Abyss47

"Shoot the Piano Player" was a solid ride.

The film has some clever and witty dialogue (specifically involving women) that injected some humor and fun into an otherwise moody film. The film also stayed immersive throughout thanks to the effective narration putting you firmly into the protagonist's head, so you almost always knew what he was thinking, and it being perfectly timed with the actor's facial expressions makes the viewer feel attached to the character on screen. Acting was strong across the board, and the two gangster antagonists were surprisingly charismatic and fun to watch, especially when interacting with the two leads. The plot isn't the most complex of the genre, but the actors inject just enough life into the proceedings to keep you engaged. The camerawork was stylish and inventive, especially for a film of it's age, and especially during the action scenes, and the atmosphere varied appropriately with each scene, with moments of light banter between a prostitute and the main character, and a more foreboding tone during his interactions with his brother Chico, who is the reason for the gangsters being after them. During the film, you get to learn the origin of the main character Charlie and what happened to his former lover. Overall, not the director's most important work, but perhaps his most accessible and it was cool seeing him try his hand at a gangster film after crafting a coming of age film like "The 400 Blows", as it shows he's able to cross genres with ease.

When I first saw the film, I didn't find it all that engaging, but by the time I got around to seeing the extended cut, I warmed up to it. It's a terrific crime film that accomplishes damn near everything it set out to do, and with an amazing cast of performers along with a stellar lead performance and riveting direction from director Ridley Scott (in top form here), it's one of the essential American crime movies of the past decade, drawing influence upon genre classics - such as Superfly, Goodfellas, and Black Caeser, while effortlessly carving its own identity. If you're not big on crime films, most of your enjoyment from this will be based on how much you like the cast and how familiar you are with their work, but one can't deny how well made and polished the film is.

Already appearing to be one of the most polarizing films of the year, Only God Forgives will likely trigger debate for a long period of time. Nicolas Winding Refn brought a lot more attention to himself as a director after making Drive, one of 2011's most memorable films. People who otherwise wouldn't have given a damn about him started to take notice and anticipate whatever project he became attached to next. Only God Forgives triggered excitement early after some photo stills from on set found their way onto the internet. Ryan Gosling reuniting with Refn after Drive only added to the anticipation.

The film has a plot, but it's not as important as the style and execution, which I automatically became attached to from the first frame to the last. You see, it's with this film where Refn seemed to be trolling his fans who fell in love with Drive. Instead of the straightforward approach that made Drive easy to follow, Only God Forgives gives a big "F YOU" to conventional ways of telling a story. I've heard some people describe the film's atmosphere as "nightmarish". Well, none of my nightmares have ever looked this good. "Hellish" is the term I would use to describe it, and even that isn't entirely doing justice to what Refn and cinematographer Larry Smith have accomplished here. The film's mood isn't entirely unlike that of another unusual film released this year - Spring Breakers - as they're both permeated by a quiet intensity that could make even the most fearless viewer squirm in their seats. The film has the look and feel of a frightening horror picture where evil lurks around the next corner and happiness is practically nonexistent.

Using a variety of colors, from dark red (the primary color) to light blue to gold and yellow, as well as an effective use of shadows, which contrast well with said colors, the film looks utterly fantastic, delivering a visual experience that is reason enough to watch the film more than once. Refn's choice of shots is smart and sophisticated as well, going so far as to remind me of Kubrick, as extended shots of characters looking into the distance and at each other can be found throughout, but without taking away from the details of the scenery. Refn fully realizes the effect of quietness and how to maintain a consistent atmosphere that keeps the viewer in a paralyzed effect. I can just imagine what it must be like to see one of his films in a darkened theater; that anticipation of violence erupting at any moment can be felt with assuring affirmation.

Ryan Gosling and the rest of the cast hold it all together like glue, with Gosling essentially playing a more mysterious version of his character in Drive, a drug smuggler by the name of Julian. Julian doesn't even react to the news of his brother's death, which draws attention from his mother Crystal (played splendidly by Kristin Scott Thomas) in one table scene that showcases Refn's eye for contrasting colors and flair for making the most out of an otherwise simple scene. Mai (Ratha Phongam), a prostitute involved with Julian, is merely a pawn in a nasty, cruel game of sadistic players looking to avenge the death of an immoral rapist/murderer. Chang (Thai police lieutenant), is a man that sees himself as immortal and without flaws. This God complex instills in him a level of confidence that helps fuel his inner rage. He's also the type of guy nobody would want to f-ck with, and Julian soon realizes this after he's beaten to a pulp in a one-on-one boxing match with Chang that damn near ends his life. It's almost as if Julian's mother has to convince Julian to continue his quest for vengeance since he's so emotionless and that fight seemed to take a lot out of him. Of course, him being told by his mother that Chang is out to get her after finding out that she ordered a hit on him also may have helped.

This makes one singular moment at the end all the more unusual, as Julian commits an act of redemption that displays his humanity before giving up what I can imagine would be very important to any human being. Like with Tony Montana, the thought of killing a kid proves too much for him, and in the process of killing his ally Charlie and seeing the dead body of his mother, killed by Chang, comes to terms with the guilt of his lifestyle, and in a sequence that may or may not be real, surrenders his hands to Chang. The ending is a real piece of gold, as Chang returns to his harmless hobby of singing karaoke after committing such cruel, violent acts, and in the process, all seems to dwindle down in peace, as our anti-hero is nowhere to be found.

Cliff Martinez's score further illuminates the despair and constant death that surrounds the environment the film takes place in. And it's kind of funny when you consider just how beautiful the whole thing looks. Dialogue isn't necessary in a film like this which has such a calculated and developed style. The feeling the style gave me is that of love, hate, confusion, warmth, coldness, fondness, intensity, and much, much more. When a film triggers so many different emotions in you over the course of less than two hours, you know it's done something right.

