Over the Edge, xXx, Ghost Town, Boycott, & Winning Time: Reggie Miller vs. The New York Knicks

Over the Edge is Matt Dillon's first film. It's a film about kids rebelling because there's nothing else to do in their planned community. It's not the best film, but it's quite enjoyable, and the soundtrack is great, with lots of Cheap Trick, The Cars, and even a Ramones track. As a portrait of misspent youth, I am very thankful I never spent time with delinquents like these. My delinquent friends were much more sarcastic and much less destructive.

xXx was really, really stupid. I normally would not have watched this film. Because it's a stupid film. But Meatball Surgery decided it would be funny to give me it on DVD. It's now sitting next to my Wong Kar-Wai and Wes Anderson DVDs, keeping them company and occasionally trying to read the backs and failing. I understand why Asia Argento is kinda famous, since her dad is Dario and she's willing to be naked. I wonder why the hell anyone would cast her in a PG-13 film that precludes nudity? She's a horrible actress. I really liked Pitch Black, his voice is great in The Iron Giant, and he was good in Saving Private Ryan, but I don't like Vin Diesel much at all. The Rock at least has a sense of humor. Vin just has a great voice, but can't act.

Ghost Town is another Ricky Gervais Hollywood romantic comedy. It's better than The Invention of Lying, but not by much. It's a little sad seeing Alan Ruck have such a small role.

Boycott is directed by Clark Johnson, aka Meldrick Lewis, aka Gus Haynes, aka director of many good TV shows.  He takes a decidedly post-modern approach to the story of the Montgomery, Alabama bus boycott, with shots in black and white, breaking the fourth wall, having it be a documentary in some shots of scenes and not in others, and just in general bringing a cinematic approach to the material.  Jeffrey Wrights is quite good as MLK, Jr, as is the rest of the cast in their roles, but I just can't see Terrence Howard without thinking about how he doesn't use toilet paper, but baby wipes, when he goes to the bathroom.  He probably has a silky smooth anus.  And that is an extremely weird thing to know about a person.

Winning Time: Reggie Miller vs. The New York Knicks is produced by Reggie Miller.  Of course, it's a huge lovefest for him, although with some humanism brought in by focusing a little on his history of being second fiddle in his family to his sister.  As someone who watched the NBA throughout the Jordan years (and with some love for the Kings that got screwed by the refs in the playoffs in the late 90s and early 2000s), I was pretty familiar with the Pacers-Knicks rivalry.  I think the city-hick aspects were played up a bit, but there was definitely genuine bad blood between the teams.  It's also surprisingly funny for a documentary on two basketball playoff series.  Spike Lee was great, and while some might fault him for framing the covers of the NY Post that lambasted him after Miller went off in the 1994 series, if I were on the front cover of a "major" newspaper, I would also frame them.  Unless it were because I was in jail.  Probably wouldn't do it then.  If you watched NBA basketball at the time, you'll love this.  If you like trash-talking, you'll love this.  An extremely enjoyable film.

Sisters of the Gion, Up the Yangtze, Paris, je t'aime, & Gonzo: The Life and Work of Dr. Hunter S. Thompson

Sisters of the Gion is another Mizoguchi movie from the Fallen Women Eclipse series. The opening shot, of an auction of all of a husband's business, is impressive in setting up a broken man, but the rest of the film focuses more on the relationship between two sister geishas, the older "wise" one and the younger "vain" one. When the older one tries to help the husband, the younger one tries to get men to embezzle for a new kimono and expel him from the house. It's a big critique of geishadom, and it's very well-deserved. Geishas are creepy. I support things that point out just how creepy geishas and other paying for companionship things are.

Up the Yangtze is a documentary about a family that's being displaced by the Three Gorges Dam, and so they basically sell their daughter into a job on a cruise ship catering to Americans. Of course, it's horribly depressing, with the traditional China being destroyed by modernization. The movie feels more like a fiction film, even though it's clearly a documentary. Very well done, but I kinda wish they had subtitles on the DVD, because, especially when they're trying to learn English, they're very hard to understand. And I felt really bad for these people who have to deal with these terrible patronizing tourists. The lessons not to discuss politics are hilarious, especially the warnings to avoid Quebec's independence movement or Northern Ireland are great. I wonder if tour guides for Chinese groups here are advised not to mention Tibet. Watching the clearly false representation of China that tourists are being fed is frustrating. But the scenery shots were really great. And of the people in it was still on the boat when my parents went on it, which they watched after they came back.

Paris, je t'aime is a collection of short films about Paris, each set in a different arrondissement. As with all short film collections, some are better than others. Things to take away from it: mimes are terrible, Oscar Wilde's ghost gives good advice to bad people, the Coen Brothers are great with their short films (their short in To Each His Own Cinema, which I have seen online, is hilarious), and the one about hair cuts was terrible. If you want to see it, just know that you will be bored by many of them, in search of a few that are fairly good.

Gonzo: The Life and Work of Dr. Hunter S. Thompson is an interesting documentary about... well, it's in the title. Alex Gibney, director of Enron: The Smartest Guys in the Room and Taxi to the Dark Side, does a great job trying to cover the crazy life of Hunter S., which, even with my knowledge of him, mainly from movies and some of his writings, was a lot of new stuff. Definitely a good watch if you're at all interested in him.

Caseus Archivelox: Forgotten Silver, The Devil's Backbone, & Cronos

2002-04-13 - 1:55 p.m.
It was Peter Jackson Film Day. First was one I hadn't seen before Forgotten Silver, it was a mockumentary about the first filmmaker to use sound film and color film, and tried to make a 4 hour long biblical epic with the help of the communists and some corrupt American producers. It was really funny. Next was Bad Taste, which I skipped about ten minutes in the middle of because it was somewhat boring seeing those ten minutes again. It was definitely a low budget film. Then I watched all of the Frighteners, because I hadn't seen it in a while. It was good. Sort of silly serial killer at the end, but most movies have that. Well, most movies that have serial killers in them have that. Coolest thing about the movie is that Dammers tries to drown out Lynskey's screaming with Sonic Youth's version of the Carpenter's classic "Superstar". Then I watched almost an hour of Dead Alive. I decided that I only wanted to watch the Kung Fu priest scene, and the entire zombie massacre at the end. If I need to watch them again, it's not like I really have a problem.

