Thief's Monthly Movie Loot - 2022 Edition

Tragedies can draw out the best or the worst in you. They can drive you insane or take you into depression, or they can lift you up as you overcome. Sometimes they can even do both. Max Rockatansky (Mel Gibson) can be an example of the first, and to a certain extent, of the second. Losing his family in the midst of a societal collapse, Max falls into despair and loneliness, but eventually turns into some sort of mythical hero.

Mad Max Beyond Thunderdome presents another side of that story in the character of Aunty Entity (Tina Turner), a woman that proudly proclaims having gone from "nobody" to "somebody" as the ruler of Bartertown. The film follows Max as he and Aunty clash when he refuses to help her strengthen her control of the place, which lands him in the titular Thunderdome and eventually exile.

As the third part of the franchise, this film tries to follow the same formula of the second one: Max stumbles upon a group of oppressed people, offers his help, finds himself in trouble, leading into a big road fight where everybody unites. Maybe that's why I wasn't that crazy about the film overall, because it gave me that vibe of "been there, done that". That's not to say that the film is bad, but the general flow of the story felt a bit derivative.

To me, the most interesting aspect of the film was Aunty. She is really a mystifying and intriguing character that I would've liked to see more of. I was really surprised by Turner's performance and how she conveyed the strength in this woman that managed to survive and had "a chance to be somebody". An interesting contrast to Max, who she describes as a "cock of the walk" before and a "feather duster" after. Again, what does tragedy do with us? and how do we face what's ahead of us?

Maybe that's why I preferred the first act, as opposed to the other two. I felt that the film was stronger during the moments where we got to see the dynamic between Aunty and Max, as well as other characters. Once Max is out of Bartertown, and he meets the children tribe, my interest drifted away. The third and final act is thrilling and enjoyable from an action standpoint, but I felt like the film was already lesser then. First act, cock of the walk. Next, a feather duster.

Grade:

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This was the correct reaction.

The "been there done that" didn't bother me, as that's what I'm watching a Max movie for anyway. It was the detour into cute-kid territory that keeps me from loving this one. Others on this site will defend it, but I have a hard time sitting through it now.

Given the year it came out and my age at the time, it's probably the one I've seen most often but over time my affection for it has waned.

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Captain's Log
My Collection

We'll see how it will fare with time for me.

How many times have you experienced a film that you felt told you nothing, only for it to wiggle its way into your brain and keep nagging at you? Is it our mind building something out of nothing, or were we even listening the first time? That is more or less my reaction to this weird, atmospheric, little thriller from 2020.

The Empty Man follows James Lasombra (James Badge Dale) a former detective-turned-security salesman that is still reeling in from the death of his wife and son a year earlier. When the daughter of a neighbor goes missing, James uses his investigation skills to try to find her, only to be led to a mysterious cult that follows the titular entity, whatever it is.

But although that synopsis might seem fairly straightforward, the truth is that the film takes a series of weird turns to get there, starting with a 20-minute opening sequence set in 90's Bhutan, and going through a series of setpieces that seem to have no payoff, or just leave you guessing why are they happening in the first place. When James asks one of the cult members about their business with the above exchange, is he really listening? Are we?

But putting aside the story, The Empty Man is a pretty competent thriller; at least more than its title, appearance, and marketing might led you to believe. James Badge Dale is a competent lead that is helped by solid supporting turns, especially Stephen Root as Arthur Parsons, the charismatic leader of the cult. But also, David Prior's direction is effective in transmitting a certain atmosphere and a sense of uneasiness around everything.

It's been almost a month since I saw it, and the story still feels like a bit of a mess whenever I try to connect the dots of everything that happens. At times it seems like a mish-mash of contrivances, pseudo-philosophical mumbo jumbo, and convoluted roundabouts, and yet, it keeps calling to me.

At one point, Parsons questions the nature of Nietzsche's quote about the "abyss staring back at you" and how when we really think about it, something in us must be calling for that "abyss"; a seemingly empty void that still keeps pulling us, much like this film. Are we listening?

