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Movie roundup 2020, #11

Just the one US movie this time, and that’s from nearly thirty years ago. To be honest, I had a feeling I’d seen Demolition Man before, but having now watched it I’m still not sure – and I generally have a really good memory for movies…

These Movie roundup posts – and their precursors, the Moving pictures posts – don’t seem to be as popular as my book reviews, but I think it’s important to demonstrate to Anglophone readers there are shitloads of really good films out there that are tons better that the latest glib and simplistic Hollywood blockbuster. Put a bit of intelligence into your movie watching and you will find they can be as intellectually and artistically rewarding as books.

Bacurau, Kleber Mendonça Filho (2019, Brazil). Not entirely sure what to make of this one. It’s Brazilian. But it stars Udo Kier. It’s supposedly set in the near-future, but I don’t recall much that signalled as much. A remote village begins to fall apart after the death of the matriarch, and random strangers turn up and kill people. It probably deserves a second watch, but I didn’t get much out of it – and I’ve seen a number of Brazilian films.

Demolition Man, Marco Brambilla (1993, USA). Risible near-future action from Hollywood, in which Wesley Snipes overplays a violent criminal defrosted in a utopian California in 2032 but has been secretly programmed to sabotage the utopia in order to turn it into a dictatorship. Unfortunately, the authorities defrost his historical enemy, Sylvester Stallone, to catch him and Stallone demonstrates the freedom to starve is worth more than utopia, and he’ll kill to prove it. The whole thing plays like an advert for Reaganomics. No thanks. A story based on a bullshit argument from the rich people who have the most to gain from it. Avoid.

Tiger on the Beat, Lau Kar Leung (1988, China). Hong Kong cop duo action comedy, with Chow Yun-fat as a lazy and ineffectual police officer teamed up with by-the-book go-getter Conan Lee. Takes a while to get going, but there’s some good comedy, and the final fight scene with chainsaws has to be seen to be believed.

Tokyo Raiders, Jingle Ma (2000, China). This was apparently the last film ever released on laser disc, although there were many films released in that format that have never made it to DVD or Blu-ray. With the success of streaming, recent years have seen DVD/Blu-ray labels turn boutique and specialise in collectible and cult films. Which I applaud. A man misses his wedding, and the bride-to-be teams up with an interior decorator who is owed money (yes, really), and they head to Tokyo to track down the missing man’s business partner, who is apparently wanted by gangsters, and there’s a private detective with three female sidekicks, and the story goes round in so many circles it’s astonishing it makes some sort of sense at the end. Worth seeing.

The Sister of Ursula, Enzo Miloni (1978, Italy). Another giallo. Two sisters visit a seaside hotel, indulge in much nudity, while a mysterious killer stalks and kills the female guests. A review on imdb probably describes it best: “spends too much time on the rumpy-pumpy and not enough on the stabby-stabby”.

The Monkey King: Havoc in Heaven’s Palace, Soi Cheang (2014, China). I tweeted while watching this that it seemed to be some unholy mashup of Avatar and Cats. And, a week later, that’s pretty much all I can remember. Monkey is a common and popular figure in Chinese mythology, and variations  of him have worked their way into Western culture. I admit I know little about him, so my view of this film is pretty much based entirely on the visuals. Which were… weird. I think the film was shot entirely in green screen, with CGI backgrounds, and to be honest I lost track a bit of whose side Monkey was on, with demons fighting angels but the demons acting like they’re the good guys. All very strange.

A Better Tomorrow I & II, John Woo (1986 and 1987, China). I’ve been aware of Woo’s influence on Hong Kong cinema since first seeing Hard Boiled back in the mid-1990s, and Chow Yun-fat’s popularity as an action star, but it’s only after watching several 1980s Woo movies on the trot recently that I’ve come to appreciate precisely how much he changed Hong Kong, and then world, action cinema. In A Better Tomorrow, the brother of an enforcer for a gangster joins the police, but then their father is killed in a bungled attempt to kidnap him to put pressure on the enforcer after a fall-out with a Taiwanese gang. The enforcer gives himself up after a drug deal gone wrong and spends three years in prison. When he gets out he wants to go straight but everyone else is determined otherwise. A good solid thriller. The sequel is more of the same, but in New York. Chow Yun-fat’s character, who died in the first film, was so popular he was resurrected as his twin brother in the second. While both movies are knotty thrillers, the fight scenes, particularly in the second, weren’t as good as some I’ve seen in other films. But it’s weird seeing how Woo “Americanised” Hong Kong thrillers so effectively that later HK thrillers would be remade by Hollywood…

