The Kaijyu Comes To VCinema!

Well. Figured it was more than overdue to spill about what has been going on behind the scenes as of late. True to this (and other) blog's roots, reviews and thoughts are more than waiting in the scaly wings, as I've been hard at work fine-tuning a wholly new & challenging life schedule. But the biggest news to come out of this resides in the newest place fellow monsters can check out for my signature (read: silly) rantings and ravings. Turns out after much radio silence, I'll now be providing occasional commentary for the fantastic souls over at VCinemashow! A truly one-of-a-kind home for news and reviews spanning asian cinema of all shapes and morphology, my duty will likely mostly consist of thoughts regarding anime films/ OVAs, and various strangeness in between. I must admit to being a little nervous, but that can only better fuel the excitement. So please, add VCinema alongside everything else to get a more vivid picture of what excites us about far east visual culture & more! It's bound to be a worthwhile trip.

The Girl With The Dragon Tattoo (2011) Movie Review

After taking in what was thought to be the smoking gun behind one of Sweden's most powerful men by what was thought to be a trusted source, left-leaning publishing legend, Mikael Blomkvist has taken a massive legal hit, rendering him and his magazine in dire straits. In the interim of this near career catastrophy, he is suddenly contacted by a legal representative for one Henrik Vanger, former CEO, and elder lead of one of the country's most influential families. Haunted by mysterious mails containing a single framed flower for every year following a great family tragedy dating back to the 1960s. Vanger's hope is that the shamed Blomkvist could piece together the puzzle regarding his fractured, unstable family who mostly reside on the island of Hedestad along with him as winter ice relentlessly caps the region. The reluctant newsman almost refuses, until Vanger with his great influence and wealth, offers up a possible information bounty that could redeem him, securing his magazine's future. Meanwhile, in Stockholm, Lisbeth Salander, a young, withdrawn & dangerous information gathering genius who has been working under the table for one of the world's most respected security firms has fallen into hard times. Whether Blomkvist is prepared or not, an unlikely alliance is about to form, and a brutal mystery from decades past may prove to be their undoing.

Having mildly enjoyed the original Milennium novels, as well as the Niels Arden Oplev films, one could easily write this huge-budgeted remake as little more than a glossy paycheck for a director who has come quite a ways in nearly 20 years of filmmaking, and for the most part, they'd be considered pinpoint accurate. Working from a script by Oscar favorite, Steve Zaillian, and employing much of the same crew that led Fincher to great heights with last year's The Social Network, this take on the plane-fiction favorite is a classy, often beautiful piece of work. But the core question, as with most even halfway decent remake of a foreign film, is why bother? There is no real good reason as to why. Like so many puzzling studio execs seem to display, there is a severe lack of faith in works that audiences may have to make a little extra effort to enjoy. And it isn't merely the lack of subtitles that makes this version a little strange and borderline cold, it is an unerring lack of dirt or nuance that almost makes the film a sleek, sanitized version of the story, with very little grit to ground it in anything resembling the often grotesque humanity on display. Even for a director who delved into some of the grungiest depths of human depravity in the groundbreaking SE7EN, The Girl With The Dragon Tattoo is almost bizarrely bereft of gravity, so much so that it practically floats.

Most suspect of the film's problems lie within the script, which take some deep liberties with how the story is told, often to the detriment of characterization which originally was one of the factors that made the originals stand out. From granting the tethers of Blomkvist's life from on and off lover & business partner, Erika Berger (Robin Wright) , and his daughter, Pernilla (Josefin Asplund) time on the island, one almost feels as if the film is eschewing much of the original story's sense of deep isolation, and going out of its way to make the central lead more likeable- which Daniel Craig does a decent enough job of doing without. So many moments prior to his meeting with Salander, which takes up nearly an hour-plus before this happens, seem hell bent on this that it almost undoes emphasis on the investigation itself which almost borders on becoming less a mystery, and more a matter of revelations falling into their laps. If there was anything that Oplev's films did well, was characterize just how labyrinthian the Vanger family's ties made for an engrossing little mystery. In many places, the mystery seems a lot less of a concern here for Fincher, and that his real aim was in expanding upon certain themes he played upon in Social Network, largely regarding personal boundaries, and privacy. One almost might think that he expects viewers to be familiar enough with the source materials in order for him to highlight the relationship between the two leads, which only offers middling results if any. Perhaps the biggest problems come when the film seems required to inform us of their personal stakes in the matter, and never really plays things as honestly as they probably should. It's all more pat than it ever was before, and that's a problem, especially in a film that depicts violence against women the way this one does. The tale between Blomkvist and Salander was never one of love so much as a hint of trust.- in this the film commits its greatest sin, and it almost never recovers from this.


The film's visual and sonic palette however is almost so uniformly gorgeous, one could almost give it highest kudos for being borderline clinical in nearly every respect. From scenic snowy vistas, to near hospital white walls, and humming grays, the cinematography by Fincher favorite, Jeff Cronenweth is immaculate and painterly. Which is countered nicely by the ever nervous intensity of the music provided by Trent Reznor & Atticus Ross which perhaps provides the film with the kind of bleak beauty more of the film needed. In fact, alongside which is an impressively out of place credit sequence at the beginning, one might even regard Fincher's Dragon Tattoo as something of a showcase piece no different than his 2002 effort, Panic Room, only with a moodier score. There is infinitely more weight in the craft on display here than is story, which is strange since upon closer inspection, Oplev's films were clearly inspired by directors like Fincher, and yet offered much more in the way of sprawling narrative that the book inspires.

Again, performances are solid enough, only really hampered by a script that seems less ready to delve deeper than it probably should. Rooney Mara is a pretty good Salander, albeit far cuter and domestic than she's ever been portrayed before. She lacks the rage and nuance of Noomi Rapace, but she offers just enough to make her memorable. Daniel Craig's Blomkvist is also a fairly good turn for a man who seems ready to shoulder the everyman hero just as much as a superspy. He lacks the scruffy charm of Michael Nyqvist, but does well enough the same. Also more than welcome is work by Stellan Skarsgård, Christopher Plummer, Joely Richardson and others.

It's just too bad so much of this talent on display seems so used in the name of what is ostensibly lacking in power where it should. As it is, Fincher's first foray into the Milennium trilogy is akin to a sleek, ergonomically brilliant piece of technology based on previous concepts, only with a new design, and half the features. There is clearly a lot of lovely work on display, but at the service of what eludes me.

Uchu Senkan Yamato (2010) Movie Review

It is the year 2199,

After five years of seemingly endless attacks by an alien force known only as the Gamilas, nearly the entire surface of the Earth is rendered uninhabitable, forcing the remaining human population to retreat beneath the surface. After a major offensive by the Earth Defense Force, the Gamilas response is swift and fierce. And in the ensuing retreat, Captain Juzo Okita and his crew are saved from destruction due to the noble sacrifice of Captain Mamoru Kodai and his ship, the Yukikaze. Meanwhile, the younger Kodai, Susumu lives a life away from the military he once knew quite well, now salvaging decontaminated matter for sale back to the military. However, upon stepping out onto the desert-like surface, he is nearly hit by a falling object, which strangely contains blueprints and details regarding potential means for not only helping what remains of humanity survive, but to restore Earth to its former living glory. The catch is that this enigmatic device only exists on one planet, the planet which claims to be the source of the metorite, Iscandar, a world far beyond the Milky Way galaxy, and a journey fraught with almost insurmountable danger. And yet with this miniscule nugget of hope in hand, the EDF enlists Okita to seek volunteers for a mission that could very well decide the fate of not only the crew of the alien-technology restored space battleship, Yamato, but of the earth entire. But the Yamato is but one, and time is running out.

And so it is, one year after the initial release of one of the most anticipated live-action events of my moviegoing life, I have finally been able to catch Takashi Yamazaki's grand rendition of one of Japanese pop culture's most enduring creations.

Originally airing from 1974-1975, the brainchild of barnburning visionary, Yoshinobu Nishizaki, along with soon-to-be  anime legend, Leiji Matsumoto, Space Battleship Yamato was and remains one of the most, if not the single most important anime creation of all time. Blending a fresh mix of high romance, space opera, and historical rumination, Yamato helped usher in a wholly new form of fandom for an animated series initially geared toward younger, preteen audiences. Having initially been deemed a failure, demand by an unexpected demographic (older, college-aged fans) eventually roared new life into the series, leading to not only a feature film, and a new series, but eventually international success, as the it eventually found itself dubbed and released under the name Star Blazers. Which is how I initially experienced it as a wide-eyed grub, glued to the screen as an animated show took me places I never imagined possible by a cartoon.

