"Happiness comes only through effort"

Late Spring was the first film by director Ozu Yasujiro I ever watched. I had no idea who he was or anything about films from this era. For the most part, I was unimpressed. After watching Late Autumn which was a loose remake of Late Spring, I decided it was time to revisit one of Ozu’s classics.

The plot is deceptively simple. Noriko is 27 years old and on the cusp of being too old for marriage. She and her widowed father have a comfortable relationship neither wants to change. It is an aunt who shakes things up by insisting on finding her a husband.

Ozu often focused on this transitional part of family life-a child on the verge of leaving and an aging parent facing loneliness. Noriko's familiar routine started to ebb away as her father came to terms with what was necessary for her future which begat sadness and grief. Noriko had become too much of a surrogate wife and needed to become a real wife with a real husband which would require her to leave the nest as children do. Her father recognized he would not always be around and the only way to protect her and secure her happiness was to marry her off.

Though the mother had died some time ago, her presence felt tangible. Noriko showed great jealousy when her father mentioned he might remarry. She felt men remarrying was “filthy” and “indecent”. Apparently, older people no longer required companionship and intimacy. Noriko seemed overly involved and attached to her father. “I’m the only one who knows what he needs.” Was she upset for her mother’s sake or her own? During a Noh performance, her feelings shown through when she saw the perspective woman was also attending. Ozu’s astounding ability created a deeply emotional scene simply by cutting back and forth between the characters’ reactions to each other and the performers. During another evolutionary moment as daughter and father were lying side by side, Ozu focused on a vase for long seconds as Noriko processed her emotions and gave the audience the same meditative chance.

Ozu’s skill and his ability to compose exquisite frames was, as always, impeccable. Where I struggled with Late Spring is what caused me to stumble last time---Hara Setsuko’s performance. Her overly bright smile for the first half of the movie could be disconcerting. Sometimes a smile hides a person’s pain and sometimes it hides a vacancy sign. Smiling while riding a bike and enjoying the moment seemed natural, smiling when taunting the professor for being “filthy” seemed strange. She is a much admired actress and while I have enjoyed some of her darker performances, too often she over-relied on her smile. The second half had her character behaving petulantly and pouting which seemed out of place for a grown woman who had survived forced labor during the war.

As a modern viewer these plots were uncomfortable and I had to continually remind myself this was 1949. A woman was basically sent from her father’s house to another man’s house with little say as there weren’t many other options available to her. Noriko’s father complained that daughters were pointless. “You raise them and they leave. If they don’t marry you worry and if they do you’re disappointed.” Noriko worried her father would be helpless without her. Modern me thinks her father would learn to pick up the clothes he casually dropped on the floor himself and pour his own glass of water while brushing his teeth.

Despite my reservations, Ozu knew how to incorporate the most basic concepts of life and make them interesting. Noriko’s father, expertly played by Ryu Chishu, grasped that loneliness and death were a part of life and he wanted his daughter’s future taken care of. The plot might have been simple but Ozu was a master of teasing out the buried emotional details of changing family relationships. I rated this higher than my first watch and perhaps in the future, I’ll appreciate it even more. The father’s speech to Noriko was memorable then and now, one of the strongest from any Ozu film I’ve seen and still holds true today.

“Happiness isn’t something you wait around for. It’s something you create for yourself.”

14 February 2024

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Film saved by Jang Hyuk's particular set of skills

The Killer tread a familiar action movie path. Did it matter? Not with Jang Hyuk showing off his particular set of skills as many times as the writers could work a fight scene in. His quiet confidence and proficient use of a body well honed by real life martial arts training kept me engaged from beginning to end.

Retired killer, Ui Gang, is maneuvered into babysitting the seventeen-year-old daughter of his wife’s friend when the two women embark on a three-week vacation. A reluctant sitter at best, Ui Gang finds himself dragged back into his profession when Yoon Ji is repeatedly kidnapped by human traffickers. The killer never breaks a sweat or even raises his voice as he works his way through the bad guy hierarchy. There’s never a moment when he doesn’t look completely in control, even when facing a gang of axe wielding thugs.

If I laid out the plot in detail, few people would find it surprising. If you’ve seen Nowhere Man, John Wick, or Taken or a jillion other movies with a similar story you’ll have the whole thing figured out in a matter of minutes. With this kind of genre, execution matters, and The Killer executed it well. As in there were executions aplenty. The action drove the story and rarely slowed down long enough for the viewer to start counting plot holes.

