Tag: Foreign

AS TEARS GO BY (1988)

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Directed By: Wong Kar Wai

Written By: Jeffrey Lau and Wong Kar Wai Cinematography: Andrew Lau

Editor: Bei-Dak Cheong and Kit Wai Kai

Cast: Andy Lau, Maggie Cheung, Jacky Cheung, Alex Man, Ronald Wong 

Mid-level gangster Wah falls in love with his beautiful cousin, but must also continue to protect his volatile partner-in-crime and friend, Fly.

Melodramatic as it has a bit of the story of the movie MEAN STREETS mixed with a crime thriller. MEAN STREETS Also dealt with a coming-of-age story and a romance that seemed clandestine yet forbidden. While also being involved in a crime syndicate of sorts with a hot-headed friend who seems to always get them both into hot water. 

Just like Martin Scorsese, you can see director Wong Kar Wai’s Style breaking out. Yet a little stuck with a mainstream Story to get more of an audience to watch. The crime thriller elements will be exciting but the heart of the film Is more in the romance and it allows the lead to be tough and sensitive. 

Watching this film is like watching an artist trying his skills in a more conventional Mainstream Movie. He certainly Raises the material higher than it deserves.

The film is definitely of its time period. The 1980’s represented mainly on the soundtrack as usual.

Wai Chooses a familiar American song TAKE MY BREATH AWAY and gives it new depth in a Cantonese version.

Like his later Films there is a love story thrown in that ends up being the film’s heart. Not to mention ensures an emotional investment. As after all within most stories, there is that element instead of focusing on the more violent side of life. Instead, he is interested in showing relationships and what drives them. To show where strength and honor lie.

The film is a cautionary tale on one end and nihilistic. It takes both main characters’ relationships seriously and gives them the same depth. Only one is physically intimate. The other one is loving but troublesome. 

As he is more successful in romance and moves further. On the other end That is how deep into Trouble he And his little brother get into until It gets to the point of no return the third act has to do with proving oneself and machismo  That is Almost like a reminder. This is supposed to be a gangster film

Grade: B-

WEEKEND (1967)

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Written & Directed by: Jean-Luc Godard Based on the short story “LA  AUTOPISTA DEL SUR” By: Julio Cortazar  Cinematography: Raoul Coutard  Editor: Agnes Guillemot

Cast: Mireille Barc, Jean Yanne, Jean-Pierre Kalfon

A supposedly-idyllic weekend trip to the countryside turns into an endless nightmare of traffic jams, revolution, cannibalism, and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations.

Throughout this film, we follow a truly unlikeable couple on an endless journey/trip. Who terrorize or are terrorized by all they come across. It gets a bit meta as they know they are in a film. They continually wander into different narratives, scenes, or stories.

They keep coming across more dead people throughout the road and it feels a bit post-apocalyptic at certain points.

The film is episodic that stays with the couple and their various interactions with others. It gets continually ridiculous. As it feels like a stylistic comedy with deeper ramifications with plenty of unexpected philosophy and what feels like satire.

Thought this would be one of his more divisive movies. Where it’s an experimental concoction, but this ends up becoming an almost film. As it was one of Jean-Luc Godard’s films I might actually like and dare I say almost enjoyed it completely.

Though his films fascinate me and keep me coming back to discover. As he or the films usually have something to say or present.

Either that or more commonly he and his films fit the case of the tale of the emperor’s new clothes. Where there is nothing really there, yet people pretend there is, which can be said of a lot of celebrated directors by many people. 

One can admit to being more of a fan of Francois Truffaut’s films. His fellow film enthusiast, reviewer, and co-worker at the legendary film magazine Cahiers De Cinema. 

Godard is a director I can truly call an auteur. As no matter what there is a discussion to be had at the end of his films and no one can call them simple. There is no other director like him though many have tried. one can see how he has inspired so many. 

This film actually feels playful and fun despite the absurdity. As it is most and tends to turn in a dime at times. The first hour has so much craziness but keeps you engaged that when the second half comes along with that same craziness but it starts to feel like a philosophical lecture. Even if he leaves it to the audience to figure out or read into it. 

As always this happens just when I was ready to accept and enjoy. He then pulls the rug under you.

