of the odd times that actor Vincent Spano played a leading role. Usually whenever he does the film almost comes off as an oddity, a memorable film, and performance.

This film is stylish and goes for a kind of gritty neon-noir look that takes place all in one night, but it comes off more shiny than deep. As it plays almost like a MIAMI VICE episode style only in New York. Even though it came out before that show. So maybe it influenced that show. 

As it is episodic, the character is working on a kind of countdown that seems to have started as more of a regular night. As it seems he is given a job to do in one night that would help set him up in the mob higher. Yes, he is more than just some street dealer. He has aspirations and a family.

It seems episodic as most characters he seems to only deal with on one or two scenes and then never heard from Or at least seen again except for when it is convenient. The ones we Do keep seeing are his adversaries and his best friend/top dealer/drug addict played by Michael Winslow in a strange off-kilter nihilistic dramatic Performance. Which strangely comes off reminding one of Chris Tucker in tone.

The film keeps your interest up. Even if it is more a fascinating look at early 1980’s New York before it got cleaned up. So that it works as a kind of nostalgic time capsule of the city mainly in the neighborhood of the title.

There are of course its fair share of ridiculous scenes like how Long it takes him to realize he is being set up by one of his clients. How his girlfriend refuses to leave. When he explains why they have to leave town even though she understands why he does. She expects his gangster bosses to spare her and their child.

Though there is some action it’s not awe-inspiring even though in one scene you can see the director John Singleton used it in 2 FAST 2 FURIOUS. Though in that movie it Was used as an impressive sequence of seduction and cool. Here it is more used as a means of intimidation and cool. 

Proving that this film is more influential than anyone expected and seems to be a well-Kept secret.

By now if you have watched enough films the story Will be predictable with a happier ending than you Would normally expect. That is an act that makes no sense but works for the end.

The film comes off as a nice attempt to make something a little more artistic even with a familiar storyline at the time. It comes off as hip more than anything. 

Grade: B-

THE LADYKILLERS (2004)

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Written & Directed By: Joel Coen & Ethan Coen
Cinematography By: Roger Deakins
Editor: Joel Coen & Ethan Coen (As Roderick Jaynes)

Cast: Tom Hanks, Irma P. Hall, Marlon Wayans, J.K. Simmons, Tzi Ma, Ryan Hurst, Diane Delano, Jason Weaver, Stephen Root, Greg Grunberg

A remake of the 1955 comedy, the story revolves around a Southern professor who puts together a group of thieves to rob a casino. They rent a room in an old woman’s house, but soon she discovers the plot and they must kill her, a task that is more difficult than it seems.


This is the first Coen brothers film where Joel Coen and Ethan Coen are both given directing and producing credits. They have shared these duties on all of their films, but Joel has always been listed as the director and Ethan as producer.

A goofy cartoon of a movie that seems like the actors all came to try and do ridiculous characters and accents but soon the fun and craziness become infective and you find yourself transfixed joining in on the fun. The film has certain dark humor that is also goofy and deadpan.

Though Tom Hanks is top-billed and certainly makes an impression. As it is the first time it seems to be him having fun with a role in a long time. Since it is rare he gets not only a challenge playing a part, but such an off-wall character seems to be liberating for him, but the true star of the film is Irma P. Hall.


One can see why the Coen Brothers choose to remake this. It’s certainly a Hollywood film for them with a big star, but they also subvert the film to their type of humor and have the film be inhabited by the type of characters who are common in their type of films. It was made during what I like to call their Hollywood years.

After the success of O, BROTHER WHERE ART THOU they seemed to be making fluff with big stars which may have been a strategic plan. So in the future, if they wanted to make more personal films they could get better budgets or at least enough financing based on their record of hopefully hit studio films. At least this film lets them further explore the southern culture and satirize it with a bit of nostalgic heart. Like their hit O, BROTHER WHERE ART THOU

The film reminds the audience how successful that film was and explores similar territory not as philosophical or deep. There is enough room for stylistic choices. If there is one thing that is right above this film it’s the rich atmosphere and warm colors that fill the screen. Like a southern gothic tapestry. You could almost taste the scenes.
The Film involves plenty of Memorable characters that you hate to see go. Each could have been a start of there own movie or adventure.


As always with the Coens the film has a great soundtrack, Full of southern charm with gospel hits, Bluegrass, and hip hop.


Prior to filming, Tom Hanks had not seen The Ladykillers as he did not want it to prejudice the way he acted in the remake.


