Tuesday, March 9, 2010

From Twitter 03-08-2010



  • New blog post: From Twitter 03-07-2010: New blog post: From Twitter 03-06-2010: New blog post: From Twitter 03-05-... http://bit.ly/acY4mU
  • What a surprise. http://tinyurl.com/yc9r8oz
  • New blog post: Music Monday: Sounds Like Lemmy Edition: Technorati-Tags: music monday,music,high on fire http://bit.ly/bGpKAJ
  • A trailer, that's what you put on the Net to prevent people from watching your movie, right? http://tinyurl.com/yllyvyh
  • Huh, Toki Tori plays excellently with High on Fire in the background instead of the game's own candy-coloured music.
  • Whining about ad-blocking when you have a site full of eye-destroying ad blights won't make me whitelist you. Just saying.
  • RT @Quinns108: So I'm meant to be reviewing Silent Hunter 5 today. Guess the DRM servers have gone down, again. http://twitpic.com/17d188
  • It's comedy gold.
  • Hmm, my random wallpaper thingie must be in a weird mood. Again, Conan, but with frogs as drawn by Mike Mignola.


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Monday, March 8, 2010

Music Monday: Sounds Like Lemmy Edition

From Twitter 03-07-2010



  • New blog post: From Twitter 03-06-2010: New blog post: From Twitter 03-05-2010: New blog post: From Twitter 03-04-... http://bit.ly/cpLNA3
  • New blog post: The Dragon Missile (1976): Sima Jun (Lo Lieh) is the favourite henchman of an unnamed high official... http://bit.ly/c7jJli
  • Today's randomly appearing wallpaper: angry Conan surrounded by rotting heads. Message from the universe?


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Sunday, March 7, 2010

The Dragon Missile (1976)

Sima Jun (Lo Lieh) is the favourite henchman of an unnamed high official (Ku Feng) of a very nasty disposition. Whenever someone displeases the lord, he sends out Sima Jun to behead the perpetrator with his Dragon Missile, a pair of metal boomerangs that explode through solid objects (and make an awesome singing saw sound).

Now, destiny has put in motion some karmic payback for Sima Jun's boss. He has developed an impressive, painful and quite lethal boil on his back, and no doctor seems to be able to cure it, which - given the lord's tendency to mood swings - leads to a lot of headless physicians.

Quite bothered by the thoughts of his death, the lord lets his people kidnap the imperial physician Dr. Fu (Hao Li-Jen). At first, the doctor is quite reluctant to help, but finally identifies the lord's illness as "100 birds worshipping the phoenix" (cue gasps here), a sickness that can only be cured by something called the longevity rattan. Fortunately, Fu's old associate, the hermit Tan (Yeung Chi-Hing) is in the possession of the root, and Fu is willing to write a letter to convince his old friend to part with it. He's even lying in it about whom the cure is supposed to help in the knowledge that Tan wouldn't give his magical root to someone as evil as the lord. Of course, Fu also signs his own death letter writing this. This lord guy really is a bit of an arse.

The lord sends Sima Jun out to fetch his cure, but his ambitious underling Yang (Man Man) has had quite enough of his bosses' love for someone played by Lo Lieh, so he sends a group of jobless martial arts experts to "help" Sima Jun - to kill him after they have acquired the root, of course.

Obviously, this can't end well. Sure enough, the bad guys have to kill the hermit to get the herb, leaving his daughter Xiao Li (Nancy Yen) with a mighty hankering for vengeance. Then, Sima Jun's old brother-in-training Er Long (Lau Wing), steals the longevity rattan (who knows why) and hides it with his blind, kung fu fighting mother. One dead mother later, Er Long also swears vengeance on Sima Jun.

Before any of that sweet, sweet vengeance can take place, there's first time for the other martial artists and Sima Jun to squabble and try to kill each other, for the seekers of vengeance to ally themselves with one of those martial artists, Miss Sha (Terry Lau), and for development of a way to counter the mighty dragon missile.

The Dragon Missile's plot sounds much more complicated than it actually is. In fact, it is mostly an excuse for some excellent fight scenes and for having Lo Lieh play the bad guy, yet still get first billing. Most of the weird stuff - like the dragon missile itself, or Miss Sha's use of Wolverine's claws - is just the kind of flourish Ni Kuang (the guy who wrote this and seemingly every other Shaw Brothers film) couldn't help but put into his scripts, and that is bound to make any film quite a bit more entertaining.

Besides being full of pointless (and therefore wonderful) details, Ni Kuang's script is also on the cynical side of the Shaw Brother's wuxia/martial arts output (the studio's exploitation films always were like that), far from the rather romantic point of view many wuxia films have at their core even when they are about bloody vengeance.

The Dragon Missile's central figure is without any conscience, but most of his enemies aren't any better either. Yang's martial artists are mercenaries who don't have a problem with stabbing someone in the back if it helps their career and even our nominal heroes Er Long and Xiao Li don't think twice about allying themselves with someone as morally dubious as Miss Sha. The film never directly comments on any of this, but I can't help but feel there's a good reason for the fact that the final fight ends with Sima Jun struck by his own dragon missile in his back.

