Last year, I made a film-based resolution to watch 50 movies from from 50 different countries (lots of caveats and rules for what qualifies, as enumerated in that introductory post). This is not the first time I’ve done a project like this (see also: The 1978 Project and 50 Under 50), and it’s become tradition to do a sorta post-mortem closing remarks of the project at the end. Of course, I finished this particular resolution in December, but with all the year-ending shenanigans, Movie Awards, and whatnot, I’m only now circling back to 50 From 50 to close it out with a quick recap and general thoughts on the experience.
In terms of genre, there was perhaps more concentration than normal, especially around Action and Horror/Thrillers. Of course, the catch-all “Drama” category comes in at the top of the list, but that’s also because there’s significant overlap (i.e. a lot of those Action or Horror movies are also classified as Dramas). This does make a certain sorta sense, as foreign films that are easily accessible in the US tend to target more specific markets to garner a wider audience. It’s not entirely surprising that Comedy didn’t do quite as well, perhaps in part because Comedy doesn’t travel as well as Action or Horror. And, of course, it’s worth noting that I’m going off of Letterboxd’s preset genres, which has its own bias. Is “Crime” its own genre, or does it get lumped in with Action or Thriller? And so on.
Of course, I have my own biases, and it’s not an accident that Action and Horror are often well represented in my media diet in general. Indeed, for year-long projects like this, I’m sure the Six Weeks of Halloween marathon exerts a healthy influence (and 50 From 50 was no exception).
All that said, there is a wide array of genres represented in the 50 movies I watched. The only genres I didn’t hit were Animation, TV Movie, and Western. None of these are especially surprising, even if I could have easily hit at least two of those genres (if I had watched a Spaghetti Western or an Anime movie, for example), but by the time I thought of it, I had already progressed beyond the most obvious countries for those genres (more on this in a bit).
By Decade
While I did manage to squeeze in movies from 8 different decades, there is an obvious and pronounced recency bias in what I watched. This is at least partly due to a recency bias in what is widely available to watch in the US, especially on streaming. I did make a concerted effort to seek out certain movies though, and at least 3 movies on the list are not available on (legal) streaming in any form. Some of these are available on physical media (for example, Vinegar Syndrome put out a great release of Thriller that does not seem to have been picked up by any streaming service, even for rentals), but some are simply unavailable in any way except through… less reputable methods (i.e. Nokas). We’ll talk more about availability below, so I won’t belabor the point here, but despite the recency of most of the movies, there was still a fair sampling of older films…
The Map & Included Countries
This is perhaps the most filled map I’ve ever had for a single year, which is not especially surprising given the whole point of this project. The biggest surprise, though was that I didn’t end up seeing any movies from Ireland or New Zealand. Of course, both of those were excluded from 50 From 50 due to their presence in the Anglosphere, so maybe not entirely surprising, but it’s telling that I’ve already seen multiple movies from both of those countries here in 2024. The only country that I wanted to get to that I didn’t manage was Romania, which has a rich arthouse tradition, but I had trouble with availability (more on this below) and just ran out of time. While there were lots of the usual suspects (i.e. France, Japan, Italy, etc…) represented, I watched plenty of movies from unlikely sources that I probably would not have gotten to otherwise (i.e. Saudi Arabia, Senegal, etc…)
Miscellaneous Thoughts
As always, this sort of movie resolution was eye-opening, though certain issues kept cropping up.
One thing I think I underestimated at the start of this was the relative difficulty of finding qualifying movies. This is partly due to my own restrictions. Forbidding co-productions with Anglosphere countries really eliminates a wide swath of movies off the bat. In general, I tried to avoid movies with multiple origin countries, which restricts things further. You’d be surprised at just how many movies, even from countries with a strong film tradition, have multiple origin countries. I was not entirely successful in avoiding this completely, and in one case, I accidentally included a film that was a USA co-production (I maintain that when I watched it, it didn’t list this on Letterboxd, but that it changed later…)
Another thing that wound up frustrating me was that this resolution forced a wide range of countries, but didn’t particularly allow for deeper exploration of a particular country’s cinema. It was kinda weird to choose one movie to represent the country, and, like, I watched a bunch of shlocky movies that are probably not representative of a given country’s cinema as a whole. Of course, none of this meant I couldn’t continue to explore a given country’s movies further, but the focus on tackling a new country every week did cut down on that a bit. There were definitely some things I had planned for a specific country that got pre-empted by something else. For example, The Last Drive In showed a movie called Tigers Are Not Afraid, which ended up taking the Mexico slot that I had originally planned for the films of Carlos Enrique Taboada during the Six Weeks of Halloween.
I had originally made a rule that I would watch 20 movies from one qualifying country. This was meant to counteract what I just mentioned, but I would up not committing to one country and never got to 20 movies. That being said, I did get to 15 films from Italy and 12 films from Hong Kong (in both cases, I’m being a little more lenient and including movies with multiple countries of origin). Both were conscious efforts to increase foreign film watching, so I think that basically makes up for missing the 20 film mark.
Streaming availability was a primary driver of the mix of films described above. By far, the most useful streaming service for this exercise was… Tubi. A free, advertising supported service, it’s got a very wide selection, especially when it comes to genre fare. Surprisingly, Netflix was also a pretty good resource here. They actually have a pretty great selection of foreign films that you might not be aware of because the algorithm rarely puts it in front of you (except in some very specific circumstances). Amazon Prime was also a key resource, but it almost always is for something like this. Shudder also does a good job of curating obscure foreign horror films (yet another factor in the genre mix described above). Max actually has a pretty good portion of the Criterion catalog on their service, which was also very useful here.
Speaking of Criterion, it’s probably not an accident that a large proportion of the older films included on the list were Criterion releases. Of course, they also have a streaming service of their own, but it’s interesting that physical media purveyors like Criterion, Vinegar Syndrom, and Arrow are invaluable in making foreign movies more accessible to US audiences.
I found this whole exercise interesting and edifying, but I do think that perhaps it would be more valuable to do a deep dive into one country’s films rather than a shallow dive into many countries, as I have done here. I don’t have any current plans to start a new resolution, but if I wanted to do a foreign film based resolution, I would almost certainly narrow the focus to one country (and maybe even further by genre – Spaghetti Westers, Giallos, Anime, etc…).
Update: By popular demand, quick lists!
Best Movies
High and Low – Not especially shocking that Kurosawa directed the best movie of the bunch…
Ultimately, I probably didn’t need to split the list into two categories. It works as a top 10 (in no particular order). Also, I don’t usually like to spend time on “worst” movies from an exercise like this, but it’s pretty clearly Altered Skin. So there you have it. Onwards and upwards.
Back in March, I made a resolution to watch 50 movies from 50 different countries this year (lots of caveats and rules for what qualifies, as enumerated in that introductory post) and about 50 weeks into the year, we have a success on our hands. Because I started in March, I’ve been playing catchup in terms of recapping qualifying movies, but I mostly caught up during the Six Weeks of Halloween. That said, this post will cover the final 9 qualifying films (and some may not be as thorough as others). As with previous movie-based projects, I will probably get to a Postmortem at some point, but it may be a while since we’re rapidly coming up on end of year posting and 2023 movie awards and whatnot. Anywho, let’s finish recapping the films that brought us to 50 from 50 success. More 50 From 50: [Intro | Part I | Part II | Part III | Part IV | Part V | Part VI | 6WH Week 2.5 | 6WH Joko Anwar | 6WH Speed Round]
Saudi Arabia – The Book of Sun – High school senior Husam finds himself drawn to the world of filmmaking and sets about making a no-budget horror movie with the help of his friends and one supportive teacher. A coming of age story mixed into a guerrilla filmmaking plot makes for a nice combo, and while this doesn’t cater to Western audiences, it’s more interesting because of that and still quite relatable. Perhaps the human impulse towards art and being opposed by crusty old deans are more universal themes than I thought.
While not quite as low budget as the horror movie within the movie, this production makes the most of its limitations, even deploying some mixed media and animation in service of an entertaining little story. At 130 minutes, it’s a tad overlong and some of the beats are derivative and predictable, but the pacing is brisk and it never really drags. This is one of those movies that sorta languishes in the depths of Netflix’s catalogue (though, hmm, it appears it’s no longer there) and I only found it because I was scouring Letterboxd for 50 From 50 movies from unlikely countries like Saudi Arabia. It’s not perfect or anything, but I’m really glad I stumbled onto this one, and it’s one of the bigger surprises of the whole 50 from 50 exercise. **1/2
Bolivia – Sealed Cargo – A police officer whose career is on the rise gets tasked with smuggling cargo containers filled with toxic waste to Chile. He commissions an old train for the trip, but things do not go to plan as the entire population of Bolivia is seemingly aware of the cargo and assumes it’ll be dumped on their land. There’s a lot of potential avenues for drama here, maybe even political satire, but nothing quite comes together in a cohesive way and the entire endeavor drags.
