Super_Fu_Manchu Reviews

Snakes on a Plane (2006)

It's fun - but don't believe the hype.

[6/10 · 23 August 2006]

I evaded much of the hype, but dutifully went to see the movie. Throwing in my two cents is a little superfluous now, since everyone will already have their own ideas about the movie (and many have invested way too much in it to succumb to reality at this late stage) but the movie was no great shakes. Everything previous to the arrival of the motherf*cking was motherfu*king boring - and whilst we expect characters in a film such as this to be one-dimensional, do we really need to spend so much time in their company, listening to jaw-droppingly mundane dialogue not too far divorced from TV soap opera chat? Once the snakes arrive things thankfully heat up a little, and the first massacre scene was gratifyingly OTT. However, the snakes are really pretty boring and unconvincing (I've seen better CGI in a video game). They're never as menacing as the REAL snake they used in 'Venom'... I firmly think animatronics and real snakes should have been used like they did back in the day.

One can't help but feel Sam Jackson was cool but not exactly riveting or as entertaining as we might have hoped. He retains all the magnetism and charisma we expect of him, but the script never allows him to cut loose enough, and while he's right to play the role straight, he ends up just being quite unremarkable.

There are a few chuckles to be had and it's not a bad way to spend an evening (but a terrible way to spend months reading blogs and designing posters). The main thing I object to is that modern teen audiences seem to be reacting as though they've never heard of 'exploitation' films before. I hope anyone who enjoyed the 'Snakes on a Plane' experience will check out some of the older (better) exploitation flicks, from kung fu, to blaxploitation, to monster movies to horror. Endless pleasures await you. Start with 'Goke Bodysnatcher From Hell'.

The Executioner (1974)

THIS is cinema.

[10/10 · 22 August 2006]

I'm currently battling a long standing and gravely serious addiction to 70's B-pictures. Blaxploitation, kung-fu, pinky violence, spaghetti westerns, monster movies, Russ Meyer flicks, Italian crime movies - the effects of such an addiction can be gargantuan. However, the crime of many artifacts from the dead era of true 'trash' cinema is that they simply tend not to quite live up to their own hype. See, all these movies had was poster art, outrageous titles, taglines and perhaps one star attraction (like Sid Haig, Franco Nero or star of The Executioner, Sonny Chiba).

However, there is on occasional a movie that comes you way which meets and exceeds your wildest fantasies - Mario Bava's Rabid Dogs, Larry Cohen's Q The Winged Serpent, Giuliano Montaldo's heist film Grand Slam, Sergio Corbucci's Death Rides a Horse - these are all movies that are actually as good as they sound. The Executioner is one such film - it will surpass your wildest grindhouse dreams.

This movie is so stacked with raw humour, outrageous action scenes and sheer entertainment factor that it almost goes beyond belief. I simply can't overstate the pleasure that awaits you with this one - get some friends together, get some beers out, maybe roll yourselves a 'camberwell carrot' or two, and bask in the absurdity and outlandishness of this - Sonny Chiba's FINEST, most hilarious film.

It'll will restore your faith in exploitation films... and maybe, just maybe it will be the best 90 minutes of your entire life.

The Hills Have Eyes (2006)

In defense of this flick and remakes in general

[10/10 · 26 July 2006]

I finally saw this flick unrated (big fan of Aja's debut 'Switchblade Romance', as well as the original 'Hills')... and felt like defending it from the onslaught of abuse it seems to be receiving on these boards.

This movie is everything horror should be. There's suspense, neatly done character work, aesthetically perfect direction, taut editing, balls-to-the-wall gore and a nifty political subtext. There's a strong undercurrent of satire and graveyard wit to this picture that I imagine will float by your average viewer (especially those that have their head up their asses already on the remake front or on the horror front in general). The republican gun-tooter ends up burnt at the stake and impaled in the skull with the American symbol - talk about flag-waver! I saw the scenes in the empty, ghostlike testing houses as a hostile perception of the facade of the American 'nuclear family' by French director Aja - considering the original movie was semi-inspired by the war in Vietnam (at least on a subconscious level), Aja's attempt at bringing some of that subversive element to his version was admirable and subtle.

