FilmMining101 Reviews

Dune: Part Two (2024)

Epic but shallow sequel

[6/10 · 29 May 2024]

Reviewed by Filmmining 101:

What do you get if you blend together "Game of Thrones" (2011-2019) politics, the scale and scope of "Lawrence of Arabia" (1962), "Star Wars" (1977-2019) like world building and state of the art effects? The answer is "Dune Part 2", the sequel to Dennis Villeneuve's bold science fiction gamble which ultimately paid off with commercial and critical acclaim in 2021. Leaving behind much of the exposition that dragged down its predecessor, "Part 2" is a meatier and more concise film from the get go focusing on two elements: Paul's quest for revenge and his romance with Fremen Chani. All the other previously established plot threads will be resolved after a three running hour time leading to an open ending for the inevitable adaptation of the second book ("Messiah") and the continuation of a new now franchise.

Villeneuve and co-screewriter Jon Spaiths mostly succeed at presenting this epic despite some occasional misteps. Mainly, the romance between Paul and Chani feels undercooked amidst a sea of betrayals, political intrigue, prophecies and desert battles which are frankly more interesting, as a result of Chani's characterization and Zendaya's having-the-same-facial-expression-everywhere acting. With a beefed up role, Chani is an one note character, the archetypal badass tough girl who falls for the hero but we have no idea what makes her tick despite spewing some ... "modern" sensibilities against the madness of power. The lackluster chemistry with Chalamet does not help either.

The large casting ensemble is another problem resulting in very limited screentime for the Harkonnens excluding newcomer baddie Austin Butler as Feyd-Rautha. Even he arrives late in the party and then gets sidelined until the third act demands of him to become a physical obstacle for Paul to overcome. Thus, with movie being unable to have any villains of substance (Stellan Skarsgard has perhaps a total of 10 lines), you would think the supporting roles would populated colorfully the proceedings; yet they are reduced due the amount of plot. Characters such as Gurney (Josh Brolin), Reverend Mother Mohiam (Charlotte Rambling), Emperor Shaddam IV (Christopher Walken also wasted) and Margot Fenring (Lea Seydoux) are just an excuse to cast famous actors in banal dialogical scenes that do not do their talents justice.

The book's themes of colonialization, religious zealotry, precognition (or hallucinations) and political ambition are severely downplayed and occasionally heavy handed due to Villeneuve decision's to describe a straightforward (and engaging nonetheless) tale of revenge with supernatural (?) touches although exposition keeps creeping in to explain the world and its rules. Thus, events are resolved in a matter of ... seconds risking the deprivation of a strong emotional catharsis when the inevitable final confrontation explodes; key vendettas and alliances are swiftly resolved and established respectively to avoid laying storytelling foundations of mini arcs.

Technically though, "Dune Part 2" is a visual marvel showcasing a (practical) scale we rarely see these days - the sight of Arrakis' worms remains jaw dropping - and Villeneuve wisely holds back on the spectacle to favor somewhat ambiguous characterization in his large ensemble that will hopefully pay off further down in the future in the upcoming third flick. Continuing his streak of visually impressive filmography (e.g., "Arrival" (2016), "Blade Runner 2047" (2017)), he pays homage to the scope of Ridley Scott and George Lucas with keen intellect providing nifty little visual touches in a cinematic sea dominated by mediocrities and obvious green screen use; the Harkonnens' planet could be considered a living painting of black and white, the fireworks exploding like Rorschachs (touching the work of Zhang Yimou's in "Shadow" (2018)) while the lusciously orange and brown deserts of Arrakis bear a soothing beauty worthy of meditation purposes.

When it comes to action, the film delivers more of the same but on a bigger scale with two fractions going at each other in various desert related skirmishes assisted by visually appealing technological wonders and you gotta hand it to the creative team for putting up fast paced and deadly knife fights - especially the final duel. And then there is of course, the aggressive sound design; crystal clear, crisp and unique, it is a character of its own ands a testament to the human ability of crafting art. The last time we heard such exquisite sound effect editing and compositing was in the golden era of 1999 (e.g., "The Matrix", "Star Wars Episode I: The Phantom Menace", "The Mummy").

"Dune Part 2" is fantastic as an audio-visual experience, and yes seeing it in Imax does it justice. Considering how Villeneuve has one more motion picture left in the spice filled world, it would be great to see whether and how he will pull off his trilogy landing. It is not a storytelling masterpiece given its shallow characterization and lack of depth for such a rich source material but as entertainment goes, it is pretty good.

True Lies (1994)

Bombastic and hilarious blockbuster

[8/10 · 29 May 2024]

Reviewed by Filmmining 101:

James Cameron's most forgotten movie before he begun dealing with a sinking ship and some blue aliens, "True Lies" based on the French film "La Totale!" (1991) was the most expensive flick ever back in 1994 due to its groundbreaking special effects and larger than life pyrotechnics used in several outrageous proceedings. No stranger in shooting epic (and innovative) action, Cameron's follow up to his globally successful and award winning "Terminator 2: Judgement Day" (1991), a sequel that set the bar extremely high for action and science fiction movies as well as naturally plot progressing sequels, has the same elements (i.e., Arnie, guns, aggressive stuntwork, explosions, violence) yet it is tonally a different beast altogether.

Purists might find its genre shifts annoying, others will sit back and enjoy the superb comedic chemistry of Curtis and Schwarzenegger which makes you wonder why these two never shared the big screen again. Cameron's clear adoration for spy shenanigans is evident ticking every cliche he can think of winking at us at the same time through an overwhelming amount of extremely-hard-to-believe antics. Where else will you see Arnie swimming in a frozen lake, hiding an impeccable tuxedo underneath his swim suit and speaking French? Scenes like these might be the cause of some eye rolling, yes, but "True Lies" is not a documentary and neither it aspires to be one. Quite frequently the plot is just an excuse to develop some hilarious sequences and whether these are employed through the traditional tropes of villain chasing or the misunderstandings in Harry's and Helen's wedding, it matters not.

As a spectacle, it is remarkable and entertaining, no doubt about it. Cameron manages to switch gears between high octane action and comedy effortlessly. It is really though towards its second half though where "True Lies" well, truly reveals itself with Jimmy mentioned that this is ultimately a film about a broken marriage. While its pace dips half way through to make way for Harry's and Helen's problems, you will either dig it or hate it. Arnie is solid a role perfectly suited for him but it is Curtis who threatens to steal the show as the neglected housewife of a successful "salesman" who is never at home and desires a bit of a thrill in her monotonous life. Her involvement in an alleged spy plot much to Harry's displeasure threatens to sidetrack the whole thing although simultaneously it offers the opportunity for extensive comedy mainly due to a funny Bill Paxton performance.

Curtis' psychological and "dodgy" turmoil she is being put through could invoke the wrath of feminists in this modern era but it is all part of two dishonest individuals anyways; and thank the cinematic gods because her dance scene is now the stuff of legend due to Curtis' stunning body and natural moves. Such human characters provide the ludicrous story with meat even if the movie falls short on the villain department; Middle Eastern terrorists are simply caricatures to be used for target practice while a stunning Tia Carrere is wasted after her breakout success in "Wayne's World" (1992).

Bypassing though all the context about double lives, failed marriages and suburban daily routine, Cameron's action sequences here are first rate and larger than life. Even those that are initially small in scale, can be easily considered the finales of other major Hollywood productions. Boasting a few raised eyebrows in terms of how they managed to pull them off (although they are a number of shots where Arnie is ... too flexible and lean)- a horse chase and a bathroom fight feel particularly grandeur and fresh, the Canadian workaholic goes ballistic in the final act blending limousines, airplanes, helicopters, trucks, a hefty amount of baddies, bridges and a high rise building in an explosive sandbox that would make Michael Bay. This was the go to action movie in 1994 and if you could compare it with, let's say, "Stargate", "Blown Away", "The Specialist" or "Clear and Present Danger", it would be unfairly comparing a bunch of ants to a tarantula.

"True Lies" could be described as a circular series of cool, explosive and (very) funny moments that aim to please the eyes and not necessarily the soul under a state of the art production. Surprisingly, Cameron and his protagonist duo emerged unscathed in an OTT storyline which would have sunk others of lesser talent. Grab a big pop corn and enjoy 2.5 hours of pure entertainment. You won't find anything like this in our era.

Furiosa: A Mad Max Saga (2024)

A prequel that nobody asked for

[4/10 · 29 May 2024]

Reviewed by Filmmining 101:

It's been almost ten years since George Miller blasted audiences with his belated "Mad Max: Fury Road" (2015). Featuring out of this world car stunts and chases, Miller's camera captured on-screen vehicular mayhem to the likes we have never witnessed before under a thunderous score, hyper-saturated cinematography, static framing and clever world building. A standout (among other things) was Furiosa, an intriguing character in the critically acclaimed fourth entry, raising questions about her mechanical arm, quest for redemption and her relationship within the Immortan Joe's possie. A decade afterwards, Miller thought that answering the above would be a great idea giving us a spin off/prequel hybrid in "Furiosa: A Mad Max Saga".

While its predecessor was a behemoth of gargantuan set pieces and simplistic storytelling, "Furiosa" spans years beginning with her lengthy abduction from the "green place" and following the events that led her to be the War Rig driver. However, this tale is not compelling (or enough) to support a film let alone a two an half hour one. Miller and co-screenwriter Niko Lathouris split the movie in five pompously named chapters (e.g., "The Pole of Inaccessibility" anyone?) and remove the subtle substance which made "Fury Road" so appealing. In the middle of all these crazy post apocalyptic and plot holed shenanigans our hero survives the ordeal in a baffling way and feels a supporting character within her own film.

The dramatic depth of "Fury Road" through her "redemption" arc is invalidated since none of her actions go against her (or any) moral compass. Meanwhile her personal vendetta against chief villain Dementus - the anchor for her desert Odyssey - is watered down by mind boggling choices such as a skirmish with Immortan Joe that never plays out in full capacity. A tighter script would have provided hefty emotional stakes around this subject (e.g., Furiosa having to choose between two "father figures" as the lesser of two evils for the time being) but Miller is interested in presenting an anemic story with not enough dramatic tension as we know she will survive the whimper of a final confrontation utterly lacking a sentimental catharsis.

