Just 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.) At this point, I’m at 19 movies, but I’ve only posted about the first five, so I’m still catching up.

Japan – High and Low – One of Akira Kurosawa’s best films, this is an early police procedural that might as well be the textbook for more modern examples (even if a surprising number of these imitations screw up the details). It’s almost like three movies in one. First, there’s a tale of corporate intrigue, with a rich businessman seeking to take over a shoe company from greedy cheapskates that want to run it into the ground. Second, there’s a kidnapping that’s intended to target the businessman’s son, but mistakenly nabs the man’s driver’s son (the two children were out playing, and the kidnappers got confused). And third, the police procedural as the inspectors assigned to the case attempt to hunt down the perpetrators.

Toshiro Mifune plays the businessman, and he’s obviously the big name in the cast (and a famous collaborator with Kurosawa), but the film really belongs to the police officers, especially Tatsuya Nakadai and Kenjiro Ishiyama. All put in great performances, and the script does an excellent job laying out the stakes, interweaving the various elements, and dropping twists and turns in for flavor. The kidnapping plot is simple but cleverly conceived, and the kidnappers are able to keep the ball rolling even when it’s revealed that they have the wrong kid. The subsequent investigation is also the sort of thing we’ve seen many times before, but that’s to be expected for an early example of the genre; it’s methodical and detailed and everyone involved displays admirable competence, such that it’s never boring, even if you might have some inkling as to where it’s headed. The ultimate motivation does perhaps leave a bit to be desired, but it also fits well with the overall themes of the film.

Kurosawa fully commands the screen with visuals that echo the story. For instance, the businessman lives in a large home at the top of a hill, as if he thinks he’s better than the rabble below him, and the story leverages that fact in several ways. It’s top notch stuff and highly recommended. Watched on HBO Max (but there’s a handsome Criterion disc out there that I may need to invest in during the next sale). ****

South Korea – Decision to Leave – I watched this very early on this year because I was trying to catch up on 2022 releases. This movie wound up making my honorable mentions for the year, and on another day, could very well have made the top 10. As such, I’ve already written a short blurb about this one:

Park Chan Wook takes bits and pieces from Basic Instinct and Vertigo, tosses them in a blender with Korean culture, and you wind up with this pulpy detective story featuring some bittersweet romance and a confounding ending that will leave you reeling. A bit too long with a flashback structure that doesn’t always work (though it’s in line with his previous work), this nonetheless manages to keep things intriguing enough throughout the runtime and it’s visually impressive as well.

I don’t have much to add, except to say that the film has aged well in my head, though I’d probably still rank it on the bottom half of the top 10 or as an honorable mention. Watched on Mubi (though it looks like it’s now available to rent elsewhere) ***

Taiwan – Incantation – Found Footage flick about a mother trying to protect her child from a curse of some kind. Pretty standard and only modestly successful attempts to address the “Why are they still filming?” issue endemic to found footage movies, but it’s at least not super-shaky. The narrative does include lengthy flashback sequences that provide depth to the current day story, but the “rules” of the curse are left annoyingly vague. That said, they do manage to craft several spooky setpieces, a few solid scares, and even work a little body horror into the mix. Clocking in at 111 minutes, it’s a little too long for the story it’s trying to tell, which tends to remind you of lots of other movies. It’s not especially original, but it is well crafted and spooky enough if you’re in the mood for some found footage. Watched on Netflix. **1/2

Vietnam – Furies – Veronica Ngo is a Vietnamese actress who made a name for herself in various action flicks and started to dip her toes into the Hollywood waters with bit parts in The Last Jedi, Da 5 Bloods, and The Old Guard. I have to wonder if the pandemic put the brakes on that progression, but I think there’s a chance she could breakout at some point.

Here, she stars and also directs a pretty standard girl-power actioner about a young woman taken in by a group of misfits training to take on the local sex trafficking gang. Said gang is brutal, so you’re immediately onboard with the vengeance being dealt out here (and devastated when the inevitable tragedy strikes our heroines), and there are several sturdy action sequences sprinkled throughout the film.