Secondly, I'd like to say something on remakes. Naturally there are some TERRIBLE remakes - 'The Fog', 'Assault on Precinct 13' and 'Texas Chainsaw Massacre' come to mind as particular offenders in that they totally lost the spirit of the originals, bringing them down to base formulas and clichés, taking away what we loved about them in the first place. However, there are terrible MOVIES too. The last non-remake I saw at the cinema was Superman Returns last week, and it was intolerably bland, charmless, humourless and overwrought in this armchair critic's opinion. It also, aside from being a sequel, followed the Superhero formula so precisely that it may as well have been a remake. On the other hand, Spiderman was great, stylish, entertaining movie-making. My point is there are good movies and bad movies just like there are good remakes and bad remakes. Most of horror retreads old story lines and themes anyway, it's the individual touch that's important. Let's not forget that Cronenberg's 'The Fly' and Carpenter's 'The Thing' are remakes, as are plenty of other great non-horror flicks (Scarface... hell even the original Assault on Precinct 13 is a loose remake of Rio Bravo). Essentially it's down to the skill with which the story is told, even if we've heard it before.

Finally, I admired the gutsy gore in this movie. There were no restraints (at least in the unrated version), and it's clear where Asian cinema has rubbed off. Just as we expect to be taken away from the action, Aja gives us a close-up. I mean I've seen a lot more violent and disturbing movies of course.. but I think horror movies HAVE to take the violence seriously... so many recent horror flicks (remakes or otherwise) have sucked in this department. I even thought Hostel was a BIG cop-out, especially since Eli Roth was so determined to go all out. That movie didn't make me bat an eye. But Hills didn't pull any punches.

Anyway there's my rather lengthy defense. It's actually one of my favourite horror movies of the decade, along with The Descent, Battle Royale, Land of the Dead, Switchblade Romance (minus the ending) and Shaun of the Dead... If you haven't caught it yet, and you like your horror pics, don't miss it.

Withnail & I (1987)

Like looking in a mirror

[10/10 · 11 July 2006]

This wonderfully dry tale of shameless substance abuse and desperation (which is of course 'the English way') manages to be menacingly cynical, riotously funny, endlessly quotable and heart warmingly poignant all at once. The pleasantly meandering plot and blurred motivations are unusual practice in films, normally reserved for literature, so it's no surprise that Robinson originally intended it to be a novel. All that happens in the film comes about apparently 'by mistake', and I think for that reason, it's a film that closely mirrors my own lowly existence as a student. Grant offers a truly mesmorisingly insane performance, his beady eyes riveting around in his skull like some sort of Camden Klaus Kinski, and Griffiths turns in a wonderfully obscene caricature of a wretchedly lonely old poof. The soundtrack's a corker too, with King Curtis and Hendrix. Often imitated yet totally unparalleled by anything since, this film exists completely on its own, timelessly quoted in pubs and flats from one Withnail to the next.

Rabid Dogs (1974)

Remarkable film-making- Bava's darkest, most nihilistic film

[10/10 · 2 September 2005]

Rabid Dogs is a heist film from director Mario Bava (Black Sabbath, Hatchet For The Honeymoon, Diabolik). It tells the story of a dangerous gang of criminals - Doc, Blade and Thirtytwo, who hijack a car in the aftermath of a heist to find themselves with three hostages: a woman, a child, and an innocent man. Much of the drama plays out within the claustrophobic setting of the car as its heads out of the city. The attention is focused on the child, who is sick and requires a hospital, as well as the tension within the gang, and the sexual abuse which one of the gang members subjects his female hostage to. It's truly a roller-coaster of a thriller- a pulpy little crime tale that deserves the attention of modern crime/horror audiences and critical acclaim.

The film exhibits Bava's skill for cinema aesthetics, with its stylized editing and artifice. His skill for pacing results in a thriller which keeps the audience on its toes throughout. The moral ambiguity of all of the characters that inhabit his world creates a story that continually catches us off guard, shocking us with lashing of visceral violence and nihilistic cruelty. Surprises too come from the remarkably modern vibe; from the Tarantino-esquire dialogue and graveyard wit, to the blacker than black final twist. These postmodern touches place Bava firmly ahead of his time- as if further proof was needed after his horror masterpieces Black Sabbath, The Mask Of The Demon and Bay Of Blood.

Until recently, Rabid Dogs was thought to be a 'lost film', likely to have been destroyed or damaged beyond repair. Luckily, actress Lea Lander who starred in the picture, raised the money to restore the print 20 years later, based upon Bava's written notes and work print. The film also has the addition of one newly shot opening, which was nicely done, and filmed in accordance with Bava's specifications. What results is the closest product to Bava's complete vision that cineastes have been able to see. The film was briefly available on DVD, but went out of print quickly. It is now available as a copy (with menus and a limited supply of extras) from eBay and various websites.