The characters are not that interesting either. Dementus - Chris Hemsworth's much anticipated villainous turn - is like Thor (cape and all) in a R-rated film who is more of a man-child rather than a menacing warlord prowling the deserts of Australia. His distracting fake nose and high pitch accent render him a laughable antagonist who belongs in a different type of movie and no wonder he disappears half way through. Only Tom Burke manages to bring some humanity to a limited role offering minimal impact plot wise as a substitute of Mad Max.

Plagued by unbelievable traits (e.g., Furiosa's (anorexic looking) mom rides horses and motorbikes in the scorching desert barefoot(!), goes through sandstorms and takes down an army of guys without a single spec of dust on her hair), makes it hard to take any of these stuff seriously. It's like Miller reversed the dirty and ludicrous world presented before to favor standard fluff embracing simultaneously Australia's DEI policies in every panel leading to unintentional laughs when several accents occupy the same spot.

Be that as it may, you would assume "Furiosa" will shut anyone up by displaying outstanding vehicular chase sequences, a standard set by Miller himself but leave your expectations at the door. Drowned in copious amounts of jarring CGI green screens and obvious digi doubles and vehicles that would feel right at home in the mediocrities of Marvel, the dangerous and practical days of "Fury Road" are a thing of the past. Remember how you gasped when you saw the War Rig attack thinking your eyes might be deceiving you when it came to these jaw dropping stunts? No such notion will be experienced here and this rather disappointing sentiment is extended to the rest of the film's aspects; Junkie XL's soundtrack is a copycat of his previously superior work in "Fury Road"; the violence is gratuitous and cartoonish; and the cinematography of Simon Duggan is a major stepdown from the award winning work of John Seale's.

So despite all the above, where does "Furiosa" stand in the "Mad Max" (1979-2024) ranking? It is by far the weakest of the bunch yet can you call it a bad movie? No, but it is a messy one for sure due to the hyper surrounding this production. Bypassing such facts, Miller does find the time to make a few impressive landscape and stunt shots (when CGI is integrated effortlessly), his direction a bit more playful this time around, which might elicit minor "Fury Road" awe. Immortan Joe remains a delightful character to revisit and Anya Taylor-Joy has screen presence bringing enough vigor to almost match Charlize Theron's portrayal even if she seems in dire need of a cheeseburger. The production design is excellent too boasting creative and inventive of all sorts of designs for both vehicles and locations while the costumes are more detailed than ever and fit thematically in this mad world.

You can't help and feel disappointed though. All the problems present in his previous film ("3000 Years of Longing" (2022)) such as cheap CGI and over-zealous direction can be seen in this expensive and expansive production that sacrifices what made "Mad Max" unique in the first place. Perhaps time will be kind to "Furiosa: A Mad Max Saga" once the dust settles down.

Braveheart (1995)

Glorious and engaging epic

[10/10 · 24 May 2024]

Reviewed by Filmmining101:

Mel Gibson's second directional effort was a force to be reckoned with surprising many through its breathtaking scope, poignant storytelling and heroic antics. Taking inspiration from one of Scotland's greatest folk heroes, "Braveheart" tells the (hyper-dramatized) tale of William Wallace who organized his fellow men to fight against the British rule amidst political (and local) intrigue, doomed romances, betrayals and lots and lots of courage.

The relatively tame 1990s were not prepared for the Aussie's vision of medieval Britain. Gone are the days of romanticizing (at least visually) the Dark Ages. Gibson's camera does not shy away from crooked teeth, gaping wounds, dirt, mud, diseases and other "unpleasantries" which modern audiences are not familiar with. That era was nasty and brutal, a person's living expectancy around 30 years old and it shows. His Battle of Stirling is a good example of invoking a powerful, honest and visceral impact towards audiences that was missing from Hollywood classics, filled with thousands of extras, hyperviolence, slow motion, and a level of head-crushing and limb-chopping cruelty still able to shock to this day. Highly regarded among the best battles in film history due to its ferocity, suspenseful staging and thunderous sound design, it is proof that Gibson might be a fine actor but also a keen student to channel his (vast) work experience with great directors (Richard Donner, George Miller) in his second directional effort. Not bad for an actor going behind the camera.

Amidst its visual panache courtesy of John Toll's ("The Thin Red Line" (1998)) mesmerizing cinematography of gorgeous and atmospheric Scottish locations, there is plenty to admire in its straightforward storytelling. Although Randall Wallace's script has been accused for its Anglophobic eruptions due to its almost caricaturesque depiction of the English nobles, kings and soldiers, its story is highly engaging propelled by a ferocious performance from Mel Gibson; his beautiful blue eyes are enough to justify the onslaught brought upon the English in a three hour running time established by a clear arc.

Gibson directs capably his cast extracting excellent performances mainly from the "towering" Patrick McGoohan (as the film's chief antagonist, King Edward Longshanks), Brendan Gleeson and David O'Hara despite the script occasionally leaning towards 90s stereotypes of supporting acting (e.g., the crazed Irish, the brute Scottish, the obvious gay man, the conflicted noble). Although this might not seen favourably in our hypersensitive era, the performances are nonetheless entertaining in the grand scheme of things, a reflection of the writing at the time which did not offer much meat for this type of roles. The female characters though fare less well; the gorgeous Sophie Marceau is reduced to a vessel of mourning or sad looking wife between battles and political shenanigans offering nothing insightful from France's part while Catherine McCormack's quiet and limited screentime serves as the sole catalyst for Wallace to explode.

If you lean back though, it is certain "Braveheart" will plenty entertainment on a grand scale for which Hollywood used to be famous for. Whether it is its sweeping scope, excellent production and costume design, the highly emotional score by James Horner (one of the best soundtracks of all time) or the memorable lines and powerful speeches, Gibson's monumental historical drama still gets a hold of people's hearts. Expertly edited and put together, it never feels boring and its long hour running time passes by effortlessly due to sequences and segments that never outstay their welcome with an organised display of a chess board's pawns.

It is not hard to understand why "Braveheart" was such a massive (and unexpected) Oscar winning success remaining beloved almost three decades later. Despite the large amount of liberties being taken with the original story, they makes sense in order to create a more cinematic and cathartic take on Wallace heroic and arguably tragic journey. So check your historical expertise at the door and enjoy this epic movie. It deserves it.

Perfect Days (2023)

More like "Toilethog Days"

[6/10 · 10 May 2024]

Reviewed by Filmmining101:

Hailed as a stoic masterpiece about the little things, Wim Wender's latest finds the German director leaning towards his best and worst tendencies. "Perfect Days" is exactly a vehicle which pseudo cinephiles pretend to love due to its superficial take on the ideal daily lifestyle. Its 4:3 aspect ratio is enough to highlight that like a disconnected Hirayama from an increasingly automated world, the film is isolating itself from the seduction of modern cinematic presentations too. The lack of score further emphasizes this; the analog musical taste of our likeable toilet cleaner accompanying us in his weekly routine, a different track each day.

From an outsider perspective, Hirayama seems content (played with remarkable constraint by Koji Yakusho) in a thankless job. In typical Japanese fashion, he gives it all and outside of it, he manages to incorporate his own aesthetic in his home and choice of hobbies. Initially, we think that perhaps a catalyst of some sorts will enter the grand scheme of things to ultimately, allow Hirayama to shine for the audience. Yet, Wenders is keen to showcase the same routine several times with only the minimum of societal interaction which does not result in the growth of the main (and perhaps the only important) character.

Its social commentary attempts regarding the newer generations (in the form of Hirayama's younger colleague) are surprisingly heavy handed; what could have been an interesting study between generational differences and the exploration of why someone's limited in scope life aspirations (i.e., being content) can be something we should all strive for are reduced to anonymous and minimal verbal exchanges that do not mean anything really. Hirayama looks, nods and carries on even in the rarest of circumstances where he as a middle age man could offer something to those around him.

Wenders believes in roboting behavior where blind obedience in weekly routines exist and what better example could be served than the hardworking Japanese? While Hirayama can be content with this late middle age lifestyle (and of course no one can deny that he should not be), him existing in a social vacuum mostly by his own choice does not make for a compelling story. We know nothing about his family, friends, past, why he does what he does and why he likes what he likes. It's all in the atmosphere and in the viewer's discretion to dissect such notions which lead to nothing. This type of cross-sectional information limits Hirayama to just a likeable, two-dimensional individual with no useful insights or wisdom to share. Imagine if "Wall-E" (2008) was a human without the third act and EVE set in Tokyo and you get the broader picture.

Although towards the second half, Wenders and co-writer Takuma Takasaki manage to introduce some minor elements of intrigue through extending cameos, these are far and in-between tedious shots of toilet cleaning and do not carry enough emotional catharsis. Films of similar content like Masayuki Suo's "Shall We Dance?" (1996), Sofia Coppola's "Lost in Translation" (2003) and Kogonada's "Columbus" (2017) might lack explicit drama but are smart enough to insert some sort of laconic characterization for the audience. Wenders shoots across multiple locations and makes an effort to present Tokyo not as this vast hybrid of new and old, but as a fusion of millions of individuals living together in harmony where a walk in the park can be rejuvenating for the human spirit. In this regards, he succeeds demonstrating some beauty in his movie through its simplicity (under the vivid cinematography of Franz Lustig).

"Perfect Days" is far from perfect. It tries too hard to talk about life without making a compelling case for it. If you are seeking dramatic depth, look elsewhere as Wenders combines his static way of storytelling from "Wings of Desire" (1987) without relying on a meaningful script. If this is the sort of thing that keeps you going, more power to you. Only for the hardcore Wenders fans.

The Inspector Wears Skirts II (1989)

Inferior albeit funny sequel

[5/10 · 1 May 2024]

Reviewed by Filmmining 101:

An unnecessary sequel, "The Inspector Wears Skirts 2" might as well be an extensive conclusion of the previous film and no one would notice. Nothing has changed including its cast and creative forces behind it and in typical Hong Kong fashion there is strong implication that it was shot relatively quick after the release of its predecessor.

Although the direction of Wellson Chin is more confident in round 2, the film leans heavily towards the prolonged comedic shenanigans between the old SKIRTS and the new recruits whom they have to endure and of course, train in a rather hilarious montage that is a Cantonese and gender swapped version of "Police Academy 2" (1985) and "3" (1987). The only difference is the inclusion of far cruder (and to this writer's preference) and funnier Hong Kong jokes; random sound effects, dead pan delivery, OTT performances and pranks characterized by a below-13-year-old IQ are ever present in a practically non existent plot.

