Vultural

Asphalt - 1929 - 6/10

German silent film melodrama about a wayward B-girl and earnest policeman.
The girl is caught at a jewelers, hiding merchandise.
The arresting cop hauls her off to headquarters, where she convinces him to take her home so she can get her papers.
In her rooms, no papers are forthcoming. Instead, she opens wide and pulls him into the scented petals.
Melodramatic plot, great exterior photography of Weimar Berlin.
The real star - or distraction - is Betty Amann.
Like the better known Louise Brooks, she was another American cast for her striking looks.
Unlike Brooks, however, Amann is by turns exotic, hard, and flat out kooky looking.
Her hairstyle features a big curlicue plastered across her forehead, which makes her look cross-eyed.
The story is one of weakness and redemption. There is a moral center to this, in contrast to Pabst’s bleak films.

The Armoire - 2017 - 7/10

Young, aspiring actor moves into spacious (?) Los Angeles apartment.
She buys a few pieces of cheap second-hand furniture, then spies the wooden wardrobe in a parking lot.
Empty inside … or is it?
Short horror is an intense shocker, well timed, excellently cut.
This one would have made a terrific “Night Gallery” episode.

Inherent Vice - 2014 - 6/10

I disliked the book, my bride dislikes Joaquin Phoenix, so what was I thinking?
I was hoping-hoping-hoping for an echo of Boogie Nights.
Paul Thomas Anderson directs, and location setting marks a return to the Los Angeles of the 70’s.
Not to be. Boogie Nights was almost epic in its structure and grandeur.
Inherent Vice is the incoherent ramble of a blitzed stoner. That is fully in keeping with the novel, though.
Seemingly important characters surface, only to disappear. Many story threads wither unresolved.
Overlong, and not especially funny, though it had its moments.
Think shaggy dog yarn. Almost like Big Lebowski - only straight and grim faced.
Good Noirish acting from Phoenix and Brolin not enough.

Prevenge - 2016 - 5/10

Eight months preggers widow starts hearing voices.
Voices urging violence against a seemingly disparate group of individuals.
Motives play out, as does the notion of escaped punishment.
Long patches of dull, interrupted by episodes wildly inappropriate, cringe inducing, tasteless.
There it is. Too much dull, not enough black humor.
BUT - If you’re in the mood for a pregnant slasher film, this is a superior choice.

The Naked City - 1948 - 6/10

Acclaimed Noir, shown in documentary fashion, of a police investigation.
Realism is helped by location shooting across New York.
Open windows and street filming also mean the audio leaves much to be desired.
Story itself is a dry procedural of cops tracking the murderer of a model.
As for Noir camera flourishes and characters, The Naked City is fairly light.
The villains are the most memorable, cops bland.
I was not disappointed, though this reminded me of an OTR show.

Murder In The Larzac - 2020 - 6/10
AKA - Crime dans le Larzac

Local mover & shaker, butcher, mayoral candidate is murdered
Usual duo arrives. Prosecutor (left) and local police captain (right).
The victim was roundly despised and the village is packed with motive bearing suspects.
Middling mystery benefits from professional officers.
(The bane of French mysteries is the two leads sniffing each others pants.)
Conclusion was mediocre, but one seldom expects much from these.

Hackney’s Finest - 2014 - 6/10

Acceptable crime spoof that launches interesting, stumbles at the end.
Rogue copper tries to bust drug courier network.
After a savage interrogation of a suspect, he gets what he thinks is his first break.
He enlists a Russian crew for the dirty work, the courier has a Jamaican connection.
Accents = Cockney, Pakistani, Russian, Chechen, Jamaican, Oxford, dunno what else.
Brace for a degree of incomprehension unless you are a UK local.
Fun ride for much of the film, but budget limitations apparent by the end.
Ran out of energy, laughs, twists.
Caveat emptor - overdose of drug use in this, lot of free basing.

Bad Guys - 2014 - 6/10
AKA - Nappeun Nyeoseokdeul or 나쁜 녀석들

Hardboiled Korean actioner. Oft told concept, but well executed.
Police commissioner offers special deal to three long term convicts:
“For every crime solved, five years will be knocked off the sentence."
The three include a professional assassin, a Gangpae strong arm enforcer, and a serial killer.
Overseeing them is a detective who had been suspended for excessive use of force.
Those expecting violence will be amply rewarded.
Beatings - stabbings - shootings.
Defying the usual K-drama clichés, there is limited romance, few tears. Very plot driven, and it is apparent the writers have numerous ideas they want to explore.
For a couple episodes I worried the characters were going mushy, the sympathy route. Did not happen.
Episodic by nature, yet there is an overall arc to the 11 episodes which gets progressively darker, concluding with an ass-kicking finale.