And even as the series came edited, and with names & certain circumstances changed, it was clear to me that something special had been discovered, and that no matter what, one day the feeling I experienced simply by way of appointment viewing would return on my path one day. Yamato came at a time when science fiction & fantasy had suddenly shifted due to Star Wars a few years prior. However, the series' unique brand of unexpected grandeur and seriousness had affected me in ways that the Treks and Wars could not. It galvanized me into watching it, ever more curious as to how the story would unfold. Even as I was too young to fathom the series' deeper musings about Japan's feelings post WWII, it was the compelling characters and situations that kept me coming back for more. I won't lie, Susumu Kodai (Derek Wildstar) was something of an early fictional heroic foil for me as a child, and Shima (Mark Venture) was always at closer in spirit to me. And it didn't hurt that the show's most brutal hook, a continuous countdown of days remaining for our heroes to reach Iscandar and save Earth always hanged over the end of each episode like a shroud of doom. Far from subtle, it seriously played havoc with my young brain for weeks on end. And it wasn't until much later that I finally saw the series in its entirety, along with the films, each of which broke my heart time and again with bizarre ease. It is a series that embraces full emotion, and plays it to the hilt with a grand sweep most anime simply hasn't been capable of replicating.

So when speaking of this large-scale production, it may help to preface this by openly stating that up until this point, I have never been the biggest fan of Yamazaki. Upon discovering the news that he was to helm the live action duties for such a beloved series, concern was the first feeling that swept over me. Having seen several of his films, including Juvenile (2000), and Returner (2002), his brand of derivative mish-mashing can be reminiscent of a more sedate Roland Emmerich complimented by heavy digital effects work, and one-dimensional characterizations. Even his award-winning Always films tap into a more populist mindset that at times runs counter to the kind of nuanced storytelling required to handle such a grand tale. So it may surprise some to discover that at least 60% of the time, Yamazaki finds it in himself to not only do a decent job of bringing Yamato to life, but to help establish something I have always wanted to see done with live action anime; create a work that is different enough, and yet wholly reverent to the source material.

Naturally, having to tell such a sprawling tale within a 2 and a half hour running time makes for some compression issues that at times can be more than a little jarring. Oddly, what came to mind regarding story efficiency was Speed Racer(2008), where nearly the opposite took place. That film suffered from an almost unnecessary first hour, whereas with Yamato, the film virtually catapults into the central mission well within the first thirty minutes, which leaves little to no time for the viewer to get a good idea of not only who these characters are, but grant a foundation for how each individual arc will unfold throughout the film. This is easily the most auspicious issue I may have with the film as a whole, as relationships merely move, and aren't informed well enough, and far too much happens far too early to have any impact to anyone who isn't already familiar with the story. It's a clumsy start that the finale in many ways never recovers from, and yet there are so many other elements that somehow buoy the remainder. And a lot of this may be due to a sense intimacy granted in later moments where a pretty good cast rises well beyond some of Yamazaki's patently obvious direction. It is also very clear that nearly all involved know full well the world they are bringing to life, and it shows despite the at-times all-too-ripped from recent science fiction vibe emanating from much of the action. If one is able to overlook the Battlestar Galactica and JJ Abrams Star Trek, one may be able to be truly wrapped up in matters.

Some of the "new" that works:

Among the more obvious changes, are a few of the casting decisions, along with some interesting role alterations. Updating the often dismissible Yuki Mori(Meisa Kuroki) into a Black Tiger ace pilot was a particularly welcome change, although it would have been more exciting to have explored her character a little more. What winds up onscreen offers only a vague idea of who she is, and what she could bring to the mythos, especially in regards to her relationship to Kodai, which is a major lynchpin of the series. Something there was definitely needed in order to offer lasting oomph for the finale. Also, I actually rather enjoy the idea of Sado-sensei being played by Reiko Takashima. If there's any problems with her and Maiko Scorick as Communications Officer, Aihara, it's that they merely are there out of necessity. And Shima as dad to Jiro (previously his little brother) adds additional tragic punch to his backstory, which helps his role move a little faster. And then there's Analyzer...Well. The less said about Analyzer, the better.


In the "bold" department, is the representation of the Gamilas, which I will not go into too much detail here. But it is an interesting, more "alien" choice to go with, if not a wholly satisfying one since one of the original mythology's more compelling elements was that of an almost familar enemy which further blurred certain moral & emotional lines in regards to warfare. Dessler is here, just not in any way some might expect. It is another decision that in many ways isolates the Yamato crew, and keeps the threat from being anything more than an almost faceless nuisance until the final reel.

And as mentioned, despite Yamazaki's often awkward staging & blocking, there are a few notable performances that helped ground this rendition with unexpected aplomb. Most importantly, Tsutomu Yamazaki's Okita, who's frail and yet duty-hardened frame carries a burden too great to share with the crew. It's a delicate, unexpectedly effective weight he brings to the film when it often threatens to reduce itself to borderline camp when it comes time for the FX action to take center stage. And in an almost serendipitous case of casting, Takuya Kimura's Kodai is an almost dead-perfect portrayal of a young man rapidly seeing his destiny crystallize before him after years of remaining the brash, short-tempered kid with a chip on his shoulder. Seeing as how the Kodai character is pretty much the classic "hero's journey" archetype, Kimura adds just enough gravitas to make the character work. Also welcome to the proceedings is Hiroyuki Ikeuchi (Ip Man) who's take on Space Commandos' leader, Saito is fun and earnest enough. As is Toshiro Yanagiba's terrific take on Sanada, the ultra-serious Chief Science officer.

Back to the bold without spoiling the film. As a single outing event piece, Yamato goes out of its way to pay tribute to numerous famous images and moments, at times to the point that it seems like Yamazaki, and writer Shimako Sato were out to cover their bases in case the film was a financial failure. And as a result, I'm afraid that there is little left to be said once the credits roll. And while much of the finale is milked for emotional impact, again, it feels as if producers were ready to cut their losses, much to the detriment of the film. Which isn't to say that the final product comes without it's own effective moments, but it does leave a void in the "what could have been" department. There is such a bar to be reached when considering the legacy and emotional potential of a grand scale (preferrably three-hour) Uchu Senkan Yamato movie, that perhaps, at least as of now, it's a dream idea near improbable to reach. But fans can still dream, can't they? A fun and welcome tribute is perhaps the best one can ask for.

The Thing (2011) Movie Review

Well it isn't as if we didn't see this coming. As if the ghost of Tron Legacy were back to haunt us, only this time in a much more blatant, offputting manner, Universal and Morgan Creek deliver the backstory to what is possibly my personal favorite remake, as well as favorite John Carpenter film. As a bleak and intimate tale of isolation and paranoia, the apocalyptic tale of Outpost 31 has long become a major patch on the quilt of my love of cinema storytelling, so the very idea of a prequel, while questionable certainly carried an interesting cache of curiosity within me. And yet despite better judgment, going, and now feeling utterly suckered yet again has left me bereft of much hope that some visually capable filmmakers today have little to no understanding of what made works of the past so effective. There is simply nothing to this addition that gels as a prequel, or even as a stand-alone feature. It's a messy, shallow thud of a film that only makes one appreciate the clever, well-executed magic act Bill Lancaster, Carpenter, Rob Bottin and company pulled off to a stunned public all those year ago even more.

So when I roll off the description of the film, it should be relatively easy to parse out what this film needs to be in order to be a successful prequel-

After having accidentally unearthed what seems to be an alien craft deep within the arctic ice, a Norwegian scientific team enlists the help of American grad student Kate Lloyd to investigate what Dr. Sander Halversen believes to the the find of the century. Soon after bringing a block of ice carrying the remains of what looks to be the last survivor of the crashed UFO, the creature escapes, sending the team into a flurry of fear and mistrust when it is discovered that the organism is capable of absorbing and imitating anything organic it comes in contact with.