The script incorporates and represents sometimes gratuitously Hong Kong's simplistic comedic overtones in 80s peak mode unaware of the West's obsession with political correctness. Occasionally, its random slapstick "explosions" and unintelligent verbal exchanges are a joy to watch under today's climate where the fun police monitors the muttering of every single word. From that perspective, it is definitely funnier than its predecessor.

This though comes at the expense of the fight sequences for which the cinematic action Mecca is known for. Despite having support from the, let's be honest, legendary Jackie Chan's stunt team (all of whom have minor roles), the action is limited with a few mano a mano (or girl to girl) fights. The lack of Cynthia Rothrock is felt and there is a tendency to downplay the female led stunts. Even Sibelle Hu is sidelined in favor of the now large SKIRTS unit who are more interested to navigate the complexities of romance and bitchy emotions than kicking ass. Most of the acting weight falls to the comedic chops of the superb-on-timing Sandra Ng, Billy Lau and Stanley Fung but when Jackie Chan is your producer you might as well deliver on that front and not being a cop out.

Yet, the climax ends as soon as it begins leaving us with the constant efforts of Inspector Kan to woo Madame Wu. Offering nothing new in the action and comedy departments, it is nonetheless an enjoyable flick for a late pizza Sunday afternoon. Hong Kong enthusiasts will still eat it up due to its impeccable stuntwork although it is glaringly obvious when men do the tough pirouettes which gives it an extra point for surrealism. There is even a random dance number (again) half way through reminding us just how cool Hong Kong people would dress in the late 80s. At the end though, you won't remember much, feeling exhausted from all the hysterical antics and the absence of even a banal and basic plot.

Flesh+Blood (1985)

Not your grandma's historical romance flick

[7/10 · 29 April 2024]

Reviewed by Filmmining 101:

Split into two halves, the kinda adventurous spirit of the first part is replaced by a fun albeit nastier segment involving a siege that does not shy away from a few uncomfortable ideas. However, the final product bears a feeling of external intervention. While Verhoeven wanted to focus on Martin's and Steven's relationship which context wise is far more interesting, producers insisted to introduce a traditional for this genre romance, something strongly felt as shoehorned across a two hour running time since the film's proceedings lean towards Jennifer Jason Leigh's character and her (subtle) fight for survival. It might invoke the wrath of feminists for the role of women back then, but seeing this film through presentistic eyes only waters down history and its relentlessly cruel aspects.

The absence of a capable and most importantly, likeable hero makes things even worse for those used to mythological fables of good vs evil. Rutger Hauer leads a strong cast making his Martin relatable enough until well he is not, bringing lots of charm to a rather thankless role (Hauer hated his character). He plays opposite Tom Burlingson's champion of justice who is not that different from his nemesis too looking like a mini version of Emilio Estevez. Yet, the film belongs to an extremely young Jennifer Jason Leigh shining through scenes that other actress would not even dare to poke with a mile long stick, her highborn "princess" not the sweet, loving My Lady you would expect.

Perhaps described as an earlier version of "Game of Thrones" (2011-2019) way before the latter cemented into the pop culture pantheon, "Flesh and Blood" is a full on adult ride under an advantageous re-evaluation. The production design brings to life little details and hints of that era - from the blind faith to God to shifting alliances in the nick of time - all through physical locations and not glorified sets. Like any of the Dutch director's cinematic outputs, there is nudity and violence under a smart commentary about the man's not-different-from-a-beast nature. If you have the stomach and patient to endure this, then why not.

Samsara (I) (2023)

An experience like no other

[9/10 · 20 April 2024]

Reviewed by Filmmining 101:

Not to be confused with Ron Fricke's follow up to his "Baraka" (1992) masterpiece in 2011, Lois Patino's film is an entire different beast altogether. Despite some misleading in the broader sense posters, you really think that you will be immersing yourself into an experimental documentary willing to discuss the circle of life and death through captivating pictures in crystal clear definition.

And you will be wrong. Patino's movie is a rather slow and lyrical representation of rebirth held together by flimsy story threads which do not take the viewer by the hand to wholeheartedly explain or water down the experience. Instead, the dialogues are laconic, minimalistic and scarce throughout a two hour running time enough to span two continents and two wildly different countries populated by common spiritual (not religious) elements that unfortunately in the developed world today are being ignored for shoehorned and superficial socio-political messages under the power of individualism.

"Samsara" might be slow for inpatient viewers - perhaps too slow - with Patino's camera panning lethargically 360s to showcase either a class full of Buddhist monks or a Zanzibarian beach. For others, this could be an excuse to delay a bit our swirling and overwhelming emotions in favour of meditative shots bursting with a wide and lively array of Nature's soothing sounds. The exquisite sound design heavily leans on the latter and less on the nominal dialogue to provide an audio catharsis; those seeking something more than a film will find this approach quite rewarding.

Nevertheless, discussing "Samsara" more would spoil an intriguing and unexpecting surprise that feels like your own personal journey through its poignant story of death and rebirth. Allowing each audience member to contemplate such notions which we tend to ignore these days, a 20 (give or take) minute segment is certain to invoke individual sentiments that potentially have not been felt for a long, long time due to our narcoleptic way of living; a goat represents a powerful metaphor in a world where constant behavioural and even physical perfection is sought by the majority to make room for pointless and hedonistic satisfaction.

"Samsara" should be included in educational curriculum to teach upcoming generations humility, stoicism and above all, savouring the wonderful thing that is life. More of an experience and less than a fully fledged film, Patino makes a bold yet uncompromising and eloquent statement deserving not only your curiosity but your attention too.

The First Omen (2024)

Mostly good prequel of a classic 70s film

[7/10 · 17 April 2024]

Reviewed by Filmmining 101:

"The Omen" in 1976 captured perfectly the satanic paranoia zeitgeist of the US in one fell scoop. But like any great script, it quickly became a so-so movie series which by 2006 had only to offer an inevitable and failed remake due to its banal execution and copy pasting the source material.

Eighteen years later, director and co-writer Arkasha Stevenson's first feature film "The First Omen" takes unexpectedly the prequel approach leading to an uphill battle involving critics, audiences and the original's fans. With the outcome of the supernatural horror story already known, Stevenson and the writing duo of Tim Smith and Keith Thomas have to make our pre-Damian trip to Rome worthwhile and not just focusing on sightseeing. Their demonic path is mostly well laid out featuring somewhat 2-D characters even if they really run in the middle of every single hell-ish cliche you can think of; shadowy figures, abandoned rooms, dodgy nuns, whispers, otherworldly visions and theocratic conspiracies all converge towards the anticipated finale that will pave the way for "The Omen".

Clearly a product of its time (i.e., post #MeToo era), there are some heavy handed themes of emancipation, anti-patriarchy and on the nose metaphors for abortion which will either make or break the film. Considering it takes place in 1971, this presentism view of Rome (complete with a diverse background cast (!) especially at a disco bar) occasionally does not make sense as way too modern ideas and dialogue are inserted towards a time and a place where Catholicism is as important to Italians as it is water to a person crossing a desert. As we head towards the appropriately fiery finale, "The First Omen" has to bow down to boring genre rules although its key message that touches sequel bait territory about (spoiler alert) preferring to give the middle finger to the Antichrist because he is a male is baffling considering we will have an upcoming apocalypse.

Bypassing these conflicting notions, Arkasha does a remarkable job at recreating the supernatural horror 70s aesthetic just like James Wan did in "The Conjuring" (2013) showcasing Rome as a very unfriendly place indeed while simultaneously paying witty homage to Richard Donner's work from the original. Taking cues from every successful horror flick of the last ten years, "The First Omen" emphasizes atmosphere and interestingly, it does not shy away from shocking body horror images that push its R-rating to the max. The marvelous architecture and befittingly Christianity inspired production design add extra dread to already ominous proceedings and despite some predictable jump scares (how many times a ghost nun can be effective these days?) and a few unintentional laughs due to the main lead's line delivery, its outstandingly eerie music (candidate for best soundtrack of the year) combined with superb cinematography gives the film an unexpected panache.

The random word generator named Nell Tiger Free (Myrcella from "Game of Thrones" (2011-2019)) has an ok presence even if the dialogue's quality turns her down several times. She is doing better in the numerous boo shenanigans than in cases requiring more emotional depth; Alyssa Sutherland (e.g., "Evil Dead Rise" (2023)) or Jane Levy (e.g., "Evil Dead" (2013)) she ain't. The supporting cast though manages to solidify the protagonist sharing good dynamics in their small but effective roles. Sonia Braga (e.g., "Kiss of the Spiderwoman" (1985)) is unrecognizable (veil and all) as the iron-fist ruling head nun, Billy Nighy ... is Billy Nighy and (the stunning) Maria Caballero as Luz a solid contrast against Free's reclusive soon to be a woman of god although all three (and subsequently the movie) would have benefitted from more of their on-screen presence.

"The First Omen" strays from the horror prequel, reboot, requel and remake pack that sees the destruction of the original's legacy due a lack of creativity. This tale of satanic expansion might take away (as they always do) the mystery of a compelling story but at least, it executes it (mostly) with gusto and attempts to introduce some engrossing and original elements through an audio and visual panache which films of similar context sorely lack. It might be eventually trapped under an established mythology and become preoccupied to tick check boxes towards the end but one thing is for sure: Arkasha Stevenson has a bright future indeed.

Head On (1998)

Shallow and provocative exploration of sexuality

[4/10 · 14 April 2024]

Reviewed by Filmmining 101:

Based on the book by Christos Chiolkas "Loaded" (1995), the film of Anna Kokkinos attempts to highlight the first generation and non-straight experience in the late 90s Melbourne. However, "Head on" is a mess of a movie plagued by its constant handwaving about every social issue you can think of: police brutality, ethnical discrimination, racial tensions, unemployment, drug and alcohol use, homosexuality, tough upbringing, and the assimilation of immigrants in modern Australia! It throws everything on the wall and sees what it sticks really much to the disappointment of an audience searching for a character or a story to relate with.

