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Barcelona (1994)
Remember: American means "of the Americas"
I first learned of Whit Stillman from his 1998 movie "The Last Days of Disco", released while the country was having a '70s nostalgia phase. I didn't see any movie of his for years until I watched 1990's "Metropolitan" a few years ago. Clearly he goes for arthouse stuff, the polar opposite of Michael Bay.
So now I've seen the middle of Stillman's unofficial trilogy about the bourgeois in relationships. "Barcelona" is an impressive piece of work, although you have to understand some of the material in context. If the Catalans associate military uniforms with fascism, then it's because they saw their culture suppressed under Franco. The parts about people in the US knowing nothing about their own history ring true, especially when you look at certain things that have happened since the movie came out (or even today). As for the criticism of NATO, there were questions about its usefulness and expansion after the Cold War ended, although Russia's occupation of Ukraine made NATO more popular.
Okay, that was a lot of side stuff. The point is that this movie is enough to make anyone want to go to Barcelona, maybe move there. Gaudeix-ho!
Qingshaonian Nuozha (1992)
lives of 1990s Taiwan
Tsai Ming-liang made his directorial debut with 1992's "Qingshaonian Nuozha" ("Rebels of the Neon God" in English). This look at some youths in Taipei in the early '90s manages to tell a lot without saying much. Minimal dialogue and limited camera work allow the setting to tell the story. One can easily see the hierarchy inherent in society, with many of the youths resigned to spending their lives in places like arcades.
The only other movie that I've seen from Tsai is 2020's "Days". I'd certainly like to see the rest of his work. We tend to only know Taiwan as the successor to pre-revolutionary China, but I suspect that there's a lot more to it than that. This movie certainly gives us some insight, so I recommend it.
Satansbraten (1976)
Fassbinder's comedy
Rainer Werner Fassbinder was one of the leaders of New German Cinema in the '70s. His movies often dealt with post-war Germany and how it sought to atone for its sins. Otherwise, he simply depicted shocking things. An example is 1976's "Satansbraten" ("Satan's Brew" in English).
This movie focuses on a writer who hasn't written anything in a while, his acquaintances, and some zany occurrences. If you think of German cinema as no-nonsense and grim, Fassbinder's comedy will show you that this is not always the case. Mind you, it's not silly comedy. More like shocking stuff with a humorous element. It certainly manages to keep the audience engaged.
Basically, Fassbinder gave us some of the best that German cinema has ever had to offer. This mix of anarchic comedy and serious drama is an experience like no other. Definitely see it.
One More River (1934)
one more monster movie to film
Today, 1930s director James Whale is best remembered for "Frankenstein", "The Invisible Man", and "The Bride of Frankenstein", as well as for being probably the only openly gay person in cinema at the time (Ian McKellen played him in 1998's "Gods and Monsters"). Lesser known are Whale's dramas. There was "Waterloo Bridge", about a relationship strained by World War I, and "One More River", about a woman who flees an abusive marriage and hooks up with someone else. Not something usually depicted back then, so I wonder if it would've even been possible once the Hays Code went into effect the following year.
It's not a masterpiece, but passable. I find these fetishistic looks at the British ruling class weird (especially considering Whale's dirt-poor childhood). I suppose that nowadays, such a movie - whether focusing on the working class or ruling class - would probably come from Pedro Almodovar. Diana Wynyard, Jane Wyatt, Colin Clive (Dr. Frankenstein in Whale's more famous movies) and Frank Lawton all turn in fine performances.
Terrifier 3 (2024)
Scary Claus is coming to town
You've probably heard all sorts of things about Damien Leone's "Terrifier 3". Well, it's true. The difference with this one is that it takes place around Christmas (so we get Christmas in the lead-up to Halloween). Art the Clown is back and brutal as ever. By which I mean that he does some things that you wouldn't expect, even in a movie as graphic as this.
The movie does have a serious element: it focuses on survivor's guilt. Sienna, having lived through Art's rampage the last time, is reeling from it and remembering those who didn't survive. Well, she's in for even more this time.
In addition to the main cast, there were some surprise appearances, but they were the right actors for the roles. All I can say is that this is one movie that goes all out. Just when you think they've done the most shocking thing, there's more to come. Nothing is off limits. Between the willingness to go all the way and the lovable performances by Lauren LaVera and David Howard Thornton, this movie is, well, to die for. Definitely check it out.
