Tkachuk4MVP
32 Years of Fail
Great, another best actor Oscar for a mediocre impression in a mediocre biopic.
Movies: Last Movie You Watched and Rate it | {Insert Appropriate Seasonal Greeting Here}
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shadow1
Registered User
- Nov 29, 2008
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Project A (1983) - 7/10
At the turn of the 20th century, the Hong Kong Marine Police's attempts to combat pirates is interfered with by corrupt officials and police.
Jackie Chan stars as Sergeant Dragon Ma Yue Lung, a mid-ranking officer in the Hong Kong Marine Police. On the eve of the Marine Police's deployment to battle pirates at sea, several of the unit's ships are sabotaged and funding to replace them is denied. Dragon and the rest of his shipmates are forced to join the Hong Kong Police, under the command of Inspector Hong Tin-Tzu (Yuen Biao). Reluctant to cooperate with the Police, Dragon teams up with con man acquaintance Fats (Sammo Hung) to get to the bottom of the corruption within the military and police force.
Project A was written and directed by Jackie Chan. It was the first movie in which he starred with both of his Peking Opera School brothers Yuen Biao and Sammo Hung (he had worked with Biao before however). The trio would go on to make several films together in the 1980's, including 1984's Wheels on Meals. Project A is also notable for being the first movie in which Jackie Chan does not play a martial artist, though his character obviously knows how to fight.
Project A is an action-comedy through and through, with the plot being there just to facilitate the fighting sequences. The film wastes no time jumping into the action, with an impressive and hilarious bar fight in the opening scene (boy, is a movie like this a palate cleanser after being subjected to Rush Hour 3). Later, Jackie is able to show off some impressive (and comical) stunts with a bicycle as he tries to flee from his pursuers. In general, the action and fighting is well above average, with lots of long takes and great editing.
In present day, Jackie Chan is famous for his death defying stunts. That wasn't the case in 1983; though Chan did his own stunts and stunt choreography, he wasn't jumping from buildings yet. That changed with Project A, which features a stunt where Jackie falls three stories from clocktower, breaking through two canopies on the way down onto a non-padded landing. Jackie accomplished this stunt by hanging from the minute hand of the clock face until his strength gave out, and completed this stunt at least twice; two stuntmen - including Mars, who co-starred with Jackie in 1982's Dragon Lord and co-stars in this film as the character Jaws - also completed the stunt one time a piece.
Project A doesn't have too many flaws, though I might argue this period piece may not be as accessible as some of Chan's other works. The film has a tendency to go off on tangents, and it feels a little jarring when Sammo Hung's character enters the movie because the plot shifts a bit. I'm not sure if that's why it's so hard to find this movie nowadays. It was unavailable to purchase on iTunes, so I had to rent it on Youtube (otherwise I'd need to dust off my VHS player). I've never been able to find the Cantonese version of the film anywhere, but fortunately the dub isn't too bad (Danny Trejo of all people voices the main antagonist pirate in the dub).
Overall, Project A is an early classic Jackie Chan film. I've always thought of the film as "kicking off" Jackie's most prominent period of fame due to it being the first to feature a huge stunt and also the first in which he didn't portray a martial artist. As mentioned, the film was dubbed for American audiences in the late 1990's, but even this version has been getting much harder to find lately. Similar to 1986's Armour of God, Project A is overdue for a remaster in the United States. It's a very good movie and is required viewing for Jackie Chan fans.
alko
Registered User
Watched Smile (2022) it was decent fine movie. But all I could think was which movies it ripped it had eerie similarities to Unsane, It Follows, Truth or Dare etc..
KallioWeHardlyKnewYe
Hey! We won!
- May 30, 2003
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Red Rock West. A legit brilliant neo-noir to my mind. Might be a tad too twisty for some, but I think it's a lot of fun. Nicholas Cage plays one of the classic noir prototypes — a good man down on his luck who compromises his principles. And then there's hell to pay for giving in to that temptation. A clever vortex of a script that keeps pulling Cage back to its center despite his attempts to get away. Written and directed by the underrated John Dahl who's become a go-to director for high profile TV these days but more than knows his way around shifty folks doing shifty things (The Last Seduction, Rounders, Kill Me Again). The dusty Western US setting and the someone-murder-my-wife subplot invite a natural and fitting pairing with the Coen Bros.' Blood Simple.
The Verdict. Is it a hot take to say I might prefer late career Paul Newman to previous versions of Paul Newman? I think I might. This would be one of several pieces of evidence I'd submit. He's all whiskey breath and regret here (and, frankly, a lot of his latter day movies). A cracking legal thriller from Sidney Lumet that is all steak and no sizzle. No triumphant score. No flashy tricks other than an occasional rack zoom. Set up a camera and let your pros go to work. Indeed there's more than a few long scenes of characters just talking in rooms, but when you have Newman vs. James Mason, what more could you need? You could hear a pin drop. Not sure I buy the ending, but that's on me for doubting Newman.
