Has anyone seen I Saw the Devil yet? For a little bit of the ultra violence, check it out! It's a Jee-woon Kim movie, so that should be the first clue. That thing made The Mechanic look like pinwheels and hopscotch.
Has anyone seen I Saw the Devil yet? For a little bit of the ultra violence, check it out! It's a Jee-woon Kim movie, so that should be the first clue. That thing made The Mechanic look like pinwheels and hopscotch.
Is the I Saw The Devil a jap movie? Would it be like Tokyo Gore Police by Yoshihiro Nishimura? I always thought that level of violence was kind of cartoon like. So over the top it did not look real. The violence in The Mechanic is implied and shown which just like A Clockwork Orange seems to affect me more. I would have to say most that have seen both Clockwork and The Mechanic would say that there is a 5 min segment which pays homeage to Kubrick? Nothing was ever like Clockwork so people were really freaked out over the whole thing. It had the shock factor. Nowdays I feel it takes a more mental way to get to people other than the graphic violence we are all so desensitized to.
Nami in The Angel Guts Series is the kind of Hichcockean mental stuff that gets to me more. Kind of like reading. As if what your mind imagines as far more crazy than what you could ever see.
South Korean, TGP wasn't quite as realistic, but there is that quality. So I take back that suggestion to you. We just differ. I like gore. The Mechanic did not affect me same way for example.
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Still, I would like to know if anyone has seen I Saw the Devil. I really loved it.
South Korean, TGP wasn't quite as realistic, but there is that quality. So I take back that suggestion to you. We just differ. I like gore. The Mechanic did not affect me same way for example.
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Still, I would like to know if anyone has seen I Saw the Devil. I really loved it.
Everyone has their own movie style. The differences are what make the human race great at times. I really do love all the HGL movies like Blood Feast.HA When Lewis and Freidman went on to make Blood Feast it was truly the first gory movie. I really like Friedman's She Wolf Of The SS. You maybe think that is cute? Not I!
Written by Julie Taymor and William Shakespeare. Ya that guy!
So here is an adaptation of The Tempest by William Shakespeare.
First off I really can not rate this. A task as monumental as this gets points just for attempting to pull it off. We have the script in the period style of talking which makes it both cool and hard to understand. I would say that even though Julie Taymor is an American, this movie seems 100% British to me. There are tons of Sci/Fi channel special effects which tend to make this look a little cheesy. The whole movie is almost like a Sci/Fi made movie.
OK, so I used Shakespeare and cheesy on the same page.The effects are good in that they make it look like it is not a play.The movie is an adaptation with creative license used to a great extent! The movie could be made again by someone like Steven Spilberg and it would be all together different. Then again he may be smart enough to not try and make it. James Cameron would bite at this one! It would be a cool movie for James Cameron to attempt. I can write this only as far as trying to understand this film and make no criticism towards Julie Taymor. If anything I give Taymor 10 points for the attempt. Building a bridge from California to Hawaii is a tuffy.
There is a part where the movie just starts going sideways in too many directions in combo with what is suppose to be comic relief. Almost like Taymor is taking movie making to the level of El Topo. It is hard for me to say this is bad as my heart tells me there is a ton of work put into it. The movie even has a sincere way of being which allows you to see they tried.
This movie is not for everyone. Maybe it is 10 years ahead of it's time? I may watch it again. Helen Mirren is wonderful and is 90% of what makes this movie work on the level it is at.
^ Seeing that Helen Mirren was involved in the project, I considered watching it, but in the end decided against it.
The first I saw of Helen Mirren she was one of the players in As You Like It, produced by the BBC in their grand Shakespeare Plays project of the late 70's, early 80's. In case there was any doubt, she was cast as Rosalind. I feel fortunate to have the DVD boxset that includes that ver. of As You Like It.
^ Seeing that Helen Mirren was involved in the project, I considered watching it, but in the end decided against it.
The first I saw of Helen Mirren she was one of the players in As You Like It, produced by the BBC in their grand Shakespeare Plays project of the late 70's, early 80's. In case there was any doubt, she was cast as Rosalind. I feel fortunate to have the DVD boxset that includes that ver. of As You Like It.
For any of you folks that like Shakespearean actors and BBC productions check out Ian Richardson in the House of Cards trilogy (House of Cards, To Play the King, Final Cut). Especially before the Kevin Spacey remake ruins it all.
Oh yes, House of Cards was utterly brilliant. Go on youtube http://www.youtube.com/watch?v=k4aiZnPHGfA&feature=related and you can see all of Francis Urquhart's most searing lines
For any of you folks that like Shakespearean actors and BBC productions check out Ian Richardson in the House of Cards trilogy (House of Cards, To Play the King, Final Cut). Especially before the Kevin Spacey remake ruins it all.