The Wing Or Thigh? - 1976 - 6/10
AKA - L’aile ou la Cuisse

Gourmet cuisine clashes with fast food and elephants in French farce.
Editor publisher of annual dining guide intends to retire and leave ratings guide business to his son.
The son, however, prefers being a clown in a children’s circus.
Meanwhile, greedy entrepreneur is snapping up regional cafes and turning into his fast food franchise.
Can the gourmet editor save France from going the American diet route?
Fast, funny, best of all, not oversubbed.
Great sequence finds our critic undercover as an American cowboy, wearing pink rodeo garb.

Surge - 2020 - 7/10

A journey of self-liberation? Please.
Overworked, overstressed travel security worker is already running off the rails when we first see him.
Surely his colleagues and supervisors see this. Or maybe they pretend not to.
Within thirty minutes, he is out of control.
Frantic, reckless, dangerous to himself and to others.
Uncomfortable watching, especially since all of us have worked with primed-to-blow coworkers.
Ben Whishaw ought to have received accolades for this. Mainstream viewers will go, “Q who?”

Hell Bound - 1957 - 6/10

The heist unwinds like clockwork. The castaway, the doctor, the nurse.
Military brass won’t know until too late, opiates for injured troops have been lifted.
Street value = 250K. Dreams for druggies, green for smart men. Whatya say?
Sure enough, it’s only a pitch to “investment bankers” from the smooth hustler in a cheap suit.
What could go wrong? Damn near everything.
B-Noir will appeal to buffs of the genre who will nitpick and dissect throughout.
Many scenes involve lengthy tracking shots, clearly meant to pad the film to an hour.
Fine Les Baxter score, often mondo interesto, other times having no bearing whatsoever on the plot.
John Russell, usually in Westerns, owns this one. Smiling, ruthless, violent.
One of my favorite padded sequences involves the burlesque club. Split, Jack.

The Guest - 2014 - 5/10

Recently discharged soldier shows up at doorstep of family of his combat buddy. Recently deceased.
Politely gains their trust with -
“He wanted to me tell you he loved all of you.” and “I would have been here earlier only I was in the hospital.”
Red flag alert for any family other than a movie family! What kind of hospital?
Aarrgghh, they never catch on. Instead they confide and reveal themselves.
Straight off the audience sees Dan Stevens is wound tighter than a rabbit trap.
First half of the film actually pretty good, before the plot bounds into the Land of the Preposterous.
Experimentation - civilian contractors - mercenaries - don’t wonder.
Not that I have to have explanations, in fact I enjoy ambiguous narratives.
Yet the script laid down miles of plot rail and left numerous questions suspended.
Better for non-demanding action buffs.

Thundering Sword - 1967 - 5/10
AKA - Shen Jian Zhen Jiang Hu // 神 劍 震 江 湖

To bring balance to the martial arts world, mystical sword must be found and destroyed.
Two rival clans seek. One righteous, one wicked. One handsome male, and one attractive female.
Do they fall in love? Can love conquer all?
Overtly theatrical looking story features only a handful of swordfights.
Instead there are three songs, some sweeping musical cascades, and moral lessons.
Not a terrible film, but less action than expected from a Shaw Brothers production.

Before I Go To Sleep - 2014 - 5/10

Woman (Nicole Kidman) wakes up next to “husband" (Colin Firth).
Only she has no idea who he is. After an accident ten years earlier, she suffers from anterograde amnesia.
Each day is a blank, she cannot remember the previous day, only memories up to her late twenties remain.
Every night when she sleeps she forgets that day all over.
There are mysteries.
A psychiatrist is trying to help her - is he really a psychiatrist?
Is Colin Firth really her husband?
What happened ten years ago? Who was she?
Less imaginative and creative than 50 First Dates, let alone Memento.
Slow, stagey, cheap looking. Ill thought out script rutted with plot holes.
Waste of talent.