Jang Hyuk is an accomplished martial artist in real life and it showed in his agility and quick moves. The brutal and bloody fights were well choreographed and exciting to watch. Ui Gang dispatched the baddies with a number of different weapons or whatever sharp object happened to be nearby. Shadowy scenes were often Illuminated with neon lighting making the action seem otherworldly.

The Killer didn’t have the most inventive script. Luckily this genre doesn’t require uniqueness, only thrilling action. Would the film have worked without charismatic Jang Hyuk and his martial arts skills selling the action? Thankfully, we didn’t have to find out.

4 February 2024

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The shortest distance between two points may be a straight line but revenge is often circular

The Jade Raksha started out as a typical revenge wuxia and then dug a little deeper to give it a nice twist. Cheng Pei Pei once again played a confident swordswoman but this time she was more anti-hero than hero. Three fathers died and three children swore revenge in a vicious violent circle.

Leng Qiu Han has been rampaging against the Yan family in a desire to make them pay for murdering her family. The problem is, she doesn’t know which one did the vile deed. She crosses paths and swords with Xu Ying Hao. Xu tries to convince her to find evidence as to which Yan killed her family instead of taking the lives of innocent people. Leng has no intention of discontinuing her blood-letting. Xu can’t hang around because he has his own revenge to fulfill against the man who killed his father which in turn will spawn a new cycle of revenge.

I was relieved that there wasn’t a romance between Leng and Xu as Tang Ching was twice Cheng Pei Pei’s age in real life. The film did seem to be trying to make Xu younger than Tang Ching’s grizzled appearance. Leng could be difficult to like as she sliced her way to the top of the Yan family because Xu did have a point. At first, I wasn’t sure if she was avenging her family’s death or punishing the Yan’s crimes against animals and fashion. Many of them wore some atrocious looking animal furs. Interestingly, Xu’s sense of morality didn’t make his revenge any more righteous than hers. In the end, many revenge plot points were finally pulled together in a long exposition dump in the villain’s dungeon of doom.

There was fun wuxia action to be had---running on water, fighting on the top of bamboo trees, bamboo pole vaulting over a flaming bridge, and light body leaping onto roofs. The sword fighting was average for the time period, nothing terribly inspiring. The sets and scenery set the mood for the different scenes perfectly. The dungeon of doom had a specialized guillotine for head and arms which was demonstrated. There were enough traps and torture devices that it made the virtuous Xu question the philanthropic lead Yan’s innocence. I loved that the secret door leading to the dungeon had a sign reading “Always Be Kind”. Of course, the sign at the gate of the fortress read, “Home of Mercy.” False advertising at its best.

This was not my favorite Cheng Pei Pei role though she was fine in it. Leng's kill first, ask questions later attitude and penchant for jealousy made the character difficult to connect with. As I mentioned, Tang Ching seemed a little too long in the tooth for the hero but he did well as the swordsman who wanted to do the right thing but made some unfortunate choices. One of my favorites, Ku Feng, gave depth to the story as a blind father with a dark secret. Get in line, buddy, there were plenty of secrets to go around. And plenty of revenge. The film showed that the road to revenge is not always a straight line or as simple as it might seem.

16 Dec 2023

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Death Kappa attempted to be a combination of parody and homage to Kaiju movies of old. What I discovered was that 56 years before this film was made, Honda Ishiro made a more believable world using miniatures and a guy in a monster rubber suit.

Kanako returns home after a failed attempt at becoming a Jpop star. Her grandmother’s dying wish is for her to protect Kappa, the local Yokai. It just so happens the Kappa has awakened and enjoys Kanako’s music and the cucumbers she leaves out for him. Dancing with the turtlish Yokai, how sweet! But wait! In the same area, a crazed scientist has been creating super soldiers by combining men and women with Kappa DNA. Before you know it, body parts are flying when they go on a tear. Kanako and the Kappa end up in the bad guys’ lair and within minutes bullets are flying and a nuclear bomb is set off. Cut to a local downtown where Kaiju Hangyolas is destroying the city and killing people with his stomping power and flame flowing breath. What is Hangyolas and where did he come from? Was he created from the radiation from the explosion? The world may never know. When all seems lost a super-sized irradiated Kappa arrives and it is on like Donkey Kong.

