Month: April 2021

Today’s quick review: What’s Up, Tiger Lily?. For his latest assignment, secret agent Phil Moskowitz (Tatsuya Mihashi) is tasked with recovering a priceless egg salad recipe stolen from the nonexistent country of Raspur. To steal the recipe back from crime boss Shepard Wong (Tadao Nakamaru), Phil must team up with spy sisters Teri (Mie Hama) and Suki (Akiko Wakabayashi) Yaki, as well as make an alliance with Wing Fat (Susumu Kurobe), Wong’s rival.

What’s Up, Tiger Lily? is a spy comedy from Woody Allen. What’s Up, Tiger Lily? is a novelty: a Japanese spy film given a new script and dubbed intoa comedy. The premise gives Woody Allen and his collaborators the chance to poke fun at the source film and the spy genre as a whole, as well as tinker with jokes in a low-stakes environment. However, the film’s disconnected scenes and short run time make it a less than fully satisfying watch.

What’s Up, Tiger Lily? is at its best when it’s cracking one-off jokes. The format of the film lends itself to inventive jabs at the medium itself, and there are a few truly clever jokes buried in the silly, moment-to-moment humor of the film. But more often than not, the humor is too shallow to be effective. The dub format means there’s little in the way of story or continuity, and there’s no attempt to make the script feel polished.

The result is a light, silly comedy that has a few good gags but lacks follow-through. Those interested in the dub format should give What’s Up, Tiger Lily? a shot, as it has some unique forms of humor and manages to be a pleasant watch. But those expecting a tightly scripted comedy masterpiece may want to steer clear. What’s Up, Tiger Lily? does have its moments, but it isn’t consistent enough to take full advantage of its premise.

For a martial arts comedy that makes extensive use of dubbing over a previous film, try Kung Pow: Enter the Fist. For a Mel Brooks comedy that toys with the medium in similar ways, try Silent Movie.

5.9 out of 10 on IMDB. I give it a 6.5 for experimental comedy with mixed results.

Today’s quick review: Curse of the Golden Flower. In the late Tang Dynasty, the Royal Family of China prepares for an extravagant public ceremony. On the eve of the ceremony, the Empress (Gong Li) learns that her husband, the Emperor (Chow Yun-Fat), is having her poisoned. With no other option, she turns to Prince Jai (Jay Chou) for help. Meanwhile, Prince Wan (Liu Ye) pursues a risky affair with the Empress’ handmaid Chan (Li Man).

Curse of the Golden Flower is a Chinese martial arts drama from director Zhang Yimou. The movie follows the intrigue within the Royal Family as the Emperor attempts to kill his wife, his wife plots against him in return, and the Princes jockey for their father’s favor. Curse of the Golden Flower couples an ornate visual style with a tragic tone and a plot that’s full of twists and turns. The film is capped off by a dash of martial arts action.

Curse of the Golden Flower is most notable for its visuals. The film goes all-in on its sets and costumes. Everything is done in intricate detail, and the predominantly gold color scheme gives the film a distinct visual identity. Curse of the Golden Flower also goes to great lengths to replicate the excess of the Emperor’s palace. The sheer number of servants involved in the palace’s daily rituals contributes greatly to the film’s atmosphere.

Against this backdrop, Curse of the Golden Flower tells a fairly engaging tale of power and betrayal. The machinations of the Emperor, the quiet endurance of the Empress, and the secrets surrounding Priince Wan’s affair give the movie plenty of drama to work with. However, the courtly intrigue comes with a price: a tragic tone, a decreased focus on the film’s action, and a mixed payoff to some promising plot threads.

Curse of the Golden Flower is a worthy choice for fans of the more dramatic side of the martial arts genre. Though not as action-heavy as some of its competition, the combination of gorgeous visuals and an engaging plot make it a worthwhile watch. Those looking for pure action or more upbeat story should look elsewhere. For another striking martial arts drama from the same director, try Hero, House of Flying Daggers, or Shadow.

7.0 out of 10 on IMDB. I give it the same for impressive visuals and a solid plot.

Today’s quick review: Batman: Gotham Knight. Batman (Kevin Conroy) continues to clean up the streets of Gotham with the help of Lr. Jim Gordon (Jim Meskimen), Lucius Fox (Kevin Michael Richardson), and Alfred Pennyworth (David McCallum). As his heroics give hope to the people of Gotham and to the police force, Batman faces a new wave of threats, including a fierce gang war, a beast that prowls the sewers, and a deadly sharpshooter for hire.