I almost like to think of the Hollywood movies they make as experimental at least for them. With an original idea but in the mode of old Hollywood classic films. The filmmakers are at home with the wild and wacky.


Whereas studio films they have the technicality down pat but when it comes to the more mundane slightly less outrageous aspects to story and character they can do it easily but you can see it makes them uneasy. It shows they are trying to do something completely foreign to them thus experimental

GRADE: C+

SUKIYAKI WESTERN DJANGO

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Directed By: Takashi Miike 
Written By: Takashi Miike & Masa Nakamura 
Cinematography By: Toyomuchi Kurita 
Editor: Taiji Shimamura 
 Cast: Hideaki Ito, Masanobu Ando, Koichi Sato, Kaori Momoi, Yusuke Iseya, Quentin Tarantino

Based on characters created by Sergio Corbucci.

A revolver-wielding stranger crosses paths with two warring clans who are both on the hunt for a hidden treasure in a remote western town. Knowing his services are valuable to either side, he offers himself to the clan who will offer up the largest share of the wealth.

This film is more an experimental feature than an actual film to me. It seems more interested in paying homage and trying something different than being a worthwhile feature.

It’s not surprising Quentin Tarantino produced this, a film which gives him two actual acting roles to play, from the first scene it alerts you to the type of film it will be, with it’s obviously fake sets ad backgrounds, over the top action, and a ridiculous amount of blood splatter.

Director Takashi Miike’s films he never been boring, this is no exception. He is not a Director, but more a visual artist. Who seems more interested in telling a story visually and pulling off beautiful one-of-a-kind shots. Then he is sometimes with plot or acting it seems actors are mere props to help him realize his vision. That can sometimes hurt his features as the acting can range only from ok to horrible. Never excellent, great, or good. But it does rank him in the auteur status. The man works quick and is known to complete up to 3 – 4 features a year.

He has a huge library behind him. Not all of the winners though definitely original in content with mixed results.

Here he makes a western though I’m not sure if it’s set in America or Japan. As when the stranger rides into town. It is supposedly Nevada it’s an all-Asian cast where all the actors speak English, non-dubbed since it is not their first language the acting is not that good though they Try. Which leaves the film to feel artificial. Everything feels like a nice try, but with no reason why. It does have a few shots that are nice touches to remind us o spaghetti westerns. I guess this is partially filmed foreigner but made to look American with Tarantino as a cameo of an American star.

The introduction to the tale given by Quentin Tarantino’s character is taken almost verbatim from the opening passage of the Tale of Heike: “The sound of the Gion Shouja bells echoes the impermanence of all things; the color of the sala flowers reveals the truth that the prosperous must decline. The proud do not endure, they are like a dream on a spring night; the mighty fall at last, they are as dust before the wind.” (Helen Craig McCullough’s translation) When the sheriff is talking to old Quentin Tarantino’s character the sheriff talks about Akira (his son) and Tarantino replies “every time I hear that name it touches my heart, what can I say, I’ve always been an anime otaku”, (Japanese slang for a person that is a fan of anime, manga, and Japanese video games and culture) this is a reference to the classic anime film “Akira”.

Quentin Tarantino’s mechanical wheelchair has a duck hood ornament on one of the arms, the same hood ornament as on Stuntman Mike’s car in Death Proof, directed by Tarantino.

While the images are somewhat homages, the shots and style are totally original. Miike, who I wonder with so much output does he ever feel these films are personal and special to him or is it just a job and once the project is done, he forgets it and while it is in production he is focused on finishing it by any means necessary as quickly as possible.

This film involves a certain fantasy element of unbelievable circumstances in addition to guns the main character also uses a samurai sword as a gun. A sort of reminder of the culture the characters originated from.

One of the extravagances is having a character have an all of a sudden split personality that comes out of nowhere that controls him physically at times, which leads to plenty of physical comedy, but makes no sense especially when it raises him from the dead.

The action finale is a bit of a letdown. I expected more of a spectacle than what I got. Thinking most of the film was a lead-up to an action extravaganza ends.

Quentin Tarantino proves yet again that he is not the most gifted actor.

If you don’t look for too much, you should like the film.

A satisfying rental but not a must-see. Expand your horizons give it a chance.

Grade: C

GUNPOWDER MILKSHAKE (2021)

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Directed By: Navot Papushado 
Written By: Navot Papushado & Ehud Lavski
Cinematography: Michael Seresin
Editor: Nicolas De Toth

Cast: Karen Gillian, Lena Headey, Paul Giamatti, Angela Bassett, Michelle Yeoh, Carla Gugino, Chloe Coleman, Ralph Ineson, Michael Smiley, Adam Negaitis 

Three generations of women fight back against those who could take everything from them.

