Detective Kien: The Headless Horror

Hey, check it out, a Vietnamese movie made it out of Dorchester. Just for the week; the wave of films coming out today means that it retreats back to South Bay, but there are worse reasons to see if the Red Line is reliable below South Station on a given day; it's a fun little movie that feels earnest in its pulpiness but isn't particularly campy, and looks great. Makes me wonder a couple of things, though:

First, is there a sort of wave of "brilliant detectives pulled into possibly-supernatural cases in period pieces" going around Asia for the past 15 years or so, or has this always been a big part of these countries' genre fiction and it's just hitting me now? "Detective Kien" has surface similarities to China's "Detective Dee" and Korea's "Detective K" series seem in sort of the same vein, but maybe those have always been there, but we're just getting a wider range of films from these countries now.

Second, "these countries" includes Vietnam, and I've probably gone on here before about how as an American, I've mostly seen Vietnam presented through the prism of the war and how that affected Americans and thus seeing The Rebel at Fantasia nearly 20 years ago was jaw-dropping, and even that was made with a lot of people who had come back home to Vietnam from America, and it would be another different sort of wake-up call when some more contemporary movies showed up and they were in the suburbs; it's worth remembering that, rather than sort of freezing 50 years ago, this is a country that has an immense urban population even if Americans think of it as jungle villages.

Now, admittedly, Detective Kien takes place in a Nineteenth Century village, but it's still kind of interesting in terms of getting a handle on this place, especially a few scenes near the end, where either the language or subtitle choices are kind of noteworthy: Going against the monarchy is described as "blasphemy" as opposed to "treason", which made me think about how monarchy is often justified via links to religion and a vague idea that some king ages ago was chosen by god(s), but that becomes something mostly pay lip service to: This is supposed to be true, but we all kind of know that a king's power is earthly inertia at this point, not heavenly investiture. Maybe that wasn't so much the case there and then, though.

In another spot near to that one, it's mentioned that a family attempting to usurp power 30 years ago was stopped by "informants", not exactly a word with a positive connotation, when you could use "whistleblowers" or the like. It's kind of jarring, because even authoritarian countries don't necessarily use that terminology. You sure don't hear it in Chinese movies.

So, that's kind of interesting to me. The movie's mostly just good for what it is, though.


Thám Tử Kiên: Kỳ Án Không Đầu (Detective Kien: The Headless Horror)

* * * (out of four)
Seen 4 June 2025 in AMC Causeway Street #12 (first-run, laser DCP)
Where to stream it (when available)

The thing about Detective Kien: The Headless Horror that I find striking is that there are long stretches where the film spends little if any time on the Drowning Ghost that has been feeding on human heads for the past five years or so, and that's okay. This is a good little period thriller without the horror-movie hook that probably brought it most of the attention it has received, and I found myself thinking that I'd actually be okay if it didn't get back to "the good stuff".

Indeed, while Miss Moon (Dinh Ngọc Diệp) describes the Drowning Ghost to Judge's Detective Kien (Quốc Huy) when she writes asking him to investigate the disappearance of her niece Nga (Đoàn Minh Anh), she is adamant that it is not the work of the Ghost, if only because there is no headless body. The local chief, Liem Quan (Xuan Trang) has been stonewalling her, but that may just because Nga was always an outcast; her mother (Moon's sister) abandoned her family when young, and father Vinh (Quoc Cuong) was not much involved, often leaving Moon to look after her until she, too, departed, only to return recently. Moon and Kien soon turn up more, though - an argument between Nga and Tuyet (Anh Pham), the entitled daughter of Liem and Lady Vuong (Mỹ Uyên), ceramics made by Tuyet's fiancé Thac (Quốc Anh) in Nga's room, and a break-in by a burglar (Sỹ Toàn) who apparently sought to destroy those pieces.

Plus, as mentioned, there's apparently a river monster that has devoured the heads of eight people over the past five years.

Writer/director Victor Vu opts to dive directly into the missing-person case.without spending a whole lot of time looking into the monster series, which is maybe a risk, but Vu plays it out well, building his mystery plot so that Kien, Moon, and the audience find one juicy revelation after another. It's not actually a very good mystery - there are a couple of bits in the home stretch that go beyond not just being fair play into "wait, what?" territory - but for most of the movie, he's good at dangling things just close enough to feel like they're in reach, and then we're over here, so the picture always feels like it's about to come together in some way. He sprinkles enough of the Drowning Ghost in to remind the audience it's there and make us wonder how it connects, although, again, things falter a bit toward the end when it becomes clear that he's not going to stick the "both halves of the story come together in a single climax" landing.

The cast has the right pulp vibe as well, not veering into camp but often hitting that spot where one can see the niche each character fills well enough but maybe just playing it big enough that it could be a mask. Quốc Huy gives Kien authority while also seeming to hold some in reserve and managing to see a bit flustered by Moon's clear interest. Dinh Ngọc Diệp is a delight as Moon, making both her fierce advocacy for Nga and what seems like a playful crush on Kien (who arrested her husband for corruption) work work while often smiling just a bit too much to the point where one starts to wonder if she's the mastermind behind this whole thing. Xuan Trang, Mỹ Uyên, and Anh Pham play the sort of hissable aristocrats where any could be worse or better than expected. Đoàn Minh Anh's Nga radiates sadness but also comes alive.

They're in a nice-looking movie that is obviously not at the scale of an American blockbuster but certainly gets a lot out of what's available for filmmakers in Vietnam, not least that you can apparently point a camera in a great many directions and catch some terrific scenery; the villages and palace look pretty nice too. Vu is smooth in how he has Kien visualize things in a way that's obviously not literal but not showy as one often sees in, say, modern Sherlock Holmes adaptations. When we see the Drowning Ghost, it's got elements of CGI and rubber-suit monsters that look uncanny in the right way. At the climax, the film both embraces and subverts cliché by having a slap-fight that could be silly feel like the stakes are as high as the cool swordfight.

The film is apparently a spin-off from Vu's previous film Người Vợ Cuối Cùng (The Last Wife), although I'm not sure that Quốc Huy was the one playing Kien in that movie; at any rate, one can go into this one more or less cold and not necessarily feel like it's incomplete without the follow-up that the end suggests is coming. The end is a bit dragged out, but otherwise, it's a neat little thriller that anyone who enjoys this sort of mystery can enjoy while also feeling distinctly Vietnamese.

Murderers' Missions: The Killer '23 and Bad Blood

I didn't necessarily plan this as a double feature, but the previous week's jury duty kind of clobbered me, or the commute did, and I wasn't even making much attempt to get out of the recliner until late Saturday. But, it's not like either of these movies are going to be around long - The Killer is from Netflix, and there's an eyebrow raised when one of those gets a second week Bad Blood is from Vietnam, and I was mildly surprised to see it playing Boston Common as well as South Bay, where the Vietnamese movies usually show up. Maybe they thought it would draw some more of us kung fu fans? At any rate, it looked like it was just me when the movie was close to starting.

Still, it's a natural-enough, with two people who are very good at violence tracking down the people who hurt their families, although the vibes are very different, with The Killer saying right off that you've got to be patient and then demonstrating, while Bad Blood has immediate machete violence. These movies are two sides of the same coin in many ways, and together a bit of a Rorschach Test in terms of what you may consider important in your crime flicks: The Killer is fancyish, kind of arch, maybe not quite as clever as it thinks it is (though probably smarter than I initially thought it was); Bad Blood is direct and pretty much maxes out "action" at the expense of everything else. I had more fun with Bad Blood that afternoon; though I'll probably talk about The Killer more over the next however many years.

Surprisingly, considering I saw them a week ago, both are still kicking around theaters: The Killer got held over at both Boston Common and the Coolidge, which may well keep it around for 9:30pm shows in the Screening Room until their Fincher midnights finish; Bad Blood is at South Bay, which I suspect has a decent Vietnamese immigrant population nearby.


The Killer '23

* * * (out of four)
Seen 29 October 2023 in Landmark Kendall Square #5 (first-run, DCP)

The Killer is absolutely a "David Fincher film that Netflix also puts in a few theaters" situation: The film is impressively shot, meticulous in its construction, and all that good stuff, but there is also seldom much going on that's really essential; you can fold your laundry or screw around on your phone until some bit of character acting breaks through to grab your notice, and you pay full attention for the next five or ten minutes until Michael Fassbender murders that character. Then repeat; it's divided into chapters if you can't do a full (almost) two-hour movie at once.

It starts with Fassbender's multi-named Killer on a job in Paris, staking out an apartment that he knows his target will eventually return to, narrating how patience is paramount, talking about the lengths he goes to be invisible, and how not everybody is cut out for this sort of thing. But when the moment comes, his shot misses the target, and he must quickly abandon the job. Arriving at his isolated home in the Dominican Republic, he discovers that his employers have already made arrangements to eliminate him, but struck too fast, when only his girlfriend (Sophie Charlotte) was home. So, what to do, but work his way up the ladder, paying visits to the law professor who recruited him as an assassin back in college (Charles Parnell), the team sent to dispatch him (Sala Baker & Tilda Swinton), and the client (Arliss Howard).

That it seems built for how people consume Netflix rather than theaters isn't exactly me saying it's bad, so much as it's Fincher working in his chosen medium and trying to get the most out of it. Those bits of character acting, more or less building up to Tilda Swinton's piece are quite enjoyable, and even if half the point of the opening is to try the audience's patience so that they understand that, yes, this work does require enduring boredom and not cracking through lack of patience, the use of Rear Window framing is at least a little fun. Even when this guy is at his most detached, he is good enough at his job to be interesting to watch (and, yeah, I kind of think that applies to Fincher, Fassbender, and the Killer, which is why they all connect to this project and wind up on the same wavelength).

Screenwriter Andrew Kevin Walker (working from the bande dessiné by Alexis Nolent & Luc Jacamon) gives Fincher and Fassbender plenty of fun material to chew on; it is certainly entertaining to hear his misanthropic monologues in voice-over, and you can certainly see how this brace of enjoyable actors - Charles Parnell, Kerry O'Malley, Arliss Howard, and Tilda Swinton, most notably - signed on; it's a script they can chew on for however many days they're on set. Fincher can stage the heck out of an action sequence, too, though one in near-darkness is probably going to be brutalized by compression algorithms once it hits its forever home on the streaming service.

If you want to be generous, I suppose you could posit that the whole thing is a satire: Right from the start, Fassbender is presenting the image of the cool, methodical assassin who lives outside the rules, but the whole thing is built around how he basically screws up at the crucial moment - Fincher and director of photography Erik Messerschmidt are careful to show how, after working hard to make sure he has a clear shot and how he knows he will only have one, he instead kills a bystander. As he flies from location to location, he uses a series of fake identities taken from famous sitcom characters, which is not exactly him being memorable. It's just in-your-face enough to arguably be about undermining the mystique of these characters - if you've ever watched the John Wick movies and wondered if there are really enough murders of this sort for it to be a whole underground economy, Fincher and Waller may be on your wavelength - but if so, it's the sort of satire that perhaps doesn't do enough separate itself from the thing it's sending up. Fassbender and Swinton, for instance, fit the template too well. In other moments, it seems like he's reaching for something but can't quite get there, like there should be some commentary on how the title character can hang out in this WeWork space that's under construction for a couple weeks without being noticed, but it doesn't resolve into anything.

