Vultural

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Burning Paradise - 1994 - 7/10
AKA - Foh Siu Hung Lin Ji // 火燒紅蓮寺

Cracking Ringo Lam kung fu actioner, strong in political overtones.
After the Shaolin temple is crushed, priests and disciples are imprisoned underground in the Red Lotus Temple.
The prison is studded with traps, fire pits, torturers, and lording over all is an insane degenerate.
Nudity and graphic violence, particularly to animals. So beware.
This was one of the Lam’s finest, and one of the bleakest films from Hong Kong. The colony was to be returned to China in 1999, and there was growing concern their fate would mirror the Shaolin.

Twyla Moves - 2021 - 7/10

Documentary on choreographer Twyla Tharp.
One half chronicles her efforts to present a virtual dance (Covid) featuring 4-5 dancers in their separate homes.
We watch her work to synchronize the movements despite time lags.
This weaves back and forth with her career chronology.
Childhood – early training – troupes – major shows.
Personal details, not so much. She was married, bore a son, divorced.
Apparently she had custody of the son, whom she apparently neglected.
The career, the company, the touring, all were more important.
A “breakdown” is referenced, never elaborated upon.
This is not a bad documentary, and will be essential for fans, yet it is a parade of triumphs.
Best of luck trying to find videos of her Broadway shows.

The Adversary - 2002 - 6/10
AKA - L’adversaire

Doctor at WHO carries a huge burden, as well as responsibility for several lives.
He manages saving accounts for relatives, investing carefully, reaping double digit interest.
And yet - the books are not open. A matter of trust, understand?
During the day, he sits in his car for hours, lunches with a friend’s mistress.
Reserved, almost maddening film is based on real events, and follows the actual individual accurately.
Mundane, banal, head-scratching at times.
Less of a con, more of the double life. Makes one wonder how he danced on the edge for over a decade.

Now You See Me - 2013 - 6/10

Mindless popcorn diversion.
Four mid-tier magicians are gathered together to become major headliners as the Four Horsemen. Part of their act involves robbery.
Very slick production with perpetual camera movement, rapid effects, as well as the various capers.
Plot sweeps swiftly, with barely a letup or quiet moment.
In other words, don’t think about particulars until the credits.
Then it’s like, “Hey, wait a minute … ”
Fun, but despite a stellar cast *, doubt I would ever rewatch this empty flick.

• Michael Caine, Morgan Freeman, Woody Harrelson, Jesse Eisenberg, Mark Ruffalo

Robert Aickman: Author of Strange Tales - 2015 - 6/10

Very good biography of influential horror writer.
Not that his writings slip neatly into that particular niche.
Aickman preferred to term them “strange” stories.
Their structure, characters, and outcomes can be maddeningly elusive.
Criticism. The sound quality is poor, only Reggie Oliver is discernible throughout.
Commentary from others ranges from enlightening to minor interest.
Aickman’s involvement with the inland canal restoration is a pleasant contrast his lonelier habits.
(For those curious about canals, seek out Prunella and Timothy.)
Nice selection of television adaptations, especially so since few of these have been seen outside of Britain.
Labour of love from Tartarus Press is well worth seeking out and, as of 2021, is available on Youtube.
For horror readers wanting to break from blood, children, zombies, whatnot, check out Aickman’s “Cold Hand In Mine” collection, which I believe is available in ebook.

https://www.youtube.com/watch?v=M-FyIYMEFjE

Blood Money - 1933 - 6/10

George Bancroft plays Bill Bailey (no relation to the Brit comedian), good natured bail bondsman.
He has an easy relationship with police, judges, crime bosses, families.
Junior in trouble? Fine. Put your house deed up for collateral.
Yes, Mr. Bailey is doing quite well, thank you.
Then he meets a rich young woman in trouble. She prefers rough men, dangerous men.
Ensuing complications upend Bailey’s delicate balancing act between legal and illegal factions.
Top to bottom, a cheerfully cynical film, amoral to its corrupt core.
Memorable quote – “The only difference between a liberal and a conservative man is, that a liberal recognizes the existence of vice and controls it, while a conservative just turns his back and pretends it doesn’t exist.”

Lifeforce - 1985 - 6/10

A favorite masterpiece.
Combined US / UK space mission to Halley’s Comet discovers 100 mile artifact (gasp - spaceship) embedded in comet.
Of course, they investigate, come across three nude human looking types, and bring ‘em back.

In no time flat, the stark naked space vampiress (Mathilda May, all nude, all the time) wrecks havoc in London, transforming the city into a rampaging zombies, end of the world apocalypse.
This film is tremendously, gloriously bad. The plot goes from far fetched to silly to stupid to delirium.
No one could create a narrative this terrible if they tried.
And one gets the impression everyone involved tried really, really hard to make an A-level movie.
Steve Railsback overacts his little hammy heart out. Patrick Stewart channels his feminine side.
Mathilda May completely unforgettable.
Wonderful stuff!