It’s well shot and looks good, plenty of painterly landscapes being traversed by an old-timey train, and it touches on lots of potentially thorny themes, including duty and honor, government corruption, local resistance movements, and so on. Alas, this doesn’t really deliver on any of those promises and sometimes veers sharply in confusing directions (at one point, a policeman decides to start literally eating the neon blue, probably toxic dirt that’s being transported for no discernable reason… another scene involves one of the policeman assaulting a woman who was trying to hitch a ride on the train to escape her local problems… and so on). Points for the attempt, but it doesn’t quite get there. *1/2
Mongolia – Genghis: The Legend of the Ten – The Mongolian title for this movie is Aravt, a reference to the way Ghengis Khaan organized his troops into decimal-based units of 10, 100, 1000, etc… It translates literally to “ten families” and consisted of ten soldiers from ten different families. This movie tells the story of one Aravt tasked with finding and retrieving a doctor to help with an illness plaguing Khaan’s troops. Naturally, they find themselves facing obstacles all along the way, including an abandoned infant that needs care and an enemy force informally led by a power-hungry soldier willing to betray everyone to get his way.
This feels a lot like a Western (the baby subplot reminded me of 3 Godfathers, for instance) with integrated Mongolian culture and history (perhaps that should be phrased in the opposite way, given that this is a Mongolian production). It’s shot well, another movie with lots of beautiful landscapes, and it features some decent small-scale action that gets a little more fantastical as the film approaches its climax. It’s reasonably well executed and entertaining enough, and though it doesn’t break new ground, it is interesting to see a sorta on-the-ground, soldier level view (as opposed to focusing on Ghengis Khaan and epic battle sequences, as a lot of movies have done) of the era from a Mongolian perspective. **
Denmark – Pusher – Nicolas Winding Refn’s debut is a crime movie about a drug pusher who desperately tries to recover from a botched deal and thus finds himself deep in debt to his suppliers. Shot in a vérité style, lots of handheld camerawork and long takes following our characters from behind, it does not paint a pretty picture of drug dealing.
Most crime films at least make some attempt to show why people would be attracted to this way of life before pulling the rug out later on, and sure, the opening of this film isn’t entirely miserable, but our protagonist is clearly not doing great. Once the inciting incident occurs, he’s immediately thrust into a life or death scenario that he has little hope of escaping. The ending has a bit of ambiguity to it, but not really, and it hits pretty hard. Kim Bodnia plays the titular pusher and puts in a remarkable peformance. Mads Mikkelsen is great as usual, but has more of a supporting role (apparently he becomes the main protagonist in the sequels). It’s an impressive debut and very well made, but its the sort of film that doesn’t really appeal to me. Your mileage may vary. **1/2
Egypt – Karmouz War (aka No Surrender) – In colonial Egypt, a police captain refuses to hand over British soldiers who raped a local woman. British forces lay siege to the police station in an attempt to force the release of the prisoners. Amusingly blatant anti-colonial propaganda with larger than life Egyptian heroes and despicable British villains. At its best, it reminded me a bit of over-the-top 80s action B movies starring Chuck Norris. At its worst, it reminded me a bit of over-the-top 80s action B movies starring Chuck Norris. It’s certainly a little overheated and ridiculous at times, but it has its moments. I stumbled onto this movie because it features Scott Adkins, but as it turns out, he’s only shoehorned into about 5 minutes of the movie, and while he injects some more acrobatic action into the proceedings, it’s certainly not a typical Adkins DTV actioner. Not a movie I’d recommend, but it’s got some interesting stuff in it. **
Cambodia – The Prey – Cambodian filmmaker Jimmy Henderson made a name for himself with martial arts actioners like Jailbreak, but here he tackles yet another spin on The Most Dangerous Game. An undercover Chinese agent finds himself in a jail that sells prisoners to trophy hunters. This time, the prisoner turns the tables and the hunter becomes the hunted. Obviously a tired premise, but this is a well executed version of the story with a few minor wrinkles that make it all a worthwhile exercise. I’m definitely going to keep an eye out for future Henderson offerings. **1/2
USSR – Stalker – Based on the novel Roadside Picnic, this tells the story of three people traveling into the Zone, a place where normal laws of physics cease to operate as expected. The titular Stalker is a guide, and the others are hoping to find a specific area of the Zone that grants your most desired wishes. Widely considered a classic, it’s one of those films I find rather frustrating. It’s absolutely gorgeous. The cinematography, framing, and compositions are exceptional and deserving of all the praise the film gets.
The ideas in the story are thematically rich and thought provoking, even if this sort of blunt philosophizing can seem a bit ham fisted at times (it’s certainly a step up from dorm-room philosophizing and I’m willing to grant that something may be lost in translation). It’s certainly not surprising that a Soviet filmmaker in 1979 would be interested in exploring the philosophy of desire and the human inability to actually know their deepest wants and needs. At this point in the USSR, central planning was clearly struggling, and this movie represents a sorta morose acknowledgement that it might be impossible to accurately know our own deep-seated desires, let alone those of others (especially at a societal level).
While it’s a visually spectacular movie, it certainly takes its time, lingering on nearly every shot much longer than needed. Yes, yes, this extra time gives you the space to consider all the ideas and ponder great mysteries and so on, but I’ve always been suspicious of Andrei Tarkovsky. In Solaris, there’s an infamous sequence where a guy travels from the countryside to a city via a highway, with visuals that look more “futuristic” as he approaches the city. It’s nearly five minutes long, and while it does emphasize one of the film’s themes (juxtaposing the natural world with the man-made world), did it really need to be that long? Lots of folks will say yes, but I distinctly remember listening to the Criterion Collection commentary for that film where they explain that the “futuristic” footage of the highway was actually filmed in Tokyo (and in 1972, Tokyo was sufficiently futuristic looking for those in the USSR) and that Tarkovsky included so much of it because he had to justify the expense of his trip.
Maybe I’m overstating this, as clearly Tarkovsky likes his films to be deliberately paced, but man, you really feel that time. In fairness, Stalker is not nearly as bad as Solaris in this respect, but the glacial pacing can be a challenge, especially when combined with some of the more surrealistic components of this story where you struggle to make sense of what you’re being shown. I have a lot of respect for what this movie is doing and I’m glad I’ve finally caught up with it, but it’s a hard movie to recommend and I’m not nearly as rapturous about it as a lot of people… ***
Pakistan – Altered Skin – Ostensibly a blend of zombie horror and conspiracy thriller, this tends to lean harder into the latter, with middling to poor results. I usually don’t mind a derivative plot if it’s executed well, but this is one of those examples where it’s trying to do two different things, but doesn’t really succeed at either. The acting and performances are awful, and it’s visually mediocre. Look there’s no shortage of crappy zombie films out there, but I was hoping the conspiracy angle would give this a leg up. Unfortunately, it’s poorly executed and the only real spin on the formula is the setting in Pakistan… but I don’t think that’s really enough to save this. *
Netherlands – The 4th Man – This was the last film Paul Verhoeven made in the Netherlands before heading off to Hollywood. A psycho-sexual nightmare thriller with some homoeroticism and Catholic guilt thrown in for extra flavor, it tells the story of Gerard, an alcoholic author who starts an affair with Christine, a cosmetologist with a mysterious past. Filled with religious imagery, gratuitous sex, and surreal, dreamlike violence, it’s certainly not a subtle film, but neither is it a bombastic exercise a la some of Verhoeven’s Hollywood productions. Indeed, I’m not sure if the story isn’t happening entirely in our protagonist’s head.
Speaking of whom, he’s played by Jeroen Krabbé, who has been in lots of stuff, but I most associate him with his memorable supporting turn in The Fugitive. He’s excellent here, as is Renée Soutendijk as the kinda, sorta femme fatale. It’s an interesting movie, I’m glad I caught up with it, and I’d like to explore more of Verhoeven’s Dutch films. Certainly not my favorite, but worthwhile! ***
And so that marks 50 different films from 50 different countries. Alright, there are some minor cheats here – Stalker being USSR when I’d already watched a Russian movie is questionable, for example. And I will probably not get to 20 movies from one country (as originally planned), though I did get to 10-15 movies from both Hong Kong and Italy, so I figure that counts for something. As mentioned above, I’ll probably do a postmortem for the project at some point, but it may be a while, as we’ve got a packed schedule coming up with the usual year-ending recaps and Movie Awards and whatnot…
Time flies when you’re terrified beyond the capacity for rational thought. For some reason, these Six Weeks of Halloween went faster than ever this year, and now we’re already at the big day. In accordance with tradition, this is when we engage in a Speed Round of brief thoughts on films I watched during the 2023 marathon, but haven’t otherwise covered. Usually because it didn’t fit with a weekly theme. Or maybe I just didn’t have much to say about it. Or I had too much to say about it, but the moment and/or inspiration has passed. Or it’s a rewatch of an all time classic (or, uh, a non-classic) and you don’t need anyone, let alone me, telling you more about it.
As of right now, I’ve seen 69 (nice!) horror or horror-adjacent films during this Halloween season. This is a big increase from last year and actually relatively close to the pandemic-fueled record of 71 that was set in 2020, but it should be noted that 8 of this year’s entries were Cabinet of Curiosities episodes (and Letterboxd has separate entries for each episode) and the Phillies didn’t make it to the World Series (a different kind of horror!) which means the numbers are a bit inflated over last year.