After that I went back to coordinate the 9:30 showing of The Devil's Backbone. The movie was a really really good ghost story. Very atmospheric and had some good scares, at least according to a girl in the audience who screamed a lot. The movie only had a couple jump scenes, most were shots where the camera panned, tilted, or tracked away from a character to the disturbing thing, fully anticipating a sort of scary shot. Not really screaming quality scares. But the movie was incredibly well made. I think that Blade 2 is probably a better film than Blade. I really want to see that. Especially because of the midnight film Cronos. That was a great reimagination of the vampire mythos. Too bad there weren't any lesbians in the movie. Guillermo Del Toro is a really talented director, and even Mimic (easily his worst film, no matter how bad Blade 2 may or may not be) shows flashes of brilliance.

Caseus Archivelox: Poltergeist

2002-03-05
I remember watching this movie many times when I was a kid, and consequently having an intense fear of clowns. That one short scene caused me to hate clowns for as long as I can remember. It is not that I fear a clown attacking me; it is that I dislike people with their faces painted white, big orange hair, and shiny costumes. It was nice for the fact that it told me how to tell whether the storm was moving closer or farther to where I was.

Beyond that however, it is an incredibly effective (at least until an unnecessarily silly ending scene) ghost story. Almost nothing supernatural happens on screen, depending almost entirely upon somewhat strange occurrences that happen when characters look away. That is an interesting bit of the movie, as with the exception of the scene when the tree attacks Robbie, the scenes without the supernatural aspects are more effective than the ones with the special effected supernatural.

Throughout the movie, there is no character that we see the entire movie through, and we identify with most of the characters at one point or another, even with Tangina, the psychic who has never done in what she is supposedly an expert. As a young boy when I first saw the movie, I ultimately identified with Robbie, and when watching it this time, I realized how little of it really was about him, and saw it as identifying with everyone in the family at certain times, taking me out of the movie to a certain extent, because I was not as involved with one character as if it had focused on one character.

Caseus Archivelox: The Haunting

2002-02-28
This was an ultimately disappointing film, as you hyped it up too much. It was effective, and the camera angles and sound design were good, but it was just a simple haunted house tale. Not that it was not incredibly influential upon later haunted house films, but I never really identified with any of the characters. I am not an insane, possibly matricidal spinster like Nell, or a psychic like Theodora, or a psychic investigator like Dr. Markway, or a money-grabbing youth like Luke. I never was enough into the movie to care what happens to them. And when the house manipulated Markway’s wife into just happening to show up at the two times she does after her disappearance, it rings hollow from a plot standpoint.

Wise is an obviously talented director, and it causes me to question whether I am jaded or whether the movie has not aged well. I think that it is a combination of the two, and thus I blame the remake for ruining this movie. The understated lesbianism in the movie is much better than the more obvious version in the remake. In some ways, the more obvious lesbianism detracts from the struggle for Nell between the humans and the house as it makes it more of a sexual attraction than when that is there but not emphasized.

Another problem with the movie is that the house turned bad because of what occurred on the house grounds as much as it did for what occurred within the house. I think that haunted house movies work better when the moviemakers acknowledge the silliness and make the house built over an old Indian burial ground. The lack of a real supernatural reason for the hauntings make me more likely to think that it is all within their heads and less scary for a (more) sane viewer.

Jumper, Wages of Fear, Horrors of Malformed Men, Snake Woman's Curse, & Blind Woman's Curse

Jumper begins promisingly enough, and then Hayden Christensen appears. Is there anyone who would have been good as Anakin Skywalker? Certainly not him, and he's really terrible here, as is basically everyone in the film, even the normally enjoyable Diane Lane, Michael Rooker (both of whom were given nothing to do) and Samuel L. Jackson. The only thing that makes the film enjoyable at all is Jamie Bell, as another jumper who hunts Paladins who hunt jumpers. Apparently, very little of this comes remotely close to the book. So the question becomes, who's responsible for this infanticide? The studio, the director Doug Liman, or the three writers Simon Kinberg, David S. Goyer, and Jim Uhls? Sadly, I think everyone is to blame. The film is only 88 minutes long, suggesting studio meddling in an attempt to make the film remotely sensible. Doug Liman is talented, but there is a messiness to this film that suggests no actual plan to make this film work with such a wooden cast and terrible script. Why, exactly, scriptwriters, did you need to create the Paladins? Why not just keep the NSA as the bad guys? Seriously, this movie is a completely bad idea and sometimes you just need to make fewer crap movies with good ideas that would make someone like me think it could be acceptable. This was not good, Hollywood, not good.

Wages of Fear is the original film that Sorcerer is based on. I saw Sorcerer years ago, and it was a very good and tense film. To describe the plot simply: four guys have to drive a truck of nitroglycerin across Central America. Somehow, it stretches to two and a half hours of extremely tense scenes and greatness. I like films where people just go back and forth in various languages, and this one goes back and forth from French to English a lot, and includes Spanish and German as well. As much as you might expect this film to be ridiculously simplistic, the tension mounts, due to the great direction by Henri-Georges Clouzot, and it's just a masterpiece.

Horrors of Malformed Men is the first in a series of three bizarre Japanese films I watched this weekend. And it's probably the most bizarre film I've seen in a long time. How many films can you think of that are banned in Japan? This is partly due to the title, which references the people disfigured by the atomic bombs (along with using an offensive term in the original Japanese for the malformed men), but also, there are huge sections that are very similar to the grostequeries of Caligula, but it isn't mediocre porn (just many, many topless women sewed to goats or other people). It's actually a combination of short stories by Edogawa Rampo (say it quickly, and remember these are detective stories), but it actually works quite well as a single story. Not sure it's all that good of a movie, but it's really not too much like other ones.

Snake Woman's Curse is supposed to be a ghostly horror movie, but it isn't very scary. It is, however, a condemnation of 16th century Japanese feudal society inequality. Blind Woman's Curse stars Meiko Kaji as a yakuza who accidentally blinds a woman and a cat starts to torment her. There are some weird visuals, and it's somewhat more of a yakuza than ghost movie. Eh to it an Snake Woman's Curse.

Also, I finally made it through my old blog's archives, and I have almost three years of movie reviews to include. I could even include my reviews from my horror class, which are amusing as they're written with the same attention to detail as the blog you're currently reading, but were turned in for grades. How often and how many reviews should I post? Should I just start a new category and call them "Caseus Archivelox" or somesuch, or should I backdate everything? I have around 100 pages of reviews of movies, a few I've already posted, but mainly just half-assed reviews of films I may have forgotten I've seen. I'm leaning towards posting each day as a separate post, tagged with Caseus Archivelox and the date and time of original posting for the blog entries and dates for school papers. But the problem is how many not to overwhelm? If you have any suggestions, comment, and I'll take them in to consideration.