Apart from its more cynical (some would say realistic) disposition, the movie is produced to the typically high Shaw Brothers standard of '76, which means stock actors playing stock characters with agreeable solidness, bloody and fast fights shot so that the audience can actually see what's going on in them and a delightful sense for the silly that isn't yet ready to drift into the direction of the batshit insane.

How this film fits into the larger body of work of its director Meng Hua Ho however is anybody's guess. The man's filmography is all over the place, going from this, the Black Magic films, four Journey to the West films, to an excellent wuxia like The Lady Hermit, and I've never been able to get a fix on him. Sure, you could call him a work-for-hire-director who did exactly what the studio was paying him for and be done with it, but his best films are a bit too lively for me to accept that conclusion. As people like Joel Schumacher or Uli Lommel show again and again, there's just no need to put any effort into your films if your just working for a paycheck, so I tend to suspect a bit more ambition behind the films of someone who is putting some effort into them.

 

From Twitter 03-06-2010



  • New blog post: From Twitter 03-05-2010: New blog post: From Twitter 03-04-2010: "We are now convinced that all thi... http://bit.ly/cDkGjg
  • Wait, people are complaining about the announcement of Portal 2? I hate "gamer".
  • New blog post: In short: Thirsty For Love, Sex And Murder (1972): Rich girl Mine (Meral Zeren) comes back to Turke... http://bit.ly/9TQWuJ
  • Finally got around to playing Dear Esther. Astonishing. Seemingly made directly for people with my sensibilities.


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Saturday, March 6, 2010

In short: Thirsty For Love, Sex And Murder (1972)

Rich girl Mine (Meral Zeren) comes back to Turkey from a longer, nerve-soothing stay in other parts of Europe. She probably isn't expecting as much excitement at home as she gets.

There's a killer going around, carving up pretty women and raping them (possibly in that order), and worse, the killer might very well be one of the three men (after all, Mine is very rich and very pretty) in her life. Is it her abusive ex-boyfriend/rapist Tarik (Yildirim Gencer)? Her loving yet impotent husband Metin (Nihat Ziyalan)? Or is it Yilmaz (Kadie Inanir), the slick part-time boyfriend of her best friend Oya (Eva Bender), who is slowly sliming himself into Mine's heart like the George Hilton stand-in he is?

What little of Turkish popular cinema has made its way into other countries usually consists of a) Cuneyt Arkin punching people in the face or b) another gentleman punching people in the face, so it might come as a surprise to find a film like the (brilliantly titled) Thirsty for Love, Sex and Murder that does its best to rip-off Sergio Martino's giallo The Strange Vice of Mrs Wardh, only in half of the Italian film's running time.

Both films share a plot and many of their set pieces (although not their endings), but where Martino's film is rather deliberately paced and as impeccably stylish as one would expect from that particular director, Mehmet Aslan's Thirsty comes at its viewers like a rabid speed freak, incessantly throwing dream sequences, flashbacks, multi-coloured camera lenses and a soundtrack between classic twang guitar and pure feedback at them until they either get a mighty headache or decide to just go with the flow and ignore the absence of subtleties like sensible scene transitions.

Headaches notwithstanding, this doesn't mean that Thirsty isn't a whole lot of fun. Aslan (who also directed his share of Tarkan films) isn't as slick a director as Martino - and even if he were, he still would not have enough money to work with to demonstrate it on screen - but he has lots and lots of neat visual ideas to hectically throw into our faces.

At times, the film managed to overwhelm me with its permanent switches between weirdly erotic dream sequences, druggy camera angles, sudden jumps in time and place and its rabid kangaroo of a killer, and what more than being overwhelmed could I ask of any cheap exploitation movie?

I also found it quite impressive that most of the film's plot is shamelessly stolen from Martino's film, yet Thirsty still manages to be a completely different beast than the other film, graced with a much more aggressive feel and a rabid rhythm all its own.

 

From Twitter 03-05-2010



  • New blog post: From Twitter 03-04-2010: "We are now convinced that all this is part of some diabolical plot."New b... http://bit.ly/cOgeH7
  • New blog post: On WTF: The Devil's Express (1976): Blaxploitation! US Martial Arts! Horror! Random New York! Warha... http://bit.ly/cvBy7G
  • Damn, it's BBS romance SF IF without a parser and it's really good. http://tinyurl.com/ycf4qt6
  • Man, David Jaffe gets more stupid by the minute. And who allowed him to have a name beginning with "D" like mine? http://tinyurl.com/y8ne4vc
  • Some people really shouldn't blog.


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Friday, March 5, 2010

On WTF: The Devil's Express (1976)

Blaxploitation! US Martial Arts! Horror! Random New York! Warhawk Tanzania! All this and more can be found in my write-up of The Devil's Express aka Gang Wars on WTF-Film.com.