The film Plays like pop art to please the masses full Of neon coloring. As it takes a bunch of action film narratives and tries to splice them All together with some nods to film noir.

It strangely comes off kind of dull but very colorful. As we watch, trying to figure out what movie caused this scene’s inspiration. 

The action sequences are inspired and what the film depends on. As well as its Tarantino-inspired dialogue and quirkiness.

The film also like JOHN WICK tries to world build, unfortunately, it barely gives us a chance to know the characters or what is going on before a heavy emphasis on this. Which can lead to confusion early on.

Even if it more feels like HOTEL ARTEMIS with Its Rogue galleries of criminals, organizations, killers, doctors, clinics, and dealers. Though again John wick-ish with this network of criminals and yet also POINT BLANK with its organization that rules most of the underworld business. 

Just as the DRIVE inspired jacket she wears throughout 

While giving a more female-oriented point of view of the action in these types of films with a recognizable cast. Visually the film has all that it takes and is truly a style over substance but with an increasing degree when it comes to Netflix films it seems rather contained than open. Even as it works well with what it has. 

As the story is far from simple for this type of film as the action seems to follow and seems to only. Be confusing because it needs a reason to have an action sequence. 

The problem is that with all of this it still comes off limp and surprisingly a little dull. It’s like a meal that has food coloring nice to look at but ultimately something you have had before and are used to. 

As even the score tries to use Sergio Leone-inspired music or random pop hits more to fit the action sequences than anything.  Not necessarily adding anything to the emotional more like the director just thought it would be nice if this song played during this sequence. No real new meaning except for some irony.

Just as Karen Gillian is fine in the lead but is left with nothing to make her stand out. She comes off as having the skills but is pretty bland and one-note. She, unfortunately, stand out the least amongst the cast.

The only spark of originality other than color scheme comes for. The library and librarians were played by Michelle Yeoh, Angela Bassett, and Carla Gugino. They are a nice breath of fresh air. Where the most impressive action sequence takes place. Also, the clinic is A cute sequence as well as the diner. 

Also the organization’s three henchmen they send to take her out up a challenge but seem pretty bad to be exclusive assassins. They come across as more muscle or thugs that would be back up or the type assassins have to do clean up Or dirty work for or Vice versa. Like a wrecking crew destroying and making a mess.  so that there is no evidence 

The villains offer no personality, only a stereotypical look of either Eastern European stereotypes or well-suited goons and backup men.  

It’s also a film that feels like it’s trying too hard. It wants to stand out from the rest which is understandable, but by trying too hard to be like the others or those that came before it Lacks its own individual personality and feels like a loser, and ultimately Proves to be about nothing 

It’s obviously a movie for a more mainstream audience looking. For an action escape and it works on that level but doesn’t offer anything new or original mist some nice dressing. As it definitely is more commercial and slick but offers nothing of depth. Like a best seller with no actual good writing just a story to work off of And try to live up to fill in the blanks 

Grade: C-

PROMISING YOUNG WOMAN (2020)

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Written & Directed: Emerald Fennell 
Cinematography: Benjamin Kracun 
Editor: Frederic Thoraval 

Cast: Carey Mulligan, Bo Burnham, Adam Brody, Sam Richardson, Clancy Brown, Jennifer Coolidge, Laverene Cox, Max Greenfield, Christopher Mintz-Plasse, Alison Brie, Connie Britton, Molly Shannon, Loren Paul, Christopher Lowell, Steve Monroe

A young woman, traumatized by a tragic event in her past, seeks out vengeance against those who crossed her path.

The film seeks to try to make its points over and over again that feel like overkill and preaching to a certain extent.

The film manages to surprise the audience using exploitation expectations though giving something else entirely.

This film would have worked fine enough if it was what one was expecting a revenge tale against so-called nice guys and bad guys alike.

Though the film addresses more and it tries to be a film that inspires discussion and becomes more of a think piece than necessarily Just a film. This is fine as long as it offers more arguments and evidence for what it seems to want to spark conversations. 

Some aspects are left vague as we never really See what happens once she is down with her encounters with these men and are never really told what happens after. Is it just confrontation as a kind of exposing and warning to them? Does she do anything violent to them and if the just warning does she really Get revenge and does she have a backup security measure if these guys decide to get violent?

Even with her little notebook which she seems to make markings in of another case or victim. What Is it all for?

