Memories of Murder: Yet another film we don't deserve

Memories of Murder opens in a ponderous mood as a small town detective named Park Doo-Man (played by Mr. Vengeance himself Kang-ho Song) discovers the body of a murdered girl stuffed into a stone partition of a ditch. Her hands are bound and her mouth gagged; she will soon be joined by many more.The year is 1986 and South Korea’s police force is ultimately ill equipped to deal with the onslaught they are about to face. Giving a plot summary would be both crippling dull, pointless and would probably ruin the movie for people so instead I am just going to talk about the way the movie works with reference to whatever scenes come to mind. Original Park Chan-wook was going to make Memories of Murder and Joon-ho Bong was going to film Oldboy. And while it would be easy to see how the directors could have adapted the films, Memories is in a lot of ways very similar to Sympathy for Mr. Vengeance while Oldboy is stylistically much closer to Joon-ho Bong’s earlier film Barking Dogs Never Bite. If the directors had continued in this vein we would have wound up with two excellent films, as it was the swapping of material produced two of the finest films to ever come out of Korea and arguably two of the finest films of this century. In a lot of ways Memories of Murder is an attack on the brutal way that the police dealt the murder suspects. What Joon-ho Bong does which cements this film as a classic is make the three lead police officers deeply flawed individuals who have moments of incredible charm and incredible cruelty. Detective Park is a man who allows a mentally challenged boy to get beaten up by his subordinate, tries to frame said boy, and attempts to beat the confession out of another innocent suspect. And yet the other elements of his character make him seem ultimately conflicted. What is more interesting is the descent of the more rational Detective Seo Tae-Yoon a police officer from Seoul, who is at first the only member of the team willing to use scientific method and whom saves two of the suspects from wrongful imprisonment. As the case goes on and more women are found dead with increasingly bizarre twists on the murder’s modus operandi, including segments of peach, pencils and corsets, the younger detective finds himself becoming more and more like those he looks down upon convincing himself that one suspect is the killer no matter what the evidence says. What makes Memories of Murder so special is that most serial killer films serve a near fetishistic function in that they lionise the killer. No matter how much of a bastard he is there is an undoubted pleasure in waiting to see how the killer will elude the cops and what he will do next. Memories of Murder has none of this, each and every death has a meaning and the killer himself is a character to be feared and loathed. In fact the refusal of the film to name the killer, seen as the film is based on a real life unsolved crime it’s the only way it could be done, he retains a shadow like quality.The film is visually stunning and once again highlights a distinctive talent for cinematography that even the most mundane Korean directors seem blessed with. It is a hauntingly beautiful set off by an evocative score, a genuine sense of dread and characters who are imperfect but utterly compelling.

Near Dark: If Sam Peckinpah was a goth

While taking a look at various horror movies this month for Halloween I thought I'd revisit a film I haven't seen eince the 80's. That being Kathryn Bigelow's Near Dark, a violent western-themed Vampire film.



Genre cinema is much better off for the presence of director Kathryn Bigelow. She takes the same directorial style, eye for action, and understated power of her ex-husband James(I'm richer than God) Cameron and applies it to films that Cameron would never touch because they’re considered “b-movies” or “exploitation.” But in Bigelow’s capable hands, they become visceral action classics (“Point Break”). “Near Dark” is a bonafide hallmark of horror cinema, a “Vampire Western” from the 80’s that effectively re-imagines vampire lore for the modern era. Bigelow forgoes the shadowy creatures of “Nosferatu” and “Dracula”, as well as the gloomy, self-loathing aristocrats of Ann(can't write for shit) Rice’s novels, and instead portrays her vampires as a roving band of homicidal maniacs akin to the Manson family. The result is a sleek, stylish film with action that hits like a freight train(the fucking badass shootout at the motel) and characters that disgust you at the same time you can’t take your eyes off them. Too many vampire movies make the mistake of wallowing in the vampire genre, obsessing over points of vampire mythology and lore (think the dogshit“Underworld” series). “Near Dark” returns the concept of the vampire to its most basic roots and makes these creatures primal and terrifying once again. The performances are solid all around: Jenny Wright is the portrait of dark innocence, and the moment she is introduced eating an ice cream cone it’s easy to see why the protagonist is so taken with her; while Bill Paxton takes his over-the-top and obnoxious punker character of the 80’s (“Terminator”, “Aliens”) to its excessive peek, coming off like Beavis & Butthead with a bloodlust – somehow he makes it work. “Near Dark” is a cult classic and a horror masterpiece; moody, exciting, and action-packed. This is – dare say it? – possibly the best vampire movie ever made. And the characters never once mention the word “vampire”! Naturally, that’s exactly what makes it work.