However, the relationship between the girls is a little forced and cringe at times, and there is one action sequence that is laughably bad. Look, I get that this is a low budget flick and vehicle stunts are expensive, but that motorcycle chase is just awful. I guess there’s something to be said for trying to find a creative low-fi solution to the issue, but it didn’t really play out well. Ultimately, this is a decent action programmer that doesn’t really stand out from the pack, except perhaps for the female-led cast. I’m still looking forward to see Veronica Ngo’s career progress though, and I hope she gets bigger budgets to work with in the future too. Watched on Netflix. **1/2

I’ll leave it there for now. I’m still 10 movies behind, but we’ll be able to catch up soon enough…

Last week, I introduced 50 From 50, a resolution to watch 50 movies from 50 different countries (lots of caveats and rules for what qualifies). Now I need to catch up with the movies I’ve already watched this year that qualify. Fair warning, I watched most of these a while ago, so recollections may be a bit sparser than normal. Alright, let’s get to it:

Argentina – Argentina, 1985 – Oscar-nominated courtroom drama about a team of lawyers tasked with prosecuting the heads of Argentina’s former military dictatorship. Sturdy, well crafted drama here that doesn’t play up legal tricks or clever redirects, instead relying on truly devastating testimony from a wide range of victims. There are obviously politics at play outside the courtroom, and the movie does make some overtures towards suspense with threats against the lawyers, but it’s clear that this movie’s heart is with the testimony.

I’m not an expert in Argentina’s politics or history, but the ideas at the movie’s core are pretty universal and the aforementioned testimony would be effective against even the most cynical audiences, even if some of the intrigue and machinations outside the courtroom are a bit overheated. I can see why this was nominated for the Best International Feature Film Oscar (and I liked this better than the eventual winner, All Quiet on the Western Front). Available on Amazon Prime. ***

Germany – Nekromantik – This is one of those movies that would qualify for a Weird Movie of the Week treatment. This was part of Joe Bob’s Vicious Vegas Valentine, and the plot is a doozy: “A street sweeper who cleans up after grisly accidents brings home a full corpse for him and his wife to enjoy sexually, but is dismayed to see that his wife prefers the corpse over him.” A notorious and transgressive film that offers little more than shock value. There is something admirable about the film’s scuzzy dedication to its notoriety and this is the sort of thing that only horror movies try to confront… but none of that makes the experience of watching it any better. Even at just 71 minutes, this feels excruciating. Available on Shudder. *

Hong Kong – Throw Down – Johnny To’s elegiac drama about the unlikely friendship that develops between a former Judo champion, an up and coming Judo competitor, and an aspiring singer. I guess you could technically call this a martial arts movie, and there are several formal and informal Judo fights strewn throughout the movie, but it’s the drama, perseverance, and friendship between three unlikely people that provides the true backbone. It’s a story about getting thrown down, but getting back up again. Both literally, in the case of Judo competitors, and metaphorically, in the case of a singer facing a string of rejections.

To’s more dramatic features often feature this sort of elliptical storytelling method of repeating motifs throughout the film, and it’s deployed quite well here. A trick he no doubt learned from watching Akira Kurosawa movies – Throw Down is dedicated to Kurosawa, and prominently features several references to Sanshiro Sugata (Kurosawa’s directorial debut, also about a Judo fighter). Funnily enough, the dedication is at the end of the movie “Dedicated to Akira Kurosawa, The Greatest Filmmaker” and is immediately followed by an advertisement for Gillette (who I guess helped finance the movie). As an action filmmaker, To has always seemed more like a chess player (as opposed to the more typical ballet that typically populates Hong Kong action), and he uses that sort of framing and blocking about midway through the film when all of the people who want things (mostly debts) from our three protagonists all converge at a nightclub and lay out their complaints simultaneously. It’s all a bit much, but it’s that sort of giddy filmmaking exercise that makes the movie worthwhile.