This film injected campy humor into the death and mayhem. Dolls were flattened, melted, and blown up. Godzilla era vintage planes on wires made an appearance, showing more wires than were necessary. The town was quite artificial making it obvious everyone was on a soundstage.

The first half of the film was filled with Yokai dancing and cucumber eating which devolved into militaristic soldiers bent on conquering the United States with mutant ninja turtle warriors and an atomic bomb. It also had a character who might have been practicing necrophilia. The acting and production values were average at best, with much of the acting being over the top. After the blast, the film took a hard right and focused on a Kaiju WWE throw down complete with a volleyball match. The inept and powerless humans found their “savior” was far more lethal than the initial destroyer. If only Kanaka had survived the nuclear blast! Death Kappa put the fever in fever dream, truly one of the more bizarre Kaiju films I’ve seen.

10/22/23

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"Which elementary school did you go to?"

The Night of the Undead had zero zombies in it if that’s what you are looking for. Without giving away any plot points, the title refers to a dark night with aliens and humans who all seemed very difficult to kill. The movie was far more comedic than frightening.

So Hee is living a great life. She resides in a huge apartment and has a gorgeous husband who cooks her breakfast every morning. When Man Gil’s late nights at work and disturbing text messages pique her curiosity, she goes to The Mystery Research Lab. Broccoli, the man in charge of the shabby agency, follows her husband and brings back a disturbing report. Man Gil is not only a philandering husband, he’s also an alien. When her loving hubby attempts to murder her, So Hee calls upon Broccoli and her friends Sera and Yang Sun to help her put a permanent stop to his lethal ways. Killing a murderous alien was harder than it looked as he was nigh on indestructible. He also had his own crew of indestructo buddies. The Korean version of Men in Black were also hunting down the unbreakable Choi Man Gil. It might take a combination of the Earthly forces and a bizarre feline concoction to save the planet.

The film ran too long, it would have benefited from a 90 minutes running time. Some comic schticks were beaten dry of any humor from situations. Having said that there were genuinely funny moments. If you were needing something suspenseful, look elsewhere. Due to the comedic nature of the film, the grim happenings couldn’t be taken too seriously. The story had serious plot holes and implausible elements which were difficult to overcome. This was also one of those films that only had enough money to pay for the rights to one song---Billie Eilish’s Bad Guy played several times.

It’s rare for a sismance to take center stage in a movie, but So Hee, Sera, and Yang Sun banded together despite their differences in the past. And any woman would be lucky to have a friend willing to take a cleaver to her psychotic alien husband bent on exterminating humans and taking over the world. Night of the Undead may have been a deeply flawed film but it had some entertaining moments.

10/20/23

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"Our power is justice!"

Based on two television shows from the 1970’s, Bravestorm combined the Silver Mask and the Super Robot Red Baron to try and save the Earth from an alien invasion. The film used a combination of time travel and mecha suits and while it resembled a television episode more than a film, for fans of the genre it might be enough to entertain them.

In 2050 after an alien invasion that resulted in the Earth being terraformed for the aliens’ benefit, the human population is next to extinct with 96% of the population eradicated and a small portion enslaved. Siblings Koji, Haruka, and Kozo are sent back to their grandfather, Kenichiro, in 2013 to prevent the invasion. In 2018, Kenichiro’s ne’er do well brother, Ken, is recruited after an alien confrontation at an underground fight ring. Kenichiro has built a giant mecha suit for Ken to control in order to combat Black Baron, the aliens’ giant terraforming robot. Ken is less than enthused about joining the gang but is finally convinced to help.

The siblings’ abilities were varied. Koji was the brave brother who wore the silver suit of armor capable of 500% of a human’s strength. Haruka, had one expression throughout the film and few lines. She was gifted with second sight, perception, psychic ability, any power they needed her to have in a pinch, and swordswomanship. Poor Kozo had little to do and was stuck being the techie. He had a special pair of glasses that could determine whether a person was human or not. Ken was a boxer who earned money in illegal fights and was quite angry with the brother who disappeared a few years earlier. This character came across as an idiotic jerk for much of the film until he was given what he considered a better reason than humankind’s imminent demise to finally suit up. Kenichiro was the most interesting of the characters as the robot and AI specialist and surrogate father to the group.

