Highly Recommended
-
sitenoise — 9 years ago(February 01, 2017 05:46 PM)
Workhorse & the Bigmouth
is nothing at all like
Cafe Noir
or
One Fine Spring Day
. The bigmouth is seriously a Jeff Spicoli spinoff so that gives you an idea of its goofy factor.
Aso
's ex is a lovely man but everyone else is a loser (well he's a loser too, but a lovely one). The overall humor is more heady, though, than slappy. The director wants you inside the people rather than pointing and laughing at them. There are many many touching moments but I think it would be too slow for you. If the trailer had subs it might be a better sell as a few of the jokes are there, but as Trailers are always stupid and non-representative of a movie, I don't know what to say. It had Spicoli with the pencils in all his top level orifices, tho. Isn't that a selling point? lol -
zelena33 — 9 years ago(February 02, 2017 03:53 PM)
When I saw your comments about his cutting skillz, I decided to give
Himeanole
a try I had downloaded it and was on the fence. I thought it was really good for the first 50 minutes. Then it turned into a senseless gore flick. I was really disappointed. Once that kind of violence starts in a movie, it doesn't stop. I bailed at 1:16 and I think that was at least the sixth graphic murder in 20 minutes. Sorry if I'm a broken record, but I'm not "for" or "against" violence in movies, it's just a question of whether it serves a cinematic purpose. If a death scene doesn't elicit empathy, that becomes an occasion for you to know that you have no empathy for other people. It's just porn, and there's way too much bad porn in Japan. The whole film still could have been great if the violence was cut out in the way Hitchcock would have, but the pacing, which was exceptionally well done up till then, would have been blown out. If I was teaching college kids film, I would have them edit out the violence and make it still work.
Anyway, does this other one have a lot of gore? I'm still open to the director. Himeanole had great humor, and as you pointed out, phenomenal photography and editing, and superb sound design, that added a lot to the storytelling. I was really digging the jrom-jom elements all guys are losers unworthy of women, but get them anyway, and all women are not as angelic as they're cracked up to be when you fall for them. I'll trust your take on whether
Workhorse
is zelenable. -
sitenoise — 9 years ago(February 02, 2017 05:22 PM)
Himeanole
is his outlier. It was strange to see where he went with it. Gore is not present elsewhere in his oeuvre.
I guess his first flick,
Raw Summer
, is a soft porno with Sora Aoi, but that's pretty common in Japan, I guess. Beyond that, everything is zelenable. It's not that much tho, just
Cafe Isobe
and
Workhorse
. Can't remember if you've seen
Cafe
or not. It has more energy than
Workhorse
. I like them both in the 8 area.
Oh yeah, there's
My Little Sweet Pea
which I found Hallmark channel awful. And I see he has another flick with a pig on the poster. I'm ignoring that one.
I think you'll like
Workhorse
. Too slow for weepyeyes, tho.
If you're really scrounging, I would love your opinion on that Cat movie we went on about recently. -
zelena33 — 9 years ago(February 04, 2017 03:01 PM)
Well, seeing that Himeanole was a merciful 1:46 long, I went back and finished it, trying to FF through the gore scenes. However, there is hardly a three minute stretch in the rest of the film without a graphic murder. I was really puzzled and disappointed with where this film went. I guess this is why there are Executive Producers. They serve to nudge directors in the right direction (aka "interfere in the creative process") when they get too up themselves and get lost.
This director definitely has flashes of creative brilliance. I see what you mean by the cuts. He has some of them. "Your pasta " What do you want to bet this guy was the valedictorian of his film school class, and was one of those guys who everyone has always said is a "genius" (but isn't)? He sat down and learned some things from Scorcese etc, which is more than most people do. I wish he could have just made an odd jrom-jom out of Himeanole, instead of an adolescent slasher flick, where women are just there to be raped. I gave it a five point something because it had some merits but I barely watched the whole thing.
Workhorse was different, again some flashes of good stuff. What's her name was a pretty naturalistic actor too. She grimaces disapprovingly in a very natural way. But the plot though. You praised the director for not making it into the cliche where the guy gets the "girl" (who is 35). But I read it the other way; he makes it into something where he doesn't care if they get together, doesn't care if they don't. But then he still plays j-drama scoring. I thought it was too long and I wasn't satisfied at the end, put it that way. I gave it seven point barely
So what, now I'm down to cat movies and noplace to vent about them!?! -
sitenoise — 9 years ago(February 04, 2017 04:01 PM)
Not that it matters much, but I think it's unfortunate you watched
Himeanole
first. And wondered if there was more gore about him. (interesting, I haven't committed this director's name to memory yet).