Like the recent film TENET at times the soundtrack is louder than the dialogue. Thankfully there are subtitles throughout. Though if they were left out it would rise to the challenge the director seems to desire. 

The opening scene is certainly erotic with just the power of words and suggestions.

The film Of course has the legendary amazing tracking shot of the endless traffic jam and what various cars and people are all doing during. While the main couple’s car tries to get along the way. Where there is violence and games It ends brilliantly. 

Grade: B

LOVE AND OTHER CULTS (2017)

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Written & Directed By: Eiji Uchida

Cinematography: Maki Ito

Cast: Sairi Ito, Kenta Suga, Kaito Yoshimura, Antony, Matthew Chozick, Denden, Leora Hirota, Tomoko Hayakowa, Hidenbu Abera

Born in a regional city, a young girl named Ai is sent to a cult commune by her religious maniac mother and lives there for seven long years. After the cult is exposed by the police, Ai starts a new, normal life going to a regular middle school, but can’t find a place to fit in normal society. Ai drops out to continue finding her path in life, first living with a rock-bottom delinquent family, then moving on to be part of a middle-class family, all along trying to find her place in this world. The only person who understands Ai is Ryota, another drop-out and cast-off from society. Ryota finds his path in a shady world of delinquents while Ai ends up working in the sex industry. Two teens’ purity gets swallowed up by the urban jungle of a big regional city. A black comedy depicting the lives of modern youth and their struggles in a place where there is no way out.

This is a film best to go into blind though even if you know the plot it still isn’t the easiest to explain. 

The cast is mostly newcomers to the screen who come off expertly, but also excel in raw talent on screen and seem untrained. Even though Lead Actress Sairi Ito goes through it all on screen and deserves special Acclaim. 

This is the third film by the writer/ director Eiji Uchida and I can definitely say that his films are original and you never know quite what to expect and that mystery makes the films exciting. Not to mention showing a bravery that has been missing from cinema In a while definitely not the most mainstream but so Indie and aiming more for a cult audience that it makes his films admirable no matter how controversial for some they might be.

As they focus on Characters more  on the fringe of society and so far In Their own way has been films they are coming of age stories no matter what the ages of the characters 

A film Mainly about the loneliness of youth so that they find camaraderie and family wherever they Can.Though as they try to support one another the film shows that the only way for them to grow and find their own paths is truly as individuals. They might meet someone who helps them align and who ultimately they end up with but first must go through many things alone 

Throughout though many adults seem to mean well. As major influences they either screw up the kids more through actions, abandonment, or both. As we see even their peers sabotage them through jealousy 

Some have compared this film to the epic film LOVE EXPOSURE by Director Sion Sono and it has that same kind of off-kilter feel that feels a bit fetishistic at times. That film had more than enough time to fulfill its story being 5 hours long (but truly never felt that long) not to mention that film was fully devoted to exploring fetishes and the characters who live that lifestyle. Here we get snippets of it. 

Here though the stories stop for certain characters at times that feel like fragments you get the general idea,  Throughout. In that other film, there is an innocence there the entire film tries to be a romance. Ultimately  this one feels a bit more tawdry though with a love story 

They are both coming-of-age stories though this one has its own rhythm that if you can get along with the best this film will be  worthwhile if not it will just stay strange to you 

The film is very composed, especially in its shots and bright colors. That almost makes the film feel illustrated at times.

It has a slightly diverse cast and nothing is ever said of their origins, though is clearly noticeable and a bit mysterious.  

The film shows that Love can be like a cult as it is mainly two of you at the center but you must get to know and hang around each other’s friends and families even if you have nothing in common with them and become sort of the crew, a kind of second or third family. You take on Each other’s characteristics slowly and interests. How they Make sacrifices and little donations of time and money.

Grade: B

THE GOD OF COOKERY (1996)

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Directed By: Stephen Chow and Lik-Chi Lee
Written By: Stephen Chow, Man Sang Lo and Kan-Cheung Tsang
Cinematography: Jingle Ma
Editor: Ka-Fai Cheung

Cast: Stephen Chow, Karen Mok, Vincent Kok, Man-Tat Ng, Tats Lau, Chi-Shing Chan, Jung Chen

The God of Cookery, a brilliant chef who sits in judgment of those who would challenge his title, loses his title when a jealous chef reveals him to be a con-man and humiliates him publicly. As this new chef takes on the God of Cookery’s role, the former God tries to pull himself back on top again, to challenge his rival and find once and for all who is the true God of Cookery.