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Set in the late 1970s, X follows an amateur film crew that's planning to shoot a pornographic film. For their location, they've chosen a secluded farm in rural Texas owned by Howard and Pearl, an elderly couple that don't seem to know or understand what the aspiring filmmakers are planning. But shortly after they start filming, they start being hunted by a mysterious but ruthless killer.

The above quote is the call to work of Wayne (Martin Henderson), the film's producer and boyfriend of Maxine (Mia Goth), one of the main actresses of the film, as they prepare to film the first sex scene; but it might as well be the call of director, writer, and producer Ti West as he makes the film. He spends just the right amount of time setting everything up before "cutting to the chase" and "giving people what they want" from a slasher, which is sex and gore.

The truth is that, unlike the film's fictional crew, X doesn't try to hide its intentions. It gives people "what they want to see", with some nice kills and gore, and several effective jump scares, while also not hiding the inspiration it draws from films like The Texas Chain Saw Massacre, The Shining, or other slashers and horror films of the era.

However, X does seem to add some layers on top of it that give a bit more depth to what's happening than your average slasher; whether it is from Howard and Pearl's relationship or Maxine's drive and motivations. This is the first film I see from West, but I really enjoyed his craft, and how he reveals certain things at the most opportune moments. The kind of director that not only gives you what you want to see, but knows the right time to give it to you.

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I'm so happy to finally share this episode of my podcast... my last guest episode of The Movie Loot features none other than @Yoda talking with me about the films that have been brought to us by the new millennium! So, more or less in tune with our current countdown, check it out to hear our thoughts on what the last 23 years have brought us.

The Movie Loot 75: The Millennium Loot (with Chris Bowyer)

You can check it out on the above link, or although it hasn't populated there yet, on any of these podcasting platforms: Spotify, Apple Podcasts, or any other. Thanks for the support!

I finally released Special Episode 15 of The Movie Loot, where I talk about one of my favorite monologue scenes ever, and that is the park bench scene from Good Will Hunting:

The Movie Loot - Special Episode XV (Good Will Hunting)

Remember you can also listen on Apple Podcasts, Spotify, Google Podcasts, and most podcast platforms.

The Terminator franchise has been through both good and bad times. Over the course of almost 40 year, it has gone from a low budget surprise hit and a big budget blockbuster to a reverse-Midas hot potato that's been passed from company to company bankrupting them all in the way. as different directors have tried to bring the magic back to life, while also bringing something new to the table, usually with no success.

If there's a good thing I can say about Terminator Salvation is that, at least it tried something new, regardless of the end results. Set in the post-Judgment Day future, the film follows the endless battle between Skynet and the human Resistance led by John Connor (Christian Bale). Meanwhile, Marcus (Sam Worthington), a mysterious ex-prisoner tries to figure out his place in this battle.

Ever since The Terminator premiered, we have witnessed what the post-Judgment Day future looks like, so maybe a minor nitpick would be that the future we see here doesn't really look like the future we've been shown in all three previous films. But that's a rather small non-issue. The film's real problem is mostly in its flat direction, dull execution, and boring characters.

I'm not familiar with McG's other works, but he does kickstarts the film with a somewhat impressive "continuous" shot that follows Connor as he gets on a helicopter to pursue the enemy, only to crash. It is perhaps the only jolt of life that the direction has to offer, as the film lacks any other notable setpiece or action sequence. On the contrary, some of the action feels like a checklist of things to include: here's Guns n' Roses *check* here's "Arnold" *check* here's how John got his scar *check*

As for the performances, you can see that Worthington is trying his best to convey the inner struggle of his character, but his effort can't overcome his lack of charisma. Also, surprisingly, Bale seems rather lost and blank, as if he had been dead for a while. Anton Yelchin is probably the only one that gives a bit of a spark to a moribund cast. Other actors like Bryce Dallas Howard and Common do their best, but they are more or less wasted.

