Wendy's Films of 2010 # 135 - #165: A Rush to Finish 2010's Reviews! - Part 2

#135. Scott Pilgrim vs. the World (2010)

A really good adaptation of the graphic novel series, and also by one of my favourite directors Edgar Wright. I loved it, but Hot Fuzz is still my favourite.

#136. Knight and Day (2010)

Not a completely awful film, but I probably wouldn't recommend it to anyone unless they were looking

for a completely stereotypical romantic comedy.

#137. I'm Not There (2007)

Really good. I love it when people take a different turn on bio films (like getting six different actors to play Bob Dylan.) Cate Blanchett was definitely my favourite.

#138. Inception (2010)

I saw this at the BFI Imax in London, England! Haha, alright, bragging done. I liked it quite a lot, but not as much as everyone else seemed to.

#139. The Runaways (2010)

All I wanted was to see a film in Cannes, but the only one I could find was in this dingy old theatre showing a movie already out on DVD in Canada. Wasn't bad, I surprisingly liked Dakota Fanning and Kristen Stewart in it!

#140. The Warriors (1979)

A classic in its own way, but it just didn't quite hit the spot.

#141. MacGruber (2010)

Some great comedic moments, but I don't know if I'd watch it again.

#142 & #145. Sugata Sanshiro (1943) & Sugata Sanshiro: Part 2 (1945)

The first films of Akira Kurosawa (one of my favourite directors) and though it may not be my favourite, it definitely made a good impression. It's about a man who must learn to encompass the attributes of judo not only in practice, but in life. The second film is quite as good as the first, I'd say.

#143. Dracula (1931)

Starring Bela Lugosi as Dracula, this film reeks of being a classic: reeks in a good way, that is.

#144. Repulsion (1965)

Wow, what a good film. It got under my skin and I couldn't shake it off for hours (even days). Catherine Deneuve is stunning.

#146-148. Back to the Future (1985), Back to the Future 2 (1989), Back to the Future 3 (1990)

What a great series. I can't believe I'd never seen them before. I think I liked the first and third ones the most, but they're all pretty awesome.

#149. Zombieland (2009)

A fun zombie themed comedy, good for a laugh.

#150. Rosemary's Baby (1968)

Really good: not recommended for pregnant women. Between this and Repulsion (both part of Polanski's apartment trilogy,) I prefer Repulsion

(and I found it creepier).

#151. Death Kappa (2010)

Pretty much just another Japanese monster film, but one I enjoyed and would recommend to lovers of the Japanese monster film genre.

#152. The Old Grey Whistle Test (1971-1987)

This DVD was a sampling of famous acts that aired on the show throughout its history, really quite a good collection of musicians (John Lennon, Bruce Spingsteen, Tom Waits) and something interesting to listen to if you've got an hour or two to spare.

#153. Bubba Ho-Tep (2002)

An older Elvis who wakes up from a coma in a nursing home and must attempt to save the other patrons from a mummy who attacks them nightly. Makes for an interesting concept, no? I didn't go crazy for it, but thought it was neat.

#154. Micmacs (2009)

A great new film by one of my favourite directors Jean-Pierre Jeunet; it has his quirky humour, unique visual style and fun atmosphere.

#155. Killer Klowns from Outer Space (1988)

A kind of terrible film, but sort of good in a terrible way. It's pretty much what you'd imagine.

#156. Trick 'r Treat (2007)

A great film to watch on Halloween, though not too scary (which is great for me!)

#157 & #158. Samurai I (1954) & Samurai II (1955)

The first it a pretty good samurai film, but the second made my lose interest and I never ended up watching the third.

#159. Look Around You: Season 1 (2002)

I loved the concept for this series. It's basically all those old science videos you used to watch in school, but completely nonsensical and awesome.

#160. Barton Fink (1991)

Please don't go into this movie thinking it's going to be funny. It's really really good, but it's not really funny.

#161. King Kong (1933)

This really is a classic. I'm really glad I finally got to see it and enjoyed it more than I anticipated!

#162. Harry Potter and the Deathly Hallows: Part 1 (2010)

I'd go so far as to say this is my favourite in the series. It just has way better pacing and the story gets a chance to breathe.

#163. Star Trek: First Contact (1996)

I won't lie, I really liked this

movie. The Borg are frightening (I've always found the concept of AI or human/robots to be fear-enducing) and all the usual cast do their part well.

#164. Howl (2010)

An interesting take on the work and life of Allen Ginsberg. It grew on me, I liked the animation, but probably won't watch it again.

#165. Freakazoid: Season 1 (1995-1996)

Just a good old Saturday morning cartoon; I'd forgotten how much I liked this as a kid (the few episodes I'd seen anyway) and I love how self-referential it is!

Ryan Watches A Motion Picture #91: Six-String Samurai (1998)

Post-apocalyptic wasteland U.S.A, taken over by the Russians! Vegas is one of the only cities left standing, and if you want to make it anywhere, it'll have to be there. But it's tough to get in. Tougher to survive the walk. Our stoic hero is a rockabilly guitar-picker who's decided to make for his fame and fortune.

Packing little beyond his guitar, a torn umbrella to shield himself from the hot desert sun, and a fucking samurai sword to defend himself against Russian raiders, he sets out across the arid land. Oh, and Death is literally after him. Death and a bunch of his evil henchmen. This is a winning concept, but the ultimate result is a little on the underwhelming side. I found myself bored more than once, which usually means that I need a gang to watch the movie with, and some sake.