Batman: Gotham Knight is an animated superhero anthology featuring six short films about Batman. Loosely set in the world of Batman Begins, Gotham Knight explores different aspects of Batman’s character with a variety of perspectives and art styles. The stories are largely independent, but they connect together through consistent background events and details. The end result is a medley with interesting parts but no standout hits.

Like with most anthologies, the stories in Gotham Knight vary in style and focus. Stories like “Have I Got a Story for You” and “Crossfire” show Batman’s impact on the city’s civilians and honest cops, respectively. “Field Test” and “Working Through Pain” delve into Batman’s allies, technology, and methods. Finally, “In Darkness Dwells” and “Deadshot” introduce a couple of classic Batman villains to the more grounded world of Batman Begins.

Batman: Gotham Knight’s main failing is that it doesn’t finish what it starts. The short films cover a variety of topics, but few of them feel like full stories, even taking their short run times into account. As such, Gotham Knight has decent moment-to-moment writing but never really builds to anything in particular. The short films are more ruminations on Batman than pared-down stories, though the execution quality is solid throughout.

Batman: Gotham Knight is a decent pick for fans of the superhero genre. It serves mainly as a lower-stakes look at Bruce Wayne’s life, a mixture of action, world-building, and character development for Batman. Those who don’t mind the supplementary nature of the movie may want to give it a whirl. Those hoping for gripping, plot-driving short stories may want to steer clear. For a similar flavor of animated Batman, try Batman: Year One.

6.8 out of 10 on IMDB. I give it a 6.5 for an interesting mix of stories with few standout moments.

Today’s quick review: The Mummy. Nick Morton (Tom Cruise), a soldier and treasure seeker, puts the world in danger when he unearths the tomb of Ahmanet (Sofia Boutella), an Egyptian princess with terrible power, in modern-day Iraq. With the help of archaeologist Jenny Halsey (Annabelle Wallis) and her mysterious ally Henry (Russell Crowe), Nick must find a way to stop the undead princess before she can unleash the evil god Set upon the world.

The Mummy is a fantasy action adventure and a loose remake of the Brendan Fraser movie of the same name. The movie pits a thief and an archaeologist against an ancient evil with the power to control the dead. Decent special effects, a fair amount of action, and a dash of comedy make The Mummy a fine popcorn watch. However, the film’s uneven tone, thin characters, and generic plot keep it from working as anything more.

As far as fantasy adventures go, The Mummy sticks to the basics. The remake trades the early 20th-century setting of the original for modern-day Iraq and England, sacrificing much of the movie’s Egyptian flavor in the process. In its place is a serviceable but generic tale of awakened evil, mystic powers, and secret societies trying to contain them. The skeleton of the plot works well enough, but the film never carves out an identity for itself.

The rest of The Mummy follows a similar pattern: adequate pieces that never fit together into a cohesive whole. This is most noticeable with the film’s comedy, which centers around Nick and his misadventures. The jaunty tone the movie toys with works fine on its own but never quite fits with the scenes around it. The same goes for the film’s transparent attempts to tie Nick’s story into a larger universe of magic and monsters.

Perhaps most significantly, The Mummy is missing the heart needed to make its story stick. Nick is a selfish cad who never gets the chance to turn his character around, Jenny is single-minded in her devotion to archaeology, and the two of them lack the chemistry that they’re meant to have. Without heroes worth investing in, The Mummy’s conflict, and especially its ending, fall flat. The problem is exacerbated by a linear plot with few digressions.

In spite of its various flaws, The Mummy is a fine pick for viewers just looking for a bit of fantasy. The Mummy offers straightforward thrills, CGI-fueled action, and a few halting attempts at building something bigger. But what it does not have is a clear vision or the solid story needed to make it memorable. Those hoping for either the unfettered adventure of the Fraser version or a true horror movie will be disappointed.

For a more grounded adventure in a similar vein, try the Tomb Raider remake. For a more balanced and distinctive take on a similar premise, try the previous version of The Mummy. For a more fantastic take on the kind of universe The Mummy is trying to build, try Hellboy or The League of Extraordinary Gentlemen. For a more modest, less action-oriented fantasy adventure in a similar world, try The Librarian and its sequels.

