Recently Seen, Part 36 (February 2020)

clayton-12

Member: Rank 4
Tuya’s Marriage (Wang Quan’an, 2006) kicks off with Tuya on her camel out on the plains of Inner Mongolia, herding sheep. She comes across a chap lying comatose on the freezing ground, having come off a motorbike. With all the enthusiasm and sense of urgency of someone doing the dishes, she slings him across the camel and takes him home. Back there, she revives him by spitting large mouthfuls of liquor over his chest and performing a semi-CPR-style massage, then finds she needs to slap some sense into him, and slap hard, after he wakes and mistakes her for his wife. It’s a great introduction to the main character – it’s pretty clear that all the cultural stereotyping about demure and subservient oriental women can be thrown out the window, as this sure is one tough-as-nails no-nonsense woman.

She needs to be tough, too. After her husband, whom she loves dearly, suffered an accident that has left him crippled, almost all the burden of supporting the family falls on her shoulders. Her neighbour (the hapless dude who came off the motorbike) is always willing to lend a helping hand, but despite what is revealed to actually be a warm mateship between the two, Tuya steadfastly refuses to be indebted to anyone.

However, another accident forces her to realise that there’s a limit to what she’s physically capable of, and she comes up with a plan – divorce her husband and remarry someone, but only on the proviso that the new husband will accept the old husband as part of the family.

I read a number of reviews after I watched this, and there’s a lot of focus in the discussion on the ethnographical aspects. Granted, there’s a lot of very foreign cultural practices on display, an undercurrent of the traditional life of Mongolian sheep herders being usurped by modern society, and some quite magnificent cinematography. But I think the story being told has a strong parallel with the conflict that some women face in contemporary society – that expectation placed on women that they can, and should, have it all; a career, independence, success in her own right, but then to also have a family and be a supportive housewife. I think this film has much more in common with something like the recent Send Me to the Clouds than with other ethnographically driven films like Tulpan or The Story of the Weeping Camel.

If all that doesn’t sound like your cup of tea, you should at least watch it for Yu Nan – she’s fricken awesome in this. Swaddled up like an oval shaped matryoska doll, with an acid tongue and barely cracking a smile, she still manages to exude this almost sexy warmth just through non-verbal mannerisms – it’s a subtle, complex portrayal of a subtle, complex character. I’ve never seen her in anything else, but I’m told everything she did back then was this good (not so sure about more recent stuff like The Expendables 2 – maybe she’s another name for @sitenoise to add to his list!)
 
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sitenoise

Member: Rank 5
maybe she’s another name for @sitenoise to add to his list!)
That's what I'm talking about :) The Aughts! She was in the super superb 2007 "In Love We Trust" right after Tuya. Things were exploding back then. Now whadda we got?

I think I've pulled Tuya into my "I'm adding this to the top tier queue and I'm finally going to watch it" Folder several times but it never happened. Maybe I'll remedy that. I'm sensitive to reviews where I detect some inner need to shout out "this was freakin awesome" that goes beyond the constraints of a regular review (like when ebo jumped out of his pants for The Treacherous).

Nice review, btw
 

clayton-12

Member: Rank 4
She was in the super superb 2007 "In Love We Trust"
Thanks for the recommendation. Purely by coincidence, I came across this title yesterday afternoon in my yet-to-see European arthouse pile without even realising what it was.

From Wang Xiaoshuai, I've only ever seen Red Amnesia. I was impressed with the way Wang had constructed his film with a lot of the trappings and techniques of a thriller/horror movie. There was a kind of disconnect between the form and the substance of the film, but I thought that disconnect worked really well - as if the past ghosts of the cultural revolution were haunting the melodrama of the everyday present life.
 

ebossert

Member: Rank 3
Highly Recommended

Bullet In the Head (1990) (Chinese Action/Thriller) (repeat viewing) – This intense movie by director John Woo is about three friends (Tony Leung, Jackie Cheung, Waise Lee) who attempt to make a profit in war-torn Vietnam through a contact (Simon Yam). In some ways, this feels like a survival film. There are many situations here where the characters are not only trying to survive the day, they’re trying to survive the next five minutes. The action design is mostly grounded and realistic, which only enhances the harrowing nature of events. The story is also rather unpredictable and engaging. This is fantastic stuff!

