tag:blogger.com,1999:blog-40933275792571955272024-03-06T00:53:15.956-06:00Quiet CoolHans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.comBlogger381125tag:blogger.com,1999:blog-4093327579257195527.post-14203903853176302722016-02-26T07:00:00.000-06:002016-02-26T07:00:18.096-06:00The Hugo Stiglitz Chronicles, Volume Four
<span style="font-family: Calibri;">More Stiglitz mini-reviews for you to skim.<span style="mso-spacerun: yes;"> </span>Enjoy.</span><br />
<span style="font-family: Calibri;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">El culebrero</i>
(1998)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Here is the story of a drunk layabout, clad all in black,
who shares a special affinity with snakes.<span style="mso-spacerun: yes;">
</span>He is being followed, as he stumbles throughout the film, by a
strikingly beautiful woman, also clad completely in black.<span style="mso-spacerun: yes;"> </span>Stiglitz plays a powerful land baron with a
wealth of affectations:<span style="mso-spacerun: yes;"> </span>cigar, glass of
tequila, faithful dog always at his side, wheelchair, and oxygen tank.<span style="mso-spacerun: yes;"> </span>Yes, Stiglitz is disabled in this one, but
his character is full of piss and vinegar.<span style="mso-spacerun: yes;">
</span>A decent fellow lives in the shadow of Stiglitz’s hacienda with a small
farm, accompanied by his lovely wife and teenage daughter.<span style="mso-spacerun: yes;"> </span>He needs Stiglitz to cut him a break.<span style="mso-spacerun: yes;"> </span>The drunk layabout kills a few of Stiglitz’s
peeps.<span style="mso-spacerun: yes;"> </span>Then, purely by accident, the
drunk layabout witnesses the death of Stiglitz’s weed dealer by heart
attack.<span style="mso-spacerun: yes;"> </span>He brings the corpse to the
local police station, and when Stiglitz sees his dead homey next to the drunk
layabout (still clad in all black), he is certain that he is the killer.<span style="mso-spacerun: yes;"> </span>The decent fellow, who needs Stiglitz to give
him a break, is recruited by Stiglitz to kill the drunk layabout.<span style="mso-spacerun: yes;"> </span>He cannot bring himself to do it, because,
after all, he is a decent fellow and the drunk layabout is an okay guy.<span style="mso-spacerun: yes;"> </span>So, Stiglitz has his henchman kidnap the
decent fellow’s wife and daughter to force him to kill the drunk layabout.<span style="mso-spacerun: yes;"> </span>The two men have a showdown, but the
strikingly beautiful woman, also clad completely in black, intercedes; and the
decent fellow and the drunk layabout join forces to rescue the women and take
down Stiglitz.<span style="mso-spacerun: yes;"> </span>If this synopsis does not
make a lot of sense, then that’s cool.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuBzZ-Q0kOn2TfXEijEEkgnYW7HDGgBaxS9xq5cbKX-eiiMa6pwAro5e5e58PjjYX24DDS8ZDSF2DwR87D_FN_1IXZElWkueLqnq5Mdp03x4poHpaPGjaZ1X9suxN53wYHLBJEdLiPtHJf/s1600/Elculebrero2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuBzZ-Q0kOn2TfXEijEEkgnYW7HDGgBaxS9xq5cbKX-eiiMa6pwAro5e5e58PjjYX24DDS8ZDSF2DwR87D_FN_1IXZElWkueLqnq5Mdp03x4poHpaPGjaZ1X9suxN53wYHLBJEdLiPtHJf/s400/Elculebrero2.BMP" width="400" /></a></span></div>
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<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiLYwuD1MBglV-scapxa0i6Tm5knh3tZJDR7odj_DN6M1T0WkaqVvUZxOzGU1LoOIdNrsD9SHA6-lptX2FPwEi6LF6sRtYOjhcgD1PlhpdHmSbvTt2yaGKq8J_QU02SdIwb4k2zQS2jIQi/s1600/Elculebrero1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiLYwuD1MBglV-scapxa0i6Tm5knh3tZJDR7odj_DN6M1T0WkaqVvUZxOzGU1LoOIdNrsD9SHA6-lptX2FPwEi6LF6sRtYOjhcgD1PlhpdHmSbvTt2yaGKq8J_QU02SdIwb4k2zQS2jIQi/s400/Elculebrero1.BMP" width="400" /></a></span></div>
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<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">El culebrero</i> is a
modern-day Western with some odd themes thrown in.<span style="mso-spacerun: yes;"> </span>In a signature shot, the drunk layabout gets
ambushed by some of Stiglitz’s hitmen.<span style="mso-spacerun: yes;">
</span>He feigns death, and as the hitman search his horse basket, they find a
bundle of snakes.<span style="mso-spacerun: yes;"> </span>One of the hitmen
kills the snakes with his automatic rifle.<span style="mso-spacerun: yes;">
</span>The drunk layabout loses his shit, subdues a nearby hitman, grabs his
weapon, and kills the entire group of assailants.<span style="mso-spacerun: yes;"> </span>The drunk layabout keeps a snake inside of
his shirt, like a pet, and at opportune times, he pulls snakes from his pockets
and wields them like weapons. <span style="mso-spacerun: yes;"> </span>The
strikingly beautiful women, also clad completely in black, appears almost in a
supernatural role, like the guardian angel of the drunk layabout.<span style="mso-spacerun: yes;"> </span>Stiglitz yells at people; drinks tequila,
smokes cigars; and sucks oxygen from his tank.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">El culebrero</i> is definitely
weird, yet it is nothing special for Stiglitz fans.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">La noche de la bestia</i>
(1988)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Stiglitz and four of his homies go to a secluded shack for a
hunting party.<span style="mso-spacerun: yes;"> </span>On the first day, there
is male bonding, hunting, drinking, more drinking, and more male bonding.<span style="mso-spacerun: yes;"> </span>On the second day, after a morning of
hunting, Stiglitz and his homies see a beautiful woman running on the shore of
the lake, with armed pursuers following in a jeep.<span style="mso-spacerun: yes;"> </span>The beautiful woman and her pursuers are all
wearing the same yellow jumpsuit.<span style="mso-spacerun: yes;"> </span>One of
Stiglitz’s homies gets shot, and the rest of his crew kill the pursuers and
rescue the woman.<span style="mso-spacerun: yes;"> </span>They bring their
injured homey inside along with the woman.<span style="mso-spacerun: yes;">
</span>They tend to his wounds, and the woman collapses from exhaustion.<span style="mso-spacerun: yes;"> </span>Stiglitz and his homies are in possession of
an operational automobile.<span style="mso-spacerun: yes;"> </span>Do they go
the police and report this incident? No.<span style="mso-spacerun: yes;">
</span>First, let’s back up.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfnkfvwizn5Jz1R-rdNbIGairB4l_1Vlppr6xLW_nYDD44Mod7iKYxvmRjW8C5keQaiqGJzMAyJB_-7JIGwV9okU-Go4pevFKqle6GSFkkWNkcOQZRVFkfWVrfpafQRid18P2kmjximicq/s1600/Lanochebestia1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfnkfvwizn5Jz1R-rdNbIGairB4l_1Vlppr6xLW_nYDD44Mod7iKYxvmRjW8C5keQaiqGJzMAyJB_-7JIGwV9okU-Go4pevFKqle6GSFkkWNkcOQZRVFkfWVrfpafQRid18P2kmjximicq/s400/Lanochebestia1.BMP" width="400" /></a></span></div>
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<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVA-WV0CIAsx8Vr6sXXaH_Dax3cjewjC9kHWoGd8-MIzdcCDG1bHYcQwejU5TBws1Z6keVwFR-eVl7plng3bPvsdBul-LKA1kIUPqyzxL07I1vHZEByc0zejA85zrZ_q_-5HPGvSmQvYNQ/s1600/Lanochebestia2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVA-WV0CIAsx8Vr6sXXaH_Dax3cjewjC9kHWoGd8-MIzdcCDG1bHYcQwejU5TBws1Z6keVwFR-eVl7plng3bPvsdBul-LKA1kIUPqyzxL07I1vHZEByc0zejA85zrZ_q_-5HPGvSmQvYNQ/s400/Lanochebestia2.BMP" width="400" /></a></span></div>
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<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">During the opening shot of <i style="mso-bidi-font-style: normal;">La noche de la bestia</i>, the yellow-jumpsuit-ed team packs some TNT
into the side of a mountain and detonate their bomb.<span style="mso-spacerun: yes;"> </span>They remove a large clump of glowing
ore.<span style="mso-spacerun: yes;"> </span>During the second night of the
hunting party of Stiglitz and his homies, they go outside the shack when they
hear a loud explosion.<span style="mso-spacerun: yes;"> </span>Over the horizon,
with state-of-the-art special effects, they witness a nuclear explosion.<span style="mso-spacerun: yes;"> </span>They chalk it off to the doings of the
locals.<span style="mso-spacerun: yes;"> </span>The following day the shootout
occurs.<span style="mso-spacerun: yes;"> </span>Stiglitz stays with his injured
homey, the beautiful woman, and another homey in the shack.<span style="mso-spacerun: yes;"> </span>The other two homies take the vehicle and drive
towards the explosion.<span style="mso-spacerun: yes;"> </span>They encounter a
shack where yellow jumpsuit-ed body parts and torn limbs are strewn about.<span style="mso-spacerun: yes;"> </span>They take the computer from the shack and
return to the hunting party. The dude that gets shot stumbles outside to get a
bottle of whiskey from the vehicle.<span style="mso-spacerun: yes;"> </span>He
goes missing, as something comes rising out of the lake to munch upon him.<span style="mso-spacerun: yes;"> </span>Stiglitz stays with the beautiful woman, as
the remaining bunch go looking for their injured homey.<span style="mso-spacerun: yes;"> </span>The beautiful woman, now conscious, requests
a shower.<span style="mso-spacerun: yes;"> </span>She comes out of the bathroom
and seduces Stiglitz.<span style="mso-spacerun: yes;"> </span>They do the
nasty.<span style="mso-spacerun: yes;"> </span>When the remaining hunting party
returns, they find the woman dead and Stiglitz possessed.<span style="mso-spacerun: yes;"> </span>Stiglitz tries to kill his homies, but they
put him down.<span style="mso-spacerun: yes;"> </span>They have an encounter,
then, with a monster.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">I am not a big fan of male bonding and drinking, especially
with the inclusion of firearms; so the first have of <i style="mso-bidi-font-style: normal;">La noche</i>, is fairly pedestrian.<span style="mso-spacerun: yes;">
</span>Its highlight is a scene evocative of the “dueling banjoes” sequence
from <i style="mso-bidi-font-style: normal;">Deliverance</i> (1972).<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">La
noche</i> really starts cooking when the group encounter the beautiful woman
running along the shore of the lake.<span style="mso-spacerun: yes;">
</span>Then, <i style="mso-bidi-font-style: normal;">La noche</i> adopts the
skeleton narrative of John Carpenter’s <i style="mso-bidi-font-style: normal;">The
Thing</i> (1982) and becomes a decent, B-movie, sci-fi/horror film.<span style="mso-spacerun: yes;"> </span>It is worth noting that the DVD version of <i style="mso-bidi-font-style: normal;">La noche de la bestia</i> that I watched
appeared censored:<span style="mso-spacerun: yes;"> </span>the audio would drop
out periodically (presumably to remove profanity); the shower scene of gorgeous
Lina Santos appears abbreviated; and the pivotal scene of Stiglitz and Santos
doing the nasty is absent (it is rare that a B-movie would have its viewer
infer an important plot point and avoid sensationalism.)<span style="mso-spacerun: yes;"> </span>However, as food for thought, <i style="mso-bidi-font-style: normal;">La noche de la bestia</i> is very violent
with its violent scenes seemingly intact.<span style="mso-spacerun: yes;">
</span>This one turns out pretty cool and an addition to the syllabus for the
serious Stiglitz student.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Traficando con la
muerte</i> (2001)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">The first half of <i style="mso-bidi-font-style: normal;">Traficando
con la muerte</i>, you can file under “fuck yeah!”<span style="mso-spacerun: yes;"> </span>Stiglitz plays a drug-addicted, seriously disturbed
individual who practices voodoo; worships the devil; and kills people.<span style="mso-spacerun: yes;"> </span>He looks like a hooded corpse.<span style="mso-spacerun: yes;"> </span>In the opening scene, Stiglitz snorts some
coke and says some mumbo jumbo in his dilapidated shack.<span style="mso-spacerun: yes;"> </span>He goes outside and hooks up with two chumps.<span style="mso-spacerun: yes;"> </span>They climb aboard a big rig and hit the road
(they are trafficking drugs).<span style="mso-spacerun: yes;"> </span>The police
set up a roadblock, but Stiglitz tells his chumps to drive through it.<span style="mso-spacerun: yes;"> </span>Stiglitz and the chumps disembark from the
semi and engage in a firefight with the police.<span style="mso-spacerun: yes;">
</span>Stiglitz shoots the lead police officer and spares his life, only after
giving him a grimacing smile.<span style="mso-spacerun: yes;"> </span>They are
the only two to survive.<span style="mso-spacerun: yes;"> </span>Subsequent to
this shootout, the surviving police officer begins to have hallucinations of
Stiglitz.<span style="mso-spacerun: yes;"> </span>Is it Stiglitz voodoo or
PTSD?<span style="mso-spacerun: yes;"> </span>I do not know, but the police
officer is forced into medical leave until he is better.<span style="mso-spacerun: yes;"> </span>Stiglitz attends a rodeo, and after a fight
with her boyfriend, a very beautiful woman gets seduced by Stiglitz’s mumbo
jumbo.<span style="mso-spacerun: yes;"> </span>He takes her back to her home,
and the two do the nasty.<span style="mso-spacerun: yes;"> </span>The woman’s
boyfriend shows and catches the two in bed.<span style="mso-spacerun: yes;">
</span>Stiglitz ices the man and sweetly kisses the woman goodbye.<span style="mso-spacerun: yes;"> </span>The local drug dealer needs some more drug
trafficking via big-rig trucks, so he sends two chumps to Stiglitz’s
shack.<span style="mso-spacerun: yes;"> </span>One of the two is rather plump,
so Stiglitz disembowels the man, so the narcotics can be fit inside.<span style="mso-spacerun: yes;"> </span>They cross the border with a coffin in the
back of the big-rig truck.<span style="mso-spacerun: yes;"> </span>The police
quickly allow them to pass.<span style="mso-spacerun: yes;"> </span>At this
point in <i style="mso-bidi-font-style: normal;">Traficando</i>, Stiglitz has
pissed off quite a few people who come gunning for him.<span style="mso-spacerun: yes;"> </span>Stiglitz finds a homey, drinks tequila, and
snorts cocaine.<span style="mso-spacerun: yes;"> </span>The final shootout is
eminent.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1YzJ32BY4fzk5IkLc9Htiv-xay8y76aZCRmCrecwQ0u7XV5Jww6dHZGHtYUakJOPEWMC59ubsxeDCm1gN2XD0SE4GotsiEyE6mEZDXGshMsShZIYgs4tk8uDEioQ10HWrGt1kKopvIHTD/s1600/Traficando1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1YzJ32BY4fzk5IkLc9Htiv-xay8y76aZCRmCrecwQ0u7XV5Jww6dHZGHtYUakJOPEWMC59ubsxeDCm1gN2XD0SE4GotsiEyE6mEZDXGshMsShZIYgs4tk8uDEioQ10HWrGt1kKopvIHTD/s400/Traficando1.BMP" width="400" /></a></span></div>
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<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRakPUqR66XDzs3J0QpEqMzYK7SlEJev3WvFpO8ZmwT2Eq103_N19e606ojcVD_4BToi6LE5WZfG0b191YKlWBbcjNHOyiF51zk_4iUAWdFRVMvQl6TEa7mkhWgap5oUfX4PmgKEYT0s3j/s1600/Traficando3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRakPUqR66XDzs3J0QpEqMzYK7SlEJev3WvFpO8ZmwT2Eq103_N19e606ojcVD_4BToi6LE5WZfG0b191YKlWBbcjNHOyiF51zk_4iUAWdFRVMvQl6TEa7mkhWgap5oUfX4PmgKEYT0s3j/s400/Traficando3.BMP" width="400" /></a></span></div>
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<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">In <i style="mso-bidi-font-style: normal;">Traficando</i>,
Stiglitz plays a truly evil character whose services are for purchase.<span style="mso-spacerun: yes;"> </span>(“Dirty deeds done dirt cheap,” as the saying
goes.)<span style="mso-spacerun: yes;"> </span>The second half of the film
forces its story into a traditional action film which offsets the coolness of
the first half.<span style="mso-spacerun: yes;"> </span>I really preferred just
watching scary Stiglitz go around performing evil acts without purpose.<span style="mso-spacerun: yes;"> </span>The first half is essential exploitation
cinema, and overall, <i style="mso-bidi-font-style: normal;">Traficando con la
muerte</i> is well-worth seeing for the Stiglitz fan.</span></div>
</div>
</div>
</div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-4911534840447621232016-02-24T07:00:00.000-06:002016-02-24T07:00:17.648-06:00The Fighter (Le battant) (1983)
<span style="font-family: Calibri;">On the day he gets out of prison, Jacques Darnay (Alain
Delon) is looking over his shoulder.<span style="mso-spacerun: yes;">
</span>Darnay took the wrap: during a jewel heist eight years previously, the
store owner was murdered and a cache of diamonds worth six million francs was
stolen.<span style="mso-spacerun: yes;"> </span>The police knew that Darnay had
an accomplice but could not identify him.<span style="mso-spacerun: yes;">
</span>The diamonds were never recovered.<span style="mso-spacerun: yes;">
</span>As a result, Darnay served a reduced sentence; and at the start of <i style="mso-bidi-font-style: normal;">Le battant</i> (<i style="mso-bidi-font-style: normal;">The Fighter</i>) (1983), he is now free.<span style="mso-spacerun: yes;"> </span>In the opening scene of the film, one of
Darnay’s homies, Mignot (Michel Beaune) gets a visit from three well-dressed
assailants who tell him to turn on Darnay or die.<span style="mso-spacerun: yes;"> </span>The crooks want the diamonds.<span style="mso-spacerun: yes;"> </span>The police inspector, Rouxel (Pierre Mondy),
who busted Darnay from the original heist, wants to find Darnay’s accomplice
who murdered the store owner.<span style="mso-spacerun: yes;"> </span>More
importantly, it seems Rouxel also wants to collect the ten-percent finder’s fee
for locating the missing diamonds.<span style="mso-spacerun: yes;"> </span>If
Darnay locates the diamonds, then he is dead.<span style="mso-spacerun: yes;">
</span>If he does not, then the people close to him will start dying.<span style="mso-spacerun: yes;"> </span>Most interestingly, does Darnay even know
where the diamonds are stashed?</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw8yeFeSch_VRpIPStdfaH2z5eI5XIQKia_RA1UGCkiwvaNVUh-snIL0acgMsVREiuR1CCa5Wv8wIUNRbTp68-P2d79u0NJGbZonXQ0AC_6jVVqR-VZQb_UaQm-HEGWjoHF4KJniph86Fj/s1600/TheFighter4.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw8yeFeSch_VRpIPStdfaH2z5eI5XIQKia_RA1UGCkiwvaNVUh-snIL0acgMsVREiuR1CCa5Wv8wIUNRbTp68-P2d79u0NJGbZonXQ0AC_6jVVqR-VZQb_UaQm-HEGWjoHF4KJniph86Fj/s400/TheFighter4.BMP" width="400" /></a></div>
<span style="font-family: Calibri;">Delon plays <i style="mso-bidi-font-style: normal;">The
Fighter</i> close.<span style="mso-spacerun: yes;"> </span>He wants his viewer
to feel the desperation of a man constantly looking over his shoulder for an
awaiting killer and also wants his viewer question his rationale and
motives:<span style="mso-spacerun: yes;"> </span>is this desperate life worth
all of the trouble?<span style="mso-spacerun: yes;"> </span>Darnay sees Mignot
soon after his release from prison and within minutes of meeting the man,
Mignot is gunned down.<span style="mso-spacerun: yes;"> </span>Mignot’s death
enforces for Darnay how serious his pursuers are.<span style="mso-spacerun: yes;"> </span>Beautiful Clarissa (Marie-Christine
Descouard), Darnay’s lover before he went away to prison, accepts Darnay with
open arms and no questions asked when he arrives at the doorstep of her
flat.<span style="mso-spacerun: yes;"> </span>After Mignot’s murder, Darnay
tries to hide Clarissa but to no avail:<span style="mso-spacerun: yes;">
</span>she dies in Darnay’s arms after getting gunned down.<span style="mso-spacerun: yes;"> </span>As <i style="mso-bidi-font-style: normal;">Le
battant</i> unfolds from this point, it becomes clear to Darnay (and to the
viewer) that he can no longer trust anyone and is going to have to kill
everyone who stands in his way.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIyIOMNoDs2u4CJy8YX7KrO67ajG8K5vnVzZ-Q3xDeBYgZy-mfjqHntL8Q_Q4_0ui9U9nMaAYsFDoaekxjq5x8qyaQuiqZsLhZTAryaBl8RorsoeryJELNddmjjdKJww5280_w9KUG6exp/s1600/TheFighter1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIyIOMNoDs2u4CJy8YX7KrO67ajG8K5vnVzZ-Q3xDeBYgZy-mfjqHntL8Q_Q4_0ui9U9nMaAYsFDoaekxjq5x8qyaQuiqZsLhZTAryaBl8RorsoeryJELNddmjjdKJww5280_w9KUG6exp/s400/TheFighter1.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">I am a mark for both Alain Delon and gritty Eurocrime
flicks.<span style="mso-spacerun: yes;"> </span>Delon gives an odd performance
as Darnay.<span style="mso-spacerun: yes;"> </span>In all of the action
sequences, Delon is cold and icy, like the bad motherfucker he played in <i style="mso-bidi-font-style: normal;">Tony Arzenta</i> (1973).<span style="mso-spacerun: yes;"> </span>However, Darnay is all too eager to crack a
joke, most often at the expense of Rouxel.<span style="mso-spacerun: yes;">
</span>This blend of black humor and cold violence does not come off like a
Fernando di Leo antihero, like <i style="mso-bidi-font-style: normal;">Ringo</i>
or <i style="mso-bidi-font-style: normal;">Johnny Yuma</i>.<span style="mso-spacerun: yes;"> </span>Di Leo composed characters who had a death wish
and were laughing towards their end.<span style="mso-spacerun: yes;">
</span>Delon’s performance of Darnay belies that appearance.<span style="mso-spacerun: yes;"> </span>Anne Parillaud appears as Nathalie, who is
offered to Darnay for a thousand francs for one evening by his homey in the
underworld, Ruggeri (Franςois Périer).<span style="mso-spacerun: yes;">
</span>After their bout of lovemaking, Nathalie breaks down to Darnay and begs
him to free her from her abusive relationship with Ruggeri.<span style="mso-spacerun: yes;"> </span>Darnay agrees and puts her up in a
hideout.<span style="mso-spacerun: yes;"> </span>Nathalie helps Darnay by
identifying the Ruggeri’s accomplices, so Darnay knows exactly who is following
him.<span style="mso-spacerun: yes;"> </span>It is apparent, however, that
Darnay does not trust Nathalie:<span style="mso-spacerun: yes;"> </span>she is
either still working for Ruggeri or is attempting to get the diamonds for
herself.<span style="mso-spacerun: yes;"> </span>It is also apparent that Darnay
has strong feelings for her and wants to trust her.<span style="mso-spacerun: yes;"> </span>This human side to Darnay creates a schism in
his character which makes his violent actions more disturbing.<span style="mso-spacerun: yes;"> </span>Delon’s Darnay comes off as a very
well-composed and violent sociopath.<span style="mso-spacerun: yes;"> </span>He
is not an antihero but more like a sick person.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkzzPvM49-GhDcCpl4S9luwVFKj2SqZWNZoR6SO0n0Bi7Wg0j9xTFPLubRdjNre-3ADSf1KVr2KLO9lNPjfmOhGnStyXK1WdGvF6pxgFRFYZl58Drav9xYgEG-r73eJBCyg9j174iteOjx/s1600/TheFighter3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkzzPvM49-GhDcCpl4S9luwVFKj2SqZWNZoR6SO0n0Bi7Wg0j9xTFPLubRdjNre-3ADSf1KVr2KLO9lNPjfmOhGnStyXK1WdGvF6pxgFRFYZl58Drav9xYgEG-r73eJBCyg9j174iteOjx/s400/TheFighter3.BMP" width="400" /></a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMw2Q2TiBaEGodRl_k85Hkx9MJmRql3DoemTlDa7wcsStjsL6_4PjSnoaYDry0SoC9ozUaXJYrrO84mtXoyPrT4zhjqOli2l7o1aAMV4n9oy1SPLuJ2pfSX65Erp4wJgGsDbaRdjXNr_kn/s1600/TheFighter2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMw2Q2TiBaEGodRl_k85Hkx9MJmRql3DoemTlDa7wcsStjsL6_4PjSnoaYDry0SoC9ozUaXJYrrO84mtXoyPrT4zhjqOli2l7o1aAMV4n9oy1SPLuJ2pfSX65Erp4wJgGsDbaRdjXNr_kn/s400/TheFighter2.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Anne Parillaud does not appear in <i style="mso-bidi-font-style: normal;">Le battant</i> really until its middle and her inclusion in the film
raises its interest.<span style="mso-spacerun: yes;"> </span>She stole all of
Delon’s thunder in their previous collaboration, <i style="mso-bidi-font-style: normal;"><a href="http://thisisquietcool.blogspot.com/2010/07/alain-delons-pour-la-peau-dun-flic-for.html">Pour la peau d’un flic</a></i> (1981), and while her character is nowhere
as rich as her previous role, Parillaud gives another memorable
performance.<span style="mso-spacerun: yes;"> </span>She is one of the few
actresses who possess both a powerful sensuality combined with, at appropriate
times, a complete vulnerability.<span style="mso-spacerun: yes;"> </span>Her
character, Nathalie, is the most important in the film, as she reveals within
Darnay what is important in life.<span style="mso-spacerun: yes;">
</span>Finally, it is well worth mentioning, Parillaud has two very lovely nude
scenes in the film.<span style="mso-spacerun: yes;"> </span>The pacing in <i style="mso-bidi-font-style: normal;">The Fighter</i>, clocking in at nearly two
hours, is amazingly brisk, fueled by Darnay’s desperation.<span style="mso-spacerun: yes;"> </span>The action sequences, save some automobile
sequences that are clearly sped up, are extremely well-done.<span style="mso-spacerun: yes;"> </span>Delon serves up some serious cold-blooded
violence in this one.<span style="mso-spacerun: yes;"> </span>Highly recommended
for fans of the Eurocrime genre.</span></div>
</div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-80362088071308563202016-02-08T07:00:00.000-06:002016-02-08T07:00:05.966-06:00The Night of the Executioner (La noche del ejecutor) (1993)
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">The Night of the
Executioner (La noche del ejecutor) </i>(1993) is a nasty exploitation film,
starring Paul Naschy, who also wrote and directed.</span><br />
<span style="font-family: Calibri;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Naschy plays Dr. Hugo Arranz, a successful surgeon, who is
spending his fiftieth birthday with his wife and teenage daughter at his
home.<span style="mso-spacerun: yes;"> </span>While they were shopping earlier
in the evening, a thug spied on them and noticed that Dr. Arranz carried a
large sum of money.<span style="mso-spacerun: yes;"> </span>This thug and his
crew have now invaded the Arranz home during dinner.<span style="mso-spacerun: yes;"> </span>They rape and murder Arranz’s wife.<span style="mso-spacerun: yes;"> </span>They rape and murder his daughter in front of
him, while he remains beaten and bound with his tongue cut out.<span style="mso-spacerun: yes;"> </span>The thugs presume Arranz dies, but he
survives.<span style="mso-spacerun: yes;"> </span>Now unable to speak, Arranz
hits the gym and pumps iron; conditions himself with jogging; and becomes
seriously adept at firearms and throwing knives.<span style="mso-spacerun: yes;"> </span>All that is left is to find the thugs
responsible for the deaths of his loved ones.<span style="mso-spacerun: yes;">
</span>Back at his home, fresh from the hospital, Arranz finds a flyer for a
local bar.<span style="mso-spacerun: yes;"> </span>There is a name inscribed
upon the back, “Gloria.”<span style="mso-spacerun: yes;"> </span></span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN-S2dEvNq1glxmY03W8dTnnZZXCrIWiYLFHkKwyhY5K8zIKaKB9YiCSVjk0MdGhKnwrReodY5cT6hFhoqgDOMiN2dF-2BAgd5n6s-SSkWlw9mXqRO_xhAxNj30ZaVWEZB3BcLx-Yio2B0/s1600/NightExecutioner1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN-S2dEvNq1glxmY03W8dTnnZZXCrIWiYLFHkKwyhY5K8zIKaKB9YiCSVjk0MdGhKnwrReodY5cT6hFhoqgDOMiN2dF-2BAgd5n6s-SSkWlw9mXqRO_xhAxNj30ZaVWEZB3BcLx-Yio2B0/s400/NightExecutioner1.BMP" width="400" /></a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEM-mIAbFmyoaLfvkag9ekRaNWzxXnEkf5kXChmkaXkuSRQaP1pa4uWpr8FPR0fQTREYlfWrrywFz0K4iD36gNaZu-EmNOKRcCwTCUwSU9_wzLsr0GaiZdb33cETbStnehfwOtI5iNS8u9/s1600/NightExecutioner2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEM-mIAbFmyoaLfvkag9ekRaNWzxXnEkf5kXChmkaXkuSRQaP1pa4uWpr8FPR0fQTREYlfWrrywFz0K4iD36gNaZu-EmNOKRcCwTCUwSU9_wzLsr0GaiZdb33cETbStnehfwOtI5iNS8u9/s400/NightExecutioner2.BMP" width="400" /></a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxS4TaLRJEevMiMHHwQh2-X_8rhPFq1DkdMcEtOLArjJCxP9dpZdmRtcGeDBjIeEE1g018EnzPE9K4-aq4OisbvwWmFTkPdT-zTITRZj8PaAch3ayFoy2aBlhf3Memz9dY5-v0E8YCTml_/s1600/NightExecutioner3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxS4TaLRJEevMiMHHwQh2-X_8rhPFq1DkdMcEtOLArjJCxP9dpZdmRtcGeDBjIeEE1g018EnzPE9K4-aq4OisbvwWmFTkPdT-zTITRZj8PaAch3ayFoy2aBlhf3Memz9dY5-v0E8YCTml_/s400/NightExecutioner3.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Naschy writes that, “It has been said that this film is a
copy of<i style="mso-bidi-font-style: normal;"> Death Wish</i>, the film starring
the ever impassive Charles Bronson.<span style="mso-spacerun: yes;">
</span>There is a grain of truth in that statement but I approached the film
from a totally Spanish viewpoint, with the Madrid criminal underworld in
mind.<span style="mso-spacerun: yes;"> </span>I wanted to make a movie that
reflected the sordid side of certain parts of the capital.” (1)<span style="mso-spacerun: yes;"> </span>Naschy was inspired to write the screenplay
after an experience that he had one evening leaving the gym. (2) He writes:</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">“Suddenly three scruffy youths appeared in front of me.<span style="mso-spacerun: yes;"> </span>They looked like they were out for
trouble.<span style="mso-spacerun: yes;"> </span>Two of them whipped out hunting
knives and I knew what I was in for.<span style="mso-spacerun: yes;"> </span>I
don’t know exactly what thoughts flashed through my mind at that moment, I just
reacted instinctively.<span style="mso-spacerun: yes;"> </span>Dropping my
sports bag to the ground I quickly unzipped it and got hold of the thick
protective belt used for power lifting.<span style="mso-spacerun: yes;">
</span>I could feel rage boiling up inside me.<span style="mso-spacerun: yes;">
</span>Maybe it was the pure anger of frustration that I’d had to hold back so
many times in my life or maybe I saw those thugs as a symbol of all the
bastards who’ve had it in for me down the years.<span style="mso-spacerun: yes;"> </span>The fact is I just went for them with a
vengeance and left two of them in a really bad way.<span style="mso-spacerun: yes;"> </span>¶ It looked like I wasn’t going to be so
lucky with the third assailant but, fortunately, the headlights of a passing
car put the wind up them and they made a run for it.” (3)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Naschy’s screenplay also embraces the current discourse in
regards to the current system of justice, criminals’ rights vis-à-vis the
rights of their victims.<span style="mso-spacerun: yes;"> </span>Clearly Naschy
sides with the victims.<span style="mso-spacerun: yes;"> </span>For example, the
character of Olga, a magistrate and close friend of Dr. Arranz, advocates for a
better criminal justice system and reforming jails and prisons to make them
true rehabilitation facilities.<span style="mso-spacerun: yes;"> </span>The
thugs who assault Dr. Arranz’s family later gang rape the woman in her
garage.<span style="mso-spacerun: yes;"> </span>Subsequent to her assault, now a
victim, Olga ceases to be a staunch advocate for criminal rights but she does
not wholly abandon her causes.<span style="mso-spacerun: yes;"> </span>I believe
Olga, like Naschy with his screenplay, sees the issue as not a completely
academic one and one which must confront the rights of victims.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFYdlRLwnmTPTB_-7S3yzLNzRmHhQQQUsbN_LfOGVp7RGdauSPnkHvbQw0aq2dHE4Vj0DZx1k6IScPqAEInwML9rozD4kNSi3Ruim-anL-ZTm2utjs44k_GNHXSHQi4WLVqeTwzMNdrSRG/s1600/NightExecutioner5.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFYdlRLwnmTPTB_-7S3yzLNzRmHhQQQUsbN_LfOGVp7RGdauSPnkHvbQw0aq2dHE4Vj0DZx1k6IScPqAEInwML9rozD4kNSi3Ruim-anL-ZTm2utjs44k_GNHXSHQi4WLVqeTwzMNdrSRG/s400/NightExecutioner5.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Naschy never abandons his lofty ideals in <i style="mso-bidi-font-style: normal;">Night</i> and he certainly is not reticent
to put the sensationalism on display.<span style="mso-spacerun: yes;"> </span>In
a creative scene, Arranz busts through a window like The Terminator upon two
thugs in their apartment.<span style="mso-spacerun: yes;"> </span>He ices one
with his magnum, and with the other, the lone female in the group of thugs who
attacked his family, he hesitates.<span style="mso-spacerun: yes;">
</span>Naschy’s character has a Bergman/Von Sydow/<i style="mso-bidi-font-style: normal;">Virgin Spring</i> moment, where he can see his criminal as human when
begging for mercy.<span style="mso-spacerun: yes;"> </span>However, Arranz is so
overcome with vengeance that he cannot stop his parade of violence.<span style="mso-spacerun: yes;"> </span>He ices her.<span style="mso-spacerun: yes;">
</span>(This character was shown earlier castrating a guy.)<span style="mso-spacerun: yes;"> </span>The thugs who attacked Arranz’s family are
part of a larger syndicate who are run by “Cobra,” whose face is never seen by
the viewer until the final act.<span style="mso-spacerun: yes;"> </span>In my
favorite scene of <i style="mso-bidi-font-style: normal;">Night</i>, two thugs
report to Cobra for orders.<span style="mso-spacerun: yes;"> </span>Cobra is in
an S&M session and only stops when his thugs enter the room.<span style="mso-spacerun: yes;"> </span>In a nifty shot, his portrait is shown but he
is hidden behind his S&M mask.<span style="mso-spacerun: yes;"> </span>(I
don’t know why but I find this hilarious.)<span style="mso-spacerun: yes;">
</span>Finally, I believe Naschy’s son, Sergio, appears later in the film.<span style="mso-spacerun: yes;"> </span>He is an adolescent boy who lives near Dr.