It's like a dream come true.

 

From Twitter 03-04-2010



  • "We are now convinced that all this is part of some diabolical plot."
  • New blog post: From Twitter 03-03-2010: New blog post: From Twitter 03-02-2010: New blog post: From Twitter 03-01-... http://bit.ly/dmVf4E
  • New blog post: In short: Terror at Tenkiller (1986): It's summer vacation time, so Janna (Michelle Merchant) drags... http://bit.ly/c6tSqi
  • Huh, looks like Ubisofts new super DRM (the one that managed to make me not want to buy any of their games anymore) is already cracked,
  • as always in DRM-land leaving legitimate buyers with the worse product. http://tinyurl.com/yc83g2j
  • 137 years of popular science. http://tinyurl.com/yddzcfl
  • So, now Ubisoft is basically saying "crack our games, then we'll fix the versions of paying costumers, perhaps"? http://tinyurl.com/y8enxsj
  • Kids, just say no to drugs.


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Thursday, March 4, 2010

In short: Terror at Tenkiller (1986)

It's summer vacation time, so Janna (Michelle Merchant) drags her best friend Leslie (future stuntwoman Stacy Logan) to a place called (not suspiciously at all) "Lake Tenkiller", situated right next to the just as dreamily named Gore. The latter is as much gore as you'll see for the whole movie.

Leslie truly needs the change of place to get away from her abusive boyfriend Josh (Kevin Meyer). So the friends are chattering away, swimming, waitressing, getting threatening phone calls from someone who might or might not be Josh. This leaves just enough time in their calendars for flirting with local mechanic ("among other things") Tor (Michael Shamus Wiles).

From time to time, which is to say not very often, Tor kills someone. He is the resident serial killer without motive, after all, and there doesn't seem to be any police around, so he just has to.

Of course, Tor falls for the oh so meek and charming Leslie, and we all know what happens when serial killers fall in love.

More balanced minds than mine call this attempt at making a slasher movie without much in the way of sleaze, violence or quality a misguided snoozer, and I can't exactly blame them for it. For the average viewer - or even many not so average viewers - Terror at Tenkiller will be a test of patience, because (and I have to stress this) nothing ever happens in it. And those long, long moments when nothing at all is happening are really the good parts of the movie.

Whenever the film comes to a (supposed) action scene or something like a (theoretically) spooky dream sequence, it just collapses on itself like a white dwarf. One-time director Ken Meyer (who, if the IMDB is to be believed, now provides "legal services" for softcore films) really has a perfect eye for how not to film a scene. The stiffness of the camera work transcends "point and shoot" and at times reaches beautiful extremes of stasis usually reserved for experimental cinema.

While it's all nice and relaxing for a friend of not very good films to cherish a bit of boredom in his films, even I might have lost my patience with Tenkiller if not for the weirdly compelling "acting" of Logan and Merchant. There's a wide-eyed, talent-free innocence about their performances that's difficult to resist. Somehow, the actresses transform the boring blandness of what they say and do and how they say and do it into, well, not exactly an exciting experience for the viewer, but something more akin to that feeling of love for humanity you get when you turn the sound of a really inane TV show so low that it turns into the touching chattering of human voices.

So, objectively, this is a terrible film with nothing to recommend it, not even much to point and laugh at, but subjectively I loved it. Take that as a warning or as an recommendation.

 

From Twitter 03-03-2010



  • New blog post: From Twitter 03-02-2010: New blog post: From Twitter 03-01-2010: New blog post: From Twitter 02-28-... http://bit.ly/cO1U6O
  • New blog post: Kung Fu Cannibals (1982): aka Raw Force Visit beautiful Warrior's Island. Once a place disgraced m... http://bit.ly/9zdJ3K
  • Joanna Newsom really is Kate Bush as a folkie
  • "You must peeking in your pant." (Disturbing subtitles are disturbing)


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Wednesday, March 3, 2010

Kung Fu Cannibals (1982)

aka Raw Force

Visit beautiful Warrior's Island. Once a place disgraced martial artists visited to commit suicide, it is now mainly populated by a small group of monks with peculiar dietary habits. They only eat the flesh of attractive young women. Is it a religious thing? The taste? Scientists' opinions are divided.

Obviously, when you are living on a remote island, the opportunities to buy and sell pre-packaged human flesh are scarce. To solve this problem, the monks have made a deal with a guy sporting Adolf Hitler's facial hair and an accent that unhappily hovers between fake German and fake French, trading jade from their jade mines against pseudo-Hitler's weekly haul of kidnapped prostitutes. All goes well until disaster strikes the peaceful cannibal/Nazi community.

A cruise ship full of American weekend martial artists and women fond of dropping their clothes without any provocation, captained by Cameron Mitchell (for once conscious and awake during the shoot), has set sail/motor for Warrior's Island.

At first, mock-Hitler tries to just warn them away, but rambling warnings by randomly appearing strangers not to visit the island don't cut it with these Americans.