No Exit (2022)
this is not at all the sort of movie that I would've expected to share a title with a Sartre play
From the title, you could be forgiven for thinking that this is an adaptation of Jean-Paul Sartre's play about a bunch of people trapped in an existential hell. But Damien Power's "No Exit" has nothing to do with that. It's a thriller that, as it turns out, is based on a book. I didn't know about the book - and I doubt that I'll ever read it - but the movie is passable. At the very least, this story of a woman trying to figure out who's holding a girl hostage while trapped during a snowstorm is not predictable. It's nothing special, but if you've got nothing to do, then it's an okay way to spend an hour and a half.
Gothic (1986)
reality breeds fiction
I first learned of Ken Russell's "Gothic" from an ad that played on a video that I watched years ago. Its gist was something like "Before Mary Shelley could write 'Frankenstein', she had to experience it!"
So, I've finally seen the movie. Basically, it posits what might've gone on the night Mary Shelley (Natasha Richardson) and her husband Percy (Julian Sands) spent with Lord Byron (Gabriel Byrne). If you've seen any of Russell's other movies, you should know not to expect anything lighthearted.
As for the movie itself, it's a neat idea with some clever scenes, but I felt like it went overboard in what it showed. It's not a bad movie, just too over-the-top. Russell's fans will probably like it, but probably no one else.
Also starring is Timothy Spall (Wormtail in the Harry Potter movies).
À l'intérieur (2007)
they don't call it the New Extremity for nothing
Julien Maury's and Alexandre Bustillo's "À l'intérieur" (called "Inside" in English) is bound to go down in history as one of the most shocking commercial movies ever. As part of what is commonly called the New French Extremity - which features not only graphic violence but significant sexual violence - it pulls out all the stops. This is one movie that the squeamish should avoid at all costs.
I do recommend seeing it at least once, just to see what it is (if you can stomach it). Just be forewarned: this is not a movie that everyone will be able to finish, and if you manage to, then you won't forget it anytime soon. That's all that I can say.
Barakat! (2006)
somewhere in Algeria's civil war
To understand the context in which Djamila Sahraoui's "Barakat!" (sometimes called "Enough" in English) takes place, you have to remember Algeria's history. A colony of France for over a century, it waged an eight-year war for independence - during which France tortured Algerian prisoners - before finally winning sovereignty. The party that rose to power after Algeria won independence was in power for the next thirty years. When a different party won the 1991 elections, the government simply cancelled the election results, causing a civil war.
So that's the context of this movie, wherein a doctor comes home to find her husband missing. She gets no help from the authorities, so she and a friend go and search for him. I don't know if I would call it a masterpiece, but I liked the focus on the relationship between these women (and I assume that Algeria has historically been a patriarchal society).
Worth seeing.
Lat sau san taam (1992)
one thing that I never expected to see in a Hong Kong action flick is a John Coltrane poster in a jazz club
Most of us have probably seen at least one action flick. We tend to think of them as car chases, explosions, and rampant gunfire, often with an incoherent plot.
That's what makes John Woo's "Lat sau san taam" ("Hard Boiled" in English) so much of a treat. If you only know Woo from his Hollywood movies, then you might associate him with mindless escapist fare. In a way, that's a good description of "Hard Boiled". But while this movie might not have the most original plot, it makes up for that in sheer grittiness. By which I mean that it's one of the most violent movies that you'll ever see. Over the two-hour runtime, Woo leaves practically nothing to the imagination. The first few minutes make clear that you're in for a series of bloodbaths, and the movie doesn't let up.
We can question the idea of simply making the cops out to be the good guys, but I don't think people watch these movies to learn morality. The point of the movie is to witness some of the most intense stuff ever put onscreen, and that's just what you get.
C.R.A.Z.Y. (2005)
growing up in old Quebec
I happened to come across Jean-Marc Vallée's "C. R. A. Z. Y." on HBO and decided to watch it. What an impressive story! This focus on a boy coming to terms with his sexual orientation (he's assumed to be gay, but he could be bi) in a conservative family in 1960s-80s Quebec hits all the right notes. The whole thing could've been a cliche, but they make sure to give the characters depth, even when they do questionable things.
