Killer Shark likes kale shakes for his Rumi. Obviously.Read More
Man on Fire is a standard vigilante/revenge movie wrapped up in a redemption story coupled with a little girl likes killer story. Because it’s a Tony Scott film, all of it is mixed with nervous editing, shaky camera, color filters and a best of music cues from this and other movies (seriously, if you know film music, it’s really weird to see a big studio movie that simply uses music from other movies). It has a great and large cast and some interesting individual scenes, but overall it’s a bit of a mess. It seems unfair to say that because so much of it is simply Scott’s late-year style, but it works more for some movies than for others (Domino, for example, was slightly better). My main issue (besides the revenge aspect I’ll discuss in a second), is that the film is so off structurally. It’s too long and divided into two uneven halves. If you like these kinds of movies, it’s certainly okay, but the imbalance in tone and story really bothered me.Read More
Saw is a movie that started another horror franchise that, in the spirit of these things, simply repeated the most basic concept over and over again. Looking at the original movie, you can only barely see the appeal of continuing it, which mostly comes from the fact that not much is explained in the end and that there is one central element that producers thought was worth repeating, which, again, as in other franchises, is mostly creative ways of killing victims. That’s what drove other series, like A Nightmare on Elm Street, Final Destination or Friday the 13th. The movie itself is nothing really special, it’s not well-made, its plot and structure is a mess and the acting is serviceable at best. Its central story, two guys trapped in a room, trying to find out what’s going on, is effective, but once the flashbacks starts and the connections are overflowing the movie loses a lot of momentum. There are some nice moments, but overall I wasn’t really interested in watching more of these movies, let alone six more of them.
(spoilers and some NSFW images)
88 Minutes is a terrible movie, even more terrible for using an interesting concept and not only ruining it, but not really using it at all. If a movie tries to attempt being real-time, it should at least tell the audience that and not fill the movie with scenes of car drives. I mean, screw all of that, the movie is not real-time, it’s just a very stupid, very boring and very cheap thriller that makes no sense whatsoever and baffles you in all of its (accordingly more than 88) minutes. The acting is horrible, even Al Pacino sleepwalks through it as the protagonist. The directing is as amateurish as possible, the script is laughable, so the movie fails on every level. What works is that it makes you laugh unintentionally, like when Al Pacino pays a taxi driver to give him his taxi, but lets the driver sit in the back all the time or when during a dialogue scene the poster of a local improv troupe is featured prominently. As a bad movie, it’s somewhat recommendable because it’s really a different kind of bad and it wastes its actors (poor Deborah Kara Unger, having one of the most pointless roles I have ever seen) spectacularly.Read More
It’s time for another poster post since looking at posters from 1973 is incredibly intriguing. And you’ll see some amazing posters here. Man, things were really different back then, sometimes for better, but mostly for worse. Keep in mind that many of the more outrageous posters are of movies that are obvious B-movie trash, but then again there are some posters that look silly and have some known names on them, on movies I have never heard of. As always, I scanned the IMP page for 1973 and picked a lot of posters to look at. I’ll put them in categories again, like in 1980, because I just couldn’t leave out so many of them and the themes are very recurring. There’ll be a gallery for categories with many posters so you can see for yourself, but I’ll highlight some favorites. This is not the week of short articles!Read More
The Grey Zone is the Holocaust movie that every other Holocaust movie isn’t. As Roger Ebert points out in his review, The Grey Zone denies us any kind of hope, which most other Holocaust movies do. Things may be bleak, but not all is forsaken. Here it is. That doesn’t mean there aren’t people who try to do good things, but the strength of the movie (or more specifically the script), is that it doesn’t allow you to find easy answers. Often the questions seem so difficult, that an answer seems impossible. I came to this movie after watching The Pianist (which I really liked, more than The Grey Zone), because the idea of an even tougher Holocaust movie intrigued me, if that word can even fit in that context. It is a good and uncomfortable movie, with some flaws that keep it from being great, but it definitely is a movie that stays with you. Which flaws? Some of the conversations just go on to long, reminding us that the movie’s origins are in a play (and all of it is done by Tim Blake Nelson, play, screenplay, direction), but the worst part is definitely Harvey Keitel’s accent. Everyone talks in normal English, but Keitel applies the heaviest German accent you can imagine and it’s unnecessary and completely ridiculous. Some of the other actors also evoke that feeling that they really wanted to play the part of a poor, conflicted Jew, starved and desperate, but this is not a movie that should boast itself with semi-big names (sorry, Natasha Lyonne, Mira Sorvino and Steve Buscemi, even David Arquette is more convincing). It’s unlike anything you’ve ever seen about the Holocaust and despite its missteps that counts for something. And the fact that you’ll probably never forget some of its images.Read More
I Know Who Killed Me is a great bad movie. It’s so ridiculous that it’s entertaining. If only more bad movies were like this. There are some boring scenes, but watching the movie stumble to its unbelievable ending is undeniably fun. Or “fun.” I’m a fan of using color in movies, but this movie was the most exaggerated and blatant use of color schematics that can be imagined. My 3-year-old-daughter would have figured out the concept after five minutes because it’s so incredibly obvious. Hearing Lindsay Lohan’s hangover voice is great when you see her as a high school student. And let’s not talk about her robotic limbs, because at this point you don’t know what kind of movie you are watching anymore. If you like funny bad movies, this one will be for you.Read More