It's highly recommended for fans of Bava's work, as it shows us a darker side of his art in a new genre. Fans of edgy cinema everywhere will certainly enjoy this film, particularly those who enjoyed films such as The Hitcher, Reservoir Dogs, Hitch-Hike and The Taking Of Pelham 123. Bava is to my mind a cinematic genius- his controversially dark approach, his skill and confidence with the camera and his stylish aesthetic compensating for his film's lack of superficial 'Hollywood' sheen or budget.

Extras (2005–2007)

First episode is highly promising

[21 July 2005]

Gervais had a big task on his hands with this project- The Office has now entered into comedy history, and people had very high hopes for his follow-up. The documentary style has been ditched, and Gervais has given his character just a little more dignity than he gave David Brent, so the comedy is a little less squeamish. The changes in direction and style are daring and pay off- the show doesn't feel like a desperate follow up or imitation of The Office. In fact, it's highly original.

It's a pitch black satire, which follows the efforts of Gervais's character as he attempts to progress from being an extra to actually getting a real acting job, or at least a line. The shows also charts his female friend's unsuccessful love-life, his deadpan agent and parodies a celebrity every week. This week it was the turn of Ben Stiller, who was mocked as an evil dictator of a man, who constantly reminds those around him of the box office of his movies and insists that kissing Cameron Diaz "still counts", even though it was for a movie. Stiller is a good sport for joining in, and has fun messing with his image.

Overall the show is gently paced, well written and shows extremely high potential for character study. Definitely one to watch.

STILLER: DO YOU KNOW WHO I AM!? GERVAIS: Starsky or Hutch- I can never remember. STILLER: Was that supposed to be funny? GERVAIS: You were in it- you tell me.

Star Wars: Episode III - Revenge of the Sith (2005)

The Sith Has Hit The Fan

[8/10 · 20 May 2005]

Star Wars Episode III: Revenge Of The Sith Back in good old '83, Lucas replaced the word 'Revenge' with 'Return' for Episode VI's title. Clearly a Jedi cannot take revenge- a Jedi's way is not hate or aggression. In reference to this change, Episode III's title returns to that word 'revenge'- and thus marks itself out as the polar opposite of the original trilogy's finale. It is an intensely dark affair, dealing with Anakin's fall from the grace of the Jedi council through Chancellor Palpantine's manipulation, and to his final transformation to Darth Vader. Lucas referred to the film as 'Titanic in space', and he is right; essentially a Shakespearian tragedy in nature, the climax is a predetermined catastrophe which the film cannot escape.

Being a big Star Wars fan, I queued up in the company of more cynical friends with a mixture of excitement and dread. In a sense, I knew that this film was damage limitation; the previous prequels were unmitigated failures in almost every way. The action had been thick and fast, but so artificial that none of the battles had made the impact on me like the original trilogy's had. The films had lacked a villain, and generally lacked a plot. Worse still, there were no memorable characters; no Han Solo, no Leia. No truly memorable relationships. Essentially I had found, to my dismay, that Episodes 1 and 2 were little more than high tech screensavers filled with vacuous characters and appalling CGI. What I loved in the original trilogy was the humanity beneath it all- without that, there is no sense of excitement in the fights, no passion in the romances, no humour in the jokes, no sense of satisfaction in the ultimate victory.

Unfortunately, Lucas could not do the impossible and reinvigorate his lackluster prequel trilogy with this final installment. However, he has still crafted a surprisingly satisfying, loyal, fitting finale. The implementation of Order 66 when the Jedi are mercilessly killed off by their own armies, and even the younglings are left as corpses on the floor, is jaw droppingly dramatic and mercilessly nihilistic. The murder of Mace Windu is undeniably gripping, and fraught with tension as we see Anakin make a mistake he will reverse as Darth Vader at the climax of Return Of The Jedi. And the finale, as Anakin is left to burn alive, minus two legs and an arm, is the moment fans have been waiting to see for decades (particularly since Hayden took the role..). The final shot is perhaps the most satisfying moment; Obi Wan delivers Luke to his new parents, and Owen strikes the exact same pose Luke does as a young man in New Hope as he looks at the sun setting over Tatooine. Lucas therefore manages to finish off the film on an extraordinarily optimistic tone, that is sure to make hardcore fans like myself shiver with satisfaction as we see the two trilogies linked seamlessly. We even see a young Grand Moff Tarkin overlooking the foundations of the Death Star.