Nekromantic and Nekromantic 2. Notorious necrophilia horror sleaze that I just didn't find that interesting or titillating. Large stretches of both are really boring to be honest. Feels like shock for shock's sake (especially the first). The second has a little (very little) bit more on its mind. Has its place I suppose, but doesn't do that much for me. Checked a box on the EXTREME MOVIES checklist.
Arabella: Black Angel. Now THIS was some entertaining sleaze. Cinemax late night soft core layered over a twisty, bloody giallo plot. I was entertained.
The Verdict. Is it a hot take to say I might prefer late career Paul Newman to previous versions of Paul Newman? I think I might. This would be one of several pieces of evidence I'd submit. He's all whiskey breath and regret here (and, frankly, a lot of his latter day movies). A cracking legal thriller from Sidney Lumet that is all steak and no sizzle. No triumphant score. No flashy tricks other than an occasional rack zoom. Set up a camera and let your pros go to work. Indeed there's more than a few long scenes of characters just talking in rooms, but when you have Newman vs. James Mason, what more could you need? You could hear a pin drop. Not sure I buy the ending, but that's on me for doubting Newman.
Nekromantic and Nekromantic 2. Notorious necrophilia horror sleaze that I just didn't find that interesting or titillating. Large stretches of both are really boring to be honest. Feels like shock for shock's sake (especially the first). The second has a little (very little) bit more on its mind. Has its place I suppose, but doesn't do that much for me. Checked a box on the EXTREME MOVIES checklist.
Arabella: Black Angel. Now THIS was some entertaining sleaze. Cinemax late night soft core layered over a twisty, bloody giallo plot. I was entertained.
The Whale (2022) Directed by Darren Aronofsky 3A
Charlie (Brendan Fraser), a six-hundred pound depressive nearing his death from morbid obesity, tries to reconnect with the daughter whom he abandoned eight years ago. Many dramatic moments occur. The Whale is a terrible movie but I was entertained....in a weird way, though,. The movie is one of those disastrous, even embarrassing events that you just can't take your eyes off of.....sort of like watching your best friend's ditzy, drunken aunt throw up all over her neighbour's cat. You wish it hadn't happened but it's like nothing you have ever seen before. The problems probably start with the choice of director. If you are going to make an allegedly sympathetic movie about a dangerously overweight person, Darren Aronofsky wouldn't be the first or four hundredth director you should call. One of the most tasteless directors in Hollywood history, restraint isn't exactly a strong suit with this guy (Requiem for a Dream; The Wrestler; mother!).
Beyond Aronofsky and his emphasis on the pathetic and the grotesque, the major problem is the script, in which Charlie is visited in his dark living room by a number of broadly painted, unbelievable characters, the kind that only occur in certain highly theatrical bad plays. At modest intervals they keep parading through his front door like Seinfeld characters. Fraser is indeed good--how could he not be with what he has to work with? Most of the time, Aronofsky's direction treats Charlie like a thinly disguised horror character, wheezing and coughing and taking a shower to boot. It all ends up being cringe-inducing but jaw-dropping watchable the way that the aunt was.
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Pranzo Oltranzista
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- Oct 18, 2017
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Ah Buttgereit... Der Todersking is unbearable, and Schramm is probably the worst offender from this attention seeking bore.
KallioWeHardlyKnewYe
Hey! We won!
- May 30, 2003
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Pranzo Oltranzista
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- Oct 18, 2017
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I guess he doesn't really align with the Hollywood vibe, but tasteless? I liked The Fountain and The Wrestler, I mostly liked Mother! and Black Swan too. His first films were highly overrated by some teen-angst discovering that movies could be "different", but otherwise watchable. Well, ok, I kind of hate Requiem, but I haven't seen it in a looooong time.
So, basically, a so bad it's good kind of movie?
The Whale (2022) Directed by Darren Aronofsky 3A
Charlie (Brendan Fraser), a six-hundred pound depressive nearing his death from morbid obesity, tries to reconnect with the daughter whom he abandoned eight years ago. Many dramatic moments occur. The Whale is a terrible movie but I was entertained....in a weird way, though,. The movie is one of those disastrous, even embarrassing events that you just can't take your eyes off of.....sort of like watching your best friend's ditzy, drunken aunt throw up all over her neighbour's cat. You wish it hadn't happened but it's like nothing you have ever seen before. The problems probably start with the choice of director. If you are going to make an allegedly sympathetic movie about a dangerously overweight person, Darren Aronofsky wouldn't be the first or four hundredth director you should call. One of the most tasteless directors in Hollywood history, restraint isn't exactly a strong suit with this guy (Requiem for a Dream; The Wrestler; mother!).