The Legend of Barney Thomson - 2015 - 6/10

50 year old barber with anger issues escalates into homicide.
Hmm, the body. What to do? I know, ask Mum!
Mum, an acerbic, spiteful soul bails him out. From frying pan into fire.
Now, police suspect him of being a notorious serial killer!
Very black comedy of murder, treachery, dismemberment.
Robert Carlyle - Emma Thompson - Ray Winstone, all must of had a field day in this.

Buyer beware! My DVD has no SUBS, and the Glasgow dialect is thick and actors slur lines.

As Above, So Below - 2014 - 7/10

I’m normally as patient with “found footage” genre fare as I am with “dead teenager” flicks.
Still - - when those with subterranean settings beckon, I often cast aside misgivings.
Young archaeologist and historian/translator join with explorers and descend into Parisian catacombs.
Holy relics for one group, treasure for the other.
Above ground proceedings slow. Characters irritating, voicing reluctance, then feebly acquiescing.
Once into the depths, though, hold on!
For viewers who have done unguided caving, especially the wet caves, this captures the claustrophobic exhilaration and disorientation. Narrow, twisting tunnels, watery passages, surprise chambers, and ever-present mud.
Excellent midnight movie.

Layered meanings and symbolism throughout, though frequently convoluted.
I recommend Dr. Sapirstein’s (fan)edited version, slightly cut and rearranged.

Bothersome Man - 2006 - 7/10
AKA - Den Brysomme Mannen

Norwegian parable.
Office drone wakes up on bus roaring down oblivion highway.
He is dumped at a shack, then ferried to his new city, new apartment, new job.
Everyone is cheery, friendly, and work duties are undemanding.
Bonus, he lands a girlfriend who is agreeable and willing.
Sound like Paradise to you? Yeah, well, some types are never happy with their lot.
The new man is dissatisfied. He cannot pinpoint what his problem is with Eden, but he wants something else.
And he gradually makes everyone around him uncomfortable.
Well thought out visuals, maddening dialogue, and steady pace as the reveal unfolds.

Malignant - 2021 - 6/10

Appears Madison is being troubled again by an old companion.
Folks are starting to die, horribly, because of him.
And of course, being suspect numero uno, when she tries explaining to the police.
“What? Say what? You had a dream?”
Until they check out the address.
Rocket paced horror thriller is well scripted and shot, though it is actually absurd.
It moves so quick, and has ongoing answers and exit doors, giving you little time to wonder at the nonsense.
When over, you’re like, “That was fun, but how … or why … how did he dodge …?”

Bettie Page Reveals All - 2012 - 7/10

I was still active on FBook when Bettie Page died, and I posted a news blurb.
Some of my friends asked, “Who’s she?”
I uploaded a photo.
They may not have known her name, but they recognized her immediately.
Arguably the greatest pinup model of all time.

Loving documentary succeeds despite flaws.
First problem, the editing of the first half is below amateur level.
Brief scene or story plays out for a minute or two with accompanying music.
Quick wipe, then another vignette unspools with totally different music.
This buggy bouncing tone mars the fame period, her “glory” years.
There is a well known group of film “faneditors” out there.
At least twelve among them could have produced a more polished, more fluid, result.
Ain’t no use crying, however. Jumpy is what it is.
Better by far, Page provides most of the narration herself, in a hoarse Southern drawl that bears witness to decades of hard road.
Covering her later years, the director grows more cohesive, and that half is better composed.

Another problem is less tangible, more subjective.
I have been buying Bettie Page “stuff" since the 70’s.
When she resurrected in the 80’s, collectors gradually learned which photographers peddled her photos, yet never paid her a dime in royalties, knowing of her poverty.
Some were among the doc interviewees. Sorta stuck a craw in my throat.
Page’s image is iconic. Regarding icons, there is an uneasy line between appreciation and appropriation.
Early on, you see individuals borrowing the Bettie look.
Ordinary souls in search of an identity are one thing. Celebrities out for an extra dollar, though …
Takes all sorts in this world.

Even though I am kicking parts of this documentary around, I enjoyed it tremendously.
Of all the Bettie Page shorts, reels, and that godawful movie, this is the best.
Honest, unflinching, packed with sexy images, as well as bitterness.
Not always a fun documentary, but altogether satisfying.
One gets the feeling Bettie departed this world, touched with grace.

