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I watch some 400 to 500 movies a year. I consume movies, with a strong focus on foreign fares (mostly Asian) and off-beat oddities. I built this site to keep track of my DVD collection, write reviews, maintain a blog where i write weekly about the US Box office numbers and various movie-related news, keep track of every movie i watch, collect DVD covers and set-up virtual shelves and so on. RatingMovies.ComŽ was born and grew from there.
I made all those sophisticated tools available to anybody so you can do all of this too. This is a site for film and DVD enthusiasts (i.e. freaks) where you can build your own communities, with your very own movie and dvd lists, reviews, blogs and RSS feed, mailing lists, a home page like this one, and even keep track of movies your friends borrowed from you.
Give me a high-concept horror film, give me style, give me New York City, and i can be a pretty happy man. It's funny that New York has been such a fertile ground for filmmakers in the late 70's and early 80's with films that have stood the test of time, even if most of them never escaped the Cult status. Can you forget Laura Gemser strolling on 6th Avenue or Park in many Black Emanuelle films? Who can forget the gangs of Warriors, The (1979)? And anyone who wants a trip back to when Time Square was a seedy place can check out New York Ripper, The (1982). You can also watch with a strange sense of nostalgia and sadness as Snake Plissken lands on top of the Twin Towers in Escape 1, Escape From New York (1981). And finally, for a reminder of how crumbling and disaffected the Bronx once was, just check out Wolfen (1981).
After a series of gruesome murders, New York City veteran cop Dewey (Albert Finney) is taking up the investigation and enlists the help of his friends Whittington (Gregory Hines), a coroner, and Rebecca (Diane Venora), a police psychologist. Soon, they uncover that those murders may not be man made, and instead, be the product of wild wolves roaming the disaffected areas of the Bronx. What are they, where do they come from, and what are they after?
Wolfen is best described as a flawed masterpiece. It has an amazing cast that really brings this horror film to great heights, and overall production value that is very high. The views of New York are gorgeous and the various sets, such as the remnants of a church, are so detailed and moody. Location shooting has rarely been used so well, and been so perfectly matched, to create the right mood. And of course, you have the sound design and cinematography. During most of the film, you rarely see the animals, and Michael Wadleigh made some great innovative choices to create a subjective view from those ever present protagonists. It was interesting that in my head, i kept hearing and seeing Predator 1 (1987), and it's obvious where that film got its inspiration from. And finally, you have James Horner's ornate score that contrasts well with the barren city-scapes on screen.
But the film is flawed most prominently to me because of how it presented itself: it wanted to be a Werewolf movie. Remember that at that time, Howling 1, The (1980) had just been released and was quite a success, and American Werewolf In London, An (1981) was coming out just a few weeks after (August '81 Vs. Wolfen's July release) along with saturation level marketing. Audiences were pumped up, and in the mood for werewolves stories. But this film was not such a film. It tried to be, and compromised itself in the process while never really making the leap to enter the realm of the supernatural. I can understand the reaction most people had during the scene where Edward James Olmos "morphs" into a wolf, and go "WTF! That's stupid!". But was that the fault of the expectations or the movie in and of itself?
The movie is much higher concept than that, focused on what are today easily recognizable environmental themes and mysticism but which in the early 80's were probably a little bit too esoteric. The film is a quasi masterpiece because technically, it was executed very well, and because it dared to break ground in high-concept horror. But it failed by compromising too much of its integrity to appeal to the commercial currents of the day and missing the mark in that respect.
The film is ultimately about nature retaking the ruins of human civilization, and then subsequently being displaced when Humans want to clean up. In the late 70's and early 80's, you could walk for blocks at a time in the Bronx and see nothing but disaffected buildings in ruins. In that context, the Wolfen, a highly evolved, and very smart, species of Wolves have retaken that environment, living side by side, but separately, from human civilization. It's when developers came back to the Bronx to rebuild the neighborhood that this new-found habitat becomes threatened, and the Wolfen go on the attack.
Even though Wolfen suffers from an identity crisis, which is the root cause of its "strangeness" and prevents it from achieving a masterpiece status, it is nevertheless a movie that has aged well. Its environmental themes are ever more current, and its hip stylized look and sound remain very attractive and engaging today. Additionally, it offers a glimpse of a beloved city in ruins, on the cusp of a major phoenix-like revival. This is a movie i had wanted to watch again for so long, and i felt really happy i did it. When the credits rolled, i had a smile of satisfaction on my face.
A few months ago, i watched House Of The Devil, The (2009) and loved its atmosphere. It was an 80's throwback to Satan worship that was so well done. The music, the cinematography, the slow paced editing and satanic subject matter was a direct homage to all the movies of that genre from the late 70's and early 80's. But i was yearning for something more. More action, more satanic stuff, more blood. Yes, even though i loved the film for its moody style, i wanted more.