While there is plenty to like here, I must stress that unforgivable problems still exist. Lucas's sterile direction and rather dire script allow for little emotional intensity or characterization, General Grievous coughing is about as human as it gets, and the breakdown of Anakin's relationship with the pregnant princess is hardly Romeo & Juliet. There are vague attempts at pandering to the fan audience which come off as rather desperate, such as the references to Chewbacca and the utterly unremarkable Yoda lightsaber battle. Perhaps worst offender of all is the pacing; Lucas is terrified of letting his backless characters carry a scene for longer than a minute. Even the much hyped final fight is ruined by constant cutting back and forth. Personally my nemesis in cinema at the moment is CGI. So overused is CGI in this film, that with some regularity there is literally nothing real on screen apart from a crooning actor. It's quite simply over-compensation. The final lightsaber battle was undermined so badly by the CGI lava bubbling all around that it resembled Finding Nemo. It's a testament to this that the final battle of Empire, which is relatively untouched by CGI, was so much more thrilling- despite its sometimes clunky choreography.

Even if the film-making is as cynical as much of the film itself, I'm thankful the prequels have come to an end on this, a refreshingly adult, nihilistic and tragic film that carries the full gravitas of the Star Wars saga on its shoulders, and just about manages to support it.

Eddie Presley (1992)

The movie Lawrence Tierney calls 'Eddie Depressly'

[7/10 · 31 March 2005]

There are a number of reasons to see Eddie Presley; it strikes a realistic if depressing tone, and doesn't dive out of this realism for the sake of the third act. The film portrays the monotony of living life on the ropes, and the futility of seeking fame that eludes so many. Whitaker is convincing as the main character in the film based on the play which he wrote. His attachment to the writing is clear; he allows the audience to see all sides of his character, uncomfortable yet involving viewing.

Ultimately though, the film refuses to make judgments on its principal character; his narcissism and vanity go unchecked. We see him totally ignoring the advances of a woman who is meant to be his perfect match; the caring co-worker type who indulges his self centered fantasies. We see him use the services and faith of his friends without thanks. We see him expect fame rather than truly deserve it. The main character is so deeply flawed, yet the film only reflects on his depression and possible mental handicap (portrayed in incongruous flashbacks), without judging his motivations. Long shots of Eddie whimpering or sighing to himself, losing himself in the past, do little for the film. The audience of his show within the film are rightly falling asleep, but he continues his ramble about how sad it is for him, his past etc. This faces the film's actual audience with a difficult choice; do we too simply fall asleep while this man feels sorry for himself? The filmmakers are too in love with their central character to detach themselves from him enough to actually make a satisfying flick. I admit I became attached to the character, particularly in the first hour (significantly stronger than the second half, where Eddie plays his show to a bored audience). However, as the film progressed I found myself getting frustrated at Eddie's self delusion; one which the filmmakers become so involved with, its hard to see whether they themselves were even conscious that it's a delusion either. It's hard to even refer to this flick as a character-study, since it rarely actually studies the character - rather it gets swept along by his narcissism, before ultimately drowning in his own self-interest. This is reflected by the movie's initial running time of 3 hours, which was inevitably cut down to a more manageable 95 minutes.

Those seeking the tooted cameos will probably be disappointed by the blink-and-you-miss-it appearances of Bruce Campbell and Quentin Tarantino, which are literally glances. Neither has a line in the film either. More entertaining is Lawrence Tierney's cameo; a role he was made for. Also on show is Ted Raimi, brother of 'Evil Dead' director Sam Raimi, who is amusing as always but catastrophically miscast.

Overall this is a picture that wears its faults on its sleeve, much like Eddie himself. Whilst it never quite reaches the melancholy brilliance of a Jarmusch movie, it does have its moments, and is worth checking out. It's also of interest to the low budget filmmaker, given its shoe-string budget.

Spider-Man 2 (2004)

Everybody who disagrees with this gushing review is wrong

[10/10 · 9 February 2005]

Spiderman 2 is the definition of a superhero movie, and Sam Raimi shows he hasn't lost a bit of his directorial vitality since Evil Dead. He throws the camera in every direction during this film, its like the Citizen Kane of summer blockbuster Marvel movie sequels. I mean this is daring stuff, its like throwing stale old Hollywood into a blender and throwing in a touch of 70s cinematic flair.

