My Top 100, or 100 Movies That Rock - Continued...

[D_Davis]

mains the only Tarantino film that I like, partly because Tarantino's signature dialogue seems more zippy and less drawn out than in his later films. I definitely agree that the shot composition, editing, and music are what make the film work, rather than just the dialogue that people focus on.


I like his other films more than you, quite a bit actually, but there is something incredibly special about PF. It just has so much going for it.

[D_Davis]

6. Oldboy (2003) - Dir. Chan-wook Park

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Oldboy floored me. After watching it, I felt like I had been punched in the gut and kicked in the face while falling down. Yes, I think it is a shocking film, but it's power does not exist solely in its ability to shock or disgust. It is an expertly crafted film that just so happens to also possess a shocking narrative that deals with incest, revenge, and extreme violence. Far too often, films like this exist only to shock, that is, without the shock value they have nothing. Oldboy is not such a film.

I had seen JSA previously, and I knew that Chan-wook Park had some skill as a director. His ability to direct actors (even those speaking in a different language), and create atmosphere was evident in this early picture. I missed the evolutionary step of Sympathy for Mr. Vengeance, and so I was not fully prepared for Mr. Park's maturity in Oldboy. Everything he does here is perfectly in step - it's like he found some magical groove, and locked his creative energy into a unwavering track of expert execution. The way the mystery builds is full of tension and drama. The way the characters interact is full of nuance and believability relative to the outlandish situations they find themselves in.

http://www.offoffoff.com/film/2005/images/oldboy.jpg

Of course it helps that Oldboy features Min-Sik Choi as Dae-su Oh. Choi's performance here is astonishing, one of my favorites. He possesses a ton of charisma, and through his voice and body language he is able to convey so much passion, energy, and life. Dae-su's plight, his quest, is one full of absurdity, turmoil, tragedy, and enough WTF moments to screw with anyone's head. This is a hard role to play, and could have easily fallen into a more cartoonish portrayal if left in the hands of a less experience actor. But Choi handles it all with great skill. There are moments throughout the film when I just want to reach in and give the dude a hug because of all the shit he is put through.

Oldboy also features some of my absolute favorite cinematic moments. I admire the way the narrative moves along and keeps the audience in the dark, while slowly revealing clues through the eyes of the characters. The opening moments, when Dae-su is locked away in the mysterious prison are amazing. Why is there? What did he do? During these moments we get to witness his transformation into an almost monstrous entity. His inner disturbance manifests itself in his outward appearance in a fashion similar to Dr. Jekyll's Mr. Hyde. Dae-su becomes a creature shaped by his surroundings. I also love the hall way fight sequence, the final showdown with the antagonist, and the final moments of the film.

I don't think that Chan-wook Park has topped Oldboy, and I don't know if he ever will. It is such a powerful and moving experience, one built upon expertly crafted genre convention made more emotional by the characters and the direction. The film simply stunned me. After my first viewing, I literally sat in complete silence, just thinking about what I had seen. I didn't feel like moving, or disturbing the moment I was in. There are very few films that impacted me on such a level, and out of these, Oldboy wowed me the most.

[lovejuice]

damn! two films in a row i can't get behind. i'm willing to give PF another chance, but OB really turns me off.

[D_Davis]

damn! two films in a row i can't get behind. i'm willing to give PF another chance, but OB really turns me off.

Oh well, can't win em all!

[D_Davis]

Here we go, the top 5!


5. Dead Alive (Braindead) (1992) - Dir. Peter Jackson

http://www.genrebusters.com/images/braindead1.jpg

Peter Jackson’s Dead Alive a.k.a. Brain Dead is without question the goriest film ever made. Its not even a contest really. When it comes to the sheer amounts of blood and gore splashed about the screen, this film wins severed-hands down. No other film, to my knowledge, has ever depleted the fake blood reserves at major effects houses across the globe, nor has any other film tackled as many raunchy and down right disturbing scenarios with such glee, delight, and fun. There are aspects of Dead Alive that should offend, but Peter Jackson and his crew film everything with a comical touch that sheds a campy-light on situations that, if handled differently, would have been quite uncomfortable to behold.

http://www.genrebusters.com/images/braindead2.jpg

The only problem I have with Dead Alive is that it has set the bar so high for gory-goodness, that I fear it will never be topped. I always hear film buffs compare dramatic films to Citizen Kane, or The Godfather, or Apocalypse Now – well that’s all fine and dandy, but to us gore-hounds, Dead Alive is our “Citizen Kane,” and it will forever be the measuring stick of greatness. Ever since the night of my first viewing of Dead Alive, I have been on a constant search for something, ANYTHING, as gory, or preferably, gorier, than Jackson’s film. I have been promised many times by quick write ups in Fangoria, or quick-blurbs on DVD covers, or from the mouths of other fans, that a certain film or another IS gory and just might dethrone Dead Alive – well, each and every time I am left disappointed and let down.

http://www.genrebusters.com/images/braindead3.jpg

Of course it has the one and only, the legendary, the brilliant, LAWN MOWER SCENE. Whenever someone mentions “the lawnmower scene,” it is not uncommon for the eyes to glaze over, a smile to appear on the mouth, and visions of gore and guts to replay in the mind. This one sequence is so dastardly, so incredibly executed, and so over the top in its sheer amounts of gory giddiness, it almost hurts to think about it. Our hero, Lionel, winds up with an old fashioned single bladed lawnmower strapped to his chest, and proceeds to plow through hundreds of walking-dead all the while his girlfriend and sinister cousin are blending and hacking away at the limbs of other undead. At one point, there is so much blood on the floor, Lionel has to use decapitated heads as stepping-stones to stop from slipping!

http://www.genrebusters.com/images/braindead4.jpg

So, I think I have conveyed to you that Dead Alive is gory – but is it any good? (Yes, there is a difference.) The film itself is solid and it is as good as it is gory. Jackson has always been a talented filmmaker, he proved as much with Bad Taste, and continued his trend for whimsical humor, melodrama, terror, and creative filmmaking with Dead Alive. Jackson definitely leaves a signature mark on every film he touches. Perhaps his greatest achievement is his ability to project his personal passion and excitement for making films on the screen. While watching some films, I get the impression that the filmmakers are not having fun – to them its all a very serious business and the final product must carry theor burdens. This is not so with Jackson. Even with the huge, Hollywood blockbusters he creates now, a Peter Jackson film always has a feeling of excitement and fun that stems from the director. It is easy to imagine Jackson as the world’s luckiest kid in the world’s grandest toy store.

So, will a film ever top the gory loftiness of Dead Alive? I don’t know, and I guess I don’t really care. I mean sure, I would love to see something that uses more blood, has more zombies, and more craziness, but I don’t know if such a film would maintain the sense of fun and excitement of Jackson’s brilliant work. After all, he set the bar so high on all accounts, that maybe they should just retire the Dead Alive jersey, set the record in stone, and close the books. I could quite easily live the rest of my life content with only one Dead Alive.