As per usual, we’ll have one final 6WH post next week about the horror books I read during the 2023 Halloween season, but for now, let’s dive into this year’s Speed Round:
The Six Weeks of Halloween: Speed Round
A Haunting in Venice – Another perfectly cromulent mid-budget self-contained Poirot adaptation, it’s not perfect and it won’t blow you away or anything, but it’s got plenty of spooky vibes, more style than it needs, and plenty of twists and turns. Again, nothing incredible, but it’s the sort of movie I wish Hollywood would make more often. **1/2
13 Ghosts – I decided to go back and watch the original William Castle movie after watching the remake earlier in the marathon. Certainly a more staid production, old-fashioned and corny, actually the sort of thing that was ripe for a remake. It’s not great, but I somehow liked it better than the remake. **
No One Will Save You – The gimmick of this alien invasion flick is that there’s nearly no dialogue at all. There’s plenty of thematic heft that is underlined by this approach and Kaitlyn Dever’s lead performance sells the whole thing well.
The gimmick is cleverly done, but I’m getting a little tired of the genre’s obsession with Trauma and the aliens here are almost as dumb as the ones from Signs. Adventurous filmmaking and interesting because of that, but can’t quite sustain its momentum throughout the full runtime. **1/2
Werewolves Within – After the Werewolfery theme week, I decided to rewatch this bouncy little horror comedy that never really found the audience it deserves.
Its politics are a little ham-fisted, but it’s a ton of fun, and Sam Richardson and Milana Vayntrub are great together and really carry the movie. Recommended! ***
The Face Behind the Mask – 1941 Peter Lorre noir about a disfigured man becoming a criminal mastermind and trying to escape the life, to little success. It’s the sort of thing you’ve seen a hundred times (and barely a horror movie), but Lorre provides gravitas, even when he’s masked up (the masks are actually rather effective for what they are). **1/2
The Exorcist – RIP William Friedkin, the new 4k transfer looks great and the movie is as good as ever. Another movie I watched after a similar themed week, it’s obviously much better than all the movies I watched that week (and the direct influence is clear as well). There are still some things I don’t love about this movie, and the directors cut with the additional footage isn’t as good as the theatrical cut, but it’s still a stone cold classic. ****
Alien³ – David Fincher’s directorial debut is still a frustrating and disappointing exercise, though there are some genuine bright spots, notably Charles Dance’s doctor character, who has great chemistry with Sigourney Weaver, and some other performances (Charles S. Dutton, Brian Glover, etc…) Great ensemble! Terrible story, and I know the point is to be bleak and uncompromising and there are some people who claim to like how unsatisfying the whole thing is, but that’s a really hard trick to pull off and this movie doesn’t even come close (put a pin in this, we’ll come back to the idea below). **
Predator – Not a movie that I usually think of as a Halloween movie, but it’s got all the hallmarks, even if it’s more action than horror. You probably don’t need me to say much here, it’s still great! ***1/2
Casper – After a few weeks of watching nothing but horror movies, it’s easy to get burnt out, but goofy comedies like this are actually a nice way to bring levity to the situation, even if it’s not particularly great. Not bad either, and Christina Ricci and Bill Pullman are great, and there’s some bonkers stuff about Casper the friendly ghost that we learn. Fun. **1/2
Totally Killer – Self-aware slasher comedy mixed with time travel, it’s a whole boatload of fun. More focused on the humor than the horror or sci-fi elements, it’s still effective and well calibrated. The school mascot mask isn’t great and the time travel stuff isn’t particularly rigorous, though they do manage one clever thing I don’t think I’ve ever seen in a time travel story before, which is nice (even if I’m not entirely sure how it works). I think Final Girls and the Happy Death Day movies did it better, but it’s totally worthwhile and again, it’s always nice to find some levity in the midst of all the horror of the season. ***
The Ghost of Sierra de Cobre – Obscure 1964 TV movie starring Martin Landau as a paranormal investigator, this isn’t as twisty or goofy as I’d hoped, but it’s fine. I’ve generally had good luck with this sort of old TV movie type of thing in the past, but I’d say this one didn’t really pan out. **
Friday the 13th: A New Beginning – There was a Friday the 13th in October, so obviously I had to pop on a couple entries in the venerable series. Part V is one of the weirdest entries in the series and I kinda find it fascinating, despite it not being very good. ** (But ratings are kinda tough for movies like this…)
Friday the 13th Part VI: Jason Lives – Followed up the weirdest entry in the series with one of the best entries in the series, and the one I tend to watch most often. ***
Happy Death Day – The slasher formula in a Groundhog Day framework works surprisingly well, and this is a movie I like more and more over time. After watching Totally Killer, I decided to revisit and yes, this is better than Totally Killer, with a more balanced blend of humor and horror leading to an overall quite fun experience (Totally Killer is still quite fun and worthwhile!) ***
Happy Death Day 2U – A surprisingly solid sequel that recontextualizes the Groundhog Day formula in a clever way, resulting in another fun movie that’s almost as good as the original. Another movie that’s only gotten better in my estimation the more times I watch it.
If we still had cable classics, I think both of these would qualify (Maybe they’ll get on Netflix at some point and become super popular in the way a lot of underseen (and sometimes even bad) movies do, but that won’t happen on Peacock). ***
Murder, Anyone? – Two playwrights collaborate on a script, and as they do so, we see their story come to life on screen. As arguments arise, the resulting twists and turns manifest in wacky ways. A neat idea, but it doesn’t quite come together as well as I’d hoped. **
Shivers – Early Cronenberg about parasitic sex slugs in a futuristic apartment building, I first watched this for the 6WH almost ten years ago, and had a hankering to revisit. It’s actually become one of my favorite Cronenberg movies, and while it’s definitely dated, it still holds up pretty well. ***
There’s Nothing Out There – Pre-Scream self-aware monster flick about a group of kids vacationing in a remote cabin, and one of the kids is a horror movie dork and sees all the signs of an impending massacre. Points for originality, but the self-aware movie dork works better as a side character (a la Scream); here, his constant quips and complaints can come off as annoying. Creature design is also a bit lacking, though they do keep it mostly hidden in the early goings (with liberal use of POV shots and half-seen glimpses of something in the woods). Some interesting stuff here, but mostly only of interest to students of the genre. **
Phantom of the Opera – Universal remade the silent classic in 1943 with Claude Rains in the title role and glorious Technicolor. We get a little more of a backstory for the Phantom and there’s a goofy love triangle (er, rectangle?) and a whole lotta, I mean, just a ton of Opera. I guess it makes sense that they’d emphasize the singing and music in this version, given that the previous adaptation was a silent film, but at times this feels almost like a musical (though obviously not quite as much as the actual musical versions). The general shape of the Phantom story is there, but the horror elements are downplayed considerably, and the makeup and infamous reveal are nowhere near as shocking as the original (Lon Cheney’s appearance remains effective to this day, Rains just looks slightly singed). If you saw another version of this and thought: I want more singing and less Phantoming, this is the movie for you. It’s certainly a lavish production and the recent 4k restoration looks fantastic, but I was mildly disappointed. **
Demons 2 – The first part of Joe Bob’s Helloween double-feature, it’s a sequel to Demons and basically represents more of the same. This time, instead of being stuck in a movie theater with zombie-like demons, they’re stuck in an apartment building. Visually adept with plenty of gore and memorable moments, but none of it really adds up to anything meaningful and a lot of beats are simply rehashed from the first movie. **
Watchers II – For whatever reason, Dean Koontz adaptations never really caught on in Hollywood, and there hasn’t really been a good one. Watchers was one of Koontz’s most successful books (though middle tier in my rankings, it’s got some effective stuff for sure) and the first adaptation got turned into a crappy Corey Haim vehicle that barely resembled the book. This sequel is more like an alternate take, though once again many liberties have been taken with the story. It’s low budget B-movie 80s cheese starring the Beastmaster himself, Marc Singer. I haven’t seen the first film in a while, but this was at least marginally watchable. Someday, someone might make a good Koontz adaptation, but I’m not holding my breath. **
All Hallows’ Eve – The second part of Joe Bob’s Helloween, this is a horror anthology comprised of previously made short films with some newly filmed scenes used as a framing device. Low budget, mean-spirited, and tasteless, the only thing this really has going for it is that it’s the first screen appearance of Art the Clown, a fledgling horror icon who hasn’t quite broken into the mainstream yet, but is undeniably effective (honestly, his brief appearance in the first segment might be the best, even though the last segment is more dedicated to him). There’s clearly some potential on screen here, and director Damien Leone has some good instincts, but very little of the potential is realized in this first anthology. Poorly acted and visually slipshod (there are occasional shots that look ok, but it’s very inconsistent), this isn’t really recommended except for completists who want to see where Art the Clown originated. (Despite not loving this, I may end up doing an Art the Clown theme week/mid-week next year, as the Terrifier movies seem to get better as they go….) *1/2
The Fly – 1958 B-movie told mostly in flashback, it’s a tale of science gone awry, but what struck me most is that the real tragedy is that even after the accident, indeed, even after the death, the domestic situation of the household remains largely unchanged. The scientist was already so dedicated to his work that he didn’t spend much time on his family, so his avoidance after the accident isn’t much of a change, and honestly, after his death, his wife will most likely upgrade to his brother-in-law, played by Vincent Price, always a steady presence onscreen. The transformation and body horror bits are relatively staid here, even for 1958, but pale in comparison to the remake, speaking of which… **1/2
The Fly – David Cronenberg’s 1986 remake of The Fly amps up the body horror in excruciating detail, but the vile minutiae of the transformation are so memorable that I always forget that this spends a lot of time on character and relationships. In 1986, the original Fly movie was 28 years old, but desperately needed an updating. Cronenberg’s movie is now 37 years old, and I don’t think you could do it any better today. The Scream Factory Blu Ray looks great, and there’s plenty of special features too. ****
Zodiac – David Fincher’s tour de force represents a completely different take on the serial killer movie, and unlike Alien³ (see above), the bleak worldview and deliberately unsatisfying narrative here is expertly calculated and perfectly executed. Also of note, this is a film that absolutely nailed the digital aesthetic, it looks amazing, and yet I feel like so many struggle with it to this day.