The Tattooed Stranger - 1950 - 5/10

Unknown female is found murdered in Central Park.
Only identifying mark, a tattoo - No, make that two linked tattoos.
Police procedural plays like a “Dragnet” knockoff.
Cast are all obscure players, save for Jack Lord in a bit.
(One of the flatmates reminded me of Beverly Michaels, but I found no evidence.)
No real twists as detectives track down identity and motive.

Bill Bailey: Limboland - 2018 - 7/10

Bailey gives an electric performance in hometown Hammersmith.
Skewing English foibles, shrugging off ever-optimistic Aussies and Yanks, meeting Sir Paul McCartney.
Droll stories, weary observations, musical interludes.
Ah, the music. Previously, I had only seen Bailey on chat shows, game shows.
Keyboards, guitar, percussion, and theremin. My God! Theremin!
Memorable songs include, “I’ve seen your scans.”

Secret Forest - 2017 - 8/10
AKA - Stranger // 비밀의

Exemplary K-drama, well-deserving of critical acclaim, of viewer praise.
On surface, a murder mystery of a once powerful influence peddler, now fallen.
He still “knows” valuable secrets, and his willingness to barter proves his undoing.
The prosecutor starts digging, as does a keen eyed police detective.
Insular cortex surgery as a child, means prosecutor Hwang Shi Mok has limited emotions but sharper analytical prowess. Which he will need as the plot unfolds a thicket of villains, smiling, powerful, duplicitous.
Each episode boasts fresh narrative, with every character uncertain of those around them.

The detail to plotting is matched by strong, understated performances.
Best of all, the series (and writer) shows respect for viewer intelligence.
The heart of this is corruption, as it seeps from individual to group to organization.
Corruption in practice, or corruption observed and tolerated. Decadence.
Memorable series that builds to a rich and poignant conclusion.

The Children Act - 2017 - 5/10

Emma Thompson as high court judge who seems to specialize in emotionally charged moral cases.
In this instance, a 17 year old, very devout, boy who is near death unless he receives a transfusion.
Which his faith prohibits.
Filmmakers do their best, but neither Thompson’s character nor her strained marriage are compelling.
The tension and drama lie with the youth, who is merely secondary in this script.
There is also a reveal late in the story which renders the entire conflict pointless.

The Kids Are Alright - 2010 - 5/10

Acclaimed drama of two teenage children in a two woman family.
They seek out their biological (sperm donor) father.
Predictable and unpredictable complications ensue as disparate souls attempt to mesh.
Terrific acting all the way around.
The plot wanders stupidly midway in forcing a relationship that would never happen.
In fact, it struck me as rather insulting to the parties involved.

All The Colors Of The Dark - 1972 - 6/10
AKA - Tutti I Colori Del Buio

After a miscarriage - ahem, abortion - a woman shuns any intimacy from her husband.
She is also menaced by a blue eyed stalker holding a stiletto.
Saints be praised, she finds refuge with an orgy of pagan worshippers.
(some say Satanists, but their focal point is a triangle with an all seeing eye in the center)
Better, after one ceremony, her fear of physical encounters is gone gone gone.
Wild Italian Gaillo races along and is always visually interesting. Color filters, kaleidoscope lenses, and bizarre sets.
The music is a groovy 60’s mix of guitars and sitars.
The narrative, overloaded to be sure, is almost as good.
Mouth-watering Edwige Fenech as the moody victim, along with Susan Scott and Marina Malfatti, make this irresistible.

Another Round - 2020 - 6/10
AKA - Druk

Professor Martin is mired in a rut of mediocrity.
His students do not respect him, his wife finds him a bore, his children disregard him.
Welcome to middle age, coming to terms with shortcomings.
Then, he and three fellow teachers, decide to maintain a .05% level of alcohol to restore sharpness.
An experiment, something they read in a book, a discipline Hemingway adhered to.
Glorification of alcohol usage, condemnation, perhaps accommodation.
Most of us have worked with functioning / non-functioning alcoholics.
This film mirrors much of what I observed, minus the peculiar finale.

Nightwatch - 1997 - 6/10

Law student (Ewan McGregor) hires on as graveyard shift watchman for city morgue.
Usual endless hallways, flickering lights, draped stiffs, assorted creepos, and seamy history.
A-listed talent involved for what is really a B-thriller.
Nick Nolte - Brad Dourif - Josh Brolin. Arquette plays girlfriend.
Screenplay cowritten by Soderbergh.
Oops, a serial killer is also on the loose!
Atmospheric, often disturbing scenes, overwhelmed by aggressive music score.
Acting way over the top, as well.
Probably best late at night with the lights dimmed.