Beyond Aronofsky and his emphasis on the pathetic and the grotesque, the major problem is the script, in which Charlie is visited in his dark living room by a number of broadly painted, unbelievable characters, the kind that only occur in certain highly theatrical bad plays. At modest intervals they keep parading through his front door like Seinfeld characters. Fraser is indeed good--how could he not be with what he has to work with? Most of the time, Aronofsky's direction treats Charlie like a thinly disguised horror character, wheezing and coughing and taking a shower to boot. It all ends up being cringe-inducing but jaw-dropping watchable the way that the aunt was.
ItsFineImFine
Registered User
- Aug 11, 2019
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It's A Mad Mad World (free on TubiTV and no ads with an adblocker) - 7/10
It's 30-45 minutes longer than it needs to be, has some outdated slapstick and a lot of unfunny yelling, and the story was done better in Rat Race but....I enjoyed it. The concept is obviously great and there's some awe-inspiring stunts here. I find 60s classics to not be that laugh-out-loud funny but it's amusing throughout though I will add that it's best enjoyed in parts rather than trying to sit through it at once, there's a reason there's an intermission in this film. This is one of those movies that I feel should get re-made every 20-30 years and it could still feel fresh, even Rat Race is outdated now and could use an update.
The most outdated thing though is them chasing a whole $350,000 USD lol, really goes to show you the devaluation of money and the cost of inflation. In Rat Race, that amount was $2 M I think. Anyways not much else to analyze about this movie so here's a chart showing what Keynesian economics have done to the purchasing power of the USD which has lost almost 99% of its value, it's worse for most other currencies.
It's 30-45 minutes longer than it needs to be, has some outdated slapstick and a lot of unfunny yelling, and the story was done better in Rat Race but....I enjoyed it. The concept is obviously great and there's some awe-inspiring stunts here. I find 60s classics to not be that laugh-out-loud funny but it's amusing throughout though I will add that it's best enjoyed in parts rather than trying to sit through it at once, there's a reason there's an intermission in this film. This is one of those movies that I feel should get re-made every 20-30 years and it could still feel fresh, even Rat Race is outdated now and could use an update.
The most outdated thing though is them chasing a whole $350,000 USD lol, really goes to show you the devaluation of money and the cost of inflation. In Rat Race, that amount was $2 M I think. Anyways not much else to analyze about this movie so here's a chart showing what Keynesian economics have done to the purchasing power of the USD which has lost almost 99% of its value, it's worse for most other currencies.
Consumer Price Index for All Urban Consumers: Purchasing Power of the Consumer Dollar in U.S. City Average
Graph and download economic data for Consumer Price Index for All Urban Consumers: Purchasing Power of the Consumer Dollar in U.S. City Average (CUUR0000SA0R) from Jan 1913 to Sep 2024 about urban, consumer, CPI, inflation, price index, indexes, price, and USA.
fred.stlouisfed.org
Film critic Dwight Macdonald, who used to write a monthly column of reviews in Esquire, had two categories reserved for certain movies: good bad movies and bad good movies. Ii think it would be fair to call The Whale a good bad movie.
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Welp, EO was just added to the Criterion Channel. I guess now is the time to do my first, and likely last, Donkey Double Feature by knocking this and Au Hasard Balthazar off my watchlist....
ItsFineImFine
Registered User
- Aug 11, 2019
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^ Let me know if it's good I'll give it a go.
The Palm Beach Story (1942) - 7/10
Fairly standard screwball with a bit of romance but thankfully not to the point of getting cliched or melodramatic. The laughs aren't really that funny and the ending is hastily done but it is done within 90 minutes. Actually one of the more audacious endings you'll see in a film almost like something from the ending of a sitcom with a throwaway line almost as if these screwballs were throwaway films.
The Palm Beach Story (1942) - 7/10
Fairly standard screwball with a bit of romance but thankfully not to the point of getting cliched or melodramatic. The laughs aren't really that funny and the ending is hastily done but it is done within 90 minutes. Actually one of the more audacious endings you'll see in a film almost like something from the ending of a sitcom with a throwaway line almost as if these screwballs were throwaway films.
Aronofsky is just pretentious to me at this point. The only movie I liked from him was The Wrestler, but that is mainly because I am a professional wrestling fan, and he gave a very accurate behind-the-scenes portrayal of the business that most people do not know.
Project A (1983) - 7/10
At the turn of the 20th century, the Hong Kong Marine Police's attempts to combat pirates is interfered with by corrupt officials and police.
Jackie Chan stars as Sergeant Dragon Ma Yue Lung, a mid-ranking officer in the Hong Kong Marine Police. On the eve of the Marine Police's deployment to battle pirates at sea, several of the unit's ships are sabotaged and funding to replace them is denied. Dragon and the rest of his shipmates are forced to join the Hong Kong Police, under the command of Inspector Hong Tin-Tzu (Yuen Biao). Reluctant to cooperate with the Police, Dragon teams up with con man acquaintance Fats (Sammo Hung) to get to the bottom of the corruption within the military and police force.
