Category Archives: Action

Blu-ray reissue: Escape from New York ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 15, 2018)

https://i0.wp.com/thefridacinema.org/wp-content/uploads/2018/02/Escape-from-New-York-at-The-Frida-Cinema.jpg?w=474&ssl=1

Escape From New York – Studio Canal Blu-ray (Region “B”)

John Carpenter directed this 1981 action-thriller set in the dystopian near-future of 1997 (ah, those were the days). N.Y.C. has been converted into a penal colony. Air Force One has been downed by terrorists, but not before the POTUS (Donald Pleasence) bails in his escape pod, which lands in Manhattan, where he is kidnapped by “inmates”. The police commissioner (ever squinty-eyed Lee van Cleef) enlists the help of Snake Plissken (Kurt Russell), a fellow war vet who is now one of America’s most notorious criminals.

Imaginative, darkly funny and entertaining, despite an obviously limited budget. Carpenter and co-writer Nick Castle even slip in a little subtext of Nixonian paranoia. Also with Ernest Borgnine, Adrienne Barbeau, Isaac Hayes (the Duke of N.Y.!), and Harry Dean Stanton (stealing all his scenes as “Brain”). Carpenter also composed the memorable theme song.

Boy, is this new sharp 4K scan ever a wondrous gift to fans of the film! This is probably the 3rd (or 4th?) dip I’ve made over the years; all previous DVD and Blu-ray editions have suffered from transfers so dark and murky that I’ve spent every screening squinting like Lee Van Cleef as I attempt to make out details. Granted, it’s nearly all night shots for the exteriors, but I have never seen the film looking so…film-like (outside a theater). Cinematographer Dean Cundey approved the restoration and color grading, and it shows.

Studio Canal’s new edition features 3 audio commentaries to choose from, and several featurettes and interviews with cast members. I haven’t been able to track down any information on a domestic (Region “A”) Blu-ray release; but given the popularity of the film I’m sure one is in the pipeline (this review is based on the Region “B” version only).

Having a wild weekend: Girls vs. Gangsters (*1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 10, 2018)

https://i2.wp.com/cityonfire.com/wp-content/uploads/2018/02/tyson.jpg?resize=474%2C338

As far as wacky adventure-comedies concerning young Chinese women having a wild and woolly bachelorette weekend in an exotic foreign city go, I suppose you could do worse than Barbara Wong’s Girls vs. Gangsters 2. Perhaps arguably, as hard as you try…you could only do marginally worse.

I’m sensing your biggest question (aside from “WTF is Mike Tyson doing in this film?”) is: “How in the wide world of sports did I manage to miss “Girls vs. Gangsters 1”? Tricky, that question. There is an explanation. There was a previous 2014 Hong Kong film called Girls, also directed by Ms. Wong (aka Zhenzhen Huang), featuring the same characters. I’m afraid that I also managed to miss that one, so don’t let that get you down.

So anyway, our fun-loving trio Hei Man, Kimmy, and Ka Nam (Ivy Chen, Fiona Sit and Ning Chang) have been BFFs since high school. One of them is set to tie the knot, so the girls decide to celebrate by taking up an invitation from a mutual friend who is currently working on a film in Vietnam to fly in and hang out for the weekend. It gets a little fuzzy from there. They visit a huge estate owned by a local gangster, engage in a drinking contest, and wake up the next morning on a beach, naked and chained to each other. Fun!

The remainder of the film (which grinds on and on…too lengthy at nearly 2 hours) has them attempting to retrace their steps, find the member of their party who is missing, and figure out why one of them has a tattoo of some random dude on her neck. If it’s starting to sound suspiciously like the Hangover franchise meets Bridesmaids, your suspicions are well-founded. And by the time the gals encounter Mike Tyson (living in a jungle compound), you may begin to suspect that someone slipped a mickey in your drink, too.

The locales are colorful, and the three leads bring a certain goofy, manic energy to the table, but the film is ultimately too over-the-top for its own good. Also, something may have been lost in translation, but employing a line like “You’ll be raped 100 times!” for comic intent is questionable in any modern comedy; much less one directed by a woman.