Still, I'm not sure this movie actually draws a reaction until the epilogue. A flinch and narration where the title character thinks he understands something - but probably doesn't, but in the way a non-psychopath does - is actually interesting, for a moment, but then the movie is done. It's fine, better than this sort of hitman movie made by less talented people, but maybe a bit too muted.


Ke an Danh (Bad Blood)

* * * (out of four)
Seen 29 October 2023 in AMC Boston Common #5 (first-run, DCP)

This is some pretty classic old-school martial arts action here - more or less every beat goes as expected based on the Taken template, but the action is darn solid in terms of being quick and brutal but easy to follow while also doing things like putting its hero against various modern art installations. It delivers what it promises and with style.

It opens with Lam (Kieu Minh Tuan) as a young man, having just seen his family killed and quite capable on avenging them as he storms the home of crime boss "Scarface" along with a whole mess of minions, but he takes the dying gangster's words that he'll continue to lose those he loves if he continues to be a killer to heart, and twenty years later, he's living a quiet life, poor, but mostly happy with wife Hanh (Van Trang) and stepdaughter Tien (Thua Tuan Anh), even if doing day labor occasionally gets him involved in jobs like helping Lu (Mac Van Khoa) and his company of "movers" who have not exactly been hired by an apartment's residents. One night Tien does not come home from a job interview in Ho Chi Minh City/Saigon, so he starts nosing around.

From there, you kind of know the deal - the young punks of the area do not have any idea what kind of guy is living in their midst, there's an ongoing investigation that doesn't need some lone wolf getting involved, and maybe he still has some friends from the old days. If it diverges from the path laid down by a few dozen movies with the same basic story, it's maybe because one can forget just what a mean streak this genre can have when stringing together action sequences is more the aim than, say, validating the father's pride and worth, as well as a the need for the police to not look entirely like they need vigilantes to do their work. Writer/director Dan Trong Tran knows the movie he's making, and if it means not messing around that much between fights or having a villain merry-go-round that keeps Lam from actually having an opposite number (the film kind of settles on Quoc Truong's art enthusiast), well, that's not really important.

What's important, obviously, is the action, and that's solid as heck; there's been good action coming out of Vietnam for 15 years or so, and while it's Dan Trong Tran's first film as writer/director (he has mostly produced for director Le-Van Kiet), he's got a decent eye and a solid action director in Kefi Abrikh; between the hard hits and the inventiveness of some of the settings, they manage to evoke the sort of Hong Kong pre-handover vibe intended. The movie is probably also a notch or two better than most at genuinely convincing the audience that this guy, underworld legend that he may have been at one point, is in fact 20 years past his prime and out of practice. He recovers soon enough, sure, but he also spends a lot of time getting the crap beat out of him. There's much less ego than usual here.

I must admit, though, that I'm mildly disappointed they didn't come back around to reference constipated civet-poop coffee that one character serves another early on, perhaps as a reassurance that the daughter will be stronger for having gone through this. That would be the sort of dorkily-earnest but kind of messed-up bit that would really cement Bad Blood as that sort of classic "great fights, weird elsewhere" movie.

Fantasia 2020.14 (and NYAFF 2020.01): Legally Declared Dead, A Witness Out of the Blue, I WeirDO, Ròm, Chasing Dream, and 12 Hour Shift

I thought I was done after "Day 12", but just as I was wrapping up (and getting to move onto the New York Asian Film Festival's online event) I got an email from Hong Kong with a screener link for closing night film Legally Declared Dead, and, hey, I get it - I didn't ask until almost the end of the festival, it's a 12-hour time difference, and Hong Kongers have other things to be worried about. And, hey, it was one of the entries in the NYAFF line-up that was geo-locked to New York, so it worked out.

As for NYAFF, that was an interesting situation. It overlapped with Fantasia (and I opted to start with the stuff that was in both slates), so I knew I was going to only get half of what I could from my pass, and even before everything got postponed and went virtual this year, I was kind of curious how it would change now that it was a separate entity from Subway Cinema, who were the guys I had a sense of. I don't know that it changed too much, in terms of what they selected, but I'm curious what it would have been like in Lincoln Center. Subway Cinema has a freewheeling personality, and I don't know what the new crew would be like. Maybe next year.

This year, they went virtual, and decided to do it via the Smart Cinema platform, which is mobile-only, so to watch it on my TV, I had to have it bounce from the cable modem/router to my phone, and then cast it to the Roku, which means bouncing it back to the router, which sent it to the Roku, and, I dunno, it seems to me like you could just have a Roku app (or even just something I could use on a laptop that I could connect to the receiver via HDMI), use ⅓ the bandwidth in the apartment, and maybe get better quality.

There were other issues with it as well - for whatever reason, the controls would keep popping up on my phone's screen and get streamed to the TV, which was irritating, and while the first thing I streamed, A Witness Out of the Blue, came through okay, I started getting some nasty buffering during I WeirdDO later that night. It got so brutally bad during Ròm that I couldn't really say it was like watching a movie, it was so chopped up, the 78-minute film taking at least 3 hours to watch.. It was better during Chasing Dream, but it wasn't until after watching Johnnie To's movie that I figured out to use the cache button on the app, let that get to 100%, and then start the movie. The app is basically built for the Chinese market with the "USA" version really aimed at expats and Chinese-American users, so it was pretty unintuitive for my basically monolingual self. I've got a coupon for another movie after my email to customer service, but I don't know that I'll use it. The selection isn't great and it makes the phone run hot and drain the battery.

Still, the movies in this first group were by and large pretty good; I'm hoping Chasing Dream gets some kind of Region A release, if not a 4K one, so that I can really see it properly; I'm loving Johnnie To's big, flashy period, even if I got to know his work through the gritty crime stuff. I figured that I was done with Fantasia at that point, but two weeks after the festival ended, I got an email saying I had a screener for 12 Hour Shift. It didn't say it was a response to my request, so for all I know Magnolia may just be shooting them out all over or the website that hosted it might be doing a "you reviewed Class Action Park, so…" thing. Dunno. I assume it got to me as part of Fantasia, but I don't really know. 2020's weird.

Legally Declared Dead

* * * (out of four)
Seen 4 September 2020 in Jay's Living Room (Fantasia Festival, internet)

Steve Yuen Kim-Wai's Legally Declared Dead is one of those thrillers that is chock-full of ridiculous things and occasionally looks like there Kwai could have put in more, if he'd felt like it, but he's got just enough sense to recognize where the point of diminishing returns is. It's a nutty movie, and probably a B-movie under most conditions, but it got to hit screens in Hong Kong and the genre festival circuit when neither China nor the West was releasing much of anything. It's more than enough fun for those circumstances and will probably hold up well enough afterward.

It starts by introducing Yip Wing-Shun (Carlos Chan Ka-Lok), a young salesman for an insurance brokerage who endeavors to be honest but frequently finds himself awkwardly explaining that he is only a middle-man. He's requested for an on-site meeting by Chu Chung-Tak (Anthony Wong Chau-Sang), who shows up gruff and barely talks to Wing-Shun, leading him through the rickety house in the New Territories until they come upon Chu's son hanging from the ceiling. It is obviously fishy as hell - in Hong Kong, insurance can pay out for a suicide after thirteen months, Chu has gambling debts, and it is just one week past that - but the investigating detective (Fire Lee Ka-Wing) can't prove anything. It gets under Wing-Shun's skin, in part because his brother committed suicide when they were the boy's age, so he sets out to make sure that Chu's wife Shum Chi-Ling (Karena Lam Ka-Yan) isn't the next victim. Girlfriend Man Wai-Yee (Kathy Yuen Ka-Yee), a psychology grad student, says this probably isn't healthy, but her thesis advisor Kam Ching-Sek (Kiu Kai-Chi) is eager to prove a point about the "criminal personality".

There's a twist or two coming up later, but Yuen sets it up in such a way that the main one is not only revealed fairly early, but Wing-Shun looks kind of dumb for missing . That's usually frustrating, but it works here because, without getting too heavy-handed about it, Yuen has a pretty reasonable idea of how regular people actually interact with crime - most criminals are pretty dumb, but most would-be amateur sleuths aren't as clever as they think, and the people for whom this is their job (whether insurance company, detective, or gangster) are punching a clock and know that it's not cost-effective to chase down every hunch. That there are no criminal masterminds or super-sleuths doesn't necessarily lead to arch, Coen-like absurdity, but it doesn't lead to a clever game of cat-and-mouse either - some people may be awful and some may care too much, but Yuen does a smart job of putting things in a place where one doesn't feel disappointed when a character doesn't do the smart or logical thing in a situation.

The fact of this often has the movie feeling like it's a bit upside-down. Wing-Shun is obviously the protagonist, but it's not surprising that Anthony Wong and Karena Lam get billed first; they're more established stars and they play more colorful characters. The fun thing about what Wong and Lam are up to is that, given their profile and the genre and the billing, the viewer is likely to be on the lookout for a late dropping of the mask, but Yuen has them around with no reason to pretend enough that the audience has to be ready to accept them at face value and see how much life gets breathed into the pair. This doesn't make Carlos Chan boring in comparison; he and Yuen nail how Yip Wing-Shun is earnest and righteous in his quest despite doggedly barking up the wrong tree to the point where it's almost funny, but the fact that he never actually crosses that line is what makes in poignant.

Yuen is at his best when he keeps things sharp - there's a sequence where Catherine Chow Ka-Yee appears as the woman who sold Chi-Ling and Chung-Tak their original insurance policy that sleekly shows her being somewhat amoral without making her a villain, and aside from being a nifty and useful scene on its own, it does a great job of defining Wing-Shun as not that sort of person, for better or worse. Things are less steady when Yuen goes for broader horror-movie villainy; there is often fun in the last stretch, but one can see a character ping-ponging between being clever on the one hand and too nutty or impulsive to succeed on the other several times a scene.

It leads to a capper that is as split as the rest of the movie - on one side, stark in how a character is portrayed as destroyed by the mess they wandered into, but on the other, making one want to rewind to see if a character last seen thirty seconds earlier lived, died, or had some sort of massive change of heart which is understandable if not necessarily warranted. But, then, how else should it end? Legally Declared Dead is a jumble of things that play as 75% "life is jumbled and messy" and 25% "this stretches belief", and maybe it just means that it fits these times.

Full review at eFilmCritic

Fan zui xian chang (A Witness Out of the Blue)

* * * ¼ (out of four)
Seen 5 September 2020 in Jay's Living Room (New York Asian Film Festival, Smart Cinema cast to Roku)

It is entirely fair to want more of the parrot in A Witness Out of the Blue; it's the hook in the opening scene and the focus of the opening credits, and probably what you'd bring up when describing the movie to someone else. The good news is that even if the movie doesn't have as many parrot-related shenanigans as one might hope, it's a nicely twisty little mystery that does a bit of everything, to the point where it's almost too much.