Sooner or Later, Zigeunerweisen, Kageroza, Yumeji, & Underworld Beauty

Sooner or Later is an 11 minute short Hungarian film written and directed by István Madarász (and is Elöbb-utóbb in Hungarian). Normally I wouldn't bother watching random short films online, but io9 and Metafilter both linked to it, so go here and watch a short about a late-war secret Nazi experiment to use a time travel serum to go back to win the war. Worth 11 minutes.

Zigeunerweisen, Kageroza, and Yumeji are an informal trilogy of Seijun Suzuki films, and are bizarre and very nonsensical with ghosts and actors playing different people. Sorry, just didn't like them at all. They're basically his only major works from Branded To Kill to Pistol Opera. He clearly was still messing with people, but instead of it being the studio heads like in Tokyo Drifter and Branded To Kill, it is the audience. Underworld Beauty, on the other hand, is a quick little dirty, early Seijun Suzuki film, not as good as his later ones, but it's effective at what it does: a bunch of criminals are chasing after some diamonds. There's a tense scene involving a coal chute, and a lot of naked mannequins, but really, it's just a fun little film. Nothing remotely that interesting except for those who will see anything by a director of which they are a fan.

Onibaba, Tom Yum Goong, Postal, & Girl Boss Guerilla

Onibaba is a pretty good Japanese ghost story, with a pretty freaky bit of makeup near the end. I was also surprised by just how much nudity was in the film. As it's a Japanese film, no full-frontal, but the two female characters spend a good portion of the film with one or both breasts exposed. Surprising for a film made in 1964. Beyond that, though, it's a moral tale of a mother and daughter whose husband doesn't return from a war and so they start killing lost samurai and selling their armor to survive. Then a man comes into their lives, and they start to fight over him. It all ends tragically, with the help of a demon mask that's pretty freaky.

Tom Yum Goong is a Tony Jaa movie. To know what that means picture this: a young Jackie Chan with less charisma but with more elbows to the head and knees to the stomach. He does all of his own stunts, and the film is all the more impressive for that. Especially the four-minute or so long tracking shot of him going up the stairs at a secret restaurant in Sydney that cooks up endangered species is one of the most impressive fight scenes filmed. It's just one take of him throwing people through walls, off balconies, down stairs, and dodging flying vases. Of course, the plot is basically: tranny stole Tony's elephants and killed his dad and so Tony has to fight through hundreds of people to get them back. Yes, I did say tranny. I'd object, except for the fact that basically every white person is evil, as in most Asian films. I'd object about that, except that we are kinda evil. The ending fight scene where Tony discovers the fate of his elephants and then breaks the bones of about fifty dudes in black just went on too long, as did the Tony loves his elephants section near the beginning. I did see the original international cut rather than the bastardized version (as the Protector) unleashed upon these shores by the Weinsteins, and I dislike them for that, but they did put it out on DVD, so I got to see it at least. Not as good as Ong Bak, but it has much less unnecessary repeating of awesome stunts (in that it had none). Here's my comments on Ong-Bak when I saw it in April of 2004 from the last blog: "Ong-Bak. I don't know what else to say except that if they just played every stunt once, then the movie would have been at least five minutes shorter. I get it that the stunts are amazing, but still, just play them once. Is the movie amazing otherwise? Hell yes. The movie's plot was eh, but the stunts. One "holy s---" moment after another. I'm amazed that the star didn't die. Just an incredible movie. I am just utterly amazed by those fight scenes. We're talking about the stunts and fights from two mid-level Jackie Chan films. In one film. Probably better stunts than any Jackie Chan film, although those are occasionally more death-defying, this one just had more. This movie needs to be seen to be believed. Wow! There was a little CGI, but strangely most that I noticed was just a smoke. And the three-wheeled vehicle chase? I think it was just an excuse to throw them off of highway bridges. Still, so much neat stuff." Yes, I censored myself with dashes back then. Rather than avoiding it unless I'm pissed or the film forces it. And Tom Yum Goong includes a nod to Jackie Chan with a cameo from a Chan double when Tony Jaa first arrives in Australia.

Postal is stupid. It just goes down a list of groups to offend and proceeds to offend them in the most immature way possible. Things I never wanted to see in a film but now have: THIS ENTIRE FUCKING FILM. Uwe Boll is a cinematic cancer and deserves to have his fate in this film in real life. Yes, he wrote himself into the film as the owner of theme park Little Germany (that took over Little Holland, ooh clever), and spouts stupid commentary about how important this film is and then tells bad Holocaust jokes. And then gets shot in the crotch. That's the level of this film. It has Dave Foley fully nude and then taking a very smelly dump while smoking a joint. Argh... I want to catalogue just how terrible this film is, but the more time I spend thinking about it the more I want to punch Uwe Boll in the balls. Repeatedly.

Girl Boss Guerilla is the first film in a Pinky Violence collection I received. Pinky films are basically Japanese sexploitation films, and this one was actually directed by the guy who directed School of the Holy Beast. As in that film, there's pissing jokes (one after four yakuza get the clap from one of the girl gang who has sex with a priest who has the clap, and the other when one of the gang gets pissed on trying to grab a filled condom after a nun had sex with a monk to blackmail him), gratuitous nudity, bondage, girl fighting, terrible slapstick, and just enough actual goodness to make the bad parts almost watchable. Occasional scenes are filled with tension and awesomeness (the finale on the road, and occasional shots like the introduction of Nami). But the violence against women is almost constant and the humor is crappy. Ultimately, the bad outweighs the good. The film follows two other films in the series, but I don't think it mattered much. I'm also not sure what the Guerilla really means in the context of the film.

Live Free or Die Hard, The Red Shoes, Dumplings, The Good German, The Middleman (again), & Scott Pilgrim

Live Free or Die Hard is the fourth (and I hope last) Die Hard film. The first one is one of the best action films of all time, and I like the second one. The third one, however, was utter crap. The first two were at least somewhat based in a slightly heightened reality, and the third one just tossed that out of the window. And this one was even worse. Maybe it has to do with living in DC and having been to Baltimore quite a few times, but every building I recognized (besides the obvious ones like Capitol building and other monuments) was in Baltimore during the big chase scene in DC. And that's also ignoring the final chase scene that's supposed to be set just north of Baltimore on 695, and the highways are clearly Southern California, with palm trees and overlapping highway overpasses that basically are a California thing and are nothing like highways in Maryland. Also, the movie is also ridiculous when it comes to plot. And wastes Maggie Q, who is only there to look attractive. I also had a serious problem with "Can I get another dead Asian hooker bitch over here right away?" which I know was just trying to get on Timothy Olyphant's bad side. But that racial stereotype grated on me. Actually, just about everyone in the film besides Bruce Willis and Justin Long were wasted. Those two clearly have no more talent than what was shown in the film. Basically, the film was terrible and stupid.