Next, some not so subtle attacks by the accented one's henchpeople aren't too successful either. Turns out that martial artists are quite fond of using their martial arts on people trying to kill them.

A surprise attack on the cruise ship on the high seas is a bit more effective. The ship explodes marvellously, and only a handful of the Americans survive. Alas, their life boats are carrying them directly to the island they weren't supposed to go to.

Now, only the zombiefied (and quite sprightly) remains of the warriors who gave Warrior's Island its name can protect the future of monkly flesh-eating and the Nazi jade trade.

Well, Kung Fu Zombies is certainly something. You might be as surprised as I was to learn that it's not something good, well-filmed and deeply moving, but a silly action film/sex comedy/random crap abomination directed by the guy who played a certain "Captain" in Mad Doctor of Blood Island and has numerous stints in exciting sounding roles like "Prospective Male Juror" and "Parole Board Member" on Law & Order - at least if you are willing to believe the IMDB.

For a bit-playing actor, Murphy isn't too bad a director. At least his film (which, as you might have guessed, is a US/Filipino co-production) is vaguely coherent and surprisingly enough not too boring, both things I have learned not to take as a given in films with utterly fantastic titles (like this one has when it is not shown under a terrible generic one). I even found myself laughing about the comedic bits from time to time. Not at the scenes that were supposed to be funny, of course, but oh well.

Most of the film plays out as if it were the product of a bet concerning the amount of stupid shit (and breasts, obviously) you can or cannot throw into one script. I certainly can't argue that a mix of bad martial arts, cannibalistic monks, Nazi gangsters (or whatever they are supposed to be), Cameron Mitchell and martial arts zombies is something of a bad movie dream come true.

But even beyond the power of its pure, conceptional exploitation idiocy, this film has a lot to recommend it. First and foremost, there's a surprising amount of stuff happening in it. While talking about plot progression or character development like films sane people watch are rumoured to have would just be a lie, there's always some stupid and absurd crap going on to keep the enchanted viewer awake. That nothing of what's happening on screen makes much sense or is any good doesn't reduce the film's entertainment value at all. At least, Murphy is trying very hard to present us with the things his film's titles promise. I'll just ignore the fact that the cannibals don't do any kung fu, because kung fu zombies are much better anyway.

On a technical level, most people would call the film atrocious, I suppose, but apart from a ghastly/wonderful amount of continuity errors, there's nothing anybody in the target group of the movie should have any problems with. Of course, the zombie make-up only consists of blue paint, of course, the exploding ship looks utterly hilarious, of course, nobody on screen (apart from Cameron Mitchell, absurdly enough) can or does act, of course, the fight choreography is no such thing. But, compared to the siren song of words like "cannibal monk" or "kung fu zombie", all these are only silent whispers of the disagreeable.

Let me repeat: Cameron Mitchell is awake (and unfunny comic relief)! Cannibal monks! Kung fu zombies! Pretend-Hitler!

 

From Twitter 03-02-2010



  • New blog post: From Twitter 03-01-2010: New blog post: From Twitter 02-28-2010: New blog post: From Twitter 02-27-... http://bit.ly/cRtfw6
  • It's weird, I was just about to buy some of the re-issued Activision-owned games on GOG.com, but not anymore. http://tinyurl.com/yfopzll
  • Today's one of the more interesting news days in video game history.
  • Tomorrow, I hope cult films will rise to the occasion.
  • Even a giant lizard with atomic breath needs a teas break. http://tinyurl.com/yerhuaq


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Tuesday, March 2, 2010

Three Films Make A Post: It's not human and it's got an axe!

The Heirloom (2005): This Taiwanese movie starts out as a stylish and effective haunted house movie with some truly weird scenes about the draw of its haunted place. Unfortunately, after about an hour, it starts to loosen up for a few too many sweeping, melodramatic gestures that don't interact as well as they should with the supernatural part of the movie.

Still, it should be worth it for the delightful weirdness of scenes of people in thrall of the haunted house falling asleep somewhere else only to wake up inside it again, with no possibility of them having just entered through the front door alone.

 

Voodoo Dawn (1991): Two New Yorker college students travel into the Deep South to visit a friend studying the life of poor migrant workers. Alas, their friend has fallen victim to the evil Haitian voodoo priest and ex-Tonton Macoutes Makoute (Tony Todd), who is trying to make a super zombie out of body parts, as you do.

The boys throw in with the local good voodoo priestess (Theresa Merritt) and farm worker Tina (Gina Gershon) to fight the always evil Mister Todd.

Voodoo Dawn is a basically decent film trying to work inside the voodoo zombie tradition. From time to time, it's agreeably moody, but shies away from any actual discussion of class or race and too often replaces atmosphere with (not all that gory) slasher storytelling.

The super zombie is just a very bad idea, executed in much too silly a way for the rest of the film it appears in.

Still, the most of Voodoo Dawn is decent enough and tries not to be offensive, which is more than I would have expected from an early 90s voodoo film.