The crime is the murder of Homer Tsui (Deep Ng Ho-Hong), and though it should be open-and-shut for detective Larry Lam (Louis Cheung Kai-Chung) and his pattern Charmaine (Cherry Ngan Cheuk-Ling) - Tsui was part of a crew that robbed a jewelry shop three months earlier and ringleader Seang Wong (Louis Koo Tin-Lok) was seen leaving the room - the only actual witness to the crime is Tsui's parrot. Lam would investigate this, and according to his captain Yip Sau-Ching (Philip Keung Hiu-Man), that sort of thing is why Lam's colleagues nicknamed him "Garbage". Yip is laser-focused on Wong because they have a long history right up to one of Yip's undercovers being killed in the robbery. The thing is, Wong isn't particularly behaving like a guilty man but more like someone trying to solve the crime on his own, subletting a nearby room from half-blind Joy (Jessica Hester) and poking around, leading Lam to look at other suspects, from accomplices Clark Auyeung (Sam Lee Chan-Sam) and "Redhead" (Ling Man-Lung); to butcher Bull Yiu (Patrick Tam Yiu-Man), whose mother had a heart attack during the robbery, shop employee Sandy Yeung (Fiona Sit hoi-Kei), who sustained a spinal injury, and boyfriend Tony Ho (Andy On Chi-Kit), a guard at the shop; to the captain himself.

There's also a subplot about Lam being in hock to a loan shark (Evergreen Mak Cheung-Ching) because he's built a cat sanctuary on top of an apartment building, and then there are the three elderly flatmates with whom Joy shares her apartment. It's kind of a lot, and while a fair amount is not necessary, that's part and parcel of it being a mystery; something has to be explained away, something outside the main plot has to give a character an idea that connects the dots, and so on. There are times when the clutter gets to be just a bit much - a character exits off-screen in such a way that a viewer might wonder if he's meant to actually be dead, for instance, and for all that the parrot is a lot of fun, writer/director Andrew Fung Chih-Chiang doesn't find a way to keep him at the center.

What he does manage is to build something that is both a serious crime movie and a breezy mystery, often more tilted toward the former, a bit surprising considering that he has spent much of his career writing broad comedies with Stephen Chow. A large part of what makes the blend work is the way that each of the three leads pushes at the expected characterizations: None of them are actually playing their characters as funny, but they all seem to be pushing at the edge of where they're played straight: Louis Koo, in particular, plays Wong as almost too intense, such that it initially seems like he's an action-movie villain who has wandered into this mystery by accident, but the exaggerated gruffness isn't a put-on or quite a poke at the trope. Koo seems to be hitting a narrow target and doing it better than when he's trying to play it entirely straight. It's a neat contrast to Louis Cheung, whose Larry isn't exactly hapless but does tend to be sloppy and distracted, and when it comes time for cops-and-robbers stuff, he almost always gets outclassed. Meanwhile, Philip Keung is the mirror image of Louis Koo as Yip Sau-Ching - exaggeratedly intense, but not quite to the point of parody.

Knowing what he's got going on with these different genres means Fung can be clever about how he switches things around, with a couple of eyebrow-raising moments as things are suddenly more high-stakes than they appeared or being able to find a laugh in every moment when Lam confronts Wong or in Wong's awkward interplay with a new sidekick. He mostly avoids things getting shaky toward the end, when Lam's got to actually solve the case and the film's got to find a satisfying way for things to end with Wong, and he probably could have done a lot more with Cherry Ngan's Charmaine (and, really, all the women in the film).

A Witness Out of the Blue isn't quite the light mystery-comedy that it looks like, but it's good enough that this won't necessarily be a problem for very long. Yes, I would have liked more with the parrot (and maybe less with bugs), but there's a pretty decent movie here if you enjoy it for what it is rather than what it looks like.

Full review at eFilmCritic

Guai Tai (I WeirDO)

* * * ¼ (out of four)
Seen 6 September 2020 in Jay's Living Room (New York Asian Film Festival, Smart Cinema cast to Roku)

The screwy capitalization/punctuation of I WeirDO feels like it's something that should get under the skin of its main characters, both dealing with obsessive-compulsive disorder, and I wonder if the Chinese title ("Guai Tai") gets that across. I kind of hope not; this is a pretty good movie despite filmmaker Liao Ming-Yi's tendency to seemingly go for the gimmick on both ends, and that shouldn't be overwhelmed by the way it tries to get cute.

Not that the pair Liao introduces the audience to aren't cute already. Chen Po-Ching (Austin Lin Po-Hung), who has mysophobia as a main symptom of his OCD, only leaves his house once a month to do his shopping, see his doctor, etc. That routine is disrupted when his usual grocery store is closed for refurbishment, and when taking the train to the next-nearest one, he's surprised to see someone else in the same raincoat/mask/gloves/boots combo, who goes to the same supermarket and also loads up on cleaning products. She's Chen Ching (Nikki Hsieh Hsin-Ying) - no relation; Chen is just a fairly common name in Taiwan - and her symptoms are similar, but she also develops a rash when outdoors for too long and feels compelled to steal something every day. They understand and like each other, and it turns out they complement each other in ways beyond that; soon they're living and working together. What could ruin that?

That'd be telling, but it's a big enough shift that the movie's first trick can fall by the wayside just as it's starting to get tiresome: Though a fair number of features have been shot on phones (this one claims to be the first in Asia), few have done so with the phone held vertically as is initially the case here. It's a tricky thing to finagle - for all that it can highlight Po-Ching and Ching's lives as constricted, that frame is human-shaped enough that it is natural to fill the frame with an actor and as a result not see how they fit into their background, with the alternative a lot of empty space on an already constricted screen. Fortunately, it's composed well and this lasts just long enough to click in the viewer's mind as this film's normal, and that means that when Liao switches to something more conventional, the switch is jarring for a second but then settles into something that, on the one hand, is more comfortable for the audience to interpret, but on the other carries through as always being different from how the film started.

The overall mood of the film seems to change as well. The opening portion of the film is filled with bright, solid colors, the precise positioning and arrangement a by-product of their OCD but also pleasing to look at, with the film never downplaying that these two have genuine mental-health issues, but allowing them to have enough control over their lives to come off as eccentric, functional within their limits. Lin Po-Hung and Nikki Hsieh do a nice job of capturing how the two are socially maladroit while still giving the audience a sense of who they are beyond that fact. There's a certain obligatory practicality in how they pair up that the audience is meant to recognize, but they and Liao do nifty work in nudging them toward the point where their relief to find someone who understands them goes from something that might blind them to other issues to the basis for a solid relationship. When things change, the environments seem more ordinary. Not drab, exactly, but out of their control, which highlights the precarity of the cocoon they've built for themselves.

It ties into how the latter part of the movie seems to lose it way at times, both Lin and Hsieh are always believable in the moment, even as their characters' priorities shift, but the fact that Chen Ching in particular is so solitary means that that a lot of what's in her head comes out as narration. A lot of things that happen to push things forward occur off-screen, and though it's certainly not uncommon for people to not put in enough effort to make things work, there's a pretty long stretch where the audience can get impatient with these people not talking honestly even if it now being hard to communicate is the point. It wobbles a bit more at the very end, where Liao makes it fairly clear that things are being driven as much out of the characters' fears as their actual intentions, but in such a way that the audience and characters don't have time to work through that at all, so it can come off as a game.

That may be saying too much, but it's hard to talk about I WeirDO without talking about the whole thing, and that's in many ways a strength - it's made with purpose and the finale is a crucial part of the film. It's not always a complete success, but it is nevertheless a movie that makes a good impression and gets better as it lingers in one's mind afterward.

Full review at eFilmCritic

Ròm

N/A (out of four)
Seen 6 September 2020 in Jay's Living Room (New York Asian Film Festival, Smart Cinema cast to Roku)

I feel like I can't say a whole lot about Ròm, because while this isn't as much a movie driven by a relentless pace as I expected, the experience of watching it was just so elongated and stuttery that it's almost impossible for me to talk about it in terms of a movie that has any sort of momentum. Just a mess all around as an experience that kept it from feeling like a movie.

Hopefully I'll get the chance to watch it again, because Tran Anh Khoa is darn impressive as the title character, as is Nguyen Phan Anh Tu as his rival Phuc, both similar types of hardscrabble kids (though quite distinct), vacillating between friendly and fierce backstabbing rivalry. There are stories swirling around them that feel like they could really tie into big themes about how life in Ho Chi Minh City (or anywhere) is a gamble, sometimes with everything at risk, and how the individuals making these bets are risking everything with all the seemingly small, local concerns tied together behind the scenes. There's a lot going on and the tangled maze of the city becomes dizzying though it's not entirely impossible to find one's way through.

Like I said, I'm awful curious to see it properly.

Chihuo Quan Wang (Chasing Dream)

* * * ¾ (out of four)
Seen 7 September 2020 in Jay's Living Room (New York Asian Film Festival, Smart Cinema cast to Roku)

Johnnie To no longer cranks out movies at the same two-a-year clip that he maintained from the time he started directing features in the late 1980s until about 2012, but it doesn't feel right to say that he's slowed down - previous film Three was a nifty little thriller with a rocket-propelled finale, and Office was a star-studded 3D musical drama set in a stunning open set, both ambitious in their own ways. His latest has similar no-holding-back energy - it's likes someone decided Rocky and A Star Is Born needed to be mashed-up into a romantic comedy and To was the guy to make sure they fit absolutely everything in.

On the one hand, it's the story of Tiger (Jacky Heung Cho), an up-and-coming mixed-martial-artist tagged with a "gluttonous boxer" gimmick, but it starts with ring girl Cuckoo Du (Wang Keru) showing up late. Tiger doesn't mind - he recognizes her as the granddaughter of the owner of a noodle shop back in his hometown - but sponsor/manager Gao Qiang (Chen Bin) also recognizes her, as someone who owes his debt-collection business a lot of money. Tiger convinces Gao to let him deal with her, but soon he's getting yanked into her deal: She says her debt was run up by ex-boyfriend Qu Fengfeng (Ma Xiaohui), who also stole her songs and ditched her once he started to become a big pop idol. Now he's one of the hosts of talent-search show Perfect Diva, and Cuckoo fully intends to make it onto the show and rip him a new one even if she doesn't win.

There's usually a section in movies like this where the singer is refining her craft, done as a sort of montage, with time clearly passing over the course of five minutes or so. That's not the pace that To and his team of writers are looking to set, though, so instead this happens over the course of a day, as Cuckoo goes to her first audition, blows it spectacularly, gets some bad advice from Tiger about what went wrong and then cajoles him into driving him to the Perfect Diva audition happening in the next city, and again and again until it's got to be pushing midnight. It's brilliant in a lot of ways - it lets the audience actually see Cuckoo adapting, rather than just taking the progression for granted as an obligatory thing to be skipped over, it gets Cuckoo's timeline in sync with Tiger's, and it undercuts any sort of expectation one might have of earnest solemnity right away. Cuckoo starts out as hilariously terrible on stage, and Tiger is constantly wrong and ridiculous as he tries to encourage her, and yet, the cast and crew are able to sell that Cuckoo does, in fact, have the raw talent even if she lacks the instincts while Tiger quite clearly has a great big honest heart even if he has clearly already taken way too many blows to the head.

It's not entirely surprising that Cuckoo's quest becomes the thing that drives the movie after that, to the point where the film seems eager to jettison the fighting: For all that Tiger isn't that bright, he's not stupidly stubborn about continuing to fight after being told that he's probably two or three matches away from glaucoma, Parkinson's, and more; that hot pot restaurant he talked about opening after retirement starts to sound pretty good. Sure, there's a certain inevitability to how he'll eventually have a final climactic match - though Master Ma Qing (Shao Bing) looks down on MMA as a corruption of pure, beautiful boxing, Tiger respects him far too much to not come to his defense when he's in trouble - but for long stretches, Jacky Heung's main job is to make Tiger purely happy for the success Cuckoo is finding, and that joy carries the film for quite a while.