The Red Shoes is not the Powell-Pressburger film, it's a recent K-Horror film, clearly still based on the Hans Christian Andersen story, but with a Korean twist. I objected to the shoes clearly being pink. And to the complete ripoff of Fight Club. Kinda creepy, but the stereotypical Asian horror touches (ghosts with long hair and walking strangely) just aren't nearly as interesting the hundredth time.

Dumplings is the extended version of the Fruit Chan part of Three... Extremes. The plot is slightly different, missing the freakiest scene from the short, but adding more character parts and being slightly more interesting. Still quite good looking and freaky, and I should try to see some Fruit Chan films to see if it's a one-off, but the ones I've read are good aren't really available on Netflix. I don't understand why it makes me want dumplings. But I want dumplings.

The Good German is Soderbergh being ridiculous. He basically just said: Casablanca and The Third Man are awesome films, and what made them amazing was the studio system that made the films. Not the talent or the writing. So he apes those two films constantly, never coming close to that quality.

Venus has a good performance from Peter O'Toole and Jodie Whittaker, but ultimately feels like a small character piece rather than saying anything important about anything.

The Middleman: The Collected Series Indispensability is the complete Middleman comic. The first TPB is basically the first episode of the show, the second TPB is the third episode, and bits and pieces of the third TPB were used throughout the rest of the show, from Manservant Neville to the Honey Ryder bikini joke. I actually don't like the ending of the comic at all, and prefer the tv show's version of the Middleman, although that may be due to that being my introduction to the universe. But I certainly recommend it to everyone. Also, I got the Scott Pilgrim odds and ends collection, with all the main comics being familiar to me due to most of them being online, but I cannot recommend Scott Pilgrim enough (and I apparently haven't raved about it yet on the blog?).

The Middleman

The Middleman on ABC Family: yes, in some ways, you're giving money to Pat Robertson. I think, all I know is that he's somehow still on ABC Family. How they can show the 700 Club and The Middleman back to back is painful to my brain. But man oh man, The Middleman may be the best comic book adaptation ever. For those not in the know, Javier Grillo-Marxuach (a former writer for Lost) wrote the pilot episode for the series some years back, but no one wanted to pick it up, so he turned it into a comic in 2005. And published three trade paperbacks over the next few years until ABC Family (in their infinite wisdom) actually picked this up for series. Originally planned to be 13 episodes, the ratings have been bad, and so the order was cut down to 12. I don't want this to go the way of all the other awesome shows I love on TV (unlike Pushing Daisies and Lost) and get canceled. Anyway, the plot is that a temp, named Wendy Watson (nicknamed Dub-Dub, which always makes me think of Jubjub), ends up hired by mysterious superhero The Middleman to be his replacement and they end up having to fight crime with the help of an alien android and lots of crazy technology with ridiculous names (like the BTRS Scanner, which stands for Beyond the Realm of Science). And more puns and references to pop culture than I could have thought possible. Every episode seems to have a lot of references to one particular subject matter, like the trout zombie episode having many references to the band, The Zombies. Episode titles include "The Sino-Mexican Revelation" (a group of Lucha Libre wrestlers kidnap the Middleman's sensei (played by the Chairman, Mark Dacascos, shown here with the Middleman), "The Flying Fish Zombification" (about a guy turning people into trout zombies...), and "The Boyband Superfan Interrogation" (about an alien who is trying to stop a boy band from destroying the planet through the use of wormholes). Honestly, this is just about the smartest show I have seen in years. But beyond the absurd plots (Supersmart Gorillas Obsessed With Gangster Movies! Recovering Succubi! A Cursed Tuba From The Titanic!), the best thing is the characters. Wendy (adorably played by the adorable Natalie Morales) lives in an illegal sublet with another young photogenic artist, played by Brit Morgan, and is friends with Noser, who generally speaks all in song lyrics and plays "Stump the Band" in a highly entertaining fashion. These are real people in a bizarre but enjoyable world and their interactions are what make the TV show worth watching.

I've been watching it with Tweaks and Meat. And for those of you who want advanced studies in Middlemania, go here to see a bunch of behind the scenes videos and promos giving you a bit of the idea of the ridiculous awesomenosity of the show. This week's episode is about ghosts at a sorority, and constantly references Ghostbusters and Wendy talks about how she watches terrible zombie films to remind her of how awesome the good ones are. It was just great. And there will be upcoming episodes with Kevin "TV's Hercules" Sorbo, vampire puppets (can't possibly be as good as Smile Time, but I'm happy that there will be more vampire puppets on TV), and an evil parallel universe (with goatees!). I defy you to watch this show and not enjoy it. Please watch it. Please.

Joyeux Noël, High Spirits, & Pootie Tang

Joyeux Noël is a weepy melodrama about the Christmas truce between the Germans and the Scottish and French troops in 1914 on the Western Front. It's effective, but clearly there are extensive liberties taken with history. An anti-war film, all I could think about the entire time was about the best way to break through the lines in 1914. How do you get past the best defensive weapon of the time before there's really any corresponding advancement in offensive weaponry? Clearly the current tactics were not working, and it's amazing that they tried the same things over and over again. Working with smaller forces attacking weaker points would have worked, and did, finally, by the end of the war. You would have thought that mass assaults that decimated the forces would have made them realize that wouldn't work. And that's basically everything I was thinking about for most of the movie. Especially anytime that Diane Kruger wasn't on screen. When she was, it was maybe 90% of what I was thinking.

High Spirits is a Neil Jordan film, who directed the supremely awesome Mona Lisa, The Crying Game, and The Butcher Boy, along with the quite good The Company of Wolves, The Good Thief, Breakfast on Pluto, Michael Collins, and Interview with the Vampire. Basically, I like Neil Jordan, so when I was told that there was an 80s comedy with Peter O'Toole, Steve Guttenberg, Jennifer Tilly, Peter Gallagher, Beverly D'Angelo, Daryl Hannah, and Liam Neeson, I had to watch this. And it's just as bad as you'd expect a movie with Steve Guttenberg and a ghostly Daryl Hannah (doing her best Lucky Charms, which brings me to the review on Netflix that includes this: (save for Darryl Hannah as an Irishwoman--doesn't work, but they even purposefully have her lapse out at certain lines for comic effect, which shows they can make fun of themselves), which is so blatantly stupid that it's ridiculous). There are so many things that just don't work in this film that I was amazed that anyone thought it was a good idea. That it was funny in its terribleness is amazing. Just avoid this film unless you are with a lot of people who are very much into watching crap. I do very much want to see Neil Jordan's original cut of the film, especially considering the psychosexual aspects of The Company of Wolves, which this film clearly should have had more of. Also, the special effects were terrible 80s rear projection, models, and some stop motion. And there was the Duke University reference (more info about Duke's importance in Parapsychology here), which always reminds me of Carrie (the novel makes a couple references to Duke University scientists) and the opening of Ghostbusters, with the Zener cards. Of course, Duke no longer has it, but it's still in Durham. Ugh...