Many people will hate this film and toss it to the side as something pointless and boring, but understanding that there's so many different ways in utilizing the language of film, and that not everything needs to be straightforward or accessible, this is a film that I easily took a liking to. It helps that I didn't expect Drive 2.0 and it also helps that I got exactly what I was looking for, a film driven purely by great, sophisticated, and refined style.

Not your typical Van Damme star vehicle, nor your typical dumb action movie. Talented director Ringo Lam, who gave us the gritty crime film "City on Fire" and the spectacular tour de force known as "Full Contact" entered the 00's decade with a thoughtful and entertaining sci-fi action film that fared considerably better than the last Van Damme/Lam collaboration "Maximum Risk", a film that succeeded in mood, but little else.

"Replicant" poses some interesting questions: Who are we and where do we really come from? Can we overcome a horrifying past full of violence and become reborn anew? Ringo Lam and his team of writers managed to make a film that offers something for pretty much everybody; serious sci-fi fans and those who simply want a gritty, violent (but also polished) action flick that blurs the fine line between the old-school and the new-school.

Van Damme helps hold it all together, and in terms of acting, he's never been more engaging. As expected, he plays two roles here, that of vicious serial killer Edward Garrotte and the Replicant who is hired by a secret government agency to stop him, who just so happens to be a clone of Edward. They cloned Edward through DNA evidence found at a crime scene. Jake (Michael Rooker) is the one who has to work together with the Replicant to find Edward and put a stop to his vicious crimes. Jake despises the Replicant because he only sees Edward in him, and is smart enough to know that at any moment, the Replicant could snap and Edward's killer instinct might take over. This is because Edward's memories are stored in the Replicant's DNA. Jake is a no-nonsense agent, so he's constantly abusing and belittling the Replicant in the hopes of training him to find and take out Edward before it's too late.

There's a lot more going on under the surface, though, as the Replicant is trying to find himself along the way. Edward plays mind games with the Replicant in their confrontations, trying to convince him that they are one in the same. But whereas Edward is a cruel and psychotic killer who gets his kicks burning women alive, the Replicant is like a newborn baby by comparison; full of potential, but ultimately clueless. In one scene, a prostitute invites him up to her apartment for a little one-on-one time. The Replicant, confused and afraid, doesn't understand sexual activity, and in the process, winds up embarrassing himself. The prostitute pops the question, "Is this your first time?" right after calling on her pimp to come take care of this "weirdo". This sub-plot comes full-circle by the end, as the Replicant, finally a free man, goes and finds the prostitute again. Only this time, he's ready.

The relationship between Jake and the Replicant is the heart of the film. Jake is like the surrogate father of the Replicant; he's hard on him and gets constantly angry, but only means the best for him. There's a touching scene at the end after Jake kills Edward where, the Replicant and Jake, all bloodied up are essentially in each other's arms as Jake is trying to keep the Replicant conscious. The Replicant looks at Edward's dead body and says, "Jake....my family's gone." Jake then looks at Edward and back at the Replicant, and says, "Hey...hey, he's not your family.....I'm your family. I'm your family, now." It's at that moment where everything just clicks. Two polar opposites, one prejudiced against the other because of his look-a-like. The other, although deadly, brought into a cruel world where he had a choice, succumbs to confusion. If he can't trust someone who looks exactly like him, who can he trust? That's the question that was likely going through his head at the end, as his clone tried to take his life away from him. Throughout the film, he has various memories circling throughout his head, which only adds to his confusion. And we're confused, too, as one of the only things we know about the Replicant is that he likes the rain. An homage to "Blade Runner", perhaps.

Believing the Replicant to have died in the explosion at the end of the film, Jake further shows his human side by quitting the agency, which is tragic considering that during the moment before his death, the Replicant realized who his true family is. But Jake soon realizes that it takes a lot more than an explosion to kill a genetically engineered person. That is, unless the Replicant escaped right before the explosion went off in the hospital.

Ringo Lam nails the atmosphere of a dark, uncanny future full of death and violence. The film is more polished than his Hong Kong films, yet doesn't entirely lack the grit of them. The action scenes are well staged, not too showy, and still manage to feel very lively in the process. The framing of shots is also professional, never allowing us to miss an important detail, and the film overall looks quite good, especially on Blu-ray. Van Damme nails both characters to a tee, showing malicious intent, and pent-up rage, among other things, in the role of Edward, in a surprisingly subtle way. As the Replicant, he has a couple of campy moments, but is generally believable in such a vulnerable role, where he's essentially playing a child in a man's body, albeit one who is capable of kicking some major ass.

Van Damme made two singular films in his career that stand head and shoulders above the rest. One of them was "Knock-Off", a borderline brilliant satire/parody made by another talented Asian director by the name of Hark Tsui. "Replicant" is the other one; a film that could've easily fallen apart in the wrong hands, managed to rise above the limitations of the lead actor and become a poignant and entertaining piece of science fiction that contains just as much heart as it does thrills.

This is pretty run-of-the-mill as far as sci-fi goes, and Van-Damme's acting wasn't any better than it was in his other films - contrary to popular opinion - but Peter Hyams' competent direction keeps the thing moving forward at a brisk pace, and Ron Silver makes for a wicked baddie that rivals his work in Blue Steel. If only the action were more exciting. Most of it consists of Walker staying in one position shooting at another guy, and vice-versa until somebody goes down for good. The shootouts lack energy and a sense of life for the most part. The fight scenes are......okay, but nothing that can compete with what I've seen in other actioners from that era. Oh yeah, and what was up with the villain's death scene? That was some frighteningly terrible CGI. I guess they were trying to rival the liquid metal effects in T2 and failed miserably. In fact, the entire finale was way too dark, like pitch black. I remember catching the finale on TV back in the day and noticed it was excessively dark then, too, but Blu-ray doesn't seem to have corrected the problem. Well, flaws aside, this is still one of Van Damme's better films, with some amusing moments here and there.