This tale is less about Ari's closeted experiences and more about his self-hating behaviour, yet at no point in time, the script gives us any information or hints as to why. What could have been a meticulous exploration of someone's identity clashing with traditional(?) family and community values becomes quickly an excuse to present (mostly) gay oral sex scenes that bear a "Showgirls" (1995) quality to them. Considering how Wong Kar-wai shook the cinematic landscape in "Happy Together" (1997) depicting a troubled relationship between two gay Chinese immigrants in Argentina(!) a year earlier, "Head On" looks like a cheap school project in comparison.

Its dated videoclip inspired aesthetic renders it a poor cousin of Danny Boyle's "Trainspotting" (1996) which clearly served as the film's inspiration for its unique visual style but Melbourne is not Glasgow and its characters had all well defined arcs and traits. Kokkinos uses hyper-saturated and dogmatic cinematography that would make Von Trier proud, fade outs, handheld camera shots and an ever present (and irritating) hybrid soundtrack of electronic, Greek folk and alt-rock songs to capture our attention, yet the effect is the polar opposite of the desirable one.

Alex Dimitriades should be commented for immersing himself into a role featuring full frontal nudity - a rarity for a straight actor - and lots of simulated sex but the lack of depth in the proceedings paints his lead as an individual who will earn no sympathy from our part. Aris treats everyone with disrespect and "Head On" justifies these acts through a self-destructive path of superficial relationships, drug and alcohol abuse and sexual deviant behaviour. You could assume we would get some insights about Ari's lifestyle choices through his social circle to understand what makes him tick as a person but Kokkinos' script does not seem keen to dig into this aspect. Even the most interesting element - Ari's friendship with a trans cousin - is stated but not even remotely examined in a plot already crumbling under numerous social threads that do not come together at the end.

The acting is also raw in places; while the older cast handle the Greek dialogical segments ok, the younger members struggle to deliver authentically their lines (filled with terrible mispronunciation and grammatical mistakes) during their emotional outbursts. The only stand out is Paul Capsis as a transwoman who brings real vulnerability in a complex-on-paper character although his lack of arc does not affect the protagonist's journey any way whatsoever.

"Head On" enforces the very dated stereotypes it tries to tackle. It might have been explosive during its release in a time when society was not willing to highlight let alone discuss issues around someone's sexual orientation, but time has not been kind to it. The "edgy" direction and uncompromising subject matter are not enough to hide the lack of a compelling lead, the subpar acting and amateur approach to the source material.

Eastern Condors (1987)

Sammo Hung's best(?) film

[6/10 · 13 April 2024]

Reviewed by Film Mining 101:

Hailed by many as Sammo Hung's best film (debatable), "Eastern Condors" was made during a time when the war and testosterone fueled cinema dominated the US big screens following the Vietnam conflict through pop culture icons (e.g., "Predator" (1987), "Rambo: First Blood Part II" (1987)) and in-depth gritty takes on the genre (e.g., Oliver Stone's "Platoon" (1986), Stanley Kubrick's "Full Metal Jacket" (1987)).

Hung pays homage not only to those aforementioned movies but also to "Dirty Dozen" (1967) type flicks featuring an ensemble team heading towards a dangerous and of course, top secret mission. A pedantic excuse for a story is being used as a vehicle to craft some outrageously dangerous stunts, plenty of mano-a-mano action, spray lots of bullets and set off numerous pyrotechnics. Technically "Eastern Condors" can be seen as a Hong Kong remake of "Rambo: First Blood Part II" only instead of Stallone, we have multiple Chinese-American convicts with the same bravado and attitude played by famous Asian stars (among them the legendary choreographers/directors Yuen Woo-ping (e.g., "Drunken Master" (1978), "The Matrix" (1999)) and Corey Yuen (e.g., "Yes, Madam" (1985), "The Transporter" (2002)) who never have to reload a gun and can kill simultaneously and instantly a dozen of opponents.

Whether this parody-leaning tactic is intentional, it remains unknown. What stays in memory is Sammo's ability to stage crystal clear action in wide shots amidst a plethora of exotic locations (Philippines posing for Vietnam). Looking more expensive and expansive than your classic Hong Kong actioner, Hung has a large sandbox to play besides staging extensive martial arts sequences and he does not disappoint by incorporating a lethal tone through surprisingly shocking and violent deaths. However, the jarring for Western audiences tonal shifts can cause a degree of discomfort disrupting a sense of dramatic stakes whereas the really abrupt ending - a typical element of 80s Hong Kong cinema, will leave you scratching your head.

The large cast is likeable yet only few manage to register some level of personality before being killed off. Thus, the majority of acting rests on the shoulders of Hung and Yuen Biao who believe it or not, is more flexible than Jackie Chan in an entertaining role which does not make any sense in the 1970s Vietnam but you are not here for realism. Credit should be given to Hung also for pushing his female co-stars to conduct their own stunts, especially the gorgeous Joyce Godenzi demonstrating equal treatment in stuntwork and contact fighting. The lack of a truly intimidating villain though is strongly felt as our heroes face endless waves of goons scene after scene and when Yuen Wah's evil communist exits the stage the moment he is introduced while Yasuaki Kurata and Dick Wei have nothing to do besides fall down.

Despite its serious tone and action overload, "Eastern Condors" still pretty much is a representation of Hong Kong's mainstream cinema. Although it does not break new ground the way Hung's "Wheels on Meals" (1984) or Chan's "Police Story" (1985) did, its well crafted sequences are its main lucrative ingredient along with a charming and appealing ensemble of Asian stars.

The 13th Warrior (1999)

Uneven and unfocused book adaptation

[5/10 · 25 March 2024]

Reviewed by Film Mining 101:

John McTiernan's adaptation of Michael Crichton's novel "Eaters of the Dead" renamed after Crichton himself took over from the veteran action director as "The 13th Warrior", remains a bizarre historical flick. No matter how big the budget was (around $160 million dollars!), there is hardly anything on the screen that justifies the cost of this production.

At best, "The 13th Warrior" is a borderline alive action flick with some interesting elements that are never fleshed out to offer a unique cinematic experience. The marriage of East (via our protagonist) and the West (the Vikings) is underwhelming boggled down by unnecessary narration and copious amount of exposition and translation between two dimensional characters instead of allowing the events naturally to evolve. This 10th century tale of courage and heroism is stuffed with 13 characters who besides 3 or 4, have absolutely no personality whatsoever, dying faster than you could say Bandera's on-stage name. Besides Vladimir Kulich's physically imposing and polyglot Viking leader and Dennis Storhoi's chatterbox, the rest can only be dinstinguished by a Scottish accent (Tony Curran), and stoicism (Daniel Southern). Their limited interactions do not give any information about themselves or the world they live in. Attempts to enrich the material with subplots have virtually no resolution (e.g., the king's jealous son, Diane Venora's Queen, Banderas' romance) while the much anticipated climax with the root of the evil is a blink-and-you-will-miss-it moment utterly devoid of finesse and showmanship.

McTiernan seems uncertain as well (or should we say Crichton) at what to do. Neither though take any chances to display a visually stimulating production design let alone keeping track on a hard R-rating. This hybrid of historical action and horror deserved better; there are several decapitations and violent moments but they feel like afterthoughts of an extensive trimming process in the editing room. Thus, when the clashes finally happen, they are albeit very brief. For a film boasting an assemble of 13 badass Viking warriors, it is awfully disappointing. McTiernan might be employing dynamic camerawork to keep things at a fast pace, yet his second half can't match the atmosphere of the first. The reveal comes all too soon and what could have been a more Lovecraftian approach to historical aspects becomes a banal fight between two groups without a truly memorable moment and this is from the same guy who made the South American jungle n "Predator" (1987) a character itself.

Not all hope is lost though as there are things to salvage from this expensive adaptation: Jerry Goldsmith's score (a last minute replacement of the already complete and rejected work of Graeme Revell) is deliciously grandiose (and you could hear "The Mummy" (1999) inside there) displaying an audio-wise impressive canvas of symphonic sounds, the cinematography is crisp, the violence makes things more raw and the use of real sets and the rainy locations of British Columbia offer an authenticity which is sorely lacking from modern day blockbusters. The first skirmish is perhaps the most memorable and brutally chaotic moment with McTiernan managing to maintain some level of suspense while a trip towards an abandoned forest cottage gives a few chills that later on remain unmatched.

"The 13th Warrior" is not the disaster that many predicted with only a few truly knowing what the original film looked like. After all, we know how test audiences can get it very wrong (e.g., "Blade Runner" (1982), "Event Horizon" (1997)). If this could have been allowed to re-edited, there is definitely the possibility of a better movie emerging. Unfortunately, time has forgotten this costly historical action flick and as it stands now, it will do for a rainy Sunday night in.

The Three Musketeers - Part II: Milady (2023)

Middle chapter en garde!

[7/10 · 24 March 2024]

Reviewed by FilmMining101:

The second part in the latest (French) "The Three Musketeers" adaptation begins at a breathtaking pace from exactly we were left off. Showing a (rather long) recap of the first film, this feels like the penultimate episode if you will (more on that later), where all the alliances and betrayals set up in the previous installment begin to pay off.

However, despite the production's undeniable panache, "Milady" suffers from the middle chapter syndrome focusing more on layering further confrontational blueprints instead of tidying up loose plot threads. And although it promises us more Milady, make no mistake, this is still very much D'Artagnan's motion picture. For that reason, the generous two hour epic still cannot find time for the titular three musketeers who are treated like side characters within their own movie - especially Porthos. The actual antagonists continue to remain hidden in the shadows while Comte de Rochefort disappointingly never shows up or even been mentioned (!), a choice bound to cause displeasure between avid literature fans. Nevertheless, the incorporation of a surprising arc for Vincent Cassel's Athos does keep the momentum going across two films now with appropriate dramatic gravitas elevating the stakes instead of a wishy-washy, clean cut approach to heroic antics.

As for the French-British goddess, Eva Green chews fancifully the scenery content with delicious satisfaction, her upgraded Milady de Winter has an expanded backstory and while she might not be the main lead, she is the chief antagonist/frenemy here getting a solid chunk of the action whether she is stabbing dogs or fighting viciously her way out of a burning stable under exceptional stuntwork. Constantly playing (and perhaps) gaining our sympathies, Green's Milady is a three dimensional role dressed with gorgeous costumes and this decade's best cinematic hats (and wigs).