Project A was written and directed by Jackie Chan. It was the first movie in which he starred with both of his Peking Opera School brothers Yuen Biao and Sammo Hung (he had worked with Biao before however). The trio would go on to make several films together in the 1980's, including 1984's Wheels on Meals. Project A is also notable for being the first movie in which Jackie Chan does not play a martial artist, though his character obviously knows how to fight.
Project A is an action-comedy through and through, with the plot being there just to facilitate the fighting sequences. The film wastes no time jumping into the action, with an impressive and hilarious bar fight in the opening scene (boy, is a movie like this a palate cleanser after being subjected to Rush Hour 3). Later, Jackie is able to show off some impressive (and comical) stunts with a bicycle as he tries to flee from his pursuers. In general, the action and fighting is well above average, with lots of long takes and great editing.
In present day, Jackie Chan is famous for his death defying stunts. That wasn't the case in 1983; though Chan did his own stunts and stunt choreography, he wasn't jumping from buildings yet. That changed with Project A, which features a stunt where Jackie falls three stories from clocktower, breaking through two canopies on the way down onto a non-padded landing. Jackie accomplished this stunt by hanging from the minute hand of the clock face until his strength gave out, and completed this stunt at least twice; two stuntmen - including Mars, who co-starred with Jackie in 1982's Dragon Lord and co-stars in this film as the character Jaws - also completed the stunt one time a piece.
Project A doesn't have too many flaws, though I might argue this period piece may not be as accessible as some of Chan's other works. The film has a tendency to go off on tangents, and it feels a little jarring when Sammo Hung's character enters the movie because the plot shifts a bit. I'm not sure if that's why it's so hard to find this movie nowadays. It was unavailable to purchase on iTunes, so I had to rent it on Youtube (otherwise I'd need to dust off my VHS player). I've never been able to find the Cantonese version of the film anywhere, but fortunately the dub isn't too bad (Danny Trejo of all people voices the main antagonist pirate in the dub).
Overall, Project A is an early classic Jackie Chan film. I've always thought of the film as "kicking off" Jackie's most prominent period of fame due to it being the first to feature a huge stunt and also the first in which he didn't portray a martial artist. As mentioned, the film was dubbed for American audiences in the late 1990's, but even this version has been getting much harder to find lately. Similar to 1986's Armour of God, Project A is overdue for a remaster in the United States. It's a very good movie and is required viewing for Jackie Chan fans.
Hopefully one day the Cantonese version will be widely available here in North America, because I actually think the dubs are terrible, and a lot of subtle humor is lost in translation. That said, I am fluent in Cantonese, as I was born in Hong Kong and continue to speak it at home, so take my opinion with a grain of salt.
Chan landed on his neck in the stunt you mentioned, which actually made it into the final cut. I cringed at that stunt, because it looked like he could have broken his neck, and I am actually surprised he was pretty much able to walk it off and continue to film. That is why even though I do not like Chan as a person, I respect his work, because he will put his life on the line for his vision, and he has earned everything he has right now. Plus, these stunts are pretty much extinct these days, because they are truly near-death experiences, and nobody will do these any more. Personally, I think it is a good thing, but I cannot help but admire these early stunt works, no matter how exploitive and dangerous they were. From what I gathered from various interviews by past stuntmen still in the business, they were paid about 3 to 5 times more than an actor back then, but most of them eventually transitioned out of it and into acting, because they could die at any of these sequences, and their bodies eventually broke down within a few years.
Chan's group was called "Seven Little Fortunes". There were more than seven, but on stage, only seven of them perform at a time. Yuen is the surname they all used. Sammo Hung's name in the group was Yuen Lung, Jackie Chan was Yuen Lo, and Yuen Biao just used his as his acting stage name too. Other famous members from the group include Corey Yuen, known more for his director works, Yuen Hua, most notable in the West for his role as the village chief in Shang Chi and the male owner of the apartment block in Kung Fu Hustle, and Yuen Qiu, who was one of the two karate nieces of James Bond's partner Lieutenant Hip in The Man with the Golden Gun and the female owner of the apartment block in Kung Fu Hustle.
In Chan's first English bibliography back in the late 90s, Chan was very complimentary to Yuen Biao, and called him a natural. It was clear that Biao was his favourite person in the group, because he had nothing bad to say about him, and Biao himself could have been the biggest action star in Hong Kong, but he chose family over success, and he immigrated to Canada and slowly transitioned out of the limelight in the early 90s. He made more screen appearances in the mid-2000s, but he quickly retreated again, and his on-screen appearances have become sporadic.
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shadow1
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- Nov 29, 2008
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Great post!
Apparently there is some drama around whether Jackie actually performed that stunt. He clearly did in the final film, but I guess people debate whether its him in both shots. I also read he really needed to be talked into it, and only did it after Mars and another stuntman did it first? Either way, dangerous stunt and yes it is cringeworthy when he lands on his neck.