Bahu Begum, Mohammed Sadiq (1967, India). A classic Bollywood film – and there are a surprising number of them available free to watch on Amazon Prime – set in Lucknow, which was apparently a popular setting. A woman falls in love with one man but is married off to another, not realising until the ceremony it’s a different man. Um, that sounds a bit dumb but it makes sense in the film. I was surprised to see Johnny Walker playing a serious role, as most of the Bollywood films I’ve seen him in he plays comic characters.

Andaz Apna Apna, Rajkumar Santoshi (1994, India). This film was apparently so successful it’s become a cultural phenomenon. Certainly, if its humour were any broader, it would rival the Indian Ocean. An heiress from London visits India to find a husband. Two wastrels decide to win her hand and end up in competition. Complicating matters is the fact the heiress’s assistant is really the heiress, but somehow or other one of the wastrels transfer his affections to her. This is definitely one of the funniest films I’ve seen for along time, despite being such a hackneyed plot.


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Movie roundup 2020, #7

I’ve been trying to catch up on all the blog posts I should have written and posted over the last few weeks. I’m not sure what’s prompted this sudden burst of productivity. Perhaps it’s because the weather has turned and it’s been (mostly) sunny for the last week. Unfortunately, at this time I also have to contend with the sun rising at you-must-be-fucking-joking o’clock and setting at stupidly-late o’clock …

Reservoir Dogs, Quentin Tarantino (1992, USA). I don’t remember where and when I first saw Reservoir Dogs, but it has certainly not survived a twenty-first century rewatch. I’d thought Pulp Fiction much more racist than I remembered it, but Reservoir Dogs is much worse. Tarantino’s characters as written spend most of their time spouting racist slurs as if that’s some sort of badge of authenticity. It certainly makes them authentically racist. Most of the dialogue and the acting is over-the-top, which doesn’t play well with the stripped back locations and simple camera-work. In those respects – framing and blocking – Reservoir Dogs works well. And Tarantino clearly had the smarts to hire a good DP. But Tarantino’s films are notorious for their stories and snappy dialogue and, oh dear, that does seem to be somewhat unearned on the strength of this film. Best forgotten.

Chaudhvin Ka Chand, Mohammed Sadiq (1960, India). A classic bit of Bollywood starring Guru Dutt. Two men fall in love with the same woman. Unfortunately, this is Muslim Lucknow, and one of them is married to the woman and the other didn’t realise she’s his best friend’s wife. There’s plenty of comic scenes, courtesy of Johnnie Walker – yes, that really was his screen name, and he had a long and successful career – and Dutt proves he’s the “Orson Welles of Indian cinema” just as much as an actor as a director. This is classic Bollywood, perhaps not up there with Pakeezah or Mughal-e-Azam, but certainly one that should be on every Bollywood fan’s watch list.

Armour of God, Jackie Chan (1987, China). I’d thought in Andrzej Żuławski’s L’amour bracque I’d found the most 1980s film ever, but Armour of God runs it a close second. The former qualified because its cast robbed a bank in shoulder pads, Armour of God, however, features some concert scenes that are even more 1980s than I remember the 1980s actually being. None of which has anything to do with this plot. There’s this suit of armour that was involved in a fight between good and evil, and a guy who is trying to collect it all, and Chan and his partner are sort of hired to find the last few pieces of it in order to prevent its misuse by a bad guy. Like most Jackie Chan films, Armour of God is a string of cleverly done fight scenes, bad dialogue, cheesy romance and relentless action. It’s a formula that’s produced many entertaining Hong Kong movies, but the presence of Chan at the centre of it does give them that little bit extra.