I’ve always loved the movie, but it has only grown in my estimation over the years and it’s been far too long since I’d revisited it. Thanks to the Blank Check podcast for prompting the idea to rewatch (and for a long, insightful review). ****
The Devil on Trial – This Netflix documentary seems, at first glance and for the first hour or so of its runtime, like a deeply uncritical examination of the famous court case where “demonic possession” was used as a defense against murder charges. Then the other shoe drops, and several more reasonable explanations are put forward, even if some in the family disagree. Even at just 81 minutes, there’s not really enough story here, so the filmmakers rely on extensive use of recreations, which are sometimes unnecessary or potentially misleading. On the other hand, they do have lots of actual source material, including audio tapes of the possessed child, and seem to have been able to interview all the principle players (with the exception of Ed and Lorraine Warren, though they are able to use lots of archival footage). Still, the last 20 or so minutes should have probably been explored more deeply (there’s something to be said for pulling the rug out on a narrative like this, but this movie only does a modest job of that). It’s entertaining, but not quite as enlightening as you might want from something like this. **1/2
Project Eerie – A found footage anthology with some decently constructed segments that are nevertheless mostly conventional (it’s got a sorta X-Files meets Blair Witch vibe). An ultra-low-budget affair that doesn’t look particularly great and suffers from typical found footage flaws, but might be worth a gander if you’re a found footage fan. I suspect the filmmaker Ricky Umberger could be capable of much better if given the opportunity. **1/2
Dark Harvest – David Slade’s stylish creature feature hasn’t garnered much attention and I’m not entirely sure why. It might be a bit heavy handed for general audiences, but horror fans should be eating this up. Lots of Stephen King-esque flavor, especially the subversion of 50s Rockwellian ideals and the rot behind small town veneers (not to mention all the bullies and greaser nonsense). It’s certainly not perfect; there are some twists that are easy to see coming, the writing ham-fisted, and the Purge-esque bloodlust on display seems improbable, but it’s an entertaining and stylish flick that more should be seeking out. **1/2
Halloween – Duh. (For the record, I prefer the Scream Factory 4K to the previous studio release, maybe one day I’ll figure out a good way to do comparisons, because I think it might be interesting to see a detailed analysis of different releases for a movie like this.) ****
Speed Round Appendix: 50 from 50
Earlier this year, I made a resolution to watch 50 movies from 50 different countries by the end of December (lots of caveats and rules for what qualifies, as enumerated in that introductory post.) We’ve already covered several qualifying movies earlier in the 6WH, but I watched a few more that should be covered:
Serbia – Vampir – Great atmosphere and creepy imagery, but incredibly tedious movie where the title is almost a spoiler. I say “almost” because “spoiler” implies there’s some sort of plot or surprise involved, and that’s not really relevant here. Or, at least, the surprises are nonsensical and don’t really build on anything other than an occasionally hallucinatory sequence. There’s something to be said for the isolation and vulnerability that a stranger can feel in a new and potentially hostile environment, but there’s not enough there to sustain this movie. I didn’t like it, but this sort of slow cinema approach is catnip to some people who can get by on “vibes” alone. *
South Africa – Gaia – I guess fungus-zombies are having a bit of a moment, this is a smaller scale story about a park ranger who gets lost in the woods and meets up with some survivalists who have a mysterious relationship with the fungal threat. Eco-horror with some memorable body horror and effective imagery, I enjoyed this well enough, though the relationship between the ranger and the two survivalists is odd at times, even if it ultimately plays out well enough. **1/2
Austria – Goodnight Mommy – The A24 “elevated horror” folks would probably get a kick out of this slow burn story about two kids who think their mom has been replaced by a doppleganger. Well photographed and slowly paced, things pick up towards the end in a rather sadistic way. There’s a big twist and I’m trying hard not to make a reference to the obvious South Korean analogue as it would be a spoiler (but given how deliberate and slow this movie is, you will probably see the twist coming anyway). It’s still a movie that would be solved if people just talked to each other instead of acting strangely all the time, and there’s a few things that don’t fit (not sure what the mom head-shaking bit is all about, for instance), but it’s undeniably effective in the end. **1/2
Hungary – Strangled – Based on a true story serial killer story that takes place behind the iron curtain. Brutal and unflinching, this has none of the lurid notes you sometimes get out of a serial killer movie, despite the killer’s MO and the innocent man behind bars angle (this is a good thing, though it makes the film less entertaining, but then, should a story like this be “fun”?) Thematically rich and technically proficient, it’s well made and looks great, even if it goes on perhaps a bit too long. **1/2
Phew, it’s been a great 6 weeks (and then some). Happy Halloween, and stay tuned for the recap of season’s readings coming soon.
A recurring type of theme we seek out during the Six Weeks of Halloween is what I like to call “Obscure Horror Auteurs” and this year, we’re going to tackle one of Indonesia’s most popular directors, Joko Anwar. He first came to my attention a few years ago with the film Satan’s Slaves, a well appointed haunted house/satanic cult flick that was one of Indonesia’s highest grossing films (and subsequently became a popular stream on Shudder). Since that film’s sequel has recently been released, I figured it was time to check it out as well as one of his older flicks. As an added bonus, this represents another country on the 50 from 50 tour.
Impetigore – A young woman and her best friend, having fallen on hard times, travel to her remote ancestral village in the hopes of claiming an inheritance. As is usually the case, the town is under some sort of curse, and the young woman unexpectedly learns something unsettling about her family’s past.
Opening with an unnerving sequence set at the toll booth in which the young woman works, the action quickly shifts to a small backwoods village. The pacing slows a bit after that initial rush, but continuously builds towards an impressive conclusion. Lower budget and perhaps not as slick as the Satan’s Slave movies, it nonetheless looks great, has a solid score, stylish camerawork, and great atmosphere. I’m not usually a big fan of folk horror, but this movie struck a chord, and indeed, I found myself surprised several times at various developments. Of course, the curse and our heroine’s place in it are pretty clear early on in the film, and the initial revelation happens in an info-dump that confirms rather than shocks, but there are some unexpected twists after that to keep things interesting.
It’s the sort of thing you’ve seen before, but Anwar’s technique is impressive and he manages to put some interesting spins on well worn tropes. ***
Satan’s Slaves 2: Communion – The family from the first film, still reeling from the loss of the matriarch and youngest child, moves into an apartment building. Alas, it seems that their family’s history of dabbling in satanic cults has followed them.
This is basically a long succession of well crafted horror movie tropes. Slicker and more stylish than Impetigore, it doesn’t have as much of a narrative drive, but there is one breathtaking sequence involving an elevator that was perfectly executed and utterly shocking. You might see where it’s going as Anwar maneuvers the various pieces of the tragedy in place, but it’s not any less effective when it happens. It’s perhaps a little too reliant on jump scares and stingers, along with the attendant camera movements that evoke the expectation of such, even if a few of them are excellent examples of that sort of thing. Once the power goes out in the building, the use of darkness and inconsistent light sources, while effective, is a bit overused. A climactic sequence is lit only by periodic camera flashes that goes on far too long and becomes somewhat annoying.
The story progresses a bit, and we get a little more history and satanic cult stuff, but it’s all a pretty thin excuse to engage in various horror tropes. It’s mostly well executed, and they make great use of the brutalist architecture of the building, but could be more effective if there was a more cohesive story. **1/2
Stay tuned, we’ve got some Killer Nun movies coming soon…
Worlds are colliding! Or rather, interests are being arranged in parallel. Earlier this year, I made a resolution to watch 50 movies from 50 different countries by the end of December (lots of caveats and rules for what qualifies, as enumerated in that introductory post.) I’m currently at 40 movies/countries and have covered 33 of them in previous posts. Naturally, since we are in the midst of the Six Weeks of Halloween, it makes sense that I would seek out a few movies that qualify for both subjects, hence this post. We’ll most likely cover a few more later in the 6WH (the horror genre seems to be popular choice for distribution to other countries, so there is certainly a lot of foreign horror to choose from), but here are three horror movies from three different countries. More 50 From 50: [Intro | Part I | Part II | Part III | Part IV | Part V | Part VI | Part VII]
Thailand – Shutter – A young photographer and his girlfriend start to notice mysterious shadows in his photographs. When it seems his friends are also being similarly haunted, the girlfriend begins to suspect there’s more going on than her beau is telling her.