Pootie Tang is hilarious. In a good way. Also, what a cast: Bob Costas, Robert Vaughn, Chris Rock, J.B. Smoove, Wanda Sykes, Dave Attell, Laura Kightlinger, J.D. Williams, Jennifer Coolidge, Andy Richter, Kristen Bell (in her first credited performance! and just as hot as she is now), David Cross, Jon Glaser, Rick Shapiro, and Todd Barry. And a gorilla mauling. Plus it's full of good messages for the kids: don't eat sugary cereals, don't drink whiskey, don't smoke, respect women, and watch out for a man with a belt.

Brokeback Mountain, We Jam Econo: The Story of the Minutemen, Leonard Cohen: I'm Your Man, Uninvited, a crappy TV show, and the Bengals

Brokeback Mountain is the most homoerotic film I've ever seen about sheep. Sheep in the literal and metaphorical sense, as two clearly gay men are herded by society into a furtive relationship that ruins their lives and those who love them. And now that that's done, Princess Diaries breasts! And I wish I knew how to quit you! Sure, it's a touching film of forbidden love, with strong performances from Heath and Jake. Plus, there's quite a few other good performances from the women who aren't quite woman enough for the men. Certainly not the best film of the year, but dear god, is it better than Crash.

We Jam Econo: The Story of the Minutemen begins my documentary on influential musicians released in 2005 minifest. You are not, by the way, allowed to badmouth Double Nickels on the Dime. Just take a look at the amount of far more famous people talking about how awesome they were. Sure, a lot of their songs aren't always the best, but when they do hit that, the lyrics alone are amazing. For added fun in the film, besides lots and lots of concert footage (including at the old home of the 9:30 club), you have Mike Watt, an interesting guy in his own right, talking about D. Boon, one of the most fascinating people in music. Of course, a lot of the stories weren't new, as I'd read the excellent Our Band Could Be Your Life, but it's quite enjoyable anyway. If you don't like the Minutemen, then don't watch this. I also didn't think I could handle the second disc full of live songs of various quality, so the first one was fine for me.

Leonard Cohen: I'm Your Man just reminds me that I like Loudon Wainright's acting infinitely more than everything Rufus Wainright has ever done. I might even go so far as to say that he's terrible. Note that that's a might. And Rufus's version of Hallelujah can't hold a candle to Jeff Buckley's (the one in the movie is further marred by the female singers). And his version of Everybody Knows is a travesty (the original of which I love for its use in Pump up the Volume). Teddy Thompson's version of Tonight Will Be Fine was a highlight. As was Jarvis Cocker doing I Can't Forget. Admittedly, I am a fan of the song, ever since I first heard Pixies covering it. Also, you know, Pulp rocks.

Uninvited has quite likely the greatest special feature ever on a DVD. No, not a skip straight to the nudity (there's only a brief flash during a revival scene anyway). It's a 15 minute condensed version of the film. Had I just watched that, it would have been just fifteen minutes of confusion rather than two hours. Some interesting things in this cross between an ultra-religious My Own Private Idaho, Pillow Talk, and Ringu. Seriously, there's even a well. Interior Design is an important aspect of the film. Ghosts, narcolepsy, along with cannibalism (did you miss that deleted scene were Keanu Reeves eats River Phoenix in a seriously misguided attempt to gain his acting talent?) and dropping babies because they're evil. Well, that babies are like cats and that they'll eat their owners if needed. Just an utter mess of a film. Falling asleep in the middle of it after a busy Saturday didn't help.

And, for those of you who are my Netflix friends (if you aren't and want to be, let me know), you might notice I watched the first disc of The Newsroom, a Canadian TV news satire. And I didn't like it. Maybe if I had laughed once in the three episodes (I think it was three, I got bored), I might have actually watched more. But my life is far more important than watching mediocre Canadian TV. It's Degrassi or bust. Actually, there must be a good Canadian TV show besides Degrassi and You Can't Do That on Television. Taking recommendations isn't always 100%, even from people who are 85% similar on Netflix. Which should really be obvious. At least I didn't get the second disc as well.

Also, what the hell, Bengals? That defensive effort would have caused me pain had I been able to watch any of it. Well, I caught about two minutes near the end of the second half, but apparently, the Steelers-Bills blowout was more important in the District than a close exciting divisional rival.

Scoop & Un flic

Scoop is, unfortunately, even with Scarlett Johansson, Ian McShane (as a non-cursing ghost), Hugh Jackman, Charles Dance, and even a very brief cameo from Anthony Stewart Head, completely torpedoed by Woody Allen. And his script. Allen's capable of so much more, as evidenced by Match Point, but his comedies have been fairly bad for years. I am still looking forward to his next films, but there are times when I think that maybe the film won't be supremely disappointing. And then I watched Scoop. Awkward and unfunny "comedy", wasting of most of the cast, and just far too much Woody.

Un Flic is Jean-Pierre Melville's last film, and the fourth I've seen. All of them are completely awesome. From the proto-French New Wave of Bob le Flambeur, one of the coolest films ever made, to Le Samouraï, the main influence for John Woo's The Killer, to Le Cercle Rouge, one of the best heist films (after Rififi). Un Flic is translated as A Cop. The Netflix page is titled Un Flic, and the last line of the description is "Original French title: Un Flic." What the hell, Netflix? Admittedly, I never actually realized that flic was cop, not a film. Man, my French is tres terrible. The film itself is another heist film, starting with a bank heist and then a train heist that's so obviously a model train that it's funny. There's also quite a few obvious backdrops, let alone the rear-projected backgrounds for the car scenes. But that doesn't matter when you have Richard Crenna as a smooth thief/nightclub owner fighting with Alain Delon, as the titular cop, over Catherine Deneuve, one of the most beautiful women ever. Alain Delon and Catherine Deneuve in the same scene is quite a bit of hotness. The filming of the bank heist is also quite impressive with the rain and the fog. Sure the film isn't really saying very much, except that possibly Delon may be a little too married to his job and that's what makes for a good cop, but that doesn't entirely mean much.