Maguire hits the spot for the second time round, adding a significant amount of emotional backbone. The setting is used well, the New York solidarity touchingly corny. Doc Ock is f*ckin A, and beats the Green Goblin with that old "My uncontrollable robotic arms are my own worst enemy" schtick. Finally, need I remind the hot blooded males and sexy ass lesbian readers of this site how fine Mary Jane is. I could make a pun about web fluid but I'm just going to say it out loud to myself and laugh instead.

I've spent way too much time writing this review, because I could have just reminded my fellow IMDb readers that the movie has a chainsaw in it, instantly demolishing any other negative reviews. We may have been a little drunk before we even set foot inside the theater, but we were downright high after that chainsaw scene. Even the female companions we brought along admitted the movie was super fly TNT, and totally rocked HARD. 10/10

Spiderman 2 Quote J. Jonah Jameson: "Guy named Otto Octavius with 8 limbs. What are the odds?"

Maniac Cop (1988)

You'd Be A MANIAC To Miss It!!!!

[8/10 · 9 February 2005]

Of course both the movie Maniac Cop and its tentatively titled sequel Maniac Cop 2 need no introduction, but for the less initiated of you, the series is a low budget thrill ride made in the 80s, starring a personal hero of mine, Bruce Campbell (of Evil Dead fame). The Maniac Cop of the title has started killing mercilessly with the aid of his evil temperament and the blade he keeps within his truncheon.

Cool Things About Maniac Cop 'You Have The Right To Remain Silent... Forever!' I don't need to express to you how f**king bad ass that tag line is. And silent you will be, as this film will keep you pinned to the edge of your seat throughout, shaken and desperate to discover the Maniac Cops identity, his motive, and whether wrongly accused Campbell will be able to prove his innocence. If you attempt to speak during the movie, you will simply stutter like a spastic, so don't.

The Ballsy Plotting The main character dies halfway through, leaving the rest of the film to rest on Campbells very weakly developed supplementary character, thus significantly reducing any emotional engagement the audience had developed with the human characters in the film. How ballsy is that! I mean seriously, that is ballsy. That is so ballsy. Almost as ballsy as casting Richard Roundtree (Shaft) as the angry black police captain, a role in which he excels.

The Soundtrack The soundtrack to this film comes second only to Carpenters Assault On Precinct 13 in terms of electro slap bass. Just when you think the film cant get any more bad ass, in comes a dirty keyboard bass warble to totally throw you off edge. Look out for the use of a simple drum beat which lets the audience know that something bad ass is about to happen, like Maniac Cop getting medieval on some kid or something.

The Balls To The Wall Implausibilitity So this dude is killed in prison but then comes back to life with a brain defect that entitles him to be let out of the slammer due to his being legally dead. Since a piece of paper has declared him deceased, he is now totally invincible. He is actually impaled through his chest by a 12 foot long metal girder which smashes through the windshield of the van he is driving at 90mph into a lake, and he survives.

I threw this flick into the player at a friends house and we all (except one person who i don't even like that much) agreed that it was a classic of the genre. The DVD also advertised a movie called Frankenhooker ("A Terrifying Tale Of Sluts And Bolts"), about a man who pieces together a whore out of dead prostitutes body parts. The box says "Its a stitch", and I seriously cannot wait to see it.

Adios, Iggy

Maniac Cop Quote Frank McCrae: "Look at the size of those hematomas!"

Zombie (1979)

Deserves to be seen by every self respecting horror fan

[10/10 · 9 February 2005]

"My inspiration came from Jacques Tourneur, not from George Romero... His living dead are alienated creatures who live on the fringes of society. It's the revenge of the defeated in life." - Lucio Fulci

The success of Dawn Of The Dead started a wave of "spaghetti-zombie" movies made in Italy, marketed to a new audience in Europe. Since the title of Dawn was Zombi in Europe, Fulci entitled his film Zombi 2 to gain box office, even though it in fact serves more as a prequel to Romero's movie. As a horror film, I feel it functions even better than Dawn. The make up effects by De Rossi and Fulci's incredible ability to convey a sense of squalor and decay make the film both artistic and revolting. Particularly effective is a shot of a dirt road running through a deserted shanty-town - a ghost crab scuttles across the foreground, and in the distance we see something unhealthy shambling toward us.

The score equals Goblin's in terms of sparse eeriness. The film also really kick started the exploitation horror craze, paving the path for Cannibal Holocaust and hundreds more.