Angie (Sarah Thompson) is a young woman about to start College in a small town. Looking to make some money, she takes a babysitting job at a remote farm off the town's limits. At first, she is enchanted to meet with well educated professionals instead of hillbillies she was fearing. But on her first night, strange events start happening. The phone rings non stop and no one answers at the other end. The boy she is babysitting is acting very strangely, and soon, a weird man is forcing his way into the house and starts wrecking havoc. At first, Angie thinks he's after him, but she quickly realizes that it is instead the boy he's after.
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There is definitely an 80's throwback in the air. There is plenty of music and films that aspire very clearly to re-create some of the sounds and visuals of that era. This film is interesting in that is actually mixes several genres together. What starts like a Halloween 1 (1978)-esque bogeyman transforms itself into a Satanic film, and ends into a bloody torture-porn-like finale. It is very well performed, and well filmed overall. It's fairly packed with action and gore and keeps being entertaining throughout.
This is a little horror film with no other pretension but to entertain plain and simply. Like Storm Warning (2007) that i just reviewed, it focuses on higher-than-expected production value, writing and performances. It doesn't skimp on gore and keeps an overall entertaining pace throughout. Among the masses of mediocre horror films i have seen recently, this one stands out as a fun movie.
A married affluent couple takes a vacation and they rent a boat to go explore an Australian swamp. A storm forces them to abandon those plans and seek refuge. They think they are safe when they come across an isolated farm, only that the owners seem to be your typical degenerate hillbillies, and that they grow illegal pot. Fueled with paranoia and violence, the locals start lashing out at the couple. The confrontation escalates from bad to worse as the couple fights for their lives.
TRAILER
This is a very interesting movie, combining wonderful cinematography of the delta leading to the swamp area, and great performances from Nadia Fares and Robert Taylor as the couple. The writing is also very good as you get a great exposition of tensions in a couple as the situation around them escalates out of control. The traditional roles of male and female, that being of the protector and the protected, get switched, as it should be in any good horror film. Oscillating between cooperation and resentment, the basic arc of the couple in this film reminded me of Funny Games (2007) or Straw Dogs (1971) to some extent.
Then there is the gore, which is absolutely plentiful. There are some very brutal moments on screen, but they are somewhat heightened by the character exposition and the fact that for a while, the good guys seem to get the upper hand. Is brutality against the bad guys somewhat more enjoyable? In this story where the meek take this fight to the end very seriously, it absolutely is.
This is a simple horror film that will satisfy gorehounds, as well as people looking for deeper characters, people they can root for in times of life and death conflict. Although it has its fair share of frustrations (like the many times the couple could have escaped, but didn't), overall, it is well executed and will push some adrenaline through your veins. Among the masses of mediocre horror films i have seen recently, this one stands out as a fun movie.
2006 and 2007 were strange years. Several directors known for their unique styles went mainstream, and created films that although really good, would not be recognizable as their work. For example, Spike Lee did Inside Man (2006), Woody Allen did Cassandra'S Dream (2007) and Roland Joffe did Captivity (2007). It's hard to believe that anyone could recognize those directors from watching those films. Inside Man was VERY good, but the others, including Neil Jordan's foray into the mainstream, have not been successful.
Brave One, The (2007) tells the story of Erica (Jodie Foster), a successful NY radio DJ who one night becomes the victim of a random violent crime while strolling in Central Park. Her boyfriend, the love of her life, is killed mercilessly, and she is raped, beaten, and left for dead. After she recovers, she finds it hard to resume her life. Haunted by what happened that night, she is consumed by the need for revenge, goes buy a gun, and starts a rampage of vigilante rage.
The film's production value is very high, with great NY cinematography and art direction. And the performance from the cast is very good, especially for Jodie Foster who is excellent, as usual. Yet, the film is blank as far as emotions go. The film is simply lazy and takes the easy way out at almost every turn. The bad guys are so horrendous, and what Erica went through is so horrible, that you can't help but rooting for her. Add in a twist where the Police ends up "cooperating" with her and hiding her crimes, because they are "so understanding" about her as a victim, becomes just too cliche for my taste. Although the characters walk smack into a grayer than gray zone, the movie keeps on painting an absolutely black&white picture about everything. It's ultimately damaging because when the credits roll, you realize you were rooting for a woman who went and killed a couple of teenagers because she saw them bully some kids in the subway and steal an iPod, and she goes Scott-free with the blessing of some NYPD officer.
This is a movie that could have been interesting. It's not trashy enough, or exploitative enough, to be entertaining in a guilty pleasure kind of way (it's not Charles Bronson's Death Wish series), yet it's just too lazy to engage you emotionally or intellectually. The movie takes the easy way out at every possible turn, and not even a great performance from Jodie Foster or good production value can save this film. This is a pity because Neil Jordan is certainly a great director who has distinguished himself from the masses before on many occasions. This is an average and disappointing film.
