Stalker


1979 Tarkovsky movie

Rating: 20/20

Plot: The titular stalker takes two guys--a writer and a scientist--into a forbidden and mysterious zone cleverly called The Zone where there's a room, cleverly called The Room, that may or may not grant a person's innermost desires.

This Russian version of the Three Stooges isn't nearly as funny as the American one, but it's got its moments.

Apocalypse Now


1979 horror movie

Rating: 20/20 (Dylan: 17/20)

Plot: During Vietnam, a guy is sent on a mission to kill a corporal who has apparently gone crazy and engaged in crazy activities. You know, like war. That's a pretty crazy activity.

This crazy movie about crazy people doing crazy things shouldn't exist. It's like a cinematic miracle. Coppola was as bloated as he can be, and we're talking about the guy who made his actors play "sound ball," so we know he can be really bloated. He came in with half-formed ideas, filmed about 20,000 hours of material for this, nearly killed his star, likely nearly blew up a whole bunch of other people, buried Filipino guys up to their necks in sand all day, had to deal with a difficult and even more bloated Marlon Brando who refused to prepare for his fairly-important role at all, and spent a long-ass time editing it into something coherent. There's no way this should have worked. There's no way a lot of these people should have even survived. The result of all this--a masterpiece--is astounding.

Is this a war movie? I don't think it's a war movie, but I think it might be the greatest war movie ever.

I'm just going to ramble. Nobody is reading this anyway, so I can get away with rambling.

"We got a dead one." I believe those are the first spoken words other than our narrator's, and they describe our narrator right after a hotel freak-out with that perfect--if a bit too obvious--song choice. Sheen's a "dead one" and we're off on his own personal journey through the however-many rings of an LSD-fueled hell. This is Coffin Joe making a war movie after somebody thought he was somebody else and gave him a truckload of money.

My favorite character might be Frederic Forrest's Chef even though I'm not sure what "Kiss my ass to the county square" means. I believe that's what he said, post-tiger, and it was likely improvised since by that point in the movie, somebody had already accidentally eaten all the copies of the script.

No! Dennis Fucking Hopper is my favorite! That's despite hooking a 14-year-old "Larry" Fishburne on heroin because that's exactly the kind of thing Dennis Fucking Hopper would do. Every single performance in this isn't just good--it's stellar, perfect. Every single one! And given the circumstances and the way this thing was filmed? Again, it's just astounding.

Maybe Shelley Duvall's dad is my favorite! His Kilgore isn't in much of this movie, but the way he just stands like a statue as things are exploding around him makes this one of the best performances ever. He's electric, seemingly impossible for an actor to pull off with the chaos going on in his scenes. My favorite moment (other than imagining Robert Duvall trying to surf)--when a wounded man reaches for a canteen that a distracted Kilgore has out of his reach. And the way he says "Some day this war's gonna end" gives it more possible meanings than I can even count.

No! I'm changing my mind again! My favorite character in this is the omnipresent setting sun, almost in as many scenes as Sheen and in a lot more than top-billed Brando. The sun is always there, like a demonic presence watching this whole thing unfold.

That Wagner certainly makes that helicopter cavalry scene iconic, doesn't it? I really like all the music in this, the deep synth tones sometimes reminding me of the opening Wendy Carlos number in The Shining.

What about Brando? I'm not even sure he's any good here, but at the same time, he's perfect, a hulk of a man who has somehow gained a hundred pounds of shoulder meat while living in a temple in Cambodia. Do you think he's turned to cannibalism? I'm referring to Brando himself obviously, not the character he's playing. How about that introduction to the character? It's on tape, Brando murmuring about snails on razor blades or something.

So many iconic scenes. The best, I think, is the psychedelic nightmare at that bridge. Demented circus music, complete chaos with apparently nobody in charge though that guy skilled in grenade-launching knows that the devil (or maybe God) is really in charge. The asshole of the world indeed! Toy arrows, a lunge for a puppy, the wreckage of an airplane. How many rings of hell are there again?

I watched the original version of this. I have not seen the "Redux" and really have no plans to watch it. The "Dux" is enough for me. I might watch the documentary about the making of this made by Coppola's wife though.

Cory's Birthday Movie Celebration: King Kong vs. Godzilla


1962 kaiju movie

Rating: 10/20

Plot: It's kind of in the title. Any other plot that didn't just involve the titular pair brawling was beyond my comprehension.