The CGI ranged from cheap television effects to proper film CGI. Red Baron and Black Baron for the most part were well done. There were also alien robots in human suits, such as the fearsome Bald Borg. The creepy Chigrises, which I could swear I’ve seen in another movie, could also take human form. The Killgis CGI was uneven, terrible in one scene but better in another. Interestingly, the Killgis chose our planet because of humanity's warlike nature and destiny to self-destruct. Might as well move the timetable up. Harsh.

The music was drawn from a variety of films. There were times I expected to see Christopher Reeve’s Superman fly in, or Luke Skywalker, or the Rebel Alliance. It was like a patchwork quilt of famous action movie scores.

At just over 80 minutes the movie sped by and there wasn’t much time for character development. When dealing with giant mechas all can be forgiven if the battle is spectacular. Disappointingly, the final battle was short and definitely not epic and the heroic actions felt rushed particularly in the villain’s lair. The movie also ended on a cliffhanger apparently in the hopes of a sequel. For fans of the old tv shows or the genre in general, it is one to check out. For everyone else, if you keep your expectations quite low, you might find parts of it entertaining.

10/17/23

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Director Yuen Woo Ping gathered his family together to make The Miracle Fighters---a combination of kung fu, magic, and slapstick comedy. While it was fun to watch the Yuens and Bryan “Beardy” Leung, the story was a bit of a mess and dragged badly in the middle.

Kao Hsiung’s wife is killed because of their mixed marriage-a Han and a Manchu. In order to escape execution and a dangerous sorcerer, he takes the royal son as hostage. When the boy is inadvertently killed, Kao is distraught. He later takes in an orphan named Shu Gut and raises him. The royal sorcerer eventually catches up with Kao and hopes to use the now grown boy to impersonate the prince. Things don’t go to plan for anyone and Shu finds himself with two old sorcerers. The Old Man and the Old Woman have few peers with magic, but bicker constantly even resorting to dividing their property with painted red rocks. They agree to train Shu so that he can defeat the evil sorcerer and be free from his threat.

Yuen Yat Choh had spent most of his career in bit parts. He was adequate in the role of Shu Gat but he was a better fighter than actor. Yuen Cheung Yan was funny in his role of the Old Woman who could fight and make you see double. Yuen Shun Yee as Sorcerer Bat provided the menacing force needed to give the story some movement. At the sorcerers’ altar, Woo Ping honored the late Yuen patriarch Simon Yuen, with a large painting of him from his role in Drunken Master. Bryan Leung made for a spry Old Man with more than a few tricks up his sleeves.

The fights mixed with magic were cuckoo crazy and everyone of the Yuens and Leung could be counted on to do their part to sell the moves. Shu had to not only fight other sorcerers but also a giant wooden stick man that looked straight out of Angry Birds. The problem was when no one was fighting. The slapstick shenanigans wore thin quickly for me. It was like they knew where they wanted the story to end up, with a magic free-for-all, but didn’t create a compelling, coherent story to get there. At 100 minutes, the movie ran ten minutes longer than many other kung fu flicks and those extra ten minutes of bickering sorcerers was not spellbinding. If you enjoy slapstick kung fu and want to know if you should watch this, my Magic 8 Ball says, “without a doubt”. If you don’t care for slapstick and long sequences between action bother you, *shake, shake*, the magic ball reads, “my sources say no” or at best, “reply hazy, try again later.” The Miracle Fighters had entertaining parts to it, especially when the Yuens leaned into their strengths. I only wished they had done more of what they do best because more miraculous fists and kicks would have done the trick.

10/14/23

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Love with a hopping vampire!

When hopping vampires come to town, who are you going to call? Vampire Cleanup Department! This Hong Kong production starred several older actors from the golden era of fists and kicks kung fu movies as well as two younger actors. The film had a few gruesome scenes but overall was a more lighthearted romance and coming of age vampire wrangler story.