If you really must pry: Top 10 films of 2017

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 23, 2017)

https://i2.wp.com/media1.fdncms.com/portmerc/imager/u/large/19189171/film-endlesspoetry.jpg?w=474&ssl=1

With the year nearly over, ‘tis the season for my roundup of the top 10 feature films out of the 50+ that I reviewed in 2017. Granted, there are several intriguing late December releases that I have yet to see, including Paul Thomas Anderson’s The Phantom Thread, and the biopics I, Tonya and Film Stars Don’t Die in  Liverpool.  However, it appears those films will not be opening in Seattle in time for me to review them in 2017, so what you see here is my “official” top 10 list:

https://i0.wp.com/filmireland.net/wp-content/uploads/2017/06/After-The-Storm-Japan-Film.jpg?w=474

After the Storm – This elegant family drama from writer-director Hirokazu Kore-eda is a wise, quietly observant and at times genuinely witty take on the prodigal son story. All the performances are beautifully nuanced; particularly when star Hiroshi Abe and scene-stealer Kirin Kiki are onscreen. Kudos as well to DP Yutaka Yamazaki’s painterly cinematography, and Hanargumi’s lovely soundtrack. Granted, some could find the proceedings too nuanced and “painterly”, but those with patience will be richly rewarded.

Full review

https://pmcvariety.files.wordpress.com/2017/07/bad-black-e1500445703214.jpg?w=993&h=563&crop=1&resize=474%2C269

Bad Black – Some films defy description. This is one of them. Yet…a guilty pleasure. Written, directed, filmed, and edited by Ugandan action movie auteur Nabwana I.G.G.at his self-proclaimed “Wakaliwood studios” (essentially his house in the slums of Wakaliga), it’s best described as Kill Bill meets Slumdog Millionaire, with a kick-ass heroine bent on revenge. Despite a low budget and a high body count, it’s winningly ebullient and self-referential, with a surprising amount of social realism regarding slum life packed into its 68 minutes. The Citizen Kane of African commando vengeance flicks.

Full review

https://i1.wp.com/www.berlinale.de/media/filmstills/2017_2/generation_18/201713084_2_IMG_FIX_700x700.jpg?w=474&ssl=1

Becoming Who I Was – Until credits rolled for this South Korean entry by co-directors Chang-Yong Moon and Jeon Jin, I was unsure whether I’d seen a beautifully cinematic documentary, or a narrative film with amazingly naturalistic performances. Either way, I experienced the most compassionate, humanist study this side of Ozu.

Turns out, it’s all quite real, and an obvious labor of love by the film makers, who went to Northern India and Tibet to document young “Rinpoche” Angdu Padma and his mentor/caregiver for 8 years as they struggle hand to mouth and strive to fulfill the boy’s destiny (he is believed to have been a revered Buddhist teacher in a past life). A moving journey (in both the literal and spiritual sense) that has a lot to say about the meaning of love and selflessness.

Full review

Image result for blade runner 2049

Blade Runner 2049 – So many sci-fi films these days needlessly assault the eardrums and are so jarringly flash-cut as to induce vertigo. Not this one. Which is to say that Blade Runner 2049 is leisurely paced. The story line is not as deep or complex as the film makers undoubtedly want you to think. The narrative is essentially a 90 minute script (by original Blade Runner co-screenwriter Hampton Fancher and Michael Green), stretched to a 164-minute run time.

So why is it on my top 10 list? Well, for one thing, the “language” of film being two-fold (aural and visual), the visual language of Blade Runner 2049 is mesmerizing. Star Ryan Gosling delivers another one of his Steve McQueen-ish performances, and it works. I imagine the most burning question you have about Denis Villeneuve’s film is: “Are the ‘big’ questions that were left dangling at the end of Ridley Scott’s 1982 film answered?” Don’t ask me. I just do eyes. You may not find the answers you seek, but you may find yourself still thinking about this film long after the credit roll.

Full review

https://i1.wp.com/www.irishtimes.com/polopoly_fs/1.2717898.1468230028!/image/image.jpg_gen/derivatives/box_620_330/image.jpg?w=474&ssl=1

A Date for Mad Mary –  The phrase “star-making performance” is overused, but it’s apt to describe Seana Kerslake’s turn in Darren Thornton’s dramedy about a troubled young woman who is being dragged kicking and screaming (and swearing like a sailor) into adulthood.

Fresh from 6 months in a Dublin jail for instigating a drunken altercation, 20 year-old “mad” Mary (Kerslake) is asked to be maid of honor by her BFF Charlene. Charlene refuses her a “plus-one”, assuming that her volatile friend isn’t likely to find a date in time for the wedding. Ever the contrarian, Mary insists that she will; leading to a completely unexpected relationship. The director’s screenplay (co-written with his brother Colin) is chockablock with brash and brassy dialog, and conveys that unique penchant the Irish possess for using “fook” as a noun, adverb, super verb and adjective.