I feel it is also an important film in Fulci's career, and whilst some say not his best, I am grateful that Enzo Castellari declined the directorial position. Whilst Enzo Castellari is a director I hold in high esteem (he made the infamous Bronx series and the western Keoma, the latter of which is a personal favorite), he simply couldn't give the movie the unique feel and pacing that Fulci can. It was also a pivotal moment in his own work. Fulci's previous films, ever since Beatrice Cenci, had featured escalating graphic violence; this ultimate taboo-breaking movie tore open a brand new artery in Fulci's career, and lead to more personal films such as L'Aldilà and the uneven but clearly autobiographical late film, Un Gatto nel Cervello/Cat in the Brain.

Now I feel I should address two scenes separately, because it is almost horror folklore. The infamous eye gouging scene! I loved it. It's just horrible. Fulci shares a similar skill to Miike in luring the audience into a false sense of security. The average modern cinema goer will be sure that the director will take us away from the moment when the splinter actually penetrates the eye, but Fulci gives us a close up.

In fact, the original script called for the actress Olga Karlatos to have most of her scalp and face ripped off, but that was never filmed sadly. The scene is pretty trademark Fulci though, as he includes an "eye gag" in most of his movies.

The second is the shark fighting zombie. The moment is quite unexpected, and an excellent example of Fulci's unique pacing. The boat with our characters onboard stops so that a nubile young female cast member can take a dive in the water. Topless. The scene then takes a turn for Jaws meets Tom & Jerry, with the girl narrowly escaping a great white shark in a thrilling underwater chase. Then, an extra element is brought into play. A living zombie, under the water. The zombie attacks the shark in a bizarre, fantastical twist. It's a masterful moment of horror history.

The film is unmissable in my opinion. It's a great introduction to one of the best, unsung directors of the genre.

The DVD in the UK is cut by 4 minutes despite claims, so you should go for the 2 Disc special edition. It features some great stuff, an excellent transfer and the first commentary track I've ever heard where its the actor's first experience of watching his own movie. Make sure you search 'Zombi 2' not 'Zombie Flesh Eaters'.

Crimewave (1985)

A wonderful mess

[9/10 · 9 February 2005]

Sam Raimi followed up the superb video nasty 'Evil Dead' with this; 'Crimewave' (AKA The XYZ Murders), a hugely enjoyable screwball slapstick comic book of a film, with not a few homages to The Three Stooges and classic Looney Tunes cartoons.

The plot is loose and largely an irrelevant excuse for madcap chases, crazy caricatures and playful one-liners. Sam Raimi shows just as much enthusiastic visual spark as in 'Evil Dead', despite a fraught production. The Coens' script is inventive, funny and faster than a speeding bullet, showing some of the flair that would present itself in 'Raising Arizona'.

Although the central performances of nerdy lead man Paul Smith (who looks like he walked out of a Troma film) and (comparatively bland) heroine Louise Lasser are adequate and entertaining (particularly Smith's 'Ren & Stimpy' style expressions), it's Bruce Campbell who steals the show in a small role as Renaldo the Heel. I'm a huge Bruce fan, from the 'Evil Dead' flicks, to 'Maniac Cop' and even the more recent 'Bubba Ho Tep'. 'Crimewave' sees him at his most OTT, his sleazeball best ("So I'm a heel! So what of it?"). He should have been cast as the lead, all things considered, but the studio interfered. The man is 10 times Jim Carrey and far more charismatic; it's a shame he never hit the mainstream, but he will always been the darling of the cult film circuit.

Overall the film is bizarrely satisfying, genuinely funny and fittingly playful in direction, writing and performances. While it may not be the most elegantly composed film, it's miles above the other bland films of the desperate film decade that was the 80s. Perhaps not one for the average film fan, but for guys like me it's an absolute treat. Well worth seeking out on the elusive Chinese DVD (try ebay).

Kill Bill: Vol. 2 (2004)

The final, unexpected touch to a remarkably beautiful and brilliant saga

[22 April 2004]

minor spoilers ahead...

Quentin Tarantino has crafted a magnificent piece of cinema that has an unexpected beauty, resonance and ultimate maturity that undermines Vol.1, which, although an explosive collection of balls-to-the wall grindhouse action and a superb Saturday night at the movies, could almost be seen as not much more than a throat clearing in comparison. In a word, the film is breathtaking. It has everything that a film fan could ever want; comedy, romance, action, horror, suspense, as well as a script of the likes you've never heard of before. Q.T's actors, Thurman, Madsen and Carradine particularly, know this film is more than just a plain and simple roaring, rampage of revenge. They are heartfelt, effortlessly skilled in the art of cool and brimming with charm. Tarantino, meanwhile, somewhere in the background (or foreground) of every frame, has proved himself to be the Shakespeare of comic books, a poet of pop culture, a jukebox to an endless riff of great music.