That characterization makes it easy to dismiss Jacky Heung's work as Tiger as one-note, and his simplicity is a big part of the character's appeal, but it's not as easy as it looks - not many people manage the combination of good intentions and the sort of chippy aggression you need to be this sort of fighter - but he gets to play against expectation a lot and make Tiger funny without being the butt of the jokes. Wang Keru is just as funny as Cuckoo (she gets to do physical comedy and dance well), and she gets to hold on to a great deal of anger and shame at being fooled without coming off as abrasive. They complement each other well enough that the story doesn't need to throw a bunch of conflict-creating obstacles in their way. There's fun group around them, too - Ma Xiaohui spends every couple of minutes he gets on screen as Fengfeng looking quietly panicked that Cuckoo will immediately destroy him somehow, and it is always hilarious, while Wu Yitong, a couple seats away as a fellow judge, always looks ready to help though too ethical to do more than give Cuckoo a platform. A running joke with Kelly Yu Wenwen as a contestant ready to sacrifice anything for rock is never not deadpan funny while still letting her be a worthy competitor.

And, on top of that, there's Johnnie To just generally being a terrific filmmaker that not enough people outside of Asia have heard of, and even those that have probably don't know that he's as good at romantic comedy as he is at action and crime. He has a good-as-expected crew working the fight scenes, but also has a great time having cinematographer Cheng Siu-Keung move the camera around the warehouse Tiger calls home, having a blast with all the scaffolding where solid walls and floors should be so that they can look through them or divide the screen without it seeming unnatural. Things move fast enough that one is aware of the speed but with such confidence and clarity that it never feels too fast.

It will probably be another year or two before To's next feature, although we should see his long-gestating Hong Kong anthology Septet soon, and while him no longer being able to keep up that pace (or having to) is a shame for those who want more, at least he's not short-changing us in the meantime, but using the resources that come with a Chinese co-production to stretch his limits more toward the grandiose.

Full review at eFilmCritic

12 Hour Shift

* * ½ (out of four)
Seen 17 September 2020 in Jay's Living Room (Fantasia Festival (?), internet)

As good as Angela Bettis and Chloe Farnworth in 12 Hour Shift, I'm mildly surprised that writer/director Brea Grant didn't keep either role for herself; it wouldn't be her first time on both sides of the camera and it certainly feels like the sort of part a filmmaker writes for herself. It's a great showcase but it might be nice if there were a little more around it - in trying to create an overwhelming situation, Grant doesn't give any particular thing much chance to be particularly stressful.

Bettis plays Mandy, a nurse at an Arkansas hospital in 1999, mostly good at her job but on probation for previous screw-ups. She's working a double, and it looks to be fairly quiet: Mr. Collins (Ted Ferguson) is in for his dialysis, and he's the most active - there's a woman in a coma whose daughter needs reassurance, a death-row inmate (David Arquette) who has attempted suicide, and an anonymous overdose whom Mandy appears to recognize. Of course, there's also Regina (Chloe Farnworth), a cousin-by-marriage tasked with delivering the organs that Mandy and Karen at the front desk (Nike Gamby-Turner) arrange, and Regina isn't that bright; she leaves a bag containing a kidney on the loading dock and a goon (Mick Foley) has been sent to make sure she goes back to the hospital rather than just running.

Mandy isn't at the center of absolutely everything, but Grant is pretty stingy about following anyone but her or Regina, and at times that's pretty useful: By not giving the viewer the completely omniscient point of view, Grant does a nice job of putting the audience in Mandy's headspace, not really knowing everything that's going on but familiar enough with most of the pieces that the audience is never too far ahead. The downside is that it doesn't give her much chance to let all the things happening around Mandy amount to much; characters and their stories show up for a scene or two but feel fairly disposable, just there for more mayhem at the finale, but not because circumstances put them on a collision course in a way that's exciting.

If one figures that the point is to create an environment where Mandy fits - shunted out of sight with disreputable things just part of the background noise - then all that bouncing around does its job. Bettis inhabits Mandy like she moved in a generation ago, playing her like someone whose work is a huge part of what keeps her hostility at bay. Mandy is not a woman who outwardly struggles with her worse impulses, and by and large doesn't particularly like people, but Bettis doesn't need to underline and boldface it, and makes the moments when Mandy gets pushed out of her usual range more interesting, both when her anger gets the better of her and when she betrays guilt or affection. Chloe Farnworth's Regina maybe winds up on both ends of those reactions, and her performance is a smart complement to Bettis's restraint, a thick layer of friendly stupidity that occasionally gives way to some ruthless survival instincts without the two ever seeming in conflict. There are moments when Bettis seems to be playing straight man to Farnworth's clown, but Farnworth and Grant have a nifty ability to find the point where Regina's tendency toward chaos is right on the line between cute and monstrous without one quite cloaking the other.

There's a nice group around them that doesn't get all that much to do and could probably benefit from Grant maybe letting the larger world around Mandy and Regina step forward a bit: Nikea Gamby-Turner plays Karen as the closest thing Mandy has to a friend and confidante at work, pepping up every scene she's in even as she's carefully written as a work friend rather than someone who Mandy is genuinely close to. Kit Williamson makes what is arguably the film's most darkly comic scene work by playing it light - and truth be told, I was kind of hoping Grant would dig in more into how is shows that most people will convince themselves there's a reasonable explanation to even the most horrific sights; she seems to be onto something there, but there's too much going on. Even guys like David Arquette and Mick Foley, who are often cast to bring a little more personality to characters who aren't on screen that much, can't make their sections of the story feel important enough to really put pressure on Mandy and Regina.

They don't need to, exactly; Bettis and Farnworth are strong enough to carry the movie and Grant ties things together well enough that the film never feels sloppy. If anything, it's so focused on its greatest strengths that it seldom has time to explore the side stories that give this sort of movie a little bit more color.

Full review at eFilmCritic

This Week in Tickets: 17 June 2019 - 7 July 2019

So, about a year ago, Major League Baseball announced the Red Sox and Yankees would play a series in London, I registered to buy tickets as a season ticket-holder, got a chance to buy them in December, and then set my vacation time up. I didn't exactly go to London to see baseball, but it made for a good excuse.







I wouldn't leave until Friday, and meant to catch a bunch of movies beforehand, but there was work to do to get ahead and preparations to make, so the only film I got to see was Late Night, which has Emma Thompson and is thus better than a lot of movies.

After that, I had a Red Sox ticket for Friday night, but booked by flight for 10pm, so that went to StubHub and I got on a plane. The sleeping aid don't work quite so well as I might have hoped, so I was kind of dragging through most of Saturday, but I was still alert enough to climb 300-odd stairs to snap pictures like this:



That's a view from the top of The Monument, not far from my hotel, something I stumbled upon when I visited back in 2012, and breezy enough that I'm glad I didn't climb it in December. I followed it up by my first dinner of fish and chips at a pub, which is honestly something I wish I could do more often at home, but there's actually not as many good chippies in the Boston area as you'd think.



Didn't have me straying far, revisiting the Tower of London, which is a really delightful place to walk around, a blast for being full of a thousand years of history but also right in the middle of the city, with skyscrapers and bridges and the like all around.



Monday was the all-but-inevitable trip to 221B Baker Street, because I am who I am and cannot resist. It's kind of a silly thing to do - fifteen pounds for something like twenty minutes - but fun and more than any other tourist thing in London, you're in there with people who love the same thing you do rather than people who think it's a classy, "good-for-you" thing, and they're from America, Britain, Korea, Russia, all over the place. Folks love Sherlock Holmes.



On Tuesday, I actually got on a tour bus and headed out to Stonehenge, going for the tour that was led by an archaeologist, who promised to kick anyone mentioning aliens off the bus, pointed out that this place had nothing to do with the Druids (despite neo-druidic types making stone circles part of their thing), and was basically very informative and on top of the latest research, which seems to be rapidly changing the impression of what early Britain was like.

I'd initially been somewhat disappointed that I was unable to book a tour that allowed us inside the stone circle, but you actually get much closer than I'd thought. Maybe next time I'll just be generally more prepared.



Part of the tour was Bath, and while the Roman Baths themselves are kind of an approximation above ground level, it's a nifty little city that does a nice job of blending the modern with its mostly-Georgian design.



Wednesday was the day that I'd carved out to see some theater, attending The Merry Wives of Windsor at Shakespeare's Globe, which is if nothing else a unique experience - a reminder of how plays were staged in Shakespeare's day, before artificial lighting and completely enclosed spaces. I did the tour the last time I was in London, but couldn't see a play because it was cold out.

Merry Wives is a great example of how these plays come alive when performed but can be hard to love when read - this particular staging was filled with slapstick, big performances that put emotion into words that otherwise might just sit on the page, etc. The staging seemed to transplant the story to 1920s Louisiana, which just gave it more personality.



I didn't actually take many pictures at the Edvard Munch exhibit at the British Museum on Thursday, but enjoy it, as well as the manga exhibition (where I saw this 1880 theater curtain) and everything else. The manga exhibit amused me in part because the nearby Cartoon Museum was closed and it kind of seemed like this one was picking up the slack. Great stuff in there, including some Osamu Tezuka original art, along with more modern stuff, though it excluded some of my favorites (although that would be rectified later).

The British Museum is one of those monster places that eats a whole day even if you've been there before and figure you can just hit the highlights because there is so dang much that it can come across as warehousing rather than exhibiting at times. It would likely be that way even if you sent everything back that had arrived in ways that would currently be frowned upon where it belonged, and my legs were kind of worn out by the end.



Friday was spent in Greenwich, seeing the Cutty Sark, Maritime Museum, and Observatory, with the Maritime Museum having an exhibit on recent astrophotography, and, yes, I am a complete sucker for a spot that combines boats and space and a nice park where a person could just sit down and read for a while. This part of London is a bunch of my favorite things and that the easiest way to get there was on a river line was pretty great too. That made me wonder why Boston doesn't have one, to be honest - for all that it was more expensive and a bit slower than taking the subway, there have certainly been days lately when I would absolutely choose it over the Red Line.



Saturday… Well, let me tell you a bit about how I vacation. I don't really like package tours and buses and cruises all that much, preferring to get a transit card and a guidebook, leaving room for what I find out about on the ground. I joked with a friend that riding the subway is an essential part of traveling, not just because it gives you a feel for the city but because that's where you see ads for museums, plays, and other things that are just too ephemeral to get written up where a tourist knows to look. It's how I found out about the Da Vinci exhibition at Buckingham Palace, and then saw that there was a Stanley Kubrick exhibition at the Design Museum. Sadly, that required timed tickets that I was too late to find, but getting off the tube there also showed me that Japan House had an exhibit of the works of manga-ka Naoki Urasawa, one of my favorites who had been absent from the one at the British Museum. Total chance discovery but a very happy one.