Bad Boys, The Eye 2, & The Lovers of the Arctic Circle

Bad Boys is just one of the most misogynistic films ever made. I know, I know: he's complaining about misogyny again. But look at the film: all the female characters are either prostitutes, ballbreakers, or insane. While the guys are always far smarter than the women. Of course, the film isn't really meant to hold up to scrutiny of the sort of: why the hell are Martin Lawrence and Will Smith still on duty after the shootout at the apartment or the shootout at the club? Oh, that's right, because they're magical cops who don't have to, you know, answer to any higher law. Like their superiors. Or the amount of bullets fired that don't hit anyone. It's the Stormtrooper Syndrome. Also, I wanted to complain about how many times both one of the Titular Bad Boys (TBB) and a Non-Titular Bad Guy pointed guns at each other at the same time, and the TBB is able to not only fire first, but fire off a stupid one-liner before the NTBG is unable to come close to firing. Also, explosions are stupid. Or at least explosions for the sake of exploding things are stupid. As are cars that magically go from reverse to forwards without any chance, the fact that anyone finds Martin Lawrence funny, and that this film was remotely successful.

The Eye 2 is a sequel to one of the better Asian horror films, and although it does have the long-haired female ghost that so many others do, this one is far less about frights than about a look at life and death. But it also has Qi Shu, giving another performance worthy of her labia... I mean... Oh damn. She's quite good, and Eugenia Yuan is suitably creepy. The problem is that, although clearly a much higher budget than The Eye, the plot drags, we wonder just how everything is actually happening (how exactly did she not die after throwing herself off a building multiple times?), and just in general, it is less than the sum of its parts. Even if one of those parts sees ghosts.

The Lovers of the Arctic Circle is a great love story, filled with coincidences fulfilled, and sometimes not, a circular plotline that perfectly matches the title. It's the story of two eight-year olds who meet strange and, as they grow up, the various coincidences that so clearly point to them being right for each other. And the demon red bus that keeps getting in the way. Palindromes, scenes from just one or both perspectives at the same time, and circles are just so important. And then there's the final twist, slightly foreshadowed at the beginning and near the middle, with scenes that aren't entirely what they seem. It was written and directed by Julio Medem, who did Sex and Lucia, the best film I've ever seen with a mud-covered man becoming erect on screen. This is only slightly less sensual than that film (which is actually impressive considering the title of that film has sex in it), but it had me under its spell, acknowledging my main problem with it (the extreme coincidences necessary to further the plot), but doing it in a charming way that doesn't seem so completely random, and messes with my (and the characters') expectations just enough. Yeah, I am a sucker for the romance, but I just loved this film and then the ending hit, and I realized it was the way to end it.

The Agronomist, Au Hasard Balthazar, & Wishing Stairs

The Agronomist is a film I've been wanting to see for a year or so, ever since I did some research on Haiti and found out about it. It's an interesting look at the budding democracy there, from the perspective of Jean Dominique, the titular agronomist, journalist, film buff, and radio host. Jonathan Demme directed, and clearly was good friends with him, due to the interviews spaced out over years, and obviously very sympathetic to his message of both democracy and anti-corruption, as evidenced by a somewhat contentious interview with Aristide after his presidency. And, of course, as any documentary about a country torn apart by military coups and the like, the US is at fault. Apparently, the CIA supported the military leaders and Papa and Baby Doc, sometimes without the knowledge of the president. What a frickin' surprise. The CIA does a lot of crazy stuff. And as long as that stuff doesn't include removing not-widely-read blogs, I probably won't know about it unless I see another documentary about them screwing up another country for years. Anyway, the documentary is visually interesting, although the use of repeated scenes and sound effects (especially gunfire) occasionally got on my nerves. One thing that didn't was the soundtrack, by Wyclef Jean. You could occasionally hear bits that sounded almost like No Woman, No Cry, but it was an almost constant presence in the film, behind interviews in both English and French (or Creole, I know it was spoken, but can't tell the difference as I'm an uneducated American), but it adds quite a nice touch to the film. And Cowboy Reagan, another fake cowboy draft dodging Republican president, supporting the suppression of democracy just goes to show that the more things change, the more Republicans are a bunch of crazy assholes.

Au Hasard Balthazar is another arty French film that doesn't have an accepted English title. It sort of translates as Balthazar by chance, or something. Who cares? It's a film about a woman and the donkey who loved her. But not physically, although that was somewhat suggested at least once. Which would have made the film far more interesting. Donkey on woman sex is hilarious! Just look at how often it's mentioned when Mexico is! Bestiality, FTW! Just kidding all, I think it's dirty, dirty, dirty. Anyway, I didn't like the film, as the many scenes of human-on-donkey violence just made me uncomfortable. Another Bresson film, but since I'd just seen the great Pickpocket, he still stays in my Netflix queue. Also, the lead married Jean-Luc Godard. No, not the donkey.

Wishing Stairs is the third in the Girl School Ghost Story series, now standing at four films. The first two, Whispering Corridors and Memento Mori, were excellent films, although certainly Memento Mori was far better. This one is just a mess. Clearly a far higher budget, but little made any sense, nothing was done with any subtlety, I had serious problems telling characters apart besides the fat one with red hair and the lead, and it was utterly ridiculous. Not at all up to the standards of the earlier films, and unless the fourth gets good reviews, I'm not going to continue in the series. If I were interested in watching a bunch of schoolgirls in outfits, maybe, but this one had some crazy stuff in it, like stupid Asian horror cliché ghosts, a naked dead girl covered in clay, and ballet.

The Quiet American, Sunday Bloody Sunday, Initial D, & Three... Extremes

The Quiet American is a book I've been wanting to read for years, at least since I first read about the making of the Michael Caine film (which I really love, you know, just in case you couldn't have guessed from it being me) and it being held back for being anti-American. Which it is, completely deservedly due to our constant screwing up of a variety of countries through stupidity. The book itself sort of surprised me, especially with the ending. (Really, that's how you're going to end it? What does that say about the world if everything goes that way after the American gets killed by the commies?) Also, lots of opium. It's actually far better than either movie, as would be expected, but I was more impressed with just how accurate Graham was in his impressions of what would happen and just how much more he knew about the situation rather than the Americans. I also read this essay about the differences in the films, the book, and reality. It's interesting, if you're familiar with all of them, which you probably aren't, considering there were only 2,913 ratings of the 1958 version on Netflix (far less than the 225,852 ratings on the 2002 version).

Sunday Bloody Sunday is a sort of depressing look at a love triangle with the only twist that it's a Jewish doctor and an older woman for a younger man. It's a John Schlesinger film, who's very up and down, with good films like Midnight Cowboy, The Falcon and the Snowman, and Cold Comfort Farm, along with dreck like The Day of the Locust and The Next Best Thing. He also did Marathon Man, the movie that is extremely disturbing for the garotte scene alone. I found this film most interesting for the answering service, which was just a cranky old woman who was basically lying to a bunch of people about messages if she felt like being vindictive.