[dreamdead]

I'll take the hypothetical bait from the book thread. Here's where I reveal a bit of my bias toward the genre ghetto, Daniel. I had the same basic reaction as you to Oldboy, and thus marveled at how classically Greek the whole affair is. In terms of conceits, Park orchestrates a dandy, and the film feels remarkably fluid given how mechanical it could end up feeling. That final image haunted me for weeks after I finished.

So why the bias? Well, because to me Dead Alive is solid "stupid fun" and doesn't offer me anything more than that. And that's fine, I suppose. I made friends of mine watch Torque on Monday and I laughed at their reactions even as I attempted to explain how it was self-aware of its strict adherence to genre conventions. That said, I can't justify my appreciation of a film that does nothing more than celebrate its genre-ness. I want solid construction of plot, unity of themes, and all that formal stuff, but if the content is just centered around zombies and blood, I'll get bored and reject the film as a fun diversion. It's not challenging me in any way; certainly not the way that Oldboy challenges our concepts of justice and knowledge. And that was my reaction to Dead Alive. A lack of challenge. It doesn't aspire to anything like Heavenly Creatures did, so I can't get behind it in the same way. I can't find the manic charm in it that you do, and so my ambivelance toward it manifests itself.

That said, I'm pleased that you find worth in the film, and I hope that I kept my comments from any personal attack, and that you can find some sort of logic in them. Looking forward to more of the list.

[D_Davis]

I don't think a film has to challenge me for me to absolutely love it. Some films, like Dead Alive, are just endlessly entertaining. I also like how the film is crafted. The technical aspects of the effects and gore and extraordinary.

I like certain films for certain reasons.

Some genre films can and do offer more, and that's cool.

Some don't, some are just entertaining, and that's also cool.

[D_Davis]

4. Mind Game (2004) - Dir. Masaaki Yuasa

http://www.genrebusters.com/images/mindgame1.jpg

WTF?!? Seriously...WTF?!? There are a countless number of times when this euphemism is the only appropriate response while watching Masaaki Yuasa's mind-trip of an animated feature, Mind Game. Whether reacting to the detailed drawings, the mixed mediums, the fluid animation, the gonzo narrative, or the sheer absurdity of it all, one question constantly springs to mind - WTF?!? But before I get into the juicy meat of this review, please excuse me while I enter...

-//RANT MODE//-
[**rant mode commencing in - 5...4...3...2...1...**]
::::

WTF?!? So in 2003, an animated feature made in France took the world by storm: Sylvain Chomet's, The Triplets of Belleville. Now, being a pretty big fan of animation, this sounded like something I needed to check out. Everyone, and I mean EVERYONE was raving about this flick. From major critics to Joe-normal-movie guy, people were eating this movie up like it was the first and last animated movie ever made. It got major media coverage, and it was nominated for an Oscar - pretty dang cool. And, surprise, surprise, the flick was alright, I dug it - it hit the spot and deserved all of its recognition. However, in 2004, an equally artistic, bizarre, beautiful, mature, and dense animated film was made in Japan and the world responded with little more than...

http://www.genrebusters.com/images/crickets.jpg

...a picture of crickets making love...

...practically nothing...

...a whispered mention.

http://www.genrebusters.com/images/mindgame7.jpg



No official DVD release outside of Japan (the disc on Amazon is a bootleg)

WTF?!?

http://www.genrebusters.com/images/mindgame8.jpg

Now, if the Japanese producers and filmmakers decided against pursuing interest outside of Japan, then that's cool, but I just don't see this being the case. I think this is yet another case of Bruce Lee Syndrome (BLS), and yet another example of how Asian films are treated in the west (that is unless they are to be remade, thus invoking praise and Oscar attention). BLS goes down like this:

Studio Exec: Okay Mr. Lee. You can act, you can write, you're handsome, you're one of the most charismatic people on the planet, and you can kick all of our butts without breaking a sweat, but you're only good enough to be the side kick, and I think we'll get a white guy to play your part in that television series. Sound good? Good, sign here kid, it's the best you'll ever get.

I see this kind of crap happen all the time. It's the reason why Chang Cheh's and Lau Kar Leung's names are not mentioned along side other great directors of their time. It is the reason why Dimension and Miramax crapped all over Hero and Shaolin Soccer, and edited, retitled and rescored the Jet Li films they released on R1 DVD. It is the reason why there are no big Asian leading actors in western films, and why Asian actresses are often delegated to play the “yellow-fever” love interest. It is the reason why we do what we do - people like us have got to champion these films.

::::
-//END ** RANT MODE//-

http://www.genrebusters.com/images/mindgame2.jpg

Mind Game is a bombastic explosion of artistry and emotion. It is an expression of life, love, death, and the imagination. Mind Game sunk its teeth and talons into my heart and mind and refused to let loose until it drew blood and brought me to its mercy. Mind Game is a film that demands to be taken seriously, even while it springs and dashes around genre-conventions like a court jester hopped up on goof balls, and coated in maple syrup, powdered sugar, and chocolate covered espresso beans. Mind Game does not exist merely to tell a story. It exists to express ideas and to explore the very nature of humankind. It is a stew of artistic mediums, and effortlessly morphs from traditional hand drawn 2D, to CGI, to photographic manipulation, to oil panting, and back again. Each mode is used to perfectly express the situation on hand - these are not superfluous changes left to the whim of a insecure artist trying to impress with technical wizardry.

http://www.genrebusters.com/images/mindgame3.jpg

Mind Game is about Nishi, and his longtime love Myon. Nishi is the prototypical loser, what the Japanese might call an “otaku.” He is a wimp, a geek, a comic book artist, and lacks direction and motivation. One day, Nishi and Myon are assaulted by a couple of thugs. Nishi has a gun shoved up his butt hole, and the goon pulls the trigger. The bullet blasts through Nishi's anus, and straight through his head. He dies, and goes to heaven and meets God. God says to Nishi, "I made you, dipshit, for my sheer enjoyment!" Nishi sees an opportunity to be reborn, and he takes it - he is given a second chance at life. He comes back mere seconds before he was shot, overcomes his assailant, saves Myon-chan and her sister, and escapes from a gang of Yakuza. On the run, the three escapees soon find themselves swallowed by a giant monster fish, and are then joined by an old hermit who has spent the last thirty years in the fishy cavern. While in the belly of the beast, each character faces personal demons, grows, and learns what it truly means to be alive.

http://www.genrebusters.com/images/mindgame4.jpg

While the above plot-synopsis is concise, the narrative description only begins to scratch the surface of what this dense tapestry has to offer. The zany narrative is only there for the director to wrap his true expression around - it's like a thin wire frame, one that gives only a hint of shape and form. Although I hesitate to invoke the names of David Lynch and Jodorowsky in fear of a lazy analogy, this is a rare occasion when such a comparison works. Like Lynch's Eraserhead, and Jodoowsky's El Topo, Mind Game's narrative can be easily described, but such a description fails to convey all the subtle and in your face symbolism. Trying to describe the emotional head trip Mind Game led me on is all but impossible, because it uses a surreal and dream-like language with which to communicate its ideas.

http://www.genrebusters.com/images/mindgame5.jpg

When one wakes up from a profound dream, a dream that has a tangible impact on the dreamer's own physical reality, it is very hard to paint a clear picture as to why certain aspects of the dream were more meaningful than others. While watching Mind Game, I felt as if I was allowed into the director's head, but, what's more, I felt as if I were sharing a mental connection with an artist communicating ideas, thoughts, and themes with a lucid language only understood by “those in the know.” Now, I am not saying that I am special because I “got it,” but I am saying that all of those willing to be engaged by the film, those willing to let go and allow the film to lead, will have a good chance of feeling these emotions as well. Like all great cult films, I think those who walk away from Mind Game with a positive feeling will feel as if they have bonded with other like-minded viewers.