And while this should prove vital to helping story development, especially in regards to the kind of mind game that is being played on both the characters (as well as the audience), the new film completely drops the ball, and opts for a straight-up CG jump scarefest which is the complete antithesis of the titular creature's diabolical  survival strategy. And the most disappointing thing here is the writing talent involved (including Eric Heisserer and Ronald D. Moore) claimed to have been working on a way to reverse engineer the events leading to the 1982 film, when it's clear that little but a few minor references actually exist while the rest seems to be its own film entirely. And if that were so, what's on screen is so by the numbers dull that it's hard to care about anything that is happening, let alone anyone within it.

From virtually frame one, there is indication that there is trouble brewing. The choice of Universal logo(from the 1990s no less) is confusing to say the least. Further going in, the initial character introduction is so awkward in execution, it's hard to believe any studio found it acceptable. Fast forwarding to the moment when the team brings the ice block back to the camp, and a member seeks to have a look at the creature for himself. The cliched jump scare here isn't so much the issue, as is the hilariously inappropriate stinger music.(Beltrami's score continues this way throughout-indicating a possible disconnect between the director, and modern local sensibilities) If the film wished to create any memorable characters this time around, the attempt never seems to come across at all. Adding to the list of missteps, is the revelation that this film's preoccupation will be with the alien, and how unafraid it now is of attacking out in the open- something the previous film established as never being its raison d' etre. That's right, 2011's The Thing is nothing more than the atypical BOO-grade creature feature with zero understanding of Carpenter's film, characters or structure.

Most notably puzzling/mercenary is the casting of Mary Elizabeth Winstead, who's paleontologist audience surrogate never rises beyond "token xenophobic-American identification figure number one". Something that is in no way a fault of hers. But it truly does feel desperately tacked onto the production as a good 60% of the film is spent seeking out a way for her to actually have a function in the film to little (if any) success at all. This is also true of most of the cast, as the script never decides to let us in on any characters for the viewer to identify with. Events simply happen as if the makers were merely marking time before it was time to break out the FX again(which again, come nowhere near the still-astonishing work of a young Rob Bottin) in hopes of distracting us from what really isn't being addressed; an actual story with actual characters. No tension, no quiet moments of creeping dread, and most importantly, no under the skin terror.

One last comparison:
There is an early scene in the 1982 film that while to some may seem like a near-wordless, superfluous moment that goes like this:

Introducing the helicopter pilot, MacReady, we are watching him play a very crude computer chess game while nursing a glass of alcohol. And in only a few cuts, we witness his character reacting to what is implied to be something of a harsh play by the computer. Nonplussed by the machine, MacReady exposes his disdain for losing by pouring what remains of his drink into the now-sparking chassis.

Now while that little moment may seem needless to a modern studio, it is moments like these that define character before major incidents occur. An element that is well implied in the original short story "Who Goes There?" by John W. Campbell Jr. It wasn't so much the monster in the midst that was the central alarming element, but the rising lack of trust between a group of people who had already begun to fray on each other's nerves as winter had only begun for them in a desolate landscape with no shortage of cold days. Much like the MacReady scene, the rest of the 1982 film becomes something of a blind man's chess game, bringing forth a most unlikely leader as the team dwindles. With the alien finding even more clever ways to deceive those who remain, the stakes rise, and a deeply absorbing gut feeling of despair arises in ways few horror films are capable of, and yet the new work is seems completely unconcerned with this. The writers along with director, Matthijs van Heiningen Jr simply look incapable of mounting that kind of mathematical structure, and end up making the kind of film Carpenter's work rails against. In fact, whatever math was used within the creation of this piece, results one of the most out-of-gas fade outs in recent memory. A virtual admission that in the end, it had absolutely nothing to say, let alone anything new.



The lack of understanding of the nature of the creature, and what it offered to the pantheon permeates every section of the piece, and leaves it in the ever-growing smoke-caked heap of wreckage alongside an entire decade's worth of unnecessary remakes/reboots/prequels. Simply reducing the tale to that of a cheap CG-drenched ALIEN knockoff is not only mind-numbing, but insulting. Adding greater insult to this particular injury is a clearly patched-on final scene seemingly aimed at covering a multitude of bases that could easily have been addressed within the entire running time, effectively making the Winstead character look even more unnecessary (Sad, considering that I rather like her work. Having made remarks about the lack of agency given to her in even Scott Pilgrim, it is an even bigger waste here.) . It only sports a powerful halogen light on just how pedestrian and uninspired the final shooting script actually is.


One of the great secret weapons Carpenter had while preparing his film, was an entire year of planning. One wonders how much was provided here. And if it was even near six-months, this is pretty inexcusable. If anything, this will further raise interest in the previous film which was initially considered a box-office disaster, only to later become embraced as something of cult royalty, and understandably so. More still have yet to experience Carpenter's The Thing, so if this film doesn't sour people into catching that, then thank goodness for microscopic victories.

Trollhunter (2010) Review

Personally speaking, I never expected the concept of verite genre cinema to go anywhere beyond what had been blown into utter spectacle after Matt Reeves' CLOVERFIELD. And yet, in the years following the success of films such as Paranormal Activity, this already bordering on antiquated gimmick receives a unique shot in the arm by way of this sporadically fun entry from Norway of all places. Following the exploits of a small film crew as they investigate a mysterious man dubbed a poacher of sorts deep into the norwegian wilderness, only to discover that the only live quarry the grizzled veteran is after, are a large and nasty race of beings only spoken of in fairy tales. Initially skeptical, the group are soon witness to a frightening encounter, and after their vehicle is demolished by an unseen creature, ask to accompany the man in search of several trolls possibly responsible for a number of incidents, including the disappearance of two German tourists. Under strict instructions, the filmmakers are host to a bevy of bizarre rules, and eventually butt heads with not only the lumbering behemoths, but a shadowy group operating to keep the legend under wraps. The hunter's impetus for being so inviting being due to his tiring of the life, and all he has seen as the sole hunter of these wandering creatures in a land ever faced with expansion. And the further the crew is taken by the man's candor, and hardbitten nature, it becomes clear that the danger is only going to rise to insane levels.

Now given in that description, one would assume that the narrative would take on a consciously horror-esque tone, however much of what makes Trollhunter stand out within the subgenre is in how it is less about the fright, and much more about exploring the life of the fantastic within the context of a "found footage" piece. In many ways, a fantasy is a much more apt description. A folklore laden journey, with an experienced vet at the helm, all the while the audience continues to wonder how much of what occurs in the film would happen in real life without the crew giving up halfway, and hitchhiking it home. Our on-camera host, Thomas (played with apt enthusiasm and growing unease by Glenn Erland Tosterud) is injured early on in the film, and yet is dogged in his interest in the wary hunter Hans (Otto Jespersen, who pretty much owns the film.), to perhaps the detriment of the health of everyone else involved. He eventually comes to better sense, but not until things have reached such an absurd pitch that its pretty hard to see him, let alone his cameraman, Kalle(Tomas Alf Larsen), and sound engineer, Johanna (as herself) survive as their filmed encounters in the wild with an assortment of increasingly dangerous woodland creatures. The bigger issues that keep the tone wandering listlessly at times come when one begins to question the filmmakers need to continue on despite the peril they are clearly placing themselves in.


And in how the film does little to tell a truly compelling story, it makes up for it in places by instilling a good amount of classic troll lore, as well as an almost X-Files-esque conspiracy edge to the proceedings which seems to suggest that the film is going for a more direct sociopolitical angle which loses me I must admit. In the almost more nuisance than threatening Finn (Hans Morten Hansen) we are given a few instances in how he and his crew (hiring immigrants in disguised vehicles to provide proof of the mundane to the public- in one case a dead bear to explain away a recent incident) do their part in protecting the Norwegian wilderness from trolls, as well as keeping the world ignorant of their existence. As the film rolls on, it becomes apparent that the patience of the filmmakers is thinning the longer they experience the truth, wondering why it is so important that such a secret be kept.

Of the film's use of often handheld, the results are relatively mixed to unimpressive. Especially when there are at times so many cuts within crucially tense moments that play less like something captured in the moment, and more like a standard film. It is as if the film at times forgets what it is, or exposes its limitations to glaring degrees. Some effects work is a little so-so in areas as well. Much of the effects focus is with the trolls, which range from mixed to outright fantastic in the finale.