5.5 out of 10 on IMDB. I give it a 6.5 for fun action but little else.

Today’s quick review: White Chamber. In the near future, Citizen-General Zakarian (Oded Fehr) leads a bloody revolt against the tyrannical government of the United Kingdom. In the midst of the conflict, Ruth (Shauna Macdonald), an assistant at a military research facility, wakes up in a high tech torture chamber. There Zakarian interrogates her about her work, using sadistic methods to extract vital information that she claims not to have.

White Chamber is a budget sci-fi thriller set in a future United Kingdom torn apart by civil war. Through flashbacks, the movie digs into the mystery of who Ruth is, how she wound up in the White Chamber, and what information Zakarian thinks she’s hiding. White Chamber gets a fair amount of mileage out of this premise and the twists it sets up. However, poorly established stakes, a static plot, and gruesome content make it a rough watch.

White Chamber’s main flaw is that it doesn’t give the viewer enough of a reason to invest in the conflict. Taking place solely in the White Chamber and Ruth’s facility, the movie never shows the civil war in earnest. Ordinarly, this wouldn’t pose a problem for a movie with such a minimalistic setup, but White Chamber depends on the civil war to motivate Zakarian’s torture. Without a direct glimpse into the war, the conflict falls flat.

Even so, White Chamber makes clever use of its premise. The torture chamber lets the film show just how inhumane war can get, while the flashbacks let it set up a number of mysteries that pay off later on. But the tricks the film plays to make its story work end up backfiring, damping the impact of its revelations while tying things up a little too neatly. The situation isn’t helped by middling acting and writing, plus some fairly visceral torture.

The end result is a mystery with an interesting plot structure let down by the way the movie goes about executing it. White Chamber may hold some appeal for those drawn to darker situations, but the combination of its downbeat tone, minimal speculative value, and failed exploration of tyranny and rebellion will put off most of its intended audience. Most viewers will want to steer clear.

For a budget sci-fi movie with a similar premise, try Infinity Chamber or OtherLife. For a dark, minimalistic sci-fi thriller with a more engaging story, try Ex Machina. For a present day interrogation along similar lines, try The Interview. For a more fully realized portrait of dystopian Britain, try V for Vendetta.

4.4 out of 10 on IMDB. I give it a 5.0 for a decent setup with flawed execution and an unpleasant tone.

Today’s quick review: Black Road. In 2029, ex-soldier Dylan (Sam Daly) and his personal AI Clyde (Andrew Wilson) travel to the Free State of Jefferson in search of freelance work. There Dylan is rebuffed by Sarah (Michelle Lombardo), his old flame, but finds a job helping Lisa Clark (Leilani Sarelle) negotiate a divorce with her husband Sterling (Simon Templeman), a cult leader-turned-weapons manufacturer who’s willing to kill to get what he wants.

Black Road is a budget sci-fi crime drama. Set in a near future where several states have seceded from the United States, Black Road follows Dylan as he struggles to get back on his feet. The movie features a noir-style plot with a number of moving parts and takes place in a well-constructed setting that paints a clear picture of the future without breaking the bank. However, limits to its budget and storytelling keep it from going farther.

Black Road fares the best when it comes to its speculation. The movie hits a sci-fi sweet spot: distinct from the present wihtout feeling arbitrary. Nothing about the setting is groundbreaking, but Black Road develops it well in the time it has available. Dylan’s personal AI, omnipresent biometric tracking, and the near-lawless state of Jefferson are some of the movie’s more fruitful ideas, though the details of the setting are sketchy.

Black Road also has a serviceable plot. Dylan is tasked with brokering a peace between a desparate woman and he dangerous husband, with millions of dollars on the line. The question of who Dylan can trust gives the investigation a bit of flavor. However, Black Road’s execution of its story is inexpert. The film never builds up the tension it’s meant to, and neither the acting nor the writing are enough to sell the story well.

More generally, Black Road lacks the resources or the ambition to take its ideas as far as they should go. Clyde is an interesting concept, and the film toys with Dylan’s reliance on him without following through. Similarly, Sterling is a character with an elaborate backstory and real villain potential, but the plot simply doesn’t have much for him to do. Black Road puts in a decent effort, but it has plenty of untapped potential.

