I make no secret that I’m a big fan of martial arts icon Jackie Chan and over the years I have enjoyed many of his movies. There’s just something endlessly likeable about him that I feel not even names like Jet Li, Donnie Yen or even Bruce Lee come close. So sitting down to this 1984 kung fu caper, I had mixed emotions as I recalled not being its biggest fan back in the day. However at the time I was OD’ing on all things Hong Kong Cinema. Chan, teamed with frequent collaborator Yeun Biao play two mobile restaurant vendors who work out of a tricked-out hot dog van, who both fall for the same mysterious girl. At the same time a rookie private detective (another frequent collaborator Sammo Hung) has been given the case of tracking down said girl, whilst also a gang of bad guys are out to kidnap her. A bit of mystery then ensues bringing the three guys together to save the day.
This focuses heavily on interplay between the main characters with plenty of comical word-play that lends comparisons to The Marx Brothers or The Three Stooges, mixed with occasional action that throws in fights, a great car chase and a climactic series of encounters that make the long yet entertaining lead up well worth your patience. The inclusion of kick boxing champion Benny ‘the jet’ Urquidez is a particular highlight. Set unusually in what appears to be Spain the movie is filled with interesting locations and at times eye catching cinematography.
The overly-farcical nature of the plot, questionable depictions of mental patients and homeless people means it’s hard to get truly invested. Also Chan’s brand of stunt-work and Kung fu mostly takes a back seat … but its all done with such charm and sense of fun, I still had a great time.
The blu-ray from Eureka Classics has a pleasing, if generally soft image quality that although at its best during night time set sequences, is generally clean throughout… that bright yellow van especially pops. The soundtrack is presented in original mono and 5.1 Cantonese along with dubbed English in both mono and 5.1. Extras consist of outtakes, trailers and a few worthwhile interviews with key cast members. Not exhaustive but we do also get a detailed booklet with an essay by James Oliver. Solid treatment for what is for me a bit of a forgotten classic.
When Nicole Kidman’s Atlantian queen washes up before a lighthouse, her forbidden love with land-dweller Temuera Morrison produces Arthur a half-breed who grows up to become underwater superhero Aquaman. However despite his reluctance to be the hero he’s destined to become, a war at his home world of Atlantis causes his own kind to come calling.
This colourful, energetic comic book adaption has a potentially star-making central performance from Game of Thrones’ Jason Momoa and delivers a setting that immediately intrigues. It’s a shame then, that an over-use of CGI and green screen means that almost nothing in this looks like it was shot on location, leading to a largely artificial look and feel. Add to this a cliched story I felt I’d already watched with strong resemblances to the Thor films and Black Panther, with predictable revelations and plot twists … and what’s left is a movie that feels like it arrived too late for its own party. Momoa is charismatic and well cast and handles a plethora of fight sequences with genuine skill and showmanship, and the gorgeous Amber Heard is equally enjoyable. Willem Defoe feels kind of miscast and despite often being cast as the villain – should still have been the villain (Patrick Wilson is largely forgettable) and what really, is Dolph Lundgren doing here?
With that all said it’s hard not to be entertained. The action is slick and at times jaw-dropping (a particular roof top chase is heart-in-mouth exciting) and at times it’s really feel good. It re-introduces the character (following Justice League) well and brings with it a fascinating underwater world ripe for sequels. Just a pity it’s all feels so deja-vu.
When I heard this 1973 drama was getting a release on the UK division of The Criterion Collection, for a film I had always wanted to see in its entirety – I jumped at the chance. Loosely based on the true story of the state-to-state murder spree of Charles Starkweather and his 14 year old girlfriend Caril Anne Fugate … this changes the names and certain incidents to explore an unconventional love story between Martin Sheen’s Kit and Sissy Spacek’s Holly as they go on the run across the badlands of Montana.
Director Terence Malick, a celebrated auteur delivers an atmospheric, particularly artsy drama that’s never quite as exciting or eventful as it’s premise suggests, going more for a love letter to the American wilderness, some rather gorgeous vistas and an exploration of young love with the backdrop of gradually increasing violence. Spacek narrates like a love sick school kid and her reactions to Kit’s murderous ways are naive and dismissive, which creates a bit of a weird vibe. The influences this later had on movies like True Romance and Natural Born Killers are obvious, but its not quite as entertaining as those movies and is more a movie of ‘it’s time’ and should probably be appreciated as such.
