The Butterfly

Japan's first color sci-fi movie made full use of the technicolor palette. One-eyed blue starfish aliens show up on Earth causing the natives to wonder if their actions are friendly or nefarious.

Warning from Space was both complex and quaint. You cannot take the science seriously---at all, but the story does bring forth a rather frightening threat which could end all life on Earth. Unlike the earlier Godzilla, who came to town stomping and shooting his atomic breath, in Warning from Space strange starfish aliens attempted to make contact but only caused panic. Determined to communicate with the Earthlings, the Parians were able to take human form to try and find a way to convince the local Tokyo scientists of a cosmic threat. A rogue planet, Planet R was headed straight for Earth and the only way to stop it was for all of Earth's nuclear weapons to be shot at it to either change its trajectory or blow it up. A simple enough idea but the World Council had to agree to it and they were unconvinced of aliens or a rogue planet. As the sky tinted red with temperatures and radiation rising, gigantic tidal waves and flooding appearing, the World Council agreed to using nuclear weapons to stop the impending doom. By now, everyone who could had gone underground as life on the surface was starting to cook. Would the nuclear weapons save Earth?

Warning from Space's sets and scenery were lush and vibrant. Great care was taken in creating this world. The aliens were simplistic, actors in blue starfish costumes, but this was 1956 and CGI didn't exist yet. They did remind me of Maggie Simpson in her starfish winter coat, or the Gorg from the cartoon movie Home (2015). Overall, the world building was quite effective. Miniatures were used for flooding and earthquake scenes, some better than others.

There were lessons about global and galactic cooperation, the use of nuclear weapons and the dangers of even more potent weapons. Though the movie is for 7+, scenes of animals dying on the surface could be disturbing.

Like I said, you can't take the science seriously, it was the 1950's with duck and cover nuclear bomb drills in real life. With that in mind, the ending and much of the middle didn't make sense. You have to put yourself in a simpler, less informed time.

The cast was rather large so most of the characters tended to come off as dry and ill-defined but the majority of the acting filled the bill. The story lagged at times, especially when the aliens inexplicably disappeared for a bit. Even with the detractions, the question of the Earth's fate as humans hid underground dealing with the fallout of the rogue planet hurtling ever closer did give it an edge.

Warning from Space had some intriguing concepts and beautiful cinematography for a 1956 film. Certainly not for everyone, but if you enjoy old sci-fi movies, Japan's first color sci-fi might be one to try out.




8/20/22

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You sank my battleship...and this movie!

Just when you thought it was safe to go back into the water...never mind, there was nothing scary about this horrible Kaiju named Reigo. For some reason the makers of this movie decided to set it during WWII using the real world Battleship Yamato and its crew as the hero of the piece.

In 1941 a young Japanese man, Takeshi, bids his schoolgirl girlfriend goodbye as he sets off on the Yamato. The Yamato was one of two warships with enormous guns, the pride of the Japanese navy. During a routine mission the ship fires on a strange object in the ocean killing a baby Reigo. Big mistake. Now mama or daddy, nobody got close enough to check, sought vengeance on the fleet of destroyers and subs accompanying the Yamato. The Yamato was at a great disadvantage because of the size and angle of the guns. They couldn't fire up close, close being closer than 25k/16mi. Everyone should have felt safe on the great warship with Commander Yamagami in charge. Kurobe Susumu who played the level headed commander had been in half a dozen Godzilla movies before this. Unfortunately, he gets promoted in mid-battle and sent back to Japan leaving a former professor in charge. Between the professor and Takeshi, the cutie pie student, they must come up with a way to alter the guns as Reigo destroys each member of the flotilla.

In order for Kaiju movies to be entertaining they have to give us two things: fun and a compelling monster. I can not overstate how truly terrible the CGI was in this movie. They would have been much better off with a guy in a rubber suit and using miniatures. Reigo, the bone fish, the ships, and the ocean were of the worst video game quality. It's hard to immerse yourself in the movie when you are constantly confronted with the terrible CGI. The interior shots of the ship weren't much better, they looked like they were shot in an office building. It didn't help that this giant warship appeared to have a crew of less than 20 men.

In real life, the Yamato never fired its massive guns until 1945 not long before it was sunk by the American navy. In a strange ending complete with a Kabuki narrator and styling, the Yamato's fate was briefly told right before the credits. It was a strange juxtaposition of monster tale and WWII reality which didn't work for me. Actually, nothing in this movie worked for me-not the human story, the monster, or even the Japanese speaking American they fished out of the ocean. For die hard Kaiju fans only and even then it might not be worth checking out.



8/16/22

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If you're going to be a successful thief, don't litter!