The China Syndrome (1979) (American Drama/Thriller) – A reporter finds what appears to be a cover-up of safety hazards at a nuclear power plant. Jane Fonda, Jack Lemmon and Michael Douglas star. Very well-written and suspenseful. The themes are handled with care and are multi-dimensional, especially regarding Lemmon’s character. Really good flick.

The Nightingale (2018) (Australian Thriller/Drama) – Set in 1825, Clare, a young Irish convict woman, chases a British officer through the rugged Tasmanian wilderness, bent on revenge for a terrible act of violence he committed against her family. This is pretty disturbing and graphic stuff, but it’s also well-made. The peril of the situation in Australia at that time is palpable in this film; a very dangerous time to live. The director claims that the film contains historically accurate depictions of the violence and racism that colonial power inflicted on the indigenous Australian people of that time. I like the interaction between the leads, who don’t like each other but find commonality in their hatred for the English. Their relationship gives the film a lot of heart. The script is very simplistic and some of the editing is a bit abrupt, but this is solid stuff.

Christmas In August (1998) (Korean Romance/Drama) (repeat viewing) – Suk-kyu Han stars in this romantic drama about a photoshop clerk who befriends a lady ticket cop (played by Eun-ha Shim). This film keeps things interesting through character interactions, and unlike some other Korean melodramas, this is extremely understated and relaxed. Emphasis is placed on subtle feelings and development, which creates a very realistic experience. Thematically, there’s an emphasis on photography and capturing moments in time. A solid film by Jin-ho Hur.

Intensity (1997) (American Thriller) – This TV movie is based on a book by Dean Koontz. The whopping runtime of 186 minutes is broken up into two parts, but the pacing is surprisingly brisk. The opening half is loaded with a ton of cat-and-mouse interaction and suspense. There’s a bit of a lull during the middle section, but the escape sequence near the end is great and involves some crazy dogs. It also provides a convincing motivation for the protagonist to stay close to the killer for long periods of time. Acting is good all-around. For years, I’ve heard that “High Tension” was a rip-off of this movie, and people who make this claim do have a point. It is very similar early on, but the big differences are (1) the traumatic backstory of the protagonist; (2) the talkative nature of the killer; and (3) the entire second half. Still, it would make a great double-feature with “High Tension.” This is exceptional for a made-for-television thriller.

Recommended

Female Prisoner 701: Scorpion (1972) (Japanese Exploitation Drama/Thriller) (repeat viewing) – This is an entertaining Japanese exploitation flick from the 70s that provides more than just nudity. After being manipulated into being assaulted by criminals, a woman (Meiko Kaji) attempts but fails to kill her boyfriend and ends up in prison. There are a few dodgy moments here and there (like punches that obviously miss their targets), but the protagonist’s afflictions do create some memorable moments (e.g., the prison standoff and the finale). Camerawork and lighting are also effective.

Akira (1987) (Japanese Anime Action/Horror) (repeat viewing) – This hugely popular film is about some kid who obtains unprecedented levels of telekinesis. I used to think this movie was overrated, but it continues to grow on me over time. The animation is very impressive and visually engaging. The story is odd enough to hold interest and there are some themes involving “power” that are decent enough. Pacing is quite brisk and there’s enough action to satisfy.