Full review

https://i2.wp.com/www.filmaramlat.ch/wp-content/uploads/2016/10/poesia-sin-fin.jpg?w=474

Endless Poetry – Ever since his 1970 Leone-meets-Fellini “western” El Topo redefined the meaning of “WTF?, Chilean film maker/poet/actor/composer/comic book creator Alejandro Jodorowsky has continued to push the creative envelope. His new film, the second part of a “proposed pentalogy of memoirs”, follows young Alejandro (played by the director’s son Adan, who also composed the soundtrack) as he comes into his own as a poet.

Defying his nay-saying father, he flees to Santiago and ingratiates himself with the local bohemians. He caterwauls into a tempestuous relationship with a redheaded force of nature named Stella. What ensues is the most gloriously over-the-top biopic since Ken Russell’s The Music Lovers. This audacious work of art not only confirms that its creator has the soul of a poet, but stands as an almost tactile evocation of poetry itself.

Full review

https://i2.wp.com/static01.nyt.com/images/2017/02/03/arts/3IAMNOTYOURNEGRO1/3IAMNOTYOURNEGRO1-master768.jpg?resize=474%2C316&ssl=1

I Am Not Your Negro – The late writer and social observer James Baldwin once said that “Whatever white people do not know about Negroes reveals, precisely and inexorably, what they do not know about themselves.” Sadly, thanks to the emboldening of certain elements within American society that have been drawn from the shadows by the openly racist rhetoric spouting from our nation’s current leader, truer words have never been spoken.

Indeed, anyone who watches Raoul Peck’s documentary will recognize not only the beauty of Baldwin’s prose, but the prescience of such observations. Both are on full display throughout Peck’s timely treatise on race relations in America, in which he mixes archival news footage, movie clips, and excerpts from Baldwin’s TV appearances with narration by an uncharacteristically subdued Samuel L. Jackson, reading excerpts from Baldwin’s unfinished book, Remember This House. An excellent and enlightening film.

Full review

https://i1.wp.com/spectrumculture.com/wp-content/uploads/2017/09/loving-vincent.jpg?w=474

Loving Vincent – If I liken Dorota Kobiela and Hugh Welchman’s first feature film to staring at an oil painting for 95 minutes…that could be misinterpreted as a negative. But I’m only making you aware that their Vincent van Gogh biopic is literally a collection of the artist’s paintings, brought to life. It’s actually an ingenious concept. Utilizing over 120 of van Gogh’s paintings as storyboard and settings, the filmmakers incorporate roto-scoped live action with a hand-painted, frame-by-frame touch-up to fashion a truly unique animated feature.

The screenplay (co-written by directors Kobiela and Welchman along with Jacek von Dehnel) was derived from 800 of the artist’s letters. It is essentially a speculative mystery that delves into the circumstances of van Gogh’s last days and untimely demise. While this is not the definitive van Gogh biopic (Vincente Minnelli’s colorful 1956 effort Lust For Life, featuring an intense and moving performance by Kirk Douglas, takes that honor), it is the most visually resplendent one that I’ve seen to date.

Full review

https://i2.wp.com/cdn1.thr.com/sites/default/files/2017/02/the_womens_balcony_stills_2_-_publicity_-_h_2017.jpg?resize=474%2C267&ssl=1

The Women’s Balcony – A warm, witty and wise Israeli dramedy from director Emil Ben-Shimon and screenwriter Shlomit Nehama. The story is set in present-day Jerusalem, in the predominately orthodox Bukharan Quarter neighborhood. What begins as a joyous celebration at a small synagogue takes a dark turn when the “women’s balcony” collapses. This leaves the congregation with no place to worship, and no spiritual leader until their aging rabbi recovers from his resulting nervous breakdown.

Fate delivers an ambitious young rabbi, who quickly ingratiates himself as “temporary” head of their synagogue. A little too quickly for the women of the congregation, who are chagrined to learn that the hasty remodeling eschews the open balcony for a stuffy glorified walk-in closet where they’re now relegated to sit for services. Soon, the women find themselves reluctantly engaged in virtual guerilla warfare against this fundamentalist redux of their previously progressive synagogue. This coterie of strong female characters are well-served by their real-life counterparts, resulting in a truly superb ensemble performance.