 

Star Trek (2009): Given that he is responsible for three of my favourite TV shows of the last decades, I was going into JJ Abrams' Star Trek re-imagining with the hope of really enjoying it. Alas, I found it to be alright at best. It's a typical modern blockbuster, so fixated on being exciting all the time that it's coming out on the other side of excitement again, and gets a bit boring in its hyperactivity. From time to time, the film throws a bone to fans of the classic show in form of an obvious quote, until it is time to get explodey and loud again.

I also would have wished that the film updated the original concepts and characters of the show in a more meaningful way (say by including a female Kirk, or at least one who isn't the old tantrum-throwing egomaniac), and not only by pissing on the shallow bit of humanism the original had. Of course, Star Trek is still more watchable than about half of the original movies, but being better than Star Trek V isn't exactly an achievement in my book.

 

From Twitter 03-01-2010



  • New blog post: From Twitter 02-28-2010: New blog post: From Twitter 02-27-2010: New blog post: From Twitter 02-26-... http://bit.ly/bEqcpB
  • New blog post: Music Monday: 1926 Edition: Technorati-Tags: music monday,music,thalia zedek http://bit.ly/aaHpMh
  • Yeah, that's exactly how you treat your most enthusiastic fans. http://tinyurl.com/yjorqpj
  • War Hawk Tanzania is the best actor name ever.


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Monday, March 1, 2010

Music Monday: 1926 Edition

From Twitter 02-28-2010



  • New blog post: From Twitter 02-27-2010: New blog post: From Twitter 02-26-2010: New blog post: From Twitter 02-25-... http://bit.ly/dcMVPs
  • New blog post: Intikam Kadini (1979): aka Turkish I Spit On Your Grave A quartet of roaming real estate agents ha... http://bit.ly/cXNtow
  • Reading Joseph Sheridan LeFanu, drinking green tea.
  • What I always ask myself: is Dr. Hesselius supposed to be a self-centered fool, or is that just my modern view?
  • Dear Steven Poole, Rorschach is not meant to be identified with. Expletive deleted.
  • Also, playing the "my medium is superior to yours" game while making jokes about Dr. Manhattan's junk is a wee bit ironic, isn't it?
  • This. RT @jimrossignol: My contribution to Schell debate: http://bit.ly/cqv2PD


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Sunday, February 28, 2010

Intikam Kadini (1979)

aka Turkish I Spit On Your Grave

A quartet of roaming real estate agents has a car breakdown somewhere in the Turkish countryside. A friendly older gentleman and his daughter Aysel (Zerrin Dogan) agree to help the men out with a place to sleep for the night. That turns out to have been a mistake, because the next morning, the men first rape Aysel, then kill her dad only to merrily go their ways afterwards, I imagine whistling.

Aysel decides against the suicide option to solve what she calls her "state of disgrace". Instead, she vamps up a little - as you do as the protagonist in one of the more exploitative rape revenge films - and seeks out her tormentors one after the other to first seduce (or at least bait them with sex) and then kill them, usually while the needle-dropped soundtrack plays a funky little salsa tune.

Intikam Kadini is one of the relatively few surviving films of the great Turkish sexploitation wave of the late 70s. It seems that most of these films have been systematically censored and destroyed, tragically leaving even less of the films of this sub-genre available now than of the other parts of Turkish popular cinema of its time. Consequently, the version of Intikam Kadini going around is sourced from our old friend, the nearly colourless VHS tape, which itself is sourced from a beat up looking, but at least complete (one surmises) film source.

The lack of actual colours and the dubious state of the print make it a little difficult to say much about the film's look, but I don't think it would be unfair to call it a little bland, with awesome landscapes all around that are unfortunately never used for their full visual impact.

Both lead actress Zerrin Dogan and the film's director Naki Yurter (or Yürter?) were quite big names in their niche of exploitation film, both having taking part in swaths of now lost and destroyed movies. If my sources are correct (and I don't speak Turkish at all, so this might just be stuff someone on the Internet made up to make the films sound more exciting), the director did even land himself in prison for his part in making these disreputable movies. It's a sad state of affairs in any case, even if only the films have been destroyed. People going to jail for showing a few breasts in their films is downright unthinkable for me, although it of course wouldn't have been the first time for that to happen, nor will it most probably have been the last.

On the less depressing level of the actual film at hand, Dogan shows all the talents needed for her role here. She looks nice in a bikini, doesn't have a problem with getting naked or pretending to be enthusiastic in her sex scenes, but is also more than decent when presented with the necessity of doing some dramatic acting. To my relief, she also isn't one of those actresses who play a rape like any other sex scene, so that core moment of Intikam Kadini is just as unpleasant as it should be.

Dogan's cold and angry stare isn't on the level of Meiko Kaji in the Sasori films, and her body language not on that of Christina Lindberg in They Call Her One Eye, but her performance gives some of the sleaze around her a bit more dignity than it necessarily deserves.