One of the more straight-up fantastical elements that in many ways clashes with the handheld approach (especially in a post-CLOVERFIELD world) is the design-work of the trolls themselves. Not satisfied with rethinking their look in regards to more animal-like, or contemporary monster designs, there is a sweetly classical look to them that is purely out of Nordic, Scandinavian aesthetics. In many ways, it has been so long that such a style has been seen in a movie of this manner of effects scope (particularly in a film set in a non-fantasy world) that the impression can be a bit jarring for some. But when we reach the final reel, and it comes time to deliver on showing a species only hinted at earlier, there is a certain majestic charm to its appearance that almost salvages the piece from becoming little more than a fun weekend diversion.

So in all, Trollhunter doesn't offer too much in the way of remarkable story, or scares, but it does at least share a rare type of fantasy vision amongst what is some eerily beautiful landscape. Word has it that the film was a huge success in its home country, and understandably so. There is an undeniable quirk-packed charm to the whole affair. I only wish there was a little more meat to these bones. 

BKO: Bangkok Knockout (2010) Review

I know I often shouldn't, but damnitall the Thai action film industry is such a young and dangerous place, it becomes hard to resist when word spreads regarding another martial arts film seeking to outdo the bonecrushing precedents made by Panna Rittikrai, Tony Jaa and the like. The problem is that every time I do, it is more akin to a trip to an abusive relative who happens to cook delicious meals. Sure the food tastes good, but you know the shouting and humiliation aren't far away. Even after experiencing Rittikrai's previous films, the siren call continues to reach me despite my better judgment. And upon seeing that this time, we had a film comprised of not one martial arts master, but a class of nine young, potentially crazy stunties ready for their spotlight, the urge to oblige won yet again. And after watching 2010's BKO: Bangkok Knockout, a long-delayed moratorium may very well be in order.


BKO tells the tale of a young martial arts stunt team, having won a grueling competition to travel overseas to Hollywood, and their night of celebration ending horribly resulting in waking up the next morning to find themselves, along with fellow friends and party-goers, awake in a seemingly abandoned project filled with empty buildings and warehouses. Their vehicles, wallets and devices gone, they are now within a deadly game caught on camera as they struggle to survive while being stalked by hooded thugs. All this while sleazy international interests led by the cigar-smoking Mr. Snead (?) wager on the outcome of the ensuing matches. So in essence, this is a backwater, ensemble martial arts rendition of stories such as The Most Dangerous Game, The Running Man, etc. Except the impetus here is on not having one action hero, but several young guys, two girls, an elder uncle-type, and an unbaked Chris Tucker virus likely intended to be comic relief. Utilizing an impressive array of fighting styles including Muay Thai, Judo, Tae-kwondo, Ninja sword, and even Capoeira, the film is pretty much a loud succession of fight choreography set to a booming soundtrack, with little to no character.


And while this may not be of much concern to some, many may forget what helped some of the most notable names in these types of film become so ingrained in our collective minds. It certainly wasn't merely because of the life and limb  risked wholesale on screen, there is also a reason why Tony Jaa wasn't seen as much more than an impressive fighter. And when a film introduces this problem and multiplies it, what one has is an often confused, random action reel with no feeling of consequence, let alone feeling of any kind. In the end, the film is pretty numbing. The lack of character, reason, or rhyme bleeds the film dry of any potential impact the film might have had. So when the film makes attemmpts to pull the proverbial rug(s) from under us, it only serves to annoy, and borderline insult intelligences across the board.


Look, plot twists are fine. But the prime service of them is to not only advance the plot, but to often subvert what has come before, and hopefully expose neglected character elements planted earlier. To do them merely for the sake of doing them simply makes the film more arbitrary,  and sends a message that those involved either had no idea of what kind of story they were telling, or they simply did not care. I'm voting resounding for the latter as I have yet to mention the sheer number of times the film opts to give us convenient five-second "backstories" as specific "story" movements occur. No buildup toward them, just a pause, some swelling music, and an unexpected, almost completely random bit of previously unseen footage to fill us in on character motivations not seen until now. It's undeniably lazy, and it happens numerous times to almost irritating effect. Of course, this is a martial-arts free-for-all, but even in some lesser HK fare, there was often a simple sense of build bridging the fights together, leading us toward the big final brawl. And in the case of BKO, the stakes are so thin, and clumsily executed, they are near nonexistent. So when a number of double-crosses happen at the 75-minute mark, it is almost a completely deflating experience. All one can do is continue to watch in near apathetic rigor as amazing stunts continue to happen for almost no reason at all.


And that's the biggest tragedy of all. The action choreography in this film is astonishing to behold. Among the highlights are a cage fight that the old Battle Arena Toshinden game series could only have dreamed of, an encounter with a metal-faced, axe-wielding Jason clone (Burning axe!- Kane Hodder would have been proud.), motorcycle-fu, and even some stunning bodies pounding through a car chassis. It is clear that parties involved were going out of their way to take the Thai martial arts film to even more ridiculous heights. But with no clear characters, or solid story, it becomes very easy to be distracted away from all of it. All this clearly difficult, painful work, all for what amounts to zilch. I've watched my fair share of arcade game demos with more emotional involvement than this.

So in many ways, this exposes a phenomenon I have come to regard as audience disengagement. Films of this ilk almost exist either as a showcase for stuntmen, or merely as a test to see just how much certain viewers actually invest themselves in what they watch. The less one actually cares about what is happening on screen, the more enthusiasm is generated by the candy in between. While this is certainly something one can opt for given the material they are watching, there are limits inherent in the viewer. Unfortunately, I am one of those people that when the caring is clearly not there, I become less and less engaged in even the shiny things being dangled in front of me. It especially smarts when character traits are introduced, and payoffs are ignored. There is so much in the way of inconsistency here, that it feels less like a movie was even in mind during production, and rather like some kind of elaborate business card with flaming axes was the whole inspiration in a nutshell.

When just about anything can be visualized, to merely have this with no bridge to comprehension or humanity, what else is left? Noise and fury ad-nauseum. If that was on tonight's menu, I'd be out clubbing. In fact, there are so many other things one could be doing other than watching Bangkok Knockout. Hmmmm..laundry..

Entry Wounds : A (1998) - Review

Call it something of a morbid fascination, or just an overture toward greater understanding. But a large part of my own personal love and interest in Japanese film, has been in regards toward better grasping the more hidden, cultural context lying beneath the actions inherent. No amount of mythical monsters could compare to the simmering, often troubling undercurrents often exhibited in sometimes the most fantastic of scenarios. But when a documentary not only sheds a sobering light on one of the most infamous chapters in recent Japanese history, but also provokes a watershed of even more distressing questions, word must be made about it, even on the pages of an innocuous pop culture blog such as this.

And in light of my recent re-take on the fictitious, yet more artificially brutal Kichiku Dai Enkai, it is far more important to give Tatsuya Mori's shot-on-video revelation, A (1998), some well-intentioned words.

In the months after the Kasumigaseki sarin gas attacks that terrified the nation, testimonials of multiple members of the notorious religious order, Aum Shinrikyo (Supreme Truth) are being heard in court, and are being broadcast all over the world. And as the bizarre drama involving this shockingly influential group (Even having scientists, and foreigners from US & even Russia among their ranks) continues to unfold, a large number of members-including PR spokesperson, Hiroshi Araki, remain virtually holed up in the group's main HQ in Kameido. Surviving on strictly protein-based diets, near-disheveled living conditions, and surrounded by images and even music featuring the group's now in-custody leader, Shoko Asahara, Araki and his fellow members attempt to stave off the growing hordes of media amassing outside, clamoring for a chance to allow the group to speak for themselves as more and more allegations of the group's activities that stemmed far beyond the gas attacks that killed 12, and led to nearly 4000 injuries. And yet, no news services were remotely able to get a closer look at the lives, and perspectives of the sect than Mori, who through sheer force of will, and a truly objective eye, offers a quietly chilling two-hours plus peek into one of the modern world's first looks at Japan's long festering gap in its post-war societal armor.