Last Hurrah for Chivalry: John Woo+Swords=awesome

Last Hurrah for Chivalry” has all the elements of a John Woo film: copious use of slow motion, expertly choreographed action sequences, extreme blood-letting, and a strong theme of friendship. The only difference is, the heroes wield swords instead of guns. But everything else is in place and this movie is all the better for it: “Last Hurray for Chivalry” is a John Woo movie for people who like John Woo movies. And with the swordplay and ancient Chinese setting, well, if you’ve ever wondered what a John Woo-directed Shaw Brothers movie would have been like this is probably about as close as you’re going to get. The story is a deceptively simple tale of revenge. A man is disgraced and left for dead on his wedding night and he slowly but surely assembles the means to claim vengeance. His closest allies in the upcoming battle also end up being his closest friends. This is a movie about men who are devoted to each other, to the point where they would willingly lay down their lives for one another. There are plenty of sword-fights and martial arts battles strewn throughout the entire movie and they are often long, complicated affairs with jaw-dropping choreography. All in all, if you love John Woo movies, chances are you’ll love “Last Hurrah for Chivalry”. While it may not reach the emotional or visceral heights of “The Killer” or “Bullet in the Head”, this is jut as exciting and action-packed as the first two “A Better Tomorrows”. Highly recommended for fans of the director and anyone else looking for an old school epic with plenty of swordplay.

Extreme Prejudice: Or so many bullets, so little time

Walter Hill has to be one of the most criminally underappreciated directors in America. Although he is sometimes labeled as a Peckinpah rip-off, at his best he is capable of making exhilarating genre cinema, movies that almost guarantee their status as cult favorites. “Extreme Prejudice” is Hill’s attempt at creating a modern Western and he succeeds admirably. Starring Nick Nolte, Powers Boothe, Michael Ironside, and Rip Torn, this film has enough testosterone for about five other movies. Set in Texas, “Extreme Prejudice” has Nick Nolte trying to thwart Powers Boothe’s drug-trafficking business while contending with Michael Ironside and his team of mercenaries. All of these plot-lines converge for a bloodbath of a finale that must be seen to be believed. Nearly every cut Hill makes begins with a flash of machine gun fire and ends with bodies flying through the air, riddled with bullets. This is one of the few American movies I’ve seen that rivals a John Woo film in sheer violence. Nick Nolte gives a fittingly dry performance as a no-nonsense, distant and emotionally cold Texas Ranger. If you’re looking for a hero with charisma, look elsewhere. Powers Boothe is quite good as the main villain of the piece, capable of drawing both sympathy and hatred from the audience. Michael Ironside and his band of mercenaries are all colorful, fun characters to watch – and I never get tired of seeing intelligent and methodical criminals plan a bank heist. Of course, invariably something goes wrong and the whole job is botched…somehow this formula never gets old! And that’s basically what “Extreme Prejudice” is – an old formula, the American Western, revamped for a modern setting and filled to the brim with violence to accommodate. For fans of director Walter Hill, it’s a must see. “Extreme Prejudice” is no-frills entertainment, deadly serious and full of bloody action.

Dead Man's Shoes

I feel ashamed to admit that this is the first Shane Meadows film i've seen. I remember Twenty-Four Seven getting rave reviews a few years ago and Shane Meadows being talked up as the saviour of young, British cinema and if Dead Man's Shoes is anything to go by, I can see why.
In tackling an essentially well-worn, popular genre - revenge, by way of a slasher film - Meadows has produced something different, as edgy and electric and grimy as Mike Leigh's Naked or the original Get Carter. But there is no room for cool death sequences or witty one-liners. This is about real people doing horrible things to one another.
At the heart of it is a star-making performance from Paddy Considine, every bit as gifted and electrifying as a young Robert De Niro, delivering every line, no matter how innocuous, with tangible menace and realism. His intentions are explicit from the get-go, before we see any of the major characters - "God will forgive them. He'll forgive them and allow them into heaven. I can't live with that". And once we meet the antagonists, while they are entertaining, even sympathetic to a point, we know they are scum.
One by one, he sets about confusing them, playing with their heads and eventually killing them. The reasons are unclear at first, but we know it has something to do with his slightly mentally handicapped brother Anthony(astonishing, heart-breaking performance from newcomer Toby Kebbell), drugs and their manipulation of him while Richard (Considine) was in the army.
What makes this film so unsettling is the realism of the whole endeavour. It all takes place in a sub-standard area of the midlands (think the English version of La Haine's slums) and the main characters are all drug-dealing nobodies, likely unnoticed by the law in a fairly run-down part of the country. These are working-class characters all the way. The language and interaction between them is completely believable which makes the circumstances they find themselves in all the more harrowing - it could easily happen this way to anyone.
At first, it seems Richard's plans could be along the lines of the Count of Monte Cristo as he sets about toying with them, humiliating them and causing distrust among the individual characters, especially Herbie (the main dealer) and Sonny (the head honcho, who owns and runs a shitty club), played by Gary Stretch, a formidable actor best recognised as Cleitus in Alexander (Colin Farrell runs him through with a spear after a fantastic argument).
But once the first of them dies, it is apparent their days are numbered and those numbers don't stretch to double figures. One of the stand-out scenes comes when the six men who are marked for death are driving around in a 2CV - a ridiculously small car - looking for Richard and drive past him. Sonny gets out and walks over to him, offering his hand. When it is refused, Sonny - whose house was broken into and makeup painted all over his face the night before - says to Richard, "They've got this crazy idea -" and before he can recount anything, Richard butts in, without a hint of care and says "Yeah, it was me."
The whole film fizzles with exchanges like this, Richard being a character without fear. He uses his military experience to be invisible and prey on these doped-up junkies. Indeed, there is a prolonged, deeply uncomfortable sequence where he spikes their tea with a huge amount of acid and then swoops in as they go through a heavy trip.
When the reveal of what actually happened to Anthony years before comes, it throws new light onto everything that came before. Traditionally, this would be a "twist" before the final act, but it doesn't feel like it here, merely the final piece of a fractured narrative that has run throughout the flm (we see glimpses of the past as the story unfolds). It does present the question of Richard's mental state - obviously he has murderous rage in him, but perhaps he is even more damaged than we at first believe.
This is answered, to some degree, by a staggering final scene, unlike the ending to any other slasher film you have seen. In fact, this is a slasher film only by name, bearing the essential plot outline of such a film, without any of the genre's hallmarks. Much more, it is a human drama, taking place amongst a group of characters who are in the final days of their lives.
Its an incredibly rich film, with characters well-drawn from minimal exposition - the scene where Richard and Anthony sit back-to-back, talking about a football match years before is a masterclass in character development, minimalistic dialogue and performance - crammed with disturbing concepts and no easy conclusions. The acting is excellent all-round, as is the editing and score and it is guaranteed to leave you chilled for some time afterward.
Definitely one of the very best modern "horror" entries (think Halloween by way of Ken Loach) and one of the best British films of the decade, if not ever. Paddy Considine is here to stay and that is truly something to rejoice about.