Little Forest: Winter, Spring - 2015 - 7/10
AKA - Ritoru Foresuto: Fuyu/Haru // リトル・フォレスト 冬編・春編

Followup to Little Forest: Summer, Autumn.
Winter snow blankets the landscape and Ichiko’s struggles deepen.
A punishing part time job, the bitter temps, her larder emptying.
She has to face realities, or herself, and stop her habit of turning away.
As before, absolutely stunning photography, and a lot of cooking.
The ending feels like the writers had painted themselves into a corner, what they offered was insufficient.
Nevertheless, this a magical a soothing depiction of a rural paradise.

I reworked subs = https://subscene.com/subtitles/little-forest-winterspring/english/2691926

The Hidden Face - 2011 - 7/10
AKA - La Cara Oculta

Quicksand thriller from Spain.
Insecure female decides to “test” her boyfriend.
“Does he really love me?”
“Would he miss me if I left?”
She disappears.
Big - big - big mistake.
After a couple of days, he gets drunk at a cafe and goes home with a new bang bunny.

Males, being creatures of limited depth, rarely recall ex-girlfriends once new the new face drains the mojo.
Slow to get going, but a nightmare for asthmatics, the claustrophobic, and the insecure.

Last Cab To Darwin - 2015 - 7/10

Taxi driver, Rex, listens as his doctor reads his fate.
Cancer. Three months, tops. Death in a hospital bed.
Resisting the sterile white room, Rex embarks on a road trip to Darwin and the promise of death with dignity.
Euthanasia.
As in many road trip films, he encounters lost souls along the way.
Forthright, deceptive, and of course, appearance is often illusion.
The journey toward death, this trip is inconceivably uplifting.

Sin City: A Dame To Kill For - 2014 - 5/10

The sequel earned acceptable ratings scores, but atrocious reviews.
What do critics know?
Perhaps they don’t like black n white.
Maybe they didn’t appreciate Noir.
Possibly they get turned off by florid dialogue.
Could be they wanted a more timely, more faithful sequel.
Five minutes in, I grasped I was watching an inferior clone of the original.
While not as bad as feared, this was flawed. Writing was fruity and stilted, action was contrived, the characters were even more caricatures than before. It reminded me of a parody and I decided to interpret it thus.
All the visual flourishes that punctuated the first film, are done to death here. Too bad.
Worse, resolutions on stories abrupt and poorly thought out.
Is this a decent Noir? No. This is a fifteen year old’s comic book mentality of that genre.
Acceptable time waster, also a downer.

Various (Editor: Beech, Mark) - Songs Of The Northern Seas

A collection of bitter cold adventures. When I began reading this, temps were 17° F outside. My home was never built for cold, nor was I. Tattered comforter around my legs, pot of black tea within easy reach, physical insulation to stave off the chill each tale heightened.
“The Ghosts Of The Great Northern Sea” makes a strong opener. A missing lover, apparently murdered, a suspicious stranger, and the tall tale of skating 200 miles across frozen seas.
Missionaries and whalers contest for the goodwill – and souls – of the Nunats in “The Tupilaq.” Nor are they alone, for there are shamans and ill faced spectres.
“Oil” as in lamplight, as in the face in the flickering flame, is an hors d’oeuvre. A soured savory, this feels like the subsection of a longer work. Tasty, but unfulfilling.
The following tale, “In Orbis Alius,” is more substantial. Owing to warmer temps, a Viking ship, in superb condition, has thawed from an ice cave. A party of two are dispatched to secure the site until a larger team arrives. To wait. Waiting, however, proves increasingly difficult.
As with most collections, there are a few tossed bones. “The Salon In The Woods” is overlong and over written. The main character, the naked, wild-man poet, like the story itself, is akin to the nutter on the bus, rambling incoherently and interminably. No song, no Northern Sea, only miasma.
“Excerpts From The Filed Notebook Of Dr. Eveline Cohen” reads like a missing story from Weird Tales. An anthropologist, trekking far north in Russia, hopes to study, perhaps write about, the “uncivilized” before progress wipes them. The style harks to the 1930’s, although I imagine Farnsworth Wright would read and reread the ending quite a few times.
“The Ice You Can Hear” is an icy lament that should haunt you.

Altitude - 2019 - 6/10

“What was that sound?” she asks.
He looks, alarmed, then says, “Probably an animal.”
They both know better. They have been climbing for hours, they have not found the cabin, and the fog thickens.
Short is a mix of rural horror and psychological horror.
Ending lacks oomph, this should have been a couple minutes longer.