After that, I had a little more time to kill than expected before the baseball, so I went to Kensington Palace, which is an awfully pretty building and has neat gardens, including this winding hedge "maze" that gets you to the tea-house that was a bit too classy for my t-shirt-and-cargo-shorts clad self. As much as I'm glad we tossed out the British royalty in America, visiting European capitals always reminds me that it's nice to have had a royal family, even if they seem like an anachronistic waste in the present.



And then, finally, it was time for the baseball that had served as my impetus to come. The games were unfortunate thrasings by the Yankees - a 17-13 loss on Saturday and a 12-8 game which strangely never felt as winnable on Sunday - but it was a lot of fun. They were crazy, anything-can-happen games, the European fans were into it, there were a bunch of food trucks to supplant the regular stadium fare around the concourse, and the folks who traveled like me clearly had a blast. I probably won't go back for Cubs-Cards next year, but it's tempting.

I just wish someone had told me that the 80m-high sculpture next to the stadium had an observation deck that you could descend from via lift, steps, or slide. I would definitely have bought the necessary timed tickets ahead of time, but, alas, that is something else to write down for the next trip, whenever that may be.

After that, it was back home, which took most of Monday, but I got to ease back into work, what with being let out early on Wednesday for a holiday on Thursday. I took advantage of that, catching an earlier-than-usual show of Midsommar on Wednesday. I liked it more than the director's previous film but it's still kind of a lot, especially when it's time to go full-on nuts.

I headed out early on Thursday because that was the only time to easily catch the reissue of Do the Right Thing, especially since I wanted to catch the 35mm print that the Coolidge got their hands on. It's a pretty terrific movie that I probably should have seen much earlier, but when I was young, I kind of suffered under the delusion that Spike Lee's movies weren't really for me, kind of reinforced by how, when I worked in a Worcester theater while in college, the extra security and Wednesday openings tended to reinforce the idea that films by/for/about African Americans were a niche thing to be accomodated rather than great on their own. I've got a fair amount of catching up to do.

Preferred format considerations played into me heading to Boston Common after to see Spider-Man: Far From Home in Imax 3D during the one time a day it played in that format. I don't think I'm getting Marvel fatigue yet - I enjoyed it a lot - but, boy, am I coming to take the fact that there will be well-cast, slickly-made, and generally pretty enjoyable takes on these characters every few months for granted.

With a bit of a time crunch to see things, I did a Kendall Square double-feature of The Spy Behind Home Plate and The Third Wife on Friday. I liked the second more than the first, but both are well worth seeing.

Saturday was spent up in Maine, where the whole family was together to meet my brother's future in-laws. I had the option to stay over, but didn't, though saying "I need Sunday free to go to the laundromat so that I can wear the clothes from the vacation I just returned from on the one I'm about to take" makes me sound like a couple types of jerk. On the other hand, if I'd stayed over, I probably would have wound up getting a ride back to Boston with my other brother, who got stuck in nasty traffic, missed his 7pm flight back to Chicago, and couldn't actually make it home until a 5:50am flight on Tuesday. I, meanwhile, got my laundry done, watched some baseball on TV, and then hit a 3D screening of Toy Story 4. That may be technically one film too many in the series, it still works awfully well.

And now, I'm on another bus, for the yearly three-week stat at summer movie camp that is the Fantasia Festival. I'll be doing my best to post daily updates, and to get the reaction to one movie onto my Letterboxd page while waiting in line for the next

Midsommar

* * ¾ (out of four)
Seen 3 July 2019 in Somerville Theatre #5 (first-run, DCP)

Like Ari Aster's previous film Hereditary, Midsommar is perhaps best appreciated in pieces: It is impeccably designed and photographed, the performance by Florence Pugh is as terrific (as we should more or less expect by now), and the basic engine driving it - a woman who has lost everything so desperate to belong that she soon accepts a community that offers it even though the warning signs should be impossible to ignore - is kind of great. Add a strong supporting cast and a pitch-black sense of humor and you should have something really special.

There's something a little too certain about it, though. It starts with the showy placement of mirrors in a bunch of early scenes, where the isolation of having people not seeming to look at each other as they talk or being positioned in a sort of cut-out is undercut by knowing cameras were digitally erased, or other trick shots, and goes on with a cult that has supposedly been going on for decades but always seems like weird bits stuck together rather than something which grew organically, though I suppose cults are generally weird bits put together in real life. The low-key distortion as folks get high on mushrooms in various ways calls distracting attention to itself, and character exits feel less unnerving and dangerous than like Aster couldn't be bothered with them any more, something of a side effect to how everything but the main story is meant to be sort of deliberately trivial in comparison to what Pugh's character. Plus, the thing is 145 minutes long, which is insanely indulgent, feeling like one of those indies where every painstaking thing the crew created gets left in no matter how pacing and storytelling suffers.

Midsommar is better than Hereditary - it doesn't squander a good human story for supernatural idiocy the way that one did - but all its good minutes don't add up the way they should.

Do the Right Thing

* * * ¾ (out of four)
Seen 4 July 2019 in Coolidge Corner Theatre #2 (reissue, 35mm)

This was My first time seeing this, and I'd always been under the impression that the explosion came earlier, with a bigger chunk of the movie the resulting chaos, but that it doesn't is a sign of what makes Spike Lee brilliant. By the time the trash can goes through the window, he's managed to spend the previous two hours getting the audience to feel the heat and tension in an air-conditioned theater without resorting to people being overtly sweaty or some sort of visual distortion. He isn't subtle about highlighting all the ways people mistrust or push at each other, but it doesn't seem like an obvious powder keg in any one scene. Nevertheless, the cumulative effect is powerful, setting things up so that when it does blow up, one nods along, not approving but certainly having some idea of just how it gets to this point.

It's an impressively empathic bit of filmmaking in how it gets someone (like me) whose background is pretty far from the very specific environment that Lee channels to feel like I'm right there with his characters. Do the Right Thing is tricky but impressive as heck - as cacophonous as anything Lee would make later, but also a less-confrontational indie that can make the different seem familiar and the familiar seem new. I'm glad this got a chance to play theaters again to remind us that Lee has been one of the great directors right from the start.

Spider-Man: Far from Home

* * * (out of four)
Seen 4 July 2019 in AMC Boston Common #2 (first-run, Imax 3D)

As much as the casting on this newest run of Spider-Movies has been top-notch and they look great, they do kind of demonstrate the downside of a shared universe, in that Spidey never feels like quite the big deal he was in the Raimi movies. You look at those, and even the "Amazing" flicks, and you see a guy figuring things out, wisecracking as a way of finally responding to those who have kept him down, and measuring himself against his own high expectations, as opposed to trying to be the next Iron Man. It's sometimes a small difference in terms of what actually happens, but the Marvel Cinematic Universe Spider-Man is never just a kid from Queens up against problems bigger than he thought he would ever face, but someone who has people ready to catch him when he falls.

This time around, he's up against Mysterio - who, like the Vulture before him, has been given an origin that relates to Tony Stark - and it's a weird script; I suspect that even the people who don't know him from the comics are going to be expecting a heel turn from the start. Fortunately, when that comes, it unleashes Jake Gyllenhaal to do the sort of mania he does best, and gives the filmmakers a chance to do some Ditko-style mania that is eye-popping even if it doesn't necessarily make complete sense given how his equipment is shown to work. Tom Holland is still a delightfully earnest Peter Parker, and even if I occasionally find myself shrugging off a lot of the high-school comedy material (it is just not a thing that gets me going), I loved the kids acting it out. I like that the "button" at the end was not just a vague tease this time, but a huge cliffhanger that hit with an extra wallop because it seemed like the unexpected cameo was going to be the payoff.

When it really gets going - which is often! - Far From Home is energetic and a lot of fun, and I suspect that it came out a little further from Endgame or Enter the Spider-Verse, both of which pushed the boundaries of what a superhero movie could be and had great Spidey material, I'd react with much less reservation. Marvel's just set the bar so high.

Toy Story 4

* * * ¼ (out of four)
Seen 7 July 2019 in AMC Boston Common #15 (first-run, RealD 3D DCP)

I have to admit, I had this kind of dismissed ahead of time, because the series seemed pretty conclusively done after #3, despite the enjoyable specials done for TV. Well, now it's even more done, if not nearly so nearly, but there are some great parts to be found in this probable for-real finale.

I don't want to say too much, just because noting how it's not quite so well-constructed as its predecessors might take away from noting all the clever things it does have to say about subjects stretching from parenthood to retirement - and how it's more than a bit impressive that Pixar has made the toys go from feeling like kids to feeling like parents, and there's so much of that here in so many different forms, and not just Woody being challenged by "newborn" Forky. Gabby Gabby is arguably the series's most fascinating antagonist, motivated out of a complex sort of envy in how she wants to raise a child but never had the chance, trying to remedy that "medically" and going through a nerve-wracking (and often heartbreaking) adoption process to do so. I was surprised how invested I found myself in Woody and Bo Peep by the end, too; she had always seemed like the part of the movies that didn't really fit, the sort of girlfriend character jammed in so that the movie wouldn't be all boys, and I wonder if the filmmakers realized that, and made her story about making herself become more here as a bit of a comment on that. The themes of moving on are kind of interesting, too, considering that several of the people who had been with Pixar since early on left (voluntarily or not) during its production.

It's got some problems that the unambiguously brilliant forebears don't, though. There's not enough Mister Pricklepants, obviously - aside from "Timothy Dalton makes everything better", one can't help but notice that the toys that Bonnie brings on the road trip are mostly Andy's rather than her own, mostly because those are the ones the audience knows. There's something kind of off about how much the toys are able to affect the human world, too; it feels like it should be harder. And while I love Randy Newman - "You've Got a Friend in Me" has re-lodged itself in my head since seeing this one - the new song he contributes here seems awfully literal, even by the standards of the series.

The movie is impressive in a lot of ways - it's clever, gorgeous (check it out in 3D if you can), and big-hearted. It's also a fourth entry in a series, where the world starts to feel stretched and the filmmakers can't quite simultaneously push into new territory and deliver what the audience loves about the series with quite the same apparent ease at this point. Hopefully Disney and Pixar will heed their own message and find new horizons.

Friday Double Feature: The Spy Behind Home Plate & The Third Wife

Not a real problem: Having so little time between returning from a baseball-inspired vacation and leaving for a three-week film festival, with a family barbecue in between, that you despair of how you're going to fit all the movies you want to see into the days allotted, and only belatedly think, hey, I could just see two right now. Sure, it keeps you up a little late on a night where you need to catch a bus the next day, but not excessively so. Concerns about this not really meshing well as a double feature are also unimportant.

That vacation had me missing the owning weekend of Spy when the director was present, and I wondered if anybody had asked her about the things included in last year's Moe Berg movie that wasn't in hers, most notably the hint that he was bi. It connected a lot of how his story was told in that once but wasn't mentioned here, with the only real reference that Berg had a life outside his own head a brief line about him having the reputation of a ladies' man. As I mentioned last year, it's the sort of thing that might be hard to make stand up, because he apparently was pretty good at keeping secrets, but I also kind of wonder if it's the sort of thing an LGBTQ person might infer from this movie, just from knowing the empty space to look for. At any rate, it's the sort of thing that highlights how both films are imperfect, although I suspect they both got made with similar intentions.