Mori's presence throughout the film is virtually invisible, as he and his crew merely settle themselves well into the lives of the Kameido members, and spend a great amount of time alongside Araki, who at the offset comes off as a bit of a country bumpkin with a sincere belief in his people, who's religion functions as something of a hybrid of several eastern belief systems, albeit with a something of an apocalyptic bent. As something of a post-human philosophy, Araki with several of his closest cohorts continue to speak praises of their lifestyle, and moreso regarding The Master (Asahara) whom we never see aside from photos often plastered all over the HQ walls. It is his presence felt throughout the film that is one of the A's most unnerving triumphs. About the only time that Mori finds  himself on camera is when he is by chance forced into a filmmaker's moral quandary after witnessing  Araki and associate being harrassed by local police, ending in a potentially faked injury on the part of one of the officers, and even Araki's associate who was knocked to the concrete. Mori's video lends the film an unexpected punch when he is put on the spot to make a moral decision despite his initial wishes to remain a fly on the wall. His ultimate actions regarding this are not only understandable from a human perspective, but indicative that what we are witnessing is far beyond anything the news media could have ever gained from dealing with the Aum.

The fact that the film spans roughly two years with Mori and company witnessing events from the inside, offers us far more than the sensationalistic, which one can easily assume regarding the subject matter. Even as Mori continues to question the choices Araki and followers are making regarding their support for the sect, even as the walls seem to be tumbling down around them, he never seems to be going for the easy, shallow response. In many ways, his questions often take on a humanistic approach. It is only when members begin to make statements that beg rational questions, does Mori take a more personal stance, which in turn gathers some of the film's meatiest material. Even as some of the doc tends to drag in places, it is these sudden bursts of rationality that bring to light the reasons for many of the members being where they are, not only in the group, but in their lives. Bringing to light something that is easily A's biggest stealth bomb. Even as locals attempt to encourage Araki to reintegrate into the society he, and the others have vowed to shun, it reveals a greater unseen disconnect occurring under the nation's often peaceful veneer. Conversely, we are also witness to Araki's reception to all that is occurring around him from derision to sympathy, leading to something of a complete personal arc by the film's end. And again, it is with Mori's decision to never allow his film to prosthelytize any moral standing that it all builds to a potent finale that while complete in its own right, led to a much larger scale exploration of the Japanese social strata via A2 several years later.

Bringing this all back to my own interests in the more fantastic corners of Japanese show, shining a light upon early recession-era ennui, and post-traditional malaise which has continued to erupt in numerous social issues from the proliferation of NEETs, the growing elderly population, and an overall increasing sense of resignation. Despite all the things I love about Japan, I find that in the worst of times, great and telling arts are borne from the most unexpected places. And even as the Japanese mainstream claws on toward the general blandification of culture, there are often bursts of primal creation that come from such trying feelings. But there are times when allegory & merely entertaining the notions isn't enough, and A is a great example of tackling these concerns head-on, even if noone realized the sheer temerity of the Aum events as they were unfolding. Sometimes all one requires is to be there in the room with the storm in full effect. And few films are as immediate in retrospect as A..

Attack The Block (2011) Review

                                

When newly relocated nurse, Sam is walking home from the train station, and into the darkened streets of Lambeth, she is faced down by a hooded gang of would-be toughs, and is mugged. And as the robbery drags on into the fireworks laden Bonfire Night, what looks to be a straight-shooting comet bursts into a car near them, breaking up the vehicle, and allowing Sam to escape. Naturally startled, and curious, the boys, led by the imposing Moses(Joe Boyega) decide to look into the damaged car in hopes of seeking loot, when what comes from out of the crater is roughly the size of a small child, and seems far from friendly. The ensuing struggle leaves Moses' face injured, and instantly leads to the entire crew cornering the little beast, and unleashing the small-town beatdown, killing it. And as the boys flaunt the creature's corpse by taking it back to their elders in block-leader Hi-Hatz, along with local drug-dealing Ron in hopes of making bank off of this unprecedented discovery, unbeknownst to any of them that their troubles run deeper than trying to impress the local kingpin. Outside, a small army of the beasts in adult form are amassing, and ready to wreak intergalactic havoc on this broken down South London council estate. But not without a fight. (with fireworks, baseball bats, swords...etc..)

Coming into this film, and witnessing it all unfold, growing up in none-too-prosperous neighborhoods came center stage. Right on to where I happen to live now. You see, from the outset there was instant identification with the world of this as someone who has experienced a mugging, and been looking to better understand the plight that leads one into a situation such as this. The divide between victim, and perpetrator can sometimes be a blurry one, when the discussion deepens. And having also grown up in areas where local kids create something of a pecking order based on who would make the best footsoldier, and the small fries just looking to be respected by anyone- parents notwithtstanding, is something of an urban reality that many are not familiar with, but is a daily one for many. And one of the many things I appreciated from the getgo from Joe Cornish's writer-directorial debut was that none of this comes off as anything less than the dystopia of contemporary life. Which only makes the more cartoonish element of an oncoming alien invasion that much more interesting. When the block is all one knows, or cares about, outsiders are likely put upon, or warded away with a glare. It is the kid life of AKIRA, only it isn't in some near-future Through The Looking Glass version of Showa-Japan.

Set in a South London projects area over the course of one fatefully haywire night, the boys we are stuck with aren't the most ideal of heroes, and would sooner take on the alien horde with mischievious glee than ever try to comprehend what exactly is happening. Along with fellow teenage punks, the prideful Dennis, would-be charmer Pest, reliable Jerome, and mama's boy Biggz, their troubles go triple bad when not only do they have to contend with the alien menace, but even the nurse they attempted to victimize this evening, as well as the ridiculous Hi-Hatz who refuses to buy into this...um....problem. Once the true threat is revealed, and our boys are forced to enlist the help of someone they had just mugged, we are in thematic territory that raises the bar for films of this ilk. The film has quite a bit for viewers to chew on regarding not only urban plight in a most unexpected place, but of what it means to live diametric lives whilst amidst economic and social pressures. Even as ATB doles out some truly exciting action & editing, granting us a peek into who the kids are, it finds the time to inform how each half lives, all bound together by how they and authority figures look at each other with fixed distance; never knowing the full story.

This is best evidenced when both the alien plot and Sam with police set out to finger the boys who recently attacked her converge. The themes of action and responsibility weave around Sam's natural instinct to make sure justice is done, and Moses' decisions which have created something of a fateful web for all around him. It isn't very long before it is made clear that within the titular Block, very few actions go without consequence, and that a lack of community is tantamount to greater despair. And it is within this clevery executed framework that Attack The Block strives for more than a special effects romp with kids as the protagonists, and with a roughly miniscule budget, goes all out in delivering the scares & laughs with just the right amount of sincerity. It embraces the dystopia of now, and makes its points without ever feeling wooden save for one tiny moment, and even then, the action kicks right back in again to remind us of the film's genre roots. It's a tricky balancing act that works not unlike the amazing soundtrack implies.

Performances are solid throughout, but the biggest revelation here is with Boyega's who's troubled Moses makes for a truly credible anti-hero, who's arc binds the film entire with a quiet, hard-bitten vulnerability that is rare for young actors. One can easily see him as the one the local little fish look up to, and yet has troubles clearly his own. And as the rest of the boys deftly deliver their individual circumstances, it is all done on a move, which is something of an astonishing achievement. With everything else happening throughout the film's short running time, we are privy to who they are, what they offer to the group, and makes for a uniquely diverse look into an urban life we rarely see in mainstream film. It is refreshingly tangible, and feels light years less put-upon than so many youth-based genre films of the past and present. Also delivering great presence is Jodie Whittaker, who's Sam is something of the film's initial identification figure. Not to mention the ever welcome presence of Nick Frost as the ever-disconnected Ron, and Luke Treadaway as the potentially smart, yet hopelessly off-the-grid, Brewis. But again, the film belongs to the kids who ground the film in ways unexpected.

So merely labeling this 90-minute ride as little more than an Edgar Wright, Nira Park produced comedy in the ranks of Shaun, or Hot Fuzz is a misnomer, and doesn't do enough justice to describe just how incredibly cool & illuminating Attack The Block is. It is as much a film that harkens back to the latter days of Spielbergism & Fred Dekker's Monster Squad, as it is its very own complex creature. A monster actioner with a brain and a heart that demands to be experienced.

Movie Review - Super 8 (2011)

It is 1979...

                     Four months after losing his mother to a terrible industrial accident, 13 year old Joe Lamb sneaks out of the house, under the nose of his small town deputy father to gather with friends for a night of film shooting. Newly enlisted for their ambitious zombie opus, is classmate, Alice Dainard who has sneaked out to underage drive the boys to the train station in Lillian, Ohio's outskirts, and co-star in the film. However, what the night has in store may have implications beyond anything these kids, nor anyone else in town could ever possibly imagine.


