Showing posts with label 2001. Show all posts
Showing posts with label 2001. Show all posts

Sunday, October 12, 2014

Episode #307: Big Lethal Hit

Welcome back for another episode of those crazy folks over at the GGtMC!!!

This week Will and Sammy are joined by Awesome Fabian for reviews selected by the Awesome One himself. We cover Lethal Force (2001) directed by Alvin Ecarma and The Big Hit (1998) directed by Kirk Wong.

We want to thank Fabian for all his support over the last few years and for the conversation!!!

Direct download: ggtmc_307.mp3

Emails to midnitecinema@gmail.com

Adios!!!



Saturday, January 11, 2014

Instant Action: Siu lam juk kau (Shaolin Soccer, 2001)



I played soccer, I don't remember it being anything like this!

Written By: Stephen Chow, Chi Keung & Min Hun Fung, & Kan-Cheung Tsang
Directed By: Stephen Chow

I'll give Siu lam juk kau one thing, it sure as hell isn't afraid to be gloriously over the top. Soccer balls caving in brick walls, goalies having their clothes burned off by the heat of a soccer ball hit like a rocket blast, and a fat guy who is so hungry he'll eat raw eggs off of a dirty shoe. Those are just three examples, and they aren't even close to the most over the top examples found in the movie. Siu lam juk kau goes all out, for its entire run time Stephen Chow's film consistently seeks the boundary of plausibility and moves past it some more.

That approach does lead to Siu lam juk kau being a very broad film. The comedy, the action, the acting, and the story all all exceptionally broad. Nuance isn't just a vague concept in Siu lam juk kau, such a concept doesn't exist period. This has its positives and negatives, and the two manage to pretty much cancel one another out. Having a character be so driven by food that he eats raw eggs off of a shoe is an example of broadness that is a negative within the film. At the same time having the love interest of the film show up near the end with a shaved head that makes her look like an alien, that's a broadness that is positive. Xiānshēng Chow manages to find a middle ground, an area where the over the top broad nature of the comedy can be both a good thing and a bad thing. That's an impressive feat because on numerous occasions Siu lam juk kau teeters towards being far too broad. But, the film always manages to counteract a negative with a positive, something unfunny with something funny, and that's one of the reasons that Siu lam juk kau is very watchable.

The other area where Siu lam juk kau excels is in its application of martial arts. The martial arts in Siu lam juk kau are also very over the top, but they are quite exhilarating to the eye. Realism is not what Siu lam juk kau is going for, instead what it's asking of its audience is to accept and enjoy what the film is providing. I was able to do that far easier with the action than I was with the comedy. The action choreography is very well done, and has an energetic charge to it. This allows the action to help the comedy, and in turn the action helps to increase the overall value of the film.

I wasn't blown away by Siu lam juk kau, many portions of the film did fall flat for me. However, more of the film worked for me than did not. I was able to look past the unappealing elements of the film, and enjoy Siu lam juk kau for the over the top slapstick action comedy that it is. Siu lam juk kau didn't leave me with a burning desire to see more from Xiānshēng Chow. But, in this one moment and for this one film I was impressed by what Xiānshēng Chow offered and had a good time watching his film. I'd say that makes Siu lam juk kau much more of a success than a failure, and time well spent with a movie.

Rating:

7/10

Cheers,
Bill Thompson

Friday, September 13, 2013

Episode #252: Astronaut Highway

Welcome to the GGtMC!!!

This week dear friends stepped in to do an episode for Will and I due to our being out of town for a community get together. Eric and Ghetto Tim bring you coverage of Human Highway (1982) directed by Dean Stockwell and Neil Young and The American Astronaut (2001) directed by Cory McAbee. We want to thank the guys for stepping in and bringing you all some interesting conversation...VIVA GGtMC!!!

Direct download: ggtmc_252.mp3 
 
Emails to midnitecinema@gmail.com

Voicemails to 206-666-5207

Adios!!!



Friday, October 12, 2012

The Golem (1920)



Paul Wegener uses The Golem, a stone statue that comes to life via black magic, as an allegory on man’s greatest desires and follies. The demon represents man’s greed and power over others, as well as his gullibility towards lust and the aforementioned greed. Man is willing to sacrifice his life in order to gain power and self-worth. He will overlook the warnings of impending doom if it means immediate success.

He’ll even use this power for religious purposes. The Golem is brought to life via a rabbi. This rabbi’s intention is to save his village from exile by regaining the trust of the town. This is an honorable deed, but he slowly lets it grow out of hand. He begins to use The Golem as his personal assistant. He even tries to inject human characteristics into the inanimate object. Black magic may have made it mobile, but it’s soul is nowhere to be found. Take out his chest emblem (which my nerd psyche immediately thought of Iron Man) and he’s back to being nothing but stone.

Think of the Golem as HAL from “2001: A Space Odyssey”. The message Stanley Kubrick was getting across was that, despite all of the human characteristics instilled into HAL, it was still a machine at the end of the day. A computer programmed to take orders and nothing else. It’s eventual transformation into a monster was thanks to the hands of man. Man’s greed and desires are to blame for the inanimate’s apparent bloodlust.

The Golem is exactly that; an inanimate object. It may be more mobile than HAL, but it’s objective is the same. Man gives it a command, it follows through. When the time comes when the black magic turns the monster against man, it is not the Golem’s fault. It is only carrying out it’s prime directive. It shows no human emotion, despite the facial features it imitates.

This results in the film’s horror being of the deeper kind. Wegener doesn’t utilize jump scares or frightening imagery. That’s not to say none of that is present. The arrival of Astaroth (the creature that helps bring the Golem to life) truly frightened me. I can imagine that the special effects, which were stellar for the time, generated chills in audiences of 1920. Most of the thrills that are generated come from man’s desire and our inherent fear of our own feelings overtaking us.

The use of colors throughout is an intriguing one. The pattern seems to go as follows: Yellow represents the brightness of day; Blue represents the calm of night; Green represents peacefulness; Orange represents formality; Red represents danger/impending doom. While this is a compelling trick, there are times when the colors aren’t utilized correctly. I remember a few scenes where green was used during escalating scenarios. This can cause off-putting in the mood.

The only real issue Wegener stumbles upon is on how to end the film. The ending itself is fine. The problem is that it’s dragged out a bit too long. It felt as if Wegener was trying to drive the point home one last time before the credits rolled. This causes a slight lack of faith in the audience and some fatigue on the viewer. Considering that’s my only true complaint (as the color scheme is a minimal one), that almost acts as a compliment.

MVT: I’ll go with Wegener’s message. While the Golem itself is the star of the show, the reasoning behind it’s creation is the true selling point.

Make or Break: The arrival of Astaroth. Not just because it’s the film’s most frightening scene, but it also brings the Golem to life. This is when the film kicks into high gear.

Final Score: 9.5/10

Thursday, June 2, 2011

Episode #134: Gangland Collector

Welcome back to another episode of the GGtMC!!!

This wee we continue our journey through Ladies Appreciation month with a couple gems picked from Kat and Emily. Emily picked Gangland (2001) from director Art Camacho and what a cast this thing has....Kat picked The Collector (1965) directed by William Wyler starring Terence Stamp and Samantha Eggar.

Direct download: Gangland_CollectorRM.mp3

Emails to midnitecinema!gmail.com

Voicemails to 206-666-5207

Adios!!!



Wednesday, October 22, 2008

Episode #6: Brotherhood In Exile

In Episode #6 we jump into the Johnnie To classic EXILED and we go over Christophe Gans BROTHERHOOD OF THE WOLF. We go over a small amount of feedback and beg for more attention.