Dishonored is a bit of an odd bag because, although it's by far one of the most impressively shot films of the 30's - right down to the use of lighting and shadows - and had a daring ending for the time, it rings hollow in nearly every other aspect apart from maybe editing (mainly because of the fades). The plot, while sounding interesting on paper - to me at least - also fails to leave a lasting impression - and the wooden performance from lead actress Marlene Dietrich - who I may or may or may not have seen in other stuff - only serves to highlight just how big of a quality difference there is between the photography and everything else. Victor McLaglen fares a bit better than the rest of the cast despite some odd moments in his performance, but ultimately, even his portrayal left me cold by the end. In fact, the entire film has a very cold feel to it, which, normally appeals to me (hey, I love Kubrick's work), but this film just came off as obnoxiously insipid, almost completely vapid if it weren't for the visuals. The humor, which I can understand is very much of the time, fell flatter than a pancake. "MEOW!" (repeated) - That's not funny, that's just f-cking annoying.

Josef von Sternberg knew where to place his camera, as showcased well here, but I have no idea what he was going for in regards to mood and tone. It's just all over the place. During the midpoint, one character ends up being killed off, but the scene feels so insignificant that the only thing that came to mind was, "Oh, somebody died. Oh well." In the midst of a serious story, there also all these goofy moments that feel out of place as well. It may seem like I'm trashing the film, but I really didn't think it was that bad; I admired the look, didn't I? I just expected a lot more considering the story premise is one that greatly appealed to me before deciding to watch the film, and because I expect a lot more out of films than just some pretty images. I suppose my biggest disappointment was that this was my introduction to a supposedly great director. Well....maybe next time.

Saw this for the first time today, courtesy of the StudioCanal Blu-ray, which looked and sounded fantastic on my set-up.

Great, great film. I'm not entirely familiar with the story of King Lear, but I thought "Ran" had a wonderful story with all kinds of layers. It was almost overwhelming for me at times as I was trying to keep up with all the various character names and motivations. The photography was so lush and colorful as well, probably the best-looking Kurosawa film I've seen to date. Then again, this is the first one I've seen in color. The framing of shots, the scope and scale, all of it was just so.....magnificent. I love huge epics like this which have so much to them in regards to subject matter; this one deals with loyalty, family, and the bloodthirsty nature of war, among other things, and in the sort of poetic way that would make Shakespeare proud. The battle sequences are stunning and somehow manage to be beautiful and brutal at the same time because of the way they're filmed and the use of music. The score is very haunting; I thought it was used best in the big battle scene towards the middle of the film which causes Hidetora to go mad. I was even smiling during it because the execution was so breathtaking; the type that makes your eyes widen. And the opening set the mood extremely well; I knew from that point on I was watching a film that would instantly become a favorite. I'm glad I blind-bought it, because I will definitely be seeing it more than once.

I saw this last night and found it very interesting. But surprisingly, I wasn't very disturbed by it. I've pretty much become desensitized to these kinds of films since I've seen so many. So, looking at it from a filmmaking point of view, I found it visually bland for the most part, even for a low-budget film. Then again, I watched it on youtube. Now that I think about it, though, the sheer rawness of the whole thing actually suited the film better than if it were more visually imaginative, as this is primarily a rape and revenge film. How much more visually appealing can you make it?

One of the things I really admired about the film was how dark and perverse it was, and how it leads you through the dark underbelly of New York City. Thana gets harassed left and right and finally decides to fight back, but she goes too far by killing innocent people and even causing one to kill himself. After being sexually assaulted multiple times, it does permanent psychological damage to her, and she essentially kills because she fears she may be raped again. In a way, she reminded me of a female Travis Bickle, as Travis violently lashed out against society because of what he saw and experienced in his community. The ending is bitter irony, as Thana is killed by a female, and one of her personal friends at that. Throughout the film, she had been targeting only males, as they are the ones who harassed her. After she's stabbed in the back literally, she also talks for the very first time in the film, saying her friend's name as she falls to her death.

The final sequence where Thana is dressed in a nun costume and guns down several people at a club is one of the film's most haunting moments. But really, all the kills in the film are memorable, and unappealing at that. Thana isn't glorified and neither are her actions.

The picture on the film's IMDb page spoils a major plot point, so make of that what you will. Unfortunately, I saw it before I watched the film.

After loving nearly every minute of the previous Herzog-Kinski collaborations, I was excited to dig my teeth into this one since I had the DVD laying around.

Unfortunately, it turned out to be a step down in nearly every category.

It's based on a stage play, so naturally, it feels more staged than its predecessors, and thus, it felt visually lacking for the most part. Don't get me wrong, though, I admired the use of lighting and shadows in certain shots, and thought the general framing was quite good. But there was rarely a shot that caught my attention and made me go, "Wow, that's great", like in Nosferatu, where there are several amazing images - I revisited that film for the first time last night. I almost feel bad for revisiting Nosferatu in such close approximation as watching Woyzeck for the first time, because it only served to illuminate just how much worse the latter is.

Kinski's presence in Aguirre and Nosferatu was extremely powerful; unforgettable, dare I say. I couldn't take my eyes off him in those films. Here, he plays a character who may have sounded interesting on paper, but turned out to be, I don't want to say bland, as Kinski did a very good job playing Woyzeck, but it's just not a character I cared to witness in action for nearly an hour and a half. He's the type of character who's psychologically damaged and gets driven insane by everything he's witnessed in society, and most likely when he was in war, which we don't get to witness. We just know he's a soldier with severe mental problems, and we get to see how he goes about his day and behaves, which is in a very unusual way. He also has to deal with getting abused at his job, by his superiors, and having to deal with his wife having apparent sexual relations with other men.