Tim witnesses a vampire attack and after being bitten by a vampire and not transforming is recruited by the Vampire Cleanup Department. On a mission outside of town he accidentally transforms a gruesome water vampire back into her original form. Summer, the young vampire woman looks normal but is unable to talk except with the help of his phone which she had swallowed and hops like the rest of the vampires. He’s tasked with cremating her back at headquarters but instead hides her nearby. From there the story becomes about him training her to be more human. At the VCD, faster than you can say “wax on, wax off!”, Tim has learned kung fu from repeatedly sweeping the floors. He runs afoul of his trainers when he wants to help the vampires instead of killing them. A competing agency causes problems for the cleanup department when they steal Summer and attempt to lure her maker, a devilishly dangerous landlord vampire, so that they can capture him for research.

I was thrilled to see Toad Venom Lo Meng as one of the fight trainers who also loved plants. Yuen Chueng Yan played the priest who provided the amulets. Aside from acting Yuen spent much of his career as a martial arts director for numerous films. Chin Siu Ho as the trainer who was toughest on Tim, started his martial arts training at the age of 10. These three alone made my geeky martial arts loving heart tremble. Richard Ng played the director in charge of tech support and cremation. Babyjohn did a good job as the naïve, bumbling, vampire cleanup trainee who falls in love with a partially transformed hopping vampire. Lin Min Chen gave Summer a kind quality as she hopped about and learned more human traits, but wasn’t asked to stretch much acting-wise.

The quality of the CGI, vampires, and fights weren’t bad for this genre of film. Thankfully, the humor wasn’t overly slapstick. Though at 90 minutes the movie tried to do too many things leaving many issues resolved thinly or not at all. Vampire Cleanup Department wasn’t a blockbuster type movie, just a nice little Hong Kong hopping vampire story with a surprisingly heartfelt center to it.

10/12/23

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"Truth and falsity mix in this world"

Taoist Master: Kylin was a sequel in the telling of Zhang Dao Ling’s story, the founder of the Way of the Celestial Masters sect of Taoism. In this direct to video film Zhang was not only searching for the root of the Tao, but also the mountain god credited with scaring two hunters to death.

The cinematography of the mountains and river where the story takes place was lovely. Disappointingly, the story lacked the same care. Zhang and his disciple Wang come to Mount Yun Jing during their travels. Two men were found dead on the mystical mountain. Determining they were scared to death, Zhang promises the mother of one of the men that he will find what killed them. From there he meets a corrupt official, the Drug Master and his crew, the Elder, a man driven insane by the mountain god, and a strangely wise beggar. Zhang Dao Ling sets to discovering the secrets of the mountain and the Tao.

Taoist Master felt more like a very special episode of Scooby Doo about the dangers of magic mushrooms. Aside from Louis Fan’s ZDL, few of the other characters were memorable. There were a couple of fights but they were ruined by slow motion and stop motion shots, or overcranked shots, and way too close of close-ups. What could have proved to be an interesting fantasy tale was brought crashing down to earth in Scooby Doo fashion. The villagers at one point all but said, "meddling kids/priest!" Full disclosure, I love spiritual dramas whether they are about my faith or not. I’m fascinated by early pioneers who walked the earth or sat on mountaintops or meditated under a tree and would have relished this short film if it had been more about Zhang’s spiritual enlightenment. The writers tacked on that element after the underwhelming mystery was solved:

“As long as you have a heart for the Tao, you understand the world.
The mountains and rivers are not under your feet but inside your heart.”

10/11/23

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Puk! Puk! Puk! Puk! Super Chicken!

Before men landed on the moon in real life, people were headed to Mars in The X from Outer Space. The previous missions to Mars had ended in disaster when UFOs from Mars or Venus diverted or destroyed the Earth ships. AAB Gamma aka Astro Boat had strapping Capt. Sano at the helm which meant the aliens didn't know what they were in for or maybe being constantly distracted by two women, he didn't.

Capt. Sano, Lisa, Miyamoto, and Dr. Shioda begin their mission successfully until the apple pie shaped UFO appears and AAB Gamma barely makes it to the moon base intact. Michiko works at the moon base and is in love with Sano as is the buxom blonde bio scientist, Lisa. Shioda is suffering from space sickness and is replaced by a continually complaining Dr. Stein. Back into space the intrepid team goes but are stalled when strange luminescent pods become attached to the ship. Lisa and Sano collect a sample and dislodge the rest. Back at home the sample appears to have been stolen from the lab. The crew finds chicken-like prints leading to a hole in the floor. Before the team can have a nightcap, a giant monster appears crushing buildings and blowing things up. The chicken-like monster is named Guilala. They need a secret weapon to destroy it---Guilalanium! Guilalanium will prevent the monster from absorbing energy. But first the team has to return to the moon base, make more guilalanium, avoid the UFO and arrive back at the Astro Development Center before Guilala destroys Japan. No problem for this super crew if they can get everyone to stop lusting after Sano.