Full review

https://i0.wp.com/i.pinimg.com/originals/14/9e/2e/149e2ea1645fa62e37db15af9924c84c.jpg?w=474&ssl=1

Your Name – I have sat through more than my fair share of “body swap” movies, but it’s been a while since I have experienced one as original and entertaining as Makoto Shinkai’s animated fantasy. The story concerns a teenage girl named Mitsuha, who lives in a bucolic mountain village, and a teenage boy named Taki, who resides in bustling Tokyo. They are separated by geography and blissfully unaware of each other’s existence, but they both share the heady roller coaster ride of hormone-fueled late adolescence, replete with all its attendant anxieties and insecurities. There’s something else that they share: a strange metaphysical anomaly. Or is it a dream? Sinkai’s film is a perfect blend of fantasy, sci-fi, mystery, comedy, coming-of-age tale, and old-fashioned tear-jerker (yes-I laughed and I cried). In short, it’s one of the best animes of recent years.

Full review

SIFF 2017: God of War ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 3, 2017)

http://i2.wp.com/pmcvariety.files.wordpress.com/2016/05/god-of-war-res.jpg?crop=0px%2C79px%2C1152px%2C641px&resize=670%2C377&ssl=1

Hong Kong action maestro Gordon Chan’s war epic stars Sammo Hung as a general with an under-trained “people’s army” desperately trying to get the upper hand on a sizable coterie of seasoned Japanese pirates who have been wreaking havoc up and down the coast. Chan has his Japanese cast members speak in-language; it’s unique for a Chinese film, and enhances the verisimilitude. Sections of the story line get murky and confusing, but colorful, rousing (and frequent) battle scenes make up for occasional lulls.

SIFF 2017: Bad Black ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 20, 2017)

https://i2.wp.com/fantasticfest-site.s3.amazonaws.com/films/41518/bad_black_5__large.jpg?w=474

Some films defy description. This is one of them. Yet…a guilty pleasure. Written, directed, filmed, and edited by Ugandan action movie auteur Nabwana I.G.G.at his self-proclaimed “Wakaliwood studios” (essentially his house in the slums of Wakaliga), it’s best described as Kill Bill meets Slumdog Millionaire, with a kick-ass heroine bent on revenge. Despite a low budget and a high body count, it’s winningly ebullient and self-referential, with a surprising amount of social realism regarding slum life packed into its 68 minutes. The Citizen Kane of African commando vengeance flicks.

Blu-ray reissue: Lone Wolf and Cub ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 10, 2016)

https://i0.wp.com/cdn.collider.com/wp-content/uploads/2016/06/lone-wolf-and-cub-image-2.jpg?w=474

Lone Wolf and Cub –The Criterion Collection Blu-ray (Box Set)

Generally speaking, I don’t gravitate toward ultra-violent films, but this manga-inspired series from Japan (6 features released between 1972 and 1974) is at once so shockingly audacious yet intoxicatingly artful, that any self-respecting cineaste has got to love it…for its sheer moxie, if nothing else. As critic Patrick Macias writes in the booklet that accompanies Criterion’s box set:

“[…] the Lone Wolf and Cub series contains some of the best sword-slinging, Buddhist-sutra-spouting samurai fiction ever committed to celluloid, enriched with the beauty of Japan’s natural landscape and seasoned with the vulgarity of its pop entertainment…”

Erm, what he said. Admittedly, the narrative is minimal, and the basic formula for all the sequels is pretty much established in the first installment: A shogun’s executioner (played throughout by the hulking but surprisingly nimble Tomisaburo Wakayama) loses his gig and hits the road as an assassin-for-hire, with his toddler son (Akihiro Tomikawa) in tow. Actually, he’s pushing the kid around in a very imaginatively weaponized pram (as one does). These films are almost beyond description; but they are consistently entertaining.

Criterion does the usual bang-up job on image and sound with crisp 2K digital restorations on all six films. The hours of extras includes a hi-def print of Shogun Assassin, a 1980 English-dubbed reedit of the first two films. A real treat for movie buffs.

Blu-ray reissue: To Live and Die in L.A. ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 3, 2016)

https://i0.wp.com/www.chrismrogers.net/communities/9/004/008/340/059/images/4629420239.jpg?resize=474%2C255

To Live and Die in L.A. Collector’s Edition Shout! Factory Blu-ray

Essentially a remake of The French Connection (updated for the 80s), this fast-moving, tough-as-nails neo noir from director William Friedkin ignites the senses on every level: visual, aural and visceral.