Michelle Yeoh and George Lam play a cat and mouse game of thief and insurance detective gallivanting across Hong Kong and Europe. Even Queen Elizabeth shows up!

Michelle Yeoh portrayed a bored heiress always looking for the next thrill. She assembles a diverse team who succeed in robbing an armored truck of $32 million without anyone getting hurt. Kent Cheng is the shady cop assigned to hunt down the culprits and George Lam is the debonair insurance agent also trying to get the money back. And Ku Feng plays an integral role as a hapless part of the heist team.

The movie starts in England, moves to Hong Kong, then to Switzerland, and Paris. Aside from Yeoh and Lam, much of the appeal of this movie is watching the stars ski, hang glide and race through the beautiful locations.
This was one of Michelle Yeoh's earliest movies and the last one before she took a break. She was gorgeous, even with 1980's hair, but she wasn't given much to do aside from the daredevil hobbies. Lam was suave enough, but again not fully developed. The plot was reminiscent of a more tamed down The Thomas Crown Affair.

Easy Money had trouble maintaining suspense after the heist was pulled. Though Kent Cheng foamed at the mouth and used illegal means to try and trap the adrenaline junkie I was never worried because George and Michelle never seemed to be. Their chemistry didn't exactly sizzle, the kind of heat that would cause two cool customers to take the risks they did and the romance was never developed anymore than their characters. We don't know much more about them at the end of the movie than we did at the beginning.

This was a perfectly pleasant watch but could have been a more exhilarating ride if the writers had paid as much attention to the characters as they did the scenery.

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Detective Di must discover the reason behind 4 mysterious deaths. The deaths looked like a medieval Joker went on a rampage as all the victims were left smiling. Were the causes natural or supernatural? An imperial guard was also looking into the matter and she and Di reluctantly teamed up.

The townspeople were convinced the deaths were a punitive action by Apsaras or murals coming to life to take vengeance. Di and Imperial Guard Xie Yaohuan immediately dismissed the flying fairies theory and started digging for more human motivations. Along the way there were twists and turns, many of them foreseeable.

Di and Xie went from if not enemies to lovers, at least enemies to allies. The slow burn was believable as the two worked together. Who the real villain was didn't take much detective work for the savvy viewer but at least they made the journey to the discovery interesting most of the time.

There were several swordfights in the rain which were good, not Jet Li-Donnie Yen in Hero good, but entertaining nonetheless. Most of the fights without torrents of water being dumped on the actors tended to be clumsy looking. It wouldn't have been a proper wuxia without someone being attacked in the woods by a black hooded assassin and Detection checked that box, too.

The acting, sets, and costumes were all more than adequate for a low budget Detective Dee. The story, while predictable at times could also be engaging. There was nothing spectacular, just a comfortable, familiar who-done-it. One word of caution if you have a snake phobia, Di and Xie were confronted by many, many snakes in one scene.

Detection of Di Renjie is not something to rush out and put in your Plan to Watch list, but if you enjoy ancient detective stories, this might be one to check out on a slow night if you keep your expectations low.



8/5/22

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All can be done if you try, none can be done if you don't

Set in a reform boarding school, Introspection Tower is the home to troubled children or children of troubled parents. Unlike many stories with communal living, there is no abuse in the story. The school is progressive and the teachers lead by example in regards to turning unacceptable behavior into acceptable, well mannered behavior.

The children live in communal housing with teachers in each house who are called "Mom" and "Dad". The children are encouraged to think of each other as brothers or sisters. Boys and girls are in charge of housekeeping and cooking taking turns with some of the chores. They also do ground maintenance and gardening. This is in addition to taking regular school classes and doing vocational work which benefits the school as customers order their handiwork. Parents are encouraged to visit and write often as the children are encouraged to write to the parents.

The stand out point in the film is when the problematic water well begins to run dry and water has to be diverted from a lake by digging a canal. Lacking the funds to have it done, the children and teachers work together to accomplish the colossal task.

Director Shimizu keeps the camera at a distance capturing the movement and energy of the children. There is no main character, though four children seem to be at the heart of most of the disturbances. Three teachers also feature into the stories. The stories were divided into vignettes as children behaved badly---stealing, lying, fighting, or attempting to run away and then confessing and apologizing. The teachers often felt as if they weren't making a significant difference in the children's lives. With the stories darting about erratically it could be hard to keep up with or care about the characters very deeply.

Despite the fact it was filmed during World War II, no mention is made of the global conflict. For me, it was hard to escape this particular shadowy specter in this place designed to enforce the idea of a hard working, well mannered communal society. Watching twelve-year-olds use pickaxes and shovels doing dangerous work was disconcerting as they dug the canal through treacherous terrain. While its purpose was to showcase how constructive work benefitted the group, these were children with no autonomy