This is a riches-to-rags story of trying to make a comeback. Where the main character actually Manages to learn something on his way trying to make a comeback.

Where he falls in with an ensemble of oddballs and low lives. Where an asshole stays an asshole but learns some depth and integrity.

Having only seen a few of Writer/Director/Star Stephen Chow’s later more popular movies such as KUNG FU HUSTLE and SHAOLIN SOCCER. Watching this movie isn’t too far off from his later material. Though here a little less polished, the same kind of humor is more broad and slapstick without the heavy reliance on CGI & special effects as much.

His films still come across as more cartoonish. Due to them seeing more like live-action cartoon animated films. Though in all of the films I have watched, the earlier films are more cynical. While his later films are more positive and open. Though this film doesn’t feel as much of a fantasy.

This film Is more of a physical comedy and seems to love to showcase the grotesque.

Though for all the comic violence, blood seems to underline that there are at least some consequences of it.

Though the film is more made for adults. The film like most of his again has a childlike look at the world making even the most dangerous things seem fun. The humor remains juvenile yet usually funny. He still manages to bring some martial arts into it 

The film flows well tighter than her harmoniously. As it comes across at times as a like note to food. Not necessarily a love note though. That showcases the evil of corruption At every turn of business.

The film has a bizarre third act which is strange even for this film. 

Again Stephen Chow is starring, writing, and directing putting himself center stage but happily not failing and managing to impress. He even uses his actual name for the character. 

GRADE: B-

KING OF COMEDY (1999)

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Directed By: Stephen Chow & Lik-Chi Lee
Written By: Stephen Chow, Erica Lee, Kan-Cheung Tsang, Man-Fai Cheng and Min-Hang Fung
Cinematography: Wing-Hang Wong 
Editor: Kit-Wai Kai and Chi-Wai Yau

Cast: Stephen Chow, Karen Mok, Cecilia Cheung, Man-Tat Ng, Kai-Man Tin, Chi-Sing Lam, Po Chun Chan, Joe Cheng

A bar girl hires a struggling actor to give her acting lessons so that she can feign a greater interest in her customers. The longer they work together, the more they find they have in common.

This film from writer/director/star Stephen Chow is Still a Little Silly but more sophisticated than his usual films. Unfortunately, this is one of his more disappointing works. as it’s not as madcap it off the wall as the others and is more at the beginning of his writing and directing career 

The film has its moments but altogether doesn’t feel as strong or as funny as his usual Work. Maybe as this is a little more conventional and while he usually plays the jerk here his character seems more simple and innocent. Rather than Intentionally Difficult. 

Most of the more comedic scenes he leaves to his co-stars with him just more supporting in the scenes. Though he does let the jokes build more than Usual.

The comedic scenes that do involve him Are fun but less taxing on him. 

The film seems to start off well with a cameo from a  worldwide action superstar. Which seemed smart then starts to go downhill slowly from there.

The scenes of an action film seem to be spoofing the work of director John Woo works, but when it comes to physical gags after it seems more fake and cause for obvious Special Effects. 

In the middle of all this there is a romance and then a strange unconsummated love triangle that once it seems relieved ends up with him losing it all after finally seeming to be on the road to being successful. In a plot like that it is hard to swallow.

Then the third act totally comes out of nowhere like it was made in a last-minute decision to stretch the film and make it all worth it. As well as add some overall thrills.

The film Seems a little lost In Translation. In the end, the film seems To go all over the place and not in a necessarily cohesive way always. as even the ending seems strange and a little out of place. 

Grade: C

CALVAIRE (2004)

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Directed By: Fabrice Du Welz
Written By: Fabrice Du Welz and Roman Protat
Cinematography: Benoit Debie
Editor: Sabine Hubeaux 

Cast: Laurent Lucas, Philippe Nahon, Brigitte Lehaie, Jean-Luc Couchard, Jackie Berroyer, Jo Priesta 

Marc, a traveling entertainer, is on his way home for Christmas when his van breaks down in the middle of a jerkwater town with some strange inhabitants.