Not to mention afterwards though it seems to happen around the same town and area. It never comes back to her until the film needs it to, which comes off as a bit too convenient.

The film offers interesting twists but while there is a certain level of guilt. We still might wonder why she takes on this mission. 

Her revenge schemes are thought out, cruel, and make their points. Even though most men are made out to be villains throughout there are some women who are just as guilty in their ambivalence.

The film seems to make a point against nice guys being as bad or worse than predators. As they see themselves above it all and defend or support women. Though deep down they hold the same attitudes as those predators and believe because of their other good deeds that they are somehow owed love or a woman. Even as these nice guys already seem kind of predatory or at least douchey beforehand. 

Especially by casting actors, we have seen as the nice guy nerdish characters in other films and television shows. Who here makes cameos or has a scene or two Then disappear. That truly only one character actually does surprise me.

This also gives the film a whiff of superiority as it comes off more about issues than character. Which for some might feel for some

Preachy and while a film about the issues it presents are welcome. The film isn’t as good to back it up, Or be a good example.

Nice to see comedian Bo Burnham Giving more of a meaty supporting role. 

This is a revenge tale that takes comfort in being in and having the rules but acts like it is better than them. When it actually might be a little smarter and more discreet in its handling And treatment of the Material.

Which helps the film not be as exploitative. As the character and scenes aren’t made erotic or sexualized. It comes off as more of a new normal get more through a feminine gaze. Though strangely in its set-up and backgrounds it feels almost like it’s taking place on a kind of dreamland as it is real but feels artificial, more pretty than anything. 

The design of the film is remarkable and quite brightly colored to offset the dark behaviors and characters.

The film’s strength is more in its surprising and unpredictable third act. 

This is also a movie that loses some points due to hype. As ever since hearing about the film before it Came out wanted to see it and heard nothing but good things to the point of it’s Multiple academy award nominations And win for best original screenplay. But not after finally seeing it. That hype hurt the film in my eyes. 

Even when trying to put that aside others might have Been lucky to Discover it to admire it for what it is. (The best way To see any film) But coming into the film with preconceived thoughts. It doesn’t live up to the prose exactly. As it isn’t horrible but not as good as expected though better than average. 

It feels like a lifetime movie due to the can be anywhere, Polished no violence but always a threat of it and actions mostly Done on theory with big histrionics and a cast more known for appearances on television. 

The film even introduces an idea that might even work as a sequel 

GRADE: B-

BLOOD GAMES (1990)

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Directed By: Tanya Rosenberg
Written By: Craig Clyde, James Hennessy & George Saunders 
Story By: Jim Makichuk 
Cinematography: Sam Gart
Editor: Rick Mitchell

Cast: Gregory Scott Cummins, Laura Albert, Shelley Abblett, Luke Shay, Ross Hagen, Don Dowe, George Buck Flower, Julie Hall, Paula Manga, Sabrina Hills

A team of softball players get lost in the woods after their bus breaks down. They get attacked, beaten, raped and murdered by some psychotic men. The women fight back with baseball bats and bows and arrows.

This film is quite the throwback. As I believe i saw this back in the day on late-night HBO as a kid.

The film is simple and stupid yet entertaining. As it was released in 1990 but feels made from pure 1980’s ideas all the way.

As essentially it pits an innocent team of female softball players versus what seems like a whole county of evil redneck men bent on revenge. Even though the females are assaulted the perpetrator is killed by accident but he is seen as innocent and the ladies as bloodthirsty. 

The film is made by a female filmmaker. So that it feels more sympathetic to the female character as heroes and survivors. Even though they have short-cut tight semi revealing outfits. They are rarely nude and the sex that the film shows is violent and involves rape. So that while it heaps on the violence. It stays not explosive when it comes to sex and nudity. Giving the female characters a sense of pride. It treats them more as human beings and less as sex objects. They are treated more respectful 

Even when it comes to the deaths of characters. When it’s a male you feel a kind of happiness. More like they deserved it. Whereas when it is a female character it is tragic and makes you in the audience want to get emotional. 

The villains come off at times as more comedic releif than at least two of the characters do. Who manages to survive despite being thought of, or left for dead in many accidents throughout. Though early on they are more comedic releif until the hunt begins. Where they are rarely scary just armed doofuses and then only own becomes a threat later in the film. Even though most of the male characters believe themselves to be badass. That only appears to be true in numbers.

Titillation was used to their advantage constantly though more accidentally and as a survival technique. 