All this is not to say that the film is awful. The film still offers some competent moments and might be a good option to pass the time; its story is muddled, but it's not something incredibly hard to turn your brain off to. But that's it. Maybe worse than awful, the film is just there. As if it had been dead for a while and was getting used to it.

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The opening caption of the film describes a "walkabout" as a ritual in Australia where a 16 year old has to live for months alone from the land, "stay alive, even if it means killing his fellow creatures". The ritual is specific to males and is supposed to be one of spiritual growth as they transition into adulthood; and although it is applied to the Aborigine "Black boy" (David Gulpilil) in the film, one can say the ritual applies to the "Girl" and the "White boy" (Jenny Agutter and Luc Roeg) he stumbles upon.

This Walkabout starts when the "girl" and the "white boy" are forced to flee from their father who tries to kill them in the middle of the Outback, and then ends up shooting himself. As the kids aimlessly wander the wilderness, they come upon the "black boy" who starts teaching them how to survive. The three start an interesting relationship that begins as a simple means to survive but evolves into something more as the film progresses and they all adapt to their new situation in different ways.

Communication plays a key role in their relationship, which you can see in the above quote. The "black boy" only speaks in his native language, while the "girl" unsuccessfully tries to communicate through English. The "white boy" on the other hand is quickly taken by the "black boy", and they learn to communicate through gestures and signals. The contrasting ways that both the "girl" and the "white boy" react, adapt, and interact with the "black boy" is a common thread through the film as one seems to embrace the customs of the Aborigine more easily, while the other seems more reluctant to abandon her "city ways".

This is not only seen through the way they communicate, but also by the way their clothes "transform" or disappear through the course of the film. The "white boy" is quick to lose his shirt and is often seen wearing decorative paint in his skin, like his Aborigine counterpart, while there is an iconic skinny-dipping sequence with the "girl", which can be seen as a way to forget about the comforts and restrains of civilization, even if it doesn't last long.

Some minor issues I had with it is that the direction in the first act features a decent amount of awkward leering of the "girl". Once they meet the "black boy", things sorta balance themselves since there is a decent amount of leering of the "black boy" as well, which I can accept as a way to signal the sexual awakening and tension between both characters. But those first act shots seemed a bit unnecessary since we still haven't met the "black boy", so we're not seeing things from his perspective yet.

Overall, Walkabout is a powerful snapshot of Australian wilderness and the clash between the "civilized" and the "savages". Its dreamlike vibe is mesmerizing, and reminded me of other Australian films of the same era like Wake in Fright and Picnic at Hanging Rock. It's almost like we are in a trance watching this interactions unfold and we're captivated by it all, even if we can't fully understand it.

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Cloven is a Bahraini horror short film that follows an old man (Mubarak Khamis) that picks up a mysterious lady (Reem Erhama) at a secluded bus stop in the middle of the night. It is based in a local folktale about a creature called "Um Homar" that hunts unsuspecting children and people.

Stumbled upon this by mere chance and it was quite a pleasant surprise. With a 6 minute runtime and a fairly simple premise and setting, there's not much to say about it. But director and co-writer Mohammed Fakhro makes the most out of that to present a weirdly effective and chilling short that had me smiling with glee in the end.

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For those interested in watching it, here's the Facebook link for it.

Checking out your Psycho scene analysis episode this morning!

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Hey, hope you liked it.

That is unless you live in Pig Sty Alley, where it seems kung fu geniuses come from where you least expect them. But even the resident kung fu geniuses can't stop the fury of the Axe Gang! Kung Fu Hustle follows the attempts of the humble residents to do so. Meanwhile, wannabe bad guy Sing (Stephen Chow) and his dumb friend Bone (Lam Chi-chung) try to find their true self in order to help the village.

Kung Fu Hustle is a bit of a bizarre mish-mash of genres that go from action and comedy to surreal and outlandish. It is in trying to acclimate myself to that absurdity that I found the film to be more fun. I really didn't know much about it, so it took me a while to adjust my bearings to the tone of it, but I laughed all the way through that while.