                     There is something about film waxing nostalgic for another time that is capable of enrapturing viewers with a sense of comfort. A sense of the familiar for those older audience members, able to clock what is happening on screen. But this is also a two-fold problem when the film is unable to implement anything new and fresh to the proceedings. Firstly, the identification becomes a spoiling factor when the script is otherwise lacking central focus. And the second is that while nice on the surface, it is very easy for a film to roll around in its own artifice, keeping us from remembering that we are here for a story. We've seen this recently in other major releases, most egregiously, TRON LEGACY. To see Generation X have its hand at the period piece has been something of a barbed affair to say the least, and in the case of JJ Abrams' grand scale ode to the early films of producer Steven Spielberg, is an entertaining, albeit lacking affair when it comes to giving us a new angle to a world so familiar to so many.

                                   The underlying emotional core of the film centers on young Joe, who still secretly carries his mother's locket necklace with him wherever he goes, and the revelation that the capable and resourceful Alice, is also the daughter of the man (played by Ron Eldard) who shares a terrible secret regarding the fateful day four months back. This naturally affects the already strained relationship between Joe and his father (Kyle Chandler), who's early on been rumoured to have been something of an absentee dad. So when the film's central event involving a truly spectacular train crash brings over military attention, and boatloads of secrecy involving the train's cargo, sets into motion the vanishing of not only local machine parts and wanton destruction, but eventually a loss of local citizens and even pet dogs, his role eventually has to step up to be the town's father. And with this mountain of responsibility, the concerns of his son spending time with friends, working on makeup & monsters, while hanging with a local troublemaker's daughter could only be the final straw. Not to mention the relationship between Joe, and his filmmaking buddy Charles Kaznik(A VERY well done Riley Griffiths) as all of this spools out of control after that night.

                                  There is indeed an incredible amount of detail granted to the production as expected. Right on down to the lovingly added AMBLIN Entertainment logo at the opening, and the simulated graininess of era-appropriate film stock, Abrams' 1979 is a wonderful re-creation of a time quite familiar, and evocative of the last days of disco, and the coming onslaught of New Wave, as kids were compelled to step out into the world, and explore possibilities with sometimes very dangerous vigor. From the homes, to the cars, and even technology, the film gets so much right, and goes even further to almost perfectly capture The Beard at his most everyman best. Close Encounters Of The Third Kind, and ET receive a lot of love in this film as well as some unexpected nods to Joe Dante's Explorers, and naturally Richard Donner's The Goonies (which Spielberg also produced). The world of Lillian, Ohio is perhaps the film's biggest achievement complete with grand sweep, and feel of analog, as Joe, and his buddies struggle at first attempt to keep quiet about what they witnessed, only to have the problem turn the screws with everything and everyone around them.

                        But it is when Abrams himself, along with his script that keeps the film from being anything more than just a grand nod to this particular time, which is a shame since it's clear that so much else is in place. As his post-grand slam performances with 2009's Star Trek, and even (2006) Mission Impossible III, it is clear that this is a much more personal work, but when the emotional arcs never seem to gel in any satisfying fashion, the final product feels relatively hollow. Especially when the film goes out of its way to cast no major name actors with clearly great results (leads Joel Courtney and Elle Fanning are especially game in this, as are the rest who are unfortunately deeply underwritten), there is plenty of bold to go around, but when it comes time for the visual and incredible sound effects, nearly everything else gets drowned out. And this is likely attributed to a script that never seems willing to follow through on the growing divide between the kids and their parents. It is something that Spielberg's films understood in those times, even when they were more background. What is brought to center stage (which for many reasons, I've been tiptoeing about as it really needs to be seen, even if it is a little more obvious that expected) never seems to connect terribly well with what is happening in the lives of these character. While Super 8 attempts to merge the world of the ordinary, and the fantastic, the disconnect is almost constant, and never resolves itself right unto a finale right out of ET. The film never seems to have the patience necessary once the sturm and drang kicks in, so all we're left with are often one-note stereotypes, mixed in with some well-intentioned nods to more character driven pieces of the time.

                            Letting go becomes the film's thematic driving force, which seems strange considering the fact that the film is a throwback, which was clearly the goal. Even when the director's signature swooping cameras, and full 360 moves start coming into play, the film attempts to merge eras in an at times jarring mix. And when the mystery plaguing the town comes to a full boil come the third act, it feels as if some vital pages were either missing, or neglected from the script, which leaves the rest of the film in mere spectacle territory, so all viewers have to fall back on is the nostalgia factor. But there is only so much nostalgia one can take before it begins to wallow, which is a deep shame since so much else seems to be working. Being a late addition to Copeland's Gen-X, this reviewer lands at something of an admirer of the film when love should have been the operative word.

Movie Review: X-Men: First Class (2011)

 

The year is 1962, and a world weaned off of several decades of conflict is once again reaching a divisive brink, as the United States and the U.S.S.R. spiral towards irrevocable conflict As The Age Of The Atom has dawned, humanity must now grapple with a newfound possibility of nuclear holocaust with casualties in the realm of the incalculable, and no likely winner. And yet beneath this cacophony of tension, another rift is brewing that could shatter the very reality so many seem to be fighting over.

Young professor-to-be, Charles Xavier(James McAvoy), just finishing college and ready to hopefully expand awareness of gifted human beings by way of genetic mutation is called upon to assist the CIA who have run afoul of a nuclear plot of unimaginable proportion. A plot spearheaded by rogue scientist, Sebastian Shaw(Kevin Bacon) who also harbors the revelation that he himself is a powerful mutant, and in the company of several "enabled" accomplices. It is within the belief of CIA agent Moira MacTaggert(Rose Byrne) that in order to thwart Shaw's plans, it is time to look toward similar individuals with their respective abilities. Little do they know that somewhere else in the world, a young & vengeful Erik Lensherr(Michael Fassbender) is on a neverending quest to track down and destroy every last remnant of the Nazi contingent he feels responsible for his painful past during the Holocaust, and is zeroing in on Shaw who in fact was once known as Dr. Schmidt, the man directly responsible for murdering his mother before his very eyes when he was a child, and unable to display his frightening magnetic power on call. With the open and empathic Charles, and the broken & angry Erik's ideologies on a collision course, the greatest conflict has yet to begin.

As a general rule, I tend to intensely dislike the very idea of a prequel as it implies not only a bit of laziness on the part of studios, incapable of looking anywhere but backward as a means to cannibalize profits from a well-worn property, but also almost always fall on the lazy side by nudging at how cool it is by referencing instead of operating freely as its own film. One doesn't even have to think very hard to see why this has become something of a bad word in certain geek circles. But there have been the occasional third base hit that not only stays true to the franchise that inspired it, but offered exciting new avenues for the franchise to breathe, and I'm happy to report that Matthew Vaughn's X-Men: First Class fits hand in glove with Bryan Singer's first two installments in what can be considered to be one of the most universal of superhero properties.

So this is where I reiterate that enthusiasm notwishstanding, I am by no means a superhero comics fan. But the most exciting possibilities of comics that hit home with me are one with a certain tether to our reality. Ones that reveal often undermentioned truths, and perhaps explore these themes in a visceral, entertaining manner. Which in many ways is why the X-Men franchise has been one of so much potential since it's early days in the latter 60s. In fact, one could go so far as to say that the mythology of X-Men was one of the medium's master strokes implicit of the time in which it was made. And when Bryan Singer took to bat with the first film in 1999, it was clear that audiences were at long last ready to embrace the civil rights angle, as well as the CG-laden spectacle one would only expect. But what noone expected, was the attempt to ground the film in a wholly new realm of verisimilitude that has remained a powerful influence in adaptations of comics since. Even if Stephen Norrington's BLADE was a precursor of comic-to-film-ad-nauseum to come, it was Singer's rough and ready event that changed the outlook of the comic book movie forever. And then Singer & Co. took it a huge step further with X2, and it was as if the prayers of not only comic book fans, but of genre geeks of all backgrounds were answered. The bar was raised, and it seemed like the craft could only fly higher....