Back to the ending. Although I knew it was coming, I still found it to be an affecting sequence, as the terrific combination of Kinski's facial expressions, slow-mo, music, and the sheer brutality of the act made it a sequence I won't soon forget. Even more impressive is the fact it was all done in one take. Kinski was completely in the moment, not once seeming to be distracted. In the moments after that, he continues to be great, as he acknowledges that his wife was a necessary sacrifice for him to be free. And we notice in the dancing scene that his wife's death took a huge load off of him. That doesn't last for long, though, as people notice the blood on him and start to become suspicious that he killed someone. Woyzeck goes back to the murder scene to try and wash the blood of his wife off of him, but realizing that such a cruel act could never simply be "erased" from memory, and that murder is truly in his nature, he seemingly hallucinates and then drowns in the pond right by his wife's dead body. The final shot is of his dead wife covered up and about to be put into a coffin, with apparently some words from the play up on the screen.

This has went on for too long, so I'm going to end this by saying that although this has become my least favorite feature length Herzog film, it had enough strengths for me to consider it above average, which says a lot about how much I admire Herzog as a director. Since I own it, it'll be easy for me to revisit the film when I feel like giving it a second chance, too.

A visceral and mind-bending experience, "Perfect Blue" reminded me why I love anime in the first place. It constantly toys with the thin line between fantasy and reality in exciting and clever ways that later surrealist films such as "Black Swan" and "Inland Empire" would also attempt to emulate. Of course, nothing beats the original.

The protagonist, a singer-turned actress named Mima continually experiences illusions that essentially drive her crazy. Some of these illusions involve death, showcasing her killing people close to her, such as her co-stars and others involved in the film she's making. Mima also seems at first to be stalked by a deformed looking man, who is seen from the very beginning of the film when Mima and her singing group have their last concert performance. After that, he's seen everywhere. Mima can't get him out of her mind even when he's clearly not physically next to her.

Other illusions show her being harassed by what at first seems like her alter-ego, a ghostly figure who keeps taunting Mima and basically breaking down her spirit. This figure looks the same as Mima, except without the emotional baggage that Mima herself carries, and she shows up constantly throughout the film in Mima's head. One brilliant scene that really had my brain spinning for a second is when the male stalker is seen typing on a computer, I'm guessing a letter for Mima, and right alongside him is the ghostly Mima figure talking in his ear. The stalker had this voice in his head telling him that Mima wants him, basically, and that's what that scene seems to hint at. This goes hand-in-hand with real life incidents of celebrity stalking, specifically of actresses. A lot of actresses put themselves out there for everyone to see, and as they're objectified by the industry, most guys who otherwise wouldn't give a damn fawn all over them. The media has a powerful effect on the human mind.

Now, the scene that really gets me is when Mima supposedly kills the stalker, because throughout the middle portion of the film, she's shown having all these various dreams and illusions, all of which are at first presented as being real. Every time I thought one was real, I was brought back to reality by Mima waking up or something similar. Mima killing the stalker seemed to be just another vision, and the reason she was having all those visions of a deformed male stalking her is because she's always harbored negative feelings about males and is in reality insecure around most of them. This is further exemplified by the scene in which Mima is filming a rape scene for her movie that looks vividly real, and she begins panicking for real (or just acting really, REALLY well), and gets drowsy in the process to the point of nearly fainting. Her illusions and paranoia make her a more believable actress in the long run, to the point where the director and others around her start to get creeped out, or simply suspicious. Males are presented as killers in the media extremely often, and that combined with Mima's insecurities about males (something bad may have happened to her as a child, having to do with a male) is the primary why Mima imagines a creepy looking male going around doing all these various killings. She couldn't be more wrong when it's revealed at the end of the film that her stalker is in fact an obese female, which leads to one hell of an intense finale.

The way the entire film played with my head and had me constantly thinking of possible answers is something I haven't experienced viewing an anime since I sat down and watched "Paranoia Agent", coincidentally by the same director.

The way the story is told is superb, and I'm normally not even the biggest fan of surrealism, but there's something about the way it's used in this film that made me love it.

There are also some truly unforgettable images scattered throughout the film, such as the amusing opening shot which spoofs the Power Rangers, the shot of a dead man in an elevator with his eyes gouged out and blood all over him, a grotesque shot of a man getting stabbed literally in the balls with a screwdriver, and several others. It's just one hell of a film. The animation is very much apart of its time, yet has a timeless appeal and a distinct charm that a lot of the animation of today severely lacks. Helps that it was handrawn.

"Perfect Blue" is one of the defining classics of Japanese animation, and if you enjoyed it on even a basic level, I definitely recommend checking out some of the director's other work, as it's also great.

JeeJa Yanin makes for one of the strongest and most believable heroines I've seen in an action film in a long, long time. On top of having screen presence and natural acting ability, she can kick some major ass without even breaking a sweat. Case in point.

"Chocolate" is full of dazzling fight sequences that are as brutal and hard-hitting as they are well choreographed and coherent. They get more and more creative as the film goes on before reaching a chaotic climax that takes full advantage of the actors' physical abilities.

The story is a dramatic one, dealing with Zen's (JeeJa Yanin) quest to get the money that is owed to her family by various gangs in order to pay for her dying mother's hospital bills. Zen has a problem of her own. She is autistic and emotionally unstable. She is able to use this to her advantage, though, as her reflexes are incredibly precise and more advanced than the average person's. She spends some of her time watching martial arts movies, and she's able to pick up on the various moves she sees in the film, which carries into her own move set.

I haven't read too deeply into the issue of autism, but the film seemed to treat it with care and respect; nothing came off as laughable.