For a start, as with the first part, the film is an orgy of cinematic enthusiasm. Film fans will lap up the references to movies such as Fulci's 'Zombi 2', 'Babycart At The River Styx', 'Branded To Kill', 'Carrie' and countless Spaghetti Westerns. A particular highlight is Pai Mei's character- a typical Shaolin priest/trainer played by Liu - made famous by the film this sequence lovingly homages, '36th Chamber Of Shaolin'. The Lonesome Grave Of Paula Schultz, (itself a reference to a film called The Wicked Dreams Of Paula Schultz), is a superbly gruelling half-an-hour with heavy comic undertones, masterful direction and Madsen's ever likable presence. The opening sequence, if slightly stilted, still provides comedy and a well marked change of style from Volume 1. The soundtrack too, a sweeping succession of Ennio Morricone feel totally at home and will have fans (including myself) smiling widely. Other passing moments wash by, Black Mamba snake deaths narrated by grisly internet facts, a Silent Flute homage by Carradine on Pei Mei, a Johnny Cash backed ninja scene, a Fulci eye-gag and heavily layered self referential humor, all of which give the film a unique, dynamic feel that makes it incomparable with anything else. In a way that reminded me of Pulp Fiction, still my favorite Tarantino film, it has an overwhelming creativity that never numbs, but always surprises and impresses.

The final act is really where this film not only enters a different league, but creates its own. When Thurman's Kiddo witnesses a comic recreation of her 'rampage' starring none other than her little girl, the conventions of the double bill have been officially thrown on their head. We have been taken out of the movie-movie world, and smack bang into reality. What follows is one of the most touching, unique and instantly brilliant scenes ever shot since Edison invented the camera. As well as highlighting Carradine's talent (as if this needed to be proved), the scene also highlights the voice of Tarantino. On face value, perhaps, what we've come to expect from Tarantino seems like it may have left the theatre. But what we're seeing is his most personal piece of writing so far. His youth, only-child to a single mother, is openly reflected as Kiddo and her daughter watch Shogun Assassin. The unexpected track 'About Her' hones us in on a searingly moving piece of film, its melody laden with tragedy. The colors from the TV splash onto Thurman's emotive face displaying the kind of subtlety we don't really expect from Q.T, let alone from Kill Bill, and the film has been given a backbone no amount of bloodshed would have provided.

This, and Bill's exit, are utterly remarkable moments in a film full of remarkable moments. Bill is killed, not in searing black and white from a rip roaring samurai slice to the throat, but like Emilio the fish B.B takes out of the water. A man, who in full knowledge of his wrong doing, accepts what has come to him, and dies as a father. One minute he's flapping on the carpet, the next minute he's not flapping on the carpet. What better way than to express death, something the films have dished out by the bucketful, and that critics have endlessly criticized Tarantino for? And, what responsibility on Tarantino's part not to shy away from giving his film a moral core, as well as an emotional one, that makes it more than just a 2D comic book. The enthusiasm behind the camera is still 110% in evidence, but it doesn't need to carry the film anymore. There's a core to this that not many could have possibly expected, and what we realize we are seeing by the end, is Tarantino's most 3 dimensional films so far, as well as of course, the best film of the year.

The Evil Dead (1981)

As my name suggests, I kind of dig this film

[9 February 2004]

The Ultimate Experience in Grueling Horror it aint; that award would have to go to the original 'Texas Chainsaw'. Neither is it the goriest film I've ever seen, and though far from tame, it is not a patch on the incredible violence in Braindead or Koroshiya 1. However, there just isn't a horror movie to touch it. I could go on about how Bruce Campbell, the movie geek's hero, puts Carrey to shame for one of the finest slapstick 3 stooges performances of all time. Or I could banter on about the innovative shots, that makes the film play like the Citizen Kane of 80s horror.

What I really love about the movie is the pure enthusiasm Raimi and his team pour over every moment. You can literally feel the presence of a young, nervous but confident and strikingly talented director at the helm, throwing his heart and soul into the production, with a genuine love of horror movies, comedy and film itself. When you get to know this movie well, and its unmissable sequels, you feel you're in good company. A cult classic; puts heartless hollywood mass-produced movies to shame.