And then came X-Men 3...And then Origins...It was as if Fox never seemed to have a clue what they had on their hands, and decided to single-handedly destroy what goodwill had been gathered by those first two entries.

But then, it also stands to reason that one of the biggest strengths Singer brought to the first two films is not only great thematic filmmaking, but sharp use of ensemble, which is in no way an easy task for a two-hour film filled with massive special effects. The films grasped the debate between both mutant factions, as well as the human reaction to the conflict which only serves to raise the stakes against Charles, and his school of mutants in their quest for greater acceptance in the world. The writing and directing need to perform a tricky balancing act in order for us to see both Charles & Erik's points of view without reducing either's validity, and Singer's films struck that balance nicely.

Based on a story by Sheldon Turner & Bryan Singer, and a script handled by Ashley Edward Miller, Zack Stentz, Jane Goldman, and Vaughn, one could only be wary by so many hands, and yet an overwhelming amount of it works seamlessly as the film adopts an almost Bondian sense of globetrotting, mixed with a classy early 1960s edge ala the legendary secret agent.

Of the many effective touches in the film, one that hits home as an admirer of the early films is the relationship between Charles & Raven (Jennifer Lawrence), a shapeshifter who's unusual appearance serves as a counterpoint to his ability to read minds and use telepathy, which cannot be outwardly seen by average people. There is a lingering sense of melancholy throughout this as those familiar know of her future role in the mythos, and knowing what they go through here only makes the first two films that much more painful. One would think that Charles' and Erik's relationship would be enough to fuel an entire film, and the fact that this is in here as well, only makes the inevitable that much more emotionally pummeling. From the initial meetings between Charles and Raven, and onto the first time he runs across Erik, it is clear that he is longing to be something of a den mother to many who feel so alienated by some uncontrollable twist of fate. There is a sincerity to McAvoy's performance that serves as a potent setup for things to come, and do they come in torrents.

As Shaw's plans with the Hellfire Club begin to advance aggressively, the CIA ( with the help of McTaggart & an open and curious Man In Black, played by Oliver Platt) open up the ability for Charles & Erik to seek out fresh & skilled mutant recruits to help stop what eventually becomes distorted history in Cuba. We are introduced to a number of young exceptionals such as Angel(Zoë Kravitz), Darwin(Edi Gathegi), Banshee(Caleb Landry Jones), Havok(Lucas Till ) , along with the already invaluable help of youth prodigy, Hank McCoy(played with awkward aplomb by Nicholas Hoult), who's own personal arc could easily have been the focal point of an entire story. And yet the overarching plot featuring our heroic few against those who would destroy us, and possibly impact historical events is handled well enough to carry several subplots that cement the classically universal themes of the original comics and films.

Which leads us to the flourishes that Vaughn's film brings to the table. As the central theme has always been one reminiscent of not only the civil rights movement of the era (which again, only makes the film's possibilities stronger), but of any great struggle for equality, the film brings its own unique stamps to the desk by going for some of the more obvious, but not as often stated struggles of the past; particularly of women in a so-called "man's world", and seething memories of enslavement. The era itself being something of a central character in the film is perhaps its masterstroke.

Division, and unification are at the core of the piece which is clearly reiterated by way of Charles as advice to Erik. The yearning for a place between rage & serenity is a difficult place to find, and this is where Erik's ultimate choice lies in view of everything he sees around him.

 In no way is this oversold throughout the film, but it is there just enough to make for some sly commentary on the era, as well as a means to bolster what comes to be Erik's ultimate calling in the film. Again, the man who would be the infamous Magneto may be seeing the other side of the argument from Xavier, but he is not merely driven by impulsive emotion. It is easy to see why his influence could be so strong, and in the hands of Fassbender, this works far better than the films first half almost implies. Vaughn's film lets us know where he stands from the beginning, and never lets us forget that even as he is elated to know that there are others out there like him, he still refuses to accept a notion of humanity ever accepting them despite all they're doing to potentially save the world. Seeing the 1960s through Erik Lensherr's eyes, division seems inevitable, with only a just purging being the reasonable option.

And what of Mr. Sebastian Shaw & Hellfire? Looking at Shaw, we can see quite well the man who would shape Erik's life by painting the vision of a charismatic, debonair monster in disguise. By making him possibly a greater ideological threat than what would come later can only conjure up horrible thoughts of what caused this man to envision an improved world with mutation reigning supreme. And yet the unexpected casting of Kevin Bacon is terrific. There is a mixture of cool-handed intelligence, Bond villain-esque humor, and ultimately simmering rage to his performance that helps us even better understand the origins of what would be the Brotherhood. Along with him are Emma Frost(January Jones), a telepath capable of deflecting another's ability to read by way of forming crystalline skin. Azazel(Jason Flemyng): a teleporter, and Riptide(Álex González), an air manipulator make up the remainder of Shaw's A-team, and are formidable as a Brotherhood prototype. With perhaps a hint of progressiveness just a stone's throw away, it feels reasonable to accept certain late additions to the team, even if it moves too quickly to feel truly earned.

Which is perhaps one of my only real issues with the film as a whole. Vaughn, fresh off of his no-studio daredevil stunt via last year's Kick-Ass is a director who embraces the general, and can move incredibly fast from plot point to plot point, which in many ways succeeds. But there are times when the whole could likely have been improved by letting the viewer breathe in the world for a little extra time. Two good opportunities lie with the early days between Charles and Erik. It is efficiently told for sure, but at times it feels as if there is one more good philosophical conversation missing between the two. And this is made up for by a great moment in the second half which is almost marred by an overbearing score by Henry Jackman.(I'll get back to that in a tic)And this also happens after the death of a character. There is a need for our young recruits to truly clock the stakes at hand, and it all passes by too quickly. Again, this is minor, but to have gone any faster would have undermined the film's already loaded storyline, and thereby hurting the inevitable payoff, which inevitably works in a lovely fashion. Vaughn and company deftly dodge that, and offer a solid thesis on how we came to be in the universe we have seen in the more standout films of the franchise to date, finally making this a successful trilogy of sorts. (the feeling of forgetting that X3 ever happened, and that this fits well as part ONE, makes for a doubly satisfying experience.)

I just wish the score were differently handled. As serviceable and fun the Jackman music is, it is far too modern rock score for the era we are witnessing, and a tale like this is classical in nature, which calls for something closer to John Ottman's music for X2. A minor quibble perhaps, but there it is. A film with this much class, and thoughfulness deserves nothing less.

And yet despite these minor gripes, there is much to love about X-Men: First Class. It is a welcome return to the emotional center of what makes this cast of characters so endearing, and relatable. And it serves as a smart & sleek counter part to other above par comic book adaptations. It proves that one doesn't have to be grim & overbearing, or drunk on familiarity to sell a successful action fantasy. X-Men is a mythos that deserves nothing less than careful exploration, and can offer new dimensions far into the future as so many of us at one time or another have felt ostracized for being "different". It is a testament to something inherently human, which is why comics themselves can be important in responsible, intelligent hands. And yes, it can kick royal ass when necessary.

Which is why Vaughn's film is an unmitigated success; it both compliments the best elements of Singer's films, and infuses this backstory with both a sense of adventure and impending tragedy that could easily have been another studio cash-grab. From script to cast, this is an unexpected return to form for a franchise long in the muck due to one bureaucratic miscalculation or another. It is also telling that Vaughn had been one of the directors attached to X3 before having to drop. It feels very much like he has had a great X-Men film in him brewing for a long time. And perhaps that extra few years was a necessary  for this particular brewing period in order to make this happen. And if that's the case, it's time to break into the tap, because X-Men is back, and possibly better than ever.

Kamikaze Girls (2004) - LAMB Review

And after nearly months of harping about it, and hoping that it could happen again, here is a first crack at a full-blown Kaijyu return. Now granted this wasn't at all what I had planned before certain events reared their heads, but in part respect to rural Japan , and part inspired by a fun Twitter discussion, I've decided to choose this 2004 film as my next review in my ongoing Live Action Manga Blues series. While this is a film I have seen multiple times over the years, it isn't as if I've loved it without reservation.

Yes. The Kaijyu has a strange relationship with Tetsuya Nakashima's colorful ode to EGL & Sukeban subculture. And I'm not sure if there's a complete way to actually describe what it is that I feel either way about Shimotsuma Monogatari. Originating as a light novel by Novala Takemoto in 2002, and was eventually adapted into a popular manga (featuring Yukio Kanesada), the film is a neck-breaking, eye-attacking exploration of the relationship between two unique characters. And when I say character, I mean white-hot intense caricatures, not unlike everything else in the film.