This is a Thai film, but it’s clearly influenced by the J-horror boom of the late 90s and early aughts. Ringu seems particularly influential, with some similar visual motifs and concepts reappearing here. Shutter does seem a bit less refined, but it manages to instill an effective amount of dread throughout the film. There is a bit of an overreliance on jump scares and stingers. There are several well done examples throughout the movie, but the effect can’t help but diminish the more the technique is used. The cycle of tension and release is also a little hampered by some revelations as the film progresses. When you start learning distressing things about certain characters, it’s hard to feel as much tension (or, at least, the same type of tension) even if presented with a nominally well crafted buildup.
The revelations themselves aren’t that much of a surprise either, though it’s not exactly treated as a shocking twist so much as a confirmation of what you probably expected. Nevertheless, the subject matter provides lots of opportunity for spooky photographs and urban legends, and they put the premise through its paces well enough. Lots of great ghostly photos are shown, ranging from obvious fakes, to photographs that look creepy but have reasonable explanations, to things that are more mysterious and harder to pin down. The movie is at its best when it embraces the premise, and it makes very effective use of a polaroid camera (on multiple occasions). The ending is surprisingly fitting, if a little wonky (but I was willing to go with it for sure). Definitely worth seeking out if you enjoy J-horror and have exhausted the usual suspects. ***
Venezuela – The House at the End of Time – A woman goes to prison for murdering her husband under mysterious circumstances (while her child remains missing). Jump forward a few decades, and the woman has been released to live in her old home under supervised custody. As old memories begin to flood her mind, she works with the local priest to unravel the mystery of what really happened that fateful night so long ago.
While clearly aping the structure of a ghost story, this turns out to be much more of a drama with some unexpected emotional resonance than I initially thought. At first, it felt like this was one of those horror movies that was almost embarrassed by its genre trappings, but the third act holds some surprises. It’s still a little light on the scares, but it veers into science fiction territory (though not particularly rigorous, it does fit), and I ended up coming away from it surprisingly satisfied. There are parts of the first two acts that are a bit of a slog, but it comports itself well in the end. **1/2
Greece – Entwined – A city doctor moves to a rural town to provide for the underserved community. The people are not especially welcome, but the doctor does encounter a woman that lives in the woods and suffers from a strange skin condition. He decides a house call is in order, only to discover that she may also be suffering from an abusive relationship. And yet, all is not what it seems.
An interesting little arthouse flick with some folk horror flare that perhaps touches on Greek myth or some other cultural touchstones that I’m not very familiar with (this sort of thing has come up fairly often in this 50 from 50 project, always interesting, if sometimes impenetrable). Unfortunately, there’s not a lot of meat on the bone here. Visually well captured, with lots of appealing shots and compositions (and also some rather effective sound design) that emphasize the isolation and emotion of the situation. It’s the sort of thing that you might love if you’re the type who loves movies that rely heavily on “vibes”, but unfortunately, that can be hit or miss for me, and it’s more miss here than I’d like. I like a nice composition of trees in a forest as much as the next guy, and they’re really well done here, but there’s an awful lot of that sort of thing here…
There’s certainly some interesting stuff going on, if you’re so inclined to go down the rabbit hole, I just didn’t really find my way down there. **
Next up on the 6WH front: Exorcisms (and exorcism adjacent movies, I guess). If you’re still in the mood for reviews of spooky flicks, Zack has been posting up a storm over at Film Thoughts (as per usual, he’s got new reviews nearly every day!)
Continuing my way through a resolution to watch 50 movies from 50 different countries this year (lots of caveats and rules for what qualifies, as enumerated in that introductory post.) I’m currently at 37 movies, which exactly on track, but I’ve only covered 28 on the blog. The gap will continue to narrow with this post and one of the remainder will be covered during the 6 Weeks of Halloween (which will, naturally, have at least 6 of its own entries). Alrighty, let’s get to it! More 50 From 50: [Intro | Part I | Part II | Part III | Part IV | Part V | Part VI]
Iceland – Arctic – Mads Mikkelsen plays a man stranded in the arctic wilderness. Resourceful and clever, he has settled into a routine of survival. Things change when a potential rescue is spoiled and time becomes a factor. This nearly dialogue-free film is basically an acting showcase for Mikkelsen and fortunately, he’s up to the challenge. He carries this movie on his back, and most of what’s communicated to the audience happens wordlessly. Just a few flickers of emotion in Mikkelsen’s face are enough to sell whatever’s happening.
Early on, inured by his routine, there’s not much to see but a calm demeanor and competent actions. But there’s a moment when it looks like he might be rescued by a helicopter… which then succumbs to the windy arctic weather and crashes. The sequence of emotions rolling across Mikkelsen’s face are a sight to behold. Shock, surprise, dashed hopes, and something that could be indecision but could just as easily be a calm, level-headed recognition of what he’ll need to do next.
This is writer/director Joe Penna’s debut film, and he shows a steady hand. It’s clear he knows how to use Mikkelsen, and he does an excellent job depicting the desolation of the arctic landscape. It’s a gorgeous film with well composed images and movements. Of course, the strengths of the film also point to the one potential weakness: we don’t really know anything about the characters. Penna relies on the universally relatable premise of being stranded in the wilderness, amongst other dangers, to make you care for the characters. This was certainly enough for me, and Mikkelsen’s performance adds enough heft, but your mileage may vary. (Note: I swear when I looked at this initially, the country was listed solely as Iceland – but now it also shows USA. I guess this is a bit of a cheat, but it was clearly made in Iceland, so I’m going to keep it on the list. Who knows, I might hit 51 films to make up for this, but I figured it was an interesting enough movie to recap.) Available on Netflix. ***
Malaysia – Wira – After a stint in the Army, a man returns to his hometown and vows to take on the local gangster in order to protect his family. Naturally, the gangster runs an underground MMA tournament, and our hero is uniquely suited to compete. Basically a bog standard plot that’s a thinly veiled excuse to cram a bunch of action sequences into the runtime.
As these things go, this is rock solid stuff. The fight choreography recalls films like The Raid or The Night Comes for Us, but without the blood, guts, and gore. Depending on what you’re looking for, this could be a good thing, but I’d also say those two films are better than Wira. Still, the action is perfectly cromulent, the pacing is solid, and the villain works well enough. Hairul Azreen plays the lead and has the martial arts chops to sell it, and Yayan Ruhian (best known as Mad Dog from The Raid movies, but also has a prominent role in John Wick 3) is a great villainous henchman.
It’s not breaking new ground and there are better examples of this sort of thing, but it’s a reasonably well executed version of the story that’s well worth watching if this is your type of thing. **1/2
Turkey – Lionman (aka The Sword and the Claw) – When a king is betrayed and murdered, his infant son is hidden in a forest whereupon he is discovered and raised by a pride of lions, thus imbuing him with beastly lion-based powers. As an adult, he learns of his heritage and vows to take on the new king. A potent blend of exploitation tropes ranging from baffling music cues to chaotic, trampoline-based action to the requisite awful dubbing.
The action choreography doesn’t exactly compare with traditional martial arts stuff, and it does have a truly off-kilter feel to it, but it also doesn’t exactly make any sense. The plot has a flavor of old folklore that I’m not familiar with at all (so who knows), but which seems to provide enough of a backbone to story and keep the pace moving quickly and efficiently through several familiar tropes. There are obvious creative and budgetary limitations on display here, but that just makes it more endearing. The homemade low-fi aesthetic is perfectly matched to the silly story played completely straight.
It’s certainly an odd movie from the start, but it doesn’t really get bonkers until the finale, when our hero gets his trademark metal lion claw glove thingies and takes on an army. Pure schlock, almost accidentally charming; certainly not for everyone, but I found it quite entertaining. Available on Tubi. **1/2
Ukraine – Once Upon a Time in Ukraine – A chaotic imitation of Tarantino imitating a Samurai/Western mashup. The plot is kinda beside the point, but it involves a plot to sell Ukrainian slaves to the Japanese. A Ukranian/Japanese samurai seeks revenge, and runs across a Ukrainian peasant whose wife was enslaved. Along the way, we’ve got samurai swordfights, six-shooters, and some light anti-semitism.
Again there’s some cultural references that are probably lost on me. For instance, the Ukrainian peasant is named Taras Shevchenko, a reference to a famous poet, writer, artist, and political figure of the same name. Pretty sure the historical figure didn’t fight with samurai swords though. Treating the serious topics as a popcorn flick is a bit of a stretch, and there’s some questionable stuff thrown out there, but it’s a tight 90 minutes and pretty well paced.