I think the second movie of the night, The Third Wife, might have been playing on the next screen over at the IFC Center when I was there a month and a half ago, but just reached Boston now. I liked it more than Spy but had a harder time lasting through it, which I mostly chalk up to lingering time zone issues. I did find it kind of amusing that this very Vietnamese film had a prominent credit thanking Spike Lee that day after I saw Do the Right Thing for the first time, but later on they mention a fellowship he endows or sponsors, so I guess that's just moe reason to like him.

The Spy Behind Home Plate

* * ¾ (out of four)
Seen 5 July 2019 in Landmark Kendall Square #7 (first-run, DCP)

Usually you get the documentary first and then the less-impressive narrative version afterward, but that order is reversed for Moe Berg, as The Spy Behind Home Plate comes out almost exactly a year after The Catcher Was a Spy. This documentary is a broader look at the life of their subject than the narrative feature, wholly avoiding and arguably repudiating what served as the other film's central conceit while focusing more on his background. Even together they probably don't tell his whole story, though this one gives you the full sweep.

For those who have not heard of Berg, he was born in 1902, the third child of Jewish immigrants from Ukraine, and both a gifted baseball player and high-achieving student from a young age. His skill with a bat helped get him into Princeton at a time they did not admit many Jewish students; his keen intellect made him both a catcher prized for his game-calling abilities and a favorite of sportswriters. In 1932 and 1934, Berg - who already spoke ten languages and traveled during the offseason - joined other players in tours of Japan, surreptitiously filming infrastructure of the already-militarized nation on the second, with that footage reaching the State Department. When the United States joined the war after Pearl Harbor, Berg joined the OSS, and would be sent on undercover missions in Europe.

Berg's life both gives potential audiences several points of entry and the filmmakers license to travel in a dozen different directions, which can be a tricky thing - there can seem like a lot of time spent on Berg's father for someone who came for a World War II story, or too much material on the founding of the OSS for someone drawn in by the baseball. It's a documentary that is necessarily sometimes a mile wide and an inch deep, but that is also a huge part of the appeal of this story - it legitimately stretches from the religious traditions of a Ukranian village to which sort of nuclear physics Werner Heisenberg was researching, and it's a rare viewer that won't learn something new from watching it. Writer/director/producer Aviva Kempner does a fair job of juggling which threads get the most time, even if she occasionally can't help but follow a path is more too good to leave out (for instance, Babe Ruth's anger and betrayal after Pearl Harbor) than a particularly important part of a story that already includes a lot.

Full review on EFilmCritic

The Third Wife

* * * (out of four)
Seen 5 July 2019 in Landmark Kendall Square #9 (first-run, DCP)

The Third Wife is the sort of film where the first subtitle doesn't appear for a while and dialogue can be sparse throughout, asking the audience to soak it up as the wispy story plays out. It earns the audience's patience, by and large, and does an impressive job of immersion even as it is built to be seen with a modern eye.

In order to do that, it opens with a little bit of text to set the scene: It's the late 19th century, in Vietnam, and 14-year-old May (Nguyen Phong Tra My) has just become the third wife of a wealthy land-owner. The audience watches her meet her new family on her wedding night, and then start learning the ways of her new life. For some movies, this might be the start of a tale of competition and intrigue, but senior wives Ha (Tran Nu Yen Khe) and Xuan (Mai Thu Huong Maya) seem mostly friendly, even if she is closer in age to Xuan's daughters Lien (Lam Thanh My) and Nhan (Mai Cat Vi). Ha has more status because she has produced a male heir, Son (Nguyen Thanh Tam), so May naturally hopes that the child she is carrying will also be a boy.

Not much seems to be happening at first, aside from the scene where May and her husband consummate their marriage, but filmmaker Ash Mayfair is good at making the audience look and ponder. She and cinematographer Chananun Chotrungroj frame May traveling to her new home in the middle of the river, pointedly alone as the sole passenger on a slender boat, and then framed by much older men at the reception. There's an uncertain distance between her and Xuan's daughters in early shots, and nervous gazes at Ha and Xuan. It's a catalog of ways that May doesn't feel like she fits in or belongs, even as the different scenes show her more integrated into the household It does hit some visual metaphors pretty hard, whether caves or silkworms or enough attention to the nightshade growing all over the landscape that you can't help but wonder who will be poisoned.

Full review on EFilmCritic

Furie

I'm mildly curious about why Furie opened at South Bay rather than Boston Common - is it just a case of that being where there was room, is there a fair-sized Vietnamese community in Dorchester, or is there some other factor I'm not particularly aware of? Sees to be working - it's getting another week of shows - so go figure. It's not actually that much harder to get to than other theaters in the Boston area via the T, but it's set up in kind of annoying fashion, with everything about it seeming kind of counter-intuitive to me.

Still, small price to pay to see Veronica Ngo kicking some butt on the big screen; I don't think any of the things I saw her in at Fantasia years ago every got any theatrical release here, and don't seem to be available on video now, which is a shame - The Rebel is pretty terrific, and has a lot more of the vovinam signature move (leap in the air, legs around opponent in scissor formation, bring him down by twisting your body) that dropped my jaw the first time I saw it.

Looking for stuff to put on as a merch link (not that anyone ever clicks them, but it breaks the wall of text up), I see Ngo has directed a film in addition to acting now, and it looks pretty interesting. Maybe when I've got a bit of time...

Hai Phuong (Furie)

* * ½ (out of four)
Seen 12 March 2019 in AMC South Bay #5 (first-run, DCP)

Furie has Veronica Ngo Thanh Van and not a whole lot else, and while you can often say that this sort of movie doesn't need a whole lot more than one charismatic star and enough folks to sell the other half of a fight scene to get through 90 minutes, it certainly doesn't hurt. This one has some undeniably impressive martial-arts action and precisely as much story is necessary to justify it, and while one might maybe like a bit more, the film certainly delivers what it promises.

Ngo plays Hai Phuong (which is also the film's name in the original Vietnamese), a single mother working as a debt collector in an out-of-the-way town, and the locals don't exactly hide their disdain for either of those traits, figuring she must have left the city as the result of some scandal. Daughter Mai (Cat Vy) gets bullied for it at school, and it makes for some tension in the small family. Nevertheless, when Mai is snatched off the street, Hai Phuong fights back tenaciously, following the kidnappers back to Saigon and learning that there's an internationally-connected criminal syndicate fronted by Thanh Soi (Hoa Tran) that has been selling kids' organs on the black market for years, and has likely amassed just enough for another shipment to go out tonight.

The story is basic as heck, but the screenplay is kind of clumsy, which isn't the greatest combination but also isn't bad like "convoluted and clumsy" is. There are no red herrings in it at all, not even feints toward some sort of backstory with Mai's unnamed father; indeed, Hai Phuong's past is brought up just enough to explain why she's so skilled at vovinam and can make at least a start of tracking lowlives down once she makes it to Saigon, and any suggestion that there might be any sort of corruption involved in this ring is given a wide berth. There's something downright admirable about not screwing around and just having Hai Phuong run a gauntlet, but the way things play out doesn't get the most out of it; there's downtime and diversions when the film has already made it clear that she's on a deadline. The film could certainly do with being a bit leaner and more relentless.

Full review at EFilmCritic

Fantasia 2018 Catch-Up 03: The Traveling Cat Chronicles, The Outlaws, Chuck Steel: Night of the Trampires, Knuckleball, Fireworks (2017), Lôi Báo, The Witch: Part 1. The Subversion, Parallel (2018), I Am a Hero, Luz, The Witch in the Window, and Inuyashiki

So it's been (quickly checks Blogger) just about seven weeks to write up these twelve reviews, with another thirteen to go before I can drink the last Canadian Crush that I brought back from Montreal. It's really kind of absurd, especially considering that I haven't spent that much time since then writing up new/mainstream releases for eFilmCritic. But I've got confidence that I'll make it to the end before the next big, time-consuming blocks of movies. That rate isn't so bad, considering I'm working from Letterboxd first drafts and notes taken in darkened theaters. But we really should get more people on that site so that I can try and blitz through them more.

I don't know that a little more time and ability to consider things has changed my opinion of anything drastically. A bit more clicked together with Luz, The Witch in the Window, and Inuyashiki, but those were ones I'd already liked. I think all three benefit a little from me having a little time to ruminate and find some more universal themes - I don't know that I would have necessarily seen the demon in Luz as basically everything that tries to control women like the title character without more time, for instance. On the other hand, I like to think that it was just the act of writing that revealed The Witch in the Window as about a certain type of loneliness making ghosts out of people, or Inuyashiki playing with how people of different ages interact with technology. In some cases, it might be stretching to try and find more to write about than surface thrills that aren't quite so fresh six months later, but who knows

One thing I wondered about with Luz was whether its small scale does more to make every decision meaningful than would perhaps be the case in a bigger story in the same genre. I am, in general, less than enamored with how movies with big stakes will reduce the action to something small and relatable, but Luz never really does that; instead of making the fate of the world hinge on what's happening to one young woman, she's buffetted by forces in large part outside her control, and the pettiness of those around her is more relatable than trying to make one person's life connected with the greater world.

Luz is the one in this batch I hope gets to make the biggest splash in North American come 2019, but it's not alone - I;m sure that many of the folks who get stunned by Korean action films when I dig them up would love The Witch Part 1. And I must admit, every time I saw the trailer for A Dog's Journey Home this December (and even more so when I saw the reviews), I wanted to drop The Traveling Cat Chronicles on an American audience and really let an animal-voiceover picture tear at someone's heart.

Tabineko ripôto (The Traveling Cat Chronicles, aka Tabineko Report)

* * * ¼ (out of four)
Seen 21 July 2018 in Auditorium des Diplômés de la SGWU (Fantasia International Film Festival, DCP)

The Traveling Cat Chronicles was the first film to play the festival lineup on this day, and it was a canny bit of scheduling not just because this was a more family-friendly movie than what makes up the bulk of this genre-heavy schedule, but because it's unapologetically sentimental in a way few other movies playing the event are. So, fine, let's get the day's crying done early and have fun with the rest of the movies; it's not like that will be unearned.

The film is narrated by a once-proud stray cat (voice of Mitsuki Takahata) who mentions that she as yet has no name, though has been living with Satoru (Sota Fukushi) since he found her on the side of the road. Satoru is a young man, at a point where one's life is often in flux, and there is no space for a cat in this next phase, but he's also a cat lover who wouldn't dream of not making sure Nana does not find a good home. So he travels up and down Japan meeting with childhood friends Kosuke Sawada (Ryosuke Yamamoto), who is recently divorced, and Yoshime (Tomoya Maeno), who has recently adopted a kitten; former classmate Sugi Shusuke (Takuro Ono) and ex-girlfriend Chikako (Alice Hirose), now married and running a pet-friendly B&B; and his aunt Noriko (Yuko Takeuchi), who raised him after his parents' death and whose itinerant work as a judge prevented Satoru from having a pet as a child. None of them, unfortunately, are quite able to take in a cat who has grown attached to her human.

There has, obviously, been a fair amount of tragedy and upheaval in Satoru's life already, and each time Satoru visits a friend there is an accompanying set of flashbacks to how Satoru met them, how they were separated, and some story about how they bonded over a cat. The stories inevitably fall into a bit of a pattern, but director Koichiro Miki makes that a good thing, telling some funny stories that glide into a bittersweet place; they point at where the film is heading while still misdirecting the audience a bit. Where the story is heading is both a surprise and not by the time it gets there, but that doesn't matter; the film is generally about taking both animals and people who need it in, even when it's difficult and leads to some heartache, and never loses sight of that.

