Rolling Thunder (1977) (2nd viewing) d. Flynn, John (USA)
At first glance, this is a solid piece of 70s vigilante/revenge exploitation. In fact, the opening half hour (minus the gooey “San Antonio” theme song) is a genuinely contemplative, returning-Vietnam-veteran drama, pre-dating The Deer Hunter and Coming Home by a full year, with hardened POW Major Charles Rane (William Devane) tentatively reuniting with his family after years of isolation. But after hoodlums murder his wife and son, leaving him with a bloody stump for a hand following a garbage disposal close encounter, the stereotypical track-down-and-kill-the-baddies stage is set, especially once Devane starts sharpening up his metal amputee hook and
Boy and His Samurai, A (2010) d. Nakamura, Yoshihiro (Japan)
Through the mysteries of time travel, a handsome young samurai (Ryo Nishikido) appears in modern day Edo where he is taken in by a single mother (Rie Tomosaka) and her six-year-old son (Fuku Suzuki). Our hero predictably becomes the boy’s best friend, protector and substitute dad and while the time-honored stranger-in-a-strange-land comic tropes get their due, it’s after Nishikido has been reasonably indoctrinated into modern society that the film finds its true stride and heart. Scenes of a “Mr. Mom” nature reveal an unlikely culinary superstar, as skilled with a blade in the kitchen as on the battlefield. Once the world comes calling, will he become a stereotypical overworked Japanese male, forgoing family for career? Will he have to choose between his heart and the samurai code? Packed with surprises, smiles, and an array of mouth-watering onscreen edibles sure to send you scurrying to the closest Japanese sweet shop for dessert.
Turn Me On, Goddammit! (2011) d. Jacobsen, Jannicke Systad (Norway)
Hormones rage and hypocrisy reigns in a small Norwegian village as seen through the compelling gaze of Alma (winningly played by Helene Bergsholm), an attractive teen preoccupied with sexual fantasies featuring her hunky classmate Matias Myren. When he reciprocates her feelings in amusingly blunt fashion at a school mixer, Alma’s world is turned upside down, rejected by her classmates for publicly proclaiming her potential paramour’s unusual mating tactics. A charming, funny, fresh and emotionally truthful examination of passion and puberty, of hypocrisy and hankering...all with the most emphatic title you're likely to find anywhere.
Hail (2011) (1st viewing) d. Courtin-Wilson, Amiel (Australia)
An aging ex-con struggles to find his way back in the world in a breathtaking, immediate drama from Down Under, “based on the life and stories of Daniel P. Jones," the film’s star. Juxtaposing poetic images with handheld slice-of-life scenarios, with characters sharing the same names as the actors playing them, director Courtin-Wilson works on an almost instinctual level – perfectly in tandem with his extraordinary players who achieve a documentary-like authenticity within their banal to beastly conversations. (Leanne Letch is a marvel as Jones’ longtime companion, lighting up the screen with her unabashed ordinariness.) As tragedy strikes and things grow progressively darker in the final act, Courtin-Wilson’s camera reflects the mood, extreme close-ups and foggy, unfocused screen imagery dominating. A searing character study that dares you to meet its gaze – the reward being sights heretofore unseen. (Yes, I’m talking about the terrifying/beautiful horse scene.)
Wrinkles (2011) d. Ferreras, Ignacio (Spain)
Based on the graphic novel Arrugas by Paco Roca, this animated dramedy (about a former bank manager relocated to a retirement home by his frustrated offspring) packs a surprising emotional punch within its two-dimensional world. As a chapter closes and a new one begins for Emilio (voiced by Álvaro Guevara), we experience not only his frustrations as body and mind slowly lose their former vigor, but also his warm companionship with newfound fellow “inmates” who intrinsically understand what the outside world cannot. Expertly executed, eloquently communicated.
Il n'y a pas de rapport sexuel (2011) d. Siboni, Raphaël (France)
“There is no sexual rapport.” A rambling, amusing and occasionally poignant examination of one man’s career as a director/performer of pornography. This behind-the-scenes look at the skin flick trade and its prominent purveyor Hervé P. Gustave, who goes by the moniker HPG, reveals the trials and tribulations that go hand in hand (or shaft in slot, as the case may be) with the creation of said material, such as getting money shots, shooting around anatomy for soft porn gigs, and coaxing reluctant amateurs to perform as the clock is ticking. Culled from 10 years of oh-so-very-unerotic footage, renowned visual artist Siboni shapes an intriguing portrait, one that never glorifies or condemns its subject or his chosen profession.
Painted Skin: The Resurrection (2012) (1st viewing) d. Wuershan (China)
Opulent on every level, this epic Asian fantasy film is gorgeous to behold but perhaps commits the sin of taking itself too seriously for a story concerning fox and bird demons infiltrating a warrior princess’ court. A few judicious trims and a lighter touch overall couldn’t have hurt, but with spells casting, swords flashing, giant bears’ teeth gnashing and romance everlasting, it’s hard to complain too much. An in-name-only sequel to Gordon Chan’s 2008 smash Painted Skin.
We Are Legion: The Story of the Hacktivists (2012) d. Knappenberger, Brian (USA)
The internet collective Anonymous is given a face behind its ubiquitous Guy Fawkes mask, with director Knappenberger tracking the group’s evolution from merry pranksters to controversial purveyors of protest, targeting heavyweight institutions such as the Church of Scientology, PayPal, Sony, and the Egyptian government. While they are portrayed as a force for “chaotic good,” their facelessness presents the frightening side effect that they can launch attacks on anyone, at any time, for any reason. If I have any complaint, it’s that the film gives only the vaguest lip service to innocent bystanders caught in the cyber crossfire. True, the organization has accomplished heroic deeds, but with great power comes great responsibility, as the saying goes, and it quickly becomes clear that not everyone involved is interested in being responsible, mature or in anything other than sticking it to The Man...whomever the all-too-subjective Man may be.
Alter Egos (2012) d. Galland, Jordan (USA)
Writer/director Galland’s amusing meditation on the superhero mythos, watching the spandex suit set deal with ordinary problems such as girlfriend trouble, insufficient government funding, and where to store those civilian duds when fighting crime…as well as the occasional supervillain menace. Kris Lemche stars as ’Fridge (short for Refrigerator), currently going through an ice-slinging midlife crisis, with Cabin Fever’s Joey Kern (as C-Thru) and Brooke Nevin (attractive if uncooperative hotel clerk) lending solid support to a silly, silly cause.
Vulgaria (2012) d. Pang, Ho-Cheung (Hong Kong)
Strapped for cash and with alimony/child support debt mounting, film producer of low budget schlock (Chapman To) is forced to join forces with a twisted, bestiality-loving gangster who wants to produce a sequel to his favorite childhood porn film, 1976's Confession of a Concubine (a real film whose real star, Susan Shaw, appears here as herself 35 years later). A zany, raunchy satire of the filmmaking world, where one-of-a-kind characters (like comely Popping Candy, whose fellatio techniques include a mouthful of Pop Rocks) run wild and CGI is put to its most bizarre use yet. Amidst all this obscenity and insanity, Pang’s film is a sweet, sentimental tale of a family man just trying to get through the day, a dick joke flick with heart.