Yet you cannot shake a feeling of "that's it?" considering the material's potential; battles are all but hinted while every time the action takes off, it stops to focus more on detective work and thus, grounding it to a halt. While it is not necessarily a bad thing, the film lacks a related crescendo that sees all forces - good and bad - convey for a final duel which will decide ultimately the fate of France. Its abrupt and cliffhanger-ending sure to bother purists of storytelling form.

Martin Bourboulon continues to indulge himself and the audience through lavish French and English locations, showcasing convincingly the novel's geo-politics and lust for war between Protestants, Catholics and all those caught in between. "Milady" ensures to be always captivating without relying on technological gimmicks to keep viewers glued on the screen; its gorgeous production design and more impressive this time around cinematography brings to life a visually fascinating era of French culture.

Blockbusters of this size are a rarity these days and the French cinema has been always delivering on the entertainment front across a variety of genres, whether these are comic book adaptations (e.g., "Asterix and Obelix: Mission Cleopatre" (2001), sci-fi art house flicks (e.g., "Immortel" (2004)) or action-buddy comedies (e.g., "Le Boulet" (2002)). However, "Milady" goes down a few notches due to being the middle chapter (apparently) toning down the spectacle in favor of a more intimate and engaging tale including a chief antagonist and an all-star French cast that breathes life to well known roles. Let us hope then this feast for the eyes will pave the way towards an inevitably grandiose conclusion.

Eurovision Song Contest: The Story of Fire Saga (2020)

Sweet, wonderful and feel good comedy

[9/10 · 14 March 2024]

Reviewed by filmmining101:

Who could have thought a comedy (co-)written by Will Ferrell about the Eurovision song contest could have been so utterly enjoyable and sweet? "Eurovision: The Story of Fire Saga" is at its core a traditional romantic comedy without the unnecessary dramas surrounding other similar US based vehicles. A love letter to all those Europeans who adore the infamous multi-country event, "The Story of Fire Saga" focuses on an aspiring musical duo and their attempts to represent proudly Iceland. However, trouble looms ahead in the form of fellow musicians, technical shenanigans and pure (and unfair) misfortune.

It is quite refreshing to watch a romantic comedy that does not rely on neurotic antics and foul language. Instead the script leans heavily on slapstick shenanigans and one liners amidst a chaos of (on purpose) kitsch imagery (as Eurovision is all about), gorgeous Icelandic locations and spectacular costume design. Shot in Israel's Eurovision stage (posing for Edinburgh!) with a few thousands as audience members, "Fire Saga" can be long when it indulges itself in its third (and unnecessary) act, yet its honest intentions make it worth while. The story ticks all the expected boxes failing to break new ground although some nifty characterization and the absence of melodrama gives the proceedings a well-intended sincerity.

The typical trope in movies of this content would have had the duo behaving as incompetent buffoons who would eventually win every heart in close proximity due to their never-ending persistence and warmth. Contrary to popular belief though, Sigrit and Lars are far from delusional and obnoxious> Not only they are talented (i.e., they write lyrics, compose music, play several instruments, sing and craft their own costumes), they are also easily two of the sweetest cinematic individuals you will encounter post-2020s. Ferrell excels as Lars, a middle age musician who keeps pursuing his dream and while he has the disapproval from the people around him, he earns the audience's admiration due to his hard work, and passion. Ferrell sports fittingly a long hairdo and stylish clothes creating in the process an iconic (for his filmography) character surprising even the most notorious of critics in the numerous singing sequences with decent vocals.

Sigrit, the other half of Fire Saga, steals the show as a human incarnation of child-like naivety and a larger than life heart in a role missing the sarcastic sassiness and over-sexualization of empowerment. McAdams is sensational giving it all in some of the movie's funniest moments and in her bona fide chemistry with Ferrell; you really believe these two have spent all their years together whether these are day-to-day greetings (e.g., "I see you!", "Hey, I am checking you out") or heartfelt comments (e.g., "He is very good. But no one has a more perfect voice than you Sigrit"). Such moments will genuinely bring a smile on your face in an era where being earnest, genuine, vulnerable and undemanding are taken down by the grandiose scheme of social media, narcissism and victim mentality.

The supporting cast is on fire too capturing exactly the essence and the tone of Eurovision. Dan Stevens nails it as the dubious but highly entertaining Alexander Lemtov, the favorite to win Russian giving a career high performance under an authentic accent, quirky physical mannerisms and a mountain of delicious lines (e.g., "Nobody likes UK so zero points") while Melissanthi Mahut ("Assassin's Creed: Odyssey" (2018)) as the Greek entry Mita Xenakis also makes a strong impression. In a small but crucial role, James Bond himself Pierce Brosnan pulls off nicely the Icelandic fisherman charm at 66 clearly having the time of his life in similar productions (e.g., "Mamma Mia!" (2008)).

The biggest surprise though in this comedy is how slick it looks and sounds. The film does justice to the mega budgeted competition and being Ferrell's dream project it shows: from an army of Eurovision past winners and participants parading in front of the big screen and well placed easter eggs to the direction of the expertly executed musical numbers and ultra catchy tunes. This expensive homage culminates in the excellent sing-along dance number which could be considered the main highlight, its thunderous and infectious energy will have you jump up and down in joy. My my, at Waterloo Napoleon did surrounder!

Will Ferrell's passion shines throughout and it is to his credit to be able to make this flick enjoyable and simultaneously approachable to those who are uninitiated to this contest. It won't win any awards for originality but it will take a special place in your heart with its beautiful and poignant romance and array of likeable characters. There might be some afterthoughts in its third act and a pointless supernatural plot (yes, really) but it does not detract from truly enjoying its excellent soundtrack and delightful performances. Continue the story of Fire Saga Will!

All the President's Men (1976)

Peak 70s American cinema

[10/10 · 12 March 2024]

Reviewed by Filmmining101:

Revisiting the films of the American 1970s, one will discover how efforts to convey the feelings of that era were surprisingly, justly and vividly represented on the big screen. Without underestimating the audience's intelligence, the overwhelming majority of politically intriguing flicks (e.g., "The Conversation" (1974), "Three Days of the Condor" (1975)) featured heavily doses of paranoia, anti-war sentiment and social commentary towards prejudice, racism, discrimination and the economical gaps between classes and sexes translating successfully such themes into moving pictures to a pop culture effect.

"All the President's Men" is such a movie, a full of complex intrigue biographical political drama that describes in fascinating detail the scandal responsible for bringing down Richard Nixon's presidency (i.e., Watergate). The adapted screenplay from the 1974 book of the same name expounds the discovery of public service corruption through the lens of two overwhelmed Washington Post journalists whose attempts to get to the bottom of this tale seem of Sisyphean nature; every time they have a lead, they are back at the beginning since no one is willing to talk, open their doors or to even answer their phone. Besides bearing authenticity behind the journalistic proceedings of a major newspaper in a now almost bygone era and the way they publish their stories, the film works extremely well as a thriller leaving the viewer to feel disoriented and paranoid inside a heavy confusing arena where no one seems to be telling the truth.

"All the President's Men" might have a lengthy running time but its expertly conceived pace keeps things tight and on schedule. There is no clock checking here as the journal duo not only have to find the truth but has to do it before Nixon consolidates "power" so to speak (hence the title) amidst presidential shenanigans, competition with other major news outlets, the own boss' impatience and a possible threat against their lives. In a reveal that would later shock the American public, the clues are all there, the stage is set, yet the threads which tie them together are practically non-existent and it is up to the persistence of Redford's and Hoffman's journalists to get the job done. Two polar opposite personalities which complement each other with smart characterization when the pressure kicks in, Redford and Hoffman have never been better. Used as the audience's portal to this story, their efforts to reach the end of this rabbit hole take a toll on them, both using different tactics to obtain the information they need from several Republican party linked individuals.

Pakula does a great job at underlying an obscure Washington where shadows hold secrets and looks can mean more than an entire page of written emotional outbursts and confessions; a six minute sequence where Redford's Bob Woodward is on the telephone trying to decipher clues has Pakula's camera closing in to his face as the minutes go by highlighting wonderfully the sense of claustrophobia and paranoia. The background (i.e., other journalists, secretaries) could be as well working against Woodward all along and it is precisely that feeling that perpetrates the entire movie and elevates it above other banal entries in the genre. These are exceptional stuff at the height of a cinematic period where movies could be thought provoking and entertaining backed by stellar performances and pitch perfect scripts.

"All the President's Men" could easily be considered a staple of the American 70s cinema, with Hoffman and Redford at the height of the acting powers. And in our world today, its message should not be taken lightly remaining highly relevant.

The Three Musketeers - Part I: D'Artagnan (2023)

Luscious European epic

[8/10 · 12 March 2024]

How many adaptations do we need for Alexandre Dumas' ultimate swashbuckling and timeless classic novel "The Three Musketeers" (1844)? Paul WS Anderson took a chance in his hate-it-or-love-it steampunk (!) re-imagining in 2011 which featured a dazzling production and costume design, an uneven tone and lackluster performances. It seems though that the French had enough with the meagre Hollywood attempts and sought to go for broke in a 70 million euros be-all-end-all spin properly set and shot in the baguette homeland with an entire French speaking cast.

The first half of this period epic named "D'Artagnan" focuses - you guessed it - exclusively on its titular protagonist, his funny interactions with Athos, Porthos and Aramis and all the investigative work required to uncover a conspiracy against the kingdom of Louis the XIII. Themes of heroism, duty and courage are placed front and center throughout a "Game of Thrones" (2011-2019) inspired Versailles which feels like a breath of fresh air. This cinematic France of the 17th century resembles (thank God) its historical counterpart lacking off beat humor, neurotic individuals and modern "takes" on its characters. Interestingly, there are some (minimal) modern touches that give the film nonetheless a unique personality.

"D'Artagnan" does a fine job at establishing all the heroes, anti-heroes and villains through a clear geographical sense. The decision of having the material spilling over two movies means that we have more room to breathe without going from one action segment to the next, thus giving quieter moments more running time to unfold. Its sudden ending ("To be continued") though does make it look like a prologue to something greater drawing a similar audience reaction from the conclusions of "The Matrix Reloaded" (2003), "Kill Bill volume 1" (2003) and "Pirates of the Caribbean: Dead Man's Chest" (2006) and much more recently, "Dune" (2021).