Within all the absurdity, the film still manages to present some cool direction, pretty kick-ass coreographies (fight and dance!), and some neat special effects. The characters from both sides are colorful and fun, which makes it easier to warm up to their antics, and the performances from most are quite solid, especially Yuen Qiu as the Landlady, Danny Chan Kwok-kwan and Leung Siu-lung as the main bad guys.

Chow is competent as the lead, and has some good comedic timing with Lam. However, my main issue with the film is that for most of the first two acts, the character of Sing sits pretty much on the sidelines and doesn't really do much. This makes for his rapid transformation into "natural-born kung fu genius" to not feel fully organic. Like the Landlady said above, it takes time.

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The above is part of the toast offered by Gabriel Conroy (Donal McCann) in the middle of an Epiphany dinner party in 1904 Ireland. Little does he know that the rehearsed words that he recites, and that are met with different ranges of cordial acknowledgment and mild disinterest by the various guests, will come back to bite him in the very last act of the film.

The Dead is John Huston's final film, with a script written by his son Tony, based on a short story from James Joyce. Being a fan of classic literature, Huston's daughter Anjelica, has said that "it was very important for my father to make that film." Anjelica herself stars as Gabriel's wife, Gretta. The director died a couple of months before release, which makes of it a rather haunting look at life and death.

You gotta admire a film that doesn't really show its cards until the last 10-15 minutes. Because, for most of its duration, the film dwells in the mundane conversations between the assorted characters that meet for this dinner party, without really showing us what the deal is. Still, it manages to keep you engaged and captivated by sheer dialogue and performances. Conroy, Huston, and Dan O'Herlihy stand out from a great ensemble cast.

But it's also Huston's patient direction and affection for the source material what keeps the film going, even if we don't know where things are going. It is in those final 10 to 15 minutes that he chooses to show us his hand and leave us, the audience, in an existential void as deep as Gabriel finds himself in. Thoughts of the past, of youth, of changes, of absent friends that are missed.

Grade:

Aside from the final 10 minutes, I remember struggling with that one, but I do think its pacing choices are very deliberate and the film is exactly what it wants to be. I just wasn't on the film's wavelength when I watched it.

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IMDb
Letterboxd

I understand that. I found myself fully captivated by the performances and the flow of the conversations.

Our life is full of choices; since we have use of reason until the day we die. Where to go, what to study, who to marry, where to work... and we make some thinking that if things go wrong, we can always go back and "fix things". But there are choices we can't go back to, and we just have to move forward, wherever it takes us. That is part of the basis of this psychological sci-fi thriller from John Frankenheimer.

Seconds follows a middle-aged banker that feels unfulfilled in his life, only to be approached by a company that offers him the chance to start a new life with a new identity through plastic surgery. What if you had that chane? Will you take it? After becoming "Tony Wilson" (Rock Hudson), the man realizes that it's not that easy to move forward and cut your ties to your past life.

This was a really interesting film that in some ways plays like an unsettling sci-fi thriller, but in many others presents a thought-provoking and more psychologically driven look at how we live our lives, and the choices we make through it. If we knew there was no turning back, would we make the same choices?

One of the strengths of the film is Frankenheimer's direction, which is claustrophobic and oppressive. Regardless of the persona that Wilson is under, you can feel that he's never entirely free to move back or forward. "They made the decisions for me all over again", he says as he gets to another threshold in his life.

Casually, this year I've seen more Rock Hudson films than I had seen before (which was zero!) and this is actually the best I've seen him in. Plus, knowing the details of his life, you can't help but wonder the amount of "realism" in his performance as we see his character question the way he has lived his life, and the pretensions he has been forced to live with.

Grade:

Too low!

Have you seen The Manchurian Candidate?

I almost never feel like I recognize a director's style, but not 10 minutes into it I was getting vibes of Seconds.