Yes, this is the sort of movie that tries to soften a blow with cute animals, but since it's cats instead of dogs (as is more common), it's kind of no-nonsense about it. Nana is smart and not sentimental in her narration (or his; the subtitles use male pronouns despite the female voice, but I suspect that will be fixed if this gets any sort of official release), with Mitsuki Takahata giving her a default tone of annoyed indignation that matches the feline performer without ever seeming aloof (and occasionally being quite emotional). It's just enough tartness on top of a sort of simple, child-like vocabulary to feel like a cat. There are some other animal voices (though mostly confined to the present where Nana can relay them), but Takahata's performance sets the tone.

Full review at EFC.

Beomjoidosi (The Outlaws)

* * ¾ (out of four)
Seen 21 July 2018 in Auditorium des Diplômés de la SGWU (Fantasia International Film Festival, DCP)

The Outlaws is a basic as heck cop movie, the sort that starts with its cops and hoods on casual terms with each other and doesn't really start getting intense until the very end, even though the outsider invading the territory is constantly bringing the violence. The filmmakers know how these things are shaped, and are willing to give the fans what they like without a whole lot of new ingredients.

It's based upon "The Heuksapa Incident" of 2007, a concerted effort to crackdown on crime in Garibang, Seoul's Chinatown. As the film starts, the Venom and Isu gangs are constantly scuffling over territory, but cops like Ma Suk-do (Ma Dong-seok) and Park Byung-sik (Hong Ki-joon) tend to keep it tamped down because they're either trustworthy locals or the right kind of mildly corrupt. That changes with the arrival of Jang Chen (Yoon- Kye-sang) and his Black Dragons, notably the vicious Wei Sung-rak (Jin Seon-kyu) - Jang is quick to play the established gangs off each other and decapitate and consolidate what's left. It leads to a level of violence that the police can't ignore, although by the time they're ready to act, Jang has dug in enough to make it difficult.

There's not any sort of particular twist in the offing, and that's fine; a lot of people are just at a genre film to enjoy the familiar and maybe laugh at the moments when people just assume that everything will be all right, and this supplies it. There are dry-witted cops, frustrated gangsters, and the occasional lady just trying to make a living working in the casino's back rooms. It's the sort of gangster movie that celebrates equilibrium, where the new arrivals aren't just more violent but also a threat to a mostly functional system, and filmmaker Kang Yoon-sung does well to not be entirely pragmatic about it: There's just the right amount of discomfort around the old gangs that the viewer gets the sense that this sort of system is always going to be ready to fall when someone gets too ambitious, even as the new influx of greed and violence obviously demands a response.

Once that time comes, the film has a good time letting it play out. Kang and co-writer Lee Seok-geun rightly figure that if The Heukspa Incident was big enough to be named, it deserves the sort of overview where the audience can see what's going on while still playing out at a one-on-one scale when it can. There are shootouts, yes, and fights where getting slashed with a knife seems like it's mostly irritating, and they do well to stage them to feel both larger-than-life and grounded in the reality of the true story. Then there's the big throwdown where the big guys let loose, making a mess of everything around them. It's not an all-timer, but it's fair material for a movie mostly intended to do well on VOD.

Full review at EFC.

Chuck Steel: Night of the Trampires

* * ½ (out of four)
Seen 21 July 2018 in Auditorium des Diplômés de la SGWU (Fantasia International Film Festival: Action!, DCP)

Chuck Steel: Night of the Trampires does the thing where it spoofs dumb, tacky movies by being dumb and tacky in the same way only much louder, trying to legitimize a guilty pleasure by slathering a lawyer off irony on it so someone can say they like how it mocks those attitudes. It's not really fooling anyone, if it's trying; if you're inclined to react to the real thing with "not cool", you'll likely have the same reaction here, and the same likely goes if you delight in that sort of over-the-top excess.

As you may expect, "Chuck Steel" is the name of a cop who plays by his own rules, to the immense frustration of his captain Jack Schitt and whatever poor bit of cannon fodder is assigned to be his partner. His wife has left him and the department wants him to shrink Dr. Alex Cular, but he's the only one noticing that there's something really weird happening with the local homeless population aside from British weirdo Abraham Van Rental, who claims to be a vampire expert (well, "trampire" expert, specifically). And what's this all got to do with the governor, who wants to outlaw booze?

Is Chuck Steel (both film and character) more than a bit crass? Oh, yeah, it leans pretty hard on getting laughs based on political incorrectness and gross-out humor, with the gags based half on being unexpected, whether because it seems like kind of a non-sequitur or because one doesn't expect the filmmakers to follow through on the crude potential of a set-up. It's not entirely shock-based humor that falls apart once you're expecting it, and it kind of works to filmmaker Mike Mort's advantage that he doesn't exactly go small: The gray area between "obviously a spoof of a thing" and "basically that thing" is huge, but he does all he can to get into the spot where it's obviously a joke.

Full review at EFC.

Knuckleball

* * * ¼ (out of four)
Seen 21 July 2018 in Salle J.A. DeSève (Fantasia International Film Festival, DCP)

Knuckleball is a solid little thriller that gets an occasional raised eyebrow for how ruthlessly capable its young main character can be; it makes some thematic sense at the end and has been hinted at, but, still, hmmm. That goes a bit for the plot in general, which has an awful lot of stuff that probably comes as a package more often than you'd like in real life, but seems a bit excessive for a movie.

It starts with Henry (Luca Villacis) being dropped off at his grandfather's house; he hasn't seen Jacob (Michael Ironside) much; the old man lives out in the sticks and Henry is the sort of kid who loves his phone. His parents don't have any place else to put him while they're at a funeral, though, so it's just for a few days. The trip is shaping up to be a mixed bag, between the forgotten charger, the chilly house, the chores, and, on the other hand, the discovery that Jacob played minor league baseball back in the day and might teach the kids something, but then his neighbor Dixon (Munro Chambers) stops by, and he seems kind of sketchy. A half-overheard conversation between the neighbors sounds really sketchy, and then…

Well, you can guess some of the basic shape; it's not the sort of movie built around people sitting down, having a heart-to-heart, and finding forgiveness for long-buried secrets. No, this is the sort of movie where the secrets use an axe to escape whatever cupboard they've been locked in, which is all well and good, but there aren't a whole lot of moving pieces for much of the movie. Filmmaker Michael Peterson and his co-writers have opted to keep the core very lean, and even getting to the film's 88-minutes-including-credits length means it occasionally has to be goosed a bit. It's the sort of movie where calling the cops or having some other neighbor come by may bring about enough violence to keep the viewer from wandering away but won't materially chance the course of the story; it's just keeping things moving until the big finish

Full review at EFC.

Uchiage hanabi, shita kara miru ka? Yoko kara miru ka? (Fireworks)

* * * (out of four)
Seen 22 July 2018 in Auditorium des Diplômés de la SGWU (Fantasia International Film Festival: AXIS, DCP)

Go figure - a couple years ago, we were talking about whether Matoko Shinkai could be the new Miyazaki, and now Fireworks is being promoted in large part by how it's like a Shinkai movie and from a Your Name producer, though it's also noteworthy for being based upon a TV-movie made by Shunji Iwai. Time sometimes marches on fast! It may not be quite at the same level as those filmmakers' best, but it's an enjoyable youth fantasy that should certainly appeal to fans of those filmmakers.

It takes place in the small town of Moshino, starting just before summer vacation. There will be fireworks, and middle-schoolers Norimichi (voice of Masaki Suda), Yusuke (voice of Mamoru Miyano), and Jun'ichi (voice of Shintaro Asanuma) have been having an argument over whether they explode in the shape of a disc or a sphere, plotting to climb to the top of the town's lighthouse to see what they look like from that perspective. There's also Oikawa Nazuna (voice of Suzu Hirose), a girl not long for their class, as her divorced mother is about to remarry and move away; spotting Norimichi and Yusuke at the school's swimming pool, she challenges them to race, saying she'll meet the winner that night during the fireworks. She finds a strange bauble at the bottom of the pool, but it's Norimichi who will eventually discover its strange power.

It's a plenty charming story, though it's not quite Your Name. It's a cute, likable tale of young love and potential separation, but its fantasy isn't quite so sharp - compared to Your Name or Penguin Highway, the fantastical parts of the story seem a bit more grafted on as opposed to being part of the natural part of the world these kids inhabit. It fits with the story the filmmakers are trying to tell; the alternate timelines and attempts for the kids to change their destiny are able to show both how small changes can send young persons' lives in different directions and how those young people can be powerless. The relaxed pacing often feels like repetition and padding that doesn't reveal quite so much on second glance as one might necessarily hope.

Full review at EFC.

Lôi Báo

* * ½ (out of four)
Seen 22 July 2018 in Auditorium des Diplômés de la SGWU (Fantasia International Film Festival: Action!, DCP)

For a movie whose basic premise is goofy enough to include head transplants, this doesn't play as nearly the bit of madness it could have. Granted, you've got to scale expectations down a bit for Vietnam - the effects budget it's not going to be huge - but there's still a feeling of rather mild ambition here, of taking the superhero stuff in stride because you know the beats.

After a sort of misdirecting opening depicting a scene from a comic book Tam (Cuong Seven) is writing and illustrating, the audience gets to know him a bit better - he's pretty well-liked in his neighborhood, although people do make a few comments about how his wife Linh (Tran Thi Nha Phuong) is supporting Tam and their son with her coffee shop. It seems likely to be his last; he has terminal cancer, although it turns out that Linh's Uncle Ma (Hoang Son) is doing more than creating a few hybrid crop strains on his farm, and an otherwise-healthy man about Tam's size has been shot and killed nearby. It's a miracle and then some, because Tam has inherited athleticism and fighting skills that he uses to rescue people and fight crime, disguising himself as his character "Lôi Báo" - but this "cellular memory" also pulls him toward the dead man's home and girlfriend Dr. Tue (Ngoc Anh Vu). What he finds in the house leads him to believe that this Nghia fellow was not a good person, working for organ smuggler Mr. Dao.

Does this make any sort of sense, science-wise? No, not really, but it is by and large the kind of dumb pseudoscience a viewer can roll with; it hits the right wish-fulfillment buttons and taps into the right fears about losing oneself in a new role that seems to be everything one has always wanted. It's not an especially clever story - twists, connections, and betrayals happen almost exactly on schedule, and for a movie with a genuinely loopy premise, it's got a fairly boring, conventional set of villains. Genuinely evil and vicious, sure, but if Tam gets to be something more than himself, maybe the bad guys should as well.

Full review at EFC.

Manyeo (The Witch: Part 1. The Subversion)

* * * ¼ (out of four)
Seen 22 July 2018 in Auditorium des Diplômés de la SGWU (Fantasia International Film Festival, DCP)

Well, okay, you might think as you watch the awkwardly named and punctuated The Witch: Part 1. The Subversion, this is kind of an okay young-adult riff on genetically engineered superhumans, but I kind of feel like I've seen it all before, with the shadowy agencies and people in black suits and the hiding things we can kind of predict. Then there's a sudden, extremely violent action scene, and you remember, oh, that's right, this is a South Korean action movie. You still might not be ready for just how much all hell breaks loose in final act, at which point your eyes will probably go really big and you'll want to now why you can't get "Part 2" right now.