Initial D is full of pretty cool car stunts, and is all style, no substance. I imagine it's basically just like The Fast and the Furious, but with actual talent involved (the team behind Infernal Affairs, who apparently made a film called Forlorn City with the good Tony Leung, Takeshi Kaneshiro, and Shu Qi, and I clearly need to see), so I can completely see why they felt like ripping it off for Tokyo Drift. And anything with Anthony Wong is worth watching for his performance alone. But my favorite thing about it is the fact that it has a dubbed version and subtitles. And they're not the same. I am a huge fan of terrible subtitles, although I bet that the subtitles track the actual dialogue far more than the dubbing. The jokes in the subtitles are far funnier than the dubbing as well, as there are fewer gay jokes and more crossdressing and prosititution jokes. And the voices in the dubbing are horrendous. Weird that the main girl, Natsuki, was played by Anne Suzuki, who was in Snow Falling on Cedars, quite a good film. Also weird: the ending of the film with respect to the relationship of Natsuki and Takumi. I guess it really is just a love story about a guy and his car. Speaking of which, watching the videos for Gran Turismo 5 on the Playstation Store made me want to get that game lots. And there are quite a few other games I want for the PS3. Could this possibly mean that purchasing a PS3 rather than buying a PS2 and saving the extra money wasn't a terrible decision? Well, Blu-Ray porn has something to say about that!

Three... Extremes is a three-part anthology film (and apparently this is the second collection of these films?) with parts by Fruit Chan (who I hadn't heard of before first reading about screenings of this film, but is a good Hong Kong director, maybe?), Chan-wook Park (overrated Korean pain director), and Takashi Miike (Japanese awesomeness). So the three films are pretty much horror films, although only one had any aspects that have become cliché as an Asian horror film (creepy long haired ghost). As any anthology film goes, some are better than others. Dumplings, Fruit Chan's film, is about Bai Ling making dumplings from aborted feti as a sort of anti-aging remedy. It made me extremely sick. The crunching sounds when she's eating continue to make my skin crawl long after watching it. Really, just ick. And the scene in the bathtub towards the end was extremely squicky. Highly recommended to anyone with a strong stomach. And anyone who wants to see a gorgeous film (shot by Christopher Doyle, my favorite cinematographer) with a non-good Tony Leung. Cut was crap. Chan-wook Park does a little crappy self-referential junk which is just violence for the sake of violence. With a twist at the end. Hey, just like Oldboy, that vastly overrated film. What a surprise! Maybe his I'm a Cyborg, But That's OK will be better, since it isn't a revenge film at all. JSA was good, and Sympathy for Mr. Vengeance at least seemed like you didn't hate everyone in your film, and then, what? Some actor must have pissed in your Cheerios, because that's the only excuse. I should have liked it with the vampire aspects, but nope. Box, on the other hand was one of the creepiest things I have seen. And it's also the one closest to the Asian horror cliché, with the sister of the main character creepily wandering around. But the film was extremely well-made, and what's the scariest thing imaginable? Twins. There's also contortionists, small places, fire, and being buried alive. And the final reveal. Oh, man, it really freaked me out. So I salute you, Takashi Miike and Fruit Chan, and give a big raspberry to Chan-wook Park. I recommend the film, even with Cut, because you can always skip ahead. Yay for DVDs.

Ridicule, Mr. Death, & The Innocents

Ridicule makes me wonder about what I was thinking getting this right after Dirty Pictures. Who else thought I was going to discuss urolagnia in two straight posts? Well, this wasn't really sexual pleasure derived from urination, but there was on-screen urination in the first scene. That was certainly unexpected. Watching it so soon after Marie Antoinette also wasn't intended. Fanny Ardant, Jean Rochefort, and Charles Berling were good, and the movie had some funny lines, but the main reason to see this film, was Judith Godrèche, who was both a moral center and a luminous presence, but ultimately was just a pretty thing to look at. As a whole, the film just felt a little paint-by-numbers, with the good people being rewarded and the bad ones punished, just like a typical Hollywood film. The touches of quirk the film has (the diving bells especially) just make it seem slightly less hokey. But it is hokey. Admittedly, I enjoyed it while watching, but there's little there. Oh, rich people at court are superficial. What a surprise. Sorry, make better films. At least Patrice Leconte went on to make the excellent The Girl on the Bridge. So he isn't that bad.

Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. is another look by Errol Morris at some quirky person who few people would really remember. Unless you're Jewish or a Holocaust denier. If so, then maybe you remember about the guy who builds execution machines (lethal injection, gallows, gas chambers, and electric chairs) who was a complete moron and thought he proved the Holocaust didn't happen. And subsequently lost his job, wife, and all respect from the vast majority of people out there who are not crazy Holocaust deniers. The eventual downfall couldn't have happened to a nicer guy, but man, he deserves everything he gets trying to gain some measure of popularity by doing messed up cyanide detecting tests and then going around to denial conferences to speak about them. The Holocaust happened, and those who don't believe it deserve all the lambasting they get, and a lot more besides. That said, the film did humanize him, and, as an Errol Morris film, was extremely well-made. Even with my distaste, no make that abhorrence, for capital punishment, I couldn't help appreciating his desire to make it more humane, even if it never will be truly so. As much as I hated Fred Leuchter, I felt bad that he was so desperate for attention that he would produce shoddy science that proved nothing and destroyed his life, even as I'm extremely distressed at how far his misinformation was pushed.

The Innocents was billed (in a terrible trailer that has more shots from the last scene than any other in the film) as an "adult" chiller. Really, it's a ghost story that doesn't insult the audience. This excellent version of The Turn of the Screw will probably never be topped as an adaptation of the script. My only real complaint is how I feel disappointed by The Others as a film, due to its obvious inspiration from this, although it doesn't work nearly as well as this film. Which again proves that explicitness is fine, but it doesn't add to the scariness of a film. A creepy atmosphere, realistic characters just slightly off-kilter, and great performances will always freak me out more. And the more you wonder about whether any of this was really happening, or whether it was a psychotic episode, or whether Miss Giddens was just a sexually-suppressed governess, the more effective the little touches become.