Sheen & Spacek are both very watchable and Sheen has probably never been more iconic what with his James Dean swagger. The movie also has an enjoyably whimsical atmosphere, which I suppose gives the whole thing its own identity. Worth a watch then, but for me hardly essential.
The Criterion Collection once again delivers. The movie whilst often rather soft focus has had the full 4k restoration treatment, and looks great, showcasing the movies naturalistic photography well. The soundtrack whilst only in uncompressed mono is clear and effective-enough. Extras although nearly all archive are plentiful with a 42 minute making of, interviews and an episode of American Justice exploring the real-life crimes of Charles Starkweather. There’s also detailed booklet included, boasting an essay by filmmaker Michael Almereyda. No audio commentary is a bit of a shame but this is otherwise solid treatment for a cult favourite that’s fascinating and enjoyable but not quite the ‘classic’ it’s often celebrated as.
Following the mysterious deaths of a group of students, a rookie female reporter investigates links to an urban legend revolving around a cursed video tape. The movie that started it all. An international sensation that spawned several sequels as well as an American remake. So how does this 1998 original hold up? Well, what Japanese horror does well and this does equally well is that ‘unsettling stillness’. Dark Water, by same director Hideo Nakata, avoids clichéd jump scares or gore, favouring gradual menace this movie cemented and made a genre all its own. Add influences from traditional Japanese folklore, and traditional detective stories as well as Japanese ghost stories spawned what we now know as J-horror.
More an eerie drama than full-on scare-fest, this feels rather lightweight despite its reputation, even though that slow burning ticking clock plot device helps deliver a sense of dread that makes that famed, often satirised and copied ending all the more powerful. However, performances are largely only passable and often overly theatrical. Thankfully, Nakata’s direction is restrained but suitably creepy, helped by a great sense of unease if avoiding full on chills mostly., and that incredibly effective, freaky soundtrack does crank up the horror. Yet overall, this is rather dated today and the plot doesn’t make much sense, leaving many questions unanswered. A girl trapped in a well, a curse, deaths but er… how does that connect to videotapes? It seems to me like a convenient plot device. It’s also to me this was a clear influence on recent cult hit ‘It Follows’ amongst other movies.
The new 4k restoration from Arrow Video boasts a decent picture with effective sound treatment in DTS HD master audio 5.1. The movie is rather stilted and bland to look at yet this only adds to it’s atmosphere. Extras consist of a fascinating commentary from film historian David Kalat. We also get a complete version of the cursed video (date you watch it?) and several worthwhile featurettes. There are also trailers and a photo gallery. Decent treatment for a classic that whilst diluted by modern standards, still deserves its place in horror movie history. And yes, I prefer it over its Hollywood remake.
Matt Dillon, who first caught my attention following his star-making role in cult favourite Drugstore Cowboy returns after what seems to have been a long absence from the movie scene. Hats off to him for choosing such a controversial role as ‘Jack’ a man recanting five incidents during a twelve year history as a serial killer.
One of those movies that instantly stirred up controversy following it’s Cannes debut. With a myriad of clever, baffling and disturbing references in an attempt to explore a damaged mind, both revered and reviled director Lars Von Trier’s movie is equal parts challenging, shocking and decidedly clever. Structurally with Jack’s repeated attempt to build a house whilst at the same time descending into madness is a work of ingenious symbolism. In amidst harrowing depictions of breast-slicing or strangulation there’s also a surprising and welcome amount of satire and dark comedy (returning a rigpr mortis-stricken body to the scene of the crime, OCD cleaning up), that comparisons to American Psycho or French thriller Man Bites Dog are valid. However, one scene involving a mother and her two little boys challenged even my admittedly far reaching boundaries.
Dillon is fantastic and very convincing as this unfeeling sociopathic killer and in different material (or if he was Anthony Hopkins) might have got the Oscar nod. Yes, Von Trier gets self-indulgent in his artistic flourishes, throwing in German expressionist-like imagery and footage from the holocaust as well as his own movies to hammer home various points about art and violence. Yet along with Jack’s narrated conversations with disembodied confidant ‘Verge’ … what we ultimately get is a very unique take on the serial-killer subject, meaning I came away rather impressed.
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