To be fair, it starts in dark, bloody fashion, revealing the aftermath of something allowing two children to escape from some sort of lab with security types in pursuit, with the kids' safety not apparently their first concern. The boy is recaptured but the girl, apparently gravely injured, is found by a childless couple on a farm (Choi Jung-woo & Oh Mi-hee). She doesn't remember anything, but grows up smart and athletic, kind of shy until accompanying her friend Do Myung-hee (Go Min-si) a auditions for the Birth of a Star show. Suffice it to say, when someone sees Koo Ja-yoon (Kim Da-mi) on TV, alarms get set off and it's not long before ruthless hunter Mr. Choi (Park Hee-soon) and his ruthless team of teenagers are showing up at the Koo farm.

There was a point where one might have idly wondered just how popular American superhero comics and their tropes are in South Korea when seeing a movie open with a powerful child being found and taken in by a couple salt-of-the-earth farmers, but by now it's probably pretty safe to assume that yeah, everyone in South Korea knows exactly what writer/director Park Hoon-jung is riffing on there (amusingly, the film was actually made by DC Comics parent Warner Brothers's Korean division). As you might expect from the "subversion" in the film's English-language title, Park is not particularly content to just do an upbeat Korean take on Superman, although the route he does go is also kind of familiar, from the wardrobe to the general mad-scientist set-up, right down to there being someone out there who knows there is more to Ja-yoon than even the person in charge of the program today knows. Park is nimble enough that he never seems to be slavishly following a blueprint or undercutting his intent by being self-referential.

Full review at EFC.

Parallel

* * * (out of four)
Seen 22 July 2018 in Salle J.A. DeSève (Fantasia International Film Festival, digital)

Parallel sometimes feels like two or three high-concept sci-fi films sewn together, not always cleanly, and then accelerated with certain bits taken out to increase the suspense in the second half. It's kind of exhausting at times, to be honest, a puzzle box that keeps inventing new rules lest the characters solve it to fast. Still, it's kind of impressive that it doesn't become just frantic.

It takes place in Seattle, where a software development team lives and works together in the same house where something weird happened before the opening credits: Noel (Martin Wallström), the business-savvy team leader; Leena (Georgia King), his girlfriend and the team's UX designer; Josh (Mark O'Brien), kind of a doofus with a big crush on a local bartender (Alyssa Diaz) but a good coder; and Devin (Aml Ameen), a more grounded programmer. They discover a hidden staircase in their house, leading up to an attic which includes a weird mirror that lets them walk into parallel worlds. Not weird, "what if the Nazis won WWII" worlds, but ones almost identical to their own, but with a few caveats - the mirror never takes them to the same alternate universe twice, and time runs 180 times faster there. So, if you've got a deadline in four days rather than the four weeks you'd planned on, you may find an opportunity there, as well as all sort of other temptations.

Tech and software development are certainly not the only places where something like this will get misused, but there's a certain fitting ingenuity in setting it there; the freelance workers/contractors, impossible deadlines that require cramming more man-hours than is strictly legal into a week, and frequent decision to outsource development to people in what may as well be another world will likely seem especially familiar to people in that business, as will the sense, in later parts of the movie, that other people see you as a replaceable body, and that people do not know what comes next but are certain that "disruption" is good. Director Isaac Ezban and writer Scott Blaszak seem to have a better grasp on it than a lot of filmmakers do (writers and artists have a different sort of grinding, freelance/gig economy to deal with).

Full review at EFC.

I Am a Hero

* * * (out of four)
Seen 23 July 2018 in Salle J.A. DeSève (Fantasia International Film Festival, DCP)

I kind of expected the title if this to be a bit more ironic, both from what I've heard of the manga and the way the opening act played; my increasing unease with zombies and the rules that go with them becoming mainstream certainly had me hoping that the filmmakers would be doing something subversive. They don't, but the pretty much standard but well-done zombie action at least makes it one of the bigger and better takes on the material.

Hideo Suzuki (Yo Oizumi) has not exactly been preparing for the zombie apocalypse, but he's probably more ready than most in Japan, owning a licensed shotgun and carrying around some resentment in his job as an art assistant to manga artist Koroi Nakada (Jin Katagiri), having also been awarded a "best newcomer" prize 15 years ago. Kicked out by girlfriend Tekko (Nana Katase) he's thus got his weapon with him as the virus spreads, eventually winding up in a cab with schoolgirl HIromi Hayakari (Kasumi Arimura). They make it out of the city to an outlet mall where nurse Yabu (Masami Nagasawa) seems to take a shine to him, while the charismatic young leader of the group taking shelter there, Iura (Hisashi Yoshizawa) thinks they may be helpful, but they've got a secret - Hiromi has been bitten, though she has apparently contracted a mild strain of the virus.

Not having read Kengo Hanazawa's original manga, I can't speak to whether the title was meant to be something Suzuki grows into or hopefully grows out of, and the script by Akiko Nogi isn't terribly definitive on this point, either. It's a question that gets down to what a film in this genre is about - is Suzuki justified in hating the world and seeing those within as enemies, or is he going to be able to tap into a buried humanity in the face of the pure misanthropy of a zombie horde? A filmmaker can have most of the same things happen but make two very different movies depending on how they answer that question, although most of the time they take the same bits from column A and B, and have since the first time George Romero put a bunch of frightened people in the same cottage. I Am a Hero is a little more flagrant about trying to have it both ways, and that limits its ceiling: It can be a well-made genre film, but not the type where something buried within it gets the viewer thinking.

Full review at EFC.

Luz

* * * ¾ (out of four)
Seen 23 July 2018 in Salle J.A. DeSève (Fantasia International Film Festival: Camera Lucida, DCP)

Tilman Singer's Luz is the sort of film that I suspect makes other filmmakers envious: How many of them, when they were students and able to be a little self-indulgent, were able to make something good enough to cause a stir at festivals? This one is a heck of a nice bit of art-house horror without that qualifier, but for the work of someone explicitly learning the ropes (beyond how everyone is always learning as they create), it's a heck of a starting point.

The film's own starting point is attention-grabbing - closed-circuit footage of a young woman stumbling into a police station and starting trouble, practically begging to be locked up. She's Luz Carrara (Luana Velis), a Chilean immigrant who now drives a cab in Berlin. The police oblige and call in Dr. Rossini (Jan Bluthardt) to give her a psych examination where she recalls a seance she and friends did back in Catholic school when her friend Margarita (Lilli Lorenz) thought she was pregnant, but was actually host to something else - something which has followed Luz to Europe and is now possessing Rossini.

Hypnosis is often treated as a sort of magic in horror movies (and elsewhere), a way to hack into a person's mind and reveal something hidden or plant a trojan horse, though that sort of powerful mesmerist is out of vogue. What makes Luz a nifty, disorienting sort of horror movie is the way in which it combines hypnosis and possession, blurring the lines between Rossini's therapeutic tool and the entity's supernatural abilities, creating a sense of lack of control and disconnection that many other films like this may not necessarily lack, but do limit. It's a fascinating way to make what seems like a very small threat into something tremendously tense, but it's not just the supernatural element that is amplified here; Singer connecting these two elements in this particular way amplifies the underlying situation, where a woman who has been violated and attacked finds herself forced into a similar situation in the place where she is supposed to be safe, the line between the clinically intimate and the invasive eventually being obliterated.

Full review at EFC.

The Witch in the Window

* * * ½ (out of four)
Seen 23 July 2018 in Salle J.A. DeSève (Fantasia International Film Festival, DCP)

Thumbs up to The Witch in the Window being a 75-minute horror movie, which is almost always the best length for movies in the genre to be. May filmmakers' increasing recognition of streaming services as their ultimate landing spot keep them from adding fifteen to twenty unneeded minutes going forward. It's not always going to result in something as naturally compact and effective as this, but that's something to strive for.

For Finn (Charlie Tacker), the horror starts with father Simon (Alex Draper) dragging him north from New York to rural Vermont, where there's no cell phone coverage and the house they're staying in is a fixer-upper that Simon plans to flip; as pretty as the area is, it's not exactly a city kid's ideal summer vacation. Still, he hasn't seen his dad much since the divorce, it is kind of nice to have this much room to himself, and the neighbors seem nice. Still, Louis next door (Greg Naughton) isn't exactly eager to help Simon with the wiring, and eventually the electrician explains why: The previous owner, Lydia (Carol Stanzione), had been sitting in her chair by the window dead for the better part of a month before someone called the police, and that's the sort of story that makes people feel like she never really left.

Despite the film's brief length, writer/director Andy Mitton doesn't push the scares too hard, trying to get to jumps and escalating the danger quickly. He favors the scene where the viewer realizes that there's somebody else in frame when it's quiet enough for the eye to wander, and the question is less when Lydia showed up (she's always there), but what exactly is making Simon or Finn receptive to seeing her. Milton lets the characters' fear drive the story as much as the actual presence of a ghost, letting it spiral, as a frightened kid leads to a father afraid he can't protect his son, and a frightened father makes it worse for a kid.

Full review at EFC.

Inuyashiki

* * ¾ (out of four)
Seen 23 July 2018 in Auditorium des Diplômés de la SGWU (Fantasia International Film Festival, DCP)

As much as the usual position of a fan is to look for fidelity in an adaptation, I was rather hoping that the feature film version of Inuyashiki would fix up a few problems the manga had, most importantly that the creator apparently found himself more interested in the villain than the title character. The filmmakers cut out some of the fat to be sure, but what they've come up with turns out to be a pretty faithful adaptation, warts and all. It's still kind of a blast, and who knows, maybe sequels will let them have a freer hand later.

Ichiro Inuyashiki (Noritake Kinashe) is younger than he looks, but that still leaves him in late middle-age, not as far up the corporate ladder as he probably should be, a disappointment to his wife (Mari Hamada) and an embarrassment to daughter Mari (Ayaka Miyoshi) and son Takeshi (Nayuta Fukuzaki). They don't much like the stray corgi he let follow him home, either. While walking Hanako one night, he winds up very much in the wrong place at the wrong time, as a spaceship crashes right on top of him. Fortunately, the alien tech is quite capable of repairing itself and the park, leaving no trace of itself - but part of what it repairs is Ichiro, who wakes up feeling better than he has in years but having no appetite for anything more than a little water. That's because he's a highly advanced android now, incredibly strong, able to interface with any technology, even equipped with weaponry and the ability to fly, although as a timid and non-confrontational man, he's nervous to test these abilities. Trouble is, he wasn't the only one at the park, and Hiro Shishigami (Takeru Satoh) is a teenage outcast mad at the world.

Director Shinsuke Sato and screenwriter Hiroshi Hashimoto don't change much from the manga, and perhaps one of the most notable changes of necessity likely doesn't seem very big: The film's Ichiro is not so extremely old and feeble as the manga. He's certainly not exactly bursting with vitality and comes across quite beleaguered, but that gives star Noritake Kinashi room to put the focus on Ichiro's attitude, rather than just his capabilities. Kinashi projects a simple, genuine decency compared to the villain's detached sociopathy. It's a good but not preachy version of the much-retweeted quotation about not knowing how to explain you should care about other people, and also superhero 101, but effective.

Full review at EFC.