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Mind Game is a trip like no other. It is a unique and exciting experience. It is a highly entertaining, thought provoking artistic achievement, one that deserves far more recognition outside of its home country than it has received. I am almost tempted to rip the DVD and have it available here, on Genrebusters as a download, but alas, I don't think this is a good idea. This film has entered that very special place in my cinematic treasury - it is a film that deserves to be championed at every single opportunity. Mind Game is truly an undiscovered gem, it is a film that I feel honored to have been able to experience, and I look forward to introducing others to its power.

[dreamdead]

I want to see this film. So bad. This review furthers those desires.

[D_Davis]

3. The Blade - Dir. Tsui Hark


http://www.genrebusters.com/images/blade1.jpg

The Blade is Tsui Hark's relentlessly dark, brooding, and introspective interpretation of the wuxia pian and its jiang hu. On the surface, The Blade is an homage to Cheng Cheh's The One-Armed Swordsman, but it is much more than a simple remake. When Wong Kar Wai tried to usurp the genre-throne with his equally introspective Ashes of Time, Tsui responded with a film that stands heads and shoulders above that of his new-wave rivalry. With The Blade, Tsui also reestablished his position as a “serious filmmaker.” For far too long he had been seen as a filmmaker who lost his personal voice, as he had traded his one-time critical-darling status for successful box office blockbusters, a trade that I am happy he made. The Blade was a slap to the face of the critical world, it was Tsui Hark saying, “I'm still here morons, wake up!”

http://www.genrebusters.com/images/blade2.jpg

I often have a hard time deciding which of Tsui Hark's films I like the best, but The Blade is one that is always under consideration. Like Dangerous Encounters, it is violent, dark, and angry, and like We're Going To Eat You, it is tense and perfectly paced. It is inventive with its action choreography like Once Upon a Time in China, and it is simply a gorgeous film, a treat for the eyes and ears, like Peking Opera Blues. However, even though it shares the qualities of Tsui Hark's best directorial work, it is also unique and more mature than anything he had done before, or has done since.

http://www.genrebusters.com/images/blade3.jpg

Like The One-Armed Swordsman, The Blade is a multi-layered study of martial arts, manhood, and brotherhood. The term “homoerotic” is often thrown about in discussions because of how it fetishizes the male body and the psychosexual symbolism of the sword. I think this is a lazy categorization of the themes on display because it is often done at the expense of the jiang hu: the world of the insider, the milieu of the martial artists, and everything important to their existence. It is easy to write off the bare-chested, heroic bloodshed of martial heroes as displays of homoeroticism because we are outsiders, we are not part of their jiang hu, and so we do not understand their intense feelings of brotherhood and camaraderie; it is easy to misinterpret intense feelings of brotherhood for sexual attraction. I am not saying that the homoeroticism isn't there, I just wish it was wasn't among the first “serious” topics of discussion critics and scholars often turn to.

http://www.genrebusters.com/images/blade4.jpg

The two “brothers” in The Blade are Ding On and To Tao, two young men who work at a sword factory where the best swords in the land are made. The two are more than friends, they are like brothers, and share the same qualities as siblings, even the rivalry. They both see themselves as protectors of one girl, their master's daughter, and as would-be lovers for another, an attractive prostitute. They also see each other has “martial heroes,” and act accordingly when a monk is brutally murdered by a local gang of thugs. When their master retires, he passes control of the sword factory onto Ding On, much to the chagrin of To Tao and the other brothers. This causes a rift in Ding On's and To Tao's brotherhood, and is one catalyst for a series of life changing events, including a severed sword-arm and the nearly complete destruction of the sword factory.

http://www.genrebusters.com/images/blade5.jpg

Because the narrative is full of such strong archetypes and recognizable themes, Tsui is able to craft a film that rewards emotion and flows with ease. Even I, a huge admirer of the director, will admit that Tsui's narratives are often times hard to follow. He often works in montage, and only shows the briefest of plot snippets and characterization needed to register in the minds of the audience. The Blade is not such a film, and this is why I consider it one of his best; it is a film that could even win over those who may not like similar films in the genre. It is more traditionally paced and plotted, and therefor, it is one of his most accessible films in terms of narrative and execution.

http://www.genrebusters.com/images/blade6.jpg

The film is also teeming with patented Tsui Hark style, it is a premier example of the director's auteurism. The best of his work simply overflows with infectious, kinetic energy, and The Blade practically explodes from the cinematic depth-charge. The camera is constantly moving and creating tension during the action sequences, as it is used to heighten the disorientation felt by the combatants. The action in the film is not traditional kung fu, nor is it the typical wire-fu more common in the Hong Kong fantasy-action films of the 1990s.

The action in The Blade is fast and furious, and looks dangerous. There are more than a few times where I grit my teeth in preparation for a wound, and wince when the wound is inflicted; it is far more “slam dance” than “ballet”. Tsui Hark pushes the camera in with absurd close-ups during many of the violent exchanges, during which only the combatants' gnashing jowls and the flashes of cold steal are revealed. However, this is not done out of incompetence, or Tsui's inability to frame a shot properly, it is done on purpose, and done to create a new kind of action spectacle. The focus of the action in The Blade is not on the fluid movement of the participants or their weapons, but it is instead on the intense feelings of anger and emotion tangled up in the conflict.

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Like many great films, The Blade only gets better with each passing year and with each subsequent release in the genre. It is a landmark film, although one that is often overlooked by both martial arts film fans and critics of world cinema. It may be a bit too dark for some, and I have a hard time seeing the casual fans of films like Hero or Crouching Tiger, Hidden Dragon really embracing Tsui Hark's violent vision. Not that there is anything wrong with these more casual martial arts films, God knows I am in love with both mentioned, but there is a quality about The Blade that cuts deep into the heart of the thematic elements associated with martial arts cinema, a quality that some may be put off by. However there is also a quality that represents near cinematic perfection, a rare quality that Tsui Hark has managed to hit a few brilliant times.

[dreamdead]

Heh. Great first paragraph. This is another one that I'll be watching whenever it gets a good dvd release here.

[megladon8]

Wow, D, I honestly had no idea you loved Oldboy so much.

It's in my top 5-10 of all time as well. It's freaking brilliant, beautiful, powerful, daring, exciting...just an incredible film.