If you can set up that kind of situation, also be prepared for wretched acting, camp dialogue, breakout gypsy-punk sequences, and sword duels that sometimes manage to be pretty stylish.

So: Could have been the best movie ever, but doesn't too far along that track.

Ryan Watches A Motion Picture #54: Samurai Assassin (1965)

Samurai Assassin is a samurai period piece, a jidaigeki, loosely based on the historic assassination of Ii Naosuke at the Sakurada Gate, an assassination that started the fall of the Tokugawa Shogunate, the famous military dynasty that ruled Japan for 300 years. This one stars Toshiro Mifune, which had me excited.

As other staff members have undoubtedly written, Toshiro Mifune is awesome. His performances have a force to them that's hard to deny, and he's typically a treat to watch. In Samurai Assassin I felt like the Mifune factor wasn't at full capacity, and probably not through any fault of his own. In Assassin he plays Niiro, a disgraced ronin (a masterless samurai) down on his luck and full of bile, which is typically great Mifune fodder. But its only in the last half of the film that he starts to show some real character force.

During the first half to two thirds of the flick, there isn't too much to praise. The camerawork is stylish here and there, and the film would have benefited with a bit more of what it was serving on that front, but the film is frustratingly dialogue heavy, and most of it exposition about things that have happened off screen. Or lengthy speeches about a character's history. Since you actually don't see much of what's being talked about it's hard to stay on track with the plot, and as a result you can't quite invest yourself in any worthwhile way. The same thought will get reiterated over and over, and characters are perpetually trying to convince each other of things the audience knows as fact. It's meant to be dramatic tension, but it's too much and it gets boring. There's also a really strange romance between Niiro and the owner of an inn. It doesn't make much sense and progresses only so an idyllic and lamenting conversation can happen before the film's climax.

The last third of the film picks up really well, but by then, it's probably too late for most viewers given the two hour runtime. At this point the information slows down and some pathos slaps our collective audience face when we get to see some hard to watch betrayal go down. Things get worse and worse for Niiro, and the ending is a tooth and nail fight in the snow. The last shot is haunting.

So: Would be worth the watch with just a pinch more reward. Great ending, but comes too late.

Wendy's Films of 2010 #79: Lone Wolf and Cub (1972)

Let me first apologize for the quality of this review, I'm still drugged up from the removal of my wisdom teeth and I'm not sure that my current trains of thought are conducive to being published for the world to read.


An intelligent man once suggested I watch this film, and I must say I'm quite glad he did so. It actually compares quite well with the much more recent Zatôichi, especially in the quantity of blood that spews from wounds - a quality which I can certainly appreciate. Lone Wolf and Cub: Sword of Vengeance is the story of a man whose life is turned upside down when his wife is killed, he swears vengeance and gives his infant son the opportunity to choose between a life of murder and a peaceful death. The son chooses life and their long journey toward revenge begins.

It's the first in a 6-part series, 7 if you include Shogun Assassin (which I'll hopefully write a review for soon). The balance between flighting, blood, humour and heart is quite close to Zatôichi, or should I say that Zatôichi's is similar Lone Wolf's. The Lone Wolf's stalwart sense of honour and virtue adds integrity to a story that might otherwise be about senseless killing. I love the 70s vibe, and how insane the object of Lone Wolf's vengeance (Yagyū Retsudo) looks; there is little to dislike about this film and I'd definitely recommend checking it out. If you're in the mood for something a little funnier, however, I'd suggest watching Shogun Assassin first.

Ryan Watches a Motion Picture #15: Taboo (1999)

I love samurai films. When I think about what taking in cinema feels like, I get certain senses of things bubbling in my brain, maybe a loose, iconic image. One of those is usually of a samurai, holding a sword out and standing in an elegant posture, just waiting. Can’t get enough of that. I’m always willing to watch a samurai film, and once I heard a few things about Oshima's Taboo, I was positively fuming with feudal fascination. The film’s about Kano, a young samurai who takes another samurai in his regiment as his lover, and when news of their relationship spreads, other samurai begin to seek Kano's affections.

Now, I think Taboo lacks the gravity it might have achieved if it had focused a bit more. The plot tends to get a bit lost at times, and frequently a change in the story and the introduction of a new character makes the film seem flippant. But Taboo makes up for it with its visually arresting cinematography. The drifting, ethereal camerawork is wonderfully atmospheric and fluid, and does well to highlight the sense that we are observers. The action sequences are elegant, and they really swept me up. Deft use of steadicam pulls you in and around the samurai blade strikes without resorting to the shaky camera style that's so fucking popular in movies today. Sorry, rage.

I was glad to see that the film contains a questioning of the samurai's role in the rigid feudal Japanese caste system of the 1800s, and doesn't, like many samurai films, revel in the romance of honour and glory that you might well imagine when you read the word 'samurai'. There's an interesting parallel in effect where the samurai hegemony and its penchant for using men's lives for political posturing is matched with the sexual hegemony, and the men entangled in love affairs with their fellow soldiers are secretly loathe to give up their lives in the name of the samurai order. There's even some attempt to hetero Kano, but attempts fail, and in the end, even the officers high up in their chain of command question their sexual roles, while paradoxically, Kano’s lovers come to use Kano as the military system uses them - for their own ends.

The film's pretty casual acceptance of queer lifestyle is, to my knowledge, not too consistent with feudal Japanese culture, but it serves to put a new spin on such an influential and pervasive genre, and Taboo is worth a look.