Not withstanding this sentiment, this new iteration of the famous musketeers restores a cinephile's faith to the long lost genre of epic filmmaking. Director Martin Bourboulon has a blast utilizing his budget across magnificent French and British locations under the striking and authentic cinematography of Nicolas Bolduc and the outstanding production and costume design which bless the film with an expansive scope and scale untouched by lame CGI and directionless creativity. The pace is strong and both the director and the screenwriters do not waste time to engage their audience with this been-told-thousand-times tale embracing a more gritty/realistic side. The colour palette is surprisingly muted and earthly tone based, the violence R-rated and the swashbuckling scenes are frenetically (if not manically) charged under long takes that resemble a mash between "Saving Private Ryan" (1998) and "The Revenant" (2015). Occasionally it works but Bourboulon's camera sometimes is too close to the meat of the action which does the opposite of highlighting the impressive and aggressive stuntwork.

The cast is exceptional too playing well established characters under a new light; Aramis is a Jack Sparrow-esque charmer but more dangerous, Porthos is a now a fluid libertine (!) and an expert shooter, Athos bears a tragic backstory and an unmovable moral code and D'Artagnan is our clean cut hero and plot avatar. Their excellent chemistry though does not shine through the thickness of the story with Aramis and Porthos suffering in particular by a limited screentime leaving the dramatic work for Vincent Cassel's Athos - a tale told around a camp fire is enough to win awards - and most of the action for Francois Civil's D'Artagnan.

In the antagonist department, Eva Green was born to play Milady with her stunning looks, impeccable costumes and a European panache that is sorely lacking from modern Hollywood productions. Yet, she is a part of a bigger problem; we hardly know any of the villains. The script treats them more as obstacles for our heroes rather than fully fleshed baddies lacking motivations, traits or important moments to be remembered by. This could be solved in the second part where alliances and betrayals will be laid out in the open so at this stage "D'Artagnan" is being judged perhaps too harshly for its own merits as a standalone flick.

Nevertheless, Bourboulon's movie is a superb production overall, a thrilling and engaging swashbuckling tale with an infectious enthusiasm for the source material and a justly visual representation. Roll on part 2.

Ferrari (2023)

House of Gucci with cars

[4/10 · 27 February 2024]

Reviewed by Filmmining101:

The biographical sports drama "Ferrari" detailing Enzo Ferrari's financial and familial struggles in the 1950s seemed promising on paper. Although this was touted as a passion project for Michael Mann, the final film is actually a mixed (and underwhelming) bag of results. While nowhere close to the cinematic travesty that was "House of Gucci" (2021), it still features several and similar problematic aspects.

This is the second movie that Mann did not wrote (the other one being "Blackhat" (2015)) and it shows. None of the dialogue has any panache while the adapted script from Ferrari's biography is not enough to stimulate the senses. There is a substantial lack of depth here, Mann's camera moving from place to place to present unintriguing proceedings failing to capture what makes the always gorgeous Italian countryside unique. While other auteurs like Scorsese remain true to their style (e.g., "Killers of the Flower Moon" (2023)), Mann's has been diluted; gone are the wonderful architecture shots and symmetric composition. He chops and edits a two and half hour flick bizarrely too by employing weird zoom ins (and outs), misplaced shots, 180 degree camera changes in dialogue moments, and sudden cuts like a ten year old who just discovered the tricks of technology.

The stakes are relatively low and the absence of three dimensional characters make things even less compelling; Ferrari is presented as a guy with massive walls around him but neither Adam Driver nor the script give him anything to flex his acting muscles. Under unconvincing make up, his Enzo telegraphically reports, describes and negotiates things that ultimately do not matter. For example, his Enzo talks about a new car engine to make the cars faster and lighter but this never comes into play again while his rivalry with Maserati is superficially hinted despite in theory propelling much of the film's shenanigans. We are not sure why he has a lover as he lacks a silver tongue and is utterly oblivious to people's feelings. Driver tries his best but the all over the place and coming and going accent is not doing him any favours. He is indifferent at best and by the end, being able to characterize Enzo Ferrari in a movie called "Ferrari" proves to be quite the challenge.

Casting anything but Italians with no or hideous accents (why bother?) and absolutely no resemblance to Mediterranean people, no cast member registers in the audience's memory except perhaps Penelope Cruz as Ferrari's (capable) wife and partner Laura who brings Mediterranean charm to a feisty albeit lackluster role. Her limited interactions with Enzo bring "Ferrari" to life and perhaps it would have been if this was the central focus of the film - how grief can drive a person to leave their old life behind for better or worse. Other (myriad of) characters come and go bearing no traits and considering we spent the last twenty minutes on the much anticipated Mille Miglia race and its pivotal outcome, we can barely distinguished any of Ferrari's drivers (including an unrecognizable Patrick Dempsey).

"Ferrari" fails to elicit any interest as a sports drama too. Renny Harlin's "Driven" (2001) in comparison is a masterpiece because it boards the b-movie train under the pretense of Formula 1 delivering several racing sequences. Here we have only two (yep only two) races and considering that Mille Miglia is the whole catalyst for the story, at least you should be rewarded with some breathtaking car sequences. Instead the race is geographically and time wise confusing lacking of established adversity or dangers despite the heavy foreshadowing. While the sound design is spot on, it barely brings any momentum to a film doomed to fail due to its inept ability to present dramatically engaging material.

You would not believe that "Ferrari" was made by the director of "Last of the Mohicans" (1992), "Heat" and "The Insider" (1999) making it by far Mann's weakest film. It is not at least unintentionally hilarious as "House of Gucci" was but if you take into account the talent involved in front and behind the camera, it is truly a wasted opportunity.

Silent Night (2023)

Silent night for all the wrong reasons

[3/10 · 27 February 2024]

Regarded as John Woo's triumphant return to the world of (US) action since his terrible and forgettable "Paycheck", "Silent Night" twenty years later copies pretty much the Netflix originals formula demonstrating that the gun-fu glory days of the action grandmaster are a thing of the past.

Featuring a pointless gimmick - lack of complete dialogue - for no compelling reason, "Silent Night" has nothing to be proud of. The clever marketing campaign and superb trailer screamed how Woo was back on top form. Make no mistake though; this is not your George Miller's "Fury Road" (2015) with guns. Taking place through the confinements of a telegraphic revenge story, our hero becomes a vigilante to extract vengeance against a gang who accidentally killed his son. This over-simplified plot should be enough to feature some degree of heroic bloodshed in the always welcome Christmas setting. However, the script is more invested to remind us melodramatic information we already know via tedious flashbacks every time it gears up towards a confrontation forgetting to have old school fun. Perhaps a trimming editor would have made this movie more engaging as Woo extends the running time to almost two hours of manic camerawork and lots and lots of stares.

Lacking the thunderous and creative energy of his Hong Kong outputs, the action is unfortunately in short dosages and banal too. You have seen everything in better movies. Removing all the elements which made Woo cinematically unique - slo mo, pigeons, berettas, gun fu, multiple angles, split screen, bullet chaos, he favors a realistic - you guessed it - John Wickesque approach here. The production design and cinematography lift entire cues from the world of the infamous assassin to present brief and hypersaturated hand to hand (at least R-rated) skirmishes that briefly wake up the audience but are not interesting or inventive enough to keep it awake.

Described as a "The Punisher" (2003) and "John Wick" (2014) combo without the fun of the first or the panache of the second, the script ticks all the imaginable cliches (e.g., getting ripped montage, first kill) leaving you to wonder how come two hours were not enough to offer any depth to the major characters. The (random) addition of a sidelined cop (Scott Mescudi) means nothing, Catalina Moreno just looks around and antagonist Harold Torres lacks the physical presence to enjoy a proper climatic (and entertaining) fight like Woo's Mad Dog in his magnum opus "Hard Boiled" (1992).

Despite a solid performance from Kinnaman and some OTT direction from Woo, "Silent Night" is another misstep in the US market elevating his initial "Hard Target" (1993) and "Face/Off" (1997) flicks into action masterpieces in comparison. Even the hardcore fans will struggle to find something to really care for here and considering they waited 20 years for the action guru's return, this being a colossal disappointment is a vast understatement.

Top Squad (1988)

Funny, female centric martial arts flick

[7/10 · 13 February 2024]

Reviewed by Filmmining 101:

Touching a Hong Kong subgenre (FYI "Girls with Guns") in a decade (i.e., the 1980s) where the American cinematic counterparts saw women as femme fatales and sex objects for capitalistic opportunists and macho men, "The Inspector Wears Skirts" builds an entire film of female police recruits who can kick equally ass like their male counterparts.

All the traditional elements which you would have expected from a Hong Kong production are present - a meagre plot that is an excuse to tie random and delightful characters in a plethora of "Police Academy" (1984) skits, zero growth, non-stop action and elementary school level humor. This ain't Zhang Yimou's "Hero" (2002) but a stripped down movie with a basic, almost anemic infrastructure barely holding thing together. If you go for a bathroom break, chances are you missed a segment where someone is ridiculed or being made fun of that has nothing to do with the rest of the movie. Key characters come and go (e.g., Cynthia Rothrock) and even the stunning Sibelle Hu despite an action heavy opening act, does not have much to do either throughout the entire running time.

Entries from Hong Kong's "Girls with Guns" became more prominent after the success of Corey Yuen's "Yes Madam!" (1985) starring the legendary Michelle Yeoh appealing to a wide Asian market, yet they remain unknown to modern Western audiences who keep complaining about the lack of strong female roles. However, it is fascinating to see how cinema's action mecca dedicates entire movies to (gorgeous and) dynamic women who perform outrageous stunts while maintaining their unique traits and femininity (take some lessons Disney).

To try to talk down any of the shortcomings of Wellson Chin's flick is fruitless; his purpose is not an intricate plot or never saw them coming twists but A+ enjoyment due to a charismatic and believable cast of capable action heroines in the faces of Sibelle Hu, Cynthia Rothrock, Sandra Ng (who is by far the standout and utter hilarious) and Kara Hui who put those pesky men back into their place and rightfully so (almost every male character is a moron and the excuse for extended slapstick moments including an out of place musical number!). It helps that the stunts and fighting choreography are supervised by Jackie Chan's Stunt Team (producer here) offering a technical panache missing from other, lesser wholesome flicks of the era.