[Marley]

The Blade in the top 3? Wow, I did not expect to see that. The last fight scene may just be the greatest ever captured in the history of cinema.

[Qrazy]

In The Blade do they go from area to area in bamboo encirclings fighting different people? And moving up in stages? And are the bamboo encirclings composed of people who move and have bamboo strapped to them? Because if so I have been looking for this film for so god damn long. I saw just a few minutes when I was about 8 and it has stuck with me ever since. If this is not the film do you have any idea what it would be D?

[D_Davis]

The Blade in the top 3? Wow, I did not expect to see that.

Well, Tsui Hark is my favorite filmmaker, so...

Glad you like it!

[D_Davis]

In The Blade do they go from area to area in bamboo encirclings fighting different people? And moving up in stages? And are the bamboo encirclings composed of people who move and have bamboo strapped to them? Because if so I have been looking for this film for so god damn long. I saw just a few minutes when I was about 8 and it has stuck with me ever since. If this is not the film do you have any idea what it would be D?

That is not The Blade. I am not sure what film you are describing. It does not sound familiar to me, but it sounds awesome!

[D_Davis]

Wow, D, I honestly had no idea you loved Oldboy so much.

It's in my top 5-10 of all time as well. It's freaking brilliant, beautiful, powerful, daring, exciting...just an incredible film.

Yeah, I totally agree. I find it to be a profound film in every way.

[Qrazy]

That is not The Blade. I am not sure what film you are describing. It does not sound familiar to me, but it sounds awesome!

Damn it! Been looking for it for soooo long.

[Bosco B Thug]

YEAH Dead-Alive!!! *high five* The original rom-zom-com.

[D_Davis]

YEAH Dead-Alive!!! *high five* The original rom-zom-com.

That's right.

[D_Davis]

Here it is...a tow-for. The best martial arts film ever made, and the best gangster film ever made.


2. The Boxer From Shantung (1972) - Dir. Chang Cheh (with Pao Hsueh-li handling continuity)

http://www.genrebusters.com/images/boxer1.jpg

I prefer to think of Chang Cheh’s The Boxer From Shantung as Once Upon a Time in Shanghai. The film is a classic tale of a poor coolly, Ma Yang Chen (Chen Kaun Tai in his breakout performance), who rises in power to be come a gang boss, and ultimately loses his life trying to uphold justice and honor in the criminal underworld. What separates Boxer from other similarly themed films, such as Scarface, Goodfellas, Casino, and others, is that Brother Ma’s downfall is not attributed to corruption, power, greed, drugs, or women. All too often, in the gangster films from the west, the hero is just as despicable and unlikable as any of the other lowlife thugs, and I often find it hard to sympathize with them - most of the time I want them to suffer and die for the hell they have put their friends and family through. Brother Ma, on the other hand, is a man swimming in honor, and although he fights to gain wealth and prestige, he always treats people with the respect they deserve regardless of status – he is a righteous man.

http://www.genrebusters.com/images/boxer6.jpg

Chen Kuan Tai’s performance in the film is astounding, and his portrayal as the poor, down and out Ma, makes for an engaging experience. Ma is full of pride, almost to a fault – he will not take handouts (even when starving). he will not stoop down to pick up money, nor will he bow to those who do not deserve it. When he first meets Mr. Tan (David Chiang), one of the local wealthy and affluent gang bosses, Ma keeps his chin up and his chest pumped. He looks at Tan with respect and admiration – not with jealousy and envy. Ma tells his close buddy that one day they will have money and power, and will attain it with pride and honor. Throughout the film, Brother Ma maintains his poise, dignity and integrity, while pushing through with determination that is almost superhuman.

http://www.genrebusters.com/images/boxer7.jpg

Speaking of superhuman, Chang Cheh’s direction here is second to none. The skill Chang displays behind the camera is masterful, and the way he executes the narrative is brilliant. Every moment of the film is captured and framed in the most perfect way possible – each close up, introduction, transition, and action set piece serves a purpose: to drive the narrative forward. I watch this film with a look of perpetual astonishment on my face, each sequence continues to build and strengthen the narrative – nothing is superfluous or out of place, and every moment down to the smallest detail is needed. And, even though the film clocks in at two-hours, an epic length for a kung fu film, it never seems long, nor does it wear out its welcome.

http://www.genrebusters.com/images/boxer8.jpg

The Boxer From Shantung continues to stay fresh and engaging throughout, all due to the great performances, wonderful direction, and amazing pacing, coupled with Lau Kar Leung’s and Tong Gaai’s masterful action choreography. Together, along with the physical performers, they craft action sequences that are hard-hitting and chaotic, becoming more brawl-like in nature rather than the precise demonstrations of kung fu stances typical to the genre. This detail was never lost on Lau Kar Leung and Tong Gaai, and is why they are such top-notch choreographers. Rather than have the same style of fighting and set-ups in every film, they adapt the style of the choreography to meld with the narrative of each particular film and with each of the combatants’ strengths and weaknesses. The bouts of highflying fisticuffs in Boxer feel dangerous, and are full of tension and power – the raw emotion can be felt oozing from the screen.

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Emotion is what drives this film, in each and every possible facet of its execution. Each performance carries weight, and the performers perfectly capture the nuances of the characters, and the gravitas of the situations. The direction is meticulously calculated, and each shot and sequence perfectly invokes the energy of the drama and the immediacy of the overall conflict. Even the action scenes are charged with emotion, and although they are bloody and somewhat brutal, the violence does not feel gratuitous, but only bolsters the narrative and the drive of the combatants. And, through Chen Kuan Tai’s turn as Brother Ma, Chang shows us that even a man with good intentions full of respect and well-deserved power can be beaten down by the very world he seeks to conquer.

http://www.genrebusters.com/images/boxer9.jpg

I am still at a lost for words to describe my frustration that Chang Cheh’s name is not mentioned in tandem with other great directors. With The Boxer From Shantung, Chang tackled the same themes that filmmakers such as Scorsese, Copolla, and De Palma did, and did so with the same amount of skill and emotion, and less cussing and seediness. While western genre fans continue to turn to films such as The Godfather, Goodfellas and Scarface to quench their “gangster” thirsts, Chang’s filmography continues to be praised by only a small minority of dedicated followers. I feel confidant in declaring that The Boxer From Shantung is a better film than any of those previously mentioned, and I hope that one day Chang’s work truly gets the respect it so rightfully deserves. But until that day, I will continue to give praise where praise is due.

[lovejuice]

2. The Boxer From Shantung (1972) - Dir. Chang Cheh (with Pao Hsueh-li handling continuity)

http://www.genrebusters.com/images/boxer1.jpg


damn, i thought tis would be number 1. it's a great film. a movie godard would definitely make if he knew martial art.

[D_Davis]

damn, i thought tis would be number 1. it's a great film. a movie godard would definitely make if he knew martial art.

So, so true.


And now onto number 1....

[D_Davis]

Here it is.

Thanks for reading.

It's been swell.