Years ago, I started watching a Godzilla movie every July 16 to commemorate Cory's birthday. Aside from Cory, nobody else not named Nicolas Cage gets the birthday treatment on this blog. Cory likely stopped caring long ago--especially after I ran out of Godzilla movies that he actually likes--but I'm the kind of guy who enjoys nonsensical traditions and can't stop doing this. As I've often said, it's the cheapest kind of birthday present imaginable. Cory's a good guy and a knowledgeable cinephile with somewhat questionable tastes in movies, so he likely deserves better than this.

I'm really running out of Godzilla options here. If I had thought ahead, I could have probably seen the new Godzilla: King of the Monsters in a theater yesterday. However, I like to do these write-ups Movies-a-Go-Go style. Therefore, you're getting my unadulterated thoughts as I watched King Kong vs. Godzilla late last night when I probably should have been sleeping or something. I can't imagine it being worth reading, but here it is anyway.


Before we begin, I should clarify that yes, this movie is not as good as Hale County This Morning, This Evening. Suck it, Cory.

How's that for a birthday present? Within seconds, I've already told the recipient to "suck it."

Oh, thank Godzilla! The credits informed me that they got permission to use the name King Kong. I was worried about that.

Am I hearing a theremin already? Nice! I’m already hooked.

“There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy." Now we're quoting Shakespeare? With how good the dialogue usually is in these movies, I'm not sure juxtaposing it with Shakespeare is a good idea.

Imagine the filthy puns he could have come up with for a kaiju screenplay. . .

Ok, this news man with a tall jar of tomatoes on his desk is a little too American. I can’t do American right now. I’m starting over with the Toho version of this.

No theremin in the opening credits, but this big opening theme is very cool.

I’m not sure if there are going to be subtitles. I might have to start over again. This is going very well so far.

Ok, now I have two sets of subtitles going simultaneously. That might be distracting. [Note: I watched the entire movie with two sets of subtitles--the English was on top of the other one, however, so I could read them fine. There was a later problem where the sound wasn't matching up with anything. King Kong would beat his chest, and then you'd hear it about a second and a half later. That was pretty distracting, so if I start getting surly in this, that might be why.]

Oh, yeah, the news guy is much better, and the theremin was still there. All is good in the hood.

Much needed comic relief with the television boss who doesn’t know how a telephone works.

This man is named Tako.

More comic relief with the English voices of these dudes on the submarine.

Suddenly, this transforms into a Damien Chazelle movie with a close-up of a cymbal.

As always, I don’t care about any of these human characters. Where’s the monkey? I'm sure the American version--since Americans are both stupid and impatient--has already had at least two scenes with the monsters killings stuff by this point. Maybe I should go back to the American version.

Something tells me that next year’s Godzilla vs. King Kong movie is going to be a lot different than this one.

“I know my sister’s lipstick.” I’m getting an incestuous vibe here, and the sexy piano jazz certainly doesn’t help.

Sakurai, a man who knows his sister's lipstick, probably a little too well. 

These two have their monster-catchin’ hats on.

Here's Tako. He doesn't get his "monster-catchin'" hat until later though. 

This submarine captain’s kind of got a W.C. Fields thing going on. I hope he starts juggling.

“Shut the water tight, fuckheads.” Apparently, I need subtitles for the English parts, too. I rewound, but that's all I can hear.

Oh, shit! That familiar screech! Godzilla’s finally arrived!

Maybe I’m in the minority, but I really appreciate when you can hear a monster in a movie before you ever see it. Stomping, screeching, farting. It's always a cool move.

The natives of this island (not Skull Island, I guess?) don’t get subtitles.

This introduction to the natives feels a little racist. I mean, not Donald Trump tweet racist, but still a little racist.

This man would not like either of the monsters in this movie because they are not white. 

The guy translating is the Japanese Don Knotts. He doesn’t quite have the sexual energy of Don Knotts though.

They’re giving the natives cigarettes and access to terrible music. This should work.

I’m not sure I like the message about cigarettes this is giving. One of the native children is now smoking. Of course, this was made in 1962 before cigarettes were capable of harming a human being.


They’re laughing because they think the natives’ “god” is just the rain and thunder. Why would they be in good spirits about that? Wouldn’t that make trip be nothing but a huge waste of time and money?