A Letter to Three Wives, Kwaidan, Touchez pas au grisbi, & The Scarlet Pimpernel

A Letter to Three Wives is the movie Joseph Mankiewicz made the year before All about Eve, one of the classics, and one of the few times I didn't hate Bette Davis. This one also won an Oscar, but I really don't know why. I mean, yeah, it's a movie from 1949 all about infidelity, but I think we should all have been beyond that. I mean, Kirk Douglas just gets to play an insufferable ass of a schoolteacher. Beh to the movie.

Kwaidan is a collection of four Japanese ghost stories made in 1965 and so not really scary as much as very creepy. They were all good in their own ways, but they have the moral of don't lie or cheat and be faithful and make sure your ears are covered with the holy word when you think a ghost is coming or else you won't have any ears. And really, really, don't mess with anyone who says that they'll kill you if you tell a secret, because they just might. And everything was done on a soundstage, which was obvious most of the time, which was intentional, but still somewhat distracting.

Touchez pas au grisbi felt like just another French heist film. Or at least a post-heist film. It just suffers from comparison with so many other, better French heist films. I'm sure I should have liked it more, but I just didn't.

The Scarlet Pimpernel is something I am pretty sure I had seen before, but back a long time ago, when I was watching stuff like The Fighting Prince of Donegal all the time. When I would watch anything because there were some sword fights. My taste wasn't entirely discriminating. Anyway, watching it now wasn't too bad, because it had Ian McKellan as the bad guy, who was awesome, and Jane Seymour who was hot. Even if her hair was enormous.

Valley Girl, Ugetsu, Walk Don't Run, Out of Africa, & Last.fm

Valley Girl has one of the best soundtracks of any 80s films. Yes, I'm, like, totally serious. The Plimsouls, Josie Cotton, and, of course, Modern English, with one of the best songs of the 80s. I Melt with You was outstanding, but the third homage to The Graduate in the film (after Plastics and the entire scene between Skip and Suzi's mom) with that song playing was great. I know the song was great, but I thought it wasn't entirely necessary to play the song so often in the movie. But the music just was very good overall. And Nicolas Cage (in his first appearance as Nicolas Cage) was not too goofy, and there was much gratuitous toplessness, as is the point of a good 80s teen movie. Very few people in the movie really went on to do anything much afterwards besides him, but that's a shame.

Ugetsu, based on reading some reviews when it was released on DVD, was supposed to be a ghost story. After watching it, it still is, but it's much more about the problems with being very greedy, and the ghost story parts just happens to further emphasize that main moral. It feels very much like an early Kurosawa film, and subsequently, it was very good, even though it was more moral than I would have liked. I know that even a movie like Seven Samurai has a very pro-farmer message, but they just didn't feel as if they were morals.

Walk Don't Run is Cary Grant's last film, and it's also a remake of The More the Merrier, about a housing shortage in WWII DC. This time it's 1964 Tokyo during the Olympics. Jim Hutton is a starched shirt, making this film not nearly as good as The More the Merrier, especially as Jean Arthur and Joel McCrea were very good, as was Coburn, and only Grant really stood out in this one. Mainly because he's Cary Grant, and he's always the best thing in the whatever film he's in. This one does have George Takei as a policeman though, so that was a sort of strange thing to see. Then again, it does make sense, considering he's Asian, he was a somewhat famous actor in America, and the movie was set in Japan. Yay for Hollywood having a very small list of non-white actors to choose from in roles. It's clearly gotten better, and, in this case, Takei is at least Japanese, so it's better than others. Back to the movie, it's nothing particularly special.

Out of Africa is long and beautiful. I have a very strange strange mind and I won't say what I was thinking. Of course, Meryl Streep is very good. And the movie is beautifully shot. Robert Redford was British in the movie? Really? Did you know that Kevin Costner was English in Robin Hood: Prince of Thieves as well? My, what outstanding accents these men had. If you haven't seen this, block out three hours of time and she it, it's worth watching.

I also added a little bit to know just how awesome my musical tastes are. Look on the bottom right under the Blogger button and the counter. And you'll see the last ten-ish tracks played by me on iTunes and my iPod, and by clicking on it you get to see a lot of info about how much music I listen to and what I do listen to. As it only goes back to March 2005 and doesn't even include a lot of the songs I played on my iPod, it's not entirely accurate, but it'll give you an idea of just how much my musical taste rocks. Note that I don't listen to songs over and over again. So that explains why songs I absolutely love don't get played hundreds of times.

Memento Mori, The Prime of Miss Jean Brodie, & Elevator to the Gallows

Memento Mori is actually not a horror story. Unless you think sympathetic portrayals of Korean schoolgirl lesbians is horrific. Which basically means I'm clearly out of that group. It's a sort of sequel to Whispering Corridors, but only in the sense that they're both about Korean schoolgirls and are sort of ghost stories. Whereas Whispering Corridors was more about the actual horror film aspects of it, Memento Mori was almost entirely about the relationship. Which was, of course, a complete shock to the backwardsness of Korean society. Because apparently, they measure heights, weights, and breast size in class and announce numbers in front of everyone. And 71 cm? That's frickin' tiny, even for a 17 year old Asian girl. It just seems like the uber-repressive society is just backwards when it comes to how to not have a lot of teenage girl suicides. And, again, there's a bit of teacher-on-student violence. Is this acceptable? And if so, what the hell, South Korea? Seriously, that's just really messed up. Maybe you should be a little less repressed and then you'll have more sex. Even if [redacted] is what caused the major problems in the story in the first place. Anyway, it's very good, very good at building suspense, only occasionally confusing near the beginning (it's those damn uniforms, I really can't tell them apart when they all dress the same), very much about the characters, and only the ending, which makes the ghost story aspect explicit, has anything I didn't entirely care for. Apparently there's a six-disc set of the movie, with an edit of the film that's about twice as long as the one released here. I can't imagine. Well, actually, I can, because the movie originally was much more explicit in the treatment of the physicalness of the lesbian relationship (note that it's a Korean movie, so it's not really explicit nudity, if any at all). So you'd have more kissing and touching and probably even more dealing with the societal backlash against their holding hands and kissing in public. Or maybe just more of them on the roof. Either way, I think it works very very well as it is.

The Prime of Miss Jean Brodie has an outstanding performance from Maggie Smith in the lead, and a good performance from Pamela Franklin as one of her students. I was bothered by the apparent love of fascism, but then again, I think it was supposed to be bothersome. Definitely a movie worth watching.

Elevator to the Gallows is both Louis Malle's first film, and it has a score by Miles Davis. One of those is just of some interest, and the other is absolutely imperative. Miles Davis was just reaching the height of his talent, and while it wasn't his best backing band, it wasn't too shabby. As an early French New Wave film, it's a very strong little thriller, and while it's not quite as visually stylish as some of the later movies, the score and performances are very much worth it.