1. Once Upon a Time in the West - Dir. Sergio Leone

http://www.genrebusters.com/images/west1.jpg

As an era passes on, so too must its heroes and villains - as they become obsolete and unable to cope with the changing times, they must perish. In Sergio Leone’s iconic classic, Once Upon a Time in the West, three gunslingers come face to face with their demise, as progress lurches along the tracks of the ever-expanding cross-continental railroad. With each passing moment, the train promises to bring with it a more modern time, although one that is equally as dangerous. In this new era, guns and bullets are no longer the premier dealers of death. No, a new and more powerful force rears its ugly head, and that force is commerce – advertising, commercialism, and the almighty dollar. A man with enough money and commercial power can buy loyalty, and like the mighty railroad itself, once this force gains momentum, it is nigh impossible to stop.

A train pulls into a station, and with it, a messenger. His message has something to do with death, as do many of Leone’s heralds. Leone depicts three gunslingers here, at a train station in the middle of nowhere, waiting to kill a man. But little do they know that it is they that need to worry, for Time has arrived, their Time. The locomotive brings with it a new era, and the gunslingers themselves are quickly becoming obsolete. The messenger is none other than Harmonica, played by the ever stoic Charles Bronson, the last of a dying breed, a lone gunman seeking justice, and a hero for every man who has ever been wrongfully slain by cruel and unjust villainy. Harmonica knows that his time has come, for he rides with the train, and the train stops, jut long enough for him to exit, and take care of one last task.

http://www.genrebusters.com/images/west2.jpg

However, the train does not always stop, nor does it wait for any man. Some men, men like Cheyenne (Jason Robards), know sure and well that time is not on their side, and they do in fact accept this. Cheyenne, the honorable thief, the trickster, represents all of those who would rather die in a blaze of glory, chasing the dragon that cannot be slain. This act, however, is not one performed in vain, but one performed with honor and exuberance, one last attempt at excitement, and one last ride on the giant roller coaster before the park is closed for good. Cheyenne faces the end of the era head on, and mounts one last attack on the train knowing full well that it will be his downfall. He has played with the devil many times, and eventually time catches up to him, but he goes out like a warrior who embraces death like a long lost brother.

Unfortunately, not all of the gunslingers are able to let go as easily as Cheyenne and Harmonica. Some try desperately to hold on, embarrassingly so. Frank, played by Henry Fonda with the deep blue eyes, does not want to let time pass him by, and tries to mold his old ways with the new. He partners up with commerce, and the train, and joins Morton on the side of the financiers. However, the new world does not embrace Frank, and as Morton explains to him, there is a new and more powerful weapon now, one more deadly than any six-shooter – the dollar bill.

At one point, Frank finds himself at the wrong end of the dollar, as untrustworthy henchmen paid off by Morton wait to assassinate him. What is most interesting about this attempt is where the henchmen are placed as they wait to strike. One hides behind an advertisement, his gun poking through a large billboard, probably the first of its kind, and another henchman carefully positions himself behind a large clock: for Frank, the real killers are the coming and changing times, and an era ruled by commerce, not the bullet. When it comes to people like Frank, there is no hope; there is no bowing out with dignity; there is only the sad passing of a desperate old man.

http://www.genrebusters.com/images/west3.jpg

The train’s arrival at Stillwater station, a bastion of hope established by Jill McBain (Claudia Cardinale) on the farm of her dead husband, signifies the time for the final showdown. Two men on opposite sides of the spectrum must face off; this is the last act of the old, ushering in the new. On one side, there is Harmonica, the gunslinger who knows his time has come, and gracefully accepts this fact. He is actually eager to ride off, vanishing into nothing more than a trace memory. On the other side is Frank, a man frustrated by change, a man who tries to incorporate the new with the old, a man who sadly learns that the bullet is no match for the dollar. As the train pulls into the station, all time stands still for these two gunslingers – the world pauses just long enough for them to play out their last significant act before restarting and chugging along into the horizon, into the future.

Like the Titans, these remaining gunslingers are left in a world that no longer needs them, a world they cannot even hope to understand. Perhaps Stephen King said it best about his own Gunslinger, Roland, when he said, “The world has moved on.” Some, like Harmonica, bow out with grace and dignity; they see that their ticket has come up, and pass with grace. Others, like Frank, try to change; they desperately grasp at anything and everything that allows them just a few scant seconds more time. And still others, like Cheyenne, face the monster head on, mano y mano, but they do not try to stop the inevitable, but rather to experience the rush and excitement one last time, storm chasers till the very end. Yes, the railroad has come, and with it, a new era promising more civil times. But was it really more civil, or was the violence and brutality just cloaked in more shadows and conspiracy, hidden behind most powerful weapon of all – the dollar bill?

[Melville]

I can't say I agree with many of your choices, but great job on the list as a whole.

Ratings:

1. Once Upon a Time in the West – Dir. Sergio Leone – 4.5
6. Oldboy (2003) - Dir. Chan-wook Park – 6
7. Pulp Fiction (1994) - Dir. Quentin Tarantino – 8
7.5 Hero (2002) - Dir. Zhang Yimou – 6
8. Mulholland Dr. - Dir. David Lynch – 10
10. Nausicaa (1984) - Dir. Hayao Miyazaki – 6
11. The Thing (1982) - Dir. John Carpenter – 4.5
13. The Big Lebowski (1998) - The Coen Brothers – 10
14. Scream (1996) - Dir. Wes Craven – 5.5
16. Raiders of the Lost Ark (1981) - Dir. Steven Spielberg – 9
18. Saving Private Ryan (1998) - Dir. Steven Spielberg – 5.5
19. Once Upon a Time in China (1991) - Dir. Tsui Hark – 6
24. Aliens (1986) - Dir: James Cameron – 8
25. Die Hard (1988) - Dir: John McTiernan – 7
27. Evil Dead 2 (1987) - Dir. Sam Raimi – 4.5
28. American Movie (1999) - Dir: Chris Smith – 6.5
30. Young Frankenstein (1974) - Dir: Mel Brooks – 7
37. Out of Sight (1998) - Dir. Steven Soderbergh – 7
38. Akira (1988) - Dir: Katsuhiro Otomo – 8.5
39. The Matrix Reloaded (2003) - Dir: The Wachowski Siblings – 3.5
43. Pi (1998) - Dir. Darren Aronofsky – 7.5
44. Descent (2005) - Dir: Neil Marshall – 4
50. Misery (1990) - Dir: Rob Reiner – 7
55. Exiled (2006) - Dir: Johnnie To – 4.5
57. First Blood (1979) - Dir. Ted Kotcheff – 5
63. Pee-wee's Big Adventure (1985) - Dir. Tim Burton – 7.5
65. Signs (2002) - Dir. M. Night Shyamalan – 5
68. Angel's Egg (1985) - Dir. Mamoru Oshii – 8.5
69. Crouching Tiger, Hidden Dragon (2000) - Dir. Ang Lee – 7
71. Robocop (1987) - Dir: Paul Veorhoven – 8
73. Night of the Living Dead (1968) - Dir. George A. Romero – 4
78. The Road Warrior (1981) - Dir: George Miller – 7
83. Kung Fu Hustle (2004) - Dir: Stephen Chow – 8.5
94. Desperado (1995) - Dir: Robert Rodriguez – 5
95. SLiTHER (2006) - Dir: James Gunn – 4
100. Armageddon (1998) - Dir: Michael Bay – 2.5

[D_Davis]

I can't say I agree with many of your choices, but great job on the list as a whole.

