Cursed Mutant kids meet up and share a musical connection. Tomona was blinded by the magic sword that killed his father, and Inu-Oh was born a mutant due to a deal his serial killer father made with a magic mask. Stories of mutants and curses are usually good, and Yuasa’s animation is playful and unusual, especially when visualizing how blind Tomona “sees” the world through sounds. But then after a half hour it abruptly becomes a hard rock musical… returning to sum up the kids’ stories at the end, but too late. And while some directors will shoot the plot scenes normally then make the style come alive during musical numbers, Yuasa does the opposite. The whole hour of rock & roll theatrics is full of repeated shots and movements and angles, third-rate early-MTV stuff.
Another movie about criminals doing One Last Job before they retire on their earnings, but this time it’s young, disorganized burglars trying to leave Detroit. Rocky is Jane Levy, star of Evil Dead Remake, casing a house with her partners, tough Daniel Zovatto (It Follows) and meek Dylan Minnette (Let Me In). Unfortunately, the house is occupied by dangerous blind army vet Stephen Lang (VFW) who keeps a kidnapped impregnated girl in his basement, a killer dog in his yard, and a few million bucks in his safe.
Fortunately there’s not much dialogue – the two guys sparring over the girl was unconvincing, and I think there were three appearances of “Let’s Do This.” Better is the camera, which finchers around, between walls and under furniture. It’s a good looking movie, especially considering it’s mostly set within a decrepit house. The girl escapes with the money and sees a news story saying the old man lived, which explains the existence of Don’t Breathe 2.
mini-Cujo at the end:
A Cannes Fortnight screening. This sounded like a stalker thriller from the description, but it’s one of those really good Stranger Than Fiction writing movies, the story and perspective always shifting. Includes both the wheelchair mom and the dad who caught fire in Thelma, and reference to the 2011 Norwegian terror attack. Vogt’s second film just debuted, and I don’t know much except that Blake didn’t like it (Blake doesn’t like anything) and that Vogt is 2 for 2 on good posters.
Listening to Kool Thing:
First time watching this in high-def… oh my.
Just trying to chill with some Chinese action movies on Easter, I end up choosing a film where a Mary and Jesus statue explodes.
Before the church job, Chow’s hit in a restaurant goes bad and he blinds a singer after killing 12 guys while using the infinite ammo cheat code on his dual pistols. Danny Lee is a disgraced supercop who also hurt a woman on a job, sent to protect a guy who Chow is sent to kill, but after witnessing the supposedly ruthless Chow save a girl from the line of fire, Danny falls in love with him and they end up fighting together.
Danny Lee was in City on Fire with Chow, had portrayed Bruce Lee in the 70’s:
Thanks to Woo, I learned it’s hard to lipsync when the song plays at normal speed and everything else is in slow-motion. Also dig the trick of burning gunpowder to seal a wound, which I just saw in Monster Hunter. It’s a just-pretty-good movie beloved by people who need to see invincible sunglasses-wearing heroes firing two guns whilst jumping through the air, Woo’s followup to the Better Tomorrow movies. Tsui Hark produced, while Woo produced Hark’s Better Tomorrow III.
Sally Yeh starred in Hark’s Peking Opera Blues, a singer who retired from movies after this:
Louis Koo is a washed up drunken former fighting champ who is going blind, other fighters and weirdos (incl. Tony 2 and Aaron Kwok) want to challenge him to fights, while singer Cherrie Ying hides out in his karaoke bar. Sold as a tough-guy redemption story, that is not the movie Johnnie To felt like making. He felt like using the skeleton of an archetypal Judo-hero story and hanging every eccentricity off it. The emotional climax isn’t a big fight, it’s when our three main characters team up to free a balloon from a tree.
After Profit Motive, Gianvito made a couple of 4+ hour docs about the messes that US military bases leave behind in other countries, but here he’s back in Profit Motive mode with a compact doc full of reading material. The subject is Helen Keller, so he plays with narration and silence, also mixes in period sound recordings and tactile nature photography. A dead bird is photographed for metaphorical reasons, and I’m still recovering from all the avian violence in Bird Island but I’m going to allow it.
