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Those are all solid!
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Godzilla x Kong the New Empire
4/10.
Just when you thought this monster franchise couldn't get any worse.
It was like watching a bad made-for-TV animated movie. It was so bad, I ended up shutting it off about half way through.
Please stop making movies like this. Instead of putting the "x" between their names, put the x though both of them.
And stop making Godzilla glow Barbie pink.
Hopefully this empire had a short reign.
4/10.
Just when you thought this monster franchise couldn't get any worse.
It was like watching a bad made-for-TV animated movie. It was so bad, I ended up shutting it off about half way through.
Please stop making movies like this. Instead of putting the "x" between their names, put the x though both of them.
And stop making Godzilla glow Barbie pink.
Hopefully this empire had a short reign.
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Migration (2023)
Another outdoor movie night with my daughter, and this is a rewatch from originally seeing it in theaters. My rating remains the same, as everything is just okay here. I did think the visuals are top-notch (who wouldn't want to fly through the clouds or amongst the canopy in Jamaica). However, it suffers from a lot of loud, anxious sequences that turn me off sometimes, similar to how The Bad Guys did in 2022.
Another outdoor movie night with my daughter, and this is a rewatch from originally seeing it in theaters. My rating remains the same, as everything is just okay here. I did think the visuals are top-notch (who wouldn't want to fly through the clouds or amongst the canopy in Jamaica). However, it suffers from a lot of loud, anxious sequences that turn me off sometimes, similar to how The Bad Guys did in 2022.
Love Lies Bleeding -
This neo-noir really wants you to believe it's edgy and controversial. Where to begin? There's a torrid and graphic lesbian love affair, HGH injections, plenty of smoking, an abusive brother-in-law, Ed Harris as a skulleted gun range manager with a fondness for stag beetles, etc. All these flourishes may have had the intended effect twenty years ago, but today, they come across as trying too hard. What's more, this supposedly tangy yet actually plain frosting is on top of equally plain cake. In other words, the movie does not do anything novel with its genre tropes. As for the climactic moment that may have brought this movie to your attention, as much as I'd love to say it's actually edgy, it seems like a cop out more than anything else.
Despite being disappointed overall, there are things in the movie worth appreciating. I like the atmospheric presentation, and the late '80s period touches are accurate and without being too kitschy. The performances are also uniformly strong, especially Ed Harris for how he knows what kind of movie he is in, for how he chews the scenery and...other things just enough. I can see what Rose Glass and company were going for in making you wonder how much you would sacrifice if you found that exact person you were seeking, but due to all its missteps, it doesn't quite pay it off. With this movie and the equally middling Drive-Away Dolls, lesbian stories deserve better in 2024, which is a shame given how many great ones there have been in recent years (Booksmart, Bottoms, Portrait of a Lady on Fire, et al).
This neo-noir really wants you to believe it's edgy and controversial. Where to begin? There's a torrid and graphic lesbian love affair, HGH injections, plenty of smoking, an abusive brother-in-law, Ed Harris as a skulleted gun range manager with a fondness for stag beetles, etc. All these flourishes may have had the intended effect twenty years ago, but today, they come across as trying too hard. What's more, this supposedly tangy yet actually plain frosting is on top of equally plain cake. In other words, the movie does not do anything novel with its genre tropes. As for the climactic moment that may have brought this movie to your attention, as much as I'd love to say it's actually edgy, it seems like a cop out more than anything else.
Despite being disappointed overall, there are things in the movie worth appreciating. I like the atmospheric presentation, and the late '80s period touches are accurate and without being too kitschy. The performances are also uniformly strong, especially Ed Harris for how he knows what kind of movie he is in, for how he chews the scenery and...other things just enough. I can see what Rose Glass and company were going for in making you wonder how much you would sacrifice if you found that exact person you were seeking, but due to all its missteps, it doesn't quite pay it off. With this movie and the equally middling Drive-Away Dolls, lesbian stories deserve better in 2024, which is a shame given how many great ones there have been in recent years (Booksmart, Bottoms, Portrait of a Lady on Fire, et al).
Last edited by Torgo; 09-08-24 at 08:34 PM.
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THE SIN
(1965, Barakat)
(1965, Barakat)
The Sin follows Aziza (Faten Hamama), a poor woman that has to work in the fields under harsh conditions. When her husband falls ill and is unable to work as well, the pressure to sustain the family falls solely in Aziza. After being raped by a guard and ending up pregnant, she is faced with some harsh decisions. Does she reveal what happened sacrificing both her dignity and her family's means of survival, or does she carry on risking shame and punishment in the future?
As I was browsing for films from Egypt, this often came up as one of the most well-regarded films from the country. Considering the time and place it was made, it's understandable the impact it probably had. Even in more progressive societies nowadays, there are still films that shy away from addressing issues like rape, unwanted pregnancies, abortion, and suicide, or its religious/spiritual implications. So to have this come out from a Muslim country, back in 1965, is quite something.