For me, he's a comedy guy. I hope you'll give
Cafe Isobe
a shot if you haven't. It's mic drop city. That's why
Himeanole
was so weird, and surprising. I had no idea it was going to go there. I'm sympathetic to your views re: gore and violence, just have my line drawn at a different place.
You are right about the "j-drama scoring" in
Workhorse
. I remember wincing a few times.
My Little Sweet Pea
= OMG and he has a movie with a pig on a poster. It probably has an awful score. He's all over. I don't want to reduce him to a hired gun, but he's inching close. And in the end, anyone who doesn't get music will eventually lose me.
I'm just going to go on a little bit more here, lol. He made
Sweet Pea
and
Workhorse
the same year. Two films about women who figure out they don't need someone else to walk ahead in the world. Nobody raped them. I don't know if he's pandering or genuine.
In re: music(ality). That's what grabbed me about
Cafe
. Not it's score, but its rhythm. That's his cutting prowess.
Until such time as I believe otherwise, I maintain the guy is skilled enough, interestingly intelligent enough, and gosh darn-it, I like him. You should watch
Cafe
. -
sitenoise — 9 years ago(February 03, 2017 08:01 PM)
Here's the thing:
Kang-ho Song
. He has this magical ability to appear as if he's wandered on to the wrong film set, and then through sheer force of will he takes over the proceedings. He's got to be one of the finest actors on the planet. What he does in
The Age of Shadows
is amazing. I could never decide if he was a weak flip-flopper of a character or ultimately conniving because he does both. I don't think many people can do that.
Um Tae-Goo
plays one of the greasiest bad ass villains in recent memory. I was mesmerized by his face, especially his cheekbones. Kudos all over that dude. He really makes the film.
The "Train Scene" is masterfully done suspense.
But
This big a$$
Warner Bros
flick also stars Kermit the over moisturized Frog face. A guy who co-starred in a film with
Do-yeon Jeon
, which was written and directed by
Yoon-ki Lee
, and the film sucked. Do the math. -
clayton-12 — 9 years ago(February 03, 2017 08:35 PM)
I kind of shudder at the thought of what your answer might be if I were to ask what you didn't like about
A Man and a Woman
I thought it was really, really good (but I preferred
After the Storm
quite a bit more to
Our Little Sister
, so we probably aren't on the same wavelength).
BTW, your appraisal of the music in
If Cats Disappeared from the World
was spot on - I'm not usually as attuned to these things as others, but that film is surely a contender for Most Appallingly Annoying Soundtrack Of All Time award. The concept was interesting and the shifting timeframes were handled well, but the other thing that bugged me was the cinematography. You commented that it looked good, and, yeah, it did look good, in a Hallmark/David Hamilton kinda way I thought it was as, umm, tasteful as the soundtrack. It reminded me very much of the look of
Very Ordinary Couple
, but that worked in that film because it was so gloriously ironic. -
sitenoise — 9 years ago(February 03, 2017 09:35 PM)
I initially felt Yoon-ki wasn't careful enough with the script so it came out creepy and gross. But I really like Yoon-ki, and Do-yeon, so I changed my feeling to: Kermit the over moisturized Frog generated zero chemistry and was unable to execute Yoon-ki's daring script.
I should recind my invite to comrade
zelena
to watch the Cat movie, because you're right about the cinematography. My threshold is different from normal people concerning this area. (I think a lot of folks registered this complaint on
The Girl on the Train
, too. Which I liked.) I get that it's crassly manipulative, but in the Cat Movie I really liked the framing and the textures, and gave the photography homage points. -
morrison-dylan-fan — 9 years ago(February 05, 2017 07:22 PM)
Thanks to everyone for the awesome posts.
8
Having fond memories of seeing Stephen Chow in Justice,My Foot for the first time recently,I decided to recently take a closer look at his credits,and was thrilled to spot a rare Chow Horror about to go from Netflix UK,which led to me looking into the dark
The plot:
Starting their new job as security guards to a luxury apartment building with a shopping centre on the lower floor,the guards soon begin to fear that it is they who needs security,due to the peculiar inhibitions of the building being joined by headless ghosts out for revenge. Wanting to help rid the building of the ghosts, ghostbuster Leon decides to train the security guides and some residence of the building in the best way to fight out of the darkness.