Young Momoko Ryugasaki (played with often frightening detachment by J-culture icon, Kyoko Fukada) opens the film in a dazzling prologue that includes a scooter accident, life flashing before our eyes, and some backstory to gather us into the wild story of her life until the potentially unseemly final moment. In an almost Fight Club inspired fashion, we are instantly privy to this film's cartoonish, frantic style complete with segueways and narrative rest stops as we see Momoko's early life as the daughter of a generation completely incomprehensible to her. Her mother, an aimless beauty, seeking out a man to rescue her. And her father, a lowly Yakuza errand boy. It is within this section of the film that we are quickly informed of just how this girl, came to not only move from the city, and into the cow patty-laden fields of Ibaraki, but also of her early disenfranchisement with the Japanese mainstream-enter her love of Elegant Gothic Lolita fashion, Roccoco-era sentiments, and utter detachment from others in a frilly packaged means of self-preservation. No way any old world "ideals" of love and connection to drag her down. Even as she often takes the long train to the city to spend whatever ill-gotten money she "earns" to maintain her fashion fix. (the weakness stemming from her father's counterfeit fashion scheme that eventually ran them out of town in the first place)

And it is within this mildly questionable chain of business practice, that she inevitably meets imposing, uncouth biker gal, Ichiko (played to the nines by model-singer Anna Tsuchiya) who is everything that Momoko isn't. The scooter-riding, showa-era style seifuku wearing Ichiko is passionate to say the least, which runs perfectly counter to Momoko's perfectly imposed sense of self, and seeming lack of caring. And it is within this strange, often violent (Simple, insult Ichiko, and its a kick or a headbutt) pairing that the film centers on. And it is the fact that these two are so far away from the city that borne out these obtusely diverging lifestyles that often fuels the humor. There is something about Momoko getting headbutted out in the middle of an open field that is both pathetic and hysterical. But it is when the duo set out to the city to seek out a "legendary" pattern maker that the story is set to test them both.

And this is where Nakashima & Co. seem far more interested in us getting to know these two at an almost arms-length distance, all the while drowning us in exploding charges of style. Which is welcome of course (this is also a guy who happened to really dig Scott Pilgrim if you remember), but the context of how we know these characters is often through the eyes of Momoko, who's world view may be considered skewed to say the least. And even an unreliable narrator as she can be, there needs to be some kind of counterbalance to help us better see them as humans rather than caricatures (even in Pilgrim's case, a look, a gesture went a long way to sell the real stakes) which really takes on bothersome dimensions when a potential love interest enters the fray. There's something in this section of the plot that in many ways almost kills the film completely. Especially when one of the girls is placed in a situation where growing up is at the center. If we don't feel the gravity of what is happening, and the interest is nothing more than an exaggerated cartoon, we are given little to nothing to care about. The fallout from this is an air of visually striking indifference. And worse yet, disinterested. (much like Momoko at the start, which defeats the entire purpose of an arc.) Made all the more frustrating as it seems like the two leads are really striving for more.

It also doesn't help that when the film's frenetic stylings attempt to shift gears, none of that works since the film almost wholly relies on gimmickry and the often appealing performances of Fukada/Tsuchiya. A mix that could have worked, but ultimately rings hollow. Particularly in the dull thud of a finale, which puts emphasis on name and reputation over individuality, which is disappointing.

And yet, perhaps the reason I still come back to the film occasionally is the package, rather than content. Nakashima's background was in commercials, and this is occasionally a stunning showcase of his talents if anything utilizing colors, set design, lighting, and even animation to fun effect. There is also an extensive use of real locations that is more than appreciated. To see these exteriors from the often flat lands of Ibaraki, to the pachinko parlor backlit streets of Tokyo, there is some welcome imagery here. And also of note is famed composer, Yoko Kanno's unique work in the film that encompasses several eras of J-pop culture to create a sound collage that is unlike anything she had done prior. And while all this, with such a surprisingly fun pairing, make for a fun audio-visual experience, its a shame that such a package comes short of a beating human heart.

Mother (2009) Movie Review

It almost never fails to happen. One takes in a number of recent works by some of the industry's most overpaid to create some of the most lackluster works highlighting as quality, only to take shots at a viewer's pride and intelligence. Sometimes it's so much that the feeling of love one has for film \slowly comes into question. And no sooner into this almost spirit-breaking streak does this malaise experience a break. A light amidst darkness that reminds one of the promise of film, of the power such a medium can hold upon a viewer. The ability to enrapture and beguile in ways not unlike great music, poetry, painting, sculpture, etc. Sometimes all it takes is an unerring spirit, a vision, and sincerity to make a genre work shine amidst the pack. Which is why this reviewer feels more than overdue for a neuro-exam for not catching Bong Joon-ho's 2009 mystery piece, Mother sooner.

Going back to the territory of small town life in rural South Korea, Bong Joon-ho's film seems to be taking the public view of life he so beautifully captured in his 2003 breakthrough, Memories Of Murder, and weaves a tale that not only surpasses this film, but completes a vision of life that while familiar, is alien enough to encourage the most ardent filmgoer to dream harder when looking for material of this ilk, and thereby raising the bar for atmosphere, coupled with masterful storytelling.

A nameless widow & quiet small town herb-seller (Kim Hye-ja in a deeply affecting performance)is sucked into a world of danger after her mentally challenged son (the equally astonishing Won Bin) is accused of the murder of a teenage girl. Driven by seemingly harried/indifferent(okay,try incompetent) police, and even less concerned legal assistance, the mother begins her own investigation into proving the innocence of her son. And what unfolds is something that takes the best elements of a Miss Marple tale caught in a rapidly growing tire fire, while the ghost of Hitchcock doles out the gasoline. It is a uniquely spellbinding experience that works, simply due to all cylinders being well cleaned and prepared to race.

The script penned by Joon-ho & Park Eun-kyo not only has an ear for what makes a strong spin on the detective tale, but also of the lives of each character, making the tapestry of intrigue & deception so much more delicious. Especially when considering a small town so used to conviction based on hearsay. The world of our central character is inhabiting can only bolster her resolve, making each revelation seismic in potency. And this would not have worked without the ultimate ingredient, which is the array of performances on display Kim Hye-ja has been a mainstay of Korean television for decades, and shines in a startling shift in tone to her usual portrayals. It is clear that this character means so much to Joon-ho, and she drives the film with irresistible sensitivity, and power. We're in the pit, and sinking deeper with her, feeling the need to be vindicated along with her as the story unfolds, regardless of where the mystery deepens, which is often in some disturbingly unexpected ways. Which also leads to the impressive performance of Won Bin as the accused, his Do-joon is both worthy of irritation as well as sympathy, making it the perfect destabilizing factor as his memories of the night in question are foggy at best. It is in this relationship that Mother truly goes for broke as the world ever seems set against them.

Also worthy of note is Joon-ho's careful use of the entire visual palette, further expanding the seemingly desolate world he explored previously in an 80s period piece. This time around, the backgrounds are every bit a larger part of the film's emotional base, which gives South Korean small town life an at-times disparaging beauty that must remain seen in full scope to be appreciated. From landscapes of dilapidated homes, to busy downtown scenes, it is truly a wonder to drink it all in. And for a film that seemingly doesn't require digital effects, the need was likely there, but it isn't in any way noticeable. The collaboration here with cinematographer, Hong Kyeong-pyo must be noted as another star in the film as the town itself becomes a most important character.

And while it would do a disservice to dispel any further plot information, it must be stated that what occurs in the second hour can be compared to anything major to happen to the mystery/suspense genre as Joon-ho seems to have mastered the craft in only a few films. As his previous family in peril/political satire-cum kaijyu-tribute The Host(2005) can attest, he is a filmmaker of extreme sensitivity to family devotion, and difficult plot twits. And these powers are in complete control here as the revelations begin to amass towards an emotionally pulverizing climax on par with the greats. It is no exaggeration that Mr. Joon-ho is in fact a world-class filmmaker at the height of his abilities with Mother, and the cinema loving community should welcome him with ever greater embrace with this haunting jewel of a piece.