Grade:
Full review on my Movie Loot
I highly recommend the following Egyptian movies:
-Chitchat on the Nile
-Cairo '30
-Cairo Station
-M Empire
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刺青
刺青 (Irezumi) is over 50 years old, and still a knockout.
In what might essentially be described as Japanese noir, Ayako Wakao plays one heck of a femme fatale, a deadly geisha whose destiny appears to be cast as soon as she's forced to have a freaky giant spider tattooed on her back.
A simple summary of the plot mechanics wouldn't quite do the movie justice, as much of the pleasure it offers stems not from knowing what happens, but watching it happen bit by bit.
Ayako Wakao is reportedly still alive (she'd be about 90 now) and one simply has to wonder what amazing stories she might have to tell about the making of this movie.
Hi. I want to recommend this movie to a friend, but she avoids Erotica categories. Is there a lot of nudity?
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Is there a lot of nudity?
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San Franciscan lesbian dwarves and their tomato orgies.
San Franciscan lesbian dwarves and their tomato orgies.
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I highly recommend the following Egyptian movies:
-Chitchat on the Nile
-Cairo '30
-Cairo Station
-M Empire
-Chitchat on the Nile
-Cairo '30
-Cairo Station
-M Empire
EDIT: Chichat on the Nile also titled Adrift on the Nile? 1971 movie?
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Hi. I want to recommend this movie to a friend, but she avoids Erotica categories. Is there a lot of nudity?
Love Lies Bleeding -
This neo-noir really wants you to believe it's edgy and controversial. Where to begin? There's a torrid and graphic lesbian love affair, HGH injections, plenty of smoking, an abusive brother-in-law, Ed Harris as a skulleted gun range manager with a fondness for stag beetles, etc. All these flourishes may have had the intended effect twenty years ago, but today, they come across as trying too hard. What's more, this supposedly tangy yet actually plain frosting is on top of equally plain cake. In other words, the movie does not do anything novel with its genre tropes. As for the climactic moment that may have brought this movie to your attention, as much as I'd love to say it's actually edgy, it seems like a cop out more than anything else.
Despite being disappointed overall, there are things in the movie worth appreciating. I like the atmospheric presentation, and the late '80s period touches are accurate and without being too kitschy. The performances are also uniformly strong, especially Ed Harris for how he knows what kind of movie he is in, for how he chews the scenery and...other things just enough. I can see where Rose Glass and company were going in making you wonder how much you would sacrifice if you found that exact person you were looking for, but due to all its missteps, it doesn't quite pay it off. With this movie and the equally middling Drive-Away Dolls, lesbian stories deserve better in 2024, which is a shame given how many great ones there have been in recent years (Booksmart, Bottoms, Portrait of a Lady on Fire, et al).
This neo-noir really wants you to believe it's edgy and controversial. Where to begin? There's a torrid and graphic lesbian love affair, HGH injections, plenty of smoking, an abusive brother-in-law, Ed Harris as a skulleted gun range manager with a fondness for stag beetles, etc. All these flourishes may have had the intended effect twenty years ago, but today, they come across as trying too hard. What's more, this supposedly tangy yet actually plain frosting is on top of equally plain cake. In other words, the movie does not do anything novel with its genre tropes. As for the climactic moment that may have brought this movie to your attention, as much as I'd love to say it's actually edgy, it seems like a cop out more than anything else.
Despite being disappointed overall, there are things in the movie worth appreciating. I like the atmospheric presentation, and the late '80s period touches are accurate and without being too kitschy. The performances are also uniformly strong, especially Ed Harris for how he knows what kind of movie he is in, for how he chews the scenery and...other things just enough. I can see where Rose Glass and company were going in making you wonder how much you would sacrifice if you found that exact person you were looking for, but due to all its missteps, it doesn't quite pay it off. With this movie and the equally middling Drive-Away Dolls, lesbian stories deserve better in 2024, which is a shame given how many great ones there have been in recent years (Booksmart, Bottoms, Portrait of a Lady on Fire, et al).
Dust in the Wind (1986) 8.25
Some of it was lovely. I got a bit bored. Can't really remember anything that happened.
It had an anti-ending (as in there wasn't one).
It had a super cool mechanical printing machine.
Some of it was lovely. I got a bit bored. Can't really remember anything that happened.
It had an anti-ending (as in there wasn't one).
It had a super cool mechanical printing machine.
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Chariots Of Fire (1981)
This being a sports period drama made in the early 1980s makes it look like a classic within a classic.
It's a situational story and rather restraint in the personal motives of the main characters.
Personally I think it managed to make the sport look wholesome and handsome, and I cheered for the strength of the runners regardless of whose victory it was going to be.
I like the famous Vangelis tune (like everybody else does) but I was afraid they would play it at every opportunity - thankfully that doesn't happen.
Somehow I thought there was going to be a scene with the men running on the beach in the nude but I guess that was another film about The Olympics.
8/10
This being a sports period drama made in the early 1980s makes it look like a classic within a classic.
It's a situational story and rather restraint in the personal motives of the main characters.
Personally I think it managed to make the sport look wholesome and handsome, and I cheered for the strength of the runners regardless of whose victory it was going to be.