Give Black Road a try if you’re a science fiction fan who doesn’t mind a film with a modest scope and a few rough edges. Black Road doesn’t have the spectacle or dramatic weight to draw in skeptical viewers, and only dedicated fans of the genre will get much out of it. But as far as budget sci-fi goes, Black Road’s setting and plot make it an interesting, if niche, pick. Those looking for a tense investigation or polish should look elsewhere.

For a similar picture of the future with higher highs and lower lows, try Mute. For a deeper mystery and a more atmospheric, fully realized future, try Blade Runner or Blade Runner 2049. For a bleaker portrait of the near future, try Automata or The Humanity Bureau.

3.9 out of 10 on IMDB. I give it a 6.0 for solid ideas and mixed execution.

Today’s quick review: Get Carter. Jack Carter (Sylvester Stallone), muscle for the Las Vegas mob, returns home when his brother Richie dies, leaving behind his wife Gloria (Miranda Richardson) and daughter Doreen (Rachael Leigh Cook). Convinced that Richie was murdered, Jack shakes down all of Richie’s associates for information, including a porn magnate (Mickey Rourke), a tech millionaire (Alan Cumming), and Richie’s boss (Michael Caine).

Get Carter is a crime drama about a criminal out for revenge against the people who murdered his brother. Get Carter is a dark investigation with stylish presentation, relying on its airy soundtrack and flashy camerawork to set the mood as Jack goes to work. The story is a weighty mystery where every clue is hard-won and the stakes are personal. However, Get Carter lacks the knack for drama needed to make the most of its ideas.

A remake of the 70s movie of the same name, Get Carter leavens the bleakness of the original with a livelier presentation style and more action. The content of the story is still fairly heavy, but the characters and situations are more colorful. The shift is a mixed bag. The remake’s style gives it a distinct identity, but it never gets the balance of flash and substance right, weakening the drama that’s meant to carry the movie.

Get Carter ends up being a mediocre crime movie with a few sharp flaws. Those hoping for another Stallone romp will be disappointed by its heavy story and relative lack of action. Those hoping for a gritty mystery will find the direction distracting and Stallone a poor fit. There is a middle ground for fans of the crime genre who want something a little offbeat, but even then, the film’s execution leaves something to be desired.

For a more sober take on the same story, try the original Get Carter. For a less serious crime movie that tries something similar in terms of style, try The Business. For budget action movie with a similar premise and worse execution, try I Am Vengeance.

5.2 out of 10 on IMDB. I give it a 6.0 for a decent plot and a vivid style, but without the tact to go with its drama.

“Are we watching Supernatural or not?” —Richard

Today’s quick review: Expo. Richard Evans (Derek Davenport), a veteran with a rap sheet, works as a driver to support Sarah (Amelia Haberman), his younger sister. When one of Richard’s fares is kidnapped by human traffickers, the police try to pin the crime on Richard. To clear his name, Richard sets out to save the kidnapped girl himself, relying on his neighbor Caden (Shepsut Wilson) and drug-dealing friend Majeed (Titus Covington) for help.

Expo is a budget action movie about a down-on-his-luck veteran forced to take on a human trafficking ring. Expo aims to be a gritty thriller, but it suffers from clumsy storytelling and low production values. The plot is held together by the barest of threads, the acting is noticeably flat, and what action the film has is disappointing. The film also runs into issues with the way it presents information, both visually and through its script.

Expo also can’t make up its mind about what it wants to be. The main thrust of it is an action thriller with a hero who takes justice into his own hands, but Richard has a poor track record against the criminals he sets out to stop. The movie invests time in Richard and Sarah’s troubled past, but their arc is poorly thought out. Most perplexing of all is a subplot about Richard’s time as a soldier and a mysterious pill he was once addicted to.

Overall, Expo is a movie with very little to offer. Fans of budget action movies may get marginal value from its ideas, which have the makings of a serviceable thriller if executed properly, and the movie does make an honest effort to make its story work. But nearly everything it tries to do is flawed in significant ways, and it finds itself outclassed even by other budget offerings. Most viewers will want to steer clear.

For a more action-packed thriller about human trafficking, try Skin Trade. For a budget action movie that has better luck with a similar premise, try I Am Vengeance, Silencer, or The Hard Way.

3.7 out of 10 on IMDB. I give it a 3.0 for poor execution quality all the way around.