Ratings:

1. Once Upon a Time in the West – Dir. Sergio Leone – 4.5


Thanks, and yeah, we have pretty opposite tastes.

A 4.5 for Once Upon a Time? That's pure insanity. I cannot even fathom this.

:)

[Sycophant]

Excellent way to cap the list, D. It's been a blast reading these!

[Melville]

Thanks, and yeah, we have pretty opposite tastes.

A 4.5 for Once Upon a Time? That's pure insanity. I cannot even fathom this.

:)
I thought the themes of change that you described were ham-fisted and banal, the pace was painfully slow, and the tone was too self-consciously serious for what I thought was a fairly inane story. I prefer the verve of The Good, the Bad & the Ugly.

But cheers to differing opinions!

:pritch:

[D_Davis]

But cheers to differing opinions!

:pritch:

Yep.

[D_Davis]

Excellent way to cap the list, D. It's been a blast reading these!

Thank you.

I am glad it is done.

[dreamdead]

I don't swear on these boards enough, so in response to #1...

FUCK YEAH! :)

[D_Davis]

I don't swear on these boards enough, so in response to #1...

FUCK YEAH! :)

Fuck yeah, too!

[lovejuice]

a somewhat surprising first choice. but this list rocks!

[D_Davis]

a somewhat surprising first choice.

Really? You think so?

I feel like I've mentioned my feelings about this movie numerous times, perhaps too often.

Anyhow, glad you like the list.

[Duncan]

Congrats on finishing this thing, D. Pretty stellar accomplishment. My tastes also differ from yours significantly, but there's a bunch of stuff on here that I at least want to see now. Particularly the animation from Yuasa and Oshii.

1. Once Upon a Time in the West - Dir. Sergio Leone - 9
6. Oldboy (2003) - Dir. Chan-wook Park - 3.5
7. Pulp Fiction (1994) - Dir. Quentin Tarantino - 8.5
7.5 Hero (2002) - Dir. Zhang Yimou - 7.5
8. Mulholland Dr. - Dir. David Lynch - 10
13. The Big Lebowski (1998) - The Coen Brothers - 9.0
14. Scream (1996) - Dir. Wes Craven - 4.0
16. Raiders of the Lost Ark (1981) - Dir. Steven Spielberg - 8.0
18. Saving Private Ryan (1998) - Dir. Steven Spielberg - 5.5
24. Aliens (1986) - Dir: James Cameron - 8.0
25. Die Hard (1988) - Dir: John McTiernan - 8.0
37. Out of Sight (1998) - Dir. Steven Soderbergh - 6.0
38. Akira (1988) - Dir: Katsuhiro Otomo -8.0
39. The Matrix Reloaded (2003) - Dir: The Wachowski Siblings - 3.0
43. Pi (1998) - Dir. Darren Aronofsky - 2.5
51. The Wild Parrots of Telegraph Hill (2003) - Dir: Judy Irving - 7.0
65. Signs (2002) - Dir. M. Night Shyamalan - 7.5
69. Crouching Tiger, Hidden Dragon (2000) - Dir. Ang Lee - 8.5
71. Robocop (1987) - Dir: Paul Veorhoven - 7.5
73. Night of the Living Dead (1968) - Dir. George A. Romero - 6.5
78. The Road Warrior (1981) - Dir: George Miller - 7.5
80. For a Few Dollars More (1965) – Dir. Sergio Leone - 6.0
83. Kung Fu Hustle (2004) - Dir: Stephen Chow - 4.0
84. Conan the Barbarian - Dir: John Milius - 5.5
88. Iron Giant (1999) - Dir: Brad Bird - 9.0
100. Armageddon (1998) - Dir: Michael Bay - 4.0

Haven't really seen a lot, obviously. I guess I'll have to brush up on my kung fu.

[ledfloyd]

OUATITW is brilliant.

[D_Davis]

Congrats on finishing this thing, D. Pretty stellar accomplishment. My tastes also differ from yours significantly, but there's a bunch of stuff on here that I at least want to see now. Particularly the animation from Yuasa and Oshii.

43. Pi (1998) - Dir. Darren Aronofsky - 2.5


Haven't really seen a lot, obviously. I guess I'll have to brush up on my kung fu.

Thanks!

Your Pi rating really stands out to me...why the strong negative rating?




So in general, did you all expect more martial arts cinema on the list?

Any major surprises?

Just curious.

[Sycophant]

Things I was truly surprised to see on your list:



13. The Big Lebowski (1998) - The Coen Brothers
30. Young Frankenstein (1974) - Dir: Mel Brooks
33. Bill Cosby: Himself (1983) - Dir. Bill Cosby
37. Out of Sight (1998) - Dir. Steven Soderbergh
39. The Matrix Reloaded (2003) - Dir: The Wachowski Siblings
49. Ping Pong (2002) - Dir: Fumihiko Sori
51. The Wild Parrots of Telegraph Hill (2003) - Dir: Judy Irving
100. Armageddon (1998) - Dir: Michael Bay
Mostly what shocked me was non-genre American fare. And most of those are pleasant surprises, of course.

[Melville]

Thanks!

Your Pi rating really stands out to me...why the strong negative rating?
His dislike for it started a fairly epic discussion that went on over two threads and many pages:

http://matchcut.org/viewtopic.php?p=504605&highlight=aronofsky#504605



So in general, did you all expect more martial arts cinema on the list?

Any major surprises?

Just curious.
I thought the whole thing was pure you.

[Duncan]

Your Pi rating really stands out to me...why the strong negative rating? I thought it was dishonestly appropriating mathematics for mystical purposes analogous to the way someone who believes in intelligent design might appropriate aspects of evolution to further a Christian agenda. It seemed to have next to no knowledge of mathematics or physics beyond the tourist spots like The Golden Ratio. It can't even get the definition of density right. In this way I think it is among the more insidious films I have seen - it uses science to gain credibility in order to support pure mysticism. It really bothers me when people do that. If you are going to support a mystic philosophy, then argue it from mystical foundations. Don't try to hop on the shoulders of someone else's work, especially when you clearly have no understanding of that work.

[D_Davis]

His dislike for it started a fairly epic discussion that went on over two threads and many pages:

http://matchcut.org/viewtopic.php?p=504605&highlight=aronofsky#504605



I thought it was dishonestly appropriating mathematics for mystical purposes analogous to the way someone who believes in intelligent design might appropriate aspects of evolution to further a Christian agenda. It seemed to have next to no knowledge of mathematics or physics beyond the tourist spots like The Golden Ratio. It can't even get the definition of density right. In this way I think it is among the more insidious films I have seen - it uses science to gain credibility in order to support pure mysticism. It really bothers me when people do that. If you are going to support a mystic philosophy, then argue it from mystical foundations. Don't try to hop on the shoulders of someone else's work, especially when you clearly have no understanding of that work.