Giallo In Venice - 1979 - 5/10
AKA - Giallo a Venezia

The boyfriend. Possessive and, as it turns out, territorial.
Not, however, on the police inspector’s radar. He has two deaths to solve.
Sleazy, smutty Giallo delights in brutal kills and numerous sexual bouts.
The early killings involve a husband and wife. The husband is voyeur, procurer, and exhibitionist.
As in exhibiting his wife, so he can watch reactions.
The lead detective appears to have rolled out of a porn shoot.
He consumes hard boiled eggs constantly (a spoof on hard-boiled genre?).
Enjoyment may depend on how much voyeur DNA you possess.

Lucky Jordan - 1942 - 5/10

Local racketeer gets drafted, quickly deserts cause he gives orders, doesn’t take them.
Next thing, he’s involved with saboteurs, Nazis, military police, and fetching USO hostess.
Mindless, implausible time-waster.
Alan Ladd and Helen Walker radiated chemistry, but nothing came of that.

McQueen - 2018 - 6/10

Penetrating documentary of the troubled fashion designer.
Good overview of his journey from talented, omnivorous cutter to apprenticeship with leading houses.
After he formed his own company his runway shows became legendary.
Hiring on to Givenchy seemed a stumble, which is analyzed.
Film does not shy away from McQueen’s darker aspect and excesses, leading to the final act.
Perhaps better for fashionistas, though accessible to the curious.

Spiess, Christian Heinrich - The Dwarf Of Westerbourg

Good knight Rudolph comes into his inheritance, which includes a magical dwarf who has been advising and serving the Westerbourg crest for centuries.
Rudolph is an earnest knight, more concerned with tournaments and conflicts, than romance.
The dwarf, Peter, gradually shifts his eye towards the fairer sex, those of pure innocence.
From then on, Rudolph steps down an ever steepening slope, pursuing and possessing the virtuous.
Maiden after maiden, each displacing the other in terms of unequaled beauty.
Time and again, Rudolph has moral arguments with himself, yet – to be honest dear reader – he has the resolve (and IQ) of a biscuit.
An incredibly funny book, roaring with adventures, swinging from macabre to preposterous.
Influential on Lewis’ “The Monk” and Radcliffe’s “The Mysteries Of Udolpho.”

The Wave - 2015 - 6/10
AKA - Bølgen

Why, oh why, do developers place resorts and posh hotels in the path of potential catastrophe?
Turistas, of course! They demand exclusive. And what’s more exclusive than a hideous way to die?
Anyway, the head seismologist is leaving, accepting a high paid gig with oil tycoons in Stockholm.
Then, the day of departure, that unstable fissure in the mountain shows signs of greater instability.
Instead of saying, “Whoa, I’ll send you guys a postcard,” the geologist stays.
Because if the mountain flank shears off, there will be a tidal wave in the fjord.
Top production values, typical of disaster genre.

Mandalay - 1934 - 6/10

Smuggler, con man, in debt to Rangoon crime boss, offers his girlfriend in exchange.
Kay Francis becomes - ahem - “hostess” in shady casino, and very popular with men.
She earns a lot of money, hops a freighter to Mandalay, meets alcoholic doctor.
Glossy trash that somehow slipped under the new Production Code net.

The Verdict - 1946 - 6/10

Stylish Noir set in gaslit Victorian London.
After the chief inspector sends an innocent man to the gallows, he is forced to resign.
In “retirement,” he follows his grasping successor with keen interest.
Especially after a locked-room murder plunks in his lap.
Fine Warner Brothers effort, with excellent support, but the draw for this is Greenstreet and Lorre, their last film pairing together.

The Signal - 2007 - 6/10

Your parents, your grandparents, all tried to warn you. Too much TV is bad for you.
Sure enough, a weird electronic signal pulses through millions of screens.
Onlookers lose their grasp on reality and become murderous paranoiacs.
Those who anticipate gory violence will not be left hungry.
Splatter, dismemberment, carnage, all prefaced by anxiety delusions.
A dark film? Well, yes, but it is also fiendishly funny (reference headgear in image above).
One of the best horror comedies since Re-Animator (1985).

The Women On The 6th Floor - 2010 - 6/10
AKA - Les Femmes du 6e étage

Empty headed French comedy set in 1962, though the only evidence I could see of that were references to DeGaulle and later someone driving a Corvair (where did they find that?).
The occupants of the 6th floor were the Spanish maids, merry and engaged in Life, contrasted to the well heeled in lower suites. Of course, the rich were bored, vacuous, disassociated.
Over the course of the story, the master, played by dependable Fabrice Luchini, went on outings with the ladies, even moved upstairs to the cramped room of his wife’s discards, and he started “living.”
Pleasant enough movie, though not one of “This Years Best” as so many critics said.