Anyone who knows me knows i am a fan of Italian "exploitation" cinema in its every genres, from Giallo's to Cannibal fares, from Black Emanuelle to Lucio Fulci . Giallos in particular represent a fascinating genre of Italian cinema, mixing a traditional Italian sense of beauty, macabre stories and mystery. Pretty much all Giallos center around a mystery (a classic whodunit) involving elaborate and graphic murders, all wrapped in often amazing soundtracks, cinematography and art direction. Just give films such as Don'T Torture A Duckling (1972), Bird With The Crystal Plumage, The (1970), Tenebre (1982), or Who Saw Her Die? (1972) a try to get a sense of the genre. And of course, you must give Forbidden Photos Of A Lady Above Suspicion (1970) a try too as it's one of the best out there. From the late 60's to the early 70's, the genre literally exploded with trail blazing films.
Minou (Dagmar Lassander, one of the 70's sex icons) is a rich woman who recently married Peter (Pier Paolo Capponi), a business man deep in debt who is about to launch a new product. But was the marriage born out of love, or does Peter have other plans? When Minou starts being blackmailed by a mystery man one day, she enlists the help of her best friend Dominique (the gorgeous Nieves Navarro), a sexually liberated society woman, and the pair launch into a detective operation to uncover the truth. But when Minou finds an erotic photograph of Dominique along with the mystery man who is tormenting and blackmailing her, she starts having doubts about Dominique's real intentions.
The story is quite convoluted, and if you don't follow it closely, you are likely to miss a few twists and turns. But what the movie lacks in overall narrative cohesiveness (a trait common to many Giallos), it makes up in style and "gorgeousness". Every frame of this film is carefully composed, and the sets and costumes are simply jaw dropping. Add in a magical score from none other than Ennio Morricone, and the whole package is one of a kind. This is ultimately what this film is about. It's a pleasure for the senses, and the story is interesting, but functions more as a structure to set-up various interconnected moody scenes, than to create a specific narrative.
Part Alfred Hitchcock, part Horror, part Italian, this film combines different genres, approaches and aesthetics to create a unique package that captivates. It's a film that you can immerse yourself into, and appreciate for its elaborate beauty and the craftsmanship that went into each and every scenes. The music adds an additional layer of dreamy like mood that matches the state of the protagonists. This is a film that has simply been designed well from the ground up.
Two years ago, JeeJa Yanin exploded on the screen with Chocolate (2008), one of the best martial arts films of the decade, exploding with energy, innovative choreographies, and a pretty good story and well developed characters that you don't often see in films of that genre. So of course, i was eagerly awaiting a follow up, and it finally arrived in the form of Raging Phoenix (2009). Was it worth the wait?
Deu (Yanin) is a young Thai woman who sings in a rock band when suddenly, her manager kicks her out. From one problem to the next, she gets mixed up with a dangerous gang that kidnaps young girls for nefarious purposes. That's when she meets with 3 young men in the quest of that same gang after their girlfriends mysteriously disappeared. The four young men and woman will stop at nothing to unmask the leader of that gang, and hopefully recover the missing young ladies.
So, the big question anyone has on their minds is: is the movie a worthwhile follow-up to Chocolate (2008)? My answer is simply no. The movie's production value, cinematography, and character development simply doesn't even come close to its predecessor. It's pretty much a lesser, and cheaper looking movie in all respects. Glad we got that out of the way. So, you ask, how about the action? It's gotta be good.
There again, you will likely be disappointed. One of the things i loved in Chocolate are the long takes, and you could see the massive amount of time the team spent preparing each and every scene. The choreographies were superb, and enhanced by the cinematography, the editing and the sound design, which plunged you right into the heart of the action. Here, all those wonderful elements are simply missing. For most of the movie, you have fairly badly filmed action scenes, with editing that feels jumpy at times, to make up for either rushed rehearsals, or a budget too low to afford more filming time. The choreographies are pretty cool, as to be expected from Thai actionners, but at times, they are a little bit too "wiry". Most importantly, many action scenes are filmed in the dark! I mean, what's up with that? If you have some of the best martial artists in the business, don't you want to make sure you show every single square inch of their amazing bodies as you can? The idea of a shadowy environment in order to add "style" to a scene seems to defeat the purpose of martial arts where you want to see every move.
TRAILER
Now, this being said, the movie does have a hidden jewel, and you'll have to get through 80mn of the film in order to be stunned by the grand finale. The last battle is simply astounding. I am running out of hyperbolic adjectives here to truly convey how i felt when i watched it. There is a marked difference in the quality of the choreography, the cinematography and editing in that very last scene. There, you can see again Yanin's raw talent, and she is fighting a gorgeous amazonian beauty that will simply make you beg for more. That grand finale alone is worth the ticket price (or in my case, the DVD price).
All in all, this is quite disappointing compared to Chocolate, but then again, Chocolate is a modern action masterpiece. Raging Phoenix is by no means a bad film, but it suffers from a lower budget this time around, and the cinematography and editing are not as good. But you will still see incredible moves and mixed martial arts that are performed at the top of the game. The final battle is simply astonishing and your jaw will drop, over and over again in the last 15 minutes of the film. Yanin is simply incredible and confirms here that if she can keep it up, she is the best female martial artists around, and certainly, way up there with Donnie Yen and Jet Li in terms of her skills.
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