Leads William Peterson (as an obsessed treasury agent) and Willem Dafoe (as his criminal nemesis) rip up the screen with star-making performances (both were relative unknowns). While the narrative adheres to familiar “cop on the edge” tropes, there’s an undercurrent of weirdness throughout that makes this a truly unique genre entry (“The stars are God’s eyes!” Peterson’s girlfriend shrieks at him at one point, for no apparent reason). Friedkin co-adapted the screenplay with source novel author Gerald Petievich.

Fueled by an outstanding soundtrack by Wang Chung, Friedkin’s vision of L.A. is painted in contrasts of dusky orange and strikingly vivid reds and blacks; an ugly/beautiful noir Hell rendered by ace DP Robby Muller (who has worked extensively with Wim Wenders and Jim Jarmusch).

Shout! Factory’s Blu-ray sports a print sourced from a new 4K scan that is a noticeable improvement over MGM’s from a couple years back, as well as new and archival interviews with cast, crew and composers.

SIFF 2016: The Final Master **1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 21, 2016)

https://i0.wp.com/2.bp.blogspot.com/-DTPSX22PTSE/V0xrpjTo7KI/AAAAAAAAEtQ/IJzldr9cdooGFPcp62LPXEXE5qVkqQW_QCLcB/s1600/The%2BFinal%2BMaster.png?w=474&ssl=1

This is a fairly boilerplate Hong Kong action flick; and indeed the well-choreographed action sequences are the main attraction. In other words…don’t strain yourself attempting to follow the needlessly complex plot, nor keeping track of myriad characters; it will just make your brain hurt. Director Xu Haofeng is a martial arts practitioner himself, so I’m sure hardcore genre fans will appreciate the authenticity of the Wing Chun style fighting. And I do have to give props to an action hero dressed in a white smock and a black bowler, taking out bad guys John Steed style with his umbrella!

SIFF 2016: Dragon Inn ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 21, 2016)

https://i2.wp.com/s3.amazonaws.com/criterion-production/janus_stills/284-/28790id_026_primary_w1600.jpg?resize=474%2C267&ssl=1

Full disclosure: I only recently caught this influential 1967 wuxia adventure for the first time; my excuse being that it is rarely screened and was previously tough to find on home video, until last fall’s (Region “B” only) Blu-ray reissue from Masters of Cinema (which I was able to order from Amazon UK). Judging from the absolutely gorgeous Blu-ray transfer, it looks like SIFF attendees are in for a treat, with a big screen film presentation struck from (I’m assuming) the same recent 4K restoration.

King Hu’s film is not your typical Kung-Fu epic; in fact it has more in common with Yojimbo, Rio Bravo and The Good, the Bad, & the Ugly than, say,  Enter the Dragon. It’s colorful, exciting, suspenseful…and unpredictable, with a jaw-dropping finale. I know that I’m running the chalk backwards, but the biggest surprise for me was realizing how huge of an influence this film was on Tarantino’s The Hateful Eight.

The Zen of Yen: Ip Man 3 **1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on  January 23, 2016)

Image result for ip man 3

You know what they say-everybody has to start somewhere. Bruce Lee was no exception; he had a mentor, a gentleman known as Ip Man, who was a master in a Shaolin martial arts discipline called Wing Chun. Hong Kong director Wilson Yip’s new film, Ip Man 3, marks his third installment in a franchise dramatizing specific periods of Master Ip’s life.

Donnie Yen (Dragon Inn, Iron Monkey) returns in the eponymous role. The story is set in 1959, which was the year (at least as dramatized in the film…Wiki begs to differ) a young and cocky Bruce Lee (Danny Chan) first approaches Master Ip and expresses his desire to become his disciple. But apparently, he’s just not “fast” enough yet (like I said-everybody has to start somewhere). After this brief interaction in the opening scene, the Bruce Lee character drops from the story (unless I wasn’t paying close enough attention).

Keeping Bruce Lee in the story might have propped things up; otherwise you’re left with a standard genre pic, with Ip Man taking on an ambitious, mobbed-up property developer (Mike Tyson…yes, that Mike Tyson) who has built up a network of surly youth gangs to intimidate, terrorize, and generally soften up the locals so that they will become more pliant. Thankfully, Tyson doesn’t have too many lines; although his call-out challenging Ip Man to go mano a mano (“Lethee who hath the fascist fifths!”) is eminently quotable.

The ensuing vignettes of explosive street violence are interlaced with family melodrama, as Ip Man deals with his wife’s terminal illness. To the director and cast’s credit, these scenes are sensitively handled and genuinely touching at times; but unfortunately the juxtaposition with the action sequences (well-choreographed and entertaining as they are) is jarring. In the end, the soap could render the film as too slippery a slope for action fans.