I did not know that (or forgot it) about the Seven Little Fortunes, great info!
Regarding the film itself, back when I was more motivated I did try to find the original release of it and others. I've been to Hong Kong three times, and my first trip I was able to find some of Jackie's movies on DVD, but couldn't find films like Armour of God and Project A. The second time I went (roughly four years later), the DVD store I had gone to in Langham Place Mall in Kowloon was closed and replaced by a Lego Store.
I'm sure if I get off my lazy butt and search online, I could find a region free blue ray player and a good remaster somewhere. Of the 30+ movies I've watched since November (and counting), I'm sure I'll be in the ground before I get the chance to watch many of them again. But for a good movie like Project A, which was sliced to ribbons in the American release, it would be worth it.
shadow1
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Project A Part II (1987) - 7/10
At the turn of the 20th century, a Marine Policeman is tasked with investigating a crooked police superintendent, but is hunted by a group of revenge seeking pirates.
Jackie Chan returns as Dragon Ma Yue Lung, who after taking down a large group of pirates has resumed his post as Sergeant in the Marine Police. Dragon is recruited by his superiors into joining the local police force, but with the secret agenda of investigating Superintendent Chun (David Lam), a famous officer who is believed to be staging his arrests for publicity. Unfortunately for Dragon, members of the pirate group he took down have washed ashore in Hong Kong and are seeking revenge...
Project A Part II was written and directed by Jackie Chan. Though the film picks up moments after the original, Project A co-stars Yuen Biao and Sammo Hung did not return for this sequel, as they were filming the classic 1987 film Eastern Condors. However, supporting actors Mars and Tai-Bo do return, though their roles are reduced and they're mostly absent from the second half of the film.
Instead of focusing mostly on returning actors, Project A Part II introduces mostly a new cast, with Maggie Cheung and Rosamund Kwan co-starring as a pair of revolutionaries; Jackie Chan regular Bill Tung and future-star Carina Lau also have co-starring roles. It's an A-List cast, and the group gels well together, especially during a very funny sequence in the middle of the film. The scenes sees nearly 10 people - both good and bad - end up in Maggie Cheung's house for various reasons, and all of them pick out hiding spots in order to not get caught. According to the IMDB trivia page, this scene was a homage to the 1935 Marx Brothers' film A Night at the Opera.
Getting into the plot, it is somewhat of an inverse of the first film, focusing mainly on police corruption (a subplot of Project A), with the pirate storyline (the main plot of Project A) taking a back seat. As is the case with most Jackie Chan films, the story is secondary to the action. However, after watching the two Project A films in close proximity of one another, I did think Part II's plot was a bit more engaging than the original film and overall seemed to flow better, as I thought the first film strayed from the main narrative at times.
Action-wise, as can be expected from Jackie Chan films of this era, the fighting and stunt choreography are both top notch. There's a great scene in the middle of the film where Dragon must outrun several pursuers, but he is handcuffed to a less athletic person so can't properly combat or escape the people chasing him. Giving himself handicaps is one of the things that make Chan's films so entertaining, in my opinion.
Additionally, there is a funny fight scene towards the end in which Chan chews on peppers and uses the juice to fight off two opponents. Jackie was forced to use real peppers during this sequence, which you can see during the blooper reel (my mouth is still burning thinking about it). The original Project A is famous for its big clocktower stunt, and Project A Part II has a big stunt of its own that I won't spoil; but will say it pays homage to the 1928 Buster Keaton film Steamboat Bill Jr.
Overall, Project A Part II is another classic Jackie Chan film to come out of the 1980's. Don't overlook this one because it's a sequel; it's on par - or possibly even slightly more entertaining - than its classic predecessor. Both Project A movies are must-watch for Jackie Chan fans, and are strong recommends for action movie lovers.
(Side note: My stupid DVD that I've had for centuries wouldn't work, so I had to rent this one for $5.99(!) on Youtube. I really wish some of these classic Jackie Chan movies weren't so hard to find...)
According to someone who worked on the foreign market blu-ray containing the 2018 restorations, we may see the set (with both movies) released in the US at some point this year.
Blu-ray Forum - View Single Post - Project A and Project A Part II (Eureka)
Everything about Blu-ray Disc. Join the Blu-ray Forum to discuss topics such as Blu-ray movies, players, recorders, drives, media and software.
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shadow1
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According to someone who worked on the 2018 restorations (the ones currently available only in foreign markets), the set (with both movies) "will def be seeing another release coming at some point in 2023 and yes it will will include the export cut in HD."
Blu-ray Forum - View Single Post - Project A and Project A Part II (Eureka)
Everything about Blu-ray Disc. Join the Blu-ray Forum to discuss topics such as Blu-ray movies, players, recorders, drives, media and software.forum.blu-ray.com
Can't wait to re-watch them as originally intended!