View on the film:
Flying into the dark on a pillow of warm shot on Video fuzz,writer/director Jeffrey Lau & cinematographer Chi Wai Wong turn the light on to an atmosphere of pure kitsch,which bounces along with playful, rubbery gore being drenched in stylish filters Lau slices into to crack open the absurd state of Leon's ghostbusting. Pitching the Comedy chops broadly,Lau makes the kitsch mood run deep,with gleefully extended comedy sequences exposing Leon's lack of real "skills",and also allowing Leon to push the Horror Comedy into over the top Fantasy.
Drawing the most basic outline for the characters,Lau makes this basic sketch one that is easy to forgive,thanks to Lau never pausing for breath,as the film leaps from hilarious overripe Soap Opera Comedy to kitsch,chainsaw-welding ghosts making sure that for Leon and the guards,bustin makes 'em feel good. Chasing after ghosts with sexy Karen Mok,Stephen Chow gives a fantastic performance as Leon,brimming with an arrogant wit that allows Leon to casually hold dynamite,as the ghosts come out of the dark. -
ebossert — 9 years ago(January 22, 2017 06:50 AM)
Highly Recommended
Dead or Alive 2: Birds (2000) (Japanese Drama/Action) (repeat viewing) Two hitmen (who are also friends from childhood) decide to kill and donate stolen money to children in need of medical aid in this film by Takashi Miike. This is not a direct sequel, but more of a re-telling that uses the same actors. Its primarily a drama and a very good one at that with very little action on display until the final third, which presents a series of killing engagements (a few of which get bloody) and a showdown with some Chinese hitmen. There are some creative moments in this movie that add a lot of charm, and the interaction is nuanced and interesting. Sho Aikawa and Riki Takeuchi are again very good in the lead roles. Edison Chen shows up in a cameo, and Shinya Tsukamoto is hilarious in a small supporting role. In contrast to its predecessor, which showcased a lot of urban environments, this film showcases a lot of island environments (which include shots of the ocean). This is the best of the trilogy.
On the Waterfront (1954) (American Crime Drama) A has-been boxer (Marlon Brando) experiences a crisis of conscience while working for mobbed-up union boss Johnny Friendly (Lee J. Cobb). He turns a blind eye when Friendlys thugs kill a fellow dockworker to keep him from testifying in a corruption case, but he has second thoughts when the victims sister urges him to take a stand. This is a good, solid movie all-around. A bit simplistic, but the conflicts are convincing and properly developed.
New Police Story (2004) (Chinese Action) (repeat viewing) Solid movie with Jackie Chan playing a cop whose colleagues are targeted for slaughter by a gang of adrenaline junkie bank robbers (led by Daniel Wu). This does rely more on character development than most actioners and is darker than most of Chans filmography. Nicholas Tse is fun to watch as the side-kick. The action is a mix of kinetic shootouts and martial arts, with the highlights being: (a) the warehouse scene where a host of cops attempt to elude numerous booby traps; and (b) the fight between Chan and Andy On that takes place in a childrens playland. Chan gives one of the best performances of his career in this film that has some balls. Directed by Benny Chan.
The Empire of Corpses (2015) (Japanese Anime Horror/Action/Drama) In an alternate version of 19th Century England, corpse reanimation has become industrialized and regulated for the purposes of providing an unending supply of workers for society. After breaking a law pertaining to this practice, young Watson has to either work for the government or face punishment. He has to go on a secret mission, to find the notes of Viktor Frankenstein, who reanimated the first human corpse. There are many historical names and well-known fictional characters who are dropped into the mix, which is rather interesting. This has a lot of creative ideas at work and a very good overall quality. Animation itself is solid and there are plenty of horror/action moments to enjoy. One of three films in the Project Itoh trilogy.
Flying Colors (2015) (Japanese Drama/Comedy) After putting no effort into studying for years, a highschool girl is motivated by a tutor to catch up and go to college. Outshined by her brothers accomplishments, she gets little support from her teachers or father. I really like this lead actress (Kasumi Arimura), and Atsushi Ito makes for a good tutor. Everyone has good chemistry in this film, which adequately showcases the pressure that Japanese students face regarding studying. Reminded me of the times I spent studying for the CPA exam. This is more dramatically effective than one might expect.
Recommended
Dabbe 5: Zehr-i Cin (2014) (Turkish Horror) (repeat viewing) After suffering from nightmarish visions, a woman seeks help from a spiritualist. This is nicely shot, with a lot of creepy imagery (e.g., occult-themed rituals, hypnosis, standing corpses, etc.). This is loaded to the brim with horror, which helps the pacing. Flash editing is occasionally used, and this is fortunately one of the few examples where it works, mostly because the horror relies heavily on nightmarish visuals. Performances are good. Some small sections of this film suffer from western horror cliches (like the husband who refuses to believe that anything supernatural is going on, or jump scares), but it does not rely on those things. This is a good flick by Hasan Karacadag. (Viewed without subtitles.)