I'm less enamoured of Yurter's direction. It is less rough and hectic - more professional -  than I'm used to from the other Turkish exploitation films, but it lacks the pulpy drive or the plain madness that seems to be typical of its peers. Intikam Kadini just isn't all that exciting to watch, which is a problem for a film that just can't deliver on set pieces or eye candy or depth of script as films made in different circumstances could, and has to live either on intensity or mood.

So, while the film is a competent piece of exploitation, competence is not necessarily a thing I (and I'm afraid most people deep enough in the claws of cult cinema to watch a rape revenge flick) am looking for in my exploitation fare.

Historically, Intikam Kadini is of course as important as it gets, granting us a visit to one of the truly lost corners of world cinema.

 

From Twitter 02-27-2010



  • New blog post: From Twitter 02-26-2010: New blog post: From Twitter 02-25-2010: New blog post: From Twitter 02-24-... http://bit.ly/duojWq
  • New blog post: In short: Kadaicha (1988): aka Stones of Death Believe it or not, but committing genocide on your ... http://bit.ly/9lhTjf
  • Huh, the new Quasi album is...weird. In a good way.


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Saturday, February 27, 2010

In short: Kadaicha (1988)

aka Stones of Death

Believe it or not, but committing genocide on your indigenous population and then building houses on its sacred burial grounds is not a tactically well considered decision. Take the Australian community in Kadaicha as an example.

Some dead Aboriginal Australians a frightfully angry about past sins of the ancestors of people now living merrily on their graves, and do the logical thing - send bad dreams to the local teenage population, gift the teenagers with death-announcing crystals, and kill them off through super killer animals.

Teenage girl Gail (Zoe Carides) doesn't like that her friends are offed by eels and spiders who jump into their eyes, so she does some rigorous research and tries to make amends with the only Aboriginal she has ever met. Will the excitement never stop?

Going by the plot synopsis, you'd hope Kadaicha to feel a little less generic than it actually does. You could change the word "Aboriginal" in the script with "Native American", use slightly different animal species and take actors without Australian accents, replace the didgeridoo on the soundtrack with a banjo and you'd have a typical piece of US teen horror. It is a bit depressing to see how little the film is interested in milking the local and the specific for mood and instead insists on being as been there, done that as humanly possible.

I wouldn't complain if Kadaicha would at least be an entertaining generic teen horror film, but the script is just too slow and uninvolving, the acting too bland and James Bogle's direction too flavourless to leave me with any kind words for it.

I have a difficult time explaining why this film was made at all. It doesn't dare to be exploitative in any worthwhile manner, it's not fun enough to be taken seriously as teen horror, and it sure as hell doesn't have anything to say.

 

From Twitter 02-26-2010



  • New blog post: From Twitter 02-25-2010: New blog post: From Twitter 02-24-2010: New blog post: From Twitter 02-23-... http://bit.ly/cS6NlE
  • New blog post: On WTF: The Real Pocong (2009): As is customary, I randomly stumble on an Indonesian horror film no... http://bit.ly/b26tPL
  • How does a "hardcore gamer" (roar!) call a game that's supposed to be fun, not torture? "Dumbed down".
  • And I'm not even joking.


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Friday, February 26, 2010

On WTF: The Real Pocong (2009)

As is customary, I randomly stumble on an Indonesian horror film nobody in the West seems to care about and ramble excitedly about it in my weekly stint on WTF-Film.com.

The Real Pocong is quite the film, giving a classic Indonesian ghost the Fairy Tale treatment, as I'll explain in my write-up.

 

From Twitter 02-25-2010



  • New blog post: From Twitter 02-24-2010: New blog post: From Twitter 02-23-2010: New blog post: From Twitter 02-22-... http://bit.ly/arDEPr
  • The Comics Journal silliness continues. http://tinyurl.com/yzvzqfx
  • New blog post: In short: Tokyo Mafia 2 - Wrath of the Yakuza (1995): When last we left our upstart non-yakuza hero... http://bit.ly/9QX24m
  • There are still people who use the phrase "the tyranny of authorship" without any irony.
  • So, what do you do when you haven't enough time for localisation. You just cut the parts that don't fit! http://tinyurl.com/y8hdal7
  • Sometimes, I really hate videogame land.
  • Kenta Cho speaks! http://tinyurl.com/ykduoot
  • RT @malpertuis: RT @luclatulippe: Giant library of book covers. Here's some great Pelican covers from the 60s: http://bit.ly/aAarBQ
  • It's the mods, stupid.
  • RT @kateri_t: One for @malpertuis: Kenneth Grant says we have to have sex with Cthulhu for the sake of humanity: http://bit.ly/9rdtWn
  • Also love the condescending tone about RPGs coming from someone writing for "The Magickal Review". Glasshouse, stones, etc
  • So, a board game designed in medieval Spain is written in (terrible) modern English?


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Thursday, February 25, 2010

In short: Tokyo Mafia 2 - Wrath of the Yakuza (1995)

When last we left our upstart non-yakuza hero Ginya Yabuki (Riki Takeuchi), he was forced to declare open war on the yakuza families making up the Teitokai.