The Worthless / Arvottomat (Mika Kaurismäki, 1982)
A cool mix of neo-noir and road movie, The Worthless, is Mika Kaurismäki's directorial debut following two shorts: The Liar and Jackpot 2. The film's title in Finnish is "Arvottomat" - which can refer to a person with no worth or without values - and it follows a group of twenty-somethings who lead purposeless lives who flee across Finland after stealing a painting from a group of petty criminals. The film has a lot of the great one-liners and black comedy that one expects from a Kaurismäki film and it stars many of the regular ensemble of actors such as Matti Pellonpää, as well as Aki Kaurismäki playing a role. I love also how the film really captures Finland in a moment of transition with increasing American and Western European influences as 1980s globalization and neoliberalism has begun to make an impression on Finnish culture - American rock and blues, American and French film posters, cowboy hats, Cadillacs, Calvados. Its an intentional choice I think to underscore the theme of a nation confused, without meaning, and in an existential crisis - perhaps even valueless. An underappreciate film in the oeuvre of the Kaurismäkis that really set the groundwork for what Aki would do in later films.
A cool mix of neo-noir and road movie, The Worthless, is Mika Kaurismäki's directorial debut following two shorts: The Liar and Jackpot 2. The film's title in Finnish is "Arvottomat" - which can refer to a person with no worth or without values - and it follows a group of twenty-somethings who lead purposeless lives who flee across Finland after stealing a painting from a group of petty criminals. The film has a lot of the great one-liners and black comedy that one expects from a Kaurismäki film and it stars many of the regular ensemble of actors such as Matti Pellonpää, as well as Aki Kaurismäki playing a role. I love also how the film really captures Finland in a moment of transition with increasing American and Western European influences as 1980s globalization and neoliberalism has begun to make an impression on Finnish culture - American rock and blues, American and French film posters, cowboy hats, Cadillacs, Calvados. Its an intentional choice I think to underscore the theme of a nation confused, without meaning, and in an existential crisis - perhaps even valueless. An underappreciate film in the oeuvre of the Kaurismäkis that really set the groundwork for what Aki would do in later films.
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ItsFineImFine
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- Aug 11, 2019
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Anyone have any films where the commentary is worth watching on Criterion Channel? I probably will get bored part-way in but I've never listened to a film commentary so might as well try to learn something.
Power of The Dog (2021) - 6/10
Cumberbatch is the only one given anything interesting to do here. The rest is an experiment in patience, a film that makes you feel uncomfortable but without any real payoff. Sort of less than the sum of its parts. Also part of the hypothesis that if you set a film in the West, it's usually better if it's a thriller than a drama excluding the classic types.
The Lower Depths (1936) - 6.5/10
I watched the original Renoir version instead of Kurosawa's cos it had a higher rating and 30's France is a more interesting setting to me than watching another Kurosawa film. It's a mixed bag, feels like other 30s French films where you have a saloon of French caricatures come and go and yell a bunch in the movie, speak cynical world-weary mumblings, and rinse & repeat. It does find enough of a groove to be somewhat interesting but it's quite aimless and not in the fun and more perfected Rules of The Game variety either.
Power of The Dog (2021) - 6/10
Cumberbatch is the only one given anything interesting to do here. The rest is an experiment in patience, a film that makes you feel uncomfortable but without any real payoff. Sort of less than the sum of its parts. Also part of the hypothesis that if you set a film in the West, it's usually better if it's a thriller than a drama excluding the classic types.
The Lower Depths (1936) - 6.5/10
I watched the original Renoir version instead of Kurosawa's cos it had a higher rating and 30's France is a more interesting setting to me than watching another Kurosawa film. It's a mixed bag, feels like other 30s French films where you have a saloon of French caricatures come and go and yell a bunch in the movie, speak cynical world-weary mumblings, and rinse & repeat. It does find enough of a groove to be somewhat interesting but it's quite aimless and not in the fun and more perfected Rules of The Game variety either.
alko
Registered User
Look Who's Back (2015)
Adolf Hitler wakes up in the park where his Führerbunker once stood. As he wanders, disoriented, through the city, he interprets modern situations and things from a wartime perspective...
Very good inside look to regular peoples mind. What they actually think, what could they do, if there will be some freak with mass popularity and support, as was Hitler. Doesnt matter, what he did, what are his real targets... And today is it imo even more visible as in year 2015, when the movie was made.
All this is very good paraphrased in the last words of the movie:
"I can work with this!"
Adolf Hitler wakes up in the park where his Führerbunker once stood. As he wanders, disoriented, through the city, he interprets modern situations and things from a wartime perspective...
Very good inside look to regular peoples mind. What they actually think, what could they do, if there will be some freak with mass popularity and support, as was Hitler. Doesnt matter, what he did, what are his real targets... And today is it imo even more visible as in year 2015, when the movie was made.
All this is very good paraphrased in the last words of the movie:
"I can work with this!"