The miniatures and space craft were comparable to movies of this genre during the 1960's. The buildings were better than some of Godzilla's cardboard downtowns. Where the movie failed was the monster, it didn't hold up against Toho's guys in rubber suits productions. The acting was average but not the worst for a monster movie. Lisa and Michiko spent a lot of time mooning over Sano. The space jaunts eventually amounted to nothing, they never reached Mars nor made actual contact with the aliens. All they managed to do was bring back the lethal Guilala spore and set it loose. It took an hour before the monster showed up to relieve us of the lackluster love triangle and useless space trips.

This was not a classic Kaiju film though it does have a cult following. You could put it in the so bad it's fun category if you don't look too closely at it, especially the hilariously bad alien chicken. Although I'd take the super chicken over the tepid love triangle any day.

10/3/23

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Ghost Sweepers aka Fortune Tellers was a frenetic mish-mash of half told stories and back stories labeled as a ghost comedy. Whether you find it funny will depend on how much you enjoy slapstick hammy humor and acting. It looked extremely low budget and low tech and hasn't aged well.

A wealthy woman who wants to develop a small seaside town invites 50 shamans to rid the place of a malevolent ghost who has killed 87 people over the last 50 years. Once the shamans arrive, they are attacked by a vicious spirit and most hightail it out of town. The five remaining shamans include---a scientific ghost buster, a young woman who can see the past, a small boy who can see the future, a Buddhist monk who can see the spiritual world with his mystical eye, and a shady shaman who uses his abilities to become rich. Along for the ride is a reporter in trouble with her boss whose father died in the town years ago. The local fishermen work for the ghost, a ghost who is protecting a Japanese treasure on the sea floor.

The movie started out promising by introducing the characters and their abilities. Unfortunately, the female shaman and the school age boy had little to do in the movie and they had potential. One of the five was cut down early, which was too bad, he was one of the most interesting of the characters. In their throw everything at the wall and see if it sticks mode, the story included an estranged father and son. One of the problems being that in real life the actors were only 14 years apart. A father and daughter separated by a mysterious death had a couple of side stories. None of the "emotional" backstories were delved into but took up time in a too long movie. The biggest problem I had with the movie was the female lead. Kang Ye Won overacted and the character was written as illogical, childish, and annoying. She and the shady shaman were given the lion's share of the screen time along with the ghost buster. I enjoy Lee Je Hoon's acting but his character felt underdeveloped.

No part of the movie was polished-the story, acting, or CGI. At times it almost felt like a high school play where they were making up it up as they went along. There were parts of it that were entertaining and if a competent enough hand could have brought the circus under control it could have been quite a good little ghost movie. As it was, I struggled to finish it little caring who made it out alive, which I'm sure the little boy could have foretold if he had been given enough screen time.

10/2/23

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"It takes time to get used to things"

Chungking Express is more a mood than a story, more style than substance but an entertaining and colorful watch. Lonely and heartbroken people brush up to the edge of madness as they look for love or try to reclaim it. Lives touch briefly with unexpected outcomes.

In the first short story, Officer #223 is attempting to win back his girlfriend May, unable to move on. Most evenings he hangs out at the snack bar using the pay phone to try and get in touch with her through relatives and friends. Each day he purchases a can of pineapple with the expiration date of May 1, coincidentally his birthday, and vows after eating thirty of them if she hasn't come back, he will move on. His love lines cross paths with Brigitte Lin's Blonde Wig Woman who is a drug dealer and smuggler who has been double-crossed by the trafficking mules she has prepared.

The whole May 1 expiration date bit was too on the nose, feeling more and more contrived as the bit went along. Brigitte Lin in sunglasses, a trench coat and armed with a gun was at least interesting. It took a while to care about a guy who couldn't get over being dumped. Brigitte Lin's drug dealer, who was never given a name, was more compelling. I eventually began to vibe with this strange emotional bump in the night. At least it got #223 to stop talking about pineapples. "Do you like pineapples?" Yeah, that's a player move. I honestly would have loved to see this relationship play out with both people on opposite sides of the law.