Today’s quick review: Stolen. After eight years in prison for a botched bank robbery, Will Montgomery (Nicolas Cage) wants nothing more than to make up for lost time with his daughter Alison (Sami Gayle). But his reunion is cut short when Vince (Josh Lucas), Will’s former partner, kidnaps Alison and demands the $10 million from the robbery—money that Will doesn’t have. Now Will has just hours to locate Vince before he loses his daughter forever.

Stolen is an action thriller starring Nicolas Cage. The movie follows Will Montgomery as he tries to rescue his daughter from his vengeful ex-partner while trying to stay one step ahead of Tim Harlend (Danny Huston), the FBI agent who put him behind bars. Stolen has a basic premise but a viable one, with ample opportunity for action, tension, and character development. However, its weak execution leaves it outclassed by other entries into the genre.

Stolen fails to take advantage of the opportunities it sets up. Will’s incarceration, Vince’s revenge, and the broken trust between them are all ideas with high dramatic potential, but they are undermined by the minimal amount of effort the movie puts into its characters. The same goes for Will and Alison’s relationship. What should be the emotional core of the movie is hampered by the limited screen time they share and generic writing.

The flaws extend into the action as well. Will makes a handful of smart moves, but he’s not the master thief the movie makes him out to be. Vince makes for a despicable villain but not an imposing one. For his part, Harlend is painted as an honorable opponent of Will, but he’s too inconsistent to contribute much to the plot. Shaky characters, a limited action budget, and a bare-bones plot undercut Stolen’s attempts to be a successful thriller.

Stolen has the makings of a fine, if generic, action thriller, but its execution leaves plenty to be desired. Fans of Nicolas Cage or budget action in general may get a kick out of it, but most viewers will find that it comes up short in a variety of ways, ranging from its stunts to its plot to its character work. Stolen avoids the very worst missteps of the genre, but its modest strengths are outweighed by its many weaknesses.

For an action thriller with a similar premise and much sharper execution, try Taken. For a Nicolas Cage crime movie with a similar setup and more character, try Gone in Sixty Seconds. For a more over-the-top action movie that stars Nicolas Cage in a similar role, try Con Air. For a more explosive action thriller with a similar villain, try Speed.

5.5 out of 10 on IMDB. I give it the same for a decent setup and flaky execution.

Today’s quick review: Internal Affairs. Raymond Avilla (Andy Garcia), the newest member of Internal Affairs, makes a dangerous breakthrough when he identifies Dennis Peck (Richard Gere) as a dirty cop. Together with his partner, Amy Wallace (Laurie Metcalf), Raymond hunts for the evidence he needs to put Dennis away. But Dennis proves to be a resourceful foe and retaliates by attacking Raymond’s relationship with his wife Kathleen (Nancy Travis).

Internal Affairs is a crime drama about a crooked cop and the officer determined to catch him. The movie follows Raymond as he tries to outmaneuver Dennis, doing whatever it takes to get hard proof of Dennis’ corruption but sacrificing his personal life in the process. The twists of the case, Dennis’ manipulative charm, and the strained relationship between Raymond and Kathleen give Internal Affairs plenty of dramatic heft.

However, Internal Affairs is not as darkly captivating as it tries to be. Raymond makes for a fine protagonist, but his marital troubles feel forced. Dennis is a canny and dangerous villain, but also a petty one, more concerned with emasculating Raymond than covering his tracks. The tension between them and the mechanics of the investigation do lead to a fruitful plot, but the film has a hard time escalating to the finale, instead just coasting.

The end result is a crime drama with a dark tone and a promising plot, but without the skill to make the most of them. Fans of the personal side of the genre may want to give it a shot, especially for Richard Gere’s unsettling performance as Dennis. But those hoping for a fulfilling investigation, a more direct conflict, or a dark journey with a richer sense of catharsis may want to look elsewhere.

For an even more nuanced mystery surrounding the Los Angeles Police Department, try L.A. Confidential. For another tale of police corruption, try Brooklyn’s Finest or Dark Blue. For more sharply executed crime drama with a charismatic villain, try Training Day. For a dark hunt for a serial killer that puts a similar strain on a detective’s home life, try Se7en.

6.5 out of 10 on IMDB. I give it the same for a decently constructed plot with a mixed payoff.