Dead or Alive (1999) (Japanese Crime Action/Drama) (repeat viewing) A man and his small group decide to make their own place by trying to take over the Shinjuku underworld and drug trade, but a cop stands in their way. The 10-minute opening sequence in this crime flick is classic! The middle section is rather meandering, but it does establish a convincing conflict between the cops and criminals. The final 30 minutes are superb though. It kicks into high gear with an impressive shoo -
zelena33 — 9 years ago(January 24, 2017 08:45 AM)
I'm just going to review
La La Land
because why not.
I have bailed on so many Asian films that I found boring in recent weeks, it must be that the novelty has worn off.
Summer Time Machine Blues, Kotoko, While the Women Were Sleeping
, blah blah blah.
Anyway, I saw award-magnet La La Land in the theater recently. It got me thinking that cinema [still] has a really important place that has always been occupied by social ritual in human life. I'm not a film scholar but I'm sure this has been written about a lot that you go in the movies and it's an occasion to reflect on human experience in a way that only that particular kind of context can facilitate. The kind of context where your attention is demanded for two hours straight. You just can't do this on the internet, on your smartphone. It's like doing peyote around the campfire was for our ancestors, only with less puking. Or more puking, if it's a Clint Eastwood movie. In the case of La La Land it leads you to reflect on some things about seizing your destiny. A lot of movies lead me to that state of mind where you walk out of the theater jarred, shattered almost, not by something spectacular but by something small and fragile. Thinking, God, yeah, it is important. There is a meaning. You can't just get up for work every morning and march another day closer to death.
La La Land has to do with seizing control of your own fate in relationships and in work. There is a lot to criticize about this film. A lot. Like, a lot a lot. But skipping over that for a minute, in fairness, it really is a "perfect" film experience too, if you let it be one. When the film ended, I wanted to just go right back in and watch it again, and I rarely feel that way. I should have. Instead, I went back a week later, and the spell was broken, and I didn't like it the second time.
Emma Stone really is a great actor. I don't want to know anything about her, or even seek out more of her films (she was only okay in
Aloha, Birdman, Crazy Stupid Love
) but she was born for this role. She does a good job of acting normal and genuine without being afraid that the way she acts won't look like how someone "would" act. Her only problem is that her enormous personality tends to chew the living **** out of the scenery in a smaller-minded movie than this one. She just does things that everyone else is unwilling to do, and don't realize or admit that they are unwilling to do. Everybody wants to be renowned. Nobody wants to cry out of real experience of abysmal despair. Emma is willing and able.
Ryan Gosling, not so much. But he had a fabulous wristwatch.* The fact that neither of them can sing didn't add a lot to the movie. The filmmakers "make up for it" by having supporting cast that also can't sing, so as to not upstage the principals. (Can I get an eye-rolling emoji, please?) In fact, much of the music was terrible it's strange that they brought this guy John Legend (what a name) to add legitimacy on the music side, but he does the opposite. His contribution is enough to make someone who loves this movie run out of the theater screaming. Some of the tunes are catchy but superficial and don't stand up to repeated listening. In your mind. While you are trying to go to sleep.
The Director is a few fries short of a happy meal, being unable to rise above his own tastes and biography, and personal acquaintances, etc etc. Not great director material yet the best Hollywood has got these days (?) *My enjoyment of the film the second time was partly deflated just by reading that the director wore some $14,000 watch that I bought him to an awards show. That's just me. I don't want to know these things.
I've drifted into the criticism of the movie. The main concern is that it feeds into that "success" concept that is so incredibly misguided in our society, and it's not aware of the problem. Still, for me, that was part of the experience of the film. Witnessing other people's very misguided beliefs about the need to be "successful" and the total unacceptability of being mediocre this is the social ecosystem I operate in. Sanity is out there somewhere, but not in this movie. I once saw a bumper sticker in Kill Devil Hills, North Carolina that said "The Outer Banks we're loser-friendly."
In its pixaresque manufactured poignancy, this movie tries to ape 1940s musicals (thus the 1940s Omega wristwatch). But unfortunately, a lot has changed since then. I don't know if you ever noticed this, but in classic movies, people don't wear vintage clothes or fancy Omega watches. When you saw crowds of people singing and dancing in the background of those old movie, you knew nothing about them, and you never would know. Now, you look at these millennial LA hipsters with mustaches, and. you know who they are. It's impossible to build the magic spell of belief. The dream is over, or rather, the ability to dream is over.