The film's photography has a washed out look that I wasn't necessarily the biggest fan of, but I suppose it works in the long run, given the film's moody subject matter and melodrama.

Another thing I liked about the film was the severe lack of slapstick and goofy humor. I've seen to many martial arts films that are full of this sort of thing, and it usually comes off as more annoying than funny.

Director Prachya Pinkaew also made such martial arts flicks as Ong-bak and The Protector, which are somewhat modern classics in the Asian film community. I haven't seen them yet, but if they're as well put together as Chocolate, I see no reason why I would dislike them.

Despite the film's many strengths, it was hard for me to find it amazing. It's probably because I've already seen movies like this and was expecting something truly groundbreaking for the genre. Either way, it works.

JeeJa Yanin is undoubtedly the film's greatest assets, and it'll be interesting to see what future projects she takes on. Hopefully they take full advantage of her talents more often than not. Seeing her fight, I was reminded of past female martial arts experts such as Yukari Oshima (My personal favorite) and Moon Lee. She even has a similar look to these women. So it's great to see a somewhat younger version of them living up to their legacy.

Well, fans of the director's other work and martial arts films in general should give this a look, if only to witness a fresh new talent with a bright future ahead of her.

Some of the most exciting action movies came out in the 90's, and this espionage gem is no exception, as it keeps you engaged from start to finish with its death-defying stunts - all of which don't feel as forced as they do in other Jackie Chan action flicks - and intriguing blend of humor, drama, and suspense. Taking place across a variety of locations (including South Africa), it's an adventurous epic that gives you a lot to see. The plot also unfolds primarily as a mystery, keeping you guessing to the end, as Jackie is trying to find out exactly why everyone from the secret police to the CIA is after him. Like most Jackie Chan films, there's also a strong reliance on humor, except this film doesn't have nearly as much slapstick as, say, "Police Story", to the point where it becomes annoying. The humor is carefully blended into the proceedings, and even when it reaches unintentional levels, it somehow makes the movie all the more enjoyable.

I won't spoil the various stunts performed in the film, you just have to see them to believe them, but needless to say, they are jaw-dropping. Speaking of jaw-dropping, the rooftop fight, which also serves as the final fight sequence in the film, is one of the best I've ever seen. It goes on for a while, but it's so well choreographed and stunningly executed that you'll want it to keep going for a few more minutes afterwards. The score by Nathan Wang, while nothing remarkable, fits the movie well, and sometimes goes so far as to raise the excitement factor, specifically during the chase sequences. It must be hard for anybody to direct themselves in a film, especially in an action film on such a large scale as this one, but Jackie Chan does so admirably here, alongside Benny Chan. It's some of his best work of the 90's alongside "Operation Condor".

One of the great 80's action/adventure epics; a pleasant surprise I never expected to be so well put together because the only other films by the director I had seen were "The 6th Day" and "Tomorrow Never Dies", which were nothing to write home about. Poitier and Berenger play well of one another, and Poitier in particular has rarely ever been funnier from what I can recall. This was his big comeback after not appearing in a film since "A Piece of the Action", which came out all the way back in '77. Thankfully, he chose the right material to come back with and make him relevant again. This is a skillfully crafted and carefully paced thriller with plenty of suspense to keep you on your toes, especially in the first half hour or so, which plays like a much darker version of Poitier's Sergeant Tibbs flicks. The way it starts off almost brutally dark and transitions into a sort of buddy comedy works better than one might expect. The action was well shot, the photography was solid, and overall, I'd say any big action fan, old or young, owes it to themselves to check out this gem. I know I had a total blast with it.

Wow, this was one crazy and memorable film, to say the least, and that final shot was the icing on the cake.

I've seen too many movies with great premises that wind up underutilizing them, but this one more than lived up to its own. Zelda Rubinstein creeps me out in every film I see her in, and this was no exception. Every time she appeared on screen, I wanted her to get right back off, a similar feeling I had while watching her in "Poltergeist". Except here, I got the sense that she was born to play that role. The movie just wouldn't have been the same without her....presence. In fact, she's the most memorable actor in it. The whole movie's a mind-bending experience though, and one that's best not to read about before watching. It's simply hard to look away. The piercing screams, the building suspense, the cool visual tricks, and the idea that every character in the film is in deep trouble all made me feel apart of the experience. I was completely sucked in. Hopefully other people who see it for the first time have the same sort of attachment to it. Things get chaotic fast early on, and it just continues to get more and more insane before reaching an ending I honestly didn't expect. This is the type of film that Scream 4 tried to be, but failed.

R.I.P. Bigas Luna. In a way, the man was ahead of his time. Those who are fans of David Lynch and surreal films in general should definitely seek this out.

This bleak Taiwanese epic based on a true story exposes the dark side of growing up in a harsh environment at a young age. I know what you're thinking, "Wow, so original." But, even though it's far from being the first film of its kind, let alone the best, it manages to stay unpredictable throughout and packs plenty of surprises; think of the grand sweep of The Godfather flicks and that's similar to what you get here. Visually, it doesn't really stand out in any significant way - at least from the print I saw. Instead, going for a more down-to-earth, gritty approach, which I liked because it suited the material. With that said, Director Edward Yang makes great use of long shots and keeps things very subtle, and I honestly can't think of a single bad or out-of-place angle in the film. The cast consisting almost entirely of nonprofessionals is very natural in their roles, even eerily believable at times when the film reaches disturbing moments - and there's a lot of those. It's a no-holds barred film that refuses to compromise itself for the sake of making the viewer feel safe or comfortable.