This seems to be a film that expands on the scariest most memorable scenes of the Film, DELIVERANCE

The film illustrates how loneliness and the absence of a partner, particularly a woman, drives a small town mad. Is it a small town or are there different representations of one man?

Though against the other’s will.  it does at times, feel like the mechanic is a romantic in his own way.

The film comes off as eager to disturb and unsettled its audience 

While the film shocks, it’s slow as it takes its time to reveal and get to know the characters. Who you can tell he is quite disturbed by the appearance of the young man looking for his dog.

The main character seems to attract or cause desire, and those around him. Usually, it’s for his job as an entertainer so it seems to take a personal interest and his audience. 

By the end, it almost seems like karma has led him into this nightmare scenario, even though he hasn’t done anything to be hourly cruel.

This is why it sometimes feels like an extended TALES FROM THE CRYPT episode only cruel and with little to no humor, as well as no actual score with a mean-spirited comeuppance 

Some sequences are just bizarre that seem to come out of nowhere like the dancing at the bar that is strangely choreographed. Or the pig sequence in the barn, which is just downright nightmarish, but also hints of what might come. 

There are hints of bestiality abound as a given replacement for the absence of females in physical Ways, but also companionship whether that is meant to be symbolic or not that is how it comes off. It’s insulting, but also shows the growing nature of relationships with pets to take the place of what is absent in the person’s life

The film shows a disturbing and bloody nature that could be used to categorize the film as French extreme, one of the earliest examples of the genre. 

Oh, the film is dirty in all the more disturbing as it feels realistic and not like a slasher or meet-up horror scenario. 

It  takes place in a town that apparently only had one woman once, and wisely escaped if she had to go through half of what the leaders 

In the end, the film is a story of a man fighting for survival and Just unsettling, but in a familiar Milieu. 

This definitely seems made to appeal for a specialty cult audience

Grade: C

KILL BOKSOON (2023)

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Written & Directed By: Sung-Hyun Byun 
Cinematography: Hyung Rae Cho
Editor: Kim Sang- Beom

Cast: Jeon Do-Yeon, Esom, Koo Kyo-Hwan, Hwang Jung-Min, Lee Yeon, Si-ah Kim, Sol Kyung-Gu, Fahim Fazli, George Tsai, Elyse Dinh 

Single mother Kill Bok Soon is one of the world’s deadliest assassins thanks to her 100% success rate on contract killings. Bok Soon works for M.K Ent, which is run by the man that taught her, Cha Min Kyo. The pair hold mutual respect for each other, but Kill Bok Soon understands that a moment’s notice could take everything away from her. Just before Kill Bok Soon is due to renew her contract, loyalties are put to the test when Bok Soon is involved in a kill-or-be-killed incident.

This has a bit of JOHN WICK in it. Only when it comes to the action. Which is more hand-to-hand than guns, though guns are used frequently. It more leans into the facts of that film’s world-building or an organization of assassins of which there seem to be many. Which has its own set of rules.

The action sequences here are noteworthy for not only the choreography and staging but for some of their humor. One, In Particular, takes place in a bar/restaurant where various killers are after only one person and end up sometimes sabotaging themselves. While other males testimonies as they perish.

The film definitely has a sheen and polish. That puts it a little above the rest. As it isn’t gritty but just as dirty as some others of Its genre 

The film does end up feeling too long at over two hours. You, unfortunately, feel it, so it’s not a smooth journey. As the film plays like a contained epic with many levels. It starts to feel endless. Especially when it plays up more the melodrama of the relationships.

Which is expected though strangely a bit strong for an action film about assassins. It is also that element at the heart of the film and pushes the running time. It might be a case of trying to be more than what is expected.

As the film makes the case of showing why maybe as a paid killer it doesn’t always help to have Friends to get to close to your colleagues

Though not a Netflix original. It feels like their brand of recent action films. Similar to GUNPOWDER MILKSHAKE only without the all-star cast. 

Grade: C+

FURIES (2022)

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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. 

Grade: B-

ASHES OF TIME… REDUX (1994)

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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

 Grade: C-

BABY BLOOD (1990)

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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.

GRADE: B