Elephant (2003)

Overwhelming, sensitive cinema

[8 February 2004]

So far, 2004 seems to shaping up to be a brilliant year for intelligent films devoid of pretentious hollowness, and although this film will no doubt be thought of by some as this, for all its silences and lingering moments, it would is a serious misjudgement.

Elephant is not so much a story, but a study of the moment. Van Sant's most personal film yet is a sensitive, vivid, encompassing 90minutes that captures moments, and strands them loosely together in a structure that allows the director total freedom. The film's strong point for me, as a student, is the superb realization of the school environment. Sound is used to incredible effect as we hear every echo, be it gunshots or laughter. At points it becomes overwhelming, at others the silence is utterly breathtaking. The school is one of the most terrifying locations ever caught on film, the characters passing through empty, hollow, darkened corridors, alone. Throughout these moments, the sense of foreboding and inevitable brutality is potent but never forced. The film feels very natural, as it flows from one person to the next.

Sant doesn't patronize the audience, instead providing us developed, but not totally rounded characters who are expressed mainly through moments. For once, teenage characters, while not being mature, are treated as people, rather than stereotypes. Even one of the killers is given a soulful moment in this movie. While being utterly believeable people, they are in the end slaughtered like animals. Death in anonymity. Solitary moments, glances and words mean so much more in this film. Sant revels in them, slowing them down to make an operatic, almost theatrical display, accompanied by a moving classical soundtrack.

At points the film can become almost overwhelming for its sudden moments of beauty and brutality. It's an unmissable, unforgettable film, but more than a film it is an experience. Highly recommended.

Lady Snowblood (1973)

A masterpiece in its own right

[26 December 2003]

A truly classic samurai movie which not only has its fair share of pacey, exhilirating action scenes, but also a really pertinent history and cultural context. Ahead of its time in some ways, the film is structured very unconventionally, in four chapters detailing Lady Snowblood's past and future. This is a technique Tarantino has used in his films, particularly relevantly his recent 'Kill Bill', which one can draw many comparisons to.

In actual fact, while the fighting may be dated slightly, and vastly bettered by Kill Bill's insane battles, and perhaps even the Lone Cub and Wolf movies, the detail and true respect the filmmakers have put into their movie seperates it from the average schlocky exploitation feature. Isolation of the East, and cultural changes in the West set up the feeling of change and loss in the film. Lady Snowblood is fighting for someone who is already dead. Her mother watched her husband being killed before her, mistaken for a Government spy, and is subsiquently tortured and raped by the criminals. After killing one in vengeance, she becomes pregnant and gives birth during her life sentence in prison, dying in childbirth. Lady Snowblood is born a "child of vengeance", and is forced through rigourous training throughout her early years, before eventually growing into a woman and seeking those who her mother had swore revenge on.

This story is fairly simple, run of the mill 70's revenge movie, but it's the flair with which the film is shot that seperates it and makes it essential viewing for all those seriously interested in film, and particularily in Tarantino's interests. Distinctive colour schemes and handheld camera work as well as subtle performances and touching moments really make the film unique and distinctive. (Spoiler: The final death of Goshiro is particularily striking. He dies between the Japanese and American flags. This kind of flair invites much more interest than the usual violence these pictures produce).

I strongly reccomend this film, and really do regret how little exposure these kind of movies receive in the west.

"It's fine to be concerned with justice and conscience, or upholding principles... yet, in the end, it's all nothing more than empty words, at least in this filthy hole."- Goshiro

The Street Fighter (1974)

A number one man, a number one movie

[11 December 2003]

God, this film is so cool. From the opening scene where Chiba tells his most recent adversary "You'll be unconscious soon through lack of oxygen- its an ancient technique", to the infamous final battle on a stormy night- this is a movie and a half. Classic 70s waow waow music, horribly wonderful dialogue and about 20 rewind moments, this deserves Tarantino's praise. A great time. Return Of The Street Fighter is less sucessful though, so only for the hardcore fans.

Brazil (1985)

A bonafide, neo-noir directorial masterpiece.

[23 August 2003]

Brazil- half dream, half nightmare, it's a vision of a future out of control. Gilliam is a true visionary- making one of the most impressive films ever made. More pertinent now than ever before, it tells the usual surreal Gilliam story of an insane future that has lost its love, its humility and its mind. To begin to describe the story would be as futile as the operations of the Ministry Of Information itself, but it must be seen to be believed. Epic and grandious in pace, ambition and story telling, it is one of the few pieces of modern cinema that deserves the title "masterpiece".