Despite budgetary constraints, it’s visually energetic and the effects actually look pretty good. As a surface-level imitation of Tarantino, it’s not bad visually. But the writing certainly falls far short of Tarantino. Plus, I feel like Tarantino has always been more patient than this is. That being said, it’s an interesting, entertaining little film that I’m glad I watched. Available on Amazon Prime. **1/2
Chile – Mandrill – A drug lord murders a child’s parents, but the child escapes. He grows up to become an assassin hellbent on revenge. But when he finally finds the killer, he falls in love with the killer’s daughter and starts to have conflicting emotions. Or something. It’s a silly, melodramatic plot that isn’t anywhere near as cool as it wants to be. Some of the “witty” dialogue comes off as laughable at best, and the hammy references to a Bond like action hero (named here “John Colt”) are almost embarrassingly bad.
That being said, the protagonist is played by Marko Zaror, a Chilean martial artist who seemingly specializes in aerial spin kicks of some sort that are actually quite impressive. The action choreography is quick and fluid and I appreciate the clarity, though it does come off as perhaps a bit rehearsed (or contrived to allow for Zaror’s acrobatics). Zaror has actually shown up in John Wick: Chapter 4; it’s like the Wick folks are just scouring the glob for martial artists to pit against Wick. Anyway, this isn’t a particularly good film because of the plot and dialogue (and there’s far, far too much of that stuff), but the action redeems it a bit and makes it watchable (and you get some unintentional comedy with the plot, for what that’s worth).
Director Ernesto Díaz Espinoza has had several collaborations with Zaror that seem to have better reputations than this one and I probably should have sought them out rather than jumping on the first one I found. This would only be worth it for obsessives or completists, but I don’t hate that I watched it. The Amazon Prime version is badly distorted (something wrong with the aspect ratio), but it’s also available on Tubi, Pluto TV, and Plex. **
So I’ve now covered 33 films. A few of the remaining will have to wait until after the 6 Weeks of Halloween (which starts next week!) and I’m probably on track to finish off the 50 films in early December…
Continuing my way through a resolution to watch 50 movies from 50 different countries this year (lots of caveats and rules for what qualifies, as enumerated in that introductory post.) I’m currently at 33 movies, which exactly on track, but I’ve only covered 23 on the blog. We’ve been narrowing that gap and should be in good shape going into the 6 Weeks of Halloween (which will, no doubt, see at least 6 movies from previously unseen countries). Alrighty, let’s get to it! More 50 From 50: [Intro | Part I | Part II | Part III | Part IV | Part V]
Norway – Nokas – This movie tells the story of “the greatest bank robbery in Norwegian history” and only that story. There are people in this movie, but the only real character is the bank robbery. From the outside, the way this movie is described makes it sound like the bank robbery scene from Heat stretched out to 90 minutes, but of course, that’s not what’s happening here. This is not a documentary, but the filmmakers employ cinéma vérité to an extreme level, almost like the world’s greatest reenactment. This makes for fascinating viewing, though the ultra-realism is nowhere near as bombastic or exciting as you might expect from descriptions (or general genre tropes).
The robbers had a decent plan and the pieces start to fall into place as events unfold onscreen (rather than through awkward exposition) in an almost real-time fashion. Not everything goes to plan, including, amusingly, the point of ingress at a stubbornly tough window. But other aspects of the plan are clever and effective. The realistic approach also takes advantage of a sorta fog-of-war effect, as viewers and characters alike don’t necessarily know what’s going on in all locations (or even the general layout of some areas). Indeed, there’s an air of mordant humor towards the end of the movie as oblivious pedestrians casually walk through the climactic gunfight as if nothing is happening.
Again, the vérité approach is effective and interesting, but there’s nothing thrilling or exciting about any of this (which is the point). I suppose there is a sort of tension created by the realism though, and it’s effective in a very specific way. A fascinating movie, but it’s not hard to see why it’s difficult to track down a copy (I had to source this through… methods.) If you’re of a certain mindset, this is worth the effort to track down a copy. ***
Switzerland – Mad Heidi – A strange updating of the famous Swiss novel Heidi, with the titular character being a little older and kicking way more ass. Billed as the first “Swissploitation” movie ever created, this has all the hallmarks of a self-conscious effort to be wacky and irreverent, to middling success. Taking a famous Swiss children’s story like Heidi and pitting her against fascists bent on world domination through cheese is a premise that has its charms, and if you are the type of person who can still enjoy cheese puns even after hearing 90 minutes of them, this is the movie for you.
This sort of crass production rides a few lines reasonably well, and if you’re a fan of (literal) cheesy puns, gory violence, and over-the-top performances, you’ll get a kick out of it, but it’s not exactly a new classic, and the self-conscious way in which this is all employed is noticeable and sometimes awkward. In any case, I actually managed to catch this one in the theater (in what turned out to be a Fathom events showing) and the pure luck involved in stumbling onto this meant I had to make the time to get to the one showing. I’m guessing this will be the only foreign film I’ll have the opportunity to see in the theater for this 50 from 50 resolution, and it was a fun time at the theater. (Available to rent in lots of places) **1/2
Bulgaria & Kazakhstan – Bullets of Justice – This is probably the most batshit insane movie I will watch for 50 from 50, which is saying something after having just covered Mad Heidi. During World War III, Americans created hybrid humans/pigs in a project called “Army Bacon.” 25 years later, and these hybrid “Muzzles” have taken over the world and enslaved humanity. Naturally, our hero is part of the resistance, attempting to tear down the Muzzle empire. Or something. It’s all just an excuse of tasteless jokes, full frontal on both men and women, over-the-top gore, gross makeup, and lots of other nonsense. Again, this might be catnip for a very specific audience, and I had some fun with it, but it can’t quite keep momentum even during the blessedly short 76 minute runtime, and it ends with a bit of a copout (though it’s about as good as you could expect from a movie that’s aiming to be this trashy). Not without its charms, but its appeal is limited. Available on Tubi. **
Nigeria – Juju Stories – An anthology film with three segments, all surrounding the nebulous concept of Juju magic. In Love Potion, a young woman uses the eponymous love potion to make a man fall in love with her, with no so great results. A concept we’ve all seen before and it’s a fine telling of the story, but it never really goes for the jugular and it doesn’t quite lean into the sense of irony the best love potion stories can invoke.
The second segment, titled Yam, is certainly the oddest and as a result, most memorable segment. It has something to do with young street urchins picking up money off the roadside… and turning into yams. Having discovered that someone turned into a yam, another person decides to cook and eat the yam, which is the obvious course of action. Naturally, he goes insane. Again, memorable, but probably quite divisive.
The third segment is called Suffer the Witch, and tells the story of a witch and her obsession with friendship and love and their cousin, jealousy. Again, nothing especially new here, but a reasonably well done telling of something you’ve probably seen before.
It’s clear the filmmakers love cinema, and make several cinematic references to filmmakers like Kubrick and Wong Kar Wai, but the script is heavy on exposition and could perhaps use another pass, and the budget is clearly too low to accomplish some of what they’re trying. With the exception of Yam’s unpredictable nature, the stories are pretty standard tellings of well trodden territory, but I enjoyed it well enough. Available on Amazon Prime. **
Iran – This Is Not a Film – Jafar Panahi is one of the famous Iranian directors that film nerds praise to high heaven, and for whatever reason, I have never seen one of his films. This one always appealed to me though, as the story behind the film is the film. Panahi received a 6-year prison sentence and a 20-year ban from filmmaking and conducting interviews with foreign press due to his open support for the opposition party in Iran’s 2009 election. This non-film documents Panahi’s daily routine under house-arrest as he appeals his sentence. It was shot in secret by Panahi’s friend Mojtaba Mirtahmasb and smuggled into France on a USB stick concealed inside a cake for a last-minute submission to the Cannes film festival (and eventually made its way to other festivals and releases).
We often talk about artists bravely exploring taboo subjects or controversial topics, but the sort of staggering defiance on display in this non-film (a self-described effort) is quite rare. The presence of Panahi’s friend Mojtaba Mirtahmasb cleverly exonerates Panahi from the Iranian government’s strictures, even if it’s clear that this film would not be made without Panahi’s direction.
The events of the film range from the mundane and presumably spontaneous (thrill to the sight of Panahi… eating breakfast! Talking on the phone! Watching DVDs!) to the more formal attempts to circumvent the rules, as when Panahi talks us through his most recent rejected screenplay, utilizing masking tape to establish the setting, and reading from the script to describe what’s going on. It’s a doomed effort from the start, but in trying to bring it to life, you get a real feel for Panahi’s restless frustration.
If the film sometimes bogs down into something superficially slow or boring, that’s actually not a problem because there’s so much to think about here, and the film puts you in the shoes of a stifled artist. This sort of suppression and censorship should be a clear warning to those who don’t appreciate our own country’s freedoms, but then, I suspect the people who most need to see this have not and/or will not. If you care about movies, indeed, if you care about artistic expression of any kind, you should watch This is Not a Film. Available on Kanopy. ***1/2
Only five films behind at this point, and I should be able to catch up in the next few weeks. Of course, by then, I will have watched a few more films, but it’ll all work out in the end. Stay tuned, we’ve got a lot of trashy genre fare coming in the next few recaps (which will take us through the 6 Weeks of Halloween)…
Continuing my way through a resolution to watch 50 movies from 50 different countries this year (lots of caveats and rules for what qualifies, as enumerated in that introductory post.) I’m currently at 30 movies, which is a little ahead of the game, but I’ve only covered 18 on the blog, so I am still behind on the reviews, which is why we’re all here now. More 50 From 50: [Intro | Part I | Part II | Part III | Part IV]
India – Lagaan: Once Upon a Time in India – You wouldn’t think that a nearly four hour long Bollywood musical about cricket and the agricultural taxes imposed by colonialism could be this riveting, but this movie would prove you wrong. Sure, it is somewhat leisurely at times, but it’s never boring and it gets stronger as it builds towards a rousing climax.
