And he makes too many of them.
Quatermass And The Pit (1967)
Found it as a recommendation in one of those “101 sf movies you should see” books. Well, I’m not sure what’s all the fuzz about. It was okay, a bit boring, but apocalyptic finale is quite spectacular considering this is low-scale apocalypse happenning.
Of course, he was a pretty talented director with a good sense for visuals, but there are always many elements in his films which are strange for me, and that is a general problem for films from the far East, a problem of a big cultural difference.
One thing is e.g. that the acting is rarely interesting compared to films from my cultural background.
So I can enjoy Kurosawa’s film to a certain extent, but they don’t fascinate me. I think I prefer Kobayashi.
According to today’s online edition of The Guardian, Kurosawa’s Kumonosu-jō (Throne of Blood, 1957) is the “best Shakespeare film” ever made. Sadly but unsurprisingly, forum favorites such as Quella sporca storia nel West (1968), directed by Enzo G. Castellari, and Gianni Puccini’s Dove si spara di più (1967) are not ranked among the twenty best movie adaptations of the Bard of Avon’s works.
Throne of Blood is brilliant though, in fairness. My favourite Kurosawa film, my favourite movie from the fifties and my favourite Shakespeare adaptation (I won’t pretend to have seen too many Shakespeare movie adaptations in all honesty but, still, it’s the best of those I’ve seen).
Yes, I love it.
I liked Kurosawa, I haven’t seen Throne of Blood in a long long time, so long that I didn’t knew it was a Shakespeare adaptation at the time I watched.
Kurosawa films were the first ones I’ ve remember seeing from the Far East, I’m pretty sure the first one was Seven samurais, at the same period of time I watched the Leone Westerns, so those films in some way made me what I’m today, at least in cultural terms.
After Kurowasa I’ ve watched a lot of films from the far east and maybe Kobayashi with is trilogy are among my favourites from Japanese films, but I still prefer Kurosawa bulk of work as an all.
I watched The Big Lebowski. I was curious about why this movie was so much liked and became a kind of cult movie.
A fun movie with some strange plot twists and ideas. Definitely a re-watch worth.
I just watched that again on Sunday. I like it, but I dislike the annoying hipster fanbase and memes it spawned.
I can not agree more
- Hallström: What’s Eating Gilbert Grape? 8/10
- Scorsese: The Wolf of Wall Street 8/10
- Airaksinen: Juice (cinema) 5/10
- Weisenborn: Was ich bin sind meine Filme - Teil 2… nach 30 Jahren (Doc) 6/10
- Altman: Fool for Love 5/10
- Epstein: The Faithful Heart/Coeur Fidèle 9/10
- Sjöberg: Hets 7/10
- Sorrentino: Youth 7/10
- Altman: Kansas City 7/10
- Dreyer: Vampyr 9/10
Last ten days or so:
Aquaman (Wan, 2018)
The Thing (Carpenter, 1982)
Game of Death (Clouse, 1978)
Enter the Dragon (Clouse, 1973)
Four Lions (Morris, 2010)
The Way of the Dragon (Lee, 1972)
The Warriors (Hill, 1979)
The Belko Experiment (McLean, 2016)
Fist of Fury (Lo, 1972)
Climax (Noé, 2018)
Angels with Dirty Faces (Curtiz, 1938) - 4/5
City on Fire (Lam, 1987) - 4/5
The Inglorious Bastards (Castellari, 1978) - 4.5/5
Three Outlaw Samurai - (Goshi, 1964) - 4/5
Samurai Rebellion (Kobayashi, 1967) - 4.5/5
The Betrayal (Tanaka, 1966) - 4/5
They Shall Not Grow Old (Jackson, 2018) - 4.5/5
The Big Lebowski (Cohen, 1998) - 4/5
Sansho the Bailiff (Mizoguchi, 1954) - 4.5/5
Notorious (Hitchcock, 1946) - 3.5/5
Kill Bill (Tarantino, 2003) - 3/5
Kill Bill Vol. 2 (Tarantino, 2004) - 2.5/5
Pulp Fiction (Tarantino, 1994) - 3.5/5
Inglorious Basterds (Tarantino 2009) - 4/5
Reservoir Dogs (Tarantino, 1992) - 4.5/5
Had yourself a Tarantinothon, Dean. Something on my own to-do list at some point this year (sooner rather than later, probably).
