Tag: movie reviews (Page 4 of 6)

Brand Upon the Brain

It’s over-simplifying, but there’s no way around it: Winnipeg surrealist Guy Maddin works the same general territory as David Lynch. But while Lynch is still, in his unique way, a creature of Hollywood, Maddin has remained a Manitoba miniaturist whose films are both overtly psychological and proudly melodramatic. Oddly enough, Maddin’s movies are often more accessible than Lynch’s – at least partly because the filmmaker is an unabashed fan of the primal storytelling style of silent movies. “Brand Upon the Brain” builds upon the director’s fandom by being Maddin’s second actual silent film, and was originally presented as a theatrical event with a live orchestra, sound effects artists, and narrators. This typically lavish Criterion DVD includes both studio recordings and crisp live audio tracks with seven different narrators, including Isabella Rossellini (“Blue Velvet”), professional weirdo Crispin Glover, and the great nonagenarian character actor Eli Wallach (“The Good, the Bad, and the Ugly”).

The movie itself combines elaborate fantasy and confessional filmmaking, at least on the level of metaphor – the main character is named “Guy Maddin” and the director has described the film as “97% true.” It’s not a drag, though – there’s a pleasing and funny jumble of genre elements ranging from teen detective to grand guignol horror, some nudity (both the sexy kind and the not so sexy kind, in this case involving a male corpse) and Ms. Rossellini’s narration is literally a scream. Featuring a deliberately herky-jerky editorial approach (a new wrinkle for Maddin that I’m not wild about), “Brand Upon the Brain” works for the most part, but for me this doesn’t quite add up to Class A insanity. I would have happier with a bit more melodrama and a bit less psychosexual metaphor.

Click to buy “Brand Upon the Brain”

Mandingo

When this deeply strange tale of cruelty and interracial sexual exploitation on a pre-Civil War Southern plantation directed by Richard Fleischer (“Soylent Green,” “20,000 Leagues Under the Seas”) was released in 1975, it was greeted with hoots of derision and ridiculed as cheaply sensational – and possibly racist – not only by critics, but on a raucous “Saturday Night Live” skit. More recently, writers like the outstanding cinephile blogger Dennis Cozzalio have been urging a critical reappraisal. While I admit this attempt at a sort of satirical tragedy has been misunderstood to a degree, “misunderstood” is not the same thing as “good.”

“Mandingo” stars aging screen legend James Mason as Warren Maxwell, a hateful Southern patriarch. His relatively sensitive son, Hammond (Perry King), runs into deep trouble when he takes on a new wife (Susan George) while practicing the prerogatives of a Southern “gentleman” and keeping a slave mistress (Brenda Sykes). Meanwhile, he finds himself feeling somewhat protective toward Mede (boxer Ken Norton), a fighter he has bought in much the same way a man of that time might have purchased a fighting cock. I almost wrote “fighting dog” but the double meaning here seems correct. It is the dehumanizing effects of slavery that is the laudable focus of “Mandingo,” but sensationalized 70s-style sex is the primary vehicle and selling point. (Not that there’s anything wrong with that.) Unfortunately, Fleischer’s film is somewhat crude stylistically, but also too polite in telling its brutal story. Worse, it’s badly marred by some weak acting, not only from acting novice Norton, but also by a shockingly mannered and subpar performance from the usually superb, British-born Mason. Although the melodrama events make for a compelling final half-hour, it’s a long, long road getting there.

Click to buy “Mandingo”

Robotech: The Shadow Chronicles

As a casual fan of anime, you’d think that I would have come in contact with “Robotech” before now. The sci-fi series is easily one of the most popular franchises in the medium, and yet somehow, it’s managed to slip through the cracks while other shows about giant robots (“Transformers,” “Neon Genesis Evangelion,” etc.) have found their way onto my television set. It’s too bad, because I probably would have enjoyed “Robotech: The Shadow Chronicles” even more had I known what to expect. Originally released in 2006, the feature-length film exists as a sequel of sorts to the original series from the 80s. In fact, it even picks up at the end of the final episode with the exiled human forces making one last push against the Invids, an alien race that has invaded Earth for the sole purpose of harvesting an energy source called protoculture. The humans, in turn, have made an alliance with another race called the Haydonites so that they may use their special shadow technology to cloak their ships. But what they don’t realize is that the Haydonites are really the bad guys, and they’ve been lying in wait for the right time to strike.

Robotech

As you can probably imagine, the best parts of “Shadow Chronicles” are the epic space battles scattered throughout, and though the integration of CGI has hurt other properties in the past, it doesn’t look half-bad here. The film also does a pretty good job of jumping straight into the action without making the uninitiated feel completely lost, but let’s face it, “Shadow Chronicles” is primarily for the hardcore fans who have been demanding more “Robotech” for a while. It’s still not clear whether the film will serve as a pilot to a new series or simply as a standalone movie, but if there’s one good thing that comes out of the film’s Blu-ray re-release, it’s that a new generation of “Robotech” fans will be born… and just in time for the upcoming live-action movie.

Click to buy “Robotech: The Shadow Chronicles”

Taking 5

There was never any reason to go into the movie “Taking 5” expecting anything other than a tweener-centric comedy with laughs on par with your average Nickelodeon sitcom, but it had one thing going for it: the inclusion of The Click Five. What can I say? I like the power pop, and those guys do it well. Plus, as a music fan, the premise of the film sounded funny enough: Devon (Alona Tal) and Gabby (Daniella Monet) desperately try to win a contest where the prize is a performance by their favorite band, 5 Leo Rise (played by The Click Five), but when things go horribly wrong, they decide to kidnap them and force them to play. I should’ve known, however, that there was something a little dodgy about this flick when I heard that the line-up of the band in the film included their original lead singer, Eric Dill, who left the band in late 2006. So why did this film sit on the shelf for so long? You’d like to think it’s because The Click Five lost some serious career momentum after Dill’s departure (and, boy, did they), but it’s more likely because the band originally come off sounding like the biggest assholes in the world. Oh, sure, eventually they come through and save the day, but why would they start the film by showing the object of the girls’ obsession acting like a bunch of complete dicks? Oh, wait, I forgot: chicks dig that. Well, in that case, maybe they’ll dig this movie more than I did.

Click to buy “Taking 5”

The Foot Fist Way

The first 30 minutes of “The Foot Fist Way” are as intolerable as anything released in the last ten years. The rest of this mercifully short movie is slightly more tolerable, yet remarkably unfunny for a comedy. Tae Kwan Do instructor Fred Simmons (Danny McBride) is the most socially retarded, immature bag of douche you will ever run across. His miserable whore of a wife (Mary Jane Bostic) eventually becomes fed up with his petty mind games and leaves him, and the only way Fred can set things right with the blow to his ego is to meet up with his hero, Tae Kwan Do master and B-movie action star Chuck “The Truck” Wallace (Ben Best), who turns out to be a drunken, lecherous jackass. The biggest laughs involve a student with anger issues knocking a senior citizen student unconscious, and Fred pounding the eight-year-old son of a man Fred suspects was having an affair with his wife. The movie clearly thinks Fred’s obliviousness to everything around him is funny – take, for example, his belief that he had a fling with a student that never actually happened – but it’s really just sad. It’s one thing to make your lead character an anti-hero, but Fred isn’t an anti-hero; he’s a loser, and there is no bigger waste of time for us than watching a loser act like a loser. That Will Ferrell and Adam McKay thought this movie was funny isn’t just puzzling; it’s disturbing.

Click to buy “The Foot Fist Way”

« Older posts Newer posts »

© 2023 Premium Hollywood

Theme by Anders NorenUp ↑