Transition to a televised lion--I do not approve. They’re making me wait way too long for King Kong. Of course, the original King Kong made you wait, too. But again, I'm an American, and I want my monsters now! Trump would have turned this off a half hour ago and called it "fake news."

The Americans in this all sound like John Wayne after he’s been hit over the head with Jimmy Stewart.

Godzilla! And big music! Go get 'em, big guy!

The models on this military base aren’t not the most effective I’ve ever seen. Still, I’m digging this a lot more than the 2019 Godzilla movie, and I even saw that on an IMAX screen.

Ok, this actually doesn't look too bad. 

So it was just revealed that Godzilla is going to come to Japan because he remembers his birthplace. I’m not sure the big guy is that sentimental, but I’m willing to accept that as a legitimate enough reason for him to find his way to Japan.

The native leading the visitors to King Kong looks a little like Buster Keaton.

I swear a character just twirled some sort of lizard over his head for five minutes of screen time.

A lull in the action has caused me to remember that my favorite punchline of any joke I’ve ever heard might be “Ping pong balls? I thought you said King Kong’s balls!”

The little kid who was smoking earlier is apparently named Skeeto.

Oh, boy. A giant land octopus.

Man, I am really digging how this octopus moves. And the slurpy special effects are really great. I believe it’s stop-animated, but it’s hard to tell at times.


Throwing torches at it doesn’t seem to have much effect.

Hey, it’s King Kong! And it sounds like somebody knocking on an old wooden door when he beats his chest, so that’s going to be distracting.

King Kong apparently wanted to wear the giant octopus as a hat.

You can buy a little King Kong vs. octopus statue? This made me laugh. 

After King Kong hurls a couple of rocks at the giant octopus, I could have sworn it said “Fucker!” twice.

Ok, the action’s over, so we can talk about how stupid King Kong looks in this movie.

And he’s apparently a lush. This was a missed opportunity for Gatorade product placement, by the way. The American version I bailed on probably had some sort of product placement there actually.


This weird native dance is going on entirely too long. Kong’s passed out and can’t even enjoy this.

I have some questions about what’s going on as King Kong is being pulled on a raft behind a ship. 1) Why would the natives let them take their god without a fight. Who’s going to protect them from the land octopuses? 2) What the heck did he drink that he’s passed out for this long after just two jars of it? I feel like I dozed off and missed 10 minutes of this or something.

“Doesn’t that infringe on King Kong’s rights?” That kind of made me laugh.

In Japan, do they have Godzilla drills like they have fire drills in schools? I bet they do. These people sure hopped off the train as if it’s something they’d practiced before.

Wow! He just knocked that train around like it was some kind of toy.

What’s up with the lady flailing around in the water while Godzilla approaches?

Oh, that’s Fumiko. I forgot all about this character.


Idea one: a “million volt shock.” Seems legitimate. 

This television executive guy [Note: We're talking about Tako here.] is the worst. He’s the Jar Jar Binks of King Kong vs. Godzilla. I hope one of these monsters tears him in half.

King Kong just stood up in water that is only waist deep. I believe they're in the middle of the ocean somewhere.

Somebody went a little overboard with the vehicle models at this construction site.

King Kong is a real animal. Godzilla is a monster born from radiation. Ok, got it.

Kong appears to be clumsy. And he walks kind of like Phoebe runs in that Friends episode where he runs. It’s probably called “The One Where Phoebe Runs” actually.


The guy in the King Kong suit clearly doesn’t understand what he’s supposed to do with his arms.

Oh, boy! It’s fight time! Expecting Godzilla to say, “It’s over King Kong. I have the higher ground!” like Obi-Wan in Star Wars 3.

Kong immediately going with his finishing move--hurling large rocks.

Godzilla with the crotch rocket, likely premature.

What? It’s over? Kong had his belly scorched, scratched his head, and wandered off? And Godzilla just let him? I’m confused.

“Release the fuel!”? I thought they were back to Plan A: 1 million volts.

Was Godzilla trapped in an iceberg before this movie, or was he working on his squats? His thighs look great.


I can’t believe how stupid King Kong looks in this movie. He looks silly when he’s just standing around, and he looks even sillier when running.

Ok, here we go. Back to the one million volts.

Now King Kong is flossing with electric wires. This is making Godzilla look like a punk!