Besides fire-bombing their offices, he decides that it's best to just let the yakuza's bosses be killed by professional killers he borrows from his triad friends. This plan works out rather nicely for him. Although there are some setbacks like a kidnapped girlfriend that leads to Ginya having to make use of his own paid police inspector, there seems to be no problem our hero cannot solve with a smirk and a phone call.

In the end, most of what has happened in this film and the film before turns out to have been orchestrated by the triads to drive all Japanese gangsters out of Kabukicho. And oh noes! They even have an agent among Yabuki's people.

In the end, Yabuki and his old friend Sho Saimon will join forces to punish the wicked by shouting excessively. And a bit of shooting too.

Since the first Tokyo Mafia film was all set-up for the inevitable yakuza war, I had hopes that its sequel would turn up the action and the madness a little. Alas, Wrath of the Yakuza is even more sedate than its prequel, without even the handful of awesomely stupid elements the earlier film had going for it.

Case in point is the whole "war" business. We are told that there are fire-bombings but don't even get to see the little footage the last film showed. The same goes for large parts of the assassinations or basically everything that could be entertaining to watch.

Instead there's lots and lots of talking and shouting by grim-faced men in mostly brownish and grey sets, which wouldn't be much of a problem if the characterization or the gangster politics were actually interesting or as complex as the film pretends they are. Too bad that they aren't.

It doesn't help the film that the racist claptrap about the evil Chinese and the heroic Japanese just doesn't work when we talk about people we never get to see doing a single decent thing, or that the eeeevil Chinese domination plans are all based on the yakuza being idiots who will fall for anything.

Not even Riki looks all that enthusiastic. Before the slightly entertaining finale, he's not even really chewing the scenery but limits himself to a bored looking smirk. It's a fitting look for the non-action going on around him, but probably not the facial expression someone whose girlfriend has just been snatched by his enemies should wear.

Certainly, the third Tokyo Mafia film will be better.

 

From Twitter 02-24-2010



  • New blog post: From Twitter 02-23-2010: New blog post: From Twitter 02-22-2010: New blog post: From Twitter 02-21-... http://bit.ly/bNvNb5
  • The new US embassy in London is going to be...interesting. http://tinyurl.com/yer7wr9
  • New blog post: Soft For Digging (2001): Virgil Manoven (Edmond Mercier), a lonely old man, lives in a hut in the w... http://bit.ly/bwoC3p
  • Dueling dog howls < dueling banjos
  • There's something in the fog
  • Hm, I kinda loved "Terror at Tenkiller". What is wrong with me?


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Wednesday, February 24, 2010

Soft For Digging (2001)

Virgil Manoven (Edmond Mercier), a lonely old man, lives in a hut in the woods, a cat his only company.

One morning when Virgil goes out to fetch his newspaper from the side of the road, the cat takes off into the woods. So Virgil goes after her, dressed only in his white underwear and red bathing robe. Instead of finding the cat, he stumbles upon the sight of a young man (Andrew Hewitt) strangling a child (Sarah Ingerson) to death. Panicked, Virgil flees from the place of the murder. The killer doesn't seem to follow him, but when Virgil calls the police, the ensuing search doesn't bring up any physical trace of anything having truly happened.

A few days later, when Virgil is again stumbling through the woods in his bathing robe in search of his still lost cat, he finds the little girl's grave. However, unlike most corpses, this one moves. That alone would probably be enough to cause a grown man to run, but then the girl's ghost appears, asks Virgil for help and tries to climb on his back. That really is too much for the old man, so he flees home and calls the police again.

Yet again, when the cops dig at the place Virgil leads them to, they find nothing. Obviously, they now have him pinned as a senile old crank. It wouldn't help his case if Virgil told them the truth about the ghost, or the fact that Claire, as the dead little girl is called, now talks to him through his dreams. If Virgil wants to help the ghost find peace, he'll have to do it himself, something not easy for someone who doesn't venture outside of his cave and the surrounding area anymore.

In the end, the dreams and chance lead Virgil to the truth and in terrible danger.

Soft for Digging is exactly the sort of movie that will stick in a lot of people's craw like a bone, but that is quite good if the viewer just accepts the way it goes about telling its story.

It is a very slow film (as is Virgil's life), in which nothing much happens (as in Virgil's life), and when something does happen, it is not always completely clear what it means (as is the case with Virgil's life). As should be clear by now, director J.T. Petty (who would go on to make the wonderful The Burrowers) uses everything in the powers of his meagre budget and his considerable talent to put the viewer into the shoes of his protagonist. Everything in the film seems to be designed to achieve this goal - Virgil never speaks to anyone, so we hear next to no human voice, only the sounds of the woods, Virgil never goes outside of his comfort zone, so we don't go outside of it either. Of course, there's still a difference between the audience and the protagonist in that the typical viewer will be more conscious of the barrenness of Virgil's life and of the absurdity of someone treating a patch of woods as his front-yard.