I saw someone on Letterboxd describe it as Seven Samurai meets The Bad News Bears, which is surprisingly apt, though obviously a bit reductive. That said, the underdog sports tropes are all present and accounted for, even if I still don’t really know much of how Cricket functions. Recruiting the team, learning the sport, training montages, discovering talents, finding unexpected allies, experiencing cruel betrayals, and underhanded villains, it’s all there. And because it’s Bollywood, there are musical numbers sprinkled throughout. I’m not a huge musical fan, but something about this worked a lot better than usual.
I’m sure the Indian cast is full of stars, but my relative lack of exposure to Indian cinema prevents any detailed rundown. That said, Aamir Khan plays the lead well, both as the defiant kid challenging British colonials and as the clueless love interest for a rather odd love triangle (er, quadrangle?) Westerners like myself will no doubt recognize Paul Blackthorne, a consummate “that guy” you’ve probably seen in a dozen tv shows and movies. Here he plays the smarmy British captain who challenges the poor Indian farmers to a game of Cricket – if they win, no taxes for two years; if they lose, triple taxes (the title of the movie, Lagaan, essentially translates to “agricultural tax”). A suitable sports movie villain for sure. The movie looks great too, fantastic cinematography and landscapes, plus it captures the action of Cricket pretty well (even if you don’t know the sport, you can follow along pretty well).
It still a very long movie, but it genuinely doesn’t feel as long as it is (though I did end up having to watch in two sessions, as I didn’t realize it was going to be quite so long) and it’s a very well told story. Available on Netflix. ***1/2
Poland – Ashes and Diamonds – On the eve of victory in World War II, various factions struggle to secure their vision for the future of Poland. We mostly follow a couple of rebels set to assassinate a local Communist leader. When their initial attempt fails, the leader becomes suspicious while our rebels try to figure out a backup plan. Along the way, they find themselves wrestling with their actions and potential futures.
An arthouse flick that certainly leans into that wrestling with morality and purpose more than the action or violence at the heart of the story. On the other hand, the aesthetics almost resemble film noir. Stark black and white photography, meticulous compositions, and crisp camera movements all contribute to that noir-esque feel. Of course, the subject matter and Polish origins are atypical for this sort of thing, and this film leans much more heavily into the crises-of-conscience and self-reflection of our heroes than the violence they inflict or the inevitable tragedy they endure.
The symbolism is perhaps a little heavy handed (there’s a famous shot in an old bombed-out church involving an inverted crucifix) and the romance that prompts soul searching is perhaps a bit rushed and cliched, but it all comports itself well enough as these sorts of things go. Your mileage may vary, and it requires some context, but it’s quite well done for what it is. Available on Max and Criterion. **1/2
Belgium – Man Bites Dog – I distinctly remember visiting my brother’s dorm room in college once and seeing the poster for this movie. No idea if they still do this sort of thing now, but there was always a sorta decoration sale the first week of school where you could buy stuff to hang up in your dorm room, and a popular choice was movie posters or, in this case, post-card sized movie posters. No one had actually seen this movie, but it’s a striking and memorable poster for sure:
Now, decades later, I’m finally watching it… This movie takes the form of a mockumentary, with a film crew following around a professional serial killer named Ben. As things escalate, the film crew start to participate in the antics themselves. Made in 1992, it’s an early example of the form, and it’s going for an arthouse vibe with shock value thrown in for good measure.
Alas, it comes off as insufferably smug, or, at least, the main subject of the film does. He’s almost immediately unlikeable, and not just because he’s murdering people left and right. Even when he’s eating dinner and quoting poetry, he’s just miserable to be around. This is the point, of course, and watching him drone on and on about banal subjects, you can’t help but wonder why he (or the film crew) thinks this is worthy of documenting. Indeed, you get the feeling that he thinks his inane musings are more important than the murder shenanigans. This sort of thing takes on added meaning in the age of social media, with everyone putting their narcissisms on full display all the time, so perhaps there is something a little prescient about this movie. (Naturally, there is some irony in the fact that I’m writing this here, and indeed, this blog is a testament to my banality, but I’m not a murderer and hopefully not that much of a bore either.)
The film crew’s complicity and participation in the mayhem also remains quite relevant, if not even moreso. Their actions start small, but gradually become more and more flagrant. So there’s plenty to sink your teeth into here and lots to talk about, but the actual process of watching it is a bit dull. There’s a few genuine surprises and shocks, but despite the short 96 minute runtime, it feels a lot longer. I don’t love this and find it hard to recommend, but it’s got interesting subtext and could be of interest to people with the right mindset. Available on Max and Criterion. **1/2
Brazil – Elite Squad – When I went to Fantastic Fest (sheesh, well over a decade ago), I actually caught the sequel to this film, but never went back to watch the original. Like the sequel, this film is about police corruption in Brazil as told through the eyes of a burned out captain in BOPE (Special Police Operations Battalion – basically the eponymous Elite Squad). He’s on the verge of starting a family and seeking a replacement that he can promote into the role, but the pickins are slim, and the intractable corruption of the various police and political institutions aren’t helping. Add in a visit by the Pope that will necessitate increased police presence in cartel-controlled slums, and a new recruit who gets mixed up in a charitable organization with ties to the cartel, and you’ve got a interesting soup of elements to sip from.
Like the sequel, this film might raise your political hackles at times. The film doesn’t leave anyone out of its crosshairs though. The liberal-coded students and charity workers are portrayed as hopelessly naive and ill-informed, while the police themselves are portrayed in the grip of a deeply corrosive corruption emerging from police leadership, government, and cartel influence. This is all a simplification and it does raise some suspicions (the film doesn’t truly present any solutions, though you could argue one way or the other), but it’s clear that this film is fed up with the status quo.
The film features stylistically effective use of handheld cameras during the action sequences, and well established geography of the various slums contributes to the effectiveness. The use of voiceover and intercut narratives is perhaps a bit less successful, and there are times when the tone feels a bit inconsistent, it ultimately manages to harness it all into an effective package.
Director José Padilha would go on to make his Hollywood debut with an ill-advised remake of RoboCop. After revisiting this Elite Squad series, I do find that Padilha is a rather interesting choice for the task, even if it was doomed to failure before it even started. This is certainly not a perfect film, but it’s thought provoking and well made nonetheless. Watched on Amazon Prime. ***
Finland – Nokia Mobile: We Were Connecting People – This is a documentary about the rise and fall of Finish cell-phone maker Nokia. It’s mostly just a talking heads documentary with some archival footage mixed in, but the story is an interesting one that remains relevant to this day. A small technology company experiences sudden, massive success and struggles to maintain its success-creating culture in the shadow of growing pains and calcified leadership. As one of the commentators puts it, “no conspiracy, just business.”
The most eye-opening bit came when a Finnish inventor shows his touchscreen phone, made several years before the iPhone. The elements of the iPhone were all there years earlier, but never really caught on, perhaps due to Nokia being addicted to maintaining their success, or some such. Perfectly cromulent documentary that doesn’t exactly break new ground, but covers an interesting subject. There’s apparently a 60 minute cut that aired on the BBC, but the one on Tubi is the fill 91 minute cut. **1/2
So there you have it, I’m now only 7 movies behind in terms of reviews, and we should be able to close that gap soon enough…
Continuing my way through a resolution to watch 50 movies from 50 different countries (lots of caveats and rules for what qualifies, as enumerated in that introductory post.) I’m currently at 29 movies, which is a little ahead of the game, but I’ve only actually covered 13 on the blog, so I am way behind on the reviews. Let’s rectify that, shall we? More 50 From 50: [Intro | Part I | Part II | Part III]
Spain – Women on the Verge of a Nervous Breakdown – Pedro Almodóvar represents an embarrassing blind spot for me, so this was the perfect opportunity to rectify that situation. A woman, upset when her lover leaves her, whips up a batch of sleeping-pill-laced gazpacho and resolves to kill herself. It’s a comedy! And despite the dark premise (which is more subtext than I’m making it sound), it actually is funny.
It takes some time setting up the various players and it doesn’t hit madcap levels until the midway point, it’s quite satisfying when the seemingly chaotic series of melodramatic events starts to converge. Excellent performances all around, including frequent Almodóvar collaborator Carmen Maura and a very young Antonio Banderas. The usage of the drugged gazpacho as a sorta Hitchockian time bomb (i.e. the audience knows about the sleeping pills, but most of the characters do not) is a neat trick.