Earlier, people had to get off a train because Godzilla was in the area. Now Godzilla is approaching, so they’re all getting on a train?

And getting on the train was apparently a bad idea. Lesson learned.


King Kong has found himself a woman now. Now all he needs to do is climb a phallic symbol, his go-to for a first date.

Oh, that was Fumiko. I forgot about her again.


“You stupid idiot! Let Fumiko go!” Yeah, I’m sure that will work.

The way Kong is looking at Fumiko and rubbing his nipple reminds me of why I can’t go within 100 feet of our local Starbucks anymore.

Now the guy is drumming again--the earlier drumming scene suddenly has meaning. Not a wasted moment in this stupid movie, is there?

Who’s chanting?

“It wasn’t the airplanes. It was this guy’s drumming and the inexplicable chanting that put the beast to sleep.”

“I’ve got it! We’ll raise him with balloons.” I think my subtitles might be a little off because that doesn’t make any fucking sense.

Oh, no. They’re going to “raise him with balloons.” I stand corrected.

This music is a little too big for a scene where they’re filling balloons with helium.

It’s hard to believe that anybody involved with Toho Studios would have thought this balloon thing was a good idea, but here we are.

Holy cow! This is happening! 

I may have laughed when the two monsters were tumbling down a mountain.

Now they’re throwing rocks at each other, and this might be the most ridiculous fight I’ve seen in any of these Godzilla movies. I probably said something similar to this last year, the year before that, and the year before that.

Kong just threw a rock and somersaulted down the mountain and hit his head on a rock. You’d think he’d be better and throwing rocks than he showed there.

Repeated body shots with the tail--is that a move Godzilla’s used before?


“Damn...King Kong is getting roasted.” I know, Japanese guy! He was just teabagged.

Ha ha! Kong just shoved a tree down Godzilla’s throat. And he’s got some sort of electricity power now? What’s happening?

“We humans must change the way we think about plants and animals.” The environmental themes seem shoehorned in a little.

Is it bad that I have no idea how this movie ended? King Kong is retreated back to his island, but what the heck happened to Godzilla?

That was a delightfully goofy Godzilla movie Happy Cory’s birthday to all!

Crawl


2019 hurricane and alligator movie

Rating: 11/20

Plot: A daughter tries to save her father and herself from alligators during a hurricane.

As you probably know if you've paid attention to my movie write-ups, I get alligators and crocodiles confused. I'd like to thank the makers of Crawl for making it clear the entire time that these were alligators.

They're the kind of alligators who make a loud noise every time they appear on the screen. About halfway through this, I was pretty sure it was just going to be gator jump scare after gator jump scare. There were some clever camera angles and genuine tension-packed moments in this, but it was really leaning heavily on the "Bam! Gator Popping Out of the Water!" strategy. The cleverest moment involves one of those convex security mirrors at a gas station.

The movie's really about the father/daughter relationship, the pair of characters trying to navigate metaphorical stormy weathers and survive metaphorical alligator chompers.

No, who am I kidding? This movie's just about slamming together two types of survival genres--nasty weather and CGI monsters--and finding out how these fairly flat characters survive the experience. It's not entirely realistic though the special effects make the hurricane look menacing enough and the alligators alligatory enough. I was probably rooting for the alligators, at least to eat some of these characters, because I'm afraid alligators will been unfairly maligned similar to how sharks were considered villainous when Jaws came out. According to Wikipedia, there have only been 8 alligator-related fatalities in the last decade. Dogs, on the other hand, kill 30 to 50 people every year, so maybe the makers of this should have made Sugar, the father's dog, the real monster.

Would you rather be chomped in half by one very large alligator or devoured by fifty very tiny alligators?

My theater experience was uncomfortable, and I'd probably rather be attacked by an alligator than experience that again. I arrived in the middle of the previews, and somebody was in my seat. I sat a couple seats to her left, but then checked the app to see that somebody was supposed to be in that seat. So I moved one to the right and sat next to this girl. It was dark, so I couldn't tell how old she was exactly. To avoid appearing creepy, I explained that she was in my seat. She stirred, but I said it was probably ok because nobody had the seat I was currently in or the seat to her right that was occupied by her friend. I explained that somebody was supposed to sit in the seat I had moved from and then mumbled something about not wanting to be creepy. There's no way of knowing for sure, but I probably came across as really creepy.