Despite a sudden ending - a common trope of Hong Kong cinema, "The Inspectors Wears Skirts" is pizza night heaven. A tremendously entertaining flick that although it does not reinvent the action wheel, it aims to give a different take on the proceedings from a female perspective in the male dominated arena of cinematic martial arts. Not bad for 1988!

All of Us Strangers (2023)

Beautiful yet melodramatic supernatural romance

[6/10 · 12 February 2024]

Reviewed by Filmmining101:

With such a strong word of mouth, support and critical accolades, you would have expected "All of Us Strangers" to be the next "Citizen Kane" (1941). Despite its many positives though, "All of Us Strangers" includes a few hiccups which prevent it from becoming an all time classic. This could be partially blamed on its source material - Taichi Yamada's novel - whose sensibilities might be more appropriate for the cultural norms of the (then) 80s Japanese society.

Notwithstanding this, director and screenwriter Andrew Haigh creates successfully an engaging tale for about 2/3s of the running time occasionally causing some teary eyes. Swinging between a blossoming romance and a supernatural drama, Haigh manages to keep the interest up until these separately introduced elements begin to blend together. The end result becomes almost schizophrenic highlighting a motion picture that struggles to present an ultimate goal veering into melodramatic territory. Haigh's script seems uncertain about the conclusion and as proceedings continue to develop, more questions are raised in what could have been a straightforward and deeply moving story.

This character like study is being told from Adam's perspective (who could be an unreliable narrator himself), yet it does not give the audience any room to understand who Adam is. Adam's traits never come forward - what is the point of him being a screenwriter and living in a newly constructed apartment complex in London? - leaving us either with a blossoming neighbour romance (done 90% right) or his metaphysical interactions with his dead parents. Haigh's explores esoterically themes of grief, inability to move on and to open up similarly to what Sofia Coppola did in "Lost in Translation" (2003) and Kogonada in "Columbus" (2017). Introverted and especially, stoic viewers might find resonance to Adam's decisions and general life approach. This protagonist does not whine or gets angry; he is simply an individual who lost his appetite for anything life related whether it is sex, music or food. He is an isolated prince in his high rise building overlooking others as they come and go. Emilie Levienaise-Farrouch's hypnotic soundscape is the perfect tool to elucidate the bittersweet sentiments of someone's social isolation, reawakening and self-discovery in the face of a new and unexpected love.

Haigh does capture wonderful moments throughout and it is hard not to feel sympathy for Andrew Scott's portrayal of Adam; the role is like an extension of the (openly gay) actor who gives an honest and outstanding performance of a person crippled by unprocessed grief. Scott is the heart of the film giving giving a career high performance as the well-behaved externally but deeply tormented screenwriter. Adam has a lonely (and lovely) sweetness that is so much missing from modern day (and particularly from LGBT) romances giving his Adam a living and breathing status as opposed to be presented as a glorified stereotype.

The rest of the small cast are fine; Jamie Bell continues to impress with his roles and it is a shame that his Hollywood career did not involve any thematically strong work while Claire Foy is always reliable excluding her 80s mom stereotype in one of the most supposedly heartfelt scenes. Complementing the quadrant is Paul Mescal in a small but crucial role as Harry although there is not much development to this character who could have been used as the catalyst for Adam in a cathartic finale instead of a melodramatic and muddy one.

If we can get passed some (by 2023) fairly standard coming-out moments and discussions along with the multiple (and illogical) questions raised in the end, "All of Us Strangers" offers plenty of outstanding direction, and impeccable cinematography. Jamie D. Ramsay's lens give the movie a unique look, each shot of Haigh's is precisely crafted and visually exciting making this motion picture the contender for 2023's most beautiful cinematography (the other is Dan Laustsen's work in "John Wick Chapter 4").

"All of Us Strangers" is occasionally a great film. It takes its subject matter seriously and avoids to walk a road of campiness. However, the decision to split its running time across separate themes brings it down a notch as none are given enough space to breathe considering that individually, its ideas are pretty compelling.

Magic Crystal (1986)

B-movie martial arts vibes

[6/10 · 2 February 2024]

Reviewed by Filmmining 101:

Wong Jing is not a director known for his subtle approach to filmmaking. Usually his numerous outputs bear pedestrian humor, thinly sketched plots and very "old school" female characterization. However, the action Hong Kong cinema of the 80s and early 90s was not known for catering to people's sensitivities and feelings.

A product of a now bygone era, "The Magic Crystal" seeks to be a weird mixture of "E. T" (1982), Jackie Chan street style fighting and a kinda-spy like globe trotting adventure. Featuring kitsch aesthetics that would not look out of place in a poor "Indiana Jones" clone, "The Magic Crystal" won't win anyone with its clumsy storyline and banal execution. As an example of the action 80s Mecca though, it shines consistently by delivering multiple set pieces throughout its (rather) long running time.

Under gorgeous Greek scenery (where they filmed without permission so the background extras are literally confused citizens and tourists alike), there is something exotic watching Andy Lau kicking ass next to the Parthenon (!). A foot chase going from Acropolis to Zappeion might not make sense geographically from those of us who are from Greece but it is a refreshing environment change from the typical Romanian, Londonian or Parisian sequences from other movies.

Boasting excellent stuntwork and several places that are used for trading blows, henchmen fly left and right with spectacular results: a face off inside a house is unexpectedly superb, a one on one fight in front of Zappeion makes for a very compelling skirmish while Richard Norton has the most screen time as a Western baddie here as opposed to his other Hong Kong entries (e.g., "The Millionaire's Express" (1986), "City Hunter" (1993), "Mr Nice Guy" (1997)) demonstrating his martial art prowess in an era that martial art flicks were not very popular outside of the Asian market.

The cast is great sharing the typical chemistry between goofiness and seriousness tip toeing between almost incomprehensible proceedings and mattering high school level exposition to move the plot. Andy Lau has tones of natural charisma (and two years later will deliver a spectacular performance in Wong Kar-wai's "As Tears Go By" (1988)) and Wong Jing as his buffoonery inducing brother-in-law gets some solid laughs. Norton and Cynthia Rothrock are clearly more martial artists than fully fledged actors and it shows but then again for a film that proudly displays a B-movie affection, their iffy acting does not come across as cringy or unintentionally hilarious.

"The Magic Crystal" does not require any additional analysis as it hardly has anything original or truly groundbreaking neither it is a multi-layered motion picture that you would think long after it end credits roll. Simultaneously, you cannot criticize with a straight face its various faults as the filmmakers are aware of their existence and choose to ignore them for the sake of entertainment. At the end, this is a solid martial art flick that stays true to its action roots due to its plethora of fight segments which will please the hardcore fans and might even allow newcomers to enjoy the pedestrian humour throughout.

The Fifth Element (1997)

Outrageous sci-fi perfection

[10/10 · 31 January 2024]

Reviewed by Filmmining 101:

Words will never be enough to describe in accuracy the lunacy of Luc Besson's extravagant action flick. "The Fifth Element" remains one of the most dazzling and original examples of outrageous science fiction, a bold artistic gamble that paid off which two and something decades later has aged quite well.

Sporting a blonde Bruce Willis and some of the most ridiculous (and unpractical) costumes you will ever see, Besson's creation (owning much to French pioneering novels like "Valerian" and the works of Moebius), brings to the big screen a tonally and visually polar opposite future than that of Ridley Scott's "Blade Runner" (1982). Despite its restrictive (and quite atmospheric) prologue, once we reach 2263 (!), the French auteur put the pedal to the metal unleashing an orgy of color, music and sound (at some point, he even incorporates slapstick effects) with manic energy and Looney Tunes comedy.

Yet, all these elements which could have led to a magnificent disaster across a thinly sketched plot, work together to deliver a wonderful inter-planetary adventure boasting a pseudo exploration of religious and technological themes that barely make it through the barrage of the film's flamboyant style. But you are not here to contemplate the existence of life but rather to take (excessive) pleasure from the on screen silliness. The 23rd century is as psychedelic and fluid as a Jim Morrison poem from the 1960s: aliens, priests, scientists, the army, space disc jockeys, dodgy physics and of course, the ultimate evil (and good) converge within gorgeously designed landscapes that since their onset in 1997, have become iconic.

The most expensive production at the time of its release, its $90 million dollar budget allows "The Fifth Element" to present a vibrant and wacky futuristic world that excels in all forms of (good and bad) fashion. The spectacular production design (which has predicted most of our technology now) is complemented by the outrageous costumes of Jean-Paul Gaultier. This cinematic canvas of gleeful creativity offers in every shot the opportunity of seeing something original and unique even if it occasionally reaches a level of camp and could bother those who despite colorful palettes.

The cast is clearly having a ball, all playing in different acting rhythms: Willis and Gary Oldman face the absurdity wearing a straight face, Ian Holm seems delighted to be there, Chris Tucker steals the show as an over exaggerated gay stereotype (who is straight!) while Milla Jovovich as Leeloo, the bright orange haired supreme being capable of ass-kickery, sweetness and naivety, her stunning looks and outfit have become synonymous with the (look of the) film.

Despite a rather long running time, this love it or hate it French movie never feels too long due to a large variety of set pieces ranging from rap and space opera performances (!) to shoot outs, flying car chases and intriguing monologues about the usefulness of chaos amidst genre bending execution and gleeful joy. It demonstrates Besson's ability to adapt in different territories successfully and bringing forward an alternative voice on the mainstream cinema that was dominated by US productions. Frequent collaborator Eric Serra offers an equally scattered score, a compilation of techno opera, saxophone, middle eastern, reggae and electronic cues (among others) without a particular thematic cohesion because that is the way Besson wants it.

This take it or leave it attitude puts "The Fifth Element" in the pantheon of classic fiction films. It might alienate those who seek deep and thought provoking ideas but not everything has to be made for gloomy discussion and analysis. It's visually distinct style and Jack Sparrow behaviour towards the execution of the genre's ideas is enough to propel this into cinema's most representative films. If all the above are not achievement worthy of praise, then what is?

The Nun II (2023)

Scare free sequel

[2/10 · 31 January 2024]

Reviewed by Filmmining 101:

The terrifying Nun introduced herself/himself/themselves(?) in James Wan's lesser effective "Conjuring" sequel in 2016. Yet, the demon Valak was easily the most memorable element, a fantastically designed horror character who was visually arresting and frankly, disturbing. Like Annabelle before this demon, its effectiveness lied in its infrequent appearances and minimal use of CGI.