That's right, now I remember.

I probably have an easier time at focusing on the fiction of science fiction than you do.

Knowing next to nothing about math, I just look at Pi as a great example of speculative fiction, and I never once thought or believed anything in it was true.

From my review...


Pi is such a film. It is a story about patterns, and about humankind's desire to find order in chaos, our desire to make sense of things. Pi examines this desire through the use of mathematics, number theory, numerology, and cryptic languages. Is the math in Pi sound, is it legit? I don't know, I am not a mathematician, a number theorist, or a numerologist, nor do I study ancient Hebrew. It could be nothing but a bunch of psycho-babble-flim-flam, and that's fine, it matters not. What I do know is that the “science” in the film, the idea behind the narrative, works within the context of the story being told, and, more importantly, it is there to examine a fundamental truth about humankind. Often times, in these kinds of SF stories, the “science” is nothing but a Macguffin, an arbitrary concept on which the author hangs his ideas and themes (for a perfect example of this see the use of mind/body displacement in Dick's The Three Stigmata of Palmer Eldritch).

[lovejuice]

i don't do rating, so i'll just say which one that i like and dislike.



:) 1. Once Upon a Time in the West - Dir. Sergio Leone
:) 2. The Boxer From Shantung (1972) - Dir. Chang Cheh
:confused: 6. Oldboy (2003) - Dir. Chan-wook Park
:confused: 7. Pulp Fiction (1994) - Dir. Quentin Tarantino
:confused: 7.5 Hero (2002) - Dir. Zhang Yimou
:) 8. Mulholland Dr. - Dir. David Lynch
:) 10. Nausicaa (1984) - Dir. Hayao Miyazaki
:) 12. The Killer - Dir. John Woo
:) 14. Scream (1996) - Dir. Wes Craven
:):):) 16. Raiders of the Lost Ark (1981) - Dir. Steven Spielberg
:confused: 18. Saving Private Ryan (1998) - Dir. Steven Spielberg
:) 19. Once Upon a Time in China (1991) - Dir. Tsui Hark
:):):) 24. Aliens (1986) - Dir: James Cameron
:) 25. Die Hard (1988) - Dir: John McTiernan
:confused: 30. Young Frankenstein (1974) - Dir: Mel Brooks
:):):) 31. Galaxy Express 999 (1979) - Dir: Rintaro
:) 35. Project A (1984) - Dir. Jackie Chan
:confused: 37. Out of Sight (1998) - Dir. Steven Soderbergh
:) 38. Akira (1988) - Dir: Katsuhiro Otomo
:confused: 39. The Matrix Reloaded (2003) - Dir: The Wachowski Siblings
:confused: 40. Holy Flame of the Martial World (1983) - Dir. Lu Chin-ku
:) 43. Pi (1998) - Dir. Darren Aronofsky
:) 47. A Chinese Ghost Story (1987) - Dir. Ching Siu Ting
:) 50. Misery (1990) - Dir: Rob Reiner
:):):) 56. Waiting For Guffman (1996) - Dir: Christopher Guest
:) 57. First Blood (1979) - Dir. Ted Kotcheff
:) 59. Shaolin Intuders (1983) - Dir. Tong Gaai
:):):) 65. Signs (2002) - Dir. M. Night Shyamalan
:) 66. The Castle of Cagliostro (1979) - Dir. Hayao Miyazaki
:) 67. Big Trouble in Little China (1986) - Dir. John Carpenter
:):):) 69. Crouching Tiger, Hidden Dragon (2000) - Dir. Ang Lee
:):):) 71. Robocop (1987) - Dir: Paul Veorhoven
:confused: 74. Whispers of the Heart (1995) - Dir: Yoshifumi Kondo
:confused: 78. The Road Warrior (1981) - Dir: George Miller
:) 83. Kung Fu Hustle (2004) - Dir: Stephen Chow
:) 84. Conan the Barbarian - Dir: John Milius
:) 88. Iron Giant (1999) - Dir: Brad Bird
:) 92. Poltergeist (1982) – Dir: Tober Hooper
:) 94. Desperado (1995) - Dir: Robert Rodriguez
:confused::confused::confused: 100. Armageddon (1998) - Dir: Michael Bay

[D_Davis]

Duncan,

Have you ever read any Rudy Rucker? He is a computer science and mathematics professor who also writes mathpunk. He actually wrote a text book on the fourth dimension, and he uses his theories in many of his books. He's one of the most off-the-wall, gonzo authors I've ever read. The dude is just amazing.

Check out White Light if you ever feel the desire to read an amazing piece of speculative fiction, written by an author who is an expert in the field of science and fiction.

[Duncan]

Duncan,

Have you ever read any Rudy Rucker? He is a computer science and mathematics professor who also writes mathpunk. He actually wrote a text book on the fourth dimension, and he uses his theories in many of his books. He's one of the most off-the-wall, gonzo authors I've ever read. The dude is just amazing.

Check out White Light if you ever feel the desire to read an amazing piece of speculative fiction, written by an author who is an expert in the field of science and fiction.
Nope, never heard of him. Thanks for the recommendation.

[Qrazy]

I thought it was dishonestly appropriating mathematics for mystical purposes analogous to the way someone who believes in intelligent design might appropriate aspects of evolution to further a Christian agenda. It seemed to have next to no knowledge of mathematics or physics beyond the tourist spots like The Golden Ratio. It can't even get the definition of density right. In this way I think it is among the more insidious films I have seen - it uses science to gain credibility in order to support pure mysticism. It really bothers me when people do that. If you are going to support a mystic philosophy, then argue it from mystical foundations. Don't try to hop on the shoulders of someone else's work, especially when you clearly have no understanding of that work.

Ehhh... I just read it as softer sci-fi, where the science, or in this case math is flawed (there's not going to be a number for God obviously) but is simply used as a jumping off point for philosophical discussion. Yeah, the best sci-fi has more knowledge of it's scientific concepts, but often the absurd is taken as a given in order to examine the givens we take for granted in society. For instance, there's a short story about the different names of God and when the correct name of God is discovered, the world starts to disappear. That short story seems to me one of the jumping off points for the film. Except instead of the world disappearing, the guy starts to go insane. Despite the creators lack of knowledge of mathematics, the filmmaking in relation to the story being told is still strong, purposeful, and interestingly experimental.

Ehh Davis beat me to it. Although I don't particularly like the idea of using the science as a macguffin. That seems too strong to me.

[D_Davis]

i don't do rating, so i'll just say which one that i like and dislike.

Nice!

But only a :) for Shaolin Intruders? I think this deserves at lease a :):):)


So, am I the only person here who likes Saving Private Ryan?

[Qrazy]

Nice!

But only a :) for Shaolin Intruders? I think this deserves at lease a :):):)


So, am I the only person here who likes Saving Private Ryan?

I like it. Just damn strong formal filmmaking even if Spielberg semi-bungles the ending as he's done with all the films he's made in the last decade.