There was a radio playing in the crawlspace while the characters were down there. I checked a list of the songs from the movie and don't recognize any of them except for the one that plays over the credits, a dumb joke. They missed an opportunity to play "Crocodile Rock," but that would have really confused me since I can't tell the difference between alligators and crocodiles.

Movie idea: during a Category-5 hurricane, a girl tries to rescue her injured father from the crawlspace of his house while a bunch of Elton Johns try to devour them. It can be a sequel to both this and Rocketman.

I tried to find information about how many people Elton John has killed in the last decade, but Wikipedia is suspiciously silent about that one. I'm guessing it's about the same amount of victims that Sugar the dog has.

Another movie idea: Tornadoes and wolverines.

Teorema



1968 Italian drama

Rating: 18/20

Plot: A visitor bonks every member of a family and the maid. When he leaves, they don't know what to do with themselves.

Hooked from the onset with that great Morricone opening theme and a silent film style opening pre-telegram. And that was all before Terence Stamp brought his eyes into the movie. You could say the allure of Terence Stamp on this family has to do with those eyes, but it's likely got more to do with his oppressive pants bulge. Seriously, in the first half of the movie, it seems like that bulge is always there, like Pasolini is doing everything he force the viewer to focus on that. If Stamp is some sort of Christ figure--and he very well might be!--and that bulge is some sort of immaculate bulge--and it very well  might be!--then that explains why I lost sleep after watching this, imaging what the miracle of sex with Terence Stamp must be like and reflecting on what waiting for a second coming (no pun intended--I swear) must be like.

I believe the birds have more dialogue in this movie than the humans. They're omnipresent.

But what about those human characters and their reactions to this visitor's unexpected arrival, his captivating bulge, and his unexpected departure? Each character is shown either seducing or being seduced, and each character but one is given a chance to talk about what meaning the experience had for them. For the dad, it changed his image of himself. The wife was sterile, apathetic, and her relationship with Stamp awakened interests she didn't realize were dormant in her. The son talked about a change, and the daughter talked about womanhood. The maid, subtly shown as religious, might undergo the most change, but she doesn't get a chance to talk about it with Stamp. Instead, she just comically helps him with a suitcase. Following that departure, each character has a kind of post-epiphany denouement.

It's hard to figure out what it's all about, but reading thoughts from others online was fun. Is it just a Brunuelian attack on the bourgeoisie? Is it about religion? Is it about Pasolini's repressed homosexuality? It's it Marxist? The film's a lovely kind of perplexing, the kind of thing that can cause one to yell at a volcano or something.

Happy Death Day 2U


2019 sequel

Rating: 6/20

Plot: No synopsis is available for this one.

Here's how I started my write-up for Happy Death Day: "What the hell am I doing with my life?"

I didn't like the first one and had no interest in the sequel. But here I am writing about how much I hated this second one. And once again, I'm wondering what the hell I am doing with my life.

The first had a semi-interesting time-loop premise. This one incorporates the multiverse and quantum physics, albeit in a half-assed way. It's a long and winding road of stupidity, the biggest downfall of the movie likely being that it doesn't seem to notice how stupid it is. It doesn't take itself 100% seriously. There's a lot of attempted humor, but it doesn't work because the characters are so unlikable. The emotional beats don't work at all. There's a lot of clumsiness with scenes involving the main character's mother, one scene where she pops in unexpectedly and just stands smiling for what seems to be about five minutes. Another scene involving a candle was a real groaner.

I actually still can't past the fact that the main character's name is Tree. What the fuck? I can't tell what's worse--that candle scene, the "You're screwed" line in this, or the woman's name being Tree.

I was really hoping Liquid Python was a real product.

Who came up with the title for this--Prince?

I'd write more about how much I hate this movie, but I need to research the etymology of the term "holy shit balls."

I don't know what the hell I'm doing with my life.

Camera Buff


1979 movie movie

Rating: 16/20

Plot: A guy who works at a factory buys an 8mm camera to record his baby daughter, but filming turns into a hobby and then an obsession.

Second movie from 1979 in a row that is directly about filmmaking. This might be the funniest Kieslowski movie I've seen--though Three Colors: White was also really funny--but there's also a great sense of melancholy hovering over the story of this simple man who gets sucked into this world. This unfolds like a quiet tragedy.