Crazy, right? I must be smoking something.
Am I going to get banned for giving Pulp Fiction less than 5 stars?
Some recent viewings:
Howling (2012, Yoo Ha)
A rather odd combination of thriller and horror from South-Korea, with some unfocused social comment thrown in for (not so) good measure. During a routine investigation, an experienced police officer (played by Song Kang-ho, if you don’t know his name you’ll recognize his face) discovers some bite marks on the corpse of a man who supposedly killed himself. His rookie partner (a young woman who is struggling to be accepted within the force) then finds out that there’s a rampant wolf dog at work and what’s more: that somebody has trained the animal to kill. For what reason?
With its convoluted story involving spontaneous combustion, child abuse, sexism and revenge Howling suffers from an overly busy script, but somehow the whole things remains entertaining throughout
Princess Aurora (2005, Bang Eun-jin)
Again South-Korea. Released the same year as (and often compared to) Park Chan-wook’s far more successful Sympathy for Lady Vengeance. A young woman seeks revenge for her six years old daughter, who was kidnapped, raped and murdered by a man who was - due to the smart work of his defense attorney - transferred to a psychiatric hospital instead of jail. Initially it looks too much like a cruel, senseless vigilante movie, but eventually turns into a poignant and unsettling tale about rage, despair, justice and injustice. And yes, it’s hard not to sympathize with the young woman.
Princess Aurora is not as stylish and sophisticated as Lady Vengeance, but as a statement about Korea’s cold and clinical legal system, it’s probably even more powerful.
Babe (1995, Chris Noonan)
A rewatch. It’s hard to resist this comedy-drama about the piglet that wants to be a dog, if only to escape from the inevitable fate of all piglets: one day they will be eaten by humans. Not as funny as I remembered, but beautifully done and heartwarming. Co-written and co-produced by George Miller, the man behind the Mad Max franchise
The Snowman (2017, Tomas Alfredson)
An adaptation of the successful crime novel by Norwegian author Jo Nesbø. It was almost unanimously panned by critics and I watched it because I wanted to know how they had managed to concoct a boring movie out of a very effective crime novel
The novel is not a masterpiece, but it’s a well-told and cleverly plotted thriller which also features several interesting, remarkably multi-layered characters, notably the female detective, an ambitious but headstrong woman who was recently transferred from Bergen to Oslo and seems to have some personal interest in the case. In the movie the character is almost completely stripped from importance and there’s hardly any interaction between her and her male colleague, played by Michael Fassbinder. It was exactly the character’s background and her interaction with her colleague which propelled the story in Nesbø 's book. What we’re left with, is a serial killer movie of sorts, well-shot on location in Norway, but devoid of any real suspense.
I’m afraid so, yes.
Spent Valentine’s Day watching my favorite love story: A Matter of Life and Death (1946) with David Niven, Roger Livesey, Raymond Massey, and Kim Hunter. A good Fantasy/Romance where the human spirit prevails is always a pleasure. (Don’t judge me too harshly for this one )
Enter the Dragon - Theatrical Cut (Clouse, 1973) - 4.5/5
Pickpocket (Bresson, 1959) - 4/5
A Man Escaped (Bresson, 1956) - 4/5
Death by Metal - (Belalcazar, 2016) - 4/5
The Trial (Welles, 1962) - 4/5
Man with a Movie Camera - (Vertov, 1929) - 3.5/5
Dirty Harry (Siegel, 1971) - 4/5
Magnum Force (Post, 1973) - 3.5/5
The Godfather (Coppola, 1972) - 4/5
The Godfather Part II (Coppola, 1974) -3.5/5
Boogie Nights (1997, Anderson) - 4/5
The Great Dictator (Chaplin, 1940) - 4.5/5
The Kid (Chaplin, 1921) - 3.5/5
City Lights (Chaplin, 1931) - 4.5/5
Modern Times (Chaplin, 1936) - 3.5/5
Had a nice double bill with Il Boia di Venezia and Roma Violenta. Roma Violenta is in need of the 2K scan it deserves.