As a coming-of-age film, it's one of the very best. As a tragic romance, it delivers due to its Shakespearean quality. As a crime film, it can stand toe-to-toe with some of the very best of them. Even more impressive is that the film is able to cover so many important and (still) relevant issues and effectively explore the human condition without any heavy-handed morals or messages. The film is as straightforward and honest as they come, making it that much more engaging. And yet, despite all its qualities, it's not a film with universal appeal. Most would frown at its bleak approach and wonder where all the praise comes from. Others would skip it entirely due to it being a slow 4 hour film with no exploitative elements. Others would be wishing everyone were killed off and/or there was more action and pretentious imagery they could easily gravitate towards. Others.....well, I think you get the picture. Ultimately, those who would get the most out of this film are those who are willing to acknowledge that the world is a messed up place and some movies are going to reflect that. So, if you're easily offended, go back to watching "safe" Hollywood pictures, because you won't be able to appreciate this underrated gem. And yeah, that's me being a condescending prick. Sue me, what I say is true, and those who have seen the film know I'm right.

I'm going to go ahead and admit right off the bat that what I just wrote does not do justice to the film's level of substance and depth. This is merely a description. Others have gone far more in-depth into what makes the film so good than I'm capable of doing from a single viewing, so I recommend reading what they've wrote as well.

Out of all the Woody Allen films I've seen so far, this is the one I can safely say I found hilarious. The comic timing on display is nearly perfect, and the film does a great job of staying unpredictable with the visual gags and constantly moving forward. Allen and Keaton have never been more fun to watch on screen, and they're aided by a strong supporting cast. The writing is extremely clever as well, satirizing Russian literature and making references to such films as "The Seventh Seal" and the works of Sergei Eisenstein. The film doesn't require you to have seen those films to find the references funny, though, and that's due to the brilliant execution. The film also contains Allen's trademark mock-philosophical debates that have been seen in his other films, except this time I found them far more engaging and funny than usual instead of rolling my eyes.

The use of music was also clever, especially during the big, epic battle scene, which makes use of the music from Sergei Eisenstein's "Alexander Nevsky"; an excellent touch. That scene also winds up becoming one of the funniest in the entire film. Those who are fans of the likes of Charlie Chaplin and The Marx Brothers will want to check this film out as well since it pays tribute to them. Diane Keaton played her best character in all of Allen's films here, as it's both fully developed and charming. Demonstrating Allen at his most eclectic and creative, it's here that he made perhaps the most entertaining period piece (if you can call it that) of all time. If you haven't seen it yet, I can't recommend it enough. Even if you don't find it as funny as I did, it's likely you'll still be amused by it. As of right now, I'm proclaiming this as Allen's masterpiece. Every element just clicks to form a great, wondrous whole that never ceases to be entertaining or get a laugh out of me.

Just finished all the episodes of this after a friend recommended it to me a little while back.

Very cool show.

I like how it progressively got more and more interesting as it went on. Comparing the first few episodes to the last ones is like comparing two different shows. In only 13 episodes, it gives you a lot to digest. My only complaint would be that not all the characters get a backstory, making them underdeveloped. Aside from that, it's certainly entertaining, and the action scenes were well animated and generally engaging. It packs so many various elements, too, so much that it can get pretty overwhelming, yet it somehow all comes together in the end. All the characters being souls who went to a different world to escape their past in order to defy God's plan for them was quite an interesting concept, and well utilized at that. It wasn't as philosophical as I expected, which is good because enough was going on under the surface anyway. Otonashi and Angel were both fascinating characters and I was actually anxious to see their relationship develop. They completely overshadowed everyone else, including Yuri, who was basically the trigger of all the events. I also admired the ambiguity in the ending. Did Otonashi stay behind to help other souls who come into the world or was he reborn alongside Angel in the real world where they met again? Some have said both happen, with one occurring long after the other, which is definitely possible.

Shaw Brothers. Shaw Brothers. Shaw Brothers. We meet again.

Okay, so one day I was sitting around browsing the internet, and I thought to myself, "Hmm, why don't I download a bunch of Asian films to watch later?" Just in case you haven't already guessed, this was one of them. After watching several of the others, I finally decided to sit down to this one. The reason this one caught my eye is because it starred the lovely Pei-pei Cheng, who you may know from "Crouching Tiger Hidden Dragon", where she played the not-so-lovely Jade Fox. Those of you who know me know I love watching women kick some ass in movies, and this was a Shaw Brothers film on top of that, so I just HAD to get up in that.

Yeah, it was pretty damn cool. Those of you who have to have some sort of deep plot and spellbinding visuals in every film you watch probably wouldn't get a whole lot out of this, but I have an open mind and this is my kind of film, so I instantly took a liking to it. Pei-pei Cheng was fascinating to watch and undeniably beautiful. She just has that sort of presence that draws you to her. Whenever she wasn't on screen, the movie definitely felt lacking in my eyes, but thankfully, she's on screen pretty darn often considering she's the main character. The fight choreography was obviously impressive, and there were some brutal scenes that will likely stay with me for a while, such as when a young apprentice is cruelly murdered in cold blood. For being as old as it is, this is also a very fast-paced film. Sure, there are some slow spots - not that they bothered me - but it's constantly moving forward, which made it all the more engaging. The story itself is solid for this type of film, but nothing too surprising. The print I saw had very good visual and audio quality, which was nice. Great, now I'm just stalling to make the review longer.

Well, it's simply a good film. I wasn't blown away, but I enjoyed it about as much as I'm capable of enjoying a martial arts film from the 60's these days. The fights alone are worth the price of admission, so if you haven't already seen this, what the hell have you been watching lately?

