Tag: International

MANDIBLES (2020)

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Written, Edited, Cinematography & Directed By: Quentin Dupieux

Cast: Gregorie Ludig, David Marsais, Adele Exarchopoulos, India Hair, Romeo Elvis, Coralie Russier, Bruno Lochet, Raphael Quenard

When simple-minded friends Jean-Gab and Manu find a giant fly trapped in the boot of a car, they decide to train it in the hope of making a ton of cash.

This film should have worked. One really wanted this one though unfortunately can only point out a few highlights that help the film stay watchable.

It’s a buddy comedy along the lines of DUMB & DUMBER with a little crime narrative of THE BIG LEBOWSKI and involving a gigantic fly that the two friends try to use as a pet and a way to riches.

Somehow doesn’t exactly connect with an absurd plot element that should have been the highlight of the movie.

Instead, the saving element of the film is actually the performance and character played by Adele Exarchopoulos who is hilarious and only in the movie for 30 minutes. Even though the movie is under 90 minutes. Once she arrives she is what the movie needs and once she leaves she is definitely missed. The energy of the film seems to go with her. You wish that the film had mostly been based on her character 

Which shows that the movie’s humor is more character-based. That should be more the inspiration, though that feels like the only genuine spark of originality of that kind. The main characters are boring and the one fantasy element becomes common so fast. That it feels cheapened. 

The film then seems to settle into punchlines of Jokes that were set up earlier.  

You can tell the movies the film was influenced by. As truly the comedic elements here are the more out-there elements such as the big fly and the brain-damaged woman. Who is suspicious of them? Yet the so-called regular characters believe they are stupid but okay.

In the final act, the only true comedy is their delivery and what it ends up being. That feels like much ado about nothing.

Grade: C 

DECISION TO LEAVE (2022)

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Directed By: Park Chan-Wook

Written By: Park Chan-Wook & Chung Seo-Kyung

Cinematography: Kim Jo-Yong

Editor: Kim Sang-Beom

Cast: Park Hae-il, Tang Wei, Lee Jung-Hyun, Go Kyung-Pyo 

From a mountain peak in South Korea, a man plummets to his death. Did he jump, or was he pushed? When detective Hae-joon arrives on the scene, he begins to suspect the dead man’s wife Seo-rae. But as he digs deeper into the investigation, he finds himself trapped in a web of deception and desire.

One of the most romantic movies ever or at least in quite a while.  It is more of a romance where the lead characters absolutely can’t be with one another yet works as a romance.  where they try to deny their feelings while falling even harder maybe because of the lack of total communication but constantly watching each other.

It’s almost like dating with a constant mind game and never a full revelation of feelings, but there is something there. They keep not only bringing themselves together, but circumstances at times force them to and to kind of chase each other. 

Though here not trying to fall in love and that is usually when it finds you or you find that one that makes you feel it. 

So that like early in love any moment or chance you get seems mystical, magical, and has meaning. 

There is plenty of lust there but it seems to be more about longing.

Now put all of that and surround it in a detective story a film noir with stylish touches and a little violence but no sex, eroticism, or even any real action. Like the characters the film and story are so restrained it almost feels like a period piece. Though the camerawork and direction are top notch. 

It feels like a thriller but one with more emotions. You wonder if she is only trying to seduce him to get away with her crimes and that for the detective she is not only an escape but a mystery herself that he can’t figure out which is a challenge and slowly makes him lose it. 

But you feel destroyed by the end as you want the two characters to be together. So that it stays fully captivating. Though like a good story and a good book it moves at its own pace. Sometimes faster than you expect but also slower. Never quite a constant.

The film is like poetry, you recognize the beauty but it’s hard to explain. As hopefully you just feel it.

Grade: A-

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-