I should admit that I've only seen a handful of Quebec movies, but I've liked all of them (everyone should see "The Barbarian Invasions"); not to mention what a great place Montreal is. All that I can say is that if you watch this movie, you will feel like you've learnt so much about life. Definitely check it out.
Vallée made a few more movies in Canada after this. In the US he made the Academy Award-winning "Dallas Buyers Club" (starring Matthew McConaughey as a homophobic man forced to change his ways after contracting AIDS) and the Academy Award-nominated "Wild" (starring Reese Witherspoon as Cheryl Strayed, who hiked the Pacific Coast Trail to start her life over) as well as the HBO miniseries "Big Little Lies" and "Sharp Objects". He died in 2021.
Karaoke (2022)
sing 'til you fling
I happened to come across Moshe Rosenthal's "Karaoke" in a neighborhood video store. Not knowing anything about it, I decided to rent it. Quite an impressive story, focusing on an Israeli couple who get into karaoke, only to see it strain their relationship.
The movie addresses topics such as aging and looking for acceptance. The characters feel real as opposed to simply cliches. I don't know if the movie's available on any streaming service, so you will probably have to look for it in a neighborhood video store (there's bound to be one in your city).
I don't know if I would call it the greatest Israeli movie ever, but I do recommend it.
Joker: Folie à Deux (2024)
works as a focus on the criminal justice system, but not as a musical
Without a doubt, Todd Phillips's "Joker" was one of the most intense movies of 2019. That focus on the origins of the Batman villain showed him to be not a villain, but the inevitable result of a society that favors the 1% (and it also made one question whether or not Bruce Wayne ever deserved to get treated as a hero). Joaquin Phoenix rightfully earned his Oscar for the role.
So now we have a sequel. "Joker: Folie à Deux" works best when addressing the criminal (in)justice system. The musical scenes, meanwhile, look out of place for this kind of movie. There are plenty of movies where it works perfectly for the characters to break out into song - even movies dealing with an unpleasant topic - but it doesn't add anything here, even with Lady Gaga giving it her all as Harley Quinn.
In conclusion, it's not a terrible movie, but still no comparison to the original.
Horror Noire (2021)
I'm guessing that the description of "Enemies: A Love Story" was specifically for this movie
The gist of "Horror Noire" is to have brief horror stories wherein African-Americans are the protagonists as opposed to side characters who immediately get killed off. Too bad the movie doesn't amount to much. Only the second segment is interesting.
There was one thing that I noticed, and I wonder if it's just for the movie. The segment about the dad featured a scene where the dad was teaching a high school class focusing on Isaac Bashevis Singer's "Enemies: A Love Story". A girl says that it features a survivor of the Nazis' atrocities on a ship sailing to the US and battling a demon. I've only seen Paul Mazursky's big-screen adaptation of that novel, so I don't know the original story. However, Wikipedia's description of the novel doesn't mention a demon, although of course it could've been condensed. Maybe the idea behind that scene here was that the girl didn't read the whole novel and it was just a way to set up that segment. Either way, that is not what the novel or the movie adaptation are really about.
Anyway, a pretty weak movie.
Desperate Housewives (2004)
when someone asks why TV had a new golden age in the aughts, show them this
It's often said that "The Sopranos" launched TV's new golden age. It continued with "Six Feet Under". Then in 2004, ABC gave us its biggest achievement in decades, in the form of "Desperate Housewives". Marc Cherry's show takes the suburban gothic genre (represented on the big screen by "The Ice Storm" and "American Beauty") and puts a humorous spin on it.
The title characters are the charming but maladroit Susan (Teri Hatcher), the image-obsessed Bree (Marcia Cross), the overburdened Lynette (Felicity Huffman) and the materialistic Gabrielle (Eva Longoria). It looks like the perfect neighborhood, but sure enough, there's plenty of ugly secrets lurking beneath the surface.
By summer 2005, I read an article titled "Don't call ABC 'desperate' or 'lost'". It took me all these years to finally start watching DH, and I'm glad that I did (I intend to eventually watch "Lost"). You're sure to love it too. Definitely check it out.
Er di (2003)
So what exactly is the Sixth Generation?
The People's Republic of China just celebrated its seventy-fifth anniversary, so I watched this movie that offers a less than flattering look at the situation of migrants. The protagonist is a man who had stowed away on a ship to the US and lived there for a few years before returning to China.