The second of Johnnie To's three homages to John Woo's "The Killer" is also one of his most memorable films, with a terrific script full of witty and clever writing, and a well developed relationship between the two leads, making you actually care about their fate. To kept his camera moving rapidly throughout, and that combined with the strong editing and pace made for a gripping film that simply refused to lose my attention. The score by Raymond Wong was effective and fit every scene like a glove, especially during the rather poetic ending, which managed to surpass my expectations. Instead of ending with a generic shootout, the movie goes for a more unique approach that benefits it in the long run. Andy Lau and Ching Wan Lau were quite frankly perfect in their roles; charismatic, subtle, subdued, and entertaining to watch. Although listed as an action movie, this is really a drama of loyalty, friendship, and honor, much like Woo's masterpiece being alluded to here. Unlike Woo's film, however, it never once steeps into melodrama or becomes overbearing with emotion. It's played mostly straight, with some genuine laughs here and there, and it deals with the issue of cancer in surprisingly good taste. Fans of Hong Kong cinema owe it to themselves to give this a watch if they haven't already.

A low-budget indie drama that takes place almost entirely in a single space and deals with the conflict between two very different individuals, one a white male and the other a black female. Both are suffering from their own personal demons and in the end are able to finally combat them and change for the better. As low key as it is, the story itself throws some pretty shocking revelations at the viewer and is very heavy on dialogue. Nicole Beharie gives a powerhouse performance as a woman suffering from bipolar disorder and is on the very edge of killing herself. She manages to be terrifying, sexy, riveting, and hilarious throughout, and sometimes even all at once. It'll be a crime if her performance in this doesn't lead to many more roles in the near-future. Christopher J. Domig holds his own well, giving a quiet, calculated performance full of complexity and controlled rage. This is a very, very slow film, so it obviously won't appeal to everyone. I saw it at the Pan African Film Festival and at least two people fell asleep, but thankfully, everyone else was able to appreciate it for the challenging, perceptive film it truly is.

Saw this at the Pan African Film Festival and it was much more satisfying than I expected it to be. I'm a big African movie fan, but had never dabbled into Nigerian cinema until now, so I'm glad I picked the right Nigerian film to start with. It definitely has its technical issues in regards to the way it was made, and some of the acting and writing can border on just plain silly at times, but you know what, I was able to overlook such issues and immerse myself into the relevant and effective story. Based on issues that are currently going on in Africa, the film primarily deals with the issue of certain people (working for the government) making profit off of Africans dying of AIDS. It's a very complicated issue and I don't even think I can explain it all that well if I tried, especially to the extent that the writer/filmmaker can/did, but I fully understood it and appreciated the producer and actor Sadiq Abu (who plays Holy Moses) taking the time out to explain it in-depth during the Q&A session.

It's been described as an action movie, and it certainly delivers in that regards. It's very fast paced and things get pretty heated and violent at certain moments. The finale in particular had me and the rest of the audience on the edge of our seats, so this is a well paced and exciting film for the most part, which gives us relatable characters to sympathize with in a relatable story, and you really can't ask for much more in an action movie. Some of the acting was pretty hit-or-miss, but most of the performers more-or-less fit their roles well. This is a low-budget movie that was filmed in a month and a few weeks with extremely limited resources, and what the cast and crew accomplished in that regard is nothing short of applause-worthy, especially when you factor in the negative reception Nigerian movies usually get here in the West.

The movie has a lot of interesting twists and turns, as well as dramatic weight. One could basically describe it as a gritty crowd-pleaser. Those who obsess over technical perfection in films likely won't get a whole lot out of it, but those who are interested in a personal, relevant, well-intentioned story in the form of a fast-moving, suspenseful action-drama can't go wrong with The Lost Number. And I'll definitely be looking forward to seeing what the producer and director does with a bigger budget and better resources next time around.

Candid marks the arrival of a fresh new talent in director Vishnu Seesahai, who also wrote and starred in the film, as well as did the photography, score, and everything else for it. The film has a great, immersive atmosphere full of uncertainty and palpable tension. The eerie score helps set the mood well, and Vishnu employs some very interesting stylistic tricks for his debut feature. Vishnu himself said it's not a horror film, but a psychological thriller, and a smart one at that, dealing with the whole issue of voyeurism. On top of that, it also deals with such issues as rape, serial killers, bad childhoods, and many other things. It's a very multi-layered film, and one of the great things about it is that it can be passed off as simply a horror film and still deliver the goods in that regard.

The story concerns a socially awkward young man named Jim Thorpe who likes to go around the city filming people (think Peeping Tom, but with a New York twist). He often gets caught, but that doesn't stop him from continuing to do it. What is he looking for? Why is he doing what he's doing? What does he hope to gain from filming people? These are all questions the film poses and answers before it finishes. Jim soon gets more than he bargains for when he comes across a mysterious young woman who's hiding dark secrets of her own, and this leads to the point where the film becomes even more engaging, and from that point on, the audience is led on a wild, suspenseful ride where anything and everything goes wrong. I also shouldn't fail to mention that Jim is often haunted by the last memories of his dead mother, which tie into the whole voyeur theme.

Like I said above, Vishnu did every aspect of this film by himself, basically. This is purely stripped-down guerilla filmmaking to the core. Vishnu was a one-man crew when he made this, and I just find that so inspiring, especially when the finished product turned out as good as it did. The photography is quite stunning in its use of color and lighting, and that combined with the eerie music created an atmosphere that can rival that of most other thrillers combined. It's simply a great looking film, especially for its budget. The writing was also very funny for the most part; lots of memorable and witty lines, and the actors did a great job delivering them. Vishnu himself said that writing is one of his main strengths, and I can definitely see why. Toni Busker also gave a very memorable and vivid performance as serial killer Samantha Birch, so I'd love to see her in more films in the future. Vishnu himself made for an amusing and charismatic lead.

I saw this at the Pan African Festival and it was simply a joy. The director seems like a nice, cool dude, and during the Q&A session, he eloquently explained how he did the film all on his own, as well as what the film means in regards to its social commentary, themes, and such. Vishnu also said that he's already in pre-production for his next film, and if it's anything like this one from a quality standpoint, I know I'll dig the hell out of it.