Holy Fuck it's been over a month?!!!! Oh well here's a review

Okay so I haven't been updating my blog like I thought I would due to a lack of time(kidney stones, work, Bioshock, masturbating) but now I'm ready to dig in and go back to updating for anybody that cares. And the first thing I have up is a new review of a movie that I may only enjoy and that's the Michael Cimino's Year of the Dragon

I saw this many years ago and I think I was hoping it would involve Mickey Rourke blasting up New York’s Chinatown with a wisecracking partner who was an expert with nunchucks. So when it wasn’t quite that sort of film I was bummed(Showdown in Little Tokyo is that kind of film though.) I felt it was time to give this one another look with a slightly more mature pair of eyes and I’m glad I did. What a great flick.Rourke is a force of nature in this film as a cop put in charge of maintaining order as violence escalates among Chinatown‘s criminal underworld. His actions and dialogue damn near make Michael Douglas in BLACK RAIN look civil by comparison. It’s a crazed performance that practically gives you an ulcer just by watching him.To counterbalance Rourke’s manic vibe, he’s given a nemesis in John Lone who’s as cool as they come. One of the true underrated cinematic gangsters. His final showdown with Rourke is a terrific sequence between 2 men who have been bullshitting each other for so long and now finally get to have it out.This is the first film Michael Cimino did after contributing to a studio’s demise(Which sucks because I really love Heaven's Gate.) You’d think that an experience like that would make him gun shy for his follow-up. Not so at all. He does not flinch when it comes to putting the audience right in the line of fire here. YEAR OF THE DRAGON is full of moments that jolt the hell out of you. I know he’s essentially a permanent resident of director jail but it might be time to get the guy a fucking parole hearing.

And that shootout at the club is one of my favorite action scenes ever.

Scalped: Hell of a great comic

I'm a big crime fiction reader almost my whole life. Stories revolving around gangsters, crooked cops, serial killers, hard-boiled gumshoes, and everyother cliche you can think of have always appealed to me on a basic level. So when a new crime book, movie, or comic comes out I;m usually the first in line to get it.

Well my friends DC Vertigo's new crime comic Scalped is everything I could have wanted from the genre.

This Vertigo series recently has made it into graphic novel form(I don't get any single issue stories any more), this is an incredible comic book. Set on a modern day Indian reservation on the eve of the opening of new casino, Scalped is a hard boiled crime story with a pretty kick ass new setting. Bad Horse left the rez when he was 13, and now he’s back as a grown up tough guy cracking the heads of Chief Red Crow(a true motherfucking badass) the gangster scumbag who runs things and is behind the casino plan. Red Crow likes the kid's style and recruits him to be the sadistic new cop on the rez; meanwhile Bad Horse discovers the girl he loved when he was 13 has grown up to be a drunken slut(the best kind) and that his mama is the main protester against the hall of vice. And if all of that isn’t complicated enough for him he’s actually back on the rez working undercover – as himself – for the FBI. Scalped is tough and gritty and filled with fascinating, complex, and tough as nails characters. Writer Jason Aaron has created a cast and a style that's. Artist Guera’s work, while a little minalmist at some points, has a clean storytelling style that seems to have fallen out of favor with artists on comics in general. Scalped is one of the best American comics I've seen in a long time and is a book everybody should get a chance to read.