Comedy is one of those things that sometimes doesn’t translate well across cultures, and there might be some of that lost-in-translation stuff here, but it actually worked pretty well for me. A nice balancing act going on here, and it gets stronger as it goes. Available on Freevee. ***
Israel – Big Bad Wolves – A police detective who doesn’t play by anyone’s rules but his own (and sometimes not even those) and a suspected child murderer cross paths with a grieving father of one of the victims out for revenge. It’s also a comedy! Indeed, this is one of those movies whose subject matter is so dark that it’s hard to believe how funny it becomes.
Another balancing act, this movie really rides the razor’s edge. The comedy keeps it from feeling oppressive while somehow not minimizing the tragedy at the heart of the story. Great performances from the three leads and careful framing and blocking certainly help maintain the tonal balance required to make a bleak farce like this work so well. It’s not for the faint of heart (especially with that ending), but it surprised the hell out of me and I loved it. Available on Amazon Prime. ***1/2
China – Cliff Walkers – Director Zhang Yimou takes on a twisty espionage thriller about four Communist Party agents trained in the Soviet Union coming back to Japan-occupied China during World War II. It’s the sort of government-friendly story that allows for a bigger budget, but doesn’t feel entirely like slick propaganda either. Impeccably appointed, meticulously crafted, and incredibly convoluted, this isn’t a Bond-esque action flick, but it’s not quite a staid, talky John le Carré type story either. It has its lurid action or torture sequences, betrayals and double crosses, and so on, but it never feels over-the-top.
You will need to pay attention and puzzle out some of the various plot machinations, but I like that sort of thing in a spy movie (your mileage may vary). The snowy backdrops provide plenty of contrast for Zhang’s visual prowess, which is on full display here, and the film looks gorgeous. It’s sometimes hard to track down Zhang Yimou movies, but they’ve been showing up again on various streaming rental services and this one is actually on Freevee (as is Raise the Red Lantern, which is also highly recommended). Someday one of those enterprising physical media companies will give his filmography a nice HD or 4K upgrade, and I’m here for that. ***
Mexico – Tigers Are Not Afraid – A modern fairy tale about street kids surviving amidst drug cartels and a generally unforgiving world. This is not a comedy! Which is not to say that there is no levity here, just that it’s mostly a bleak experience. Featured on The Last Drive-In with Joe Bob Briggs on Shudder, I’m glad it got the added attention and Joe Bob’s commentary provides insightful background.
A movie like this really depends heavily on child actors, which can sometimes be a kiss of death, but the kids are amazing here. Naturalistic and entirely believable, it’s not just the performances but also the writing, which is allegorical but sharp. Another deft balancing act going on here, this is recommended. Available on Shudder (with or without Joe Bob). ***
Philippines – The Muthers – The second part of a Last Drive-In double feature with Tigers Are Not Afraid, this blacksploitation flick about pirates rescuing women from a coffee plantation has some unusual qualities. Don’t get me wrong, this is totally trashy, lots of cheap action and silliness, but it feels like there’s at least something simmering underneath the surface. It’s hard to apply labels like “feminist” to this given its trashy nature, but there’s absolutely something transgressive about a group of black women rescuing their sisters from a plantation prison while consistently thwarting male advances from every direction.
I don’t know, maybe I’m making too much of that, because this is more exploitation than anything else. We’ve actually seen director Cirio Santiago before during the 1978 Project, as he directed a bonkers flick called Death Force. The Muthers perhaps has more subtext, but they’re both trashy exploitation to their core, and worth watching if that’s your thing. **1/2
Progress! Still far behind in reviews, but I should be able to catch up soon enough.
Catching up on quick reviews of movies watched for my resolution to watch 50 movies from 50 different countries (lots of caveats and rules for what qualifies, as enumerated in that introductory post.) I’m currently at 21 movies watched, which is basically on track, but I’ve only reviewed the first 9 of those. More 50 From 50: [Intro | Part I | Part II]
Sweden – Thriller: A Cruel Picture – Early art-house rape revenge flick that earns its subtitle. A young mute girl named Frigga (played by Christina Lindberg) endures abuse at a young age, gets tricked, kidnapped, and hooked on heroin by a suave business pimp who uses her addiction to force her into prostitution. She resists at first, so he pokes out one of her eyes. Weirdly, he’s a sorta hands-off pimp, relying on the heroin addiction to keep his girls in line, but mostly leaving them alone (I guess he thinks he’s clever, but while his approach is obviously cheap, it’s not exactly secure, as the rest of the film demonstrates). Once Frigga saves up enough tips, she goes out and takes classes in martial arts, shooting, and… rally driving!? Once she’s ready, she goes on a glorious revenge spree.
The film has a complicated history with multiple cuts available at this point. The original cut of 107 minutes was banned by the Swedish film censorship board, and several unapproved cuts later, it was finally released in an 82 minute cut. This cut came to be known as the “They Call Her One Eye” cut and is probably the source of the film’s reputation as an almost fun exploitation romp (and I’m assuming there’s a 20 minute Tarantino rant out there extolling the virtues of the film that also helps – he clearly references this in his work, particularly in Kill Bill). The original cut was released on 4K in 2022 by Vinegar Syndrome and the added footage ranges from interesting (lingering shots, arty slow motion violence) to the completely unnecessary (multiple hardcore sex inserts during the early part of the film – I get what they’re going for, but you don’t need to see that level of explicit violation to get the point, which the rest of the film amply establishes).
Look, this sort of movie isn’t really supposed to be fun, but there’s a visceral yet conflicted feel you get from the vengeance that works well. It’s rare that a revenge film can capture the catharsis of revenge but also the emptiness inherent in the act. I haven’t explored the other cuts on the Vinegar Syndrome release, but I suspect the shorter cuts are significantly more successful than the original Thriller: A Cruel Picture cut. Still, it’s a worthwhile early example of the genre. Watched on Vinegar Syndrome 4K ***
Uganda – Bad Black – When I started this resolution, I knew I had to pick a film from Wakaliwood (a portmanteau of Hollywood and the town of Wakaliga, Uganda). Produced, written, and directed by Nabwana Isaac Godfrey Geoffrey (aka Nabwana IGG), this is another in a long string of no-budget DIY action flicks that nonetheless manage to capture film dork hearts. And when I say “no-budget”, I mean it. We’re talking cheap nerf-knockoff guns (or guns made of sticks) and cardboard sets (or just shooting on location).
It’s all undeniably crude, but the sense of joy on screen is infectious, and Nabwana IGG has a good sense of action. Frenetic editing that remains clear, some actual martial arts, and of course, the greatest invention of Wakaliwood – the VJ track. When Uganda first began getting movies from the West, they didn’t come with subtitles… so they improvised. A local storyteller would narrate the film and explain what was going on for audiences. This eventually evolved from a “Video Jockey” type of experience into a “Video Joker”, who would inject a little of their own personality into things, resulting in a blend of straight narration, MST3K style jokes, and hype man bravado. So when Nabwana IGG started making his own action epics, he kept the tradition alive, and it’s glorious. Bad Black is narrated by VJ Emmie, who describes himself as a master of “tongue fu”, and he has several memorable one liners (most notably “This doctor needs borders!”)
Look, this isn’t exactly high art and it’s impossible to rate this sort of thing, but it’s hard not to appreciate the sheer enthusiasm and glee on display here. Where else will you see a little kid wearing pink crocks named Wesley Snipes train a doctor from Doctors Without Borders in the arts of ass-kicking commando vengeance? Nowhere. Watched on Amazon Prime.
Senegal – Saloum – Tense genre-mashup incorporating action, adventure, crime, revenge, neo-Western, political drama, and horror rooted in African mythology. A group of mercenaries rescue a drug lord, but need to hide out in a small region of Senegal. While they make preparations to fix their airplane, local mystical forces gather.
This is another low-budget African production, but this is much slicker and utterly gorgeous to look at. The acting is top notch and the genre mashup plot contains many unexpected twists and turns. It’s not perfect and the ending is a bit abrupt, but getting a bunch of disparate characters together and dropping them into a desperate situation that forces them to work together is an effective approach. Despite it’s many influences, it feels cohesive and whole, and well worth checking out if you’re looking for something new and interesting. Watched on Shudder. ***
France – Beau travail – A guy in the French Foreign Legion gets jealous of one of the new recruits. Or something like that, as this is one of those plotless French arthouse flicks that is gorgeously photographed, but has almost no dialogue and is very slowly paced. Lots of angst, ennui, repression and while this was made in 1999, it touches on a bunch of topics that are quite in vogue right now (i.e. colonialism, toxic masculinity, repressed homosexuality, etc…) It’s hypnotically naturalistic and feels like visual poetry, with an enigmatic ending that is beautiful and sad. It’s also emphatically not my thing, and I was bored out of my mind for a good portion of the (blessedly short) runtime. It’s one of several movies I’ve seen in the past few years that feel like parodies of themselves. Like, if you ask someone to come up with a parody of French Arthouse movies, you would get something resembling this movie. Watched on HBO Max. **
And we’ll leave it there for now. I’m still quite a few movies behind, but we’ll catch up soon enough…