Unless you're in China -
sitenoise — 9 years ago(January 24, 2017 11:53 AM)
Funny and moving review notwithstanding, I'm not going to watch this. Not because I hate musicals (I hate any attempt to express or convey meaning by singing it, even in a song format, most of the time). And not because of Ryan (who's a way better onscreen personality than most of the over-moisturized Koreans who get a pass around here). (I love Emma, btw). I'm not going to watch this because you didn't name the director. I had to go look it up. Look at the name, look at the picture. I got about 15 seconds into
Whiplash
before hurling a T-bomb, so I'm right. This is easy. I have some regret because I was genuinely moved by your writing, but I gotta go with my gut. -
zelena33 — 9 years ago(January 24, 2017 12:47 PM)
Haha, I wrote this thinking, this is one that our friend sitenoise won't be able to bring himself to watch, so just hoping to amuse with the review in your case.
I hate musicals as much as you in fact I can't remember ever watching one. But I just decided to let myself enjoy this one. Partly because my niece is the age where she's into Hamilton and stuff like that, and I enjoyed recommending this one for her.
Ryan is not a terrible actor, but he was way outclassed by Emma in this one, to the point where I wish they had bagged their first choice for the male lead, whoever that may have been. He's pretty okay in the straight-faced funny flirty scenes, but overall he's not the James Dean he thinks he is. More of a wristwatch mannequin.
I had mixed feelings about Whiplash. It was partly bad and vain, partly very effective and well-acted by what's-his-name. Don't think the guy could have improved in his second feature film? He's only a 30 year old dude I think.
I don't like the director guy or his $14k watch, but this is one of those cases where I had to pass the peace pipe and get past it in order to connect with the ritual communion with this concept. You would surely hate all the badness of this film, but you're missing out on a Cinematic Experience that you could let yourself enjoy. Ebo and soggy will probably like it. -
inacastleinthesky — 9 years ago(January 24, 2017 09:16 PM)
Have you seen Guy and Madeline on a Park Bench? I saw it a while ago but never finished it. I didn't realize La La Land is directed by the same person. I just looked it up because I was curious who the director is. I don't like Ryan Gosling, so I won't be watching this.
-
plsletitrain — 9 years ago(January 24, 2017 05:09 PM)
All this La La Land talk has got my other foot running towards the cinema but my other foot holds it back. What to do.
For one, I'm not really into musicals. I like singing people in movies, only if its animated. But seeing live people cut the scene and turn it into a production number, someone press the fast forward button for me. Second, I still can't with Ryan Gosling and Emma Stone. Emma StoneI can't remember her in the movies honestly (although I know I've seen her in a couple of them). Ryan Gosling, I haven't seen him in a movie yet. I give you guys the license to laugh but I honestly don't have any motivation to watch him. He looks exactly like a mannequin, I can't see any life to him. Add to that that I usually don't go for romance type (he's into that, right?) of movies. him and I haven't met yet. I don't know when we'll meet but as of this time, I don't know. Maybe La La Land will do the trick? I'll check if its playing in our theaters this weekend.
Reading your review, its not like The Tree of Life, right? "La La Land has to do with seizing control of your own fate in relationships and in work." > I swear I heard this from someone who reviewed A Tree of Life too. And I couldn't get past the 10 minute mark.Age of Loneliness-
-
zelena33 — 9 years ago(January 24, 2017 05:54 PM)
Reading your review, its not like The Tree of Life, right? "La La Land has to do with seizing control of your own fate in relationships and in work." > I swear I heard this from someone who reviewed A Tree of Life too.
LOL! No no, it's not at all. You made me lol though because I realize that my review sounds like I'm talking about Tree of Life, so you nailed it. I guess I always sound like I'm talking about Tree of Life even when I'm reviewing a dumb Chinese chomedy.
LaLa is closer to Titanic crossed with a romcom. I guess we are unanimous about hating musicals, but that's not really the point here. I think in this case, the music just helps you to feel sympathy for the characters, because they are so bad at mediocre as singers. It's definitely one to see in the theater instead of on video. -
plsletitrain — 9 years ago(January 24, 2017 06:28 PM)
lol yeah, I haven't even watched The Tree of Life but for some reason, reading your review reminded me of how everyone reviewed about it and I couldn't understand one thing when I watched the first 10 minutes!
"LaLa is closer to Titanic crossed with a romcom."
Now that's what I like.
Alrighty, I'll take your word for it. Here's to hoping it still shows in our theaters this weekend.Age of Loneliness-