I think the end is a sizeable enough twist, but yes, a slow burner psychological drama that's as much about the internals of the characters as the externals, or moreso given the dynamics. And the obvious theme of toxic masculinity and all the things it effects and are effected from it.
Yojimbo (1961) (subtitles)
3.30 out of 4stars
“A crafty ronin comes to a town divided by two criminal gangs and decides to play them against each other to free the town.”
A great samurai “western” loaded with dry humor and sword fighting action, with a strong endearing anti-hero. A highly entertaining action film that shows the power of mind games, or manipulation, when fear, greed, and violence prone people are involved. Lots of little twists and turns alongside an array of memorable and impactful characters. Impressively juggles tones of comedy and drama, with even a bit of darkness/sadness thrown in too. Thematically there are probably a number of interpretations, but at its most obvious and basic it’s about the effect of corruption and street gang/mob influence on communities. And influenced many films across genres.
A Fistful of Dollars (1964)
3.20 out of 4stars
“A wandering gunfighter plays two rival families against each other in a town torn apart by greed, pride, and revenge.”
A great Spaghetti western that is the first film in the “Man with No Name” trilogy and a slightly inferior but different enough well-made ripoff of Kurosawa’s Yojimbo and worth a watch in its own right. It does heavily ripoff Yojimbo, as much as even stealing some direct dialogue lines, and even resulted in a lawsuit and a $100,000 settlement out of court. That said, there are still enough differences to set the film apart from Yojimbo, including some bettered elements. Most notably Ennio Morricone’s legendary stage setting and genre-transforming score. Unorthodox yet transformative and lively, memorable while oozing a cool essence. Learning of all the ingredients behind it only makes one more appreciative of it. The other main one I’d argue is Clint Eastwood and his iconic character, all characteristics included. The charisma and stubble beard gaze, the brooding, to the poncho, hat, boots, gun belt, and vest, to the ever present cigarillo, more stoic-ness, and the great choice of less spoken dialogue. And this is nothing against Mifune, who knocks his role out of the park and is the obvious better and more thorough actor, but in totality the character just isn’t the same. Of mention also, the guns over swords adds sound and power and allure that the swords couldn’t bring, albeit the swords have their own obvious advantages too.
For a Few Dollars More (1965)
3.40 out of 4stars
“Two bounty hunters decide to team up to track down a dangerous escaped Mexican outlaw.”
An excellent Spaghetti western that is a sequel that outdoes the original film mostly across the board and continues to transform the genre. It’s a stylish, thrilling, tense and suspenseful, tight, well-edited, macho, violent-action-stuffed film that’s a whole lot of fun. The main characters and villain are more prominent and complex, including Clint. Volonte’s given a backstory and script that matches his powerful crazed and haunted presence, along with his brutality. Van Cleef; arguably Clint’s better here and his character written as such, playing an older, wiser, and more resourceful/calculated Clint-type who plays off his co-bounty-hunter perfectly. Clint himself continues showcasing his star power and cool charisma as he fully fleshes out his mystery man character from the first film with aplomb and showcases more refined acting chops. Morricone’s score is more focused, expansive, layered, and tonally rangy here. Leone’s more developed direction brings heavier drama, more artful wide and close-up shots, economic filmmaking, and technical uses and accomplishments I can’t properly articulate that showcase emotional and intellectual prowess. And the dry humor is funnier and more natural.
The Good, The Bad and the Ugly (1966)
3.70 out of 4stars
“During the American Civil War, three outlaws must keep one other alive as each holds a piece of the puzzle to unlock $200,000 of gold buried in a cemetery.”
An excellent epic Spaghetti western that may arguably be the best of them or any western altogether. Tremendous all around. The cinematography, editing, and direction masterfully compliment and amplify the great script while creating an unforgettable experience. To say Morricone’s score for this film is iconic would be an understatement. You don’t even have to know what a western film is to notice at least 2 of the songs on the score: one being the main theme known for being on Billboard Top 200 list for over a year, and two being “The Ecstasy of Gold” of which has been used in countless commercials. The memorable dialogue is an excellent mix of humor and enlightenment. Oddly again though, Eastwood might not be the most interesting character on paper. Wallach’s Tuco (The Ugly) is the most complex character in the film and may even have the most screen time out of the main three (although I did not confirm this). Tuco is a brilliantly written comedic relief character whom you feel both sympathy and disgust for the more you learn about him. Van Cleef as the villain this time is fantastically and effortlessly diabolic and savvy. Last but not least, Clint clearly brings the star power again smoothly and perfectly. The major theme of anti-war is loud, and maybe a bit odd considering the glorification of gunslingers within the film, alongside the obvious themes of greed and brutality. All the possible negatives of war are thrown at you with vivid imagery throughout: huge quantity of lives lost, limbs lost, diseases caused, physical and mental/emotional pain caused, collateral damage of people and property, intoxication inducement, prison camps, war crimes, theft, usage of highly destructive weaponry, huge quantities of people and money/resources used towards it, and for questionable profits and motives.