A crueller film would probably make Virgil a figure of ridicule. Soft for Digging isn't above showing the funny side of the sad state of Virgil's life (and Mercier's performance makes it clear that his character does see that side too from time to time), but it is not satisfied with treating a sad and lonely old man as someone to gawk at. While the film (or rather the world it takes place in) is cruel to him in different ways, it is designed to let the viewer feel the character's pain. There's a terrible irony in the way Virgil's final, quite heroic for a shut-in like him, acts in the film, his venture outside of the secure shell that is his lonely life, might not be ending his existence completely, but will only make the rest of his days more unhappy. It is not necessarily a nice thought, but something that more often than not happens to people as closed off from other people as Virgil here is. It could all just be an exercise in cynicism, but as it is in the short stories of Ambrose Bierce, whose style of chapter titles seems to have influenced the intertitles Petty uses, it's the cynicism of someone with too big a sense of empathy for his own comfort.

Apart from Bierce, Petty's debut reminds me of the individuality of the left-field filmmaking I always go on about excitedly, or the classic punk rock ethos. There's something uncompromising about Soft for Digging, a quality you need if you make a film people will feel uncomfortable with, be it because of its themes (old people, murdered little girls) or because you dare to be slow and possibly boring.

 

Tuesday, February 23, 2010

In short: Rovdyr (2008)

aka Manhunt

It's 1974. The siblings Mia (Nini Bull Robsahm) and Jorgen (Jorn-Bjorn Fuller-Gee) are going camping in the deep dark Norwegian woods with Mia's best friend Camilla (Henriette Bruusgaard) and Camilla's boyfriend Roger (Lasse Valdal).

It's going to be their last real get-together for a long time because Camilla will be studying abroad for a year. Looking at how tense and passive-aggressive Roger acts around her, that will probably be for the better for her.

Or rather, would be better for her if their trip wouldn't end in blood and guts. At the last rest stop before their planned camping side, the friends pick up a girl who seems terribly frightened of three men with hunting gear driving around in a jeep.

After one of the less clever script ideas to get a group of protagonists out of their car and into danger (yes, let's throw away our car keys!), the hunters ambush the friends, killing some of them and leaving the three survivors tied up somewhere in the woods. They're not tied up too good, of course, or they wouldn't be able to free themselves to provide an interesting hunting experience for their captors.

Camilla, the least obvious candidate, will turn out to be quite a survivor.

I'm really of two minds about Rovdyr. On one hand, the film's director Patrik Syversen manages to create a film with a unified aesthetic on very little money. The woods, the muted colour palette, the excellent yet never gratuitous gore effects and the subtly clever sound design unite to a direct homage to the mood and feel of a 70s piece of grindhouse survival horror. If you add the solid acting and the (mostly) tight and tense script, you have a film that's as technically excellent as you could wish for.

On the other hand, it is also a very empty experience. It's one thing to make a homage to the style and feel of 70s horror, but quite another to keep as slavishly to that formula as if you'd believe it still were 1974.

What Rovdyr misses for me is a reason to care for it beyond its considerable technical achievements. Everything here happens exactly as you would expect it to happen in a film written in 1974. The film never deviates from its sources for a second, even the semi-downer ending is there and accounted for exactly as expected. The big difference between this film and its models is that Texas Chainsaw Massacre or Last House on Dead End Street had something to say about the state of the world they were made in or the state of mind of the people who made them. Rovdyr seems to lack this kind of resonance completely and has nothing else to replace it.

This is by no means meant to bash Syversen's work. Technical perfection is hard enough to achieve on its own, and if a director's first feature film has a surface this well done, I expect something truly exciting from his next one. After all, the director is already much farther along on the road to making a good film than most people working on this (non-)level of budget.

 

From Twitter 02-22-2010



  • New blog post: From Twitter 02-21-2010: New blog post: From Twitter 02-20-2010: The Nebula nominations this year a... http://bit.ly/cyN8mo
  • New blog post: Music Monday: Cross Bones Edition: Technorati-Tags: music monday,music,cat power http://bit.ly/aKGfPp
  • Am I an evil person when I giggle about my least favourite fantasy critic using "fustian" between all his big words and needlessly
  • convoluted sentence structures?
  • Yeah, "Fust", that's what the protagonist of all those plays is called.
  • Couldn't someone declare a moratorium on puzzle platformers?


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Monday, February 22, 2010

Music Monday: Cross Bones Edition

Technorati-Tags: ,,

From Twitter 02-21-2010



  • New blog post: From Twitter 02-20-2010: The Nebula nominations this year are particularly good. I think the most i... http://bit.ly/d8S8f6
  • Holy crap, this promo art for Astonishing X-Men: Meaningless Subtitle is hilariously awful http://tinyurl.com/ya5u26v
  • New blog post: Tokyo Mafia 1 - Yakuza Wars (1995): Three years ago, Ginya Yabuki (Riki Takeuchi) had a falling out... http://bit.ly/akL3k1


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