This is Hollywood though baby and it makes sense to completely milk this horror well dry so why not offer two separate franchises for both Annabelle and Valak? Annabelle boasts three flicks that really do not add anything to its mythology (although "Annabelle: Creation" (2017) was well done) while Valak counts two entries so far ("The Nun" (2018), "The Nun II" (2023)). Although the first spin off this demonic religious mocker was hugely successful at the box office, it wasted its intriguing premise by featuring banal characters, cheap scares and an over-produced atmosphere of doom which was contradicted by modern dialogue despite being set in the 50s. Its sequel continues to dilute Valak's air of mysteriousness through a convoluted story of Saints and powerful relics that has more in common with Indiana Jones than full fledged supernatural horror. This is not your 70s religious horror outlet for sure.

You can't fault though the filmmakers for trying something different. However, at the hands of Michael Chaves (who did the absolutely awful "The Curse of the Llorona" (2019)), this is nothing but a snoozefest. Lacking of any substance and memorable scenes, entire sequences here have been seen in a much better form in other films. The environment could have been utilized better to invoke a more ominous tone but Chaves is not interested in setting up dread despite some ok production design (resembling visually the work of Renny Harlin's "Exorcist: The Beginning" (2004)).

The script shoehorns a travelling demon (I bet the next installment will take place in Spain) to tie the film's events eventually with "The Conjuring 2" and thus, putting itself into a corner unable to escape from the scathing criticisms for its glaring plot holes. The constant retrospectively story fitting seems more like a goal rather than to present a complete film that can stand in its own merits. Cursed by the disadvantages of cinematic universes, what was fresh is now rotten scaring only cute puppies and kittens but even those will fall asleep in the tedious final confrontation. Any efforts of the cast are undermined by horror standard (and expository) dialogue although the Maurice's character is the biggest offender feeling out of place and way too modern with a coming-and-leaving French accent.

"The Nun II" is really a film for the hardcore enthusiasts or first time newbies. They might find it scary but it is an easily consumed firework that offers nothing novel or remotely intriguing. It is a movie plagued by association with the much superior first two "Conjuring" films (2013-2016).

Ghosts of Mars (2001)

Kick ass soundtrack, mediocre script

[5/10 · 16 December 2023]

Reviewed by Filmmining 101:

Following a somewhat creative decline in the 90s, John Carpenter was back with a moderate budgeted film featuring a highly intriguing title. A spiritual sequel of some sorts to "Escape from L. A" (1996) and a space remake of his "Assault on Precinct 13" (1976), "Ghosts of Mars" is an action horror western which despite its critical and commercial disappointment, its many eccentric choices are enough to place it the cult status altar like most of the iconic director's other cinematic outputs.

In the early noughties, the red planet proved to be an exciting new frontier for Hollywood adventures (e.g., De Palma's "Mission to Mars" (2000), "Red Planet" (2000), "Doom" (2005)), albeit none could capture a particularly inspiring story besides Paul Verhoeven's "Total Recall" (1990). "Ghosts of Mars" is by far the best even of this can be interpreted as a backhanded comment considering the competition is not that high.

Campy enough to pay an entertaining homage to those pesky drive in flicks of the 70s, certain aspects drag it down. Telling the story through a flashback only to have a flashback within a flashback and ... within a flashback is ultimately a cop out tactic sucking out dry the tension. Carpenter also plays the same moments twice for no particularly compelling reason besides extending the running time and our patience. The emphasis on a future matriarchy society is an interesting one considering (obvious) lesbian relationships and casual sex are nothing to be ashamed off but this commentary is redundant and the more characters the script introduces, the more easily are dispatched generating a 'whatever' response from both the survivors and the remaining audience. And the less said about Ice Cube's Desolation (really?) Williams, the better; the rapper simply does not have the necessary presence to pull out such a physically demanding (and imposing) role.

Yet, the film works best during its first half, with Carpenter typically echoing Lovecraftian sentiments of isolation, paranoia and incoming doom elevated by an authentic location and an actual night shoot blending elements of several genres together effectively. His expansive cast (including a Hollywood up and coming Jason Statham, Pam Grier and Joanna Cassidy) do what they can with their limited roles and the gorgeous Natasha Henstridge as the wannabe Ripley of Mars proves for a somewhat solid action lead.

The numerous fight sequences are goofy and cute within a "Big Trouble in Little China" (1986) way as Carpenter himself stated that he intended to shoot them as such. When the muscular Marilyn Mansonesque villain is named "Big Daddy Mars", you know you are not supposed to take this flick seriously. Come to think about it, it is all a B-movie execution packed with off beat humor (e.g., the lack of physics in gun power and grenades that sees goons flying off the screen like Air Jordan is a work of genius) and child-friendly grotesque make up effects as opposed to the emotions of horrific on screen self-mutilation.

But then again the greatest asset of "Ghosts of Mars" is just how mental and yes, metal it is and sounds. It was the first film with a score entirely composed by Carpenter and famous metal musicians. You might have had the occasional Ry Cooder or Trevor Rabin performing scoring duties, but it was this flick that started the trend where "obscure" (in terms of sound) bands were contributing towards movie scores (e.g., Marilyn Manson for "Resident Evil" (2002), Massive Attack for "Danny the Dog" (2005)). This novel score boasts superb solo work from virtuosos like Steve Vai, Buckethead, Robert Finck ("Nine Inch Nails", late years of "Guns N' Roses"), Elliot Easton ("The Cars") and Scott Iain ("Anthrax") all coming together to create bluesy, synth based and guitar shredding tracks much to the pleasure of the genre crowd.

"Ghosts of Mars" might not have been the vehicle to bring Carpenter back 100%. I fact, it did the exact opposite sending the silver hair filmmaker to exile until his return with 2010's "The Ward". Yet, in a cruel and delayed twist of fate, it evolved towards a cult gem( depending on where you stand) requiring pizza and cold beers to offer appropriate comfort for a night in. It is something unique, a piece of entertainment that Carpenter can claim as his own featuring capable female leads, a kick ass soundtrack and a novel premise.

Death Proof (2007)

An extraordinary slasher with a twist

[10/10 · 7 December 2023]

Reviewed by Filmmining101:

"Grindhouse" (2007), the double feature of Quentin Tarantino and Robert Rodriguez had all the star power in the world, an excellent marketing campaign, strong word of mouth, good-to-great reviews, and it was coming hot right after the success of "Kill Bill" (2003-2004) and "Sin City" (2005). Yet, it was a spectacular failure leading to the release of its features as two solo movies with one being QT's unique take on the slasher genre: "Death Proof".

"Death Proof" can be easily seen as one of the director's lesser interesting cinematic outputs due to its over-simplified plot and its over-reliance of his trademark dialogue. While his penned exchanges do not support the plot at any capacity, they retain his primary ability to entertain the audience with endless disputes between a number of gals and their wannabe boyfriends. It is his way to pay homage to the established formula of horny teenagers and naive maidens only for him to reinvent it a few chapters down the road when the s*** hits the fan (more on that later). QT's 5th film features some of the best and most funny material he has ever written. Cleverly capitalizing on the "Kill Bill" success, the stars of the show are 8 women, each one blessed with distinct characteristics and traits enough to make a memorable splash on the big screen - their little gatherings and chats can easily be equally and pop culturally significant as Mr Brown's opening monologue in "Reservoir Dogs" (1992).

For the patient audience, the reward though is worth the wait. Showcasing action chops that would make Michael Bay blush, one can only wonder what Tarantino could achieve if he truly wished to delve deeper into the territory of gun fu, vehicular mayhem and aggressive stuntwork. His final car chase (more like a duel) is an exhilarating 16 minute sequence done without an ounce of CGI boasting one of the most spectacularly dangerous stunts ever captured on celluloid. The glorious sound design where engines roar and metal crashes under editor Sally Menke's magical abilities are enough to keep you at the edge of the seat since you know, in the Tarantino universe, nobody is safe. Just ask Vincent Vega.

"Death Proof" works on several levels and its initial failure as a cinematic experiment, has not been able to diminish its value over time. Quite the opposite in fact. Tarantino's years of encyclopedic movie knowledge championing the movie underdogs and genres alike provide him this opportunity to take the albeit simplistic approach of the 70s grindhouse concept and imbue it with a new life (i.e., killer performances, more style, superb soundtrack) while simultaneously honoring its technically neglected aspects (e.g., scratches, missing reels, audio/visual asynchronization). To write more would spoil the tremendous amount of fun to have with Tarantino's most accessible (in terms of story) film.

For a motion picture called "Death Proof", you better have a lead supremo and Kurt Russell's take on Stuntman Mike can only be described as top tier Tarantino: charming, disarming, funny and knowledgeable, his trustable visage masquerades for something brutal. And this is why QT's choices in his screenplays are those of a genius (e.g., Take the car away and Stuntman Mike poses no threat to anyone). Russell's performance is an all time high making his antagonist relatable enough (to be human) even as the film races towards its two hour running time. In the role of victims and emerging (?) heroes we have 8 fully grown women minding their own business and oozing confidence around the much more stupid male counterparts (in a nice twist) but how these elements play against each other remains to be seen until the very end.

Indeed time is the best judge of character, movement and art form. In the case of "Death Proof", the emphasis on 8 women and lengthy chatting did not particular resonate well with the audiences in 2007. Now, if QT would have made the film in 2017 (i.e., post #MeToo), it would have been lauded as a critical masterpiece that places front and center toxic masculinity and coercive control while the polar opposite group would have been tremendously annoyed with the diverse cast, the intelligence of women and the stupidity of men.

"Death Proof" even within its own simplistic conception proves that the distorted thoughts of Tarantino on a serial killer flick deserve commendation for not only having set their own course (which might have contributed to the box office results) but for going places in 2007 that others dare not and the absolutely banger of a soundtrack (e.g., Jack Nitzsche, Willy DeVille, The Coasters, An April March) make scenes standing out even more (e.g., a lap dance in particular, is reinvigorating). While "Death Proof" does not have much of a story development or progression due to the limitations of the grindhouse films that inspired it, it still finds Tarantino at a creative peak with groovy feelings, plot twists, high octane energy and an incredible Kurt Russell.