The film stands as a kind Of statement in a genre that usually leaves female characters as the damsels in distress who can’t help themselves, wives & girlfriends meant to be by someone’s side but barely have anything to do or as sex objects. This film sets the female characters apart from that not necessarily in a better quality of filmmaking.

The one Minority character gets killed off early and quickly. 

The initial premise that sets this film up is ridiculous. Why would the females team coach/manager trust the town’s matriarch in a fair game? Also is the female team professional traveling along to take on exhibition games and pick-up games? Are they hustling unsuspecting towns and teams which should be tipped off by their team bus and matching uniforms? Are they using sexism to help them be underestimated and hoping that by showing their talent that men will see them in a different way and then be respectful? That seems like the premise for another film. As this film seems to want to set up and get to the action quickly. 

The film is barely 90 minutes. Though while it doesn’t feel longer than Its running time. It could have been easily 10 minutes shorter 

This film is ultimately meant to be a tale of survival. 

Grade: C+

AFTERSHOCK (2013)

~ jbg ~ Leave a comment

Directed By: Nicolas Lopez 
Written By: Nicolas Lopez, Eli Roth & Guillermo Amodeo 
Cinematography By: Antonio Quercia 
Editor: Diego Macho Gomez 
 Cast: Eli Roth, Andrea Osvart, Ariel Levy, Natasha Yarovenko, Lorenza Izzo, Nicolas Martinez

After an earthquake erupts in Chile, tourists discover that a neighboring prison in the area collapsed in the event, and all surviving criminals managed to break free. Soon they learn that the most terrifying thing, more threatening than Mother Nature, is what she created.

The film was originally rated NC-17 but had to be cut and re-edited in order to get an R Rating.

Now, this film could have easily gone the wrong way and been schlocky. The longer the film plays and you watch the more impressive it becomes as it truly shows you the terror and danger of the various situations, while setting up a time limit as an impending doom worse than anything they encounter physically and personally might becoming.

The film feels at times to just be punishing its characters just to do it. While it’s no torture porn. It’s quite cruel but maintains a certain reality while also following certain genre rules and tropes.

No one comes out of the film clean. They all end up becoming victims in some way, shape, or form.

The first act sets up the characters as we get to know them and see them enjoying their vacation setting up group dynamics, Relationships, and friendships. It works as act 2 and 3 then unspools and we feel more of a connection to the characters. We find ourselves caring about their fates. It feels like a continuation of co-writer, co-producer, co-star Eli Roth’s other horror films. Where a trip to a foreign locale, We see the fun and pursuit of sex that often backfires and leans towards comedic. Then all of a sudden moves into horror pretty quickly. Here it feels like a more mature version of it. I have to give both credits. I feel he is growing his talent more and this helps represent a newfound maturity. It shows.

None of the leads is completely evil or completely good. They do what they have to do to survive.

The film does reek of a B-Movie aesthetic at times. Mainly due to the disaster aspects.

There are no sacred cows as the film sets itself up pretty early, That anyone can be taken out and killed. This helps throw the audience off as you never are quite sure how far it will go nor what can and can’t happen. Just general randomness Through many challenges no one great villain just has to survive. No stalking monster though the tsunami warnings give the characters incentive to rush the experience and keep moving while working against the calamities.

The film shows what can be scarier than a natural disaster is the citizen’s reactions.

Of course, the casting of Eli Roth in the lead and him being a producer and co-writer. He will be accused of having this film be just another extension of his ego or just another project for him to star in. A vanity project almost as he has cameoed in his films and in others. Though the film doesn’t leave him in a heroic light. He does fine with the material

What sometimes disturbs me in films is that whenever it is more of a minority culture. When things break down. They are always shown as looters, Gangs, and rapists. Whereas Caucasians are usually the heroes or the victims. Rarely do we see them along as the ones going crazy and being just as bad unless it’s post-apocalyptic. Where they are the organized villains, part of a hierarchy. Here it happens in a foreign locale and directed and co-written by a native of Chile where it is filmed

Nicolas Lopez who I am a fan of ever since seeing the preview of the film PROMEDIO ROJO. 9 years ago and then finally seeing it last year. He has a vision and while the film includes a scene of the thing I hate most in films (Rape) it’s not as graphic as it could have been or still disturbing.

This is a bleak downtrodden tale that I have to say I found exceptional than what I thought it would be or easily could have become, truthfully the preview made this film look like a SyFy original film. Thankfully it’s much better.

It’s a movie to seek out more if you are a genre fan.

 GRADE: B