It's unclear to me what Kieslowski is saying about himself personally as a filmmaker. Before this, he was only making documentaries. What's he saying about the "truths" in these documentaries about common people and places? Choices during both the filmmaking and editing process have consequences here, not just in the personal life of our protagonist but in the lives and careers of others as well. Kieslowski's focus isn't just on the sacrifices of an artist, the effects of devoting oneself to a craft, or the negative effects of somebody needing more than tranquility. There are also moments when Kieslowski uses the amateur films of Jerzy Stuhr's characters to show the positive influence film can have in people's lives. A post-funeral revisit of a film was very touching, and the reaction of a short film's subject and his wife were also great.

Tadeusz Rzepka has a shot at winning a Billy Curtis award for those of you who want to go to Vegas and put some money on it.

Arrebato (Rapture)


1979 movie movie

Rating: 17/20

Plot: A slightly disgruntled horror film director receives a film from an old acquaintance. Some other stuff happens.

Yet another film about film, in this case its power to suck out all of your blood until only the bedspread remains. Images will haunt, but there's a repeated musical bit that is just as haunting. This is mopey, mostly dark, but there's some levity when Pedro Almodovar's voices a side character named Gloria. It's likely unintended levity, but that's my favorite kind of levity.

Lots of drugs and lots of film. Writer/director Zulueta's perhaps dipping into film school metaphors, linking drugs to movies or movies to drugs or maybe just drugs to drugs and movies to movies, but it's effective. Zulueta's world has few settings and characters, but it's got this vibe that sucked me in, like a vampiric strip of film.

Richard Pryor: Live in Concert


1979 comedy

Rating: Ehh. I don't feel like rating this one.

Plot: Richard Pryor tells jokes and makes an audience laugh.

My knowledge of Richard Pryor is limited. I pretty much only know him as the black guy in those Gene Wilder movies. This is from 1979, a year I'm currently researching, and I was in the mood for a laugh and decided to give it a go. It's easy to see why Pryor is considered a comedy legend in this, apparently the first feature film consisting only of a stand-up comedy show. Pryor sets the bar pretty fucking high for anybody who follows. Sorry for the f-bomb, but it seems appropriate when writing about this kind of performer and this kind of act.

Those are gold shoes that Pryor is wearing, right? You wear gold shoes and bomb and you deserve the special place in hell you'll likely end up in. Pryor earns the right to those gold shoes. He unleashes a horde of voices or characters in this--police, white people, various black people, more white people, children, old people, dogs. He also brings this tremendous energy, the kind that will have a guy sweating through his shirt by the halfway mark. He bounces around from topic to topic--lots of race stuff, the police, his pet monkey having sex with his ear, his dogs, heart attacks, death and John Wayne, his father and other members of his family, cocaine, snakes, the great outdoors, boxing Ali--and it all seems random or stream-of-conscious until you step back and realize how well it all blends together. It never ever feels like a routine, a bunch of jokes he wrote and rehearsed and delivered the same way at different spots around the country while on tour. I mean, that's probably exactly what happened because that's what professional comedians do, but he's got a presence on stage that makes it seem like this stuff is just pouring out of him.

Radio On


1979 movie

Rating: 15/20

Plot: I'll include a plot synopsis below.

A guy drives from London to Bristol to investigate the death of his brother. Along the way, he listens to David Bowie, Devo, Robert Fripp, and Kraftwerk. That's about it for the plot, but don't think the death of the brother is a major plot point or anything. It's more like a lazy McGuffin in a somnambulant movie. It's a road trip that might remind you of Jarmusch or Wenders, and I don't think that's just the black and white talking. It really does feel like a British attempt at a Wenders road movie, maybe more so because Wenders' assistant cameraman (Max Schafer with two little dots above the "a" in his surname) shot this. It's a great-looking movie, one shot that shows a pair of people from outside the apartment really knocking me out. A lot of the shots of landscape shown from a perspective within the protagonist's car were really great.

Along the way, this guy meets various characters--a guy who's either Scottish or Irish and Sting and a couple of German girls. Oh, and one guy who is sleeping in his car that might be my favorite scene in the movie. He doesn't connect well with them, language sometimes being a barrier (another Jarmuscian touch). He drifts somewhat aimlessly, alienated from an England at the end of the decade that he doesn't seem to fit into very well. The meandering plot, especially with first-time director Christopher Petit's insistence on showcasing the minutia, doesn't do the audience any favors. It's a fascinating kind of boring and difficult to latch onto anything in the narrative. In a way, it makes you feel a little like the protagonist must feel.