I don’t know that it’s To’s best, but it’s definitely one of his more interesting features and the recent Criterion release looks great. It’s the most interesting movie in this post, and worth checking out, even if you’re not into Judo or martial arts movies. Available on Criterion. ***

Italy – 1990: The Bronx Warriors – Enzo Castellari’s “homage” to Escape from New York and The Warriors is a pretty typical example of Italian exploitation schlock. There’s nothing particularly original here, and while it looks decent enough, it’s clearly got a lower production value and worse acting than the films it steals from. I guess the Vic Morrow performance as the world’s most deadly mailman is notable, and there’s a compulsive watchability to the whole exercise that is hard to deny, even if it shouldn’t strictly be called “good”. Not sure I enjoyed it enough to seek out the sequels, but I wouldn’t be entirely opposed to watching them either. Available on Amazon Prime. **

Russia – Major Grom: Plague Doctor – Russian comic book adaptation about a police officer named Igor Grom. A loose cannon that doesn’t play by anyone’s rules but his own (and sometimes not even those), he’s on the trail of a vigilante dressed up in a Plague Doctor costume who is murdering corrupt bureaucrats and greedy businessfolk in spectacular, wrist-mounted flame-thrower fashion. There’s an energy to the proceedings and it’s a pretty easy-going watch but the film is definitely too long and the twists are a little underwhelming. It’s diverting and entertaining enough, but it’s not really breaking any new ground or executing better than tons of other movies that do the same sort of thing. Available on Netflix. **

Stay tuned, for I’ve been making some good progress on the challenge (I’m now at 13 movies from 13 different countries) and am almost caught up to where I should be at this time of year. More reviews incoming!

This year, I will watch 50 movies from 50 different countries. From time to time, I’ve done movie-based resolutions like this in the past (like the 1978 Project or the similarly titled 50 Under 50), and I’ve found it to be an edifying experience. Since it’s already March and since this particular resolution is perhaps a little more complicated than the previous two, I figure some guidelines are in order:

• I have to watch 50 movies from 50 different countries, and I’m going to exclude the Anglosphere countries like USA, UK, Canada, etc…
• Despite the Anglosphere exclusion, the language of the movie can still be English (though I expect most will not be)
• All movies must be new-to-me
• Movies from multiple origin countries can get tricky, but those movies can only count towards one primary country (i.e. 1 of the 50), otherwise I could just watch Samsara and get 15 countries under my belt.
• A lot of movies are co-financed by the USA despite being made elsewhere, and for the most part, they won’t count due to the exclusion mentioned above. So Knock at the Cabin is clearly a US movie, despite countries of origin being USA, China, and Japan.
• I toyed with the idea that I should include countries from every continent, but obviously Antarctica is out, Australia is already excluded, and I’ve already covered every continent except Africa… so let’s just say that I should include an African country/film on the list.
• I should watch at least 20 movies from at least 1 of the countries on the list. Potential candidates include Hong Kong, Italy, France, Japan, and Korea, but we’ll have to see how this shakes out.
• This will be retroactive and start from the beginning of this year.

One reason I’ve tried to add these rules is that almost every year, I probably do watch 50 movies from 50 different countries just in the random course of movie watching (or perhaps due to the vagaries of multiple origin countries). So excluding the US stuff cuts down on a lot of that, and ensuring I watch 20 (or more) movies from a single country also adds some more complexity to the challenge.

I will try to keep this post updated with a running list of the 50 films (eventually with links to reviews, etc…)

• Argentina – Argentina, 1985
• Germany – Nekromantik
• Hong Kong – Throw Down
• Italy – 1990: The Bronx Warriors
• Russia – Major Grom: Plague Doctor
• South Korea – Decision to Leave
• Taiwan – Incantation
• Vietnam – Furies

There are a couple of movies that are hard to classify (i.e. is Speak No Evil Denmark or The Netherlands?), but even with those, I’m a few movies behind on this resolution… but that’s not half bad considering I’m only starting now. The current map provided by Letterboxd stats is perhaps a bit misleading due to the prevalence of multiple countries of origin and US productions including other countries, but it will be interesting to see how the map looks at the end of the year…

So there you have it. Reviews for the above mentioned movies are incoming, and we’re off!