Arranz’s country home.<span style="mso-spacerun: yes;"> </span>Arranz has housed
Gloria there, in order for her to have a home while she puts her life
together.<span style="mso-spacerun: yes;"> </span>This adolescent boy meets a
very ignominious ending during the final act shootout.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZdL_SHrGaq2KpIe0cSmBziw7M9tsRacxcYdkQTX706Dcruc2A8DqtNE_Zv8pKC0Jb7V0z4zwYu6hU1tc1_2evmhsIgxuF2l_qHTSQZT4KRrUJq4ODrwU__1yLxbtPfaIivtGuw8YHCSIE/s1600/NightExecutioner4.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZdL_SHrGaq2KpIe0cSmBziw7M9tsRacxcYdkQTX706Dcruc2A8DqtNE_Zv8pKC0Jb7V0z4zwYu6hU1tc1_2evmhsIgxuF2l_qHTSQZT4KRrUJq4ODrwU__1yLxbtPfaIivtGuw8YHCSIE/s400/NightExecutioner4.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Despite <i style="mso-bidi-font-style: normal;">The Night of
the Executioner</i> being filmed and released in the early nineteen-nineties,
Naschy’s visual style and story content feel straight out of the nineteen-<i style="mso-bidi-font-style: normal;">seventies </i>in true grindhouse
fashion.<span style="mso-spacerun: yes;"> </span>Paul Naschy plays a bad
motherfucker in this one, and it is highly recommended for fans of his work.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">1. Naschy, Paul.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Memoirs of a Wolfman</i>.<span style="mso-spacerun: yes;"> </span>Translated by Mike Hodges.<span style="mso-spacerun: yes;"> </span>Midnight Marquee Press, Inc.<span style="mso-spacerun: yes;"> </span>Baltimore, Maryland.<span style="mso-spacerun: yes;"> </span>2000: p.205.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">2. <i style="mso-bidi-font-style: normal;">Ibid</i>.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">3. <i style="mso-bidi-font-style: normal;">Ibid</i>.</span></div>
</div>
</div>
</div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-77103894335319333102016-02-06T07:00:00.000-06:002016-02-06T07:00:05.185-06:00The Sleep of Death (1978)
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">The Sleep of Death</i>
(1978) is a pretty cool Euro production that lost a chance at an audience in
the late seventies during the Rise of the Blockbuster.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3-HSIiltV6P8LtE9z-1cXqDWUbHEtv81nso8UXe79Nqes7G8RKgHLdDJqCrfb_pzEqRRXmgUL0JDVKbxmuxh1ASnTu82rFHuAULxhKD5TAyxlpbuxDW8MzBBIP8-893Gr_vs-8QJJfL79/s1600/SleepDeath1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3-HSIiltV6P8LtE9z-1cXqDWUbHEtv81nso8UXe79Nqes7G8RKgHLdDJqCrfb_pzEqRRXmgUL0JDVKbxmuxh1ASnTu82rFHuAULxhKD5TAyxlpbuxDW8MzBBIP8-893Gr_vs-8QJJfL79/s400/SleepDeath1.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Based on a story by Sheridan le Fanu, <i style="mso-bidi-font-style: normal;">Sleep</i> is about English aristocrat, Robert (Brendan Price), who
longs to visit Post-Revolution Paris to gamble, to drink, and to consort with
various continental women.<span style="mso-spacerun: yes;"> </span>His father
will not allow him to do so and arranges for him to be married.<span style="mso-spacerun: yes;"> </span>However, fortuitously for Robert, he dies
before his wishes are fulfilled.<span style="mso-spacerun: yes;"> </span>It’s
off to France with his manservant, Sean (Niall Toibin).<span style="mso-spacerun: yes;"> </span>En route to Paris, Robert’s coach is almost
driven off the road by a sinister-looking coach, replete with the crest of a
Dragon.<span style="mso-spacerun: yes;"> </span>Inside, Robert catches a glimpse
of a beautiful woman.<span style="mso-spacerun: yes;"> </span>Robert’s coach
gives chase, and they find the sinister-looking coach at an inn outside
Paris.<span style="mso-spacerun: yes;"> </span>While dining, Robert meets the Marquis
(Patrick Magee) who offers to accompany Robert to Paris and introduce him into
society.<span style="mso-spacerun: yes;"> </span>Colonel Gaillard (Per
Oscarsson) arrives at the inn with his guard and he threatens the Count (Curd
Jürgens) and his wife, Countess Elga (Marilù Tolo).<span style="mso-spacerun: yes;"> </span>Robert steps in and subdues the Colonel.<span style="mso-spacerun: yes;"> </span>The beautiful young woman, whom Robert spied
within the sinister-looking coach, is the Countess.<span style="mso-spacerun: yes;"> </span>Robert is smitten and follows the Countess
(with the Marquis) to Paris that very evening.<span style="mso-spacerun: yes;">
</span>A young chambermaid is murdered that evening with her throat torn
out.<span style="mso-spacerun: yes;"> </span>Colonel Gaillard seems suspicious
but unsurprised and follows onto Paris…</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNIYVKab_er-QT8vMJU1nrQBEq0lPvPmV-xyLq50FCU4-4diHgvlbyEtgjCmUwhrGpeibkOn9humLCZhEzzRrJKJTAWTbIKPYQKps74EWD0IhHw7g64kcWSHgTh2hubd1d17b2knRz4eAj/s1600/SleepDeath3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNIYVKab_er-QT8vMJU1nrQBEq0lPvPmV-xyLq50FCU4-4diHgvlbyEtgjCmUwhrGpeibkOn9humLCZhEzzRrJKJTAWTbIKPYQKps74EWD0IhHw7g64kcWSHgTh2hubd1d17b2knRz4eAj/s400/SleepDeath3.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Sleep</i> is set
during a very interesting historical period, the rise of the Enlightenment and
the end of Superstition.<span style="mso-spacerun: yes;"> </span>It is within
these two schools where the filmmakers, screenwriters Calvin and Yvonne Floyd
with direction by Calvin, frame their narrative.<span style="mso-spacerun: yes;"> </span>One of the most interesting questions to be
posed within such a narrative is, “Could one who is so ‘enlightened’ exploit
the superstitions of those around him for his own gain?”<span style="mso-spacerun: yes;"> </span>The drama which unfolds in <i style="mso-bidi-font-style: normal;">Sleep</i> gives an answer to this question.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">During my first viewing of <i style="mso-bidi-font-style: normal;">Sleep</i>, I brought my own memories of le Fanu cinema and saw them in
the production.<span style="mso-spacerun: yes;"> </span>Tolo, who plays the
Countess, is eerily evocative of Ingrid Pitt who played in the excellent le
Fanu adaptation, <i style="mso-bidi-font-style: normal;">The Vampire Lovers</i>
(1970).<span style="mso-spacerun: yes;"> </span>Both actresses were about the
same age in their respective roles.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Sleep</i> also has direct allusions with
imagery taken from Carl Theodor Dryer’s masterpiece, <i style="mso-bidi-font-style: normal;"><a href="http://thisisquietcool.blogspot.com/2010/07/vampyr-1932.html">Vampyr</a></i> (1932).<span style="mso-spacerun: yes;"> </span>During a
second viewing, I was able to put those memories aside and see how cleverly
crafted the narrative is.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Sleep</i> is really told from the point of
view of Robert, and all the characters appear to the viewer as they would to
Robert—The Countess is beautiful and seductive; the Marquis is a kind
confidant; and the Colonel seems overzealous and crazy.<span style="mso-spacerun: yes;"> </span>Since <i style="mso-bidi-font-style: normal;">Sleep</i>
is a historical piece, the costumes and the apparent authentic locations also
contribute to the narrative’s seductive beauty.<span style="mso-spacerun: yes;">
</span>About midway through the film, when Robert attends a masquerade ball
hosted by the Count and the Countess, it becomes obvious that Robert is being
set-up.<span style="mso-spacerun: yes;"> </span>As to what kind of ending Robert
is being primed, this remains a mystery.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG7AOZVzaAENSxiz4ViElNocXYiXEgqJgP3mvL3jwtu_nEIq8wuwB6_HtkBKSSKBj2TIMIAXx29qBWuUr7Qt5eokjVjBUq8BkaAhsFFhNelCCUcJ6L973mWs9HVKwpQbvNIcAAyN8qh9OO/s1600/SleepDeath2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG7AOZVzaAENSxiz4ViElNocXYiXEgqJgP3mvL3jwtu_nEIq8wuwB6_HtkBKSSKBj2TIMIAXx29qBWuUr7Qt5eokjVjBUq8BkaAhsFFhNelCCUcJ6L973mWs9HVKwpQbvNIcAAyN8qh9OO/s400/SleepDeath2.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Patrick Magee and Per Oscarsson are two amazing actors who
give easily the best performances in <i style="mso-bidi-font-style: normal;">Sleep</i>.<span style="mso-spacerun: yes;"> </span>During the final act, when both of their
characterizations have a full turn is when both shine.<span style="mso-spacerun: yes;"> </span>I especially love how their two story arcs
are concluded, with especial note to Oscarsson’s character:<span style="mso-spacerun: yes;"> </span>his character’s ending is cryptic, and I use
that word with more than one meaning.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Sleep of Death</i> is an adult drama,
wrapped tightly in mystery, for the curious to seek out.<span style="mso-spacerun: yes;"> </span></span></div>
</div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-16774789912860467262016-02-04T07:00:00.000-06:002016-02-04T07:00:17.292-06:00Sara (1997)<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Sara</i> (1997) is an
amazing Polish film, primarily because it has an overarching commercial appeal
and is dealing with rather transgressive subject matter.<span style="mso-spacerun: yes;"> </span>Or maybe not.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">Sara</i> could be classified with its
American ilk, like the <i style="mso-bidi-font-style: normal;">Kick-Ass</i>
films, big studio films with big actors whose subject matter is, let’s say,
“edgy.”<span style="mso-spacerun: yes;"> </span>Or…I’m just getting old.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcWGDylKtdPb3P1Furf-cQef8aCGxE7HJcGTfCJF1CG-hixvv-yq9T83wtZK8ioZ4CnrRvlb7-6dLcuoj7lHG25L-uXCLoIM4cBp_CYpGexQ5e_SYWwsOAW31fuv4W_zfbErCbOK7kQC-S/s1600/SaraP2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcWGDylKtdPb3P1Furf-cQef8aCGxE7HJcGTfCJF1CG-hixvv-yq9T83wtZK8ioZ4CnrRvlb7-6dLcuoj7lHG25L-uXCLoIM4cBp_CYpGexQ5e_SYWwsOAW31fuv4W_zfbErCbOK7kQC-S/s400/SaraP2.BMP" width="400" /></a></div>
<span style="font-family: Calibri;">Leon (Boguslaw Linda) is a decorated soldier, returning home
to his loving wife and two child daughters after a tour.<span style="mso-spacerun: yes;"> </span>While he is in the kitchen of his flat with
his wife, Leon carelessly leaves his pistol in open view.<span style="mso-spacerun: yes;"> </span>One of his daughters picks it up and fires it
at her sister.<span style="mso-spacerun: yes;"> </span>Cut to a few years later
and Leon is still in his flat, but his wife and child have left him.<span style="mso-spacerun: yes;"> </span>He has been seeking serious solace in the
bottle.<span style="mso-spacerun: yes;"> </span>He gets a call from one of his
homies to meet a wealthy client for a protection job.<span style="mso-spacerun: yes;"> </span>Leon arrives at the meeting place, an upscale
bar, and is immediately rebuffed by the wealthy client for being a drunk.<span style="mso-spacerun: yes;"> </span>A trio of armed thugs storm the bar, and Leon
saves the client’s life.<span style="mso-spacerun: yes;"> </span>As gratitude,
the wealthy client gives Leon a job and helps him clean up his life.<span style="mso-spacerun: yes;"> </span>The job he gives Leon is simple:<span style="mso-spacerun: yes;"> </span>protect his teenage daughter, Sara (Agnieszka
Wlodarcyzk), as the wealthy client’s enemies may harm her to get to him.<span style="mso-spacerun: yes;"> </span>This job turns out to be simple but not easy
for Leon…</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1ZaKxYWreOnfEWak2URJbChBq_BmpgmMmGsP410JlNRczwYsg4ZOZavjMOlVUcewsC9ZHxE5iESJnHgnScitw4HuZDrZ9kUJnlvENQQRn3Eh69TDKYwTz5iUleU_imzP7iQDF1o2HmumR/s1600/SaraP3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1ZaKxYWreOnfEWak2URJbChBq_BmpgmMmGsP410JlNRczwYsg4ZOZavjMOlVUcewsC9ZHxE5iESJnHgnScitw4HuZDrZ9kUJnlvENQQRn3Eh69TDKYwTz5iUleU_imzP7iQDF1o2HmumR/s400/SaraP3.BMP" width="400" /></a></div>
<span style="font-family: Calibri;">The narrative of <i style="mso-bidi-font-style: normal;">Sara</i>
is the romantic comedy, familiar in the American tradition.<span style="mso-spacerun: yes;"> </span>Leon and Sara’s relationship begins with
playful antagonism:<span style="mso-spacerun: yes;"> </span>initially, Leon’s
only real task is dropping off and picking up Sara from school.<span style="mso-spacerun: yes;"> </span>One evening, however, she wants to attend the
basketball game and dance after.<span style="mso-spacerun: yes;"> </span>Leon
shadows her the entire evening, and visibly irritated and perturbed, Sara
steals the car keys from one of her bodyguards and escapes in the car.<span style="mso-spacerun: yes;"> </span>Leon gives chase on foot, and Sara has an
auto collision on the road.<span style="mso-spacerun: yes;"> </span>From within
the other car emerges an armed assailant, and Leon shields Sara with his body,
absorbing the bullets and saving her life.<span style="mso-spacerun: yes;">
</span>(Leon was wearing his bulletproof vest and survives.<span style="mso-spacerun: yes;"> </span>Sara’s father moves him into his manor to
recuperate.)<span style="mso-spacerun: yes;"> </span>Leon now wants to quit but
Sara won’t let him:<span style="mso-spacerun: yes;"> </span>she has declared her
love for him.<span style="mso-spacerun: yes;"> </span>Leon has a bit of dilemma
regarding the coquettish young lady’s feelings.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxRBLOtsbH1F4lPJ9JutHsvO4QrA-m5iMKdjGvMUurRGrmRWYcmmcCQVOVLQeRCfq8sQ9t3GgRrr40aDDE0Gkd0jCb-uSMwRZ7uyEsHAxhu3GcVWuJNojHi4d7nunj8DgfllmOk0CxQ5bo/s1600/SaraP1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxRBLOtsbH1F4lPJ9JutHsvO4QrA-m5iMKdjGvMUurRGrmRWYcmmcCQVOVLQeRCfq8sQ9t3GgRrr40aDDE0Gkd0jCb-uSMwRZ7uyEsHAxhu3GcVWuJNojHi4d7nunj8DgfllmOk0CxQ5bo/s400/SaraP1.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Subsequent to his tragedy, depicted in the first act of <i style="mso-bidi-font-style: normal;">Sara</i>, the viewer can clearly discern
that Leon has a death wish.<span style="mso-spacerun: yes;"> </span>There is not
much that he is willing to lose or afraid of risking.<span style="mso-spacerun: yes;"> </span>Sara begins after her declaration of love
seducing Leon, and Leon, after some initial reticence, complies to having a
sexual relationship with her.<span style="mso-spacerun: yes;"> </span>Sara’s
seduction scenes take upon the oddest aspect:<span style="mso-spacerun: yes;">
</span>each composition seemingly is not a subjective composition, intended
solely for the character of Leon; but rather, the compositions of Sara seem
directed towards the viewer.<span style="mso-spacerun: yes;"> </span>While the
dialogue remains playfully antagonistic between the two, there is something
disturbing about Sara’s seduction scenes.<span style="mso-spacerun: yes;">
</span>Slowly, Leon begins to articulate warmer feelings towards Sara, and the
two have a dinner date at a Chinese restaurant.<span style="mso-spacerun: yes;">
</span>They have a sweet tango scene on the dance floor (a la <i style="mso-bidi-font-style: normal;">Scent of a</i> <i style="mso-bidi-font-style: normal;">Woman</i> (1992) and <i style="mso-bidi-font-style: normal;">True</i> <i style="mso-bidi-font-style: normal;">Lies</i> (1994)).<span style="mso-spacerun: yes;"> </span>Included also is a scene where Leon, in his
flat of all places, rides in circles upon his bicycle while Sara rides upon the
handlebars.<span style="mso-spacerun: yes;"> </span>(I almost started humming
“Raindrops keep falling on my head” during this scene.)<span style="mso-spacerun: yes;"> </span>The juxtaposition of Sara’s seduction scenes
with the sweet, romantic comedy scenes give <i style="mso-bidi-font-style: normal;">Sara</i>
an odd, off-putting vibe.<span style="mso-spacerun: yes;"> </span>(Not to
mention the John Woo-<i style="mso-bidi-font-style: normal;">esque</i> finale in
the final act.)<span style="mso-spacerun: yes;"> </span>Like the <i style="mso-bidi-font-style: normal;">Kick-Ass</i> films, this quality makes <i style="mso-bidi-font-style: normal;">Sara</i> both simultaneously disturbing and
alluring, which is quite a unique feat.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Sara</i> is well done
in all technical aspects.<span style="mso-spacerun: yes;"> </span>The leads are
quite good in their roles.<span style="mso-spacerun: yes;"> </span>Most of the
comedy, even when it becomes repetitious, remains fresh and funny.<span style="mso-spacerun: yes;"> </span>In the end, <i style="mso-bidi-font-style: normal;">Sara</i> is probably the sleaziest film that is also kind of sweet.</span></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-77138856679422625062016-02-02T07:00:00.000-06:002016-02-02T07:00:03.605-06:00Who Wants to Kill Sara? (Tutti gli uomini di Sara) (1992)<span style="font-family: Calibri;">I certainly do not, but Sara thinks somebody does.</span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Nancy Brilli (Ruggero Deodato’s <i style="mso-bidi-font-style: normal;"><a href="http://thisisquietcool.blogspot.com/2009/08/ruggero-deodatos-body-count-1987.html">Body Count</a></i> (1986) and <a href="http://thisisquietcool.blogspot.com/2012/02/demoni-2-demons-2-1986.html">Demons 2</a> (1986)) plays Sara Lancetti, a
successful divorce attorney who is set to marry Max Altieri (Giulio
Scarpati).<span style="mso-spacerun: yes;"> </span>They forgo a long engagement
and choose to marry fifteen days from Max’s proposal.<span style="mso-spacerun: yes;"> </span>They’re happy.<span style="mso-spacerun: yes;"> </span>One evening in their flat, a bouquet of flowers
arrives with a mysterious message telling Sara not to marry.<span style="mso-spacerun: yes;"> </span>Max believes they are the gift of an old
bitter boyfriend, and Sara ignores them.<span style="mso-spacerun: yes;">
</span>Sara receives a second bouquet and subsequently an obscene phone call
that threatens her if she gets married.<span style="mso-spacerun: yes;">
</span>Sara does not phone the police, believing her life may be in
danger.<span style="mso-spacerun: yes;"> </span>Rather, Sara decides to take a
trip down memory lane and seek out her old lovers.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-AiaYS84Aa9x_U-Pono_1zIaSLAa5kluMcNpoGlmn4YbGRfgVmKP03vDn2EHq0fVLzZsnXPt01hb7HCrQJUYng-flEVz3ucXLRmuJbGS6aYJTkXLerVajE9BjGMFh56JDHo5HO7Bi0GCU/s1600/Sara2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-AiaYS84Aa9x_U-Pono_1zIaSLAa5kluMcNpoGlmn4YbGRfgVmKP03vDn2EHq0fVLzZsnXPt01hb7HCrQJUYng-flEVz3ucXLRmuJbGS6aYJTkXLerVajE9BjGMFh56JDHo5HO7Bi0GCU/s400/Sara2.BMP" width="400" /></a></div>
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Who Wants to Kill
Sara?</i> (<i style="mso-bidi-font-style: normal;">Tutti gli uomini di Sara</i>)
(1992) wants to defy the expectations of the genre from it was so clearly born:
the erotic thriller, brought to the A-List from the B-List by directors such as
Adrian Lyne with <i style="mso-bidi-font-style: normal;">9 ½ Weeks</i> (1986) and<i style="mso-bidi-font-style: normal;"> Fatal Attraction </i>(1987) and Paul Verhoeven
with <i style="mso-bidi-font-style: normal;">Basic</i> <i style="mso-bidi-font-style: normal;">Instinct</i> (1991).<span style="mso-spacerun: yes;"> </span>In the end,
<i style="mso-bidi-font-style: normal;">Who Wants to Kill Sara?</i> is a
thriller; but its screenplay, by Silvia Napolitano, keeps it as loose as
possible, only including the requisite scenes of the genre as they are
demanded.</span><br />
<span style="font-family: Calibri;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Subsequent to her second bouquet and obscene phone call,
Sara begins visiting old lovers.<span style="mso-spacerun: yes;"> </span>The first
she meets in a café and has a light conversation.<span style="mso-spacerun: yes;"> </span>(Implicitly, Sara is able to remove suspects
from her list by listening again to her lovers’ voices.)<span style="mso-spacerun: yes;"> </span>While their conversation is light, the pair
feels a chemistry and Sara and her old lover become flirty.<span style="mso-spacerun: yes;"> </span>Despite the duo’s romantic feelings, their
meeting ends uneventfully.<span style="mso-spacerun: yes;"> </span>Sara then
locates ex-lover, Daniele (Claudio Bigagli), who, upon seeing Sara, again,
becomes overcome with emotion.<span style="mso-spacerun: yes;"> </span>He’s
sensitive, and after another uneventful meeting, where Sara eliminates him as a
suspect, Daniele shows outside the courtroom to confront Sara the next
day.<span style="mso-spacerun: yes;"> </span>It was too much for him to see
Sara, again, and he has to let her know this.<span style="mso-spacerun: yes;">
</span>Sara meets another lover who’s hiding a secret, but in the end, this
secret has nothing to do with Sara.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_wUf4MWYn0psjYzjdRbfrVivs41stB7L7EMfKH2OWk_bIZi1O49IYzZo67XQ1TKFLVO6GkCnRVU6IIZ5eF_jnlFqGqVTHRy-aTdOAwsJpcinuG3ucT3vtXLO3-pDbhLU6JT0NxJQF_lko/s1600/Sara1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_wUf4MWYn0psjYzjdRbfrVivs41stB7L7EMfKH2OWk_bIZi1O49IYzZo67XQ1TKFLVO6GkCnRVU6IIZ5eF_jnlFqGqVTHRy-aTdOAwsJpcinuG3ucT3vtXLO3-pDbhLU6JT0NxJQF_lko/s400/Sara1.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">There is an obvious warm nostalgia visiting and reminiscing
with old lovers, simultaneously with a danger of reigniting the charged
emotions that may have led to that relationship’s ending.<span style="mso-spacerun: yes;"> </span>The pitfalls of such dangers are the driving
force behind <i style="mso-bidi-font-style: normal;">Who Wants to Kill Sara?<span style="mso-spacerun: yes;"> </span></i>The opening scene of the film after Sara
successfully defends her client in a courtroom, in the bathroom, Sara is pulled
into an empty stall by an unknown man.<span style="mso-spacerun: yes;">
</span>The two have a steamy standing love scene.<span style="mso-spacerun: yes;"> </span>At the mid-point in the film, seemingly to
remind its viewer that <i style="mso-bidi-font-style: normal;">Sara</i> is a
thriller, Sara pops into a convenience store for some milk and receives a phone
call while inside.<span style="mso-spacerun: yes;"> </span>A stranger is calling
from a phone booth, and Sara gives chase.<span style="mso-spacerun: yes;">
</span>She cannot locate the man making the phone call, but soon after, she is
attacked near her flat.<span style="mso-spacerun: yes;"> </span>Sara escapes with
little injury.<span style="mso-spacerun: yes;"> </span>As the film builds
towards its climax, Sara’s obsession to find the caller grows and causes havoc
in her personal and professional life.<span style="mso-spacerun: yes;">
</span>During the final meeting of Sara and one of her old lovers, it ends with
Sara sharing his bed.<span style="mso-spacerun: yes;"> </span>Peppered
throughout the film are sexy shots of Brilli in her garter and hose or in her
panties.<span style="mso-spacerun: yes;"> </span>Erotic scenes? Check.<span style="mso-spacerun: yes;"> </span>Thriller scenes? Check.<span style="mso-spacerun: yes;"> </span>Erotic thriller?<span style="mso-spacerun: yes;"> </span>Not quite.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj79QIQEiCZ0m_6loBx6HuXRi93wylwde6GmnSYTuA_I9lW6hDiX66szIaSfR5HPF4V8nHlwzGnc1sQ5EGrmweAFTZNAjK-FCmnO53mChXd16UtCRDsuZdYV3de_ShWUh21t7oLyF4z3o4/s1600/Sara3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj79QIQEiCZ0m_6loBx6HuXRi93wylwde6GmnSYTuA_I9lW6hDiX66szIaSfR5HPF4V8nHlwzGnc1sQ5EGrmweAFTZNAjK-FCmnO53mChXd16UtCRDsuZdYV3de_ShWUh21t7oLyF4z3o4/s400/Sara3.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Who Wants to Kill
Sara?</i> suffers from an A-list production forgetting its true, b-movie
roots.<span style="mso-spacerun: yes;"> </span>The film is lit in a Lyne-<i style="mso-bidi-font-style: normal;">ish</i> manner with natural light filtering
in through windows, giving its actors a smoky silhouette look at times.<span style="mso-spacerun: yes;"> </span>The night scenes, especially the ones in
Sara’s flat, are pedestrian.<span style="mso-spacerun: yes;"> </span>When the
killer is revealed in the final act, I didn’t really care too much.<span style="mso-spacerun: yes;"> </span>To be truthful, it seemed Sara didn’t seem to
particularly care either.<span style="mso-spacerun: yes;"> </span>Obscure.</span></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-65868751688506625662016-01-31T07:00:00.000-06:002016-01-31T07:00:17.731-06:00The House by the Edge of the Lake (Sensitività) (1979)<span style="font-family: Calibri;">Intuitively, one would think that <i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">House by the Edge of the</i>
<i style="mso-bidi-font-style: normal;">Lake</i> (<i style="mso-bidi-font-style: normal;">Sensitività</i>) (1979) was directed by Joe D’Amato: the similar
compositions (by Alejandro Ulloa; although not quite as good as D’Amato’s); the
antique almost colorless yet quite beautiful medieval village setting, as in <i style="mso-bidi-font-style: normal;"><a href="http://thisisquietcool.blogspot.com/2009/04/joe-damatos-anthropophagus-1980.html">Anthropophagus</a></i> (1980); and finally, an
emphasis on atmosphere and softcore sex.<span style="mso-spacerun: yes;">
</span>However, no.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The House by the Edge of the Lake</i> was helmed by Enzo G. Castellari,
not known for his work in this genre, who responded to the question, “Are there
any of your movies which you don’t like?”</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinIxyuQiitPs2k_W-OczaBUoRVi__96AxUZ8QTBnbKCTWvGA5gFqm8rY0BpTX0yRrxRAk5NDOHpaw9wYqqESfMWDAv9uVkSMohHeRV1LLeVIRk7LomPBUJmSvUM34cpRpwNa3db8e5kxbw/s1600/Kyra2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinIxyuQiitPs2k_W-OczaBUoRVi__96AxUZ8QTBnbKCTWvGA5gFqm8rY0BpTX0yRrxRAk5NDOHpaw9wYqqESfMWDAv9uVkSMohHeRV1LLeVIRk7LomPBUJmSvUM34cpRpwNa3db8e5kxbw/s400/Kyra2.BMP" width="400" /></a></div>
<span style="font-family: Calibri;">“Of course. For example SENSITIVIA (aka KYRA, LAST HOUSE
NEAR THE LAKE, 1979). We made that one during my holidays in Spain, it was a completely
Spanish production, involving some questionable money that had been left from
some other, even more strange production. It was some sort of joke for me but
then the producer came and said that there is no more money left to complete
the film and that he needs my ‘name’ to raise more from other production
companies. I was not very happy to see my name on that picture. However he
failed to get more money, I returned to Rome and from what I’ve heard, the
Spanish producer finished the picture by himself later on. I’ve never seen it
but I’m sure it’s completely unwatchable. However, I had a great time with my
friends at the Costa Brava (laughs).” (1)</span><br />
<span style="font-family: Calibri;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">A notation follows this paragraph in the interview where the
interviewers note that, “Castellari has since seen the finished film and was
pleasantly surprised with the outcome.” (2)</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZZgmQuBTiDmyruPbafsOopcjbqMcOGA2KZSBH4oolKB3zFaMGN4BXZJ7WqOrwAHnNfn1LbjjaJIJwz4VQoa_6QPb7y3ju3arbuXoIJ73lhZtwtJFwfGGpnqKGDGJeiyjIqPEGZqxwYmws/s1600/Kyra1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZZgmQuBTiDmyruPbafsOopcjbqMcOGA2KZSBH4oolKB3zFaMGN4BXZJ7WqOrwAHnNfn1LbjjaJIJwz4VQoa_6QPb7y3ju3arbuXoIJ73lhZtwtJFwfGGpnqKGDGJeiyjIqPEGZqxwYmws/s400/Kyra1.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Lilian (Leonora Fani) returns to her ancestral and familial
home from Italy to do college research about the local superstitions.<span style="mso-spacerun: yes;"> </span>Her house sits upon a lake that is avoided by
the villagers as cursed.<span style="mso-spacerun: yes;"> </span>In the opening
scene of the film, a young mother is rowing upon it with her child
daughter.<span style="mso-spacerun: yes;"> </span>She lets her daughter go to
shore, and while the young mother paddles to find a navigable path to the main
shoreline, a woman’s hand comes from the lake and pulls the young woman from
the boat.<span style="mso-spacerun: yes;"> </span>En route to her home, Lilian
encounters several bad omens:<span style="mso-spacerun: yes;"> </span>she almost
hits a blind young girl with her motorcycle; inside the home, she hallucinates
a hooded figure who attempts to kill her with an axe; and finally, without
Lilian’s notice, a young woman about her age spies on Lilian from a distance
who seems none too happy that Lilian is home.<span style="mso-spacerun: yes;">
</span>Lilian hooks up with the young people in the village, and later in the
evening (after drinking), they decide to go to the cemetery.<span style="mso-spacerun: yes;"> </span>Lilian notices a unique grave with a bust of
a beautiful woman, sitting atop.<span style="mso-spacerun: yes;"> </span>Her
date for the evening identifies the plot as the resting place for Kyra, a woman
suspected by the village as being a witch.<span style="mso-spacerun: yes;">
</span>Her date, whose name is Julien (Alberto Squillante), says the woman was
not a witch, because she was his ancestor.<span style="mso-spacerun: yes;">
</span>Lilian becomes excited and the two start fucking.<span style="mso-spacerun: yes;"> </span>The young woman who was spying on Lilian at
her home, named Lilith (Patricia Adriani), is again watching Lilian.<span style="mso-spacerun: yes;"> </span>Lilith has a vision of Kyra (Caternia
Boratto), becomes aroused, and starts masturbating.<span style="mso-spacerun: yes;"> </span>Lilian has an orgasm and faints.<span style="mso-spacerun: yes;"> </span>Julien loses his shit and flees in his
car.<span style="mso-spacerun: yes;"> </span>He has an accident when his car
goes over a cliff and he dies.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZGmVEef0OpuRGy0Og-nwkt2IMaZfgpLsx5BCorKI0-xH5lbVvTUDsdDgNyzoJruqq92P0phcE27VfZUyGR2jLeFw37NgUUGTZp5TKiR9yB-xOcjluWzJ27JX42n-ysrYuX3W3RRqh0UCh/s1600/Kyra4.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZGmVEef0OpuRGy0Og-nwkt2IMaZfgpLsx5BCorKI0-xH5lbVvTUDsdDgNyzoJruqq92P0phcE27VfZUyGR2jLeFw37NgUUGTZp5TKiR9yB-xOcjluWzJ27JX42n-ysrYuX3W3RRqh0UCh/s400/Kyra4.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">The simultaneous arousal of Lilian and Lilith happens three
more times; Lilith masturbates three more times; Lilian has sex three more
times; and <i style="mso-bidi-font-style: normal;">two</i> of her partners
subsequently kill himself after Lilian faints after orgasm in <i style="mso-bidi-font-style: normal;">House</i>.<span style="mso-spacerun: yes;">
</span>The lone lover to survive is Lilian’s boyfriend, Edoardo (Wolfango
Soldati), while the other lovers who meet suicidal ends (one of whom is
Michele, played by Antonio Mayans aka Robert Foster) share a strong
connection.<span style="mso-spacerun: yes;"> </span>Castellari plays the police
inspector who suspects that Lilian has something to do with the murders (but
has no proof), while the superstitious villagers turn on Lilian after the
second death, believing she is a witch.<span style="mso-spacerun: yes;">
</span>Wonderful, Italian-American character actor Vincent Gardenia plays an
artist in the village.<span style="mso-spacerun: yes;"> </span>He doesn’t think
that Lilian is a witch: he knows the real secret behind the killings, as he
houses a dark secret himself.<span style="mso-spacerun: yes;"> </span>The
dramatic action and plot of <i style="mso-bidi-font-style: normal;">House</i> is
quite simple but the odd history driving the action is rather convoluted.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgshXEGdmrjLNhFzq-A9kKS4Oa4QM6Ps66FA3LQiPdaBjE9K6q0hc_YXxeNJME2XpJiWOo_QiYTSKKcy4HvZz-SrGB8ZUiQuVDibp0b8KG_YKVzncsiqzDpw2vONOKI98As5vs2U9XrO2bY/s1600/Kyra3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgshXEGdmrjLNhFzq-A9kKS4Oa4QM6Ps66FA3LQiPdaBjE9K6q0hc_YXxeNJME2XpJiWOo_QiYTSKKcy4HvZz-SrGB8ZUiQuVDibp0b8KG_YKVzncsiqzDpw2vONOKI98As5vs2U9XrO2bY/s400/Kyra3.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">The House by the Edge
of the</i> <i style="mso-bidi-font-style: normal;">Lake</i> is obscure and rather
inconsequential.<span style="mso-spacerun: yes;"> </span>The screenplay isn’t
completely compelling—the inclusion of the overtly sexual elements raise the
eyebrows of the film.<span style="mso-spacerun: yes;"> </span>Subsequently, really
only the sex scenes receive any creative treatment and are the only memorable
moments of the film.<span style="mso-spacerun: yes;"> </span>Hence, the overall
Joe D’Amato-<i style="mso-bidi-font-style: normal;">esque</i> feeling of the
production.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The House by the Edge of the</i> <i style="mso-bidi-font-style: normal;">Lake</i>
is a film on the periphery of the syllabus for serious students of European
cult cinema.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">1.<span style="mso-spacerun: yes;"> </span>Blumenstock,
Peter and Christian Kessler.<span style="mso-spacerun: yes;"> </span>“Enzo G.