I understand that the director, Wang Xiaoshang, is part of the so-called Sixth Generation of the PRC's cinema: edgy, underground filmmakers. Whatever the case, "Er di" ("Drifters" in English) feels like a Jim Jarmusch movie: slow-moving, and offering a dismal look at things. Not terrible, but I have a feeling that the director will be an acquired taste. I doubt that I'll seek out another one of his movies anytime soon.
Femme Fatale (2002)
far from DePalma's best, but better than what he'd done over the previous few years
Brian DePalma was one of the doyens of New Hollywood in the early '70s, turning out innovative movies like "Phantom of the Paradise" (a musical mashup of "Phantom of the Opera" and "Faust", focusing on the recording industry). Over the years he turned out some notable movies - namely "Carrie" and "Scarface" - before getting all Hollywood in the '90s with "Mission: Impossible".
His "Femme Fatale" is basically a popcorn movie, but likable enough for the twists and turns. It has kind of the feel of a Hitchcock movie, but obviously allows for scenes that weren't allowed in Hitch's era (particularly some shots of Rebecca Romijn).
No, it's not even one of DePalma's ten best movies. Even 2012's "Passion" was better (it felt more like a DePalma movie, while this one still felt kind of like a Hollywood movie). Nonetheless, it's a fun romp with good suspense, and some clever twists and turns.
Jurassic World (2015)
every crisis is an opportunity
Colin Trevorrow's "Jurassic World" was pretty much what I expected. The movie brought up two points that I think everyone should remember. One is how the military contractor wants to use the dinosaurs as weapons of war, and once the chaos starts, he sees an opportunity. As Naomi Klein noted, those in power tend to use every crisis or state of shock as an opportunity to cement their power.
The other is the discussion between Wu and Masrani. Wu notes that Masrani wanted the biggest, scariest dinosaur of all. When Masrani says that he didn't mean a monster, Wu notes that the idea of a monster depends on who's in charge. It's just that we've gotten used to being in charge. The point is that when you play god, don't expect that there won't be consequences.
Anyway, it's pretty enjoyable otherwise. There are obviously a number of unrealistic scenes - namely the one where Claire runs while wearing high heels - but how can one of these movies be 100% realistic? You'll probably like it.
I also recommend Trevorrow's "Safety Not Guaranteed", starring Aubrey Plaza as a woman who takes a time-traveling job.
The Substance (2024)
when you obsess too much on youth and beauty, there will be consequences
I would describe "The Substance" thusly: imagine if David Cronenberg got tired of the obsession with youth, beauty and perfection, so he made a movie about it. Coralie Fargeat's movie about an aging celebrity who takes a serum to be a younger version of herself has elements of "Dr. Jekyll & Mr. Hyde" and "Death Becomes Her", and even some Stanley Kubrick movies. The point (like in "Frankenstein" and "Jurassic Park") is that when you try to alter anything natural, you'd better realize that you can't foresee the results.
All in all, a lovably shocking movie. I'd go so far as to call it Demi Moore's best role ever (this is actually the first movie of hers that I've seen in the theater), with excellent support from Margaret Qualley and Dennis Quaid. I recommend it.
Rose Red (2002)
after you spend a few years in Seattle, it's fun to see a horror series set there, even though you can identify the mistakes
I watched the TV adaptation of Stephen King's "Rose Red" because a co-worker gave me the DVD. What an experience! Admittedly, it's no comparison to "The Shining" or "Carrie", but I was quite impressed with how they did it. Very fun series. It also reminded me a bit of the first season of "American Horror Story".
Since I lived in Seattle from 2020-2024 - and in fact occasionally walked past the house's supposed location - I could make out the obvious inaccuracies about where the miniseries located things. Nevertheless, this is one fun series. Nancy Travis, Melanie Lynskey, Kimberly J. Brown, Judith Ivey, Julian Sands, Emily Deschanel, and the rest give it their all. I recommend it.
Frankie and Johnny (1991)
Can we have more of those types of cafes?
It appears that I'm the 100th person reviewing Garry Marshall's "Frankie and Johnny" here. Pretty impressive, and certainly not what I expected from Marshall (on the small screen he created "Happy Days" and its spinoffs; on the big screen he directed "Pretty Woman" and "The Princess Diaries"). Adapted from Terrence McNally's play, it depicts a relationship between a cook and waitress both working in a New York cafe. He's just gotten out of jail, and she's reeling from a failed relationship.