[lovejuice]

Nice!

But only a :) for Shaolin Intruders? I think this deserves at lease a :):):)


So, am I the only person here who likes Saving Private Ryan?

really i'm about to give it :):), but then i feel like there are more movies which deserve such rating as well, and i'm too lazy.

i think SPR is a good film. in fact most of the :confused: in your list are generally regarded solid film that i can't really get into.

[D_Davis]

Ehhh... I just read it as softer sci-fi, where the science, or in this case math is flawed (there's not going to be a number for God obviously) but is simply used as a jumping off point for philosophical discussion.

...

Ehh Davis beat me to it. Although I don't particularly like the idea of using the science as a macguffin. That seems too strong to me.

Yeah, we pretty much agree here. Macguffin may not have been the best choice of words for the concept I was conveying.

But in a lot of speculative fiction, the scientific concept is used not to examine science, but, more importantly, as a literary device to allow the author to examine humanity under a different light and from a different perspective.

[Qrazy]

Plus notables like Godel and others were mathematical realists so it's not like there's absolutely no theoretical basis for the film's general trajectory.

[Duncan]

Plus notables like Godel and others were mathematical realists so it's not like there's absolutely no theoretical basis for the film's general trajectory.
Somewhere in that epic debate that Melville linked I sort of bring this up when I say that I consider math something to be discovered rather than invented. But I don't think that really has much to say about the film's Kabbalistic leanings since Kabbalists are concerned with the study of the Torah, not an object I would classify as having been discovered.

[Qrazy]

Somewhere in that epic debate that Melville linked I sort of bring this up when I say that I consider math something to be discovered rather than invented. But I don't think that really has much to say about the film's Kabbalistic leanings since Kabbalists are concerned with the study of the Torah, not an object I would classify as having been discovered.

Well it's just kind of a what if this were the name of God, then there would be chase sequences and brains on subways.

[Melville]

if this were the name of God, then there would be chase sequences and brains on subways.
Best description of a movie premise ever.

[D_Davis]

Actually Duncan, I totally understand your thoughts about Pi. In many ways, they mirror my own thoughts about films like God Told Me To, and other films that employ bad and outright moronic theology in their attempts to make a scathing and profound statement about or against religion.

Strange - I am able to look past bad science in science fiction, but not bad theology in religious science fiction. It must just have to do with my own religious perspective.

I guess we all draw our lines somewhere.

[Melville]

I guess we all draw our lines somewhere.
The presentation of existential philosophy in I Heart Huckabees irked me something fierce.

[D_Davis]

The presentation of existential philosophy in I Heart Huckabees irked me something fierce.

I can totally see this, especially with your love of Moby Dick and Melville.

[Rowland]

Dead Alive may not have much formal depth, but I think it's a wonderfully delirious evocation of a timid son's maturation from the shadow of his mother. I mean c'mon, she actually returns him to her womb during the climax. How isn't that awesome?! I'm sure someone cleverer than I could write a smarty-pants take on the movie from this angle.

[D_Davis]

Dead Alive may not have much formal depth, but I think it's a wonderfully delirious evocation of a timid son's maturation from the shadow of his mother. I mean c'mon, she actually returns him to her womb during the climax. How isn't that awesome?! I'm sure someone cleverer than I could write a smarty-pants take on the movie from this angle.

Oh yeah, totally.

[Melville]

I can totally see this, especially with your love of Moby Dick and Melville.
For something closer to my supposed realm of expertise, the discussion of quantum physics in Waking Life irked me even more. Actually, that whole movie was irksome.

[D_Davis]

For something closer to my supposed realm of expertise, the discussion of quantum physics in Waking Life irked me even more. Actually, that whole movie was irksome.

I am just the opposite. I like this film, a lot. It tackles many of the same subjects as my favorite sci-fi authors, especially Dick and Ballard. I guess they call this Transrealism.

As a matter of fact, before A Scanner Darkly was made, I often cited WL as being the best Phildickian film around because of how it discussed and speculated on many of the same things the characters in Dick's books do. Although Dick does so in a much more profound and evocative manner. He does so through narrative and dramatic action, not simple discussion.

I guess you should stay away from PKD!

I bet The Three Stigmata of Palmer Eldritch, UBIK, and VALIS would totally drive you up a freaking wall. :lol:

[Melville]

I guess you should stay away from PKD!
I've actually been meaning to read something by him for a long time. Given what you know of my taste, which book would you recommend?

[D_Davis]

I've actually been meaning to read something by him for a long time. Given what you know of my taste, which book would you recommend?

Perhaps, A Scanner Darkly, Flow My Tears, The Policeman Said, Martian Time Slip, or The Man in the High Castle.

[megladon8]

Geez, D, I'm sorry - I didn't even know you finished the list already.

It must have been while I was in NYC.

I knew your #1, because I remember you mentioning it a long time ago - but still, awesome!

I think it's a great list. Shows personality and passion.

[D_Davis]

Geez, D, I'm sorry - I didn't even know you finished the list already.

It must have been while I was in NYC.

I knew your #1, because I remember you mentioning it a long time ago - but still, awesome!

I think it's a great list. Shows personality and passion.

Thanks, mate!

It feels good to be done.

[megladon8]

Thanks, mate!

It feels good to be done.


It's sad that so many of your favorites don't have proper treatments here in North America.

The Blade and The Boxer from Shantung are two I must see.

[D_Davis]

It's sad that so many of your favorites don't have proper treatments here in North America.

The Blade and The Boxer from Shantung are two I must see.

You can say that again.

Did you finally get that newest boot of The Blade? I can't remember.

[megladon8]

You can say that again.

Did you finally get that newest boot of The Blade? I can't remember.


Nope. I ordered it, then got an e-mail from them saying they wouldn't ship to Canada.

Bummer.

At least I got a refund.

[balmakboor]

Dead Alive may not have much formal depth, but I think it's a wonderfully delirious evocation of a timid son's maturation from the shadow of his mother. I mean c'mon, she actually returns him to her womb during the climax. How isn't that awesome?! I'm sure someone cleverer than I could write a smarty-pants take on the movie from this angle.

I thought of Dead Alive as some sort of crazy remake of Psycho. Or a movie that Spielberg simply must remake.

[lovejuice]

after flirting with the idea for so long, i blind-purchased and watched death trance. the film's not quite as cool as i expected, but it still gives me a hell lotta good time. my biggest complain is many characters are too obviously unnecessary. besides, i really like the world of this movie; a combination of manga/anime, wuxia and shinobi. shimomura seems a curiously interesting action director. he doesn't seem to be an expert on any particular style. more bar-fighting/special effect than martial art.

i especially like the ending. although perhaps that's more because of the anti-climatic climax. i'm going to be so pissed if the godess of destruction loses to a mere mortal. i'm not sure how i would think if there were a sequel. the ending asks for it, but i perhaps prefer that as a conclusion.

[D_Davis]

Cool - glad you liked it.

Its world is interesting, and totally gonzo.

I, too, like the style of fighting. It's messy and chaotic most of the time.

Good stuff.