3.30 out of 4stars
“A crafty ronin comes to a town divided by two criminal gangs and decides to play them against each other to free the town.”
A great samurai “western” loaded with dry humor and sword fighting action, with a strong endearing anti-hero. A highly entertaining action film that shows the power of mind games, or manipulation, when fear, greed, and violence prone people are involved. Lots of little twists and turns alongside an array of memorable and impactful characters. Impressively juggles tones of comedy and drama, with even a bit of darkness/sadness thrown in too. Thematically there are probably a number of interpretations, but at its most obvious and basic it’s about the effect of corruption and street gang/mob influence on communities. And influenced many films across genres.
A Fistful of Dollars (1964)
3.20 out of 4stars
“A wandering gunfighter plays two rival families against each other in a town torn apart by greed, pride, and revenge.”
A great Spaghetti western that is the first film in the “Man with No Name” trilogy and a slightly inferior but different enough well-made ripoff of Kurosawa’s Yojimbo and worth a watch in its own right. It does heavily ripoff Yojimbo, as much as even stealing some direct dialogue lines, and even resulted in a lawsuit and a $100,000 settlement out of court. That said, there are still enough differences to set the film apart from Yojimbo, including some bettered elements. Most notably Ennio Morricone’s legendary stage setting and genre-transforming score. Unorthodox yet transformative and lively, memorable while oozing a cool essence. Learning of all the ingredients behind it only makes one more appreciative of it. The other main one I’d argue is Clint Eastwood and his iconic character, all characteristics included. The charisma and stubble beard gaze, the brooding, to the poncho, hat, boots, gun belt, and vest, to the ever present cigarillo, more stoic-ness, and the great choice of less spoken dialogue. And this is nothing against Mifune, who knocks his role out of the park and is the obvious better and more thorough actor, but in totality the character just isn’t the same. Of mention also, the guns over swords adds sound and power and allure that the swords couldn’t bring, albeit the swords have their own obvious advantages too.
For a Few Dollars More (1965)
3.40 out of 4stars
“Two bounty hunters decide to team up to track down a dangerous escaped Mexican outlaw.”
An excellent Spaghetti western that is a sequel that outdoes the original film mostly across the board and continues to transform the genre. It’s a stylish, thrilling, tense and suspenseful, tight, well-edited, macho, violent-action-stuffed film that’s a whole lot of fun. The main characters and villain are more prominent and complex, including Clint. Volonte’s given a backstory and script that matches his powerful crazed and haunted presence, along with his brutality. Van Cleef; arguably Clint’s better here and his character written as such, playing an older, wiser, and more resourceful/calculated Clint-type who plays off his co-bounty-hunter perfectly. Clint himself continues showcasing his star power and cool charisma as he fully fleshes out his mystery man character from the first film with aplomb and showcases more refined acting chops. Morricone’s score is more focused, expansive, layered, and tonally rangy here. Leone’s more developed direction brings heavier drama, more artful wide and close-up shots, economic filmmaking, and technical uses and accomplishments I can’t properly articulate that showcase emotional and intellectual prowess. And the dry humor is funnier and more natural.
The Good, The Bad and the Ugly (1966)
3.70 out of 4stars
“During the American Civil War, three outlaws must keep one other alive as each holds a piece of the puzzle to unlock $200,000 of gold buried in a cemetery.”
An excellent epic Spaghetti western that may arguably be the best of them or any western altogether. Tremendous all around. The cinematography, editing, and direction masterfully compliment and amplify the great script while creating an unforgettable experience. To say Morricone’s score for this film is iconic would be an understatement. You don’t even have to know what a western film is to notice at least 2 of the songs on the score: one being the main theme known for being on Billboard Top 200 list for over a year, and two being “The Ecstasy of Gold” of which has been used in countless commercials. The memorable dialogue is an excellent mix of humor and enlightenment. Oddly again though, Eastwood might not be the most interesting character on paper. Wallach’s Tuco (The Ugly) is the most complex character in the film and may even have the most screen time out of the main three (although I did not confirm this). Tuco is a brilliantly written comedic relief character whom you feel both sympathy and disgust for the more you learn about him. Van Cleef as the villain this time is fantastically and effortlessly diabolic and savvy. Last but not least, Clint clearly brings the star power again smoothly and perfectly. The major theme of anti-war is loud, and maybe a bit odd considering the glorification of gunslingers within the film, alongside the obvious themes of greed and brutality. All the possible negatives of war are thrown at you with vivid imagery throughout: huge quantity of lives lost, limbs lost, diseases caused, physical and mental/emotional pain caused, collateral damage of people and property, intoxication inducement, prison camps, war crimes, theft, usage of highly destructive weaponry, huge quantities of people and money/resources used towards it, and for questionable profits and motives.
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