My interest perked up with the second story when Tony Leung looking sexy in a police officer uniform entered the scene. Officer #663 was also nursing a broken heart after his flight attendant girlfriend soared away for new sexual adventures. Faye, the new worker at the snack bar took an instant liking to him. When his girlfriend's letter with the apartment keys ends up in her hands, the movie nosedived for me. Using the keys from the envelope, Faye began breaking in to #663's apartment every day-cleaning, buying new bedding and decorations, restocking items, and generally making herself at home. #663 with his keen observation skills carefully honed by his years as a cop never noticed the differences. He had a habit of psychoanalyzing his soap and dish towel and thought the soap was just getting fat because it couldn't move on from his ex.

Maybe it's a male fantasy that an invisible woman will clean, decorate, and restock their apartment like little cookie elves but if the roles were reversed instead of quirky, we'd find it creepy. A male character hanging out all day uninvited sniffing a woman's things and making himself at home would be stalkerish and not romantic. I quickly lost interest in this story. And as much as I love the Mamas and the Papas' "California Dreamin'"after hearing it for nearly 45 minutes, I'm not going to want to hear it for another decade.

The frozen action overlaid with sped up action, swirly camera action and stop motion running was a director's creativity on overload especially when dazzling colorful lights joined the artistic fray. As I said, this was all about the mood. Different people will see this film through their own expectations. Character development and story resolution were beside the point. How did it make you feel watching the lonely people connecting amid the kaleidoscope of lights?

Rather than being romantic, the stories showed just how desperate some people are for companionship and will latch onto the first person who pays any attention to them. With the exception of maybe the drug dealer, the rest of the characters seemed to being hanging onto their sanity by a thread. Were they lonely because their behavior ran people off or were they behaving strangely because they were lonely? Chungking Express was visually impressive, the narrative-not so much.

9/29/23

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Angel Terminators was a dark entry in the Girls with Guns genre. With the exception of Kenneth Tsang's Big Bad, the predominant cast members were all women---Sharon Yeung, Kara Hui, Carrie Ng, Nishiwaki Michiko, and Cheng Yuen Man. There was plenty of action and misogyny to go around. Not as coherent as Michelle Yeoh's 'Yes Madam' it still had enough kung fu and gun play to satisfy people who enjoy the genre.

The film started out clumsily with a car chase and gun fire. Ida and Hon seem to always be in the neighborhood when super cops are needed to bring down bad guys, including a kindergarten being held hostage by jewelry thieves. As Hon is leaving on a plane for Scotland to further her training, Sawada is landing. Sawada has been in Thailand for seven years to avoid being arrested. He has come to town to reclaim his drug and criminal territory. Ida's snitch, a prostitute named May, feeds her intel about Sawada's huge drug deal going down. The cops arrive and a ferocious shootout ensues. Sawada has a mole in the police department who helps him set up an ambush for Ida in retaliation for her interfering in his business. The mole is a gambler who happens to be married to Carrie, Sawada's former lover. Before long Ida and Carrie are in dire trouble when they find themselves in the frightening clutches of Nishiwaki.

Firearm acuity was not the movie's strong point. The opening shootout showed shooters trying to push the bullets out of their guns or closing their eyes when shooting. Another time when the police had the high ground and the bad guys surrounded they still managed to miss most of the baddies. Sharon could hold her own in the fists and kicks fight department and make the moves believable even when they defied gravity. Ida could have beaten the Olympic pole vault record by about twenty feet. With kung fu veterans like Alan Chui Chung San and Dick Wei, Sharon always had an accomplished opponent to spar with. Jacky Chen designed several creative fights though I don't envy the stuntmen who took some hard falls. The Hong Kong police department in the movie was going to need a hiring push after a significant portion of its police officers were mowed down.

This film would have been more entertaining if they'd left the Very Special Episode about Drug Abuse out of the middle section. I also deducted points for a scene where Sawada urinated all over Carrie, the woman he supposedly loved. It was disgusting and unnecessary. When the film focused on Sharon and Kara, either their friendship or when they fought the baddies together it was at its strongest. The two women had nice chemistry together and I fail to understand why they split them up for much of the movie. Angel Terminators kept the action and adrenaline pumped up, never slowing down to let the writer put together a more coherent plotline. The ending was bonkers and baffling. Only for Girls with Guns fans or old kung fu addicts.