What an experience this was.

Based on a graphic novel that winded up spawning two OVA's, "Riki-Oh" remains one of the most violent movies ever produced, due to its extreme and inventive gore, which you witness pretty much every other minute during the entirety of the film. Whereas the gore in movies like "Dead Alive" simply grew tiresome after a while and failed to develop effectively throughout, Riki-Oh's gore is much more impressive and fulfilling, making one want to keep their eyes glued to the screen so they don't miss the next great gore effect. The gore effects are so astonishing at times that they really make you miss practical effects before most movie gore became all computerized. Being a martial arts film and all, "Riki-Oh" is beyond satisfying. The fight scenes are expertly choreographed, allowing all kinds of cool moves to surface that defy the laws of gravity, and they all flow seamlessly with the blood-soaked moments of open guts, arms, and flying body parts.

The gist of the story is this: a young martial artist with superhuman strength named Riki-Oh Saiga is sent to a mysterious prison after killing the drug dealer who caused his girlfriend to commit suicide, and through his experience there, he suffers through many hellish challenges thrust upon him, as he meets his match in quite a few of the individuals there. In the process, he uncovers a secret that exposes the Warden and his minions as being corrupt, which gives him even more of an excuse to kick ass and escape the prison.

Ngai Choi Lam made a very rough and brutal film here that certainly lingers in the memory long after it's over. It actually reminded me quite a bit of Jamaa Fanaka's classic "Penitentiary", which also had the look and feel of a documentary at times and had elements that set it apart from the average prison film. But, it's truly the attention to detail in the violence and action that puts "The Story of Ricky" above most of its peers. The acting is wonderfully over-the-top, the flashbacks showing Riki-Oh's past experiences with his girlfriend cheesy, and the soundtrack, while rather simple and barren, fits every scene well. Also be on the lookout for Yukari Oshima (well, how can you miss her in this?) as the big, bad transvestite member of the Gang of Four, who really hands Riki-Oh his ass at certain points. This still stands as one of Yukari Oshima's most memorable roles. I love how she played against type (well, a little bit) and overshadowed (not to mention dominated) nearly all the male characters.

"Riki-Oh: The Story of Ricky" is not a perfect movie, but it doesn't need to be. It succeeds as ridiculous, broad entertainment and is basically a big "F You" to the Hollywood system. Always thrilling, sometimes sickening, but never boring.

One of the craziest, most over-the-top, and bizarre films I've ever seen. Still feels surprisingly fresh and puts the majority of today's superhero films to shame, including recent hits such as "Avengers Assemble" and "The Dark Knight Rises" (Coincidentally, the latter stole a line from this film). Why? Because not only does this not take itself even remotely seriously, it's hilarious to the point where the comedic timing rivals that of some of the most beloved comedies out there. The pacing is also practically perfect, ensuring there's not a single dull moment during the entire runtime. The only time where I started to feel the length was during the finale, but that's only because I was watching it late at night. Herz and Kaufman proved here that they knew exactly what it took to make an entertaining camp trash classic. It also has some rather well implemented social commentary, but never preaches to the viewer or makes them feel as if they're watching a "message movie" in disguise. "The Toxic Avenger" is certainly not for everyone, and the average person is likely to automatically label it as juvenile garbage with no redeeming values, but for those with an open mind and a strong stomach for pretty much anything, it's simply an absolute blast from start-to-finish, and if any of Troma's other films are even half as entertaining, I have a feeling I'm going to quickly become a huge fan.

One of Argento's very best. He always struck me as a perfectionist from the way he framed his shots. One could almost call him the Kubrick of slasher flicks. He makes the environments just as much characters as the humans in the film; he captures everything, especially the deaths, like a portrait. His artistry in the genre is only matched by a few others. And this winds up becoming a great, gripping murder mystery that keeps you guessing to the very end. Argento toys with conventions, specifically in a scene where Marcus gets knocked out while looking around a building towards the end of the film, and the next shot shows him waking up outside of the house while it's burning, and the camera slowly pans up to reveal his female reporter friend standing over him. In another, more predictable film, she would've been revealed to have knocked him out and possibly the killer of the picture, but instead she is merely revealed to have rescued him from the house and remains a protagonist to her untimely end. Of course, there's a terrific soundtrack from Goblin that perfectly suits every scene it's used in, but at the same time, Argento makes great use of silence when he wants to.

At over two hours long, your horror film better have either some interesting or developed characters. In Deep Red, Argento has both. David Hemmings gives an engaging performance as the protagonist. His reactions to what goes on around him are natural, and the viewer is sympathetic to his cause to get down to the truth. He understands that some secrets should be uncovered at any cost. As death slowly sucks up people in his world, he finds himself increasingly sucked into this impending nightmare behind him, like quicksand. We're in his shoes because he reacts like us. Argento employs charming humor throughout the picture. Like Hitchcock, he understands the essence of entertaining his audience. Horror films don't have to be all-dread all the time. The relationship between Hemmings' protagonist and his female reporter friend are dealt with sensitively. She is portrayed as his equal. He relies on her to get places. She saves his life. She gets him to come out of his shell and admit his attraction to her. She's spunky and has plenty of personality to make us believe she could be a reporter in reality. When the big revelation reveals itself at the end of the film, suddenly the entire mystery comes full-circle to the opening shot, and we're left with one hell of a bang. The final shot represents the sort of feeling one gets when they come face-to-face with a point in their lives that shakes them to their very core. What's next, and where do I go from here? How do I cope with what I just experienced? Argento offers no easy answers, he just sits back like a madman amused by what he just put his viewers through. At least, that's the sense I get from watching his expertly crafted work.