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Reviews
Black Devil Doll (2007)
Find your inner evil black ventriloquist doll!
This briskly paced film features a misogynist racist black ventriloquist doll that f**ks, sucks and murders a series of big b(.)(.)bed California style p0rn0 sluts (there is even an end credit for a breast augmentation doctor!). And not necessarily in that order. To enjoy this movie, you must reach down deep to find and embrace your own inner misogynist racist black ventriloquist doll. If you don't think you have one, you are deluding yourself. Yes, you ladies have your own doll too, it's just a little deeper down in your subconscious. If you positively refuse to acknowledge your inner darkness, you can at least watch in awe at the depths that the modern male psyche can sink to. Nothing about this movie suggests that uptight moral and upstanding citizens should be renting it, but I have all the confidence in the world that your zest for self-righteous indignation will overcome the obviousness that this movie was not made for you. I look forward to reading your hilariously overwrought 1 star reviews. But for freaks like me, BLACK DEVIL DOLL could not have arrived too soon.
Akumu tantei (2006)
Depressingly conventional
What a letdown. When I first heard about this film, the premise of a 'nightmare detective' battling a serial killer within the victims' dream state seemed immensely appealing. And it being directed by the man responsible for the brilliant Tetsuo sealed the deal!! How would he spin the concept differently than Wes Craven's Elm Street series? But then, the misgivings started to creep in. Its being released by Dimension EXTREME stateside. Ugh. Could a more trend pandering and generic name for a releasing company even be possible? And unfortunately, the film itself is just as trend pandering. Stylistically, Tsukamoto blends every flashy aesthetic technique that is currently trendy: desaturated colors mixed in with scenes filmed through saturated color filters that come and go at random, uninspired Paul Greengrass type shaky camera-work/zooming being just a few examples. Aesthetics aside, the narrative is depressingly conventional and straightforward for the likes of a Tsukamoto. An interesting connection between the state of dreaming and death arises but is treated superficially and seems thrown in just so the killer can make creepy and twisted little monologues. But the film's main weakness is in the casting. Matsuda's emo, brooding, hair in his face 'nightmare detective' aimlessly mopes around through the whole film in perpetual angst. Why so glum, chum? Angst does not equal profound. And newcomer hitomi, while very easy on the eyes, is just completely unconvincing as the star detective who elicits Matsuda's supernatural talents to track down the killer. I also tried to concoct some sort of profound metacommentary for Tsukamoto's self casting but failed. I give this 2 stars because, despite all I wrote above, there are a few genuinely startling and well shot moments that demonstrate Tsukamoto's reputation as one of the greats of J-horror. I hear that this was a "for hire" job for him and unfortunately, it shows.
Ondata di piacere (1975)
Early Deodato sleaze gem
An early lurid exploitation gem from the future director of Cannibal Holocaust. The parallel to Polanski's Knife in the Water is undeniable but Deodato (predictably) ups the sex quotient and also injects political tension via the interplay of Steiner's ruthless capitalist playboy persona and the socialist leanings of the mysterious beachcomber couple. In fact, the whole plot almost plays like a symbolic allegory of class struggle except for the recurrent need to inject nudity and sexual situations for ensuring box office. Out of the cast, Steiner really stands out and seems to revel in the out and out sleaziness of his character. His counterpart, Cliver, on the other hand seems mostly somnambulistic throughout. The female leads, Dionisio and Turner aren't shy and jump into their roles, including some lesbian scenes, with enthusiasm. The film's low budget and locations work together to create a unique charm. The soundtrack and wardrobes also contribute to the film's retro allure.
Das Frauenhaus (1977)
psychedelic Franco sleaze
This film seems very much like a largely improvised affair to get from one soft-core nudity scene to the next. Some of the dialogue scenes, as one example, have the characters' mouths intentionally obscured, undoubtedly to maximize flexibility in dubbing in lines when that part of the script was actually written later on! The FX are also quite laughable, even for the time. Yet the whole experience has a strange allure to it partly due to the surreality of the semi comprehensible plot and partly due to some truly dazzling psychedelic visuals. The scenes in the jazzy strip club are just amazing, as is the costume design! The naked flesh on display is sumptuous.