I like the famous Vangelis tune (like everybody else does) but I was afraid they would play it at every opportunity - thankfully that doesn't happen.
Somehow I thought there was going to be a scene with the men running on the beach in the nude but I guess that was another film about The Olympics.
8/10
负负得正
负负得正 - distributed in the US under the title Land of Broken Hearts - is a positively charming romantic comedy with a touch of sci-fi/fantasy, and probably the most charming Chinese movie so far this year.
At its heart, it's the old "boy meets girl/boy loses girl/boy gets girl back" plot - with one or more significant twists. And here's where, to avoid spoiling anything, I'll just say that the movie may or may not have a sci-fi/fantasy angle, or maybe something that just looks like it.
It is at times very surrealist and has some touches of magical realism, including an animated sequence (which I don't recall seeing in any Chinese movie, ever!). There's a few things that might have been left to the imagination... but it's definitely nice to see the movie has a soft spot for cats!
As one of the characters in the movie might say, "meow, meow, meow!"
After Blue, 2021
At some indeterminate point in the future, teenager Roxy (Paula Luna) lives with her hairdresser mother Zora (Elina Lowensohn) on a planet called After Blue where all of the citizens are women. When Roxy comes across a strange woman buried up to the neck on the beach she naively helps her escape, only to discover that she has freed notorious outlaw Kate Bush (Agata Buzek). Their community exiles Roxy and Zora, declaring that they can only return once they have killed Kate Bush.
While it overstays its welcome by about 30 minutes, the intriguing visuals and interwoven sexiness keep you engaged.
FULL REVIEW
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Double Down (2007) -
I feel I'd need to watch more from Breen to be confident on why I enjoyed this so much, but whatever Breen was going for here, I found it fascinating. Of course, the acting is atrocious, the narration is beyond overbearing, the nudity is awkward, the plot is nonsensical, etc. However, the further I got into the film, the more intrigued I was by whatever it was doing. Again, I'm sure people who've seen more from Breen will be able to explain his strengths better, but one thing I noticed was how the runtime felt nonexistent. Given how much introductory narration filled the first third and given how not much happened throughout that section, it felt like a prolonged first minute. When I checked how far in I was and saw it was over 25 minutes, I remember feeling a mix of emotions to that discovery. No movie I've seen moves like this. I also found Breen's character completely baffling. The narration portrays him as a genius who seems to have invented every single thing imaginable, has ties to all kinds of governments and higher-ups, and he might've cured cancer. On the other hand, he has a cliché tragic backstory, has frequent hallucinations and regularly wakes up on the road next to his car, he's a hacker who plans to take control of Las Vegas, and has a tuna addiction. Just...wow! How exactly am I supposed to even read this character? Breen clearly doesn't intend for this to be comedic and reveals all these details with a straight face, so am I supposed to like or dislike his character? I genuinely have no idea. The entire film just seems so inexplicable in its merits I have to be impressed. I had little interest in watching anything from Breen prior to watching this, but I'm now eager to check out some more of his filmography.
I feel I'd need to watch more from Breen to be confident on why I enjoyed this so much, but whatever Breen was going for here, I found it fascinating. Of course, the acting is atrocious, the narration is beyond overbearing, the nudity is awkward, the plot is nonsensical, etc. However, the further I got into the film, the more intrigued I was by whatever it was doing. Again, I'm sure people who've seen more from Breen will be able to explain his strengths better, but one thing I noticed was how the runtime felt nonexistent. Given how much introductory narration filled the first third and given how not much happened throughout that section, it felt like a prolonged first minute. When I checked how far in I was and saw it was over 25 minutes, I remember feeling a mix of emotions to that discovery. No movie I've seen moves like this. I also found Breen's character completely baffling. The narration portrays him as a genius who seems to have invented every single thing imaginable, has ties to all kinds of governments and higher-ups, and he might've cured cancer. On the other hand, he has a cliché tragic backstory, has frequent hallucinations and regularly wakes up on the road next to his car, he's a hacker who plans to take control of Las Vegas, and has a tuna addiction. Just...wow! How exactly am I supposed to even read this character? Breen clearly doesn't intend for this to be comedic and reveals all these details with a straight face, so am I supposed to like or dislike his character? I genuinely have no idea. The entire film just seems so inexplicable in its merits I have to be impressed. I had little interest in watching anything from Breen prior to watching this, but I'm now eager to check out some more of his filmography.
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The Night They Raided Minsky's
This movie probably seemed a lot funnier when it was brand new in 1968, highlighting the quick ascend of a young director named William Friedkin.
The events in the film are reportedly a fictional account of the invention of the striptease at Minsky's Burlesque in 1925; the place was very real, but the events in the movie are completely made-up.
If nothing else, at least the movie has a very interesting cast that includes Jason Robards, Britt Ekland, Joseph Wiseman, Denholm Elliott, Elliott Gould and Bert Lahr.
It's also a little bit sad to realize that, other than Britt Ekland, all of the lead actors here are long gone....