The music hit my sweet spot. A little Bowie, a little Kraftwerk, a little Devo even if it's not my favorite Devo track, and even Sting's rendition of that Eddie Cochran song. The main character is a disc jockey, but it really seems like the music is playing him. If that makes sense. I don't think that makes sense.

This unusual film isn't for everybody, but I kind of dug it. If you have tastes nearly identical to mine, you should check it out.

Lupin III: The Castle of Cagliostro


1979 animated action movie

Rating: 15/20

Plot: Lupin tries to steal something from the titular castle.

This Hayao Miyazaki feature-length debut has lots going for it including wildly inventive action sequences, really cool characters, and an intriguing plot created by this mishmash of conflicts involving thieves, spies, criminals, and the law enforcement. I didn't know anything about this character going in, but coming out, Lupin, along with his bearded but no-eyed machine-gunning sidekick and the spy who is apparently an on-again-off-again lover and the guy with the sword, is a character I'd love to investigate further.

Larks on a String


1969 (or 1990) Czech dramedy

Rating: 15/20

Plot: Members of the bourgeoisie are forced to work in a scrapyard by a Communist government in order to become reeducated.

Jiri Menzel directed this just three years after Academy Award winner Closely Watched Trains, but it wasn't released until 1990 because Communists didn't like it. The movie's got more charm than it's got plot. The bourgeois collective mostly consists of likable characters even if the women don't have squat to do (but maybe that's part of a point?) other than exist as sometimes-naked love interests for the men. There's a romantic comedy in here that keeps things lighthearted even when the dark and on-the-nose satire overwhelms.

I really enjoyed the setting for this one. More movies should take place in scrapyards or junkyards.

Memories of Murder


2003 South Korean murder mystery

Rating: 16/20

Plot: Some bumbling detectives try to catch a rapist/murderer.

All other Bong Joon-ho movies I've seen have a level of complexity, and watching Memories of Murder makes me wonder once again if I'm wrong about Okja. I should probably give that one another spin. I just don't know if I want to see that pig-thing's ass again.

This movie's complexity is something I can't fully appreciate. According to the director and others, this movie about bumbling detectives, heinous crimes, and an unsolved mystery has a lot to do with South Korean society and masculinity. I'm about as close as a human can be to being a male, but I'm not South Korean. So while I can understand how these characters and their interactions deal with masculinity, I don't have the context to understand what this has to do with society in South Korea in the early part of this century.

I really enjoyed the movie, one that has that Joon-ho trademark of effortlessly combining tragedy and comedy. There's a lot of dark humor here as these detectives combine their powers of ineptitude and ineffectiveness to accomplish next to nothing.

Whose memories are these anyway? The serial killer's memories? Could be. The main detective's? Well, yeah, it could be his, too.

I can't get Okja's posterior out of my mind.

Homo Sapiens


2016 documentary

Rating: 16/20

Plot: Where did all the people go?

The title of this is a little misleading because there isn't a single gay person in this movie.

I apologize for that. In my head, it seemed a lot funnier.

Haunting and meditative, this is like a record of our world, post our demise. Austrian Nikolaus Geyrhalter presents us with a series of shots that show man-made structures--schools, factories, hospitals, roads, amusement parks, water parks, apartments, etc.--that are all devoid of humans. The camera doesn't move, but there's plenty of movement and life in this seemingly dead world, probably a world that the titular people homo sapiens have somehow destroyed. Birds, water, and wind create this movement, and growth goes on without us, all of our edifices, our tools, and our vehicles existing in dilapidated or withered states like mementos or peculiar trinkets. The imagery is frequently heartbreakingly beautiful and just plain heartbreaking at the same time. There's no score at all, just sounds of nature that exist far beyond our expiration dates. Drips, insects, birds, unidentifiable thumps and thwacks.

"Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”

Percy Bysshe Shelley knew the thwacks would outlive us all.

Scum


1979 drama

Rating: 14/20

Plot: Life for young men at an institution.

This is not a Frederick Wiseman movie.

Appropriately, this narrative doesn't really have a beginning or an end.