Starring Soledad Miranda, Ewa Strömberg, Andrés Monales, Dennis Price, Paul Müller
Music by Jesus Franco, Manfred Hübler Sigi Schwab
Cinematography Manuel Merino
Editing by Clarissa Ambach
Distributed by Exclusivas Floralva Distribución S.A. Release date(s) 15 July 1971 (West Germany) 1973 (Spain) Running time 89min.
Country West Germany / Spain Language German
Being that this came out is 1971 is both amazing and cool. Amazing as the set is made up of just regular pieces furniture at some island estates. The fact that we are in the modern early 1970s almost makes every piece of furniture like art. Wild, big, furry carpet things hanging down from the ceiling and really dark deep colors somehow transport the viewer to a super cool universe in time. If you want to see dark wood, burnt orange and dark red/blue/yellow together, this is the movie with the ultimate 1960s interior shots. I guess at the time the two girl thing must have also been very new and dangerous? Maybe not, as movies like this one were a little like carnival side shows with their own little pocket of art movie/culture groupies which they catered to.
It would be called a regular R rated movie today. The ratings folks today would have it renamed and a movie like this would be almost normal. Then I guess in the early 1970s it was something very cutting edge. So we have the radiant Soledad Miranda in quite possibly the best role, before her untimely death in a car accident soon afterwords. She carries an air about her which makes this movie the special thing that it is. The other addition may be that she is one of the most beautiful women to ever live. I am under her spell!
So we have Franco who must have seen Dracula at an early age and learned that Vampires have a form of mind control over their pray. We also learn they can sprout fangs at the opportune time. The best part besides Soledad Miranda would have to be the soundtrack. A groovy mixture of free jazz and euro pop with early synth elements way before things got sophisticated. It is this early simple charm that first starts to get you into this. The camera work is a rare mix of sorts which could be trash or art, you make the call. OK, so we have Vampire chicks sunbathing on the beach like on the Rivera. Is this was what Universal was missing from the first Dracula? So Franco does just about anything he wants. We know that we are in store for anything here. The way it does work is in the transitions. Some transitions are smooth and some are just strange. That is what makes this movie. It makes you feel like you want to look at window drapes and “space” out on just the window drapes. This is the beginning of the trance you fall under as there are Vampires around and this whole thing just starts to get a little dreamy. Years before Lynch started to use this cut/non consistent/time edit in flicks, Franco had it down.
This movie single handedly made Soledad Miranda the cult legend she became. Passing from our world at the ultimate peek of her beauty and acting skill. She will always be remembered in this movie both strangely otherworldly and seductive. Just like Dracula, Soledad Miranda has a complete history and comes from somewhere with a background all intact but not fully explored. She has the eyes to hypnotize her pray. The designer clothes she wears also helps make her a movie icon. She is an actress of natural talent and holds the demeanor to make the character become alive. No small task!
The best part of this was after a while it almost seemed believable. HA……. A movie shot 40 years ago about a fantasy creature with jazz/pop music playing in the background while scantily clad gals fall in love on a unpopulated beach front island? That is the power of Franco over the small minded viewers, preferably male with imagination. Like a long free jazz experiment we have this strange talking from nowhere coming out of one mind and traveling into another. This un-embodied talking can come from anywhere and ends up being the focus of our attention and carrying a plot narrative. There is an agenda here. We are voyeurs and unwilling participants as we get sucked in against our willpower. This movie is slow, this movie is a 1960s-1970s time capsule, and this movie may be something you never forget.
Gomorrah. Gangsta flick set in Italy. I wanted to like this more than I did, but it just didn't move me. There was no emotional resonance for any of the characters, save maybe two in fleeting moments, or for the tangled events portrayed. The way it was told, it was like the directors just wanted to present what happened as it was reported (probably taken from accounts in a book it was based on). It lacked its on interpretative bent that gave way to a realism that maybe stayed true to how the mob operated in Italy--how they accumulated wealth, drugs, the ruthless violence, gang rivalry, etc. Even though it was interesting to watch, the film didn't really answer the "So what?" question. I walked away not really caring too much about it. I give it a 7/10.
Miller's Crossing, on the other hand, by the Coen brothers blew me away b/c it was the 1st American gangsta flick I saw that had a cerebral philosophical/existential bent in the framework in the way the story is told. The way it conveyed all of the multiple angles occurring between the characters and the ramifications of their actions, I thought was different from the typical ruthless violence driven mob movie. I really liked the level of thought put in the dialogue & story line. Overall, I give it an 8.5/10.
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