Midsommar (2019) (American/Swedish Horror/Drama) – A couple travels to Sweden to visit a rural hometown's fabled mid-summer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult. This has a dramatic intensity to it that works (the opening 20 minutes are the best part). The female lead has some serious psychological problems. The friction between the love-birds is realistic, as are the awkward moments involving the friends. This is deliberately paced and quiet as it shows the rituals and culture of the cult. There are some cool camera shots. Sound design and scoring are great. There are some unnerving moments and a general sense of anxiety to possible dangers. Florence Pugh is very good in the lead role, but Jack Reynor gives an underwhelming performance. In terms of other negatives, I’m not sure why the protagonists did not leave immediately after the first traumatic event (and no, getting info for a thesis is not a good enough reason), and they show no concern whatsoever when they disappear one at a time. That’s a big problem with the script that becomes somewhat laughable and contrived. Most events are very predictable. And finally, the film does seem to drag a bit in spots. From the director of “Hereditary”, Ari Aster, but this one is not as great.

Long Day’s Journey Into Night (2018) (Chinese Drama/Romance) – A man recalls the death of an old friend and searches for a lost love (Tang Wei). He recalls the summer he spent with her twenty years ago. This is beautifully shot with all the aesthetic bells and whistles to make it deliciously absorbing. This includes a very atmospheric score. I like the free-flowing nature of events, since some scenes go on for a very long time without edits, but some scenes do feel like they drag out a bit. Performances are solid.

Piercing (2018) (American Horror/Thriller) – A man kisses his wife and baby goodbye and seemingly heads away on business, with a plan to check into a hotel, call an escort service, and kill an unsuspecting prostitute. The male lead is completely insane, from the very first frame. This has a 70s vibe to it, and it even uses some scoring from other movies (e.g., “Tenebre”, “Deep Red”, etc.). Modestly budgeted but still stylish enough, with good use of split-screens. The interaction does get rather dark, weird and bloody. This is based on a novel by Ryu Murakami.

The Perfection (2018) (American Horror/Thriller) – When troubled musical prodigy Charlotte (Allison Williams) seeks out Elizabeth (Logan Browning), the new star pupil of her former school, the encounter sends both musicians down a sinister path with shocking consequences. This movie has some very cool surprises and plot turns. It’s demented and a bit unrealistic, with some dark themes, but also interesting and fun.

Joker (2019) (American Drama/Thriller) – In Gotham City, mentally troubled comedian Arthur Fleck is disregarded and mistreated by society. He then embarks on a downward spiral of revolution and bloody crime. This path brings him face-to-face with his alter-ego: the Joker. This movie is exactly what I expected. It’s slow-paced and rather simplistic, but Joaquin Phoenix gives a solid performance and the themes of mental illness are explored enough.

Dressed To Kill (1980) (American Thriller) – A mysterious blonde woman kills one of a psychiatrist’s (Michael Caine) patients, and then goes after the high-class call girl (Nancy Allen) who witnessed the murder. Some scenes feel a bit artificial and contrived, but it has a free-flowing nature that I liked. You’re not really sure which character the film is going to focus on at any given time. Some good suspense. And Nancy Allen is smoking hot. Directed by Brian De Palma.
 

ebossert

Member: Rank 3
Not Recommended

Shazam! (2019) (American Comedy/Drama/Action) – A newly fostered young boy in search of his mother instead finds unexpected super powers and soon gains a powerful enemy. The story in this movie are very basic and generic. It feels like fan fiction. Dialogue is atrocious and cringe-worthy. It’s also 132 minutes long, which creates pacing issues and repetition. It’s really boring to sit through. The humor is mediocre at best. Zachary Levi is terrible, and he doesn’t even act like an older version of the young character. Also, the kid in the car at the beginning ages 40 years but his dad doesn’t age at all. None of the action is good, consisting mostly of slow-motion fights against cartoonish CGI monsters.

Inside (2016) (Spanish Horror) – A woman in her third trimester of pregnancy is stalked by a stranger who is obsessed with her unborn child. This is a Spanish remake of the French horror film of the same name, but the dialogue is in English. It starts off with a bullcrap statistic about infant abductions that is extremely exaggerated – Claim: In “recent years” infant abductions in the U.S. were over 306. Fact: It was actually 302 . . . since 1983. Claim: 10% of those cases happened to pregnant mothers. Fact: It was actually 6%. Then the film starts and gives us a ridiculously over-the-top car accident. After that, it’s mostly a copy of the original, only not nearly as good. The script is pure idiocy (when it does change things) and the violence isn’t nearly as brutal. The lead actress is fine, but the evil lady has got nothing on Beatrice Dalle. Score is also forgettable. Last but certainly not least, I’m not exaggerating when I say that this movie contributes the worst ending I’ve seen in years.
 