9/27/23

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"Something big is behind this!"

In the 1970's sexploitation was rampant and Hanzo the Razor was an excellent example of it. Despite the copious amounts of spewing blood and overall lightheartedness, the underlying theme that rape is okay and something to be enjoyed has aged badly in a world where women now have a say and are able to write critiques.

*Because of the nature of this movie, I use some male anatomical terms*

Hanzo is honorable and incorruptible, a pike in his higher up's sides as he berates them for accepting bribes. After his confrontation over oath taking Hanzo has himself tortured so that he will know how prisoners feel and then pounds his penis with a wooden stick. After that he works it out in a burlap sack filled with raw rice. When he has thoroughly exercised his third leg which had to have been at least 18inches/47cm long, seriously how did he not pass out from all his blood headed south, he stumbles across a clue that Kanbei the Killer has escaped his banishment. He frames Kanbei's lover who is now his boss' mistress for murder and hauls her in for "questioning." Omino is stripped and bound. Hanzo begins his special interrogation of Omino with his Mr. Winky, stopping intermittently so that she will answer questions and beg him to continue. He later questions another woman while she is hanging from a net giving an all new meaning to the term 'whirlibird'. She, like Omino, was sent into the throws of ecstasy from his huge and talented member and told him everything he wanted to know.

The case showed the corruption of the court and magistrate's office, but the case itself was limp. It simply gave Hanzo the opportunity to cause some spewing blood deaths and chances to interview women with his super ding-a-ling. The thing to keep in mind about the women he interrogated is that they hadn't committed any crimes. One might have been harboring a fugitive, but by that time the fugitive was dead. As much as he worked Little Hanzo out, it made me wonder how many women he questioned a week. Did he interrogate male suspects the same way? Kung fu specialists learn to pull their equipment in, but apparently in Japan it's hardened into a weapon.

Hanzo the Razor, yeah I don't think they were talking about his sword, had some humorous moments. But the utter lack of consent and warped view of rape and women overshadowed anything positive about the film. Hanzo was known to be honorable and a man who protected the people. I'm just not sure how honorable rape is.

9/19/23

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Slow, non-linear story, but still engaging

Desert of No Return was a slow paced, non-linear (very non-linear) story about two people in dire financial straits who hooked up one night leading to tragedy. The film felt dragged out by bouncing back and forth in time and telling the story from both main characters' points of view. Soo Eun's story was far more compelling and Ha Yoon Kyung did a superb job bringing her to life.

Tae Shik is a divorced father who lives with his mother and can't make ends meet providing for both households. He collects junk from sellers and illegally from abandoned houses. His ex-wife takes every opportunity to denigrate him as well as people on the street. He goes with a friend to a karaoke bar where girls are provided for companionship. Soo Eun wants to own a nail salon but is short of the cash needed. She is in a loving relationship with a female musician and promised to never sleep with the clients during the "second round." Tae Shik and a reluctant Soo Eun end up in a hotel room which sets a terrible chain of events in motion.

Tae Shik was a man incapable of properly handling adversity or confrontation. If there was any effort to make him sympathetic it did not work with me. The more I discovered about him the less I empathized with him. All I learned from the film was that even ahjussis can be deadly dangerous if provoked or steal from you when your back is turned. Soo Eun made a choice she paid for in multiple ways. Though she worked to be a good human being she lost everything due to a desperate decision. The film bounced not only between the two characters' points of view but also back and forth in time which could be confusing.

Tae Shik's story tried to explain his rage which Jo Sung Ha portrayed well. Ha Yoon Kyung brought out Soo Eun's vulnerable side as well as her fierce side. She was beautiful whether made up or sans free of makeup and gave a lovely performance as the doomed young woman. The music was quietly moving though I disagree with her lover, even musicians have to pay their bills.

I didn't particularly enjoy the first part of the film but found myself engrossed in Soo Eun's romance and story. Many synopses made her out to be a prostitute. I don't think one time brands a woman for life. I felt the ending was unsatisfactory, but that could be because I do like my endings tied up with a bow one way or another. Had the rest of the film felt as complete as Soo Eun's story I would have enjoyed it more.

9/19/23

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