In Order of Disappearance (AKA Kraftidioten), Hans Petter Moland (2014, Norway). I mentioned this film to my mother and she said, “It’s brilliant!” and admitted she’d even recorded it so she could watch it again. Stellan Skarsgård’s son works at the local airport and is murdered one night by gangsters who thought he’d stolen some drugs. True, he’d been helping a friend smuggle in drugs, but he’d not stolen any. He wasn’t an addict but apparently died of an overdose. Skarsgård doesn’t believe this and investigates. And works his way up the drug dealers’ chain of command, killing everyone who had a hand in his son’s death. The drug dealers think a rival Serbian gang is muscling in on their territory and inadvertently kick off a gang war. Excellent film. And slightly weird for me as Skarsgård speaks Swedish throughout, and different bits of the Danish and Norwegian were sort of intelligible. Definitely check it out.

Hara-Kiri: Death of a Samurai, Takashi Miike (2011, Japan). After my last post’s disappointment with Miike, he goes and remakes a Masaki Kobayashi film from 1962, which is highly regarded, and produces something that is arguably better than the original (which, admittedly, I’ve not seen). A young ronin asks permission to commit seppuku in the palace courtyard of a lord, hoping he will be turned away and given money instead – a common practice. But the lord’s head samurai calls the ronin’s bluff, and he is forced to commit suicide with a bamboo blade, having already pawned his sword. Some months later, another ronin turns up and makes the same request. Flashbacks explain that the previous ronin was his son-in-law, and he holds the lord’s samurai responsible. This was excellent – gripping, violent, excellent fights scenes, sympathetic protagonists… Everything you could want in a samurai film. Worth seeing.

Hitch-hike, Pasquale Festa Campanile (1977, Italy). The title pretty much tells you the story. And there are no doubt a dozen films with the same title and plot. A couple holidaying in some canyons on their way home pick up a hitchhiker who proves to be a violent criminal on the run. He takes them hostage and forces them to drive to Mexico. Although set in the Us, the film was actually made in Italy – but it doesn’t long to get used to American set dressing and Italian dialogue in giallo, or even well-known UK or US faces seemingly speaking fluent Italian. The star here is Franco Nero, an actual Italian, who at the height of his career was probably as good-looking as John Phillip Law. The villain, however, was played by a Z-list US actor dubbed into Italian. Meh.

The Fox and the Hound, Ted Berman, Richard Rich & Art Stevens (1981, USA). This was apparently a hand-over film for Disney, when the Nine Old Men, Disney’s original team of animators, retired and passed the torch to a new generation. Unfortunately, the two generations argued over the story for this film, resulting in something even more mawkish than usual. The story is a Disney staple – kids from opposing sides grow up together, are forced to confront their differences once grown, manage to put them aside after a dangerous situation shows their hearts are in the right place. It’s such an American lesson. And completely unsupported by US history or national character. In this case, one kid is a dog and the other is a fox. They play together as pup and cub. The dog hunts the fox once adult. Fox helps save dog and his owner from a bear. Everyone lives happily ever after. sort of. Not one of Disney’s best.

The Incoherents, Jared Barel (2019, USA). Lead singer/songwriter of an alt rock band packs into because he can’t handle the uncertainty. Twenty-five years later, he has a mid-life crisis and decides to “put the band back together”. It’s never that easy, of course. But he persuades the others to follow his dream, they get some small online interest and perform a few well-reviewed gigs. The film is good on the the difficulties in succeeding in a greatly changed industry and market. Other than the giant conglomerates, culture in the twenty-first century has once again become a cottage industry, and The Incoherents makes a good fist of showing the perils, the work required, and the limited success available that entails. Of course, there’s a big showdown at the end, but its results don’t follow the usual Hollywood formula. Not bad.

Project A I & Project A II, Jackie Chan (1983 & 1987, China). Chan plays a sergeant in the Hong Kong Maritime Police, called, of course, Jackie Chan. Or was it Kevin? Might have been both. Pirates and corrupt businesses have Hong Kong tied up. The Marine Police are disbanded after one too many fight with the regular police and subsumed into the latter. This includes Sergeant Jackie Chan. He impersonates one of the business men doing, er, business with the pirates, infiltrates their lair, and defeats him, with the help of his Marine Police friends and the regular police. The sequel wraps in mainland politics, when Chan is given command of a Hong Kong district whose previous inspector was on the take. Chan gets involved with Kuomintang agents (coincidentally female) while trying to take down a gangland boss. The first film is best-known for a twenty-metre fall by Chan from a clock tower; the second features a climactic battle at a chili-drying factory and on a giant bamboo stage. Excellent stuff.