divemaster13

Member: Rank 4
Bullet In the Head (1990) (Chinese Action/Thriller) (repeat viewing) – This intense movie by director John Woo is about three friends (Tony Leung, Jackie Cheung, Waise Lee) who attempt to make a profit in war-torn Vietnam through a contact (Simon Yam). In some ways, this feels like a survival film. There are many situations here where the characters are not only trying to survive the day, they’re trying to survive the next five minutes. The action design is mostly grounded and realistic, which only enhances the harrowing nature of events. The story is also rather unpredictable and engaging. This is fantastic stuff!
I liked this one, but didn't love it. I watched the HKL 2-disc SE and all the special features, including Bey Logan's commentary, augmented my appreciation. But still only 3/5 for me.

Christmas In August (1998) (Korean Romance/Drama) (repeat viewing) – Suk-kyu Han stars in this romantic drama about a photoshop clerk who befriends a lady ticket cop (played by Eun-ha Shim). This film keeps things interesting through character interactions, and unlike some other Korean melodramas, this is extremely understated and relaxed. Emphasis is placed on subtle feelings and development, which creates a very realistic experience. Thematically, there’s an emphasis on photography and capturing moments in time. A solid film by Jin-ho Hur.
I've seen this one three times and I like it better with each viewing. Korea lost a great actress when Eun-ha Shim retired early in her career. 4/5

Female Prisoner 701: Scorpion (1972) (Japanese Exploitation Drama/Thriller) (repeat viewing) – This is an entertaining Japanese exploitation flick from the 70s that provides more than just nudity. After being manipulated into being assaulted by criminals, a woman (Meiko Kaji) attempts but fails to kill her boyfriend and ends up in prison. There are a few dodgy moments here and there (like punches that obviously miss their targets), but the protagonist’s afflictions do create some memorable moments (e.g., the prison standoff and the finale). Camerawork and lighting are also effective.
I totally dug this movie! 4.5 stars

Akira (1987) (Japanese Anime Action/Horror) (repeat viewing) – This hugely popular film is about some kid who obtains unprecedented levels of telekinesis. I used to think this movie was overrated, but it continues to grow on me over time. The animation is very impressive and visually engaging. The story is odd enough to hold interest and there are some themes involving “power” that are decent enough. Pacing is quite brisk and there’s enough action to satisfy.
I've tried many times to "get into" anime. I've seen most of the "you must see this one; it's a groundbreaker for the genre," and most leave me scratching my head. Akira is no different. My personal notes at the time:

Confusing but interesting anime film set in post WWIII Neo-Tokyo; with motorcycle gangs, a government secret project, anti-government activists, greedy politicians, irresponsible scientists, a powerful military leader, telepaths, and a big baby.

I gave it 3 stars but it didn't convert me to an anime fan.

Midsommar (2019) (American/Swedish Horror/Drama) –
I hope to see this soon. I've been looking forward to it, especially because of the dichotomous reviews (will I fall into the "love it" or "hate it" camp?). But I loved Hereditary, and if Midsommar is even half as good, it will be worth the 2 hours.
 

sitenoise

Member: Rank 5
I've seen this one [xMas in Aug] three times and I like it better with each viewing. Korea lost a great actress when Eun-ha Shim retired early in her career. 4/5
I wish I could re-watch it and find what others have found since I'm big on Hur. I don't really remember it any more but my notes at the time mention confusing selfishness with selflessness. I think I thought the dude was being selfish, and having the girl be happy about it didn't ring true. This could be because I just hate the actor dude (one of these 'actors' who thinks it's special to have them on screen looking pensive) and probably projected my hatred onto his character. I also noted that Hur's use of sappy soundtrack to augment melodrama was a little overboard.
 
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