I actually knew the title song long before seeing the movie, having heard Sam Cooke's version of it (I later heard a different version in the Jean Harlow movie "Red-Headed Woman", and then saw the 1951 cartoon "Rooty Toot Toot", based on the song). Either way, the movie is a fine piece of work. I recommend it. In supporting roles are Nathan Lane, Hector Elizondo (whom Marshall always cast) and Kate Nelligan. Playwright McNally succumbed to COVID in 2020 (as if you didn't need another reminder of what a dumpster fire that year was).
Single White Female (1992)
no one truly knows anyone
Barbet Schroeder is probably best known for "Barfly" and "Reversal of Fortune", but he also turned out this addition to the wave of erotic thrillers in the late '80s and early '90s. In the vein of "Play Misty for Me", "The Hand that Rocks the Cradle" and "The Cable Guy", "Single White Female" is depicts someone befriending a person who turns out to not be what they seem. The movie makes clear that Bridget Fonda and Jennifer Jason Leigh are some real babes. It's not a masterpiece but an enjoyable way to pass time.
The rest of the cast includes Steven Weber, Peter Friedman (Frank on "Succession") and Stephen Tobolowsky.
Candyman: Farewell to the Flesh (1995)
How is Veronica Cartwright not considered a scream queen?
Okay, so Bill Condon's "Candyman: Farewell to the Flesh" is a sequel, meaning that it will inevitably exist in its predecessor's shadow. Even so, I did like how they showed the title character's backstory. It was also neat how they incorporated Mardi Gras and the general New Orleans culture into the plot.
One thing that I started wondering while watching the movie is why Veronica Cartwright isn't considered a scream queen. In addition to this one, she co-starred in "The Birds", "Invasion of the Body Snatchers", "Alien", "The Witches of Eastwick" and "The Invasion", and also had a recurring role on "The X-Files". She's got as much right to be known as a scream queen as Jamie Lee Curtis does!
Okay, that was a side note. The movie is what it is, pretty much what I expected. Bill Condon went on to direct "Gods and Monsters", "Dreamgirls", two of the entries in the "Twilight" franchise, and Disney's live-action version of "Beauty and the Beast".
Breaking the Waves (1996)
two styles meet
Lars von Trier has made a career out of directing depressing movies, often depicting people in hopeless situations (a notable example is "Dancer in the Dark"). Emily Watson often plays women in miserable situations (such as Frank McCourt's mom, living in grinding poverty in "Angela's Ashes"). So it makes sense that they collaborated on "Breaking the Waves" (her film debut). Basically, this movie is about the drive to have someone in one's life. Watson - in an Academy Award-nominated role - plays a woman in 1970s Scotland whose husband gets injured on the job, so she starts seeking out relationships; he even tells her to.
A previous reviewer talked about the role that the protagonist's faith plays in the story. I interpreted it to mean that she was looking inwards, as opposed to becoming ultra-Christian. Robby Müller's handheld cinematography gives the movie an extra-unpleasant feeling, although we shouldn't expect light, cheery stuff in a von Trier movie.
All in all, it's a fine piece of work, if hard to watch. I suspect that the film buffs will consider it an undeniable masterpiece. If you want a stereotypical Hollywood flick, then avoid it at all costs.
Uprising (2001)
Donald Sutherland, RIP
Donald Sutherland died recently, so I decided to watch one of his movies. Jon Avnet's "Uprising" is about the 1943 Warsaw Ghetto Uprising against the Nazi occupation, focusing mainly on the Jews who participated in the rebellion (the uprising led to a generalized uprising across Warsaw the following year, prompting the Nazis to level the city). Obviously it doesn't equal "Schindler's List" in terms of making the viewer feel the sheer brutality of things, but it gives one an idea of it.
Sutherland plays Adam Czerniaków, head of the Nazis' Jewish Council, with support from Hank Azaria, Leelee Sobieski, David Schwimmer and others as members of the Jewish underground, as well as Jon Voight as Maj. Gen. Jürgen Stroop and Cary Elwes as filmmaker Fritz Hippler. All in all, the movie - like "The Great Dictator", "Schindler's List" and "Life Is Beautiful" - should remind us that there are NO good Nazis. Definitely see it.