Eastern Promises (2007)
"This isn't our worldwe are ordinary people"
David Cronenberg has always delivered horror films that packed an intellectual punch on top of their visceral thrills. With Eastern Promises, like A History of Violence, he continues to move away from the trademark style of Videodrome, The Fly and The Dead Zone to a much more subtle but no less unsettling tone and content. His thematic concern about the nature of shifting identities is still there. Ostensibly, this movie's plot concerns Naomi Watts quest to find out the circumstances behind the death of a mysterious young woman. This leads her to a Russian crime family led by a silver haired patriarch, a brilliantly disquieting performance from Mueller-Stahl. Cassel turns in a manic and impressive role as the borderline insane and impulsive son and heir to the crime family throne. But it is Mortenson's Nikolai that is the most mysterious and complex character, truly one of the most enigmatic characters put to screen in the last few years. Echoing Nikolai, the movie's atmosphere oozes mystery and a constant dread of the awful secrets lurking in the shadowy underworld of London. "This isn't our worldwe are ordinary people" warns Sinead Cusack's character. This is not a typical crime flick; its more of an exploration of the inner motivations of its conflicted characters than the mechanics of the mob world. But Cronenberg does not shy away from graphically depicting the violence of this shadowy world, including an incredible scene set in a bath house that definitely raises the bar. This movie is a fresh and original neo-noir from beginning to end. On top of the brilliant performances and direction, the screenplay by Knight (Dirty Pretty Things) is full of twists and revelations, and Howard Shore's understated score effectively accentuates the proceedings. With Cronenberg, it always feels like there is so much more going on than just what's on the screen, and multiple viewings are always rewarded.
Death Proof (2007)
Another solid entry from Tarantino
Death Proof really came alive for me when I saw it again without the more adrenaline charged Rodriguez zombie flick as the lead in. Its another example of what Tarantino really excels at: the amazing amalgamation of exploitation and art film sensibilities. He mixes up Godardian dialogue scenes with overt giallo tropes that create an atmospheric movie that is very different than your typical multiplex product. It doesn't just rush from one conflict/set-piece to the next, but builds on its own terms, hearkening back to the pace of the 70s movies he is paying homage to. The construction of the film effectively mimicked the sort of surreal breaks in continuity/logic that give many 70s exploitation films their fascinating charm, albeit indirectly from budget imposed limitations the makers had to work through. I thought that was pretty brilliant and really showed Tarantino's passion for these movies. He also continues to move in a more stylized direction, like in Kill Bill, and I guess we'll see if that turns out to be an overall good thing for his filmography. Having said that, the self aware hipster dialogue, particularly in the second half, does get frustrating and seems to slow down the film for no discernible purpose. The girl's stories are flat out boring, and that is a cardinal sin in my book. Tarantino definitely pulls off the first half a lot better, but the conclusion is very satisfying.
The Quiet American (2002)
Less than its potential
This was disappointing. The plot, concerning the murder of an American in 1950s Vietnam, seemed like it had a lot more potential than the resulting film. The historical backdrop was a pivotal moment in Vietnamese history, a time of declining French colonial power and emergent Communist influence. The fault doesn't lay in the technical aspects, as Christopher Doyle's cinematography and camera-work is typically rich and evocative, painting a dazzling picture of post WWII Saigon, Nor is it weakened by Michael Caine's turn as the cynical British journalist, yet another stellar and intense performance from this great actor. I think the film's weaknesses largely stem from the screenplay's overemphasis on the romantic subplot and the poor casting of the other leads. Unfortunately, these weaknesses compound each other.
Brandon Fraser is bland and not up to the demands of his role and Do Thi Hai Yen as Phuong, the Vietnamese dance girl entangled in a romantic triangle with Fraser and Caine, gives an unconvincing turn to a character that was not well written to begin with. The end product is a decent film, but is frustrating because it feels rushed and compromised. I never read the Graham Greene source material, but its pointed critique on American foreign policy seems much toned down here. This movie was shelved by Miramax immediately after 9/11 and released at a later date. Could it have been edited due to fears for its commercial prospects? Who knows? But if a director's cut ever appears in the future, I would certainly revisit this film.
Das Leben der Anderen (2006)
Riveting and stunning film
Wow, what an incredible experience. This German film is a dazzling document of the end days to a dark chapter in the human experiment. It is intelligent, suspenseful, claustrophobic and above all, profoundly moving in a manner that is devoid of cheap sentimentality and refreshingly understated. The cinematography and dialogue often seem inspired by the film noir of Fritz Lang and others. The performances, all from veteran German actors of film and stage, are convincing and haunting. 1984 East Germany is brilliantly recreated in its architecture, fashions and soundtrack. Not only does the movie convey the incredibly sad and pointless destruction of so many wasted lives under a corrupt totalitarian regime, but at its core, depicts the gradual disillusionment of its central character, a Stasi true believer, as he painfully reclaims his humanity at immense personal cost to his life and career. The ending rings true and is not in the superficially overdone style of too much of what comes out of Hollywood these days. This film left me under its spell for days after I watched it. I look forward to seeing it again and again. Its amazing that this is the director's first film and it richly deserved the foreign film Oscar and other accolades it has won. Highly recommended.