Keller was turned onto socialism by an HG Wells book, and after socialist party infighting, she joins the IWW/wobblies and becomes increasingly radical – but remains philosophical and witty in her Q&A responses.
A somewhat-sci-fi movie that sets up an interesting premise – a genetic engineering mishap has created a thousand babies that will never age – then perversely dances around it, devoting most of its time to two morons who kidnap one of the babies, and their boss Kieran Culkin, a metaphorical infinity-baby. Starts in the middle, sociopath Kieran meeting an older woman (Martha Kelly of a Zach Galifianakis show about a clown college) on a first date and quickly rejecting her, then backs up to him dumping a girl with help from his “mom” Megan Mullally. For the bulk of the movie he’ll date Alison (Trieste Dunn of Cold Weather), who laughs a ton, and is too sweet for Megan to help Kieran break up with, so he manages on his own.
Meanwhile, the morons are drunken unhealthy asshole Larry (Kevin Corrigan) and gentle bowl-cut Malcolm (Martin Starr of Silicon Valley and NTSF) who goes blind when sprayed in the face with cleaning products by Larry. They nearly kill the baby, taking it to Stephen Root for disposal, but it turns out alright. And everyone is working for Nick Offerman, whose Infinity Baby business model is unclear.
As with Byington’s Somebody Up There Likes Me, it likes to jump forward in time. Kieran ends up with his dream girl, someone young who’s into drugs and partying. Larry is in bad shape, and Blind Malcolm turns out to be a good father to the stolen baby, who is growing older (I’ve forgotten the explanation for that). Writer Onur Tukel made Catfight last year. Music by Aesop Rock!
Daniel Kaluuya (my favorite Black Mirror actor) is dating Allison Williams (my fourth-favorite Girls actress), comes to visit her parents Catherine Keener and Bradley Whitford and brother Caleb Landry Jones (Antiviral) in an aggressively white suburb. At first there’s the socially-awkward but not overtly threatening kind of racial tension: dad brags about his Obama support and all the white family’s employees are black. But things get weirder after the mom hypnotizes Kaluuya and now he can’t tell if he’s being paranoid or if there’s a conspiracy, until it’s too late and he’s tied to a chair in the basement being prepped for brain surgery, so the highest bidder (blind Stephen Root) can flee his aging white body and live fifty more years inside Kaluuya’s.
A finely crafted thriller, and I’d never in a million years guess it was from the writer of Keanu. I could tell that Peele had made a super-effective movie when the white Nebraska audience at my crowded screening erupted in cheers when Allison Williams got shot (or maybe she’s just their least-favorite Girls actress as well). Betty Gabriel (The Purge 3) and Marcus Henderson (Insidious 4) play the grandparents play-acting as servants (she’s especially good – coldly suspicious then briefly vulnerable). Keith Stanfield (Short Term 12 and Atlanta, Snoop in Straight Outta Compton) is the party guest who yells the title line at Kaluuya when a camera flash wakes him from “the sunken place.” And comedian Lil Rel Howery is Kaluuya’s buddy in the TSA who gets all the best lines.
Some of the reception has focused on whether it’s a scary/effective horror movie, which is the same kind of horror-purist bickering that lowered appreciation for Cabin in the Woods and The Witch. Come on everyone, break out of your genre holes. Peele more accurately calls it a “social thriller,” and says he’s working on four more.
One minute in, this movie that will play every mall in America makes it viscerally clear that it’s not black guys who are scary — it’s neighborhoods packed with sheltered dopes who quake at the very thought of black guys … Get Out is searing satire, with scary/comic riffs on slavery and assimilation, but it’s also a smashing crowd-pleaser of a horror film, complete with mad science, cult-like crazies and a creep-out homage to Jonathan Glazer’s Under the Skin … But even as Peele brings the house down, we see the serious toll of all this horror on Chris’ face and body. Neither the movie nor anybody watching can take it all as a joke.