Castellari Part. 2 of an Interview.” <i style="mso-bidi-font-style: normal;">European</i>
<i style="mso-bidi-font-style: normal;">Trash</i> <i style="mso-bidi-font-style: normal;">Cinema</i>.<span style="mso-spacerun: yes;"> </span>Vol.2, No. 10.<span style="mso-spacerun: yes;"> </span>Ed. Craig Ledbetter.<span style="mso-spacerun: yes;"> </span>Kingwood, TX. 1994: p. 31.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">2.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Ibid</i>.</span></div>
</div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-17326693202376771352016-01-29T07:00:00.000-06:002016-01-29T07:00:18.550-06:00La stanza della fotografia (2000)<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">La stanza della</i> <i style="mso-bidi-font-style: normal;">fotografia</i> (2000) is an Italian
made-for-tv film.<span style="mso-spacerun: yes;"> </span>I wanted to see it,
because it stars Cinzia Monreale.<o:p></o:p></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifmqf1QDZy0MtDcoRYltPwuAxjcNp1m1nlfVQ0lNxxCXlePaU3Fva24P_VwGynzyS2v7j1ESEMHMKusUA_QMZMrJrJ8zNbYiQGPIpX99ppcJpH7ow2g0f97SiKAf6pxlaupccpWu9wE9iF/s1600/LaStanza4.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifmqf1QDZy0MtDcoRYltPwuAxjcNp1m1nlfVQ0lNxxCXlePaU3Fva24P_VwGynzyS2v7j1ESEMHMKusUA_QMZMrJrJ8zNbYiQGPIpX99ppcJpH7ow2g0f97SiKAf6pxlaupccpWu9wE9iF/s400/LaStanza4.BMP" width="400" /></a></div>
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">La stanza</i> opens in
Rome where an older man is driving to meet his lover.<span style="mso-spacerun: yes;"> </span>He arrives at his lover’s flat and is
immediately gunned down in a professional hit.<span style="mso-spacerun: yes;">
</span>Cut to Tunisia and Silvia (Lea Karen Gramsdorff) and her husband, Marco
(Roberto Farnesi).<span style="mso-spacerun: yes;"> </span>A lawyer visits the
couple and tells them that Silvia’s father has been murdered.<span style="mso-spacerun: yes;"> </span>It appears that it was the work of the mafia,
and he recommends Silvia to not return to Rome.<span style="mso-spacerun: yes;">
</span>Silvia and Marco conduct tourist tours for a living and are in the
middle of a very unhappy marriage—Marco is extremely abusive towards
Silvia.<span style="mso-spacerun: yes;"> </span>Cut to Denise (Monreale) whose
husband attempts to rape her in the kitchen.<span style="mso-spacerun: yes;">
</span>Denise kicks him in his groin and escapes.<span style="mso-spacerun: yes;"> </span>Her husband calls some thugs to go and beat
upon her.<span style="mso-spacerun: yes;"> </span>Denise is confronted by three
thugs and is about to get raped again when Silvia and Marco’s tour bus happens
upon them.<span style="mso-spacerun: yes;"> </span>Marco scares off the thugs,
and Silvia offers solace to Denise.<span style="mso-spacerun: yes;"> </span>The
two women feel a strong bond and promise to see each other again.<span style="mso-spacerun: yes;"> </span>One evening, Marco becomes angry and locks
Silvia outside in a shed.<span style="mso-spacerun: yes;"> </span>The following
morning she flees to the home of Denise and her husband.<span style="mso-spacerun: yes;"> </span>They tell her that she can stay.<span style="mso-spacerun: yes;"> </span>When Silvia returns to her home to gather
some things, Denise accompanies her.<span style="mso-spacerun: yes;">
</span>When Marco becomes violent again, Denise shoots him.<span style="mso-spacerun: yes;"> </span>She says it was an accident, as the two
ladies dispose of his body…</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2JwkxA_lrRTqLOAqKY48N8t2rRuD5pZYndwMTq6dxtaZqbzDlSNave9qJrDdM3P32qkg6ruNd0ajpNNGE_KtZIXzOXS_3bdKd5VPaK2MjiTp3y8b_VONTRBJvbWXZjWyHg0Rbs-qW2cGq/s1600/LaStanza3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2JwkxA_lrRTqLOAqKY48N8t2rRuD5pZYndwMTq6dxtaZqbzDlSNave9qJrDdM3P32qkg6ruNd0ajpNNGE_KtZIXzOXS_3bdKd5VPaK2MjiTp3y8b_VONTRBJvbWXZjWyHg0Rbs-qW2cGq/s400/LaStanza3.BMP" width="400" /></a></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">I have had a huge crush on Cinzia Monreale ever since I
first saw her in Lucio Fulci’s <a href="http://thisisquietcool.blogspot.com/2010/11/laldila-1981.html"><i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">Beyond</i></a> (1981).<span style="mso-spacerun: yes;"> </span>I will see anything that in which she
appears.<span style="mso-spacerun: yes;"> </span>Despite the fact that her
character really only begins her story arc about midway through <i style="mso-bidi-font-style: normal;">La stanza</i>, Monreale is the true
attraction of the film.<span style="mso-spacerun: yes;"> </span>Her opening
scene is sleazy—not necessarily because it is depicting an attempted rape, but
rather in how it depicts it:<span style="mso-spacerun: yes;"> </span>it is shot
in the same manner as a typical, consensual sex scene, despite it being a scene
of violence.<span style="mso-spacerun: yes;"> </span>It is also an opportunity
for Monreale to provide nudity.<span style="mso-spacerun: yes;"> </span>Tunisia
appears to be a hot country, and this affords an opportunity for its leading
ladies to don sundresses and short shorts.<span style="mso-spacerun: yes;">
</span>Monreale is enchanting in a bikini.<span style="mso-spacerun: yes;">
</span>I enjoyed all of this very much.<span style="mso-spacerun: yes;">
</span>However, my attention span is painfully short, and these scenes soon
became repetitive.<span style="mso-spacerun: yes;"> </span>I was forced to
confront the story of <i style="mso-bidi-font-style: normal;">La</i> <i style="mso-bidi-font-style: normal;">stanza</i>.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDw1Ld_bJCwB-xURYkz16rv-sIRqYowqZKKQBfRJACmXaykj0IZi3Sw6-4qwR3CzG3Tpjk3w3sZqXgFvMDgABJ_Uhytg4Q_BZAs_ietPTEHY21HEhaQYYtfdS2Jn15rk0_PlLqCG8KFADZ/s1600/LaStanza2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDw1Ld_bJCwB-xURYkz16rv-sIRqYowqZKKQBfRJACmXaykj0IZi3Sw6-4qwR3CzG3Tpjk3w3sZqXgFvMDgABJ_Uhytg4Q_BZAs_ietPTEHY21HEhaQYYtfdS2Jn15rk0_PlLqCG8KFADZ/s400/LaStanza2.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">While the Italian Wiki <a href="https://it.wikipedia.org/wiki/La_stanza_della_fotografia">entry</a> of <i style="mso-bidi-font-style: normal;">La</i> <i style="mso-bidi-font-style: normal;">stanza</i> credits Sergio
Martino as the producer of the film, I recall seeing only his brother’s name,
Luciano, in the credits as producer (he also is credited with the story.).<span style="mso-spacerun: yes;"> </span>The director is Antonio Bonifacio.<span style="mso-spacerun: yes;"> </span>The crew of <i style="mso-bidi-font-style: normal;">La</i> <i style="mso-bidi-font-style: normal;">stanza</i> want to fashion
their production as a twist on <i style="mso-bidi-font-style: normal;">Diabolique</i>
(Henri-Georges Clouzot, 1955); and the story is constructed painfully
transparent in its mystery.<span style="mso-spacerun: yes;"> </span>Silvia
begins to have visions of Marco, supposed to be dead, around the city.<span style="mso-spacerun: yes;"> </span>She faints and passes out, and Silvia tells
her only confidante, Denise, that she is seeing Marco.<span style="mso-spacerun: yes;"> </span>Denise begins giving her pills to help her
stress and allow her to rest.<span style="mso-spacerun: yes;"> </span>The key
scene, about midway through the film that undoes the mystery, is a ridiculously
contrived one:<span style="mso-spacerun: yes;"> </span>Denise tells Silvia that
she has to go to the Italian consulate to renew her visa and will be gone most
of the afternoon.<span style="mso-spacerun: yes;"> </span>She goes.<span style="mso-spacerun: yes;"> </span>The viewer is treated to a scene of Denise
calling Silvia from the consulate.<span style="mso-spacerun: yes;">
</span>Silvia is attacked by a man whom she believes is Marco and she ends up
killing him.<span style="mso-spacerun: yes;"> </span>It is not Marco but
Denise’s husband.<span style="mso-spacerun: yes;"> </span>Doesn’t that trip to
the consulate seem a little too convenient?</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9hHJMpm_7ShChtRyuOeZy1DQTM2S3Cm6YYstUjjDHRJwIEFlI0xTOK39jgw6AmYpzJ9GBamO4w6gctWE6Y64_XOg_RKIy3GVZePLzLso4OZNJqn7efLzIuWZTrsvmIpOo7FxIUPBBMa3y/s1600/LaStanza1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9hHJMpm_7ShChtRyuOeZy1DQTM2S3Cm6YYstUjjDHRJwIEFlI0xTOK39jgw6AmYpzJ9GBamO4w6gctWE6Y64_XOg_RKIy3GVZePLzLso4OZNJqn7efLzIuWZTrsvmIpOo7FxIUPBBMa3y/s400/LaStanza1.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">I possess an average intelligence; apply only rudimentary
logic while watching mysteries; and have a high tolerance for ineptitude.<span style="mso-spacerun: yes;"> </span>Having admitted this, <i style="mso-bidi-font-style: normal;">La stanza della fotografia</i> bored me with its tired story and
execution.<span style="mso-spacerun: yes;"> </span>The photography and
performances are quite good, with especial mention, of course, to
Monreale.<span style="mso-spacerun: yes;"> </span>However, the world in which these
characters populate is far from alluring.<span style="mso-spacerun: yes;">
</span>Silvia is being set-up to take a fall—this much is obvious.<span style="mso-spacerun: yes;"> </span>From the first act, it is obvious why she is.<span style="mso-spacerun: yes;"> </span>The only question remaining is:<span style="mso-spacerun: yes;"> </span>why am <i style="mso-bidi-font-style: normal;">I</i>
watching this?<span style="mso-spacerun: yes;"> </span>Cinzia Monreale.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">La</i> <i style="mso-bidi-font-style: normal;">stanza</i> is recommended only for her
die-hard fans.</span></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-85880585445102856602016-01-27T07:00:00.000-06:002016-01-27T07:00:18.409-06:00Eyes Behind the Wall (L’occhio dietro la parete) (1977)<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Eyes Behind the</i> <i style="mso-bidi-font-style: normal;">Wall</i> (<i style="mso-bidi-font-style: normal;">L’occhio dietro la parete</i>) (1977) is a weird Italian film. A <i style="mso-bidi-font-style: normal;">giallo</i>?<span style="mso-spacerun: yes;">
</span>No.<span style="mso-spacerun: yes;"> </span>However, the opening scene
certainly suggests so.<span style="mso-spacerun: yes;"> </span>A young man (John
Phillip Law) shares a train car with an attractive young woman.<span style="mso-spacerun: yes;"> </span>His eyes are drawn to her exposed legs, and
he becomes aroused while watching her cross and uncross her legs.<span style="mso-spacerun: yes;"> </span>His arousal prompts him to strangle the woman
(and presumably, because it is not shown) and rape her.<span style="mso-spacerun: yes;"> </span>Cut to attractive Olga (Olga Bisera) in a
wealthy manor.<span style="mso-spacerun: yes;"> </span>She joins Ivano (Fernando
Rey) for dinner.<span style="mso-spacerun: yes;"> </span>Discussion ensues about
their new tenant, as they house a rental cottage on their property.<span style="mso-spacerun: yes;"> </span>Ivano has been spying on his new tenant,
named Arturo (Law), and is fascinated by his behavior.<span style="mso-spacerun: yes;"> </span>Arturo spends all of his days alone listening
to only classical and modern, progressive music.<span style="mso-spacerun: yes;"> </span>He reads heady tomes, such as major
philosophical and science works.<span style="mso-spacerun: yes;"> </span>Ivano
knows little about him after observation.<span style="mso-spacerun: yes;">
</span>Where does he go when he leaves?<span style="mso-spacerun: yes;">
</span>How does he produce income?<span style="mso-spacerun: yes;"> </span>Olga
sees Ivano’s spying as an intrusion upon someone’s private space but she is
indulgent of his behavior:<span style="mso-spacerun: yes;"> </span>Ivano is a
writer, disabled and unable to walk.<span style="mso-spacerun: yes;"> </span>He
feels unable to move about in polite society to gather experiences to inform
his writing.<span style="mso-spacerun: yes;"> </span>So Ivano is reduced to
spying.<span style="mso-spacerun: yes;"> </span>Ivano is so into spying that he
has installed a state-of-the-art monitoring device which allows him to view
Arturo in his flat with complete discretion.<span style="mso-spacerun: yes;">
</span>After dinner, Olga and Ivano go to spy upon Arturo in his
apartment.<span style="mso-spacerun: yes;"> </span>When Arturo sheds his clothes
and engages in his exercises, Ivano prompts Olga to watch.<span style="mso-spacerun: yes;"> </span>The old man strokes young Olga while she
watches.<span style="mso-spacerun: yes;"> </span>After their viewing session,
Ivano suggests that Olga follow Arturo when he leaves at night and learn what
he does.<span style="mso-spacerun: yes;"> </span>Olga reluctantly agrees…</span><br />
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<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Eyes</i> strives to
elevate itself beyond mere sensationalism and cast a drama within the milieu a
generation questioning its sexual mores and taboos.<span style="mso-spacerun: yes;"> </span>(Although, in the end, I think director and
writer Giuliano Petrelli was struggling to balance the sensationalism and his
ideals.)<span style="mso-spacerun: yes;"> </span>Law’s character, Arturo, is
presented as a curious but seriously confused individual (hence, the opening
scene).<span style="mso-spacerun: yes;"> </span>He seeks solace and knowledge in
books, but when confronted with the real world and his emotions, he shuts
down.<span style="mso-spacerun: yes;"> </span>For example, on the trolley Arturo
gets cruised by a dude who invites him to a nightclub for dancing.<span style="mso-spacerun: yes;"> </span>Arturo doesn’t participate in the
dancing—when an attractive young woman sheds her clothes on the dance floor, it
is a little too much for him.<span style="mso-spacerun: yes;"> </span>The guy invites
himself to Arturo’s flat, and Arturo doesn’t understand his flirty behavior.<span style="mso-spacerun: yes;"> </span>(I have to admit that I laughed quite a bit
when Arturo was getting buggered and screaming bloody murder).<span style="mso-spacerun: yes;"> </span>Eventually, Ivano prods Olga to arrange a
meeting with Arturo and get to know him.<span style="mso-spacerun: yes;">
</span>She brings Arturo the lease to sign and invites him out for the
day.<span style="mso-spacerun: yes;"> </span>Arturo is able talk politics and
philosophy, but he is as socially-awkward as Travis Bickle when it comes to
articulating his feelings.<span style="mso-spacerun: yes;"> </span>Olga seduces
him that evening in his flat (much to the chagrin of Ivano taking in all of the
details via his spy-scope):<span style="mso-spacerun: yes;"> </span>Arturo tries
to initiate sex by anal penetration, but Olga, like a consoling mother, tells
him no and takes over the reins in the lovemaking.<span style="mso-spacerun: yes;"> </span>Olga and Arturo also have unique sexual
identities vis-à-vis each other, and even their butler, Ottavio (José Quaglio) has
his own secret sexual hang-ups and quirks which director Petrelli thinks is
worth exploring with some sensitivity.</span></div>
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<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">The premise of <i style="mso-bidi-font-style: normal;">Eyes</i>
is too incredulous to be taken seriously while simultaneously, the film is too
realistic to be arty.<span style="mso-spacerun: yes;"> </span>At its end, <i style="mso-bidi-font-style: normal;">Eyes</i> is too heady—more anthropology than
cinema.<span style="mso-spacerun: yes;"> </span>The end result is an average
film.<span style="mso-spacerun: yes;"> </span>However, beyond its artistic
approach to the subject matter, <i style="mso-bidi-font-style: normal;">Eyes</i> <i style="mso-bidi-font-style: normal;">is</i> entertaining.<span style="mso-spacerun: yes;"> </span>There is enough mystery to each character to
make viewing compelling.<span style="mso-spacerun: yes;"> </span>Fernando Rey is
an amazing actor and is able to be quite captivating as Ivano, despite his
character really never leaving his study or the dining room.<span style="mso-spacerun: yes;"> </span>Beautiful Olga Bisera plays the perfect
accompaniment as the curious female to John Phillip Law’s shy Arturo.<span style="mso-spacerun: yes;"> </span>The sensational elements of <i style="mso-bidi-font-style: normal;">Eyes</i> never take over, but they become
focal when on display.<span style="mso-spacerun: yes;"> </span>In the end,
erotic filmmakers, like Tinto Brass with <i style="mso-bidi-font-style: normal;"><a href="http://thisisquietcool.blogspot.com/2011/08/la-chiave-1983.html">La chiave</a> </i>(1983), for example, make more compelling films, both artistically
and intellectually, when dealing with this subject matter.</span></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-67340761335223692392016-01-20T07:00:00.000-06:002016-01-20T07:00:12.627-06:00The Bloodsucker Leads the Dance (La sanguisuga conduce la danza) (1975)<span style="font-family: Calibri;">In turn-of-the-twentieth-century Ireland, Count Richard
Marnack (Giacomo Rossi-Stuart) visits the local theatre and invites its acting
troupe to his island/castle home.<span style="mso-spacerun: yes;"> </span>The
Count is quite taken with ingénue, Evelyn (Patrizia de Rossi), who bears a
striking resemblance to his wife, now missing some years.<span style="mso-spacerun: yes;"> </span>The rest of the troupe, brazen Cora (Krista
Nell), lovers Rosalind (Marzia Damon) and Penny (Lidia Olizzi), and diminutive
stage hand, Samuel (Leo Valeriano) accompany the Count and Evelyn to the
castle, as their theatre is closing.<span style="mso-spacerun: yes;"> </span>Upon
arrival at the castle, the group is greeted by stern and comely, Sybil (Femi
Benussi), the housekeeper, the holier-than-thou butler, Jeffrey (Mario de
Rosa), and lecherous groundskeeper Gregory (Luciano Pigozzi).<span style="mso-spacerun: yes;"> </span>None of the latter three are particularly
thrilled that the Count has brought guests.<span style="mso-spacerun: yes;">
</span>A lavish dinner is prepared, and the Count tells a ghoulish ghost
story:<span style="mso-spacerun: yes;"> </span>both his grandfather and his
father murdered each’s respective lover by beheading each with an ornate dagger,
only to then after the act, jump from the top of the castle to his death in the
sea.<span style="mso-spacerun: yes;"> </span>The dagger is still in the house,
and the Count wants to take Evelyn as his new wife.<span style="mso-spacerun: yes;"> </span>Spooky.</span><br />
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">The Bloodsucker Leads
the Dance</i> (<i style="mso-bidi-font-style: normal;">La sanguisuga conduce la
danza</i>) (1975) feels like it was made by children who have discovered
several unique facets of the human psyche and are eager to tell the world about
them: 1) men are ineffectual and unnecessary; 2) women have sexual desires and
desire to act upon them; and 3) lesbianism actually exists and is awesome.<span style="mso-spacerun: yes;"> </span>If the ancient pharaohs made these findings
and had inscribed them with detailed hieroglyphics, then maybe they would be
provocative.<span style="mso-spacerun: yes;"> </span>From the first act of <i style="mso-bidi-font-style: normal;">Bloodsucker</i> and from my synopsis above,
one would intuitively think that the Count’s story and his bourgeoning
relationship with Evelyn would be foreshadowing of the story to come.<span style="mso-spacerun: yes;"> </span>Wrong.<span style="mso-spacerun: yes;">
</span></span><br />
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<span style="font-family: Calibri;">Poor Samuel is the biggest pussy.<span style="mso-spacerun: yes;"> </span>The first act devotes itself to a rather
lengthy expositional sequence where Samuel visits each of the troupe’s
actresses:<span style="mso-spacerun: yes;"> </span>Cora asks Samuel to tie her
corset, but he cannot do so, because he is distracted by her exposed
breasts.<span style="mso-spacerun: yes;"> </span>The lovers Rosalind and Penny
want to be left alone for love-making but are disturbed by the ogling of
Samuel.<span style="mso-spacerun: yes;"> </span>Finally, Samuel does nothing but
whine and bitch to Evelyn that they should not go to the castle, because he is
afraid.<span style="mso-spacerun: yes;"> </span>Samuel does little more than
bitch and moan after arrival to the castle.<span style="mso-spacerun: yes;">
</span>After their first breakfast, Cora is feeling particularly randy and
wants a man.<span style="mso-spacerun: yes;"> </span>She doesn’t even factor
Samuel into her decision.<span style="mso-spacerun: yes;"> </span>(The actor’s
diminutive stature only magnifies his personality.)<span style="mso-spacerun: yes;"> </span>Prior to the discovery of the first victim of
<i style="mso-bidi-font-style: normal;">Bloodsucker</i> (it <i style="mso-bidi-font-style: normal;">is</i> a horror film, by the way), a precious scene plays:<span style="mso-spacerun: yes;"> </span>Rosalind and Penny are fucking.<span style="mso-spacerun: yes;"> </span>The cute young maid enters their bedroom with
a pitcher of water.<span style="mso-spacerun: yes;"> </span>She stares at the
lovers for an inappropriate amount of time before clearing her throat and
announcing she has brought their water.<span style="mso-spacerun: yes;">
</span>Rosalind removes her lips from Penny’s nipple to tell the maid thank you
and that she should leave.<span style="mso-spacerun: yes;"> </span>Back in the
maid’s chambers, where she shares a room with the other cute young maid, she
stares at herself topless in the mirror.<span style="mso-spacerun: yes;">
</span>The other maid asks what she is doing.<span style="mso-spacerun: yes;">
</span>She says that she saw two of the lady guests making love in their
bedroom.<span style="mso-spacerun: yes;"> </span>“How is that?” The other
asks.<span style="mso-spacerun: yes;"> </span>“But they are two women.”<span style="mso-spacerun: yes;"> </span>The maid confirms what she saw is true and
asks her chamber mate if she thinks <i style="mso-bidi-font-style: normal;">her</i>
breasts are beautiful.<span style="mso-spacerun: yes;"> </span>Yes, she
replies.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Very</i> <i style="mso-bidi-font-style: normal;">beautiful</i>.<span style="mso-spacerun: yes;"> </span></span><br />
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<span style="font-family: Calibri;">Cora finds the most desirable man on the island, save the
Count, in a fishing hut and has a shag.<span style="mso-spacerun: yes;">
</span>At dusk, her head is found in the courtyard, and the dagger is
missing.<span style="mso-spacerun: yes;"> </span>Is anyone going to do anything
about it? Not really.<span style="mso-spacerun: yes;"> </span>Conveniently, a storm
rises and keeps the island isolated.<span style="mso-spacerun: yes;"> </span>The
heads of ladies keep popping up in the second act of <i style="mso-bidi-font-style: normal;">Bloodsucker</i>.<span style="mso-spacerun: yes;"> </span>The Count can
only throw up his hands, and Evelyn can only lose her shit.<span style="mso-spacerun: yes;"> </span>The pious butler, Jeffrey, thinks the murders
are the work of the punishing hands of God, and angry Sybil seems oddly
satisfied.</span><br />
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Bloodsucker Leads the
Dance</i> is directed by Alfredo Rizzo and has this odd antiquated feel to it,
like the cinema of Amando de Ossorio.<span style="mso-spacerun: yes;">
</span>Rizzo, who was in his seventies when he filmed <i style="mso-bidi-font-style: normal;">Bloodsucker</i>, seems tripped out at the sexual mores of the young
people of his time and was eager and child-like to capture it.<span style="mso-spacerun: yes;"> </span>He was also not well-versed in the tropes of
modern horror:<span style="mso-spacerun: yes;"> </span>all of the killings occur
off-screen; the foreshadowing leads nowhere; and <i style="mso-bidi-font-style: normal;">Bloodsucker</i> incredulously yet tidily resolves itself with an
Agatha-Christie-<i style="mso-bidi-font-style: normal;">esque</i> suspect
confrontation scene at the end.<span style="mso-spacerun: yes;"> </span>The
cinema of Amando de Ossorio was odd and antiquated, like <i style="mso-bidi-font-style: normal;">Tombs of the Blind Dead</i> (1971), in a surreal, often unintentionally
hilarious, atmospheric way.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Bloodsucker</i> just comes off as weird.<span style="mso-spacerun: yes;"> </span>The pastel lighting, with an abundance of
natural light, makes the nudity and sex, appropriately and ironically, softcore
and the rest of the dramatic action, lithe and rather inconsequential.<span style="mso-spacerun: yes;"> </span>At any moment in the film, <i style="mso-bidi-font-style: normal;">Bloodsucker</i> feels as if it could just
stop and not go on at all.<span style="mso-spacerun: yes;"> </span>The English
dubbing lacks any of the familiar voices of Italian cinema of the period, and
it, too, sets the film aside, kind of casting it as foreign and
theatrical.<span style="mso-spacerun: yes;"> </span>Three lovely beauties of the
genre, Benussi, de Rossi, and Nell, each provide nudity in <i style="mso-bidi-font-style: normal;">Bloodsucker</i>, and clearly this inclusion was a marketable asset of
the film.<span style="mso-spacerun: yes;"> </span>Rizzo and company, however,
failed to note that each was a competent and charismatic actress, two of whom
were underutilized.<span style="mso-spacerun: yes;"> </span>Benussi often just
stares at the characters like a stern matron while de Rossi really only
animates her “flabbergasted” face.<span style="mso-spacerun: yes;"> </span>Nell
gets to have fun as the sexually adventurous Cora, but <i style="mso-bidi-font-style: normal;">Bloodsucker</i> is really only leading her character to its
(relatively) lengthy fuck scene and later to her death scene.<span style="mso-spacerun: yes;"> </span>Stuart phones in his role, and I do not blame
him as his character really has no weight.<span style="mso-spacerun: yes;">
</span></span><br />
<span style="font-family: Calibri;"><span style="mso-spacerun: yes;"></span><o:p></o:p></span><br />
<span style="font-family: Calibri;">All criticism aside, <i style="mso-bidi-font-style: normal;">Bloodsucker
Leads the Dance</i> is an old, European genre production with the inherent
charms of the production, like authentic settings, cool music, and beautiful
actresses.<span style="mso-spacerun: yes;"> </span>The lack of irony and the
lack of a compelling story or atmosphere will see <i style="mso-bidi-font-style: normal;">Bloodsucker</i> viewers seeking de Ossorio cinema for remedies.</span>Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com1tag:blogger.com,1999:blog-4093327579257195527.post-69554971516691368662016-01-17T19:00:00.000-06:002016-01-17T19:00:25.194-06:00The Hateful Eight (2015)<span style="font-family: Calibri;">I have never reviewed a Quentin Tarantino film on <i style="mso-bidi-font-style: normal;">Quiet Cool</i>, despite being a long-time
fan of his work.<span style="mso-spacerun: yes;"> </span>I saw <i style="mso-bidi-font-style: normal;">Reservoir Dogs</i> (1992) three times during
its original theatrical run; <i style="mso-bidi-font-style: normal;">Pulp Fiction
</i>(1994) five times; <i style="mso-bidi-font-style: normal;">Jackie Brown</i>
(1997) three times; and <i style="mso-bidi-font-style: normal;">Kill Bill Vols. 1
& 2</i> (2003, 2004, respectively) once each.<span style="mso-spacerun: yes;"> </span>I saw the QT-penned <i style="mso-bidi-font-style: normal;">True Romance</i> (1993) and <i style="mso-bidi-font-style: normal;">From
Dusk Till Dawn</i> (1996) each three times, while seeing <i style="mso-bidi-font-style: normal;">Natural</i> <i style="mso-bidi-font-style: normal;">Born Killers</i>
(1994), where QT receives only a story credit, three times also.<span style="mso-spacerun: yes;"> </span>His subsequent three directorial efforts, <i style="mso-bidi-font-style: normal;">Death Proof</i> (2007), <i style="mso-bidi-font-style: normal;">Inglourious Basterds</i> (2009), and <i style="mso-bidi-font-style: normal;">Django Unchained</i> (2012), I saw each on home video for the first
time.<span style="mso-spacerun: yes;"> </span>While I have seen <i style="mso-bidi-font-style: normal;">Death Proof</i> many times, I have only seen
<i style="mso-bidi-font-style: normal;">Basterds</i> and <i style="mso-bidi-font-style: normal;">Django</i>, once each.<span style="mso-spacerun: yes;"> </span>It was
obvious with QT’s first three films as a director, especially <i style="mso-bidi-font-style: normal;">Pulp</i> <i style="mso-bidi-font-style: normal;">Fiction</i>,
that he was an important American filmmaker.<span style="mso-spacerun: yes;">
</span>I even thought that (at least up until <i style="mso-bidi-font-style: normal;">Death</i> <i style="mso-bidi-font-style: normal;">Proof</i>) QT was the
only American filmmaker whose work was innovative and progressive.<span style="mso-spacerun: yes;"> </span>His only real contemporaries were working
abroad—Lars Von Trier, Wong kar-wai, Kim ki-duk, Takashi Miike, Emir Kusturica,
and Pedro Almodovar, for example.<span style="mso-spacerun: yes;"> </span>With <i style="mso-bidi-font-style: normal;">Death Proof</i>, QT saw a critical and
commercial failure, and it ended a period in his career.<span style="mso-spacerun: yes;"> </span>(For what it is worth, I think <i style="mso-bidi-font-style: normal;">Death Proof</i> is amazing and is definitely
the most “French” film that QT has directed.)<span style="mso-spacerun: yes;">
</span>With <i style="mso-bidi-font-style: normal;">Basterds</i> and <i style="mso-bidi-font-style: normal;">Django</i>, QT appeared a more mature and
more conservative filmmaker, one who has definitely lost his edge,
however.<span style="mso-spacerun: yes;"> </span>This is evident with the
appearance of actor Christoph Waltz whose characterizations as Hans Landa and
Dr. Schultz (in <i style="mso-bidi-font-style: normal;">Basterds</i> and <i style="mso-bidi-font-style: normal;">Django</i>, respectively) were mirror images
of the other.<span style="mso-spacerun: yes;"> </span>QT imbued both characters
with a special foreknowledge of events in the story.<span style="mso-spacerun: yes;"> </span>Landa knew most everything ahead of time in <i style="mso-bidi-font-style: normal;">Basterds</i>—in the opening scene, he knew
the owner of the house was hiding Jews (and was taking pleasure watching the
owner attempt to maintain his composure), and, also for example, he knew Brad
Pitt’s character wasn’t Italian in the final act (and again, took pleasure in
watching Pitt painfully annunciate his fake name.)<span style="mso-spacerun: yes;"> </span>In <i style="mso-bidi-font-style: normal;">Django</i>,
for example, Dr. Schultz shoots the sheriff and then makes his big reveal when
he is confronted.<span style="mso-spacerun: yes;"> </span>This foreknowledge
that Waltz’s characters hold becomes so repetitious that it begins to feel like
a gimmick.<span style="mso-spacerun: yes;"> </span>(Waltz won two Academy Awards
for these performances, so obviously the Academy thinks these characterizations
and performances are special.<span style="mso-spacerun: yes;"> </span>What do I
know?)<span style="mso-spacerun: yes;"> </span>Finally, <i style="mso-bidi-font-style: normal;">Basterds</i> was the first time in the history of viewing QT’s cinema
that I actually successfully predicted what would happen <i style="mso-bidi-font-style: normal;">twice</i>; and <i style="mso-bidi-font-style: normal;">Django</i> had the
most tired scene in all of QT’s filmography—an extended joke about why there is
not enough sacks to make masks for a lynching.<span style="mso-spacerun: yes;">
</span>In any case, I have authored this paragraph prior to seeing <i style="mso-bidi-font-style: normal;">The Hateful Eight </i>(2015), so here goes
an open mind…<o:p></o:p></span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNKbmH9F1uL7476yiDu3efg24D_-vSHgeEQ5oeAZ3EaVdmfbvQQbGEZrIVeQ7hw2anQ5PkWOvNUxXGv4iUGNvk0MnfM2u_ry6MTEaYXVVVoIUNB8CB5PlKgAb9xDooMYkzORXqIzQesxR1/s1600/hatefuleightposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNKbmH9F1uL7476yiDu3efg24D_-vSHgeEQ5oeAZ3EaVdmfbvQQbGEZrIVeQ7hw2anQ5PkWOvNUxXGv4iUGNvk0MnfM2u_ry6MTEaYXVVVoIUNB8CB5PlKgAb9xDooMYkzORXqIzQesxR1/s400/hatefuleightposter.jpg" width="270" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Bounty Hunter John Ruth (Kurt Russell) is escorting his $10K
bounty, Daisy Domergue (Jennifer Jason Leigh) via horse-drawn carriage to Red
Rock, Wyoming with an impending blizzard on the horizon.<span style="mso-spacerun: yes;"> </span>En route, they meet a fellow bounty hunter,
Major Marquis Warren (Samuel L. Jackson), stranded on the road with three
corpses in tow.<span style="mso-spacerun: yes;"> </span>They agree, after some
debate, to travel together to Red Rock.<span style="mso-spacerun: yes;">
</span>They pick up one more lone soul on the road, Chris Mannix (Walton
Goggins), who claims that he is going to Red Rock to become its new
sheriff.<span style="mso-spacerun: yes;"> </span>With the blizzard quickly
approaching, the group holes up at Minnie’s Haberdashery and encounter a
Mexican named Bob (Demián Bichir) who is running the locale in the stead of
Minnie, allegedly away visiting relatives.<span style="mso-spacerun: yes;">
</span>Inside is Englishman, Oswaldo Mobray (Tim Roth), who claims to be the
Hangman at Red Rock, Joe Gage (Michael Madsen), a traveler in Mobray’s
stagecoach, and an old Confederate general, Sandy Smithers (Bruce Dern).<span style="mso-spacerun: yes;"> </span>It immediately appears that the group will
have to spend two to three days together in the small locale to weather the
storm.<span style="mso-spacerun: yes;"> </span>However, it is also immediately
apparent that none really trust the other, and cabin fever is about to set in…<o:p></o:p></span></div>
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">The Hateful Eight</i>
has to be Tarantino’s weirdest film to date.<span style="mso-spacerun: yes;">
</span>To me, that’s a good thing.<span style="mso-spacerun: yes;"> </span>I
expected this film to be traditional like <i style="mso-bidi-font-style: normal;">Basterds</i>
and <i style="mso-bidi-font-style: normal;">Django</i>, but Tarantino really
eschews all audience expectations with this one.<span style="mso-spacerun: yes;"> </span>Interesting to note, I perused the IMDb via
my smartphone after viewing the film, and in their Trivia section for this
film, John Carpenter’s <i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">Thing</i> (1982) was a major influence on
Tarantino during his writing of the screenplay.<span style="mso-spacerun: yes;">
</span>I actually thought during the opening twenty minutes or so, <i style="mso-bidi-font-style: normal;">Hateful</i> <i style="mso-bidi-font-style: normal;">Eight</i> was going to play out like Howard Hawks’ <i style="mso-bidi-font-style: normal;">Rio</i> <i style="mso-bidi-font-style: normal;">Bravo</i> (1959) which
inspired John Carpenter to make <i style="mso-bidi-font-style: normal;">Assault
on Precinct 13</i> (1976).<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">The pacing of <i style="mso-bidi-font-style: normal;">The
Hateful Eight</i>, at a runtime of nearly three hours, is the divisive factor
among audience members.<span style="mso-spacerun: yes;"> </span>The gruesome
violence in the film, of which there is quite a bit, will not deter anyone—it’s
commonplace in cinema, now.<span style="mso-spacerun: yes;"> </span>(Although
Tarantino’s violence has now reached the point of absurdity.<span style="mso-spacerun: yes;"> </span>It’s almost as if he views the human body as
one big balloon filled with blood that spews geysers when punctured).<span style="mso-spacerun: yes;"> </span>Even the film’s more audacious scenes, like
Major Warren’s narrative about how he killed General Smithers’s son, are old
hat for Tarantino—he’s already filmed a forced homosexual, sexual act with
interracial partners before, for example.<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span>With an almost glacial pace,
Tarantino forces his viewers to figuratively rub shoulders with his characters
during the film’s runtime while its characters very uncomfortably rub shoulders
together before an inevitable showdown.</span></div>
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<span style="font-family: Calibri;">The triumph of <i style="mso-bidi-font-style: normal;">The
Hateful Eight</i>, like <i style="mso-bidi-font-style: normal;">Death Proof</i>, is
its subversion.<span style="mso-spacerun: yes;"> </span>From the outset of when
Samuel Jackson and Kurt Russell’s characters first meet, the tension and the
suspicion between the two is apparent.<span style="mso-spacerun: yes;">
</span>(The tension between the members of the two sides of the Civil War only
heighten the immediate tension between the characters.)<span style="mso-spacerun: yes;"> </span>The film’s dialogue (Tarantino’s most lauded
attribute) is cryptic.<span style="mso-spacerun: yes;"> </span>For example,
Mobray gives a speech in the first act about how the act of hanging represents
justice in civilized society as opposed to a posse killing a wanted criminal
after hunting him down.<span style="mso-spacerun: yes;"> </span>Intuitively, one
would think that his speech is clever character exposition.<span style="mso-spacerun: yes;"> </span>(It is.)<span style="mso-spacerun: yes;">
</span>His speech also plays out in powerful irony in the final scene of the
film, its resonance really felt after you exit the theatre.<span style="mso-spacerun: yes;"> </span>The best scene with the use of dialogue,
which really represents the film’s ethos, is when Daisy sings a song while
playing the guitar.<span style="mso-spacerun: yes;"> </span>The first verse of
the song is rather sweet and poetic.<span style="mso-spacerun: yes;">
</span>Ruth asks Daisy to sing another verse, and the second one is amazing—it
prompts Ruth to snatch the guitar out of her hand and smash it to bits.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Visually, <i style="mso-bidi-font-style: normal;">The Hateful
Eight</i> has a lot of stuff hidden in its compositions, and when the
compositions aren’t being crafty their showing their stunning 70mm
ability.<span style="mso-spacerun: yes;"> </span>(Robert Richardson gets an
Oscar nomination for his cinematography.)<span style="mso-spacerun: yes;">
</span>There is a bleakness and hopelessness to Westerns filmed in the snow,
like Sergio Corbucci’s masterful <i style="mso-bidi-font-style: normal;">Il
grande silenzio</i> (<i style="mso-bidi-font-style: normal;">The Great Silence</i>)
(1968), and <i style="mso-bidi-font-style: normal;">The Hateful Eight </i>is able
to replicate those sentiments.<span style="mso-spacerun: yes;"> </span>Minnie’s
Haberdashery looks like a meticulously composed trap for its inhabitants.<span style="mso-spacerun: yes;"> </span>The wilderness is perfectly captured.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">The Hateful Eight</i>
is a weird film.<span style="mso-spacerun: yes;"> </span>A truly dark comedy
about brutal subjects like murder, the Bounty trade, the Civil War, and
plain-old human existence.<span style="mso-spacerun: yes;"> </span>All the
performances are tops with especial note to Jackson who plays the lead in the
film.<span style="mso-spacerun: yes;"> </span>He plays a complex character who constantly
reveals another side to the audience as the film plays out.<span style="mso-spacerun: yes;"> </span>The humor is beyond dark—blowing off
someone’s head isn’t funny, and it is even less funny to particular characters
when a twelve-thousand-dollar bounty depended on its identity.<span style="mso-spacerun: yes;"> </span>Leigh receives an Oscar nomination for her
portrayal as Daisy, and she’s incredible—she looks like such a bad-ass in the
film, a proper villain.<span style="mso-spacerun: yes;"> </span>(I’m a true
fanboy for Leigh.<span style="mso-spacerun: yes;"> </span>She is one of my
favorite actresses, and I love nearly everything she does.<span style="mso-spacerun: yes;"> </span>Like most guys, I fell in love with her when
I first saw <i style="mso-bidi-font-style: normal;">Fast Times at Ridgemont High</i>
(1982).)<span style="mso-spacerun: yes;"> </span>I think what I especially love
about <i style="mso-bidi-font-style: normal;">The Hateful</i> <i style="mso-bidi-font-style: normal;">Eight</i>, although I am still digesting it,
is that Tarantino is not going to garner any new fans with this film.<span style="mso-spacerun: yes;"> </span>This type of daring and creativity is what I
long for in cinema.<span style="mso-spacerun: yes;"> </span>Quentin Tarantino is
officially back on my radar.</span></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-32614276091173121492015-12-31T20:30:00.001-06:002015-12-31T20:30:25.706-06:00The twelve days of Christmas (or at least the first seven) and On-Demand Viewing
<span style="font-family: Calibri;">Christmas was pretty chill this year.<span style="mso-spacerun: yes;"> </span>My two siblings spent Christmas with the
family of each’s respective significant other which left me as the sole child
at my parents’ house.<span style="mso-spacerun: yes;"> </span>My Mom didn’t feel
the compulsion to cook anything elaborate, and my father worked most mornings
that week.<span style="mso-spacerun: yes;"> </span>It was a relaxed affair for
all involved and was one of the better Christmas’s in a very long time.<span style="mso-spacerun: yes;"> </span>I spent my mornings as an early-riser and
filled the a.m.’s with movies from various On-Demand services.<span style="mso-spacerun: yes;"> </span>This post will serve as both a chronicle of
those viewings and as a wrap-up for 2015 at <i style="mso-bidi-font-style: normal;">Quiet</i>
<i style="mso-bidi-font-style: normal;">Cool</i>.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Judy</i> (2014)<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk1-_-8taq56ay-cD3YDOPFFbLUZVw17iOVep6Ett6kNzZaoJQ8KFeUFgI8gob2C2lsvXbacHUMMlXatoI1yFAgaGF4Iu4g4x7wlG9rEhTmGsBh66iOCtdm3hKUzgOW-EloDncXpxMm_9b/s1600/Judy+Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk1-_-8taq56ay-cD3YDOPFFbLUZVw17iOVep6Ett6kNzZaoJQ8KFeUFgI8gob2C2lsvXbacHUMMlXatoI1yFAgaGF4Iu4g4x7wlG9rEhTmGsBh66iOCtdm3hKUzgOW-EloDncXpxMm_9b/s400/Judy+Poster.jpg" width="268" /></a></div>
<span style="font-family: Calibri;">I wasn’t the biggest fan of Emanuele De Santi’s <i style="mso-bidi-font-style: normal;">Adam</i> <i style="mso-bidi-font-style: normal;">Chaplin</i>
(2011)—a superhero gore film that moved at a furious pace, well-suited
alongside the Troma classics of the 80s.<span style="mso-spacerun: yes;">
</span>His follow-up film, <i style="mso-bidi-font-style: normal;">Judy</i>, is a
hundred-and-eighty degree turn.<span style="mso-spacerun: yes;"> </span>A whacked-out
group of street performers with a serious philosophy of brutality live on the
periphery of the city.<span style="mso-spacerun: yes;"> </span>A beautiful
blonde woman loses her way in the city and stops her car in a secluded area to
use her cell phone.<span style="mso-spacerun: yes;"> </span>The matriarch of the
whacked-out street performers approaches her car and begs for some money.<span style="mso-spacerun: yes;"> </span>The beautiful blonde refuses to give her
money and even goes so far to pull her pistol on the woman for her to leave her
alone.<span style="mso-spacerun: yes;"> </span>Back at her flat, the beautiful
blonde woman attends to her dog, Judy, and the film, subsequently, never leaves
this location.<span style="mso-spacerun: yes;"> </span>The blonde soon loses
track of Judy, and distraught, she goes looking.<span style="mso-spacerun: yes;"> </span>As she explores her flat and the close
proximity, the blonde slowly grows to realize that someone is fucking with
her.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Judy</i>
is more of an interesting experiment than a fully satisfying film and well
worth a viewing (as the initial one will hold most of its power).<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Applesauce</i> (2015)<o:p></o:p></span></div>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF2yWwipQEYSxn_lmirMVs0ZhcL5h5u9mvOxDl84tITjgQBnKqxGLHwIbH3Me1HblP97-KqGuGnjfOxpkT5S61-enmINAh55KcsU-o6UwHXlmvAFqAwT3k2cPOzzcQXCkDKNWdWwRuJpXG/s1600/Applesauce-Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF2yWwipQEYSxn_lmirMVs0ZhcL5h5u9mvOxDl84tITjgQBnKqxGLHwIbH3Me1HblP97-KqGuGnjfOxpkT5S61-enmINAh55KcsU-o6UwHXlmvAFqAwT3k2cPOzzcQXCkDKNWdWwRuJpXG/s400/Applesauce-Poster.jpg" width="270" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">I am a huge fan of <i style="mso-bidi-font-style: normal;">Richard’s</i>
<i style="mso-bidi-font-style: normal;">Wedding</i> (2012) and really enjoyed <i style="mso-bidi-font-style: normal;">Summer</i> <i style="mso-bidi-font-style: normal;">of</i> <i style="mso-bidi-font-style: normal;">Blood</i> (2014).<span style="mso-spacerun: yes;"> </span>Director, writer, and actor, Onur Tukel is
easily one of the most interesting currently working in American independent
film.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Applesauce</i> is his best film yet.<span style="mso-spacerun: yes;">
</span>Tukel plays Ron who listens to shock jock, Stevie Bricks (Dylan Baker)
on the radio.<span style="mso-spacerun: yes;"> </span>Bricks has a call-in
segment once a week where he asks his listeners to relate the worst things that
they have ever done.<span style="mso-spacerun: yes;"> </span>Ron can’t tell his
story, because his wife, Nicki (Trieste Kelly Dunn) summons him away to a
restaurant with friends, Les (Max Casella) and his wife, Kate (Jennifer
Prediger).<span style="mso-spacerun: yes;"> </span>Over dinner, Ron tells the
story of the worst thing he’s ever done:<span style="mso-spacerun: yes;">
</span>in college, he got into a fight at a frat party during which he slammed
the door upon the fingers of his combatant, severing them completely.<span style="mso-spacerun: yes;"> </span>Ron never knew what happened to the guy.<span style="mso-spacerun: yes;"> </span>Ron begins to receive body parts in
conspicuous locations throughout the film.<span style="mso-spacerun: yes;">
</span>Les and Kate, motivated by Ron’s story, relate to each other each’s
worst deed.<span style="mso-spacerun: yes;"> </span>Les is crushed when he
learns Kate’s story.<span style="mso-spacerun: yes;"> </span>Each character’s
revelations is the catalyst for each’s dramatic action, which all unfold in
rather darkly humorous fashion.<span style="mso-spacerun: yes;"> </span>A very
witty and entertaining film.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Christmas,</i> <i style="mso-bidi-font-style: normal;">Again</i> (2014)<o:p></o:p></span></div>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvh5aK-Gn5duSncgR5XtRh8Rl_WlEkUqsBTLAg4qxZn6TBNwzQYKSP6uwm4eOmpDKX17CsfKMECR_yfYU5qY_veXr98P7fxP9GDwHRlTPy8MVy0rPCQMAq2FyHmcoKwwZtgfm08BdJSmqO/s1600/ChristmasAgainPoster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvh5aK-Gn5duSncgR5XtRh8Rl_WlEkUqsBTLAg4qxZn6TBNwzQYKSP6uwm4eOmpDKX17CsfKMECR_yfYU5qY_veXr98P7fxP9GDwHRlTPy8MVy0rPCQMAq2FyHmcoKwwZtgfm08BdJSmqO/s400/ChristmasAgainPoster.jpg" width="270" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Kentucker Audley plays Noel who comes from upstate New York
once a year down to Brooklyn to plant his camper and sell Christmas trees and
wreaths to the city folk.<span style="mso-spacerun: yes;"> </span>He’s depressed
this year, as it is apparent he is no longer with the woman he loves.<span style="mso-spacerun: yes;"> </span>Late one evening, he sees a young woman
passed out on a park bench.<span style="mso-spacerun: yes;"> </span>He brings
her into his camper away from the freezing cold.<span style="mso-spacerun: yes;"> </span>She awakens the following morning and flees,
embarrassed.<span style="mso-spacerun: yes;"> </span>She later visits Noel with
a kind gesture, and near the conclusion of <i style="mso-bidi-font-style: normal;">Christmas,
Again</i> she spends Christmas Eve with him.<span style="mso-spacerun: yes;">
</span>Audley really excels at playing shy, mumbling characters, and over the
course of the film, the viewer accompanies him as he interacts with myriad
folks who come looking for a Christmas tree.<span style="mso-spacerun: yes;">
</span>A very good, character-driven film about a spiritual journey.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Fighting</i> <i style="mso-bidi-font-style: normal;">Fish</i> (2010)</span></div>
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<span style="font-family: Calibri;">David (Val Emmich) is a sensitive, would-be writer who lives
in upstate New York, forced to care for his two younger half-siblings while his
mother recuperates in a hospital for her depression.<span style="mso-spacerun: yes;"> </span>David is resentful of his burdens.<span style="mso-spacerun: yes;"> </span>His wayward sister, Alice (Anna Moore), shows
at the house for a visit, and she ignites strong emotions in him.<span style="mso-spacerun: yes;"> </span>David meets a pretty girl at the pet shop
where works named Chris (Halley Feiffer).<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">Fighting Fish</i> then plays out
the dilemma of David indulging his new romantic feelings for Chris (and their
freedom) or rekindling his romantic feelings for Alice (and experiencing all
its familiar heartaches).<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Fighting Fish</i> would be good, if the
writer/director, Annette Apitz, had more a command of dramatic
confrontation.<span style="mso-spacerun: yes;"> </span>Scenes which should be
emotionally-charged are allowed to fizzle, and she doesn’t use the pacing of
the film to build any real energy or intensity.<span style="mso-spacerun: yes;">
</span>Apitz has a fondness for the montage or long, single shot whereupon an
indie-rock song plays over.<span style="mso-spacerun: yes;"> </span>There are
too many of these scenes, and they eventually become laughable.<span style="mso-spacerun: yes;"> </span>There are few precious scenes in <i style="mso-bidi-font-style: normal;">Fighting Fish</i> to make it worth seeing
but these scenes hardly make it memorable.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">Attic</i> (2007)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL9kGG7mslumYKFaKqIIla1xoF1J34szBwG9djfEIU-WvdRmdej5DqN_EQnuSuzpfYQy1Evv-3CH3uRYczW8g6javoc2VTepbHn8EeO1YOoAg5tG6P4U93l4AZR-kypd_3tl2RHSzhf6DK/s1600/atticmovieposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL9kGG7mslumYKFaKqIIla1xoF1J34szBwG9djfEIU-WvdRmdej5DqN_EQnuSuzpfYQy1Evv-3CH3uRYczW8g6javoc2VTepbHn8EeO1YOoAg5tG6P4U93l4AZR-kypd_3tl2RHSzhf6DK/s400/atticmovieposter.jpg" width="270" /></a></div>
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<span style="font-family: Calibri;">Elisabeth Moss is currently one of my favorite actresses, so
her inclusion as the star of <i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">Attic</i> (2007), directed by Mary Lambert
of <i style="mso-bidi-font-style: normal;">Pet</i> <i style="mso-bidi-font-style: normal;">Sematary</i> (1989) fame, made this one a must-see.<span style="mso-spacerun: yes;"> </span>Moss plays Emma, an agoraphobic, who lives
with her mother and father (Catherine Mary Stewart and John Savage,
respectively) and her mentally-disabled brother, Frankie (Tom Malloy).<span style="mso-spacerun: yes;"> </span>They moved into an old home which houses an
odd history of the supernatural bent.<span style="mso-spacerun: yes;">
</span>Emma’s fragile mental condition combined with the supernatural
proceedings around the house in short course cause a madness within her…or
not.<span style="mso-spacerun: yes;"> </span>There may really be ghosts fucking
with her, but no one believes her.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Attic</i> is a total misfire.<span style="mso-spacerun: yes;"> </span>Its pace is glacial.<span style="mso-spacerun: yes;"> </span>Lambert’s direction is pedestrian:<span style="mso-spacerun: yes;"> </span>for example, one of the strongest tools of a
filmmaker is her use of lighting.<span style="mso-spacerun: yes;">
</span>Lambert forgoes any interesting use of lights and shadows.<span style="mso-spacerun: yes;"> </span>The entire film is lit for coverage and only
exacerbates the boringness of the film.<span style="mso-spacerun: yes;">
</span>Catherine Mary Stewart, a talented actress, is reduced to scenery.<span style="mso-spacerun: yes;"> </span>The screenplay is born of clichés from <i style="mso-bidi-font-style: normal;">The Turn of the Screw</i>.<span style="mso-spacerun: yes;"> </span>Moss’s performance is the sole attraction,
and <i style="mso-bidi-font-style: normal;">The Attic</i> is only recommended for
her die-hard fans.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Homemakers</i> (2014)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5vUOhi4ZpA17ZvNqJ85-eWZjPMCvVmdTUzP5RJqjZafl2Jhj82OzbNHMprTjWCKBhaXTVD1PNnFojtW4iYmJwLAEmIFarnkuD0Mr3Q390Hmah-m2pnlS3dWjjlQzGP12LVEoMV-5Y4U1_/s1600/homemakersmovieposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5vUOhi4ZpA17ZvNqJ85-eWZjPMCvVmdTUzP5RJqjZafl2Jhj82OzbNHMprTjWCKBhaXTVD1PNnFojtW4iYmJwLAEmIFarnkuD0Mr3Q390Hmah-m2pnlS3dWjjlQzGP12LVEoMV-5Y4U1_/s400/homemakersmovieposter.jpg" width="270" /></a></div>
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<span style="font-family: Calibri;">I loved <i style="mso-bidi-font-style: normal;">Homemakers</i>.<span style="mso-spacerun: yes;"> </span>Rachel McKeon gives a Parker Posey/Greta
Gerwig-<i style="mso-bidi-font-style: normal;">esque</i> performance as Irene, an
aimless and passionate lead singer of a shitty punk band in Austin, Texas.<span style="mso-spacerun: yes;"> </span>Her off-the-wall antics prompt her bandmates
to kick her out, and erstwhile, Irene learns that her grandfather devised his
dilapidated home in Pittsburgh to her.<span style="mso-spacerun: yes;">
</span>She makes the journey to see the property and hooks up with a distant
cousin named Cam (Jack Culbertson), who shares her penchant for hard drinking
and inane fun.<span style="mso-spacerun: yes;"> </span>Irene enlists Cam to “fix
up” the house, which initially amounts to them getting drunk and fucking it up
to Irene and Cam making it into a home, a place where they both feel
comfortable.<span style="mso-spacerun: yes;"> </span>Irene’s girlfriend and
former bandmate, Kicky (Molly Carlisle) visits Irene in Pittsburgh to persuade
her to come back to Austin (it appears a record label will not sign them
without Irene).<span style="mso-spacerun: yes;"> </span>Irene must choose
between the two locations.<span style="mso-spacerun: yes;"> </span>It’s fairly
easy to glean from my brief synopsis where this indie comedy is coming
from.<span style="mso-spacerun: yes;"> </span>McKeon as Irene is amazingly
captivating, and <i style="mso-bidi-font-style: normal;">Homemakers</i> is a
wonderful independent film.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">A Horrible Way to Die</i>
(2010)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoj7T_hNbMD3tPJ3jk2-JosxQXgrOdxhNZL4v4VmrytahowXAla9iM9AtcWLdTqJNzhZaJsNemutyZ99DLI5m-onFI1CCpy0RGx1jciOYmeQWNUOAiXU7AZQ_dinZ0jfhur9i6K_zGbnFP/s1600/horriblewaytodieposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoj7T_hNbMD3tPJ3jk2-JosxQXgrOdxhNZL4v4VmrytahowXAla9iM9AtcWLdTqJNzhZaJsNemutyZ99DLI5m-onFI1CCpy0RGx1jciOYmeQWNUOAiXU7AZQ_dinZ0jfhur9i6K_zGbnFP/s400/horriblewaytodieposter.jpg" width="283" /></a></div>
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<span style="font-family: Calibri;">I wasn’t a fan of director Adam Wingard’s <i style="mso-bidi-font-style: normal;">Home</i> <i style="mso-bidi-font-style: normal;">Sick</i>
(2007) nor was I a fan of his <i style="mso-bidi-font-style: normal;">You’re</i> <i style="mso-bidi-font-style: normal;">Next</i> (2011).<span style="mso-spacerun: yes;"> </span>However, there is a lot to like within both
films.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">A Horrible Way to Die</i> is an earlier collaboration of Wingard with
writer Simon Barrett and stars three of my favorite indie actors, A.J. Bowen,
Amy Seimetz (also a fave director), and Joe Swanberg (also a fave
director).<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">A Horrible Way to Die</i> is my favorite film now from Wingard.<span style="mso-spacerun: yes;"> </span>A.J. Bowen plays a notorious serial killer,
named Garrick Turrell, who escapes from custody and is heading towards the home
of his girlfriend, Sarah (Seimetz) (presumably, this element is not explicit in
the story).<span style="mso-spacerun: yes;"> </span>Sarah has relocated and has
entered AA with a few months sobriety.<span style="mso-spacerun: yes;">
</span>She meets a kind fellow from her home group, Kevin (Swanberg) and she
begins an awkward but loving romance with him.<span style="mso-spacerun: yes;">
</span>There is a real sense of dread and melancholy throughout <i style="mso-bidi-font-style: normal;">A Horrible Way to Die</i> as Bowen’s and
Seimetz’s storylines lead to convergence.<span style="mso-spacerun: yes;">
</span>Even the flashback sequences, which show Bowen’s and Seimetz’s
relationship are emotional and tension-filled.<span style="mso-spacerun: yes;">
</span>Wingard’s visuals are tops.<span style="mso-spacerun: yes;">
</span>Barrett’s screenplay is excellent, and he has blossomed into a fine
writer.<span style="mso-spacerun: yes;"> </span>His story, “Dead Air,” an audio
drama produced by Larry Fessenden and Glen McQuaid’s Glass Eye Pix in season
two of <i style="mso-bidi-font-style: normal;">Tales From</i> <i style="mso-bidi-font-style: normal;">Beyond</i> <i style="mso-bidi-font-style: normal;">the Pale</i> is a personal favorite.<span style="mso-spacerun: yes;">
</span>Bowen, Seimetz, and Swanberg all give outstanding performances.<span style="mso-spacerun: yes;"> </span>I cannot wait for what these peeps do next.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Alps</i> (2011)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgurK2upt4NHsOBFKBZtOiIk67ylQuLrmKfFnVd1niJhk5l5RqNJzpKhyphenhyphen6e2vtypV8l-a5mubnMe043Npm-ClLIgcNYnEfVifPeCl0fRROor4myqDKLlkvKonxtNul1kKH3TGbTvH7SlGin/s1600/alpsposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgurK2upt4NHsOBFKBZtOiIk67ylQuLrmKfFnVd1niJhk5l5RqNJzpKhyphenhyphen6e2vtypV8l-a5mubnMe043Npm-ClLIgcNYnEfVifPeCl0fRROor4myqDKLlkvKonxtNul1kKH3TGbTvH7SlGin/s400/alpsposter.jpg" width="281" /></a></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Alps</i> is Yorgos
Lanthimos’s follow-up to <i style="mso-bidi-font-style: normal;">Dogtooth</i>
(2009).<span style="mso-spacerun: yes;"> </span>If Lanthimos was not yet a major
world filmmaker, then with <i style="mso-bidi-font-style: normal;">Alps</i> he
is.<span style="mso-spacerun: yes;"> </span>A group of four people, a nurse
(Angeliki Papoulia), an ambulance driver (Aris Servetalis), a gymnast (Ariane
Labed) and her coach (Johnny Vekris), come together to provide services to the
loved ones of the recently deceased—one of the four will act as a substitute
for the deceased loved one to aid in the grieving transitional process for the
family.<span style="mso-spacerun: yes;"> </span>They name their group after the
titular mountain range.<span style="mso-spacerun: yes;"> </span>The nurse attends
to the death of a young tennis player and offers her services to her parents.<span style="mso-spacerun: yes;"> </span>She does this without the knowledge of the
group.<span style="mso-spacerun: yes;"> </span>As <i style="mso-bidi-font-style: normal;">Alps</i> progresses, it becomes less and less clear as to what are the
genuine motives of the group members.<span style="mso-spacerun: yes;">
</span>For example, is the man living with the nurse actually her father?<span style="mso-spacerun: yes;"> </span>Why is the nurse offering to be a substitute
for a family without telling her compatriots?<span style="mso-spacerun: yes;">
</span>A beautiful and absurd film.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Sidewalks of New York</i>
(2001)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxbMIM0sYW8BbWQ2Uu50_UjhY7qGPxqzeUeS2uS-pkbdBHC9LQBz4hRrzNK47Jbr4HlKXXIo3a1v_NFItWxiR23CEPY6j005-SSgifxbUcWM0SlwwB42D26UCcfeiEpKpuxi1r_67uSAds/s1600/sidewalksnewyorkposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxbMIM0sYW8BbWQ2Uu50_UjhY7qGPxqzeUeS2uS-pkbdBHC9LQBz4hRrzNK47Jbr4HlKXXIo3a1v_NFItWxiR23CEPY6j005-SSgifxbUcWM0SlwwB42D26UCcfeiEpKpuxi1r_67uSAds/s400/sidewalksnewyorkposter.jpg" width="283" /></a></div>
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<span style="font-family: Calibri;">I am a huge fan of Edward Burns, as an actor and
director.<span style="mso-spacerun: yes;"> </span>I tend to like all of this
films, even the uneven ones.<span style="mso-spacerun: yes;"> </span>I missed <i style="mso-bidi-font-style: normal;">Sidewalks of New York</i> during its
original theatrical run.<span style="mso-spacerun: yes;"> </span>I do remember
his film being given a delayed release, because of the 9/11 terrorist
attacks.<span style="mso-spacerun: yes;"> </span>Unfortunately, <i style="mso-bidi-font-style: normal;">Sidewalks</i> ranks as one of my least
favorites from Burns.<span style="mso-spacerun: yes;"> </span>Burns shoots his
film as a faux documentary, focusing on six New Yorkers of various ages talking
about dating and relationships in New York City.<span style="mso-spacerun: yes;"> </span>Stanley Tucci plays the husband of Heather
Graham who is having an affair with a young waitress, played by Brittany
Murphy.<span style="mso-spacerun: yes;"> </span>Edward Burns plays a recently
single television executive who begins dating again.<span style="mso-spacerun: yes;"> </span>He has a fledgling relationship with Rosario
Dawson.<span style="mso-spacerun: yes;"> </span>My main complaint with <i style="mso-bidi-font-style: normal;">Sidewalks</i> is that there is too much of
Tucci’s character.<span style="mso-spacerun: yes;"> </span>It is not that his
performance is poor, but rather, Tucci’s character is extremely repellent.<span style="mso-spacerun: yes;"> </span>Almost of all of Graham and Murphy’s scene
involve Tucci.<span style="mso-spacerun: yes;"> </span>Dawson is given
relatively little screen time.<span style="mso-spacerun: yes;"> </span>The most
endearing relationship of the film is between Graham and Burns, but it only
really begins in the final act.<span style="mso-spacerun: yes;"> </span>A film
of missteps.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">The Deep Dark</i>
(2015)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGmD6i44e34xThSq0fp-SsSjCxibNA1RSgQLLLq0_9rbxi5tokCE8D7pQ1F_5kBYGpVuraiVNoBrZG7dHDUlMt84jmrp4YMWOFfZS4q07eMtTLFhhnF3urEZnphQ1MUJGJ6U6FLbdGj98A/s1600/Deep-Dark-Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGmD6i44e34xThSq0fp-SsSjCxibNA1RSgQLLLq0_9rbxi5tokCE8D7pQ1F_5kBYGpVuraiVNoBrZG7dHDUlMt84jmrp4YMWOFfZS4q07eMtTLFhhnF3urEZnphQ1MUJGJ6U6FLbdGj98A/s400/Deep-Dark-Poster.jpg" width="268" /></a></div>
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<span style="font-family: Calibri;">The plot synopsis of <i style="mso-bidi-font-style: normal;">The
Deep Dark</i> sounds as if it would be right up my alley:<span style="mso-spacerun: yes;"> </span>a sculptor (Sean McGrath) who makes mobiles
is having a difficult time selling any of his artwork.<span style="mso-spacerun: yes;"> </span>Desperate, he call his successful uncle who
offers him a month’s let of flat that he can use as a workshop.<span style="mso-spacerun: yes;"> </span>Inside of the dilapidated flat, the young
sculptor discovers a small hole in the wall that begins feeding him written
messages.<span style="mso-spacerun: yes;"> </span>The hole soon begins speaking
to him in a female voice, promising to help make him successful.<span style="mso-spacerun: yes;"> </span>The hole releases a fleshy mass in the shape
of a ball which he attaches to his mobile.<span style="mso-spacerun: yes;">
</span>The hole produces several of these.<span style="mso-spacerun: yes;">
</span>His art captures the eye of the most important art dealer in town and
has a very interesting effect upon all who view it.<span style="mso-spacerun: yes;"> </span>In return, the hole in the wall demands to
have an intimate relationship with the sculptor.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The
Deep Dark</i> could have been a truly weird piece of alternative cinema, but it
is way too conservative and traditional to be entertaining.<span style="mso-spacerun: yes;"> </span>At the midpoint in the film, the director
chooses to make the burgeoning relationship between the art dealer and the sculptor
focal, and this choice is far from appealing.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">The Big Bad</i> (2011)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDT3xhV3QMNnwyLHar82fK-rx0gp3nnWEgOrOxYEQiqhQdu729XUWcEFCkd6_yFtiKF-MEBqlOPNNhLZwj4R2ab2LbP8PJ3VLbvv6vGofOpgR3uXZ2RoutrU8mxHvnV9pd2p8c2nZEvy-3/s1600/bigbadposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDT3xhV3QMNnwyLHar82fK-rx0gp3nnWEgOrOxYEQiqhQdu729XUWcEFCkd6_yFtiKF-MEBqlOPNNhLZwj4R2ab2LbP8PJ3VLbvv6vGofOpgR3uXZ2RoutrU8mxHvnV9pd2p8c2nZEvy-3/s400/bigbadposter.jpg" width="283" /></a></div>
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<span style="font-family: Calibri;">I started to zone out towards the end of <i style="mso-bidi-font-style: normal;">The Big Bad</i>, so any real criticism of it
is probably unfair.<span style="mso-spacerun: yes;"> </span>Another interesting
premise and opening act:<span style="mso-spacerun: yes;"> </span>a young woman
camps out all day inside of a bar, desperate to get the attention of an
excitable bar patron.<span style="mso-spacerun: yes;"> </span>Eventually the
young woman forms a bond with the excitable young woman.<span style="mso-spacerun: yes;"> </span>She reveals to her that she is looking for
someone, and this same person may have infected others.<span style="mso-spacerun: yes;"> </span>The excitable young woman then begins to turn
monstrous, and the film reveals that the young woman is chasing a werewolf
conspiracy towards a group that killed her loved ones.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The
filmmakers made some interesting choices in telling their story, but <i style="mso-bidi-font-style: normal;">The Big Bad</i> never really captured my
attention very much.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Uptown</i> (2009)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNMSzZsbQp5XN3tn27xcxBluJyFeB-A49WWNMZjpPB7AKMPBw4ij29zh3VjpJGSqx6olUN26tEQ3euRVFDrIOlrEydG01hM3y6J6AvuUQ4SpOyghIUFc388xGqPXWqZlM6M4Ij9UwmzuXp/s1600/uptownposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNMSzZsbQp5XN3tn27xcxBluJyFeB-A49WWNMZjpPB7AKMPBw4ij29zh3VjpJGSqx6olUN26tEQ3euRVFDrIOlrEydG01hM3y6J6AvuUQ4SpOyghIUFc388xGqPXWqZlM6M4Ij9UwmzuXp/s400/uptownposter.jpg" width="271" /></a></div>
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<span style="font-family: Calibri;">Ben (Chris Riquinha) contacts Isabel (Meissa Hampton) via
email in an attempt to cast her in his new independent film.<span style="mso-spacerun: yes;"> </span>They exchange flirty emails and agree to meet
for a date.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Uptown</i> begins as they meet for that date at a restaurant.<span style="mso-spacerun: yes;"> </span>After dinner, Isabel tells Ben that she is
married.<span style="mso-spacerun: yes;"> </span>Throwing caution into the wind,
Ben implicitly agrees to continue the date, and they spend the city walking
around the city and talking.<span style="mso-spacerun: yes;"> </span>Their relationship
remains platonic as they agree to meet each other some more, and they begin to
have strong romantic feelings towards each other.<span style="mso-spacerun: yes;"> </span>Eventually, they have to confront each other
about how they really feel.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Uptown</i> is the essence of “mumblecore”
and is based around strong characters and a lot of conversation.<span style="mso-spacerun: yes;"> </span>The premise of the film is fairly
incredulous; but if you are able to buy into it, then <i style="mso-bidi-font-style: normal;">Uptown</i> is a satisfying alternative to traditional romantic cinema.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Ritual</i> (2013)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjSRbEkDsneNFkfk-NBkCdteiEw7EYkPsjenz9rF1OoICZ3g9s7VBGBGCvXwdQfqtsDmL-5ry74EZD-G8Bt627oaxZg0RdAqVAdO_mH5oyaQYj6GvuUlZPWTPS85FXquPHIFQkKA-upsTN/s1600/Ritual-Movie-Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjSRbEkDsneNFkfk-NBkCdteiEw7EYkPsjenz9rF1OoICZ3g9s7VBGBGCvXwdQfqtsDmL-5ry74EZD-G8Bt627oaxZg0RdAqVAdO_mH5oyaQYj6GvuUlZPWTPS85FXquPHIFQkKA-upsTN/s400/Ritual-Movie-Poster.jpg" width="270" /></a></div>
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<span style="font-family: Calibri;">I didn’t like Mickey Keating’s <i style="mso-bidi-font-style: normal;">Pod</i> (2015), but I greatly admired its style:<span style="mso-spacerun: yes;"> </span>it’s a film that begins slowly in building
its tension and escalates increasingly as the film progresses.<span style="mso-spacerun: yes;"> </span>Keating’s previous film <i style="mso-bidi-font-style: normal;">Ritual</i> adopts the same style and it’s a better film.<span style="mso-spacerun: yes;"> </span>A young woman, Lovely (Lisa Marie
Summerscales) calls her estranged husband, Tom (Dean Cates), in the middle of
the night to a secluded motel.<span style="mso-spacerun: yes;"> </span>When he
arrives, Lovely reveals in her hotel room that she has killed a man, claiming
it was self-defense to rape.<span style="mso-spacerun: yes;"> </span>Tom and
Lovely are flustered and struggle to do something.<span style="mso-spacerun: yes;"> </span>They decide to cover up the murder, and as
Tom searches the dead man’s car, he finds a video camera.<span style="mso-spacerun: yes;"> </span>Inside the room, the couple views the tape,
and it shows a satanic ritual, replete with a human sacrifice.<span style="mso-spacerun: yes;"> </span>They become extremely fearful when the phone
in the room begins ringing.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Ritual</i> is really evocative of seventies,
grindhouse cinema and well-directed and executed.<span style="mso-spacerun: yes;"> </span>Looking forward to more work from Keating.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Paranormal Activity: The
Ghost Dimension</i> (Unrated) (2015)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBCOCiHN50HuCZUglRGViJbwye1iAUa6TfNhgkq0sjW5NP9y3igDkenByQ5pEYLJ20IOCcVVas7x6cg8B-cR05sVec83MNgNss35yPbryiIvEMN5rjPai9Xt1SUKkH8tLekN5JBa0Apmsx/s1600/Paranormal-activity-ghost-dimension-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBCOCiHN50HuCZUglRGViJbwye1iAUa6TfNhgkq0sjW5NP9y3igDkenByQ5pEYLJ20IOCcVVas7x6cg8B-cR05sVec83MNgNss35yPbryiIvEMN5rjPai9Xt1SUKkH8tLekN5JBa0Apmsx/s400/Paranormal-activity-ghost-dimension-poster.jpg" width="255" /></a></div>
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<span style="font-family: Calibri;">I admit that I like this one.<span style="mso-spacerun: yes;"> </span>However, I don’t know if my like of this
latest installment of <i style="mso-bidi-font-style: normal;">Paranormal</i> <i style="mso-bidi-font-style: normal;">Activity</i> is relative.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The
Marked Ones</i> and <i style="mso-bidi-font-style: normal;">Paranormal Activity 4</i>
were awful pieces of cinema.<span style="mso-spacerun: yes;"> </span>If you
remember your <i style="mso-bidi-font-style: normal;">Paranormal Activity</i>
folklore, then remember the childhood home of Katie and Kristy mysteriously
burned to the ground when they were children.<span style="mso-spacerun: yes;">
</span>Cut to present time and a new home has been erected on the property
which houses a new family, a young couple with a small daughter and their very
attractive nanny.<span style="mso-spacerun: yes;"> </span>The father’s brother
arrives for a Christmas visit, and while the brothers are plundering around the
garage, they find an ancient VHS camcorder along with a box full of tapes.<span style="mso-spacerun: yes;"> </span>The camcorder is still operational, and the
young father is able to capture very interesting, vague images around the
house.<span style="mso-spacerun: yes;"> </span>They watch the tapes which show
ritualistic images of Kristy and Katie.<span style="mso-spacerun: yes;">
</span>The young daughter begins talking to an imaginary friend, and her
behavior subsequently becomes disturbing.<span style="mso-spacerun: yes;">
</span>The beginning of <i style="mso-bidi-font-style: normal;">Paranormal
Activity</i> starts slow, replete with bad jokes and characterization, but as
it progresses, the tone becomes more serious and the imagery and pacing are
quite good.<span style="mso-spacerun: yes;"> </span>Worth a look, at least for
the fans of the series.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">The Russian Woodpecker</i>
(2015)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOVtWaHnkX02SdYtZS81g16Xc6syShRL03ITWc6TVzhd2PgMCewL2njJUiNg3KyHBbgeFh5xxqrysR185QErOlX72jbE-4hHDQFC01CGS8k0X75fp3riQofvNr0VCllxRAFlwu4uSKZBCQ/s1600/russianwoodpeckerposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOVtWaHnkX02SdYtZS81g16Xc6syShRL03ITWc6TVzhd2PgMCewL2njJUiNg3KyHBbgeFh5xxqrysR185QErOlX72jbE-4hHDQFC01CGS8k0X75fp3riQofvNr0VCllxRAFlwu4uSKZBCQ/s400/russianwoodpeckerposter.jpg" width="282" /></a></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">The Russian Woodpecker</i>
is a wonderful documentary about Ukrainian artist, Fedor Alexandrovich, who
alleges that the Chernobyl meltdown was a deliberate act by a Russian minister,
to cover up for the failure of the expensive spy radar that sits in the shadow
of the reactor.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Alexandrovich interviews key members of the
Russian government involved at the time and makes a credible case towards his
allegation.<span style="mso-spacerun: yes;"> </span>Overshadowing his
investigation is the escalating tension between the Ukraine and Russia, and the
toll that his investigation is taking upon him and his family.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The
Russian Woodpecker</i> is almost Hertzog-<i style="mso-bidi-font-style: normal;">ian</i>
in its artistry; and the viewer gets treated to many performance pieces by Alexandrovich.<span style="mso-spacerun: yes;"> </span>A must-see.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Go Down Death</i>
(2013)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZgoCkb4wQ9tN-S2QLmjuTEJe1L6hpuTjomrqosQuZ7IgE2LwfUXNrsyPu-2BvyTnSiLc965VCRllc6f_2t80YYatKJoZA1zkvYU55-7rXBsQ6uvs7DND_F58Ndi_5jrjyyLFAabe_FTz/s1600/godowndeathposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZgoCkb4wQ9tN-S2QLmjuTEJe1L6hpuTjomrqosQuZ7IgE2LwfUXNrsyPu-2BvyTnSiLc965VCRllc6f_2t80YYatKJoZA1zkvYU55-7rXBsQ6uvs7DND_F58Ndi_5jrjyyLFAabe_FTz/s400/godowndeathposter.jpg" width="277" /></a></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Go Down Death</i> is a
black-and-white art film which is made up of loosely-connected performance
pieces, either involving playful, elliptical conversation or musical sequences
containing lyrics of the same.<span style="mso-spacerun: yes;"> </span>It is set
primarily in an Old West Saloon and involves the prostitutes and their
johns.<span style="mso-spacerun: yes;"> </span>Outside in the forest, a war
rages on.<span style="mso-spacerun: yes;"> </span>Non-traditional, experimental
cinema, like <i style="mso-bidi-font-style: normal;">Go Down Death</i>, can be
appreciated in the right frame of mind (e.g. in the right mood), and there is a
lot of humor and wit to appreciate here.<span style="mso-spacerun: yes;">
</span>I’m certain it will gain more power with subsequent viewings.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Be Good</i> (2012)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbR4tWy52eWXIGTPlZKQdJDU1NW-22w4qfSwhc7OTc151RUsBsCEPmPnbZNR0rPE9sawBLSJ-jPYf5MF80Qtz4GWHEIHh1IvXOKYLF74MZn_er1rvPcrsKCi9Bj4vbrG3wevy3lgCZNtuw/s1600/begoodposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbR4tWy52eWXIGTPlZKQdJDU1NW-22w4qfSwhc7OTc151RUsBsCEPmPnbZNR0rPE9sawBLSJ-jPYf5MF80Qtz4GWHEIHh1IvXOKYLF74MZn_er1rvPcrsKCi9Bj4vbrG3wevy3lgCZNtuw/s400/begoodposter.jpg" width="271" /></a></div>
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<span style="font-family: Calibri;">Amy Seimetz and Thomas J. Madden play Mary and Paul,
respectively, a married couple with a newborn baby girl.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Be Good</i>
begins when Mary ends her maternity leave and has to go back to work.<span style="mso-spacerun: yes;"> </span>Paul stays home with their daughter.<span style="mso-spacerun: yes;"> </span>He is an independent filmmaker working on a
screenplay.<span style="mso-spacerun: yes;"> </span>He has little time to work
on it, because his infant daughter demands most of his time.<span style="mso-spacerun: yes;"> </span>He has no funding for his new project and is
not producing any income for the family.<span style="mso-spacerun: yes;">
</span>Mary doesn’t want to work and wants to come home to care for her
daughter.<span style="mso-spacerun: yes;"> </span>Over the course of the film,
Paul has to confront the decision of abandoning his filmmaking to get a nine-to-five
job to support his family.<span style="mso-spacerun: yes;"> </span>Be Good
follows the spiritual journey of Paul in various episodes as he makes the adult
decision to pursue his art or fully decide to care for his family.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Be</i> <i style="mso-bidi-font-style: normal;">Good</i> has a strong verisimilitude, good
performances, and an overall wholly positive message.<span style="mso-spacerun: yes;"> </span>Recommended.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Beneath</i> (2013)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-OvH_iAS92YgM4EkyteRymzbShhgwSfARCHbXa3DjDP8HkUw41RCtGZRsHEQuLQYTf3u9-KHFson21NzsZnYYLATcbQWuNGimKQyMdTk_lQu-uc0kOTD2QfQU2jYriVK55iNFM9pSZtQi/s1600/beneath-Movie-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-OvH_iAS92YgM4EkyteRymzbShhgwSfARCHbXa3DjDP8HkUw41RCtGZRsHEQuLQYTf3u9-KHFson21NzsZnYYLATcbQWuNGimKQyMdTk_lQu-uc0kOTD2QfQU2jYriVK55iNFM9pSZtQi/s400/beneath-Movie-poster.jpg" width="270" /></a></div>
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<span style="font-family: Calibri;">Larry Fessenden’s latest directorial effort, <i style="mso-bidi-font-style: normal;">Beneath</i>, continues his obsession with ecological
horror.<span style="mso-spacerun: yes;"> </span>A group of recent high-school
graduates visit a lake where a large, carnivorous fish swims within.<span style="mso-spacerun: yes;"> </span>Two girls and four guys float a canoe and
paddle out to the middle.<span style="mso-spacerun: yes;"> </span>One gets
attacked by the fish while three are swimming.<span style="mso-spacerun: yes;">
</span>They eventually lose one of their group and the two oars to paddle the
boat.<span style="mso-spacerun: yes;"> </span>Stuck out in the middle of the
lake, they turn against each other in an attempt to survive from the monstrous
fish.<span style="mso-spacerun: yes;"> </span>Like Larry Cohen, Fessenden,
despite his screenplay firmly rooted in B-movie, creature feature, creates a
real sensitivity to his characterization and the drama.<span style="mso-spacerun: yes;"> </span>Ultimately, a big fish isn’t really the
killer, but rather the selfish motives of each character.<span style="mso-spacerun: yes;"> </span>Wonderfully visualized and executed, <i style="mso-bidi-font-style: normal;">Beneath</i> is an excellent horror film from
Fessenden.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Generation Um...</i>
(2012)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRoaF1VCwNLTNyDcQz2XJeoZVXDF3hyphenhyphenUweN4aEhAxRB9UjaANwguycPvDTBbEtkJcilVNd-fiKVEshNsOvCQvC3hzx2uTDmOLa5m2FAy1lvvHkgnYEQiF1WfD1b8IhcTx3uqcr7Cw-I5ZV/s1600/generationumposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRoaF1VCwNLTNyDcQz2XJeoZVXDF3hyphenhyphenUweN4aEhAxRB9UjaANwguycPvDTBbEtkJcilVNd-fiKVEshNsOvCQvC3hzx2uTDmOLa5m2FAy1lvvHkgnYEQiF1WfD1b8IhcTx3uqcr7Cw-I5ZV/s400/generationumposter.jpg" width="270" /></a></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Generation Um... </i>would
have disappeared into Indie-movie limbo had it not been for the casting of
Keanu Reeves as the lead.<span style="mso-spacerun: yes;"> </span>Reeves plays a
forty-ish drifter, engaged in a relationship with two obnoxious, party-hard
young ladies, played by Bojana Novakovic and Adelaide Clemens.<span style="mso-spacerun: yes;"> </span>Wandering in the city, after a night of
partying, Reeves’s character steals a video camera.<span style="mso-spacerun: yes;"> </span>This video camera becomes his metaphoric new
eye on life:<span style="mso-spacerun: yes;"> </span>he begins questioning his
existence by asking child-like questions and taking videos of simple things, like
trees in a park.<span style="mso-spacerun: yes;"> </span>When he hooks up with
the two girls the following evening, he asks the two a series of questions and
just generally allows them to perform however they want in front of the camera.<span style="mso-spacerun: yes;"> </span>Obviously, confronting the answers to the
essence of existence is rarely very pretty.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">Generation Um...</i> is generally
an unpleasant film, showing its characters as shallow and selfish; and when
they begin to question their values, they retreat to either anger or
alcohol.<span style="mso-spacerun: yes;"> </span>I would recommend most people
to view this one with an open mind.<span style="mso-spacerun: yes;"> </span>It’s
probably due for a reconsideration.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Tu dors Nicole</i>
(2014)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuz36ckAphK9kF3YYXLNCNTCgOTlQHRr9vivbX2Fp0omBy0yhfVpworO0O854va7xhUZsItKFfpF537EZMubCKNYi_Feh0-wxWwEMd8AKWS9xM63aNfpFc7TWPzmiZZ8bLUNsnjML8NRwA/s1600/tudorsnicoleposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuz36ckAphK9kF3YYXLNCNTCgOTlQHRr9vivbX2Fp0omBy0yhfVpworO0O854va7xhUZsItKFfpF537EZMubCKNYi_Feh0-wxWwEMd8AKWS9xM63aNfpFc7TWPzmiZZ8bLUNsnjML8NRwA/s400/tudorsnicoleposter.jpg" width="276" /></a></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Tu dors Nicole </i>is
a wonderful, French-language Canadian film about Nicole (Julianne Côté),
spending her summer at home with her best friend Véronique (Catherine
St-Laurent).<span style="mso-spacerun: yes;"> </span>Nicole’s older brother
shares their house, along with his two bandmates, while their parents are away
on vacation.<span style="mso-spacerun: yes;"> </span>Nicole is trying to figure
out what to do with her life.<span style="mso-spacerun: yes;"> </span>She falls
in love with the drummer of her brother’s band.<span style="mso-spacerun: yes;">
</span>She has a big fight with her best friend.<span style="mso-spacerun: yes;"> </span>She loses her job.<span style="mso-spacerun: yes;"> </span>All familiar subjects of “coming-of-age”
cinema, but there is a real sensitivity and energy to the film.<span style="mso-spacerun: yes;"> </span>Shot in black-and-white with excellent
performances, <i style="mso-bidi-font-style: normal;">Tu dors Nicole</i> is a
sleeper hit. </span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Last Shift</i> (2014)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK0HfSJ1TgOjKd0vF45l5u7K3xKhbOpZLBcV_vcayocoQqfpezOkCMZuBFh-vBCVkBsHpWl7XRZyil71qFvwtar8xv3E7FnWWiUbgzmJVTShtfHTONKwJDjajdVJbLo5tt_7D3idJFgZ3o/s1600/lastshiftposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK0HfSJ1TgOjKd0vF45l5u7K3xKhbOpZLBcV_vcayocoQqfpezOkCMZuBFh-vBCVkBsHpWl7XRZyil71qFvwtar8xv3E7FnWWiUbgzmJVTShtfHTONKwJDjajdVJbLo5tt_7D3idJFgZ3o/s400/lastshiftposter.jpg" width="282" /></a></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Last Shift</i> is an
excellent, low-budget horror film.<span style="mso-spacerun: yes;">
</span>Rookie cop, Jessica (Juliana Harkavy) is assigned to the night shift on
the last evening of an old police precinct.<span style="mso-spacerun: yes;">
</span>She is all alone and she isn’t told that previously the cops in the
station experienced several paranormal episodes.<span style="mso-spacerun: yes;"> </span>Three members of a Satanic, Manson-like cult
committed suicide in one of the holding cells, and on this evening, the spirits
have come back.<span style="mso-spacerun: yes;"> </span>Harkavy is really sexy
and is also a very talented actress.<span style="mso-spacerun: yes;"> </span>She
carries the film.<span style="mso-spacerun: yes;"> </span>I expect to see her in
more high-profile roles in the future.<span style="mso-spacerun: yes;">
</span>Eschewing familiar J-Horror tropes for effective, creepy tension, <i style="mso-bidi-font-style: normal;">Last Shift</i> is well worth seeing.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Man Up</i> (2015)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS3lBSJbMyfqyEAAdEKoJex4sFch4lfp80FND2TVaiJYm_-hDBNL_d5anFTnEFWD9xTZ2UA74XWKRIGuRAFK6VCAWvJsIgSJNNP1Bqa7rElgovXBKBtB3KV_jMTEdCCm2abDccTaTrDHlT/s1600/manupposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS3lBSJbMyfqyEAAdEKoJex4sFch4lfp80FND2TVaiJYm_-hDBNL_d5anFTnEFWD9xTZ2UA74XWKRIGuRAFK6VCAWvJsIgSJNNP1Bqa7rElgovXBKBtB3KV_jMTEdCCm2abDccTaTrDHlT/s400/manupposter.jpg" width="270" /></a></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Man Up</i> stars Lake
Bell as a cynical, single woman in her mid-thirties who is mistaken by Simon
Pegg to be her blind date.<span style="mso-spacerun: yes;"> </span>Instead of
telling the truth, she pretends to be his date and go out with him.<span style="mso-spacerun: yes;"> </span>The two have a strong chemistry.<span style="mso-spacerun: yes;"> </span>Halfway through the film, Pegg discovers Bell’s
ruse, and the two separate.<span style="mso-spacerun: yes;"> </span>In romantic
comedy fashion, the final act ends on a high note.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Man Up</i>
is nothing new to romantic comedy.<span style="mso-spacerun: yes;"> </span>Its
visuals and energy are at times evocative of the work of Edgar Wright, and a
lot of the jokes are reused or familiar.<span style="mso-spacerun: yes;">
</span>Nevertheless, Pegg and Bell make an endearing couple, and it is their
performances that make <i style="mso-bidi-font-style: normal;">Man Up</i> worth seeing.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Meadowland</i> (2015)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfkOQ-AnYlOZYEd8tVukxyyz1w1jdiKvc-lp6szPhr31Q4Q6OJhbMvPROOTuhuHiObvq9NXHTKUrR0zBb4fYko4JUJYoAlchdPLMCXTrnF7QR5p703ckWne9TVw3INmf82ShH5Fu3fuKtj/s1600/meadowlandposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfkOQ-AnYlOZYEd8tVukxyyz1w1jdiKvc-lp6szPhr31Q4Q6OJhbMvPROOTuhuHiObvq9NXHTKUrR0zBb4fYko4JUJYoAlchdPLMCXTrnF7QR5p703ckWne9TVw3INmf82ShH5Fu3fuKtj/s400/meadowlandposter.jpg" width="270" /></a></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Meadowland</i> is a
depressing-as-hell drama about Olivia Wilde and Luke Wilson who play young parents
whose son is kidnapped.<span style="mso-spacerun: yes;"> </span>A year later,
the film begins, and they know nothing about the whereabouts of their son nor
if he is alive or dead.<span style="mso-spacerun: yes;"> </span>Wilde plays a
school teacher who has become detached about the welfare of her students.<span style="mso-spacerun: yes;"> </span>She grows a strong attachment to an autistic
child attending her school.<span style="mso-spacerun: yes;"> </span>She stops
taking her medication and as <i style="mso-bidi-font-style: normal;">Meadowland</i>
progresses, she becomes almost totally disassociated from reality.<span style="mso-spacerun: yes;"> </span>Wilson plays a beat cop, and like Wilde, he
has less passion towards his work.<span style="mso-spacerun: yes;"> </span>He’s
bottling up all of his anger but is attempting to get help and find some
closure to his son’s disappearance.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Meadowland</i> is extremely well-done and
prescient.<span style="mso-spacerun: yes;"> </span>The film contains myriad
strong performances in supporting roles from the likes of John Leguizamo, Juno
Temple, Elisabeth Moss, Giovanni Ribisi, and Kevin Corrigan.<span style="mso-spacerun: yes;"> </span>I’ve only seen Wilde in few choice roles but
I think she is a very talented actress.<span style="mso-spacerun: yes;">
</span>I hope more good roles come her way.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">Meadowland</i> is way too
depressing for a re-watch but definitely worth seeing for people who like real
adult drama.</span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Soft in the Head</i>
(2013)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_6BFosDVXNvgZy6Qps-0mEaZysBmNcs0hL-2lXbhruhuWvIE38KlWvPNpyWyFfO4mYTuYf_ClNChxznUfBt6hTU7CNFsC9ZAFD__pGLf2f5EFAziSfvDwwWUmgRjsusiIMCiTMOUzX-kl/s1600/softintheheadposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_6BFosDVXNvgZy6Qps-0mEaZysBmNcs0hL-2lXbhruhuWvIE38KlWvPNpyWyFfO4mYTuYf_ClNChxznUfBt6hTU7CNFsC9ZAFD__pGLf2f5EFAziSfvDwwWUmgRjsusiIMCiTMOUzX-kl/s400/softintheheadposter.jpg" width="301" /></a></div>
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<span style="font-family: Calibri;">I loved Nathan Silver’s <i style="mso-bidi-font-style: normal;">Uncertain
Terms</i> (2014), so I decided to give <i style="mso-bidi-font-style: normal;">Soft
in the Head</i> a watch.<span style="mso-spacerun: yes;"> </span>Sheila
Etxeberría plays Natalia, an attractive and aimless woman in her mid-20s who
gets thrown out of her boyfriend’s apartment.<span style="mso-spacerun: yes;">
</span>She also has a drinking problem.<span style="mso-spacerun: yes;">
</span>On the street, she is found by kind-hearted Maury (Ed Ryan) who houses
her in his apartment, along with a group of ragtag derelicts.<span style="mso-spacerun: yes;"> </span>The brother of her best friend, Hannah (Melanie
J. Scheiner), named Nathan (Carl Kranz), falls in love with Natalia.<span style="mso-spacerun: yes;"> </span>He’s shy and very socially awkward.<span style="mso-spacerun: yes;"> </span>His overbearing parents disapprove of
Natalia, because she is not Jewish.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Soft in the Head</i> follows Natalia as she
fucks up everything in her path, because of her drinking, often with darkly
humorous results.<span style="mso-spacerun: yes;"> </span>It is a very well-done
film about the limits of control:<span style="mso-spacerun: yes;"> </span>how
much can one control his/her life, beyond his/her behavior?</span></div>
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<span style="font-family: Calibri;">Best films of 2015:</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">4. Uncertain Terms </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgujcwm4bLji_bQVLERiYzB-trJf9Bx6K5pTMQyhbISD-Zktz2Pn0zzq0_aqEIaDHrs3f-lXK-TOx2Jtn18gWkhCRtcanr_LREJ0e-4A_M0UavI0dmqwZtJGO3p_FxfSZrzZNwqOHuwXRX8/s1600/uncertain-terms-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgujcwm4bLji_bQVLERiYzB-trJf9Bx6K5pTMQyhbISD-Zktz2Pn0zzq0_aqEIaDHrs3f-lXK-TOx2Jtn18gWkhCRtcanr_LREJ0e-4A_M0UavI0dmqwZtJGO3p_FxfSZrzZNwqOHuwXRX8/s400/uncertain-terms-poster.jpg" width="283" /></a></div>
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<span style="font-family: Calibri;">3. Mistress America</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg67yLwo2VRrVq-8vZdQC6N0JwcY4s5OLbH5WvC1vIRP682h9f8J__s5373lTqZDXHVhqY1HoWxWiTRBWYERtg1EodKn0pBjiGzWPj6TMHMrsGfTUaj5pN1PtbpGa4eMTr7T5KOGn1WK8j6/s1600/mistressamericaposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg67yLwo2VRrVq-8vZdQC6N0JwcY4s5OLbH5WvC1vIRP682h9f8J__s5373lTqZDXHVhqY1HoWxWiTRBWYERtg1EodKn0pBjiGzWPj6TMHMrsGfTUaj5pN1PtbpGa4eMTr7T5KOGn1WK8j6/s400/mistressamericaposter.jpg" width="270" /></a></div>
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<span style="font-family: Calibri;">2. Digging for Fire</span></div>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-dl-ETy_SujVSh-K85lLYQMTs2JqEcEw4AHG75c78qqAArVLPEbPx1oG08VGCB45U58EuYZW44Gg1Cak1aybrEE4JDt_DOpsI7n4nQJeXngdbh6QL8uCidayblTjxppv-45KOqOvXZoK2/s1600/digging-for-fire-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-dl-ETy_SujVSh-K85lLYQMTs2JqEcEw4AHG75c78qqAArVLPEbPx1oG08VGCB45U58EuYZW44Gg1Cak1aybrEE4JDt_DOpsI7n4nQJeXngdbh6QL8uCidayblTjxppv-45KOqOvXZoK2/s400/digging-for-fire-poster.jpg" width="270" /></a></div>
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<span style="font-family: Calibri;">1. Queen of Earth</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRdjtgjTKkLhjjhvRMhHaH3sTSpqdsB8_E8LiD_Jul5j3a60una7F6KKXOnKBxy4JcLtB503hWm3f7SQI7ObwG5r7bmSaRdm0gLUTxvjJryGQ7PAtKqgIrbd6Zdmg3Zm9igO5s-sfaXrvu/s1600/queenofearthposter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRdjtgjTKkLhjjhvRMhHaH3sTSpqdsB8_E8LiD_Jul5j3a60una7F6KKXOnKBxy4JcLtB503hWm3f7SQI7ObwG5r7bmSaRdm0gLUTxvjJryGQ7PAtKqgIrbd6Zdmg3Zm9igO5s-sfaXrvu/s400/queenofearthposter.jpg" width="268" /></a></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-33018296762982345542015-11-27T07:00:00.000-06:002015-11-27T07:00:10.563-06:00Un silencio de tumba (1972)<span style="font-family: Calibri;">I probably like <i style="mso-bidi-font-style: normal;">Un
silencio de tumba</i> more than I should.<span style="mso-spacerun: yes;">
</span>I watch a lot (read a <i style="mso-bidi-font-style: normal;">shitload</i>)
of low-budget movies but rarely as I am impressed with Jess Franco.<span style="mso-spacerun: yes;"> </span>During my second viewing of <i style="mso-bidi-font-style: normal;">Silencio</i>, I had an epiphany, which
should seem obvious after viewing a hundred plus Franco flicks, that the man
had such a creative talent that Franco could take so little materially and make
provocative and entertaining cinema.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Silencio</i> is a murder mystery.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTgVR38bg7tdeS1sgFscS3UR-ZeLL6nHM91RdKm3YzGd34T8Kj_0bE9QmrJfzhrcvITjsjbRehzPtPnVwc1xvN0OpV7lmx35Rm7OW8I3RenW5pdgOuZhZCvTq48bGYiw6q92fVXbLwJJk3/s1600/Silenciotumba3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTgVR38bg7tdeS1sgFscS3UR-ZeLL6nHM91RdKm3YzGd34T8Kj_0bE9QmrJfzhrcvITjsjbRehzPtPnVwc1xvN0OpV7lmx35Rm7OW8I3RenW5pdgOuZhZCvTq48bGYiw6q92fVXbLwJJk3/s400/Silenciotumba3.BMP" width="400" /></a></div>
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<span style="font-family: Calibri;">On a remote island, a film crew takes a long weekend
vacation.<span style="mso-spacerun: yes;"> </span>Upon the island is a villa,
owned by famous actress, Annette (Glenda Allen), and is occupied by her sister,
Valerie (Montserrat Prous), her child, Christian, and few servants, among whom
is Laura (Kali Hansa).<span style="mso-spacerun: yes;"> </span>Annette and her
guests, which include Juan (Alberto Dalbes), a detective and friend and Jerome
(Luis Induni), her producer, among others, arrive via a chartered boat (the
only way to reach the island).<span style="mso-spacerun: yes;"> </span>Valerie
stoically greets her guests, and they are not welcome:<span style="mso-spacerun: yes;"> </span>Valerie harbors a deep resentment towards her
sister and her lackadaisical attitude towards rearing her child.<span style="mso-spacerun: yes;"> </span>Valerie believes that Annette lives a selfish
life and will be damned if her sister takes her child away from Valerie.<span style="mso-spacerun: yes;"> </span>During the first evening, after a revelry has
ended, the child is kidnapped and a large ransom is demanded.<span style="mso-spacerun: yes;"> </span>When the money is acquired and placed at the
agreed-upon location, the child is still not returned.<span style="mso-spacerun: yes;"> </span>Paranoia turns the guests against each other
whom all begin to die in short order.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgBy2NiN75bnHv-3l_EIjOByWGHk8XJmuhDsKau7K8ALBv9wneh8Gy_VbNV9GNC4zgQbK5sqUS4DdYntR_TYDGNMDVOonBMVIbsplYqzH090KlK0y6wDeYQB7jMMAud1vQdVaJKzhAsBsW/s1600/Silenciotumba1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgBy2NiN75bnHv-3l_EIjOByWGHk8XJmuhDsKau7K8ALBv9wneh8Gy_VbNV9GNC4zgQbK5sqUS4DdYntR_TYDGNMDVOonBMVIbsplYqzH090KlK0y6wDeYQB7jMMAud1vQdVaJKzhAsBsW/s400/Silenciotumba1.BMP" width="400" /></a></div>
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<span style="font-family: Calibri;">Two performances stand out in <i style="mso-bidi-font-style: normal;">Un silencio de tumba</i>:<span style="mso-spacerun: yes;">
</span>Montserrat Prous and Alberto Dalbes.<span style="mso-spacerun: yes;">
</span>Even after seeing her in <i style="mso-bidi-font-style: normal;"><a href="http://thisisquietcool.blogspot.com/2013/02/los-ojos-siniestros-del-doctor-orloff.html">Los ojos siniestros del doctor Orloff</a></i> (1973) and <i style="mso-bidi-font-style: normal;">Le
journal intime d’une nymphomane</i> (<i style="mso-bidi-font-style: normal;"><a href="http://thisisquietcool.blogspot.com/2010/03/jess-francos-sinner.html">Sinner</a></i>)
(1973), I have failed to realize how truly beautiful and talented an actress
Prous is.<span style="mso-spacerun: yes;"> </span>There is an easy sexiness
about her, as she is strumming a guitar upon the veranda (the music by Franco
and Fernando García Morcillo is a favorite).<span style="mso-spacerun: yes;">
</span>There is also a vulnerability to her character despite her hatred
towards her sister and her guests and her obsession to keep the child at any
cost.<span style="mso-spacerun: yes;"> </span>This vulnerability engenders quite
a bit of sympathy with her character.<span style="mso-spacerun: yes;"> </span>Likewise,
if Prous is the sail of <i style="mso-bidi-font-style: normal;">Un silencio de</i>
<i style="mso-bidi-font-style: normal;">tumba</i>, the Dalbes is the anchor.<span style="mso-spacerun: yes;"> </span>A recognizable face from Spanish <i style="mso-bidi-font-style: normal;">genre</i> cinema, I often fail to recognize
his talent, often because he is consistently so good that I have grown
accustomed to him.<span style="mso-spacerun: yes;"> </span>While the rest of the
ensemble of <i style="mso-bidi-font-style: normal;">Silencio</i> is fueled by
emotion, it is Dalbes’s Juan who keeps a level head and drives the story.<span style="mso-spacerun: yes;"> </span>The story of <i style="mso-bidi-font-style: normal;">Silencio</i> is familiar and not of particular mention.<span style="mso-spacerun: yes;"> </span>Franco, wisely, tells his story through Prous
and Dalbes:<span style="mso-spacerun: yes;"> </span>as Valerie loses her grip on
reality because of her obsession, is Juan trying to keep her leveled or is he
manipulating her, driving her further into paranoia for his own gain?<span style="mso-spacerun: yes;"> </span>Never was I, even during repeated viewings of
<i style="mso-bidi-font-style: normal;">Silencio</i>, looking for clues in the
story or trying to determine who was a suspect. Rather I was fixated upon Prous
and Dalbes and more interested in how their characters were evolving.<span style="mso-spacerun: yes;"> </span>Perhaps the irony of <i style="mso-bidi-font-style: normal;">Un silencio de tumba</i> and why it occupies a second-tier among Franco
fans is that while he should have been crafting a murder mystery, Franco,
either intentionally or negligently, crafted a fine dual-character study.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgA5om_ATtVSqs78dPhuFb9de0NJW9C_7kytWIa3o6odqf2ZvA3e-BF0XHTbyLs_VjQU4K5LSCEo_q3ZdbsV1lGgqUd7hFVOuFIWl_4YMOwmlBI131e2CvLgAXupylpodj3tvHO3uw1S4a/s1600/Silenciotumba2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgA5om_ATtVSqs78dPhuFb9de0NJW9C_7kytWIa3o6odqf2ZvA3e-BF0XHTbyLs_VjQU4K5LSCEo_q3ZdbsV1lGgqUd7hFVOuFIWl_4YMOwmlBI131e2CvLgAXupylpodj3tvHO3uw1S4a/s400/Silenciotumba2.BMP" width="400" /></a></div>
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<span style="font-family: Calibri;">As Franco tells <i style="mso-bidi-font-style: normal;">Un
silencio de tumba</i> through the eyes of Prous and Dalbes, his visual style
focuses upon close-ups of his actors.<span style="mso-spacerun: yes;">
</span>Prous’s Valerie is the lone character to be afforded monologues, and
despite their antiquated feel, they work towards heightening her
obsession.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Silencio</i> is not a poor murder mystery.<span style="mso-spacerun: yes;"> </span>Franco actually handles its atmosphere
remarkably well.<span style="mso-spacerun: yes;"> </span>Past the midpoint of
the film, the power goes out in the villa, and the few remaining characters
reach the breaking point.<span style="mso-spacerun: yes;"> </span>In shadowy
corridors and rooms, conversations, once mundane in the daytime, take on a
sinister edge in this darkness.<span style="mso-spacerun: yes;"> </span>Prous
and Dalbes alternate between possible allies to would-be lovers to combatants
by the end of the film.<span style="mso-spacerun: yes;"> </span>The ending of
the film has a twist, but whatever—the rest of the film leading up to it more
than satisfies.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Un silencio de tumba</i> deserves more praise than its title will
allow.</span></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com1tag:blogger.com,1999:blog-4093327579257195527.post-54496533206266905432015-11-25T07:00:00.000-06:002015-11-25T07:00:09.306-06:00The Hugo Stiglitz Chronicles, Volume Three
<span style="font-family: Calibri;">“Who’s in the house? Stiglitz’s in the house.”</span><br />
<span style="font-family: Calibri;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Calibri;">Repeat four times.</span></i></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">This is a song that I wrote.<span style="mso-spacerun: yes;">
</span>Enjoy.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">El vibora</i> (2002)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">In <i style="mso-bidi-font-style: normal;">El vibora</i>
(2002) (the IMdB lists the film possibly as <i style="mso-bidi-font-style: normal;">Matar
para vivir</i> (2002)), Stiglitz gets second billing with his named spelled
correctly in the credits with “Stieglitz” on the DVD cover.<span style="mso-spacerun: yes;"> </span>It has been well over a week since I have
seen the film, but I remember the simple plot as such:<span style="mso-spacerun: yes;"> </span>in Mexico, an anti-terrorist police force
nabs a terrorist who runs the nerve center of the terrorist cell.<span style="mso-spacerun: yes;"> </span>They hold him indefinitely and use various
methods to extract information from him with little gain.<span style="mso-spacerun: yes;"> </span>Stiglitz is the head of the terrorist cell
and lives in Houston, Texas.<span style="mso-spacerun: yes;"> </span>When he
learns that his compadre has been captured, he arrives in Mexico to either free
him or kill him.<span style="mso-spacerun: yes;"> </span>Both sides attempt to
gain information about the other with little success.<span style="mso-spacerun: yes;"> </span>Stiglitz has a meeting with one of his
partners at a bar, and the two have a conversation, relating important
information, in front of a shoeshine boy.<span style="mso-spacerun: yes;">
</span>This boy has a fortuitous run-in with the lead officer of the
anti-terrorist squad which leads to a fateful confrontation with Stiglitz.<span style="mso-spacerun: yes;"> </span>Three scenes stand out:</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT2W6BGHvRB6Nv-PqyJ8JFEwllEH3I3tSZvztmc3AXiGRP-tK3K2KqOSYzLBzjcg0AqaHKoaRhdZle2S-5cUZkRufWkA1sGzcRXx-jPd8b22dwP7KVY289QDHFMk41qa__x91MosyFYnFh/s1600/Elvibora2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT2W6BGHvRB6Nv-PqyJ8JFEwllEH3I3tSZvztmc3AXiGRP-tK3K2KqOSYzLBzjcg0AqaHKoaRhdZle2S-5cUZkRufWkA1sGzcRXx-jPd8b22dwP7KVY289QDHFMk41qa__x91MosyFYnFh/s400/Elvibora2.BMP" width="400" /></a></div>
<div class="MsoListParagraphCxSpFirst" style="margin: 0in 0in 0pt 0.5in; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">1.</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;">Upon arrival in Mexico, Stiglitz meets his
compatriots at a bar, and they discuss their plan.<span style="mso-spacerun: yes;"> </span>Each is served a cold bottle of Corona
beer.<span style="mso-spacerun: yes;"> </span>The meeting is short, so when it
concludes, each leaves a bottle of beer in front of him, half- to
three-quarters full.<span style="mso-spacerun: yes;"> </span>Stiglitz takes his
beer with him.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvmp5BScYUlUlU7ysfsr3uyEPDEnsgKLljIeeEW0YecbNkT37UTJRj5W2jVJXAUflP5mmOfGN9_dm3Yjd7bFWMzYGsCR17lHCKc5r_aje7Ob4a5BhwSxTUYqW-shzKhyphenhyphen05130-xRi-Rx3b/s1600/Elvibora1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvmp5BScYUlUlU7ysfsr3uyEPDEnsgKLljIeeEW0YecbNkT37UTJRj5W2jVJXAUflP5mmOfGN9_dm3Yjd7bFWMzYGsCR17lHCKc5r_aje7Ob4a5BhwSxTUYqW-shzKhyphenhyphen05130-xRi-Rx3b/s400/Elvibora1.BMP" width="400" /></a></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0in 0in 0pt 0.5in; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">2.</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;">Two police officers raid a karate dojo and nab a
potential suspect.<span style="mso-spacerun: yes;"> </span>After some
questioning, the police realize that he is not a suspect and attempt to
apologize and leave.<span style="mso-spacerun: yes;"> </span>The sensei of the
dojo challenges the two officers with his best two students.<span style="mso-spacerun: yes;"> </span>One of the police officers wins his
competition with martial arts.<span style="mso-spacerun: yes;"> </span>The other
ends his sparring match by pulling his gun.<span style="mso-spacerun: yes;">
</span>Definitely not “the way of the empty fist.”<o:p></o:p></span></div>
<br />
<div class="MsoListParagraphCxSpLast" style="margin: 0in 0in 8pt 0.5in; mso-list: l0 level1 lfo1; text-indent: -0.25in;">
<!--[if !supportLists]--><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">3.</span><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: Calibri;">Before the fateful confrontation with the
anti-terrorist squad, one of Stiglitz’s henchmen gets cold feet and attempts to
flee.<span style="mso-spacerun: yes;"> </span>Stiglitz guns him down.<span style="mso-spacerun: yes;"> </span>About to put a gun down the front of his
pants with a hot barrel, Stiglitz opts not to.<span style="mso-spacerun: yes;">
</span>Instead he smells the barrel and shows no emotion.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCb9nhBUp38Bexc2H-wekKt_w27fQUb_CwK_xHoQ98yiPpxOu26fvotcopc89o5AuuC7Qm2OZYwrGtJAzuUGi6qrMXst6EQsHiaxAdPEbcWhUS8b3kekzDJ_gPFa7HEKzACtfO5u7fOwjx/s1600/Elvibora3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCb9nhBUp38Bexc2H-wekKt_w27fQUb_CwK_xHoQ98yiPpxOu26fvotcopc89o5AuuC7Qm2OZYwrGtJAzuUGi6qrMXst6EQsHiaxAdPEbcWhUS8b3kekzDJ_gPFa7HEKzACtfO5u7fOwjx/s400/Elvibora3.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">El vibora</i> is
average.<span style="mso-spacerun: yes;"> </span>I have never been too fond of
political thrillers, so I am really not this film’s proper audience.<span style="mso-spacerun: yes;"> </span>The film is a game of one-upsmanship with a
lot of talky bits.<span style="mso-spacerun: yes;"> </span>Its Stiglitz-tude is
lacking.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Un hombre salvaje</i>
(1993)</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTcEPuT04l8CKnmU8JY5i821A-qbcchBJSs5i8YT_g6Af-2pZmY7ntNCZqR-DsapCDLgDXKv9zUn1xS2bZvCJoO0HlexLO4GUsZBTD6WST2Swjp_qvDRxsnbLSa58PGQ_e_xKSL_-xMsI2/s1600/Unhombresalvaje1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTcEPuT04l8CKnmU8JY5i821A-qbcchBJSs5i8YT_g6Af-2pZmY7ntNCZqR-DsapCDLgDXKv9zUn1xS2bZvCJoO0HlexLO4GUsZBTD6WST2Swjp_qvDRxsnbLSa58PGQ_e_xKSL_-xMsI2/s400/Unhombresalvaje1.BMP" width="400" /></a></div>
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<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">In <i style="mso-bidi-font-style: normal;">Un hombre salvaje</i>
(1993), a large, good-looking man is engaged in martial arts sparring at a
local gym.<span style="mso-spacerun: yes;"> </span>He goes too far and attacks
his opponent violently.<span style="mso-spacerun: yes;"> </span>His good-looking
girlfriend appears at the gym (she is a dancer) and chides him for his violent
behavior.<span style="mso-spacerun: yes;"> </span>Back at their apartment, their
rent-to-own furniture is about to be seized.<span style="mso-spacerun: yes;">
</span>The large, good-looking man, who is later revealed to be a cop, borrows
some money from his homey who runs an appliance repair shop.<span style="mso-spacerun: yes;"> </span>When negotiations fail with the repo men
outside of his apartment, the cop takes to violent action and starts beating
the men.<span style="mso-spacerun: yes;"> </span>His girlfriend steps in and
stops them.<span style="mso-spacerun: yes;"> </span>They take away their color
television.<span style="mso-spacerun: yes;"> </span>The cop returns to his homey
to give him the money that he borrowed, but Stiglitz shows up as a crime
boss.<span style="mso-spacerun: yes;"> </span>(He is dressed with an overcoat
around his shoulders with a cigar in his mouth.<span style="mso-spacerun: yes;">
</span>This is the attire of a crime boss.)<span style="mso-spacerun: yes;">
</span>One of Stiglitz’s cronies subdues the cop, and Stiglitz ices the
appliance repair shop owner.<span style="mso-spacerun: yes;"> </span>Stiglitz’s
character is engaged in shaking people down and drug trafficking.<span style="mso-spacerun: yes;"> </span>He is fourth billed in this picture.<span style="mso-spacerun: yes;"> </span>The cop takes to the streets, determined to
bring Stiglitz down for icing his homey.<span style="mso-spacerun: yes;">
</span>Unfortunately, his aggressive, violent actions may be his own undoing.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Average, <i style="mso-bidi-font-style: normal;">Un hombre
salvaje</i> is.<span style="mso-spacerun: yes;"> </span>The final confrontation
in a warehouse with Stiglitz is the highlight.<span style="mso-spacerun: yes;">
</span>The weirdest scene entails a small party where three men are drinking
with three women.<span style="mso-spacerun: yes;"> </span>One of the men beats
upon his date and drags her into the bedroom where he intends to rape the
woman.<span style="mso-spacerun: yes;"> </span>The two remaining men in the
living room remain cool, but one of the other ladies excuses herself to the
bathroom where she calls the police.<span style="mso-spacerun: yes;"> </span>The
violent cop arrives with two partners.<span style="mso-spacerun: yes;">
</span>While agonizing screams are heard inside, they take the time to form a
plan.<span style="mso-spacerun: yes;"> </span>The lead cop, going against the
plan, busts through the front door.<span style="mso-spacerun: yes;"> </span>He
has a fight with the would-be rapist and kills him.<span style="mso-spacerun: yes;"> </span>Problem solved?<span style="mso-spacerun: yes;"> </span>No.<span style="mso-spacerun: yes;"> </span>He
apparently is not supposed to kill suspects in the act of rape whom attack
him.<span style="mso-spacerun: yes;"> </span>The cop does not ask to see the
manual.<span style="mso-spacerun: yes;"> </span>Stiglitz wears a fedora and a
vest for the majority of the film and chews a cigar.<span style="mso-spacerun: yes;"> </span>He becomes animated during the final-act
gunfight.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Cabaret mortal</i>
(1998)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7mqhwCBj_4WELwrZVPHHA7EHkRE0wTMlDRHVGVlYoVkvZECxPDuoomyDz9k-lLiUxP3hg49KbZHV31mOApp2Kj-yrPdLClVDp42sgQakoXjb2YsQfvABN2W7gT-FzNFwFwsPwWuHrYV4V/s1600/Cabaretmortal1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7mqhwCBj_4WELwrZVPHHA7EHkRE0wTMlDRHVGVlYoVkvZECxPDuoomyDz9k-lLiUxP3hg49KbZHV31mOApp2Kj-yrPdLClVDp42sgQakoXjb2YsQfvABN2W7gT-FzNFwFwsPwWuHrYV4V/s400/Cabaretmortal1.BMP" width="400" /></a></div>
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<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Cabaret mortal</i>
(1998) is by far the weirdest film of this three.<span style="mso-spacerun: yes;"> </span>Stiglitz is top-billed with his name spelled
“Stiglits” in the opening credits.<span style="mso-spacerun: yes;"> </span>A
dude owns a bar.<span style="mso-spacerun: yes;"> </span>It is a happening
place:<span style="mso-spacerun: yes;"> </span>live music, dancing, an occasional
erotic dance, and general comradery.<span style="mso-spacerun: yes;"> </span>He
employs some extraordinarily gorgeous women to work as hostesses.<span style="mso-spacerun: yes;"> </span>He sleeps with them, too, and showers them
with flatteries but one at a time.<span style="mso-spacerun: yes;"> </span>In
the opening sequence of the film, a hooligan accosts the bar owner and makes
moves towards his hostess.<span style="mso-spacerun: yes;"> </span>He challenges
the bar owner to a fight, whereupon the hooligan kicks his ass, pretty
bad.<span style="mso-spacerun: yes;"> </span>He kidnaps the hostess.<span style="mso-spacerun: yes;"> </span>The following morning, the bar owner finds
his hostess and the hooligan.<span style="mso-spacerun: yes;"> </span>The bar
owner kills the hooligan in a knife fight.<span style="mso-spacerun: yes;">
</span>He takes the hostess home and sleeps with her.<span style="mso-spacerun: yes;"> </span>The following evening, the bar owner picks a
new girl upon whom to shower flatteries and with whom to sleep.<span style="mso-spacerun: yes;"> </span>Apparently, the ladies are quite competitive
as to whom is going to be “top girl.”<span style="mso-spacerun: yes;">
</span>One day, a good-looking transient appears at the bar and asks for a
job.<span style="mso-spacerun: yes;"> </span>The bar owner gives him a job as a
doorman.<span style="mso-spacerun: yes;"> </span>Enter Stiglitz.<span style="mso-spacerun: yes;"> </span>He is a douchebag who is forcing the bar
owner to use his club as a front for drug trafficking.<span style="mso-spacerun: yes;"> </span>Now let us let go of conventional reality for
the remainder of this synopsis.<span style="mso-spacerun: yes;"> </span>The
doorman convinces the bar owner at the next drug exchange in which he is
involved to turn the tables against Stiglitz and company.<span style="mso-spacerun: yes;"> </span>They engage in a gunfight whereupon all the
thugs are killed.<span style="mso-spacerun: yes;"> </span>The bar owner is most
impressed, and the doorman and bar owner form a strong bond.<span style="mso-spacerun: yes;"> </span>In the subsequent scene, the two engage in
the most homoerotic knife-fight sparring scene that I have ever seen.<span style="mso-spacerun: yes;"> </span>Granted, this is the only knife-fight
sparring scene that I have seen, but I feel all future ones will be judged against
it.<span style="mso-spacerun: yes;"> </span>The doorman is given nice clothes
and money and is no longer forced to serve as doorman.<span style="mso-spacerun: yes;"> </span>Remember the original lady who was kidnapped
by the hooligan and later rebuffed by the bar owner?<span style="mso-spacerun: yes;"> </span>Now, jealous that the bar owner is engaged
with another lady, she begins a fight on the dance floor.<span style="mso-spacerun: yes;"> </span>The bar owner smacks her around, and the
former doorman steps in to rescue her.<span style="mso-spacerun: yes;">
</span>The bar owner is pissed, and the former doorman escorts the lady home.<span style="mso-spacerun: yes;"> </span>They sleep together.<span style="mso-spacerun: yes;"> </span>In the final scene of <i style="mso-bidi-font-style: normal;">Cabaret mortal</i>, the bar owner and the former doorman have a
slow-motion knife fight which ends with one or both dying.<span style="mso-spacerun: yes;"> </span>On the dance floor.<span style="mso-spacerun: yes;"> </span>Remember Stiglitz?<span style="mso-spacerun: yes;"> </span>His plotline ends unresolved.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHjPkGYcQkI2eoaubAXb70Mfjg1hxnRIy-12Rx3zUVemLr3dQMH6hYFG57doxhRWIIu9AsAJBmVm3FnFPAzRYY3FzPU6euGxJpTJOzTkfl04-lf10FWOOl3Ju4kLlH3dP9liPBzqCgnaSN/s1600/Cabaretmortal2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHjPkGYcQkI2eoaubAXb70Mfjg1hxnRIy-12Rx3zUVemLr3dQMH6hYFG57doxhRWIIu9AsAJBmVm3FnFPAzRYY3FzPU6euGxJpTJOzTkfl04-lf10FWOOl3Ju4kLlH3dP9liPBzqCgnaSN/s400/Cabaretmortal2.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Cabaret mortal</i>
takes a while to get cooking but once it does, its weirdness overshadows the
lack of Stiglitz.<span style="mso-spacerun: yes;"> </span>There is a
wholesomeness to the live music/dancing scenes, as if everyone is having fun in
a family-friendly manner.<span style="mso-spacerun: yes;"> </span>It is almost
as if I could ask out the pretty girl at church for a date there, for dancing
and to drink soda.<span style="mso-spacerun: yes;"> </span>However, if I were to
take her on the night that the exotic dancer occupied the dance floor, then she
might be offended and get the wrong idea while the exotic dancer gyrated and
caused all of the blood to rush into men’s crotches.<span style="mso-spacerun: yes;"> </span>What if we showed up on the night of the
slow-motion knife fight?<span style="mso-spacerun: yes;"> </span>Stiglitz,
finally, for the record, misses all of these scenes.</span></div>
</div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-31695808893590678302015-10-06T07:00:00.000-05:002015-10-06T07:00:16.257-05:00El asesino está entre los trece (The Killer is Among the Thirteen) (1973)
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">El asesino está entre
los trece</i> (<i style="mso-bidi-font-style: normal;">The Killer is Among the
Thirteen</i>) (1973) plays like a <i style="mso-bidi-font-style: normal;">Who’s
Who</i> of Spanish 70s <i style="mso-bidi-font-style: normal;">genre</i>
cinema:<span style="mso-spacerun: yes;"> </span>Patty Shepard, Jack Taylor, Dyanik
Zurakowska, Eusebio Poncela, and Simón Andreu, for example, head the cast;
while Paul Naschy delivers an extended cameo with future superstar Carmen Maura
featured in an early role.<span style="mso-spacerun: yes;"> </span>This cast
plays a group of leisure, invited for a weekend sojourn by Shepard, with
highballs, inane conversation, extravagant dinners, and possible evening
bed-hopping on the agenda.<span style="mso-spacerun: yes;"> </span>As the title
would indicate, this representative class of the <i style="mso-bidi-font-style: normal;">boo-gee</i> has a sinister character amongst their number who plans on
reducing it before the weekend is out.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaAELmkTNuYIPYSGspbeLYYHui9lo53cJzksOP-xAApv8nkw6zjCrPa8GcjF2zPTVcRanKmq8DME1nZ7dyW902HzaZn0S1-m4HsyVEGa0QGw5tXYSU1Ih85-CHDQxbXizkjB45WcdMDpMD/s1600/KillerThirteen3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaAELmkTNuYIPYSGspbeLYYHui9lo53cJzksOP-xAApv8nkw6zjCrPa8GcjF2zPTVcRanKmq8DME1nZ7dyW902HzaZn0S1-m4HsyVEGa0QGw5tXYSU1Ih85-CHDQxbXizkjB45WcdMDpMD/s400/KillerThirteen3.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">While it is not anemic, the first murder of <i style="mso-bidi-font-style: normal;">El asesino está entre los trece</i> does not
occur until the end of the second act.<span style="mso-spacerun: yes;"> </span>Several
signature features of the <i style="mso-bidi-font-style: normal;">giallo</i> are
present:<span style="mso-spacerun: yes;"> </span>black gloves, razor blades, and
the first-person point-of-view of the killer.<span style="mso-spacerun: yes;">
</span>The murders are not graphic, and the love scenes are tame.<span style="mso-spacerun: yes;"> </span>The camera cuts away when a bra is unstrapped
or when a blade enters into someone’s flesh, usually.<span style="mso-spacerun: yes;"> </span>With the sensational elements considerably
toned down, <i style="mso-bidi-font-style: normal;">El asesino está entre los
trece </i>feels like Renoir-<i style="mso-bidi-font-style: normal;">lite</i>:<span style="mso-spacerun: yes;"> </span>the values of the middle class are exposed,
and because of their values, the middle class do themselves in, rather than the
maniacal killer the title suggests.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxFYSHzL7ND4MFlFAOle2l7QNgQfw6p3wl8QUm81cUacB77I5X169QgW0nUk8uVjAlaPhps_OdRPFWMQ5YWSXTAY7dIh4awArzWPP2NILaaC8c1nfYVprhh8iqTbgmPcFzFFtEHyi90O8K/s1600/KillerThirteen2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxFYSHzL7ND4MFlFAOle2l7QNgQfw6p3wl8QUm81cUacB77I5X169QgW0nUk8uVjAlaPhps_OdRPFWMQ5YWSXTAY7dIh4awArzWPP2NILaaC8c1nfYVprhh8iqTbgmPcFzFFtEHyi90O8K/s400/KillerThirteen2.BMP" width="400" /></a></span></div>
<span style="font-family: Calibri;">Shepard plays Lisa Mandel, a recently-widowed wealthy woman
who invites the group to her secluded home in the countryside.<span style="mso-spacerun: yes;"> </span>Her husband died a couple of years ago in a
plane crash, its jet he was piloting.<span style="mso-spacerun: yes;"> </span>Barbiturates
were found in his system with a non-lethal dose enough to make him fall
asleep.<span style="mso-spacerun: yes;"> </span>Lisa believes the killer visited
him slightly before he took off and drugged him.<span style="mso-spacerun: yes;"> </span>That person is among her group of invitees,
and she reveals this information to them during the first evening’s formal
dinner.<span style="mso-spacerun: yes;"> </span>Every single one of them had an
opportunity to kill her husband.<span style="mso-spacerun: yes;"> </span>Lisa
has invited the group to discover each’s motive and reveal the killer during
their stay.<span style="mso-spacerun: yes;"> </span>Even Lisa’s cousin, Francis
(Poncela), and her aunt with whom she lives cannot be ruled out as suspects. <span style="mso-spacerun: yes;"> </span>A mild case of paranoia sets in among the
guests and slightly hampers their fun.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJiHVWC4taxb0weqkLv_MG05Ag6-eYS1dndDF1NCtQkcUgl7kHIrc78aGpvDwPhjpmh5TH9Yo3l3Y_9qXEYwClhYRSQ2fjEM_cn3VN-E5fT1qfSR4h2IZR4XS-xs2vdSm7qowAgCbW1JLq/s1600/KillerThirteen4.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJiHVWC4taxb0weqkLv_MG05Ag6-eYS1dndDF1NCtQkcUgl7kHIrc78aGpvDwPhjpmh5TH9Yo3l3Y_9qXEYwClhYRSQ2fjEM_cn3VN-E5fT1qfSR4h2IZR4XS-xs2vdSm7qowAgCbW1JLq/s400/KillerThirteen4.BMP" width="400" /></a></div>
</span><span style="font-family: Calibri;">Tension and dread is sorely lacking in <i style="mso-bidi-font-style: normal;">El asesino está entre los trece </i>and this is its chief flaw.<span style="mso-spacerun: yes;"> </span>A murder mystery, intuitively, should focus
on murder or mystery, but they are almost wholly absent from the first two acts
of the film.<span style="mso-spacerun: yes;"> </span>Andreu plays Harry Stephen,
a very flirtatious playboy.<span style="mso-spacerun: yes;"> </span>His aim,
apparently, is to seduce every single woman that the film presents. <span style="mso-spacerun: yes;"> </span>The lovely, little maid, Elena (Rosa de Alba)
is his only successful seduction.<span style="mso-spacerun: yes;"> </span>First,
he encounters her in his room and showers her with flatteries.<span style="mso-spacerun: yes;"> </span>During their second meeting, he dares a
kiss.<span style="mso-spacerun: yes;"> </span>Finally, he attempts to fuck her
in his bedroom, but Elena, by this time totally infatuated with him, suggests a
clandestine rendezvous in the pool house.<span style="mso-spacerun: yes;">
</span>They meet at the midnight hour and fuck in the pool house.<span style="mso-spacerun: yes;"> </span>At the conclusion, Elena asks, “Will you take
me with you when you leave?”<span style="mso-spacerun: yes;"> </span>Andreu, as
Harry Stephen, suggests that they slow down.<span style="mso-spacerun: yes;">
</span>Naschy, incidentally, plays the jealous handyman who is having a
relationship with Elena.<span style="mso-spacerun: yes;"> </span>(He has a love
scene with Rosa de Alba, and I am sure he thanked his director, Javier
Aguirre.)<span style="mso-spacerun: yes;"> </span>Not only do these scenes feel
as if they are out of <i style="mso-bidi-font-style: normal;">The Rules of the
Game</i> (1939), but they occupy a substantial portion of the film’s ninety-minute
runtime.<span style="mso-spacerun: yes;"> </span>Also, no one’s personality, or <i style="mso-bidi-font-style: normal;">boo-gee </i>status, really reveals anything
that he or she may be the killer.<span style="mso-spacerun: yes;"> </span>This
is a fantastic cast, and I do enjoy watching them work.<span style="mso-spacerun: yes;"> </span>However, I kind of wanted a murder mystery,
and <i style="mso-bidi-font-style: normal;">El asesino está entre los trece</i>,
on the whole, does not deliver.<span style="mso-spacerun: yes;"> </span>I do not
think that I am asking for too much.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggXg-vwF3qctT_0y1xMIciEp3T31r6k6isP7r2Bya0LXOaRPE5N8Z4DYRlg5Y0YPeuf6zV5QSAWdBRnghnoHtTkPi7HJNcK4yIchTi3s3R7KLuPvjNdJMkcXRlmjM61ZASDM6Gg1nyTnfB/s1600/KillerThirteen1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggXg-vwF3qctT_0y1xMIciEp3T31r6k6isP7r2Bya0LXOaRPE5N8Z4DYRlg5Y0YPeuf6zV5QSAWdBRnghnoHtTkPi7HJNcK4yIchTi3s3R7KLuPvjNdJMkcXRlmjM61ZASDM6Gg1nyTnfB/s400/KillerThirteen1.BMP" width="400" /></a></div>
</span><span style="font-family: Calibri;">The music by Alfonso Santisteban is wonderful.<span style="mso-spacerun: yes;"> </span>The acting by all of the participants is
excellent.<span style="mso-spacerun: yes;"> </span>The direction is competent.<span style="mso-spacerun: yes;"> </span>Unfortunately, the screenplay, by Aguirre and
Alberto S. Insúa, is dull and antiquated.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">El asesino está entre los trece</i>
does have its charms as a curiosity of 70s, Spanish <i style="mso-bidi-font-style: normal;">genre</i> cinema, but these charms are only for us, the diehard fans,
who could still find better to behold.</span><br /></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-33742840505821111202015-10-04T07:00:00.000-05:002015-10-04T07:00:06.945-05:00The Hugo Stiglitz Chronicles, Volume Two
<span style="font-family: Calibri;">More Stiglitz.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">La mara salvatrucha</i>
(2002) (??)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">La mara salvatrucha</i>
(2002) is listed on the IMDb as <i style="mso-bidi-font-style: normal;">Veteranos
de la M-18</i> (2007), although my DVD shows the former as the title with its
year listed in the end credits.<span style="mso-spacerun: yes;"> </span>The film
is about a street gang.<span style="mso-spacerun: yes;"> </span>They don’t work;
drink and smoke weed; and commit acts of heinous violence.<span style="mso-spacerun: yes;"> </span>The leader of the gang is tight with his
sister; and one day, as he is gunning down a fleeing foe, his sister rounds the
corner and is gunned down, too.<span style="mso-spacerun: yes;"> </span>The
leader is devastated and as <i style="mso-bidi-font-style: normal;">La mara</i>
unfolds, he begins to lose his shit.<span style="mso-spacerun: yes;"> </span>In
an exemplary scene, the gang attempts to rob a warehouse full of goods which is
guarded by armed men.<span style="mso-spacerun: yes;"> </span>Now constantly
inebriated, the leader stands vacant and still as bullets fly around him.<span style="mso-spacerun: yes;"> </span>He gives a slurred speech and pumps some
bullets into the warehouse’s boss.<span style="mso-spacerun: yes;"> </span>It is
unclear whether the gang claims any booty from this robbery.<span style="mso-spacerun: yes;"> </span>He and his gang go to a cemetery where they
encounter the parents of one of their victims.<span style="mso-spacerun: yes;">
</span>The gang guns them down.<span style="mso-spacerun: yes;"> </span>He rapes
a young woman who, devastated by her trauma, turns to heroin.<span style="mso-spacerun: yes;"> </span>The leader begins shooting up with her,
too.<span style="mso-spacerun: yes;"> </span>It is clear the path that this
young man has chosen will lead him to certain death.<span style="mso-spacerun: yes;"> </span>By the end of ninety minutes, at least.<span style="mso-spacerun: yes;"> </span>Stiglitz plays “El jefe,” and he sees his
soldier on the street, the leader of the street gang, causing nothing but
trouble for the entire syndicate.<span style="mso-spacerun: yes;"> </span>A
showdown is inevitable.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMk8b-Dsuaw6d-vQujuamCjIM3iweALtBtFRvXe0LWm7863GuUc6qrwIvIYVIDUus0xPm4N0Da9pTdFSZVYBHGyDM_6VghZOI-5zYQzh8B7vHnGd5hI245v7rbGDyCwS_rqGk7ahkPOcvv/s1600/Mara1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMk8b-Dsuaw6d-vQujuamCjIM3iweALtBtFRvXe0LWm7863GuUc6qrwIvIYVIDUus0xPm4N0Da9pTdFSZVYBHGyDM_6VghZOI-5zYQzh8B7vHnGd5hI245v7rbGDyCwS_rqGk7ahkPOcvv/s400/Mara1.BMP" width="400" /></a></span></div>
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<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjCw8XA0arKOtqYeZlxO1MeV4WguqqzjHoSfunUlnNFh0GkFR1tHg_Lg1EsitniayNJN9tYE0LiU_rMkGoSFSf6dCiPpHzatzy8Z8f9voREji9PT8u0XzZfPc39cSfEFcG1x15cz2GzY7x/s1600/Mara2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjCw8XA0arKOtqYeZlxO1MeV4WguqqzjHoSfunUlnNFh0GkFR1tHg_Lg1EsitniayNJN9tYE0LiU_rMkGoSFSf6dCiPpHzatzy8Z8f9voREji9PT8u0XzZfPc39cSfEFcG1x15cz2GzY7x/s400/Mara2.BMP" width="400" /></a></span></div>
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<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9kS60hTPcX1LvFwyzHmGKuKEN4u1MoG4FCBaZfmhfi5vrk57fBYEL0_PtqycbbO-dTc6n1d-24hLskWNhyphenhyphenEhLoMe9UdVlhKx2uneY4bSwRS6luK-K_Uh2Z4aHvcFPap4bbDRLcZH5LYnY/s1600/Mara3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9kS60hTPcX1LvFwyzHmGKuKEN4u1MoG4FCBaZfmhfi5vrk57fBYEL0_PtqycbbO-dTc6n1d-24hLskWNhyphenhyphenEhLoMe9UdVlhKx2uneY4bSwRS6luK-K_Uh2Z4aHvcFPap4bbDRLcZH5LYnY/s400/Mara3.BMP" width="400" /></a></span></div>
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<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">La mara</i> is a low-budget
exploitation film, where I found myself fascinated as to what kind of shit was
going to happen next.<span style="mso-spacerun: yes;"> </span>There is an
aimlessness to the action which, in a creative touch, mimics the lifestyle of the
street gang.<span style="mso-spacerun: yes;"> </span>There is something
undefinable about watching the tragedy of someone self-destruct juxtaposed with
the same person committing ruthless acts of violence (like brutally torturing a
foe, only to, with venomous passion, force one of his comrades to murder the
man). <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>La mara </i>is <i style="mso-bidi-font-style: normal;">oldschool</i> exploitation.<span style="mso-spacerun: yes;"> </span>I
couldn’t really tell what was up with Stiglitz:<span style="mso-spacerun: yes;">
</span>he’s so cold and icy that it is hard to read his emotions.<span style="mso-spacerun: yes;"> </span>He dies really good in this one.<span style="mso-spacerun: yes;"> </span>He is also billed as “Stiglis.”</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Pistoleros del traficante</i>
(1999)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Not only is Stiglitz top-billed in <i style="mso-bidi-font-style: normal;">Pistoleros del traficante</i> (1999), he appears as the protagonist, as
opposed to the supporting role I find myself familiar with.<span style="mso-spacerun: yes;"> </span>He is an officer on the front lines of the
drug trade and is actively attempting to stop drug trafficking…with little
success.<span style="mso-spacerun: yes;"> </span>During a dangerous raid,
Stiglitz and company manage to interrupt a drug trade and nab one of the
dealers.<span style="mso-spacerun: yes;"> </span>A fellow officer shoots the
suspect before he can talk, and Stiglitz has to shoot him down.<span style="mso-spacerun: yes;"> </span>This scene is representative of Stiglitz’s
dilemma:<span style="mso-spacerun: yes;"> </span>everyone around him, including
his so-called compatriots on the force, are on the wrong side of the law.<span style="mso-spacerun: yes;"> </span>Stiglitz meets one of his homies at a bar,
and the fellow seems an affable chap.<span style="mso-spacerun: yes;">
</span>(Although in the first scene of <i style="mso-bidi-font-style: normal;">Pistoleros</i>,
after a concert scene, this same fellow is seen gunning down two dudes in cold
blood.)<span style="mso-spacerun: yes;"> </span>Stiglitz’s homey is one of the
key, upper-echelon figures in the drug trade and he has turned his sights
towards turning Stiglitz to the dark side.<span style="mso-spacerun: yes;">
</span>He commands his voluptuous lady to seduce Stiglitz at every opportunity
she can get.<span style="mso-spacerun: yes;"> </span>Stiglitz is actually cool
with that, despite having a gorgeous and loving wife.<span style="mso-spacerun: yes;"> </span>Eventually, one of Stiglitz’s crooked
colleagues on the force makes a fatal mistake that identifies him as a bad
guy.<span style="mso-spacerun: yes;"> </span>Stiglitz, with six-shooter in hand,
shoots everybody.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEo7fRlBJ7auQ7W533cFHhNIuWvGBz-fhLeptgxKF8Pcwvuht9ySy_iFyjWVGkmI19sD-wLTnVgggaEqKQnMQiOZWha2Elmuo0QVaKA1dbnvNoWsv-7HYKAVefEks4dTvOWEoC5cQstVJH/s1600/Pistoleros3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEo7fRlBJ7auQ7W533cFHhNIuWvGBz-fhLeptgxKF8Pcwvuht9ySy_iFyjWVGkmI19sD-wLTnVgggaEqKQnMQiOZWha2Elmuo0QVaKA1dbnvNoWsv-7HYKAVefEks4dTvOWEoC5cQstVJH/s400/Pistoleros3.BMP" width="400" /></a></span></div>
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<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh52KKM9X3HwBR92kjJIhii3xl0k4RzRLG66nE3eeekv_vPFZSX7nMOzeAc5YIcji8KW7Iy4bl2bZ-zHzkENpxB5emFpP7gC4Z1gnvPXxmicCaSaCb8Vnuc8gNJKMcqjO1PB_JAQMZj7DgN/s1600/Pistoleros2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh52KKM9X3HwBR92kjJIhii3xl0k4RzRLG66nE3eeekv_vPFZSX7nMOzeAc5YIcji8KW7Iy4bl2bZ-zHzkENpxB5emFpP7gC4Z1gnvPXxmicCaSaCb8Vnuc8gNJKMcqjO1PB_JAQMZj7DgN/s400/Pistoleros2.BMP" width="400" /></a></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBm23TOMSn8OmDAeuetPogUrw6Y9Me6hPED4gMlz4VI0GBZNmwcc-2CdPvBjhYbJUAsimuV2x8x_rKU-wniML5KiuHA7mc5-fVzgceZeocd7M-m2XPj-1Yb6nxF2yCccJrT_8OJ63g4YcI/s1600/Pistoleros1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBm23TOMSn8OmDAeuetPogUrw6Y9Me6hPED4gMlz4VI0GBZNmwcc-2CdPvBjhYbJUAsimuV2x8x_rKU-wniML5KiuHA7mc5-fVzgceZeocd7M-m2XPj-1Yb6nxF2yCccJrT_8OJ63g4YcI/s400/Pistoleros1.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Pistoleros</i> feels
polished, and Stiglitz is a compelling badass as the lead.<span style="mso-spacerun: yes;"> </span>The plot of <i style="mso-bidi-font-style: normal;">Pistoleros</i> is nothing new:<span style="mso-spacerun: yes;">
</span>Hong Kong cinema has made a cottage industry out of the genre, and
almost every country is familiar with police corruption.<span style="mso-spacerun: yes;"> </span>This film has a real energy; and while it
isn’t memorable, it certainly is entertaining for its run time.<span style="mso-spacerun: yes;"> </span>There are musical sequences which are
nice.<span style="mso-spacerun: yes;"> </span>The action sequences are very
well-done.<span style="mso-spacerun: yes;"> </span>When Stiglitz takes over,
it’s win-win.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Cementerio de cholos</i>
(2003)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Stiglitz does not appear until about fifty minutes into <i style="mso-bidi-font-style: normal;">Cementerio de cholos</i> (2003) (out of
ninety minutes).<span style="mso-spacerun: yes;"> </span>He does receive top
billing.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Cementerio</i> is about young friends who enjoy the pleasures of
youth:<span style="mso-spacerun: yes;"> </span>dancing, playing basketball,
socializing, and drinking and smoking weed.<span style="mso-spacerun: yes;">
</span>Dampening their fun is a bunch of assholes, a vicious street gang.<span style="mso-spacerun: yes;"> </span>In the opening sequence of the film, the
young friends are dancing to live music in the open air.<span style="mso-spacerun: yes;"> </span>The street gang arrives and begins making
trouble.<span style="mso-spacerun: yes;"> </span>The leader of the street gang
has eyes for the pretty betty with the cool kids, but she rebuffs him.<span style="mso-spacerun: yes;"> </span>The next day, she is walking home and gets
kidnapped by the street gang.<span style="mso-spacerun: yes;"> </span>They take
her to a secluded place and gang rape her.<span style="mso-spacerun: yes;">
</span>She escapes.<span style="mso-spacerun: yes;"> </span>She finds solace
first in the hands of a religious zealot (who later immolates himself in the
film); second, she returns home to find her mother passed out drunk; and
finally, she turns to her friends and explains her trauma.<span style="mso-spacerun: yes;"> </span>Revenge is on tap, ready to be served
cold.<span style="mso-spacerun: yes;"> </span>It becomes a little lukewarm when
the two groups meet to fight, as they are kind-of lame in execution.<span style="mso-spacerun: yes;"> </span>As the film nears its conclusion, the young
friends begin killing the members of the street gang.<span style="mso-spacerun: yes;"> </span>It appears that <i style="mso-bidi-font-style: normal;">Cementerio</i> will not end until the street gang is completely wiped
out.<span style="mso-spacerun: yes;"> </span>Or ninety minutes ends.<span style="mso-spacerun: yes;"> </span>Stiglitz is the police officer attempting to
end the violence among the groups.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhseg7OliwkF-0cDeWvbgwQFnT9nGPT6NK6fIabQfwp-uLQePhLjSMbxUp1xIx-m_qgxGthSBABTQ5IdfnswEKgdU7EvHDl0hUz28G5f40vOInEeDOI-WqMFcvIJppI4DG2gJYPESNbp9IY/s1600/Cementerio3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhseg7OliwkF-0cDeWvbgwQFnT9nGPT6NK6fIabQfwp-uLQePhLjSMbxUp1xIx-m_qgxGthSBABTQ5IdfnswEKgdU7EvHDl0hUz28G5f40vOInEeDOI-WqMFcvIJppI4DG2gJYPESNbp9IY/s400/Cementerio3.BMP" width="400" /></a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_AflruET-Nzy1ZRMZAVu7VIXCvwMCDVQzC-wNO1sFHW-m8geHo1-U5HCjcKlhuBimO9aYKVlqiu7Uncxn8kUv7_vTiGUOhLMv0pm5IsTOfK14iJLdQ6p2VWFrU7QmmE1qNEvqQp3c9xEs/s1600/Cementerio1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_AflruET-Nzy1ZRMZAVu7VIXCvwMCDVQzC-wNO1sFHW-m8geHo1-U5HCjcKlhuBimO9aYKVlqiu7Uncxn8kUv7_vTiGUOhLMv0pm5IsTOfK14iJLdQ6p2VWFrU7QmmE1qNEvqQp3c9xEs/s400/Cementerio1.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Cementerio</i> depicts
another ruthless street gang.<span style="mso-spacerun: yes;"> </span>This gang
even enjoys fighting among themselves.<span style="mso-spacerun: yes;">
</span>They murder a cop.<span style="mso-spacerun: yes;"> </span>Murder a
business owner during a robbery.<span style="mso-spacerun: yes;"> </span>Bet on
dog fights.<span style="mso-spacerun: yes;"> </span>Lose on dog fights and beat
and rob the winner.<span style="mso-spacerun: yes;"> </span>Gang rape
women.<span style="mso-spacerun: yes;"> </span>Shoot some more people.<span style="mso-spacerun: yes;"> </span>Ruin parties.<span style="mso-spacerun: yes;">
</span>The highlight of <i style="mso-bidi-font-style: normal;">Cementerio</i>
shows that the unity of young people is strong, and this unity is,
simultaneously and ironically, wholly absent among many young people.<span style="mso-spacerun: yes;"> </span>Stiglitz chews the scenery.<span style="mso-spacerun: yes;"> </span>He points his gun more than he shoots
it.<span style="mso-spacerun: yes;"> </span>The film feels like a slice-of-life
docudrama played with the seriousness of an afterschool special.<span style="mso-spacerun: yes;"> </span>This is unique, in its own way.<span style="mso-spacerun: yes;"> </span>I would have preferred, as usual, more
Stiglitz, but I would not be lying if I said that I was entertained for ninety
minutes.</span></div>
</div>
</div>
</div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-64845044059918833522015-10-01T07:00:00.000-05:002015-10-01T07:00:16.273-05:00The Hugo Stiglitz Chronicles, Volume One<span style="font-family: Calibri;">For the fan of offbeat film, one of the perks of living in a
culturally diverse city is the accessibility to weird movies from other
countries and in other languages.<span style="mso-spacerun: yes;"> </span>Whilst
shopping at my local mega-mart, I noticed a large bin, about the size of a
child’s swimming pool, filled to the brim with DVDs of Mexican films, most of
which were less than the price of a pack of cigarettes.<span style="mso-spacerun: yes;"> </span>Atop of the heap were several films featuring
actor Hugo Stiglitz, the star of one of my favorite European horror films, <i style="mso-bidi-font-style: normal;"><a href="http://thisisquietcool.blogspot.com/2012/01/incubo-sulla-citta-contaminata.html">Nightmare City</a></i>, and whose name was
immortalized by Quentin Tarantino when he cast Til Schweiger as Sargent Hugo
Stiglitz in his 2009 film, <i style="mso-bidi-font-style: normal;">Inglourious
Basterds</i>.<span style="mso-spacerun: yes;"> </span>Most of the DVDs that I
saw available had Stiglitz’s picture on its cover, often he was brandishing a
firearm and held a cold, icy stare for any prospective viewers of his
cinema.<span style="mso-spacerun: yes;"> </span>I thought that these were
badass, so I bought a shitload of them.<span style="mso-spacerun: yes;">
</span>I feel compelled, now, to chronicle my journey through these films.<span style="mso-spacerun: yes;"> </span>I see no end in sight.</span><br />
<span style="font-family: Calibri;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">2 monjitas en peligro</i>
(1998)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">The image of two attractive nuns brandishing assault rifles
on the cover of this DVD was enough for me to merit purchasing it.<span style="mso-spacerun: yes;"> </span>The presence of Stiglitz, who receives top
billing, was gravy. <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>2 monjitas en peligro</i> deals with two
(biological) sisters.<span style="mso-spacerun: yes;"> </span>As children, they
were cared for by the Mother Superior (Ana Luisa Peluffo) as their loving
father was often occupied with business.<span style="mso-spacerun: yes;">
</span>His business was drug trafficking, and he gets gunned down by the police
who interrupt an exchange.<span style="mso-spacerun: yes;"> </span>The young
girls’ grandfather takes it upon himself to rear his granddaughters, especially
by teaching them how to expertly use firearms.<span style="mso-spacerun: yes;">
</span>The sisters grow into women (portrayed by Edna Bolkan and Maribel
Palmer) and are engaged in helping the Mother Superior run her orphanage.<span style="mso-spacerun: yes;"> </span>One day, two armed thugs, with a copious
amount of cocaine in tow, take refuge in the orphanage from the police and hold
all inside, including the children, hostage.<span style="mso-spacerun: yes;">
</span>The two sisters cut a deal with their captors:<span style="mso-spacerun: yes;"> </span>they agree to tape the cocaine to their
persons; disguise themselves as nuns; and deliver the goods to the local crime
boss in exchange for their surrendering and letting everyone go.<span style="mso-spacerun: yes;"> </span>The police will not search two nuns, and
absent any heavy evidence, the captors will face seriously reduced
charges.<span style="mso-spacerun: yes;"> </span>The deal is made, and the two
sisters deliver the goods.<span style="mso-spacerun: yes;"> </span>The local
crime boss is most impressed.<span style="mso-spacerun: yes;"> </span>He
attempts to pay the two sisters to perform their ruse, again, and they are
close to accepting as the orphanage is constantly behind in payments.<span style="mso-spacerun: yes;"> </span>They refuse, as everyone knows, drug
trafficking cannot justify even helping poor, unfortunate orphans.<span style="mso-spacerun: yes;"> </span>The local crime boss then kidnaps the Mother
Superior and forces the two sisters to drive a station wagon full of cocaine
into the city, past police checkpoints.<span style="mso-spacerun: yes;">
</span>If they do not, then the Mother Superior will be killed.<span style="mso-spacerun: yes;"> </span>The sisters learn, en route to their
destination, that Stiglitz, who works as a henchman for the local crime boss,
was involved in the murder of their father.<span style="mso-spacerun: yes;">
</span>They decide to get revenge upon the syndicate.<span style="mso-spacerun: yes;"> </span></span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOX2BVGe5KOK3yYDshWTRMYemIhXRWIkjtpy41HR11KLo8Okv-mLV0BhGzx6G5cbGsa1BqRg9ndIPCUoqVLtJnnIxhSualLw3ZpfHt07XFcvr9omXZQFnWo0PMIVzgBMWl6PxOn5hQSmwQ/s1600/2monjitas2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOX2BVGe5KOK3yYDshWTRMYemIhXRWIkjtpy41HR11KLo8Okv-mLV0BhGzx6G5cbGsa1BqRg9ndIPCUoqVLtJnnIxhSualLw3ZpfHt07XFcvr9omXZQFnWo0PMIVzgBMWl6PxOn5hQSmwQ/s400/2monjitas2.BMP" width="400" /></a></span></div>
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<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfZNHKRhgCY-ExMMrR1zJCejsZsCNmckL-FW1Kj11ecw1iZCejhyphenhyphen3my3-Bfn3k2Tmm7FticcewoN6NiXcnyrBDq7PgaVEBcBA_HY1j01Z3kEP-K3HGt0poiM8qnM_nlCnpL2_IC7Hb-nBT/s1600/2monjitas3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfZNHKRhgCY-ExMMrR1zJCejsZsCNmckL-FW1Kj11ecw1iZCejhyphenhyphen3my3-Bfn3k2Tmm7FticcewoN6NiXcnyrBDq7PgaVEBcBA_HY1j01Z3kEP-K3HGt0poiM8qnM_nlCnpL2_IC7Hb-nBT/s400/2monjitas3.BMP" width="400" /></a></span></div>
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<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrK_P3jK4YilM4LipyOtTBbKPH-21Pf43hsoMHkmRjRwxtA-quX1lbx6x-5n-s4fxD1oXI97LKKM0epIxfgd6G8DBMQQ_V4B9ji4Sn1YU065yTWCpXxjIPdi_7cWs6d1zZnDnk0eTj6rkP/s1600/2monjitas1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrK_P3jK4YilM4LipyOtTBbKPH-21Pf43hsoMHkmRjRwxtA-quX1lbx6x-5n-s4fxD1oXI97LKKM0epIxfgd6G8DBMQQ_V4B9ji4Sn1YU065yTWCpXxjIPdi_7cWs6d1zZnDnk0eTj6rkP/s400/2monjitas1.BMP" width="400" /></a></span></div>
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<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">The plot of <i style="mso-bidi-font-style: normal;">2 monjitas
en peligro </i>sounds really cool, but the execution is extremely mechanical,
most of it delivered in dialogue.<span style="mso-spacerun: yes;"> </span>The
film generates no real energy.<span style="mso-spacerun: yes;"> </span>Stiglitz
mostly chews the scenery:<span style="mso-spacerun: yes;"> </span>he just stares
at people and looks badass; or he has a drink and a smoke while delivering
dialogue.<span style="mso-spacerun: yes;"> </span>The director, Jesús Fragoso
Montoya, makes no interesting compositions and never steps beyond a
conservative decision.<span style="mso-spacerun: yes;"> </span>He does, however,
have a fondness for the female <i style="mso-bidi-font-style: normal;">culo</i>,
so when the actresses were in thongs, compositions got tighter.<span style="mso-spacerun: yes;"> </span>I perked up during these sequences.<span style="mso-spacerun: yes;"> </span>The few action sequences are perfunctory, and
the ending was woefully anti-climactic.<span style="mso-spacerun: yes;">
</span>Bolkan and Palmer are two very sexy and adept actresses, and their
characters should have been pushed beyond dialogue.<span style="mso-spacerun: yes;"> </span>To be handed a script this insane and to not
complement it with visual insanity is a cardinal sin of the highest order.<span style="mso-spacerun: yes;"> </span>Stiglitz should have just have shot everybody
for ninety minutes.<o:p></o:p></span></div>
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Pandillas criminales</i>
(2002)<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">A young woman is walking home alone at night when a van of
street thugs pulls up beside her and drags her into the van.<span style="mso-spacerun: yes;"> </span>They brutally gang rape her at a secluded
building.<span style="mso-spacerun: yes;"> </span>Meanwhile, a vigilante girl
gang are beating and killing a local thug.<span style="mso-spacerun: yes;">
</span>When the young rape victim stumbles home, she encounters her mother
(Diana Herrera), and the two have a lengthy argument.<span style="mso-spacerun: yes;"> </span>Her mother leaves the home that very evening.<span style="mso-spacerun: yes;"> </span>The following day, the young woman visits a
rape counseling center and is treated insensitively.<span style="mso-spacerun: yes;"> </span>On her way home, she meets two of the local
girl gang.<span style="mso-spacerun: yes;"> </span>They sympathize with her and
offer her real support.<span style="mso-spacerun: yes;"> </span>They also offer
to help her get revenge upon her attackers, at any cost.<span style="mso-spacerun: yes;"> </span>Stiglitz plays a crooked cop who is feeding
drugs to the street thugs and leeching their profits.<span style="mso-spacerun: yes;"> </span>His character does not make it into the final
act, despite the fact that he has top billing (his name spelled “Stieglitz” in
the credits).</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPBOcgcHZwmWLG-uN0OIaY4iHc4h6hn8u95igso0mWzXcjIFEbCjKe06Mi2bdSWE7YKt9ADC8o0w977z2CfxHEu8M8xnt3WapHdlvDON8lsVgNP04ZhKe2oVefV3RNba82Kkqpax38c-jJ/s1600/Pandillas1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPBOcgcHZwmWLG-uN0OIaY4iHc4h6hn8u95igso0mWzXcjIFEbCjKe06Mi2bdSWE7YKt9ADC8o0w977z2CfxHEu8M8xnt3WapHdlvDON8lsVgNP04ZhKe2oVefV3RNba82Kkqpax38c-jJ/s400/Pandillas1.BMP" width="400" /></a></span></div>
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<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Pandillas criminales </i>could
have been a gritty exploitation flick, but, again, this film is talky.<span style="mso-spacerun: yes;"> </span>Even during the final act, when the girl gang
assaults the street thugs’ hideout, dialogue sequences between the ladies stand
out when ammunition should be flying off the walls and into street thugs.<span style="mso-spacerun: yes;"> </span>As interesting diversions, the street thugs
have a rival gang; and twice in the film, the two leaders meet to gamble upon
each’s best fighter in a one-on-one fight.<span style="mso-spacerun: yes;">
</span>Unfortunately, none can fight for shit.<span style="mso-spacerun: yes;">
</span>It is as if their idea of martial arts is simply the idea of performing
kicks.<span style="mso-spacerun: yes;"> </span>These fights could have been
dressed up with some interesting camerawork, but, like the majority of the
film, such camerawork is absent.<span style="mso-spacerun: yes;"> </span>I can
appreciate the sensitivity shown to the ladies:<span style="mso-spacerun: yes;">
</span>there is a real unity among them, and the issues within the film are
serious.<span style="mso-spacerun: yes;"> </span>However, whenever revenge is to
be exacted, I like my revenge exacted cold (and really cool-looking).<span style="mso-spacerun: yes;"> </span>Stiglitz appears in nothing more than an
extended cameo, and perhaps his casting was to attract attention to this
film.<span style="mso-spacerun: yes;"> </span>More Stiglitz only could have
helped.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">La voz de los
caracoles</i> (1993)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">First, think of all the shit that you can do at the
beach:<span style="mso-spacerun: yes;"> </span>sunbathing, lazing about drinking
beer, swimming, jet-skiing, long walks at sunset with a loved one, a romantic
canoe ride in a quiet alcove, deep sea-fishing on a yacht, and an al fresco
dinner at twilight by the seashore.<span style="mso-spacerun: yes;"> </span>Are
there more?<span style="mso-spacerun: yes;"> </span>Probably, but <i style="mso-bidi-font-style: normal;">La voz de los caracoles</i> is only about
ninety minutes.<span style="mso-spacerun: yes;"> </span>The film is a romance,
dressed inside a thriller plot line.<span style="mso-spacerun: yes;"> </span>If
you lived through the nineties, then you know this story.<span style="mso-spacerun: yes;"> </span>A wealthy gorgeous wife (<a href="https://en.wikipedia.org/wiki/Felicia_Mercado">Felicia Mercado</a>)
witnesses her husband get murdered by an unknown assailant.<span style="mso-spacerun: yes;"> </span>Miguel Ángel Rodríguez plays the police
officer assigned to protect her twenty-four hours a day.<span style="mso-spacerun: yes;"> </span>After some playful antagonism, the two
eventually fall in love.<span style="mso-spacerun: yes;"> </span>They hit the
beach.<span style="mso-spacerun: yes;"> </span>A lot.<span style="mso-spacerun: yes;"> </span>Police protection is a fucking paid vacation.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGjtUl1F_lUFafOa4ZszAPiMQJPnuAgkRZiv4LsloDXfyflvm-i0Omldm930otGW9cgo4DQTVnuqAXwxJC4bREMYGJm8I-1yhcNcoJnyJ3B2edWs-fUZwuHkQoCXF2gaISElMrOKDFWohG/s1600/Lavoz1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGjtUl1F_lUFafOa4ZszAPiMQJPnuAgkRZiv4LsloDXfyflvm-i0Omldm930otGW9cgo4DQTVnuqAXwxJC4bREMYGJm8I-1yhcNcoJnyJ3B2edWs-fUZwuHkQoCXF2gaISElMrOKDFWohG/s400/Lavoz1.BMP" width="400" /></a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-o581nvF6oDwCucL-4fDEjtHnjfqyHLfFl8BGfiJVdnTWD5BID58E3xAwoZgg1n-g7x4FGtGCITVfzdfuYNHXJ_UmRCwXmMZ8sr2s6-IqtMBXl5ueZ494wfEtTPKghOonea6QzEgxsWXt/s1600/Lavoz2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-o581nvF6oDwCucL-4fDEjtHnjfqyHLfFl8BGfiJVdnTWD5BID58E3xAwoZgg1n-g7x4FGtGCITVfzdfuYNHXJ_UmRCwXmMZ8sr2s6-IqtMBXl5ueZ494wfEtTPKghOonea6QzEgxsWXt/s400/Lavoz2.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Rodríguez also directs <i style="mso-bidi-font-style: normal;">La
voz de los caracoles</i>, and Stiglitz gets third billing behind him and
Mercado.<span style="mso-spacerun: yes;"> </span>Stiglitz plays Rodríguez’s boss
and leads the investigation finding the killer.<span style="mso-spacerun: yes;">
</span>Here is an example of their police work:<span style="mso-spacerun: yes;">
</span>Mercado gets angry at Rodríguez and storms out the house.<span style="mso-spacerun: yes;"> </span>This is the first time that she is alone
after police protection has been assigned.<span style="mso-spacerun: yes;">
</span>The killer attacks her, and before he can strike, Rodríguez shoots him
in the leg, causing serious injury.<span style="mso-spacerun: yes;"> </span>He
limps away, and giving half-ass chase, the police can nab him, solving the
crime.<span style="mso-spacerun: yes;"> </span>Nope.<span style="mso-spacerun: yes;"> </span>They decide not to do that.<span style="mso-spacerun: yes;"> </span>There is also in <i style="mso-bidi-font-style: normal;">La voz</i> a strange subplot involving some sort of cosmic voodoo, as
Mercado is friendly with a local soothsayer.<span style="mso-spacerun: yes;">
</span>It ties into the mind-blowing conclusion of the film.<span style="mso-spacerun: yes;"> </span>I am not really as angry with <i style="mso-bidi-font-style: normal;">La voz</i> as I sound:<span style="mso-spacerun: yes;"> </span>Mercado and Rodríguez are an endearing
couple, and I did enjoy watching their romance blossom.<span style="mso-spacerun: yes;"> </span>However, I do want my Stiglitz fix, and
unfortunately, in <i style="mso-bidi-font-style: normal;">La voz</i> he just
serves up cold stares and yells at people in the office.<span style="mso-spacerun: yes;"> </span>Maybe he could have gone to the beach, too,
and shot up everybody there.</span></div>
</div>
</div>
</div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-39584422871938643732015-08-31T07:00:00.000-05:002015-08-31T07:00:06.390-05:00Digging for Fire (2015)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7u6mIaJnarDKuu04p73sij_xan_AXcywmF-SSZVuorn6EoOWiSn7HIMxBH8HJlHiQuZf7ZbsWVTKA3x2klL8mMpfDhlO2dCfb-TBCp947Lxe7r-oiToSxAHQ7qIKm1xon6SOVphinKRQS/s1600/digging-for-fire-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7u6mIaJnarDKuu04p73sij_xan_AXcywmF-SSZVuorn6EoOWiSn7HIMxBH8HJlHiQuZf7ZbsWVTKA3x2klL8mMpfDhlO2dCfb-TBCp947Lxe7r-oiToSxAHQ7qIKm1xon6SOVphinKRQS/s400/digging-for-fire-poster.jpg" width="270" /></a></div>
<span style="font-family: Calibri;">Joe Swanberg is one of the more interesting writer/directors
working today, ever since his debut film, <i style="mso-bidi-font-style: normal;">Kissing
on the Mouth</i> (2005).<span style="mso-spacerun: yes;"> </span>He shows a
willingness to experiment with scenarios involving intimacy (both physical and
emotional) and Swanberg takes some serious artistic risks in exacting his
cinema.<span style="mso-spacerun: yes;"> </span>His latest film, <i style="mso-bidi-font-style: normal;">Digging for Fire</i> (2015), has premiered
recently theatrically; and despite the fact that I live in a major city in the
United States, the film was unavailable to see on the big screen.<span style="mso-spacerun: yes;"> </span>The film did, however, appear on demand, and
via iTunes, I was able to see it recently.<span style="mso-spacerun: yes;">
</span>Let’s see what’s shaking.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Lee (Rosemarie DeWitt) and Tim (Jake Johnson, who also
co-scripted) are a young couple with a child about to enter preschool.<span style="mso-spacerun: yes;"> </span>Lee teaches yoga; Tim is a high-school gym
teacher; and their family are house-sitting in an upscale home for an actress
out of the country filming.<span style="mso-spacerun: yes;"> </span>Lee is
stressing about their child’s education: she wants their son to go to a good
school and is worried how they are going to pay for it.<span style="mso-spacerun: yes;"> </span>Tim’s view is more lax:<span style="mso-spacerun: yes;"> </span>he teaches in public school and feels it would
be hypocritical for their son to not attend there.<span style="mso-spacerun: yes;"> </span>Tim is also reticent to prepare and file
their tax return.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>To top it off, Tim has found on the property a
rusty revolver and an old bone.<span style="mso-spacerun: yes;"> </span>He wants
to dig further and see what else he can uncover.<span style="mso-spacerun: yes;"> </span>Understandably, Lee wants Tim to abandon that
idea but she knows that he will not.<span style="mso-spacerun: yes;">
</span>Instead, Lee decides to visit her parents (Judith Light and Sam Elliott)
with her son for the weekend: this visit will afford her the opportunity to
leave her son in good hands and have a relaxing evening out with friends.<span style="mso-spacerun: yes;"> </span>Tim, unsurprisingly, becomes obsessed with
the idea of finding more treasures on the property.<span style="mso-spacerun: yes;"> </span>He continues to dig and has friends over for
the weekend.<span style="mso-spacerun: yes;"> </span>Lee and Tim, at this point,
will remain separated for the duration of <i style="mso-bidi-font-style: normal;">Digging
for Fire</i>, and each will take her/his spiritual journey during this last
vestige of youth.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">When <i style="mso-bidi-font-style: normal;">Digging for Fire</i>
concluded and the credits began rolling, my sister, who was also in attendance
at this viewing, said, “Nothing happened.”<span style="mso-spacerun: yes;">
</span>She’s right:<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Digging for Fire</i> is a drama and it follows the traditional,
three-act structure of drama; but nothing “dramatic” happens.<span style="mso-spacerun: yes;"> </span>The only time that a character raises his
voice, Ray (Sam Rockwell), it does not end with a violent confrontation or a
yelling match.<span style="mso-spacerun: yes;"> </span>Hurt and embarrassed, Ray
leaves after his outburst, since he had been chastised by Tim for interrupting
his evening with Max (Brie Larson).<span style="mso-spacerun: yes;"> </span>The
only time that a fight occurs in <i style="mso-bidi-font-style: normal;">Digging
for Fire</i> is off screen:<span style="mso-spacerun: yes;"> </span>a chivalrous
Ben (Orlando Bloom) politely escorts a drunk out of a bar who was hitting on a
clearly perturbed Lee.<span style="mso-spacerun: yes;"> </span>For his
chivalrous act, Ben receives a cut above his eye but he doesn’t throw a punch
in return.<span style="mso-spacerun: yes;"> </span>In fact, he asks the hostess
at the bar to call the drunk a cab.<span style="mso-spacerun: yes;">
</span>Finally, for example, both Tim and Lee have an opportunity to cheat on
each other that evening:<span style="mso-spacerun: yes;"> </span>Ben cooks Lee a
meal for helping him tend to his wound, and the two take a moonlit stroll on
the beach.<span style="mso-spacerun: yes;"> </span>Ben kisses Lee, and despite
the fact that she is attracted to him, she leaves him at the shoreline.<span style="mso-spacerun: yes;"> </span>Tim and Max have a day of digging and bonding
and dinner.<span style="mso-spacerun: yes;"> </span>She comes over to the house
the morning after the party at Tim’s house to retrieve her purse.<span style="mso-spacerun: yes;"> </span>Max stays, and they get to know each other,
creating a close connection.<span style="mso-spacerun: yes;"> </span>Tim is too
scared to even put his head in Max’s lap—it’s fairly certain that Lee and Tim
love each other:<span style="mso-spacerun: yes;"> </span>they just need some
time away from each other to re-enforce and realize it.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Digging for Fire </i>is
about the last days of youth and the entrance into real adulthood, the
beginning of a family and its responsibilities.<span style="mso-spacerun: yes;">
</span>(Swanberg’s son, Jude, plays Lee and Tim’s child, so Swanberg may be
experiencing the same issues as he has rendered creatively.)<span style="mso-spacerun: yes;"> </span>The film presents its themes in an
understated manner, indicating, perhaps, that the process is not as stressful
as its main characters are making it (it is rather an intuitive, natural
choice).<span style="mso-spacerun: yes;"> </span>Some are reticent to enter
adulthood, such as Ray, and some of the characters, like Max, are clearly in
the middle of youth.<span style="mso-spacerun: yes;"> </span>Lee and Tim are
going to cross the threshold by the end of the film.<span style="mso-spacerun: yes;"> </span>At times the symbolism of the film is a
little heavy-handed (e.g. Tim’s discovery in the final act), but overall, the
symbolism is organic.<span style="mso-spacerun: yes;"> </span>(In an especially
adept scene, Lee purchases a leather jacket as an impulse buy.<span style="mso-spacerun: yes;"> </span>Later, she steals money out of her mother’s
purse.)<span style="mso-spacerun: yes;"> </span>In one of my favorite scenes,
Lee visits her friends, a married couple with two children and a nanny,
portrayed by Melanie Lynskey and Ron Livingston.<span style="mso-spacerun: yes;"> </span>Lee wants Lynskey to go out with her for the
evening.<span style="mso-spacerun: yes;"> </span>Lynskey’s character declines to
go out with Lee:<span style="mso-spacerun: yes;"> </span>it is implied that her
husband may be cuddling up to the nanny, as Livingston’s character has invited
the nanny to accompany them on a family trip to Costa Rica.<span style="mso-spacerun: yes;"> </span>A lot of the scenes have a Raymond Carver,
slice-of-life feel to them.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Again, Swanberg with <i style="mso-bidi-font-style: normal;">Digging
for Fire</i> makes another interesting film about intimacy; and he does not
need overtly “dramatic” scenes to accomplish a rather fine piece of cinema for
those open-minded and willing to see it.<span style="mso-spacerun: yes;">
</span></span></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-75924096636984359252015-08-26T07:00:00.000-05:002015-08-26T07:00:15.110-05:00La Casa de las Mujeres Perdidas (1982)<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">La Casa de las Mujeres
Perdidas</i> (1982) is a weird Jess Franco film.<span style="mso-spacerun: yes;"> </span>In a good way.<span style="mso-spacerun: yes;"> </span>It is also undeniably dirty.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMyWBLlG9tQFrkA7LA_PPjI6Fe9UxEdlC7oBn2ghGxl56ryvBuijSsa0Z0URmWG49AZTTmLxcIODEYkRgCQSoY4TFWCBLIr65RzN0Z-TqFL0H096tM1s8Zdtp47bsneiYdE4n1myq8Ovv2/s1600/LaCasaPerdidas3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMyWBLlG9tQFrkA7LA_PPjI6Fe9UxEdlC7oBn2ghGxl56ryvBuijSsa0Z0URmWG49AZTTmLxcIODEYkRgCQSoY4TFWCBLIr65RzN0Z-TqFL0H096tM1s8Zdtp47bsneiYdE4n1myq8Ovv2/s400/LaCasaPerdidas3.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Antonio Mayans plays Mendoza, the patriarch of his small
family and an Argentinean actor living in exile on a remote island off of the
coast of Spain.<span style="mso-spacerun: yes;"> </span>The Mendoza family are
the sole occupants of said isle whose other members are Desdemona (Lina Romay
in her Candy Coster guise), Mendoza’s eighteen-year-old daughter, Dulcinea
(Carmen Carrión), Mendoza’s lover, and Poulova (Susana Kerr), the youngest
daughter, who is also simple-minded.<span style="mso-spacerun: yes;">
</span>Their family dynamic has reached critical mass:<span style="mso-spacerun: yes;"> </span>Mendoza has become disassociated—he is
desperately trying to remember his past and revel in his former glory; but his
past is a distant memory:<span style="mso-spacerun: yes;"> </span>for all he
knows, Mendoza is creating memories rather than re-living them.<span style="mso-spacerun: yes;"> </span>Desdemona really, really wants to fuck.<span style="mso-spacerun: yes;"> </span>In an early scene of <i style="mso-bidi-font-style: normal;">La</i> <i style="mso-bidi-font-style: normal;">Casa</i>, scantily-clad
Desdemona lays upon her bed in full view of her father, attempting sensual
poses every time that he looks up from his magazine.<span style="mso-spacerun: yes;"> </span>Dulcinea has become bored with this isolated
and repetitious lifestyle, especially since Mendoza refuses or physically
cannot make love to her anymore.<span style="mso-spacerun: yes;"> </span>Poor
Poulova is nothing more than a small child in a grown woman’s body.<span style="mso-spacerun: yes;"> </span>As she requires the same care as a newborn
infant, the remaining family members bicker over who is to care for her, as
none seem particular eager to do so.<span style="mso-spacerun: yes;"> </span>One
day a handsome young hunter (Tony Skios) arrives on the island for a little
poaching and becomes the catalyst causing the Mendoza family to implode.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjchWap9jqefZMFXqv8z2ZjcsgnEcboiIjO1LcPpJuTebk3h7zr6AcjZXr9sO8WV66IaLyBfNCsktfgPPy4VN0tf8gmjKOcjnNqKvHOxI0VXNYo6CnSNF5_VanlfyLFw4jkxqU0EcFsqcc/s1600/LaCasaPerdidas4.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjchWap9jqefZMFXqv8z2ZjcsgnEcboiIjO1LcPpJuTebk3h7zr6AcjZXr9sO8WV66IaLyBfNCsktfgPPy4VN0tf8gmjKOcjnNqKvHOxI0VXNYo6CnSNF5_VanlfyLFw4jkxqU0EcFsqcc/s400/LaCasaPerdidas4.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">The sole criticism of <i style="mso-bidi-font-style: normal;">La
Casa de las Mujeres Perdidas</i> in the essential <i style="mso-bidi-font-style: normal;">Obsession: The Films of Jess Franco </i>is a quote from Franco:</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">“<b style="mso-bidi-font-weight: normal;">La Casa de las
Mujeres Perdidas</b> is not a horror film, but it’s a very bizarre film, a
story of manners—bad manners!<span style="mso-spacerun: yes;"> </span>It looks
like Buñuel’s <b style="mso-bidi-font-weight: normal;">The Discreet Charm of the
Bourgeoisie</b>, yet it’s totally different.<span style="mso-spacerun: yes;">
</span>It mostly concerns <i style="mso-bidi-font-style: normal;">la petite
bourgeoisie</i>” (J. Franco, Madrid, 1986).<span style="mso-spacerun: yes;">
</span>(*)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Buñuel, Pasolini, and Jean Renoir, for example, all had fun
at the expense of the <i style="mso-bidi-font-style: normal;">boo-gee</i>—exposing
their values and then creating the characters’ downfall, because of them.<span style="mso-spacerun: yes;"> </span>There is no reason that Jess Franco is not
entitled to their same artistic license.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">La Casa de las Mujeres Perdidas</i>
is really essential Franco:<span style="mso-spacerun: yes;"> </span>it is
poetic, sensuous, and provocative while also being playful, progressive, and
above all, very dirty.<span style="mso-spacerun: yes;"> </span>It is a film made
in post-Franco Spain, where Lina Romay spends almost the entire time
butt-naked, seemingly because she can.<span style="mso-spacerun: yes;">
</span>In a representative sequence, Desdemona sits in a rocking chair and eats
an orange.<span style="mso-spacerun: yes;"> </span>She is also watching what I
assume to be an episode of <i style="mso-bidi-font-style: normal;">Dallas</i> (as
the dialogue reveals characters such as J.R. and Sue Ellen).<span style="mso-spacerun: yes;"> </span>Franco’s camera never leaves a tight
composition upon Romay.<span style="mso-spacerun: yes;"> </span>She begins
enjoying her orange, letting the juice drip upon her body, eventually playing
with a slice of orange in a very discreet area of her body.<span style="mso-spacerun: yes;"> </span>(She enjoys the same playfulness with a
cigarette in an earlier scene.)<span style="mso-spacerun: yes;"> </span>I cannot
help but to find this scene funny:<span style="mso-spacerun: yes;"> </span>the
privilege of masturbating to an episode of <i style="mso-bidi-font-style: normal;">Dallas</i>
is now available; or one can now masturbate while watching Romay masturbate to
an episode of <i style="mso-bidi-font-style: normal;">Dallas</i>. I think that I
have exceeded my quota with the word masturbate for now.<span style="mso-spacerun: yes;"> </span>Time to move on.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWguYXWgy4UM7el3LPTg96mYtFTp_s9Yy8GTcvzjeCDclas-mh4aCsmL0Xpm6rJ_PuQA5xyjbsCBtQYlm0wo_yiWA9XYWgk0E68fQbwbDxTs0c54LPZpxvGSkC8UMT7_lyzKO6_4Ha8BVu/s1600/LaCasaPerdidas2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWguYXWgy4UM7el3LPTg96mYtFTp_s9Yy8GTcvzjeCDclas-mh4aCsmL0Xpm6rJ_PuQA5xyjbsCBtQYlm0wo_yiWA9XYWgk0E68fQbwbDxTs0c54LPZpxvGSkC8UMT7_lyzKO6_4Ha8BVu/s400/LaCasaPerdidas2.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Franco exposes the characters’ self-centeredness and
self-importance in <i style="mso-bidi-font-style: normal;">La Casa</i>.<span style="mso-spacerun: yes;"> </span>Dulcinea is the recipient of an unfulfilled
promise:<span style="mso-spacerun: yes;"> </span>here she is on a supposed
idyllic island with a famous actor:<span style="mso-spacerun: yes;">
</span>Mendoza is self-absorbed and impotent, and Dulcinea is little more than
a caretaker for the family, despite not being the mother of the two
daughters.<span style="mso-spacerun: yes;"> </span>She creates her own fun by
blackmailing Desdemona into fucking her in exchange for her silence to her
father about her chronic masturbating.<span style="mso-spacerun: yes;">
</span>When she encounters the hunter in the living room late in the evening,
Dulcinea is not reticent to seduce him.<span style="mso-spacerun: yes;">
</span>When she catches Mendoza spying on the couple, Dulcinea shames him for
his lack of virility.<span style="mso-spacerun: yes;"> </span>It is the crushing
blow for Mendoza—he realizes that his reality is a created one.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5RX3njMBXv9_FKP0lIgkDsKhSlZmn2Jo1Qmat7smQxK5jgReRWYESIWSsbr_oQRiUejixxTLqJsWR7CU_M5Wpt_5LZkLizTFC9ehYAD7jdJHXuSVB84cY7suTiWwVEs8P5ZRkQd7ZFCVY/s1600/LaCasaPerdidas.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5RX3njMBXv9_FKP0lIgkDsKhSlZmn2Jo1Qmat7smQxK5jgReRWYESIWSsbr_oQRiUejixxTLqJsWR7CU_M5Wpt_5LZkLizTFC9ehYAD7jdJHXuSVB84cY7suTiWwVEs8P5ZRkQd7ZFCVY/s400/LaCasaPerdidas.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">La Casa de las Mujeres
Perdidas</i> has some beautiful photography from Juan Soler and the music by
Daniel J. White is quite enchanting.<span style="mso-spacerun: yes;"> </span>All
the performances are good.<span style="mso-spacerun: yes;"> </span>My favorite
scenes are of Romay waxing poetic by the seashore or looking above from the
veranda at the passing airplanes.<span style="mso-spacerun: yes;"> </span>Her
voice-over narration speaks of a desire for freedom and melancholy for each
passing day.<span style="mso-spacerun: yes;"> </span>These soliloquies are very
sensitive and well done by Franco.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">La Casa</i> is a unique, disorienting film
well worth seeking out by fans of Franco.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">* Ed.<span style="mso-spacerun: yes;"> </span>Lucas Balbo
& Peter Blumenstock.<span style="mso-spacerun: yes;"> </span>Graf Haufen and
Frank Trebbin Publishing.<span style="mso-spacerun: yes;"> </span>Germany.<span style="mso-spacerun: yes;"> </span>1993: p. 153.<span style="mso-spacerun: yes;">
</span></span></div>
</div>
</div>
</div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com2tag:blogger.com,1999:blog-4093327579257195527.post-34453878441645980992015-08-19T07:00:00.000-05:002015-08-19T07:00:15.909-05:00The Death Avenger of Soho (Der Todesrächer von Soho) (1971)<span style="font-family: Calibri;">I was in the mood to watch a <i style="mso-bidi-font-style: normal;">krimi</i> and a Jess Franco film and, subsequently, found a flick that
fit both bills:<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Death Avenger of Soho</i> (<i style="mso-bidi-font-style: normal;">Der
Todesrächer von Soho</i>) (1971).<span style="mso-spacerun: yes;"> </span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlpFbrwliUs6w0VJJNntt9yVdFUDtYYD1p55V_HedCtA_GIyNrAXLXxin25288l8B23oS5zidEH6rnZuKVhpRYdkHXZ_JZTGzl_f3rcZTosfl3wCsYxcalBfC1NsUKxrpD4sFtgbLpoFYo/s1600/DeathAvenger2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlpFbrwliUs6w0VJJNntt9yVdFUDtYYD1p55V_HedCtA_GIyNrAXLXxin25288l8B23oS5zidEH6rnZuKVhpRYdkHXZ_JZTGzl_f3rcZTosfl3wCsYxcalBfC1NsUKxrpD4sFtgbLpoFYo/s400/DeathAvenger2.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">An anxious man in a London hotel asks the manager for his
bags to be packed and to have a cab waiting for him at the curb.<span style="mso-spacerun: yes;"> </span>He returns to his room to find his luggage
already packed and waiting for him which, for whatever reason, greatly perturbs
him.<span style="mso-spacerun: yes;"> </span>He pays his bill, and while
attempting to enter the cab, he is killed with a precision knife throw from an
unknown assailant.<span style="mso-spacerun: yes;"> </span>Handsome Inspector
Robert Redford (Fred Williams) arrives to investigate, and the crime scene
yields little evidence.<span style="mso-spacerun: yes;"> </span>Redford hooks up
with his friends, crime novelist Charles Barton (Horst Tappert) and
photo-journalist Andy Pickwick (Luis Morris) for help.<span style="mso-spacerun: yes;"> </span>The sole lead in his case is a doctor, Dr.
Blackmead (Siegfried Schüremberg)—who happened to be in the vicinity of the
film’s first kill.<span style="mso-spacerun: yes;"> </span>At the doctor’s
office, Redford meets Dr. Blackmead’s assistant, Helen (Elisa Montés), and is
instantly smitten.<span style="mso-spacerun: yes;"> </span>Another murder occurs
with the same <i style="mso-bidi-font-style: normal;">modus operandi</i>, yet
there is no discernable link between the victims.<span style="mso-spacerun: yes;"> </span>Redford’s leads run cold.<span style="mso-spacerun: yes;"> </span>A mysterious man (Dan Van Hussen) breaks into
the home of Charles Barton, and is caught stealing red-handed by Barton.<span style="mso-spacerun: yes;"> </span>The would-be thief says he knows Charles
Barton, personally, and the man occupying this home and using his name is not
the same.<span style="mso-spacerun: yes;"> </span>Meanwhile, a distraught Helen
meets Redford at a bar and reveals to him that she found a dangerous opiate
among the doctor’s pharmacy.<span style="mso-spacerun: yes;"> </span>She
believes that the good doctor has too large a quantity of illegal narcotics to ignore.<span style="mso-spacerun: yes;"> </span>Redford agrees and has a break in the
case.<span style="mso-spacerun: yes;"> </span>He promises to protect Helen, who
reveals that she has a mysterious past, as well…</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkDUK1pOru6mPy50HfZG-2wqLiPNN2aspexOhbl7OH3tmjQBpP1jMJapiO4U5dz8clAMsdbWwad4CqkoKPLFEZTv1TTELeb-h8JKPICNiI1MLkThqIYS86uo_fkMluLcXczk0OL2lfiqta/s1600/DeathAvenger1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkDUK1pOru6mPy50HfZG-2wqLiPNN2aspexOhbl7OH3tmjQBpP1jMJapiO4U5dz8clAMsdbWwad4CqkoKPLFEZTv1TTELeb-h8JKPICNiI1MLkThqIYS86uo_fkMluLcXczk0OL2lfiqta/s400/DeathAvenger1.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Franco crafts a fine <i style="mso-bidi-font-style: normal;">krimi</i>
film with <i style="mso-bidi-font-style: normal;">The Death Avenger of Soho.<span style="mso-spacerun: yes;"> </span></i>The film is based on a novel by Bryan
Edgar Wallace [which had been previously filmed as <i style="mso-bidi-font-style: normal;">Das Geheimnis der Schwarzen Koffer</i> in 1963] and its screenplay is
by Franco and Artur Brauner, whose production company CCC was looking to cash
in on the popular Wallace <i style="mso-bidi-font-style: normal;">krimi</i>
craze. (1)<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Death Avenger</i> was made towards the end of the <i style="mso-bidi-font-style: normal;">krimi</i> cycle. (2)<span style="mso-spacerun: yes;"> </span>There is a
moodiness to <i style="mso-bidi-font-style: normal;">Death Avenger</i> quite like
<i style="mso-bidi-font-style: normal;">Sie Tӧtete in Ekstase</i> (<i style="mso-bidi-font-style: normal;">She Killed in Ecstasy</i>) (1970) where
there is an overwhelming sense of uncomfortableness accompanying the dramatic
action.<span style="mso-spacerun: yes;"> </span>As there is little information
made available as to what is motivating the killings, the resultant vibe is
uneasiness and dread.<span style="mso-spacerun: yes;"> </span>Franco’s
photography (by Manuel Merino) has some exceptional set pieces.<span style="mso-spacerun: yes;"> </span>The opening alleyway, where the first murder
occurs, has a haunting quality, as a blind organ grinder listlessly chimes away
accompanies perfectly the composition:<span style="mso-spacerun: yes;"> </span>a
tight alley where a clearly audible gust of wind seemingly does not affect a
small bank of fog.<span style="mso-spacerun: yes;"> </span>Franco also makes
good use of the wide-angled lens, as he did subsequently in <i style="mso-bidi-font-style: normal;">La Maldición de Frankenstein</i> (1972).<span style="mso-spacerun: yes;"> </span>There is a particularly, nasty <i style="mso-bidi-font-style: normal;">giallo</i>-esque murder near the end of the
film.<span style="mso-spacerun: yes;"> </span>Despite the seriousness of the
dramatic action, Franco does allow <i style="mso-bidi-font-style: normal;">The
Death Avenger</i> to be a sexy, flirty film.<span style="mso-spacerun: yes;">
</span>For example, when Redford meets Helen for the first time, she opens the
door and asks what he wants.<span style="mso-spacerun: yes;"> </span>Redford
coyly replies with a marriage proposal which the young lady politely
declines.<span style="mso-spacerun: yes;"> </span>It is easy to tell that these
two characters have chemistry, and the film is propelling them towards each
other; but Franco does not have to labor over a romantic subplot in order to
produce one.<span style="mso-spacerun: yes;"> </span>Unsurprisingly, Franco gets
to include a sexy, nightclub set piece.<span style="mso-spacerun: yes;">
</span>I would be shocked to learn if Franco’s libido ever waned.<span style="mso-spacerun: yes;"> </span>Finally, <i style="mso-bidi-font-style: normal;">The
Death Avenger of Soho</i> is a good film, because it is character-driven with
interesting people populating the narrative (as opposed to the
paint-by-numbers, procedural-plot-driven <i style="mso-bidi-font-style: normal;">krimi</i>).</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYT-ISFCNhZtGqd2Ub2Rm7496aZ68Kx9SDO4ix-iWUnAi-39KMTn1ZpdD9Eqh38BBCKLQ_LvWkelm68atkN7_qDzEI6vdQ1wJJuk9P2YYVt6QCCv19wcAwl6WOts3XZYQM5gKfVXDAmhc/s1600/DeathAvenger3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYT-ISFCNhZtGqd2Ub2Rm7496aZ68Kx9SDO4ix-iWUnAi-39KMTn1ZpdD9Eqh38BBCKLQ_LvWkelm68atkN7_qDzEI6vdQ1wJJuk9P2YYVt6QCCv19wcAwl6WOts3XZYQM5gKfVXDAmhc/s400/DeathAvenger3.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Perhaps my Franco bias is elevating <i style="mso-bidi-font-style: normal;">The Death Avenger of Soho</i> above most <i style="mso-bidi-font-style: normal;">krimi</i>.<span style="mso-spacerun: yes;"> </span>However, I do believe
that <i style="mso-bidi-font-style: normal;">krimi</i> fans, <i style="mso-bidi-font-style: normal;">giallo</i> fans, and Jess Franco fans will enjoy this one.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The
Death Avenger of Soho</i> is a neglected film in Franco’s filmography during a
period where he was particularly fertile.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">1. Blumenstock, Peter.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">Obsession:<span style="mso-spacerun: yes;"> </span>The Films of Jess Franco</i>.<span style="mso-spacerun: yes;"> </span>Ed. Lucas Balbo & Peter Blumenstock.<span style="mso-spacerun: yes;"> </span>Graf Haufen & Frank Trebbin.<span style="mso-spacerun: yes;"> </span>Germany.<span style="mso-spacerun: yes;">
</span>1993:<span style="mso-spacerun: yes;"> </span>p. 83.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">2.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Ibid</i>.</span></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com1tag:blogger.com,1999:blog-4093327579257195527.post-54040681746216231322015-08-14T07:00:00.000-05:002015-08-14T07:00:09.988-05:00Musarañas (2014)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL4D4cPQJdVdUtiNG_49emf5juBrWCQ6KVwbrYKwZ7cZ0nuluCMUIUjVi4inGl66HRjzLKRXjhaTXWrbro2cs0tIDvvD7dLDk81P1KRLeWd_D8tJOUOuiBsYHKzX8Bl-W_OLGyQ4Kjt6Zm/s1600/musaranas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL4D4cPQJdVdUtiNG_49emf5juBrWCQ6KVwbrYKwZ7cZ0nuluCMUIUjVi4inGl66HRjzLKRXjhaTXWrbro2cs0tIDvvD7dLDk81P1KRLeWd_D8tJOUOuiBsYHKzX8Bl-W_OLGyQ4Kjt6Zm/s400/musaranas.jpg" width="400" /></a></div>
<span style="font-family: Calibri;">I was looking forward to <i style="mso-bidi-font-style: normal;">Musarañas</i>
(2014).<span style="mso-spacerun: yes;"> </span>It is co-executive produced by
Álex de la Iglesia and Carolina Bang (who also plays a small part), reuniting
them from <i style="mso-bidi-font-style: normal;">Las brujas de Zugarramurdi</i>
(<i style="mso-bidi-font-style: normal;">Witching and Bitching</i>) (2013) with
actress Macarena Gómez and actor Hugo Silva.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">Musarañas </i>is co-directed by
Juanfer Andrés (he also contributed to the screenplay) and Esteban Roel. <i style="mso-bidi-font-style: normal;">Musarañas</i> is a confused film, a little
too familiar in its plot and a little too convenient when it needs to be.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">In 1950s Spain, Montse (Macarena Gómez) cares for her
younger sister, played by Nadia de Santiago.<span style="mso-spacerun: yes;">
</span>Montse works from her home as a dressmaker and is an agoraphobic, wholly
dependent upon her younger sister for assistance.<span style="mso-spacerun: yes;"> </span>At the opening of <i style="mso-bidi-font-style: normal;">Musarañas</i>, her younger sister has just turned eighteen and is
showing strong signs of independence:<span style="mso-spacerun: yes;">
</span>she works outside the home; and Montse has noticed, from her window, her
younger sister conversing with a young man in the street.<span style="mso-spacerun: yes;"> </span>The sisters’ mother died during the birth of
the youngest and the two were raised by their strict, religious father.<span style="mso-spacerun: yes;"> </span>He has since disappeared, leaving the rearing
of Montse’s younger sister upon herself.<span style="mso-spacerun: yes;">
</span>Her father’s religious conviction is strong within Montse, and when her
younger sister arrives late one evening, Montse takes to corporal punishment
upon her.<span style="mso-spacerun: yes;"> </span>In the morning, Montse begs
for her sister’s forgiveness, but it seems their tenure together is destined to
end.<span style="mso-spacerun: yes;"> </span>The handsome upstairs neighbor,
Carlos (Hugo Silva), injures himself falling down the stairs and he knocks at
Montse’s door seeking help.<span style="mso-spacerun: yes;"> </span>She puts
Carlos in the spare room, and tends weakly to his wounds.<span style="mso-spacerun: yes;"> </span>She promises his recovery, yet Montse begins
drugging him.<span style="mso-spacerun: yes;"> </span>Her younger sister wants
to escape and is determined to help Carlos leave, as well.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Musarañas</i> is
Montse’s film.<span style="mso-spacerun: yes;"> </span>She is the protagonist <i style="mso-bidi-font-style: normal;">and</i> the antagonist of the film.<span style="mso-spacerun: yes;"> </span>Almost the entire film takes place in
Montse’s flat and when the film ventures outside, it is only into the landing
outside or Carlos’s flat upstairs.<span style="mso-spacerun: yes;"> </span>Andrés
and Roel expend quite a bit of time fleshing out her character and making her
sympathetic to the audience.<span style="mso-spacerun: yes;"> </span>It is
revealed that her father was extremely abusive towards her and she had to
endure this for quite some time.<span style="mso-spacerun: yes;"> </span>Understandably,
she is agoraphobic and fearful as her father kept a tight grip upon her.<span style="mso-spacerun: yes;"> </span>When Carlos comes into her home, one can see
why she is keeping him close.<span style="mso-spacerun: yes;"> </span>In a
romantic sense, this is really only Montse’s opportunity to fall in love.<span style="mso-spacerun: yes;"> </span>Of course, Montse is also completely
unhinged; so when <i style="mso-bidi-font-style: normal;">Musarañas </i>needs her
to become a monster, she becomes one.<span style="mso-spacerun: yes;"> </span>In
a move, like a schism, all of the sudden Nadia de Santiago’s character (whose
name is never uttered by the way) will become the protagonist:<span style="mso-spacerun: yes;"> </span>she attempts to protect Carlos from Montse,
and it is the younger sister with whom Carlos falls in love.<span style="mso-spacerun: yes;"> </span>When Carlos’s disappearance attracts the
police and his fiancé, Elisa (Bang), Montse begins a murder spree.<span style="mso-spacerun: yes;"> </span>With each subsequent corpse that she has to
hide in her flat, Montse becomes desperate and ruthless.<span style="mso-spacerun: yes;"> </span>In the gory final act, Montse does not appear
as a person at all.<span style="mso-spacerun: yes;"> </span>Conveniently, <i style="mso-bidi-font-style: normal;">Musarañas </i>attempts a reconciliation
between the sisters in the final minutes, and a revelation occurs between them
that was painfully obvious to the viewer from the opening minutes.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Macarena Gómez, as Montse, gives a stellar performance.<span style="mso-spacerun: yes;"> </span>She is the sole reason for seeing <i style="mso-bidi-font-style: normal;">Musarañas.<span style="mso-spacerun: yes;">
</span></i>No other character is treated with any sensitivity.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Musarañas
</i>begins as a fascinating character study but quickly and conveniently
decides by its third act to become a bloody horror movie.<span style="mso-spacerun: yes;"> </span>Adept filmmakers could have blended the two,
but Andrés and Roel were not up to the task.<span style="mso-spacerun: yes;">
</span>A pity.</span></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com1tag:blogger.com,1999:blog-4093327579257195527.post-89819130079478230002015-08-11T07:00:00.000-05:002015-08-11T07:00:06.474-05:00Maya (1989)<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Maya</i> (1989) is an
Italian horror film by producer Maurizio Tedesco and director Marcello
Avallone, the duo who brought the similarly-themed film of a previous year, <i style="mso-bidi-font-style: normal;">Specters</i> (1987). <i style="mso-bidi-font-style: normal;">Maya</i> is a film definitely of its era: not so much as an Italian
horror obscurity but rather as a direct-to-video horror, common throughout
American video stores: there is a bit of violent gore peppered throughout,
along with some eye-catching softcore sex and nudity, and finally, quite a bit
of bullshit mixes with the plot and the characters.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidFs3LzN8dzUspMA42G6VJp5INXmaUS2-HeaLeGmMXmazRqoKqwpO6kCcBA16Cs5kP8cyKRBMsoBk67oux5RjPUWzdm_yJFWXbxhVfCLvMwLEmMqkabXzj2EY7G_K8oyJZV_rDZj1bdl-b/s1600/Maya2.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidFs3LzN8dzUspMA42G6VJp5INXmaUS2-HeaLeGmMXmazRqoKqwpO6kCcBA16Cs5kP8cyKRBMsoBk67oux5RjPUWzdm_yJFWXbxhVfCLvMwLEmMqkabXzj2EY7G_K8oyJZV_rDZj1bdl-b/s400/Maya2.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">Maya</i> begins
strong.<span style="mso-spacerun: yes;"> </span>Professor Slivak (William
Berger) lives in the shadow of a Mayan pyramid and is being plagued with
nightmares about sacrifices once given atop the pyramid millennia ago.<span style="mso-spacerun: yes;"> </span>He awakens one morning, and convinced he must
confront the ancient evil, Slivak begins his journey by car.<span style="mso-spacerun: yes;"> </span>En route he spies a striking-looking child
who steps in front of his vehicle.<span style="mso-spacerun: yes;">
</span>Slivak exits the car to tend to the injured child, but the child is not
injured or dead: the child frightens Slivak with a flash of its eyes.<span style="mso-spacerun: yes;"> </span>The child is an omen of the evil to
come.<span style="mso-spacerun: yes;"> </span>At the base of the pyramid, Slivak
slowly ascends its stairs.<span style="mso-spacerun: yes;"> </span>At the top
near the sacrificial altar, he is slain.<span style="mso-spacerun: yes;">
</span>His chest is cut open and his heart removed.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Enter Peter (Peter Phelps).<span style="mso-spacerun: yes;">
</span>Peter is a good-looking layabout who is fucking gorgeous local Jahaira
(Mariangélica Ayala).<span style="mso-spacerun: yes;"> </span>He likes to smoke
weed, drink booze, and take long walks in the rain.<span style="mso-spacerun: yes;"> </span>He also has a gambling problem which has put
him in debt, much to the chagrin of the local expatriate community, including
local cantina owner, Sid (Antonello Fassari) and his bar maid, Laura (Mirella
D’Angelo).<span style="mso-spacerun: yes;"> </span>The announcement of Slivak’s
murder looms over the village, who are coincidentally preparing a commemorative
event at the Mayan pyramid.<span style="mso-spacerun: yes;"> </span>Slivak’s
daughter, Lisa (Mariella Valentini) arrives to identify her father’s corpse and
she remains in the village to find his murderer.<span style="mso-spacerun: yes;"> </span>Lisa enlists the help of Peter but is hindered
throughout her investigation.<span style="mso-spacerun: yes;"> </span>Everyone
is reticent to talk to her, despite the fact that more people are murdered up
until the commencement of the village ceremony.</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Calibri;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVUpOLc7Z6-OQ-ut0lYFMdHb8IsaMVn91_Q7JTYaL73NbZDPoSJhWLgT9WHYszo6UDb-l2S-eb2pjHFy4e0sJSheRDth4EugApRlqPheiYk9HqIbv18ixEfpAEjPiMyd9FBPwZGf3tWA0J/s1600/Maya1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVUpOLc7Z6-OQ-ut0lYFMdHb8IsaMVn91_Q7JTYaL73NbZDPoSJhWLgT9WHYszo6UDb-l2S-eb2pjHFy4e0sJSheRDth4EugApRlqPheiYk9HqIbv18ixEfpAEjPiMyd9FBPwZGf3tWA0J/s400/Maya1.BMP" width="400" /></a></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">The aim of <i style="mso-bidi-font-style: normal;">Maya</i> is
definitely the American market: it clearly wants to plant itself in a video box
to snuggle up on the shelves of its American counterparts.<span style="mso-spacerun: yes;"> </span>I remember reading (or watching) an interview
with Umberto Lenzi who described his later, late-eighties films in the
“American-style.”<span style="mso-spacerun: yes;"> </span>The Italians knew the
foreign market was much stronger than the domestic one.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Maya</i>
has a Utilitarian, focused visual style: the compositions are never showy or
distracting.<span style="mso-spacerun: yes;"> </span>Tension and foreboding are
created through tighter compositions and marked pacing.<span style="mso-spacerun: yes;"> </span>Even the wonderful opening of the film has a
cool synth track to accompany its visuals.<span style="mso-spacerun: yes;">
</span>The problems of <i style="mso-bidi-font-style: normal;">Maya</i> come with
the plot and the characterization.<span style="mso-spacerun: yes;">
</span>Avallone attempts to give his characters some depth by providing each a
back story:<span style="mso-spacerun: yes;"> </span>Sid has a broken heart;
Laura has a secret boyfriend; and Jahaira suffers from unrequited love.<span style="mso-spacerun: yes;"> </span>Enriching a character’s background
intuitively should create sympathy in the viewer; however, along the way, nay
from the beginning, Avallone forgot he was making a murder mystery (maybe even
a supernatural one?).<span style="mso-spacerun: yes;"> </span>While one
character may have a broken heart, none have a motive.<span style="mso-spacerun: yes;"> </span>The characters just float along with
seemingly no real tie to the dramatic action.<span style="mso-spacerun: yes;">
</span>Finally, while the practical special effects are good, the murders are
not particularly interesting or original:<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">Maya</i> has a murder via car
evocative of John Carpenter’s <i style="mso-bidi-font-style: normal;">Christine</i>
(1986); a murder in the bathtub evocative of a scene in <i style="mso-bidi-font-style: normal;">A Nightmare on Elm Street</i> (1984); and corpse suspended to the
ceiling by hooks, its imagery evocative of Clive Barker’s <i style="mso-bidi-font-style: normal;">Hellraiser</i> (1987).<span style="mso-spacerun: yes;"> </span>I do find
quite a bit of entertainment in the cinema of this era, both from Italy and the
United States and I am not saying that there is not a certain charm about <i style="mso-bidi-font-style: normal;">Maya</i>:<span style="mso-spacerun: yes;">
</span>it is just that there is not enough to elevate its entertainment value above
average and really nothing about it is memorable.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Aficionados of Italian cinema will recognize the voices of
the English dubbers, used over and over throughout the years.<span style="mso-spacerun: yes;"> </span>Actress Mirella D’Angelo, who plays Lisa, is
recognizable from Dario Argento’s <i style="mso-bidi-font-style: normal;">Tenebre</i>
(1982) as the victim who saw the killer’s face through the slash in her
shirt.<span style="mso-spacerun: yes;"> </span>From the credits, it appears that
<i style="mso-bidi-font-style: normal;">Maya</i> was filmed in Venezuela and the
imagery of the Mayan pyramid seemed genuine. A scene of a native exorcism
ritual is a highlight (it has nothing to do seemingly with the plot by the
way.)<span style="mso-spacerun: yes;"> </span>It is powerful imagery, and
Avallone sorely underutilized it.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Maya</i> could have been a strong,
atmospheric gem from Italy but instead it is a forgettable American knock-off.</span></div>
</div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-12815347199954285302015-08-06T07:00:00.000-05:002015-08-06T07:00:04.611-05:00It Follows (2014)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHc4qBJGfEp2P72EcKj8zxuQX2HAIXGtKDry3BPsdR4SbiJxH-Ftq8mCXUnKSTQh-pqbW2Xip3GYu8NSU1mM_2r6CsaPsX02gLIx_umZshf_oCpSvrBOUZExxPP2laWVxWllp_TGkfeUOn/s1600/ItFollows.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHc4qBJGfEp2P72EcKj8zxuQX2HAIXGtKDry3BPsdR4SbiJxH-Ftq8mCXUnKSTQh-pqbW2Xip3GYu8NSU1mM_2r6CsaPsX02gLIx_umZshf_oCpSvrBOUZExxPP2laWVxWllp_TGkfeUOn/s400/ItFollows.jpg" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">I was certain hype was going to kill this one for me.<span style="mso-spacerun: yes;"> </span>After seeing the theatrical trailer (yet
missing the theatrical release), it was littered with so many quotes from
various horror-film review sites that <i style="mso-bidi-font-style: normal;">It</i>
<i style="mso-bidi-font-style: normal;">Follows</i> (2014) was destined to fall
short of its praise.<span style="mso-spacerun: yes;"> </span>I am now a little
shocked, after viewing the film On Demand via Amazon, that hype was not its
killer.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">It Follows</i> is actually quite creative, compelling, and engaging
during its entire runtime.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Jay Height (Maika Monroe) lives a quiet life in the Detroit
suburbs with her mother and younger sister, Kelly (Lili Sepe).<span style="mso-spacerun: yes;"> </span>Jay has recently begun to date handsome young
man, Hugh (Jake Weary), and the two attend a movie theatre one evening.<span style="mso-spacerun: yes;"> </span>They engage in light conversation, and Hugh points
out to Jay a young woman in a yellow dress entering the theatre.<span style="mso-spacerun: yes;"> </span>Jay says that she cannot see the person, and
Hugh asks her again if she is certain.<span style="mso-spacerun: yes;">
</span>Jay says that she is, and Hugh becomes fearful and hurriedly asks Jay to
leave.<span style="mso-spacerun: yes;"> </span>Despite his weird behavior, Jay
has a second date with Hugh, a romantic lakeside rendezvous.<span style="mso-spacerun: yes;"> </span>They eventually fuck in Hugh’s car, and while
Jay is enjoying her post-loving elation, she is subdued by Hugh who drugs her
and knocks her out.<span style="mso-spacerun: yes;"> </span>Jay awakens to find
herself tied to a wheelchair and the sounds of Hugh apologizing:<span style="mso-spacerun: yes;"> </span>Hugh is being chased by a dauntless pursuer
who is only hindered by the fact that he or she is walking (not running).<span style="mso-spacerun: yes;"> </span>The pursuer, according to Hugh, can change
form into anyone; and the only way to steer the pursuer is to sleep with
someone, who then becomes the object of the pursuer.<span style="mso-spacerun: yes;"> </span>If the pursuer catches his/her object, then
it is certain death.<span style="mso-spacerun: yes;"> </span>It is a shitty
thing to do someone, and Hugh drops her at her home, telling her to just sleep
with someone quickly and get the beast off of her back.<span style="mso-spacerun: yes;"> </span>At her home, Jay finds Kelly and her two
friends, Paul (Keir Gilchrist) and Yara (Olivia Luccardi).<span style="mso-spacerun: yes;"> </span>These three have a little trouble believing
the curse story but they deeply care about Jay and are willing to help her in
her dilemma.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">The most striking and obvious aspect about <i style="mso-bidi-font-style: normal;">It Follows</i> is how detached it
feels:<span style="mso-spacerun: yes;"> </span>while the photography is quite
nice (by Mike Gioulakis) and the compositions interesting, they never feel
intimate.<span style="mso-spacerun: yes;"> </span>The use of music is judicious
(by Disasterpeace) and is used in a mostly non-traditional manner for a horror
film.<span style="mso-spacerun: yes;"> </span>There is little substantive
dialogue (screenplay is by director, David Robert Mitchell): while most of the
dialogue is in service of the story, e.g. “Where to do want to go?” or “Do you
need me to help you?”, a good portion of the dialogue is romantic:<span style="mso-spacerun: yes;"> </span>Paul and Jay discuss each giving his/her
first kiss to each other when they were children; Jay waxes poetic in her
post-loving elation about what she thought dating would be like as a little
girl; and finally, for example, Yara is reading <i style="mso-bidi-font-style: normal;">The Idiot</i> throughout <i style="mso-bidi-font-style: normal;">It
Follows</i> and quotes several poetic passages to an often captive group of
characters.<span style="mso-spacerun: yes;"> </span>Initially, I thought <i style="mso-bidi-font-style: normal;">It Follows</i> was going to be <i style="mso-bidi-font-style: normal;">River’s Edge Redux</i>, detailing in fashion
the sexual mores of suburban teenagers.<span style="mso-spacerun: yes;">
</span>Not quite.<span style="mso-spacerun: yes;"> </span>It is a little
off-putting to watch, however, Jay have a second confrontation with Hugh and
not display any anger towards him.<span style="mso-spacerun: yes;"> </span>The only
real emotions that these characters show is fear.<span style="mso-spacerun: yes;"> </span>I think that director Mitchell was going for
something a little more familiar:<span style="mso-spacerun: yes;"> </span>the
powerful disruption of an idyllic and quiet suburban life by encroaching urban
dangers.<span style="mso-spacerun: yes;"> </span>Yara tells a story, near the
beginning of the third act (and again in romantic fashion), how her mother told
her never to cross Eight Mile Road alone:<span style="mso-spacerun: yes;">
</span>it is where the suburbs end and the city begins.<span style="mso-spacerun: yes;"> </span>What dangers are ahead?<span style="mso-spacerun: yes;"> </span>Pick one:<span style="mso-spacerun: yes;">
</span>addiction, violence, STD, poverty, teenage pregnancy, absence of hope,
etc.<span style="mso-spacerun: yes;"> </span>Mitchell wraps these fears in
allegorical fashion; makes the fear an irrational curse; and plays out the
poetic proceedings in a horror film.<span style="mso-spacerun: yes;"> </span>His
technique of detachment is really mimicking the style of his pursuer, of whom
little is known at the beginning and little is known at the conclusion.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Any horror-film fan will enjoy <i style="mso-bidi-font-style: normal;">It Follows</i>, at least for a single viewing, because it is different.<span style="mso-spacerun: yes;"> </span>It is also well-done on all levels.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">It
Follows</i> is not a great film but it is certainly well above average, and
well above most horror films released today.</span></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com1tag:blogger.com,1999:blog-4093327579257195527.post-52814474076997762222015-08-04T07:00:00.000-05:002015-08-04T07:00:08.613-05:00House of Blood (Chain Reaction) (2006)<span style="font-family: Calibri;"><i style="mso-bidi-font-style: normal;">House of Blood</i> (<i style="mso-bidi-font-style: normal;">Chain Reaction</i>) (2006) is an
English-language horror film made by Germans, filmed in Germany and Austria as
a setting for the Pacific Northwest in the United States.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">House
of Blood</i> was directed by the notable (or notorious) Olaf Ittenbach, written
by Ittenbach and Thomas Reitmar, and the special effects were created by
Ittenbach.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT70PtmmLiLcd84DEnV8dkkKwOPcc5X3_UwK7gmQrSle0I1d7VrL3Pr0TTIvSElPxhngJWQFuxx6A_1RWFV4qTImc8F5krSqWn3Ncu7jHYgfkqcyBLLFjWca6SqP1cVmRjvdt22C_bQuXn/s1600/HouseofBlood4.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT70PtmmLiLcd84DEnV8dkkKwOPcc5X3_UwK7gmQrSle0I1d7VrL3Pr0TTIvSElPxhngJWQFuxx6A_1RWFV4qTImc8F5krSqWn3Ncu7jHYgfkqcyBLLFjWca6SqP1cVmRjvdt22C_bQuXn/s400/HouseofBlood4.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Dr. Douglas Madsen (veteran American character actor,
Christopher Kriesa who appeared previously in Ittenbach’s <i style="mso-bidi-font-style: normal;">Legion of the Dead</i> (2001)) awakens the morning of the anniversary
of his parents’ tragic death.<span style="mso-spacerun: yes;"> </span>Along his
route to work, his vehicle collides with a prisoner transport bus.<span style="mso-spacerun: yes;"> </span>This collision causes an accident which
allows the prisoners to free themselves.<span style="mso-spacerun: yes;">
</span>The four convicts have a shootout with the guards and are
victorious.<span style="mso-spacerun: yes;"> </span>They assume the garb of the
guards but during the battle, one of the prisoners, Spence (Luca Maric), gets a
bullet wound to his arm.<span style="mso-spacerun: yes;"> </span>The convicts
drag Madsen out of his vehicle, and the <i style="mso-bidi-font-style: normal;">de
facto</i> leader of the group, Arthur (Simon Newby), forces Madsen to tend to
the wounds of Spence (who is Arthur’s younger brother).<span style="mso-spacerun: yes;"> </span>Madsen argues that he needs better facilities
to help the man, and the group suggest hiking north towards Canada (away from
their prison in Seattle).<span style="mso-spacerun: yes;"> </span>They move
through a dense forest and encounter a thick fog bank.<span style="mso-spacerun: yes;"> </span>They enter and exiting the fog, the group
encounters an antique cottage (seemingly older than the American Colonial
period).<span style="mso-spacerun: yes;"> </span>A beautiful young woman (named
Alice, portrayed by Martina Ittenbach) is letting blood from a sheep
outside.<span style="mso-spacerun: yes;"> </span>The convicts decide to siege
upon the cottage’s inhabitants (of whom there are quite a few) and allow Madsen
to attend to Spence.<span style="mso-spacerun: yes;"> </span>The inhabitants of
the cottage insist that the convicts leave, but the convicts persist in
staying.<span style="mso-spacerun: yes;"> </span>The group appears
extraordinarily religious (Christian) and passive, initially, until they
transform into vampire-like demons and whip some serious convict ass.<span style="mso-spacerun: yes;"> </span>Madsen is the only survivor and escapes into
the arms of a patrolling SWAT team…</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq5emmZJbpN3cC554acNOS8muU5r5atYlWzto71HeZ1QAEhLs_4C2jUH7lPdq1eDw12WZBREZyYoi_Gg-SHccLmtNXQcgckH6PanHk0aEPKhCqjG6_-EI7VAisxeiooRzTMhKXDluc3jFC/s1600/HouseofBlood1.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq5emmZJbpN3cC554acNOS8muU5r5atYlWzto71HeZ1QAEhLs_4C2jUH7lPdq1eDw12WZBREZyYoi_Gg-SHccLmtNXQcgckH6PanHk0aEPKhCqjG6_-EI7VAisxeiooRzTMhKXDluc3jFC/s400/HouseofBlood1.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">The screenplay for <i style="mso-bidi-font-style: normal;">House
of Blood</i> is interesting conceptually.<span style="mso-spacerun: yes;">
</span>Ittenbach and Reitmar introduce the governing theme as reincarnation and
structure the narrative in an elliptical fashion.<span style="mso-spacerun: yes;"> </span>However, its execution is woefully done.<span style="mso-spacerun: yes;"> </span>Ittenbach does not use his exposition in the
first act effectively.<span style="mso-spacerun: yes;"> </span>Most of the
characters’ dialogue and action are devoted to bickering and repeating the same
things.<span style="mso-spacerun: yes;"> </span>How many times can the group of
convicts decide to go north? A lot.<span style="mso-spacerun: yes;"> </span>How
many times can Arthur bitch at Madsen to heal his brother?<span style="mso-spacerun: yes;"> </span>Too many.<span style="mso-spacerun: yes;">
</span>The most detracting flaw is the dialogue of the cottage inhabitants-cum-demons:<span style="mso-spacerun: yes;"> </span>they all suffer from Yoda-<i style="mso-bidi-font-style: normal;">its</i>, where they all begin their
sentences with verbs with the additional annoyance of adding –<i style="mso-bidi-font-style: normal;">eth</i> to the end of them.<span style="mso-spacerun: yes;"> </span>For example, “Knoweth, I do.<span style="mso-spacerun: yes;"> </span>Leaveth, you now.”<span style="mso-spacerun: yes;"> </span>This shit gets on your nerves pretty quickly.<span style="mso-spacerun: yes;"> </span>Finally, the dialogue pads the length of the
narrative which in turn kills the pacing of the film.<span style="mso-spacerun: yes;"> </span>Kriesa and Martina Ittenbach give competent
performances.<span style="mso-spacerun: yes;"> </span>Wonderful actor, Jürgen
Prochnow, is sorely underused as a police inspector who appears in few scenes
in the same setting (an interrogation room).<span style="mso-spacerun: yes;">
</span>The best performance is given by veteran character actor, Dan van
Husen.<span style="mso-spacerun: yes;"> </span>[There is an essential interview
with him discussing his career on the Wild East <a href="http://www.amazon.com/Alive-Preferably-Dead-Kiss-Bang/dp/B006PIRHAC/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1436161864&sr=1-1&keywords=alive+or+preferably+dead">DVD</a> of <i style="mso-bidi-font-style: normal;">Alive or Preferably Dead</i>/<i style="mso-bidi-font-style: normal;">Kiss
Kiss Bang Bang</i>.]<span style="mso-spacerun: yes;"> </span>Van Husen plays
Paul Anderson, another convict leader with a penchant for quoting literature
and philosophy.<span style="mso-spacerun: yes;"> </span>It is too much, here, to
describe his role in the narrative.<span style="mso-spacerun: yes;"> </span>By
the time van Husen and crew appear in <i style="mso-bidi-font-style: normal;">House
of Blood</i>, you either have to roll with this bit or shut the film off.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNWsJcitSb1SEsa4UBfOhHuroEW0xHW873kbdZmJqw75dUpfkIHq2_yusAAYSSosXF5WOqr0Pf89xlYpAH5Un4UTW1bG9uox8YVRTCeCLxcLzIsl6LCbsBHkV0RuJ5wbZz4aCXg8-2Bu7b/s1600/HouseofBlood3.BMP" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNWsJcitSb1SEsa4UBfOhHuroEW0xHW873kbdZmJqw75dUpfkIHq2_yusAAYSSosXF5WOqr0Pf89xlYpAH5Un4UTW1bG9uox8YVRTCeCLxcLzIsl6LCbsBHkV0RuJ5wbZz4aCXg8-2Bu7b/s400/HouseofBlood3.BMP" width="400" /></a></div>
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: Calibri;">Most would probably think that I am wasting my breath
critiquing the screenplay (or acting or direction) of <i style="mso-bidi-font-style: normal;">House of Blood</i>.<span style="mso-spacerun: yes;"> </span>Olaf
Ittenbach currently holds a Tom Savini-<i style="mso-bidi-font-style: normal;">like</i>
reverence by fans for his ability in crafting detailed, practical, and gory
special effects.<span style="mso-spacerun: yes;"> </span>In fact, like Savini,
fans will see films solely armed with the knowledge that Ittenbach provided the
special effects, regardless of the film’s director or actors.<span style="mso-spacerun: yes;"> </span>The make-up upon the vampiric demons is
particularly good.<span style="mso-spacerun: yes;"> </span>The typical splatter
effects, like shotgun head blasts and intestinal work, are present; however,
the edits of such shots are quick, unlike some of his previous efforts, like in
<i style="mso-bidi-font-style: normal;">The Burning Moon </i>and <i style="mso-bidi-font-style: normal;">Premutos</i> (both 1997).<span style="mso-spacerun: yes;"> </span>It was either an artistic choice or a
commercial edit.<span style="mso-spacerun: yes;"> </span>[I watched <i style="mso-bidi-font-style: normal;">House of Blood</i> via the Region-one
Lionsgate DVD.]<span style="mso-spacerun: yes;"> </span>While the special
effects are well done, <i style="mso-bidi-font-style: normal;">House of Blood</i>
is not entertaining enough on the whole to merit seeing it for their
inclusion.<span style="mso-spacerun: yes;"> </span>Ittenbach- and German
Splatter-fans will end up seeking this one out.<span style="mso-spacerun: yes;">
</span>All others should avoid.</span><div class="separator" style="clear: both; text-align: center;">
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Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0tag:blogger.com,1999:blog-4093327579257195527.post-72854420876601120732015-08-02T07:00:00.000-05:002015-08-02T07:00:09.382-05:00Ju-on: The Beginning of the End (Ju-on: Owari no hajimari) (2014)
<span style="font-family: Calibri;">Takashi Shimizu’s original V-cinema <i style="mso-bidi-font-style: normal;"><a href="http://thisisquietcool.blogspot.com/2009/06/takashi-shimizus-ju-on-1-2-2000.html">Ju-on</a></i> (2000) has never been topped.<span style="mso-spacerun: yes;">
</span>While the second <i style="mso-bidi-font-style: normal;">Ju-on</i> (2003)
was entertaining, the best films to follow in the series were <i style="mso-bidi-font-style: normal;">Ju-on: White Ghost</i> and <i style="mso-bidi-font-style: normal;">Black Ghost</i> (2009), primarily because
they were the most evocative of Shimizu’s original film.<span style="mso-spacerun: yes;"> </span>Post <i style="mso-bidi-font-style: normal;">Ju-on</i>,
interestingly, Shimizu went on to direct more metaphysical, Lynch<i style="mso-bidi-font-style: normal;">-ian</i> films like <i style="mso-bidi-font-style: normal;"><a href="http://thisisquietcool.blogspot.com/2010/10/shock-labyrinth-2009.html">The Shock Labyrinth</a></i> (<i style="mso-bidi-font-style: normal;">Senritsu
meikyû</i>) (2009) and <i style="mso-bidi-font-style: normal;">Tormented</i> (<i style="mso-bidi-font-style: normal;">Rabitto horȃ</i>) (2011).<span style="mso-spacerun: yes;"> </span>[His latest American film, <i style="mso-bidi-font-style: normal;">7500</i> (2014), appears to have a delayed
release.]<span style="mso-spacerun: yes;"> </span>In any case, I thought the<i style="mso-bidi-font-style: normal;"> Ju-on </i>series was prime to die, but a
new film has appeared from Japan, directed by Masayuki Ochiai and written by
Ochiai and notable producer Takashige Ichise, entitled <i style="mso-bidi-font-style: normal;">Ju-on: The Beginning of the End</i> (<i style="mso-bidi-font-style: normal;">Ju-on: Owari no hajimari</i>) (2014).<span style="mso-spacerun: yes;">
</span>At its heart, this new <i style="mso-bidi-font-style: normal;">Ju-on</i>
is a remake of Shimizu’s original film.</span><br />
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<span style="font-family: Calibri;">Pretty young Yui (Nozomi Sasaki) has been promoted from
substitute teacher to full-time teacher.<span style="mso-spacerun: yes;">
</span>During her first class, she notices, from the previous teacher’s roll
book, that a particular student, Toshio (Kai Kobayashi), has been absent for
the past seven days.<span style="mso-spacerun: yes;"> </span>Scared of
overstepping her bounds, Yui consults the principal and believes a home visit
to Toshio is in order.<span style="mso-spacerun: yes;"> </span>Her principal
reluctantly agrees and tells Yui that her predecessor has recently died.<span style="mso-spacerun: yes;"> </span>With trepidation, Yui visits the home of
Toshio and encounters only the young boy’s mother, Kayako Saeki (Misaki
Saisho), who reveals that her son and husband are not at home.<span style="mso-spacerun: yes;"> </span>Yui visits an upstairs room in the house and
she notices a closet completely taped shut at its cracks (a la the red tape in <i style="mso-bidi-font-style: normal;">Kairo</i> (<i style="mso-bidi-font-style: normal;">Pulse</i>) (2001)).<span style="mso-spacerun: yes;"> </span>The mother’s
creepy behavior and the taped-up closet forces Yui to flee from the home.<span style="mso-spacerun: yes;"> </span>She begins to suffer hallucinations while
teaching and having extremely vivid nightmares.<span style="mso-spacerun: yes;">
</span>Her boyfriend, Naoto (Shȏ Aoyagi), fears for the health and sanity of
Yui and begins an investigation of the Saeki home and its mysterious history.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Calibri;">Like the original <i style="mso-bidi-font-style: normal;">Ju-on</i>,
<i style="mso-bidi-font-style: normal;">Ju-on:<span style="mso-spacerun: yes;">
</span>The Beginning of the End</i> alternates between different periods in
time, all involving doings at the Saeki home:<span style="mso-spacerun: yes;">
</span>the opening scene of the film, rendered hand-held/”found footage” style,
cryptically details the original event which may source the evil In the house;
the second time period involves Yui and Naoto in the present; and finally, the
last period detailed involves four high-school girls.<span style="mso-spacerun: yes;"> </span>One of the girls’ sister is a real-estate
agent and is having trouble renting the home, because of its haunted
reputation.<span style="mso-spacerun: yes;"> </span>Curious of this reputation,
the girls visit the house, and each leaves the house to subsequently be
overcome with paranoia and fear of a little ghost boy.<span style="mso-spacerun: yes;"> </span>Quite a bit of time is devoted to episodes involving
the high-school girls, and they are pretty weak, almost retreads of familiar
J-cinema scare tactics.<span style="mso-spacerun: yes;"> </span>It is extremely
anti-climactic when it is revealed how this storyline relates to the present
one involving Yui and Naoto.<span style="mso-spacerun: yes;"> </span>Too much
thought was put into this technique by Ochiai and Ichise.<span style="mso-spacerun: yes;"> </span>Shimizu used this technique in the original <i style="mso-bidi-font-style: normal;">Ju-on</i> simply:<span style="mso-spacerun: yes;"> </span>he showed three families occupying the house
at different times with little exposition detailing when each occupied.<span style="mso-spacerun: yes;"> </span>He used this technique for a disorienting
effect and was highly successful.</span></div>
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<span style="font-family: Calibri;">There are a couple of creepy moments in <i style="mso-bidi-font-style: normal;">Ju-on:<span style="mso-spacerun: yes;"> </span>The Beginning of the End</i>,
but they are strongly outweighed by the myriad missed opportunities and boring,
slow bits which had me grabbing for my smartphone.<span style="mso-spacerun: yes;"> </span>The final act had a perfect set-up:<span style="mso-spacerun: yes;"> </span>Yui was going to visit the Saeki home for the
final time; and as she is standing at the gate, the front door slowly cracks
open beckoning her.<span style="mso-spacerun: yes;"> </span>The revelations of
the final act, like most of the film, are anti-climactic.<span style="mso-spacerun: yes;"> </span>The acting is average.<span style="mso-spacerun: yes;"> </span>Ochiai’s direction is perfunctory.<span style="mso-spacerun: yes;"> </span>His most interesting visual technique is
shooting almost the entire film in natural light:<span style="mso-spacerun: yes;"> </span>this is a bold palette to craft a
supernatural horror film; and had he been successful, it would have been a rare
feat.<span style="mso-spacerun: yes;"> </span>It did not happen today.</span></div>
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<span style="font-family: Calibri;">Takashi Shimizu showed with the original <i style="mso-bidi-font-style: normal;">Ju-on</i> a talented and creative person
making a film intuitively and far exceeding any audience expectations.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Ju-on:<span style="mso-spacerun: yes;"> </span>The Beginning of the End</i> shows commercial
filmmakers adapting a formula around audience expectations and wholly missing
the mark.<span style="mso-spacerun: yes;"> </span>Incidentally, I watched <i style="mso-bidi-font-style: normal;">Ju-on:<span style="mso-spacerun: yes;">
</span>The Beginning of the End</i> via the Malaysian release (which was
English-friendly), and it had an extremely choppy frame rate for its
picture.<span style="mso-spacerun: yes;"> </span>I do not know if it is my DVD
machine or a flawed disc.<span style="mso-spacerun: yes;"> </span>So, in any
case, buyer beware.</span></div>
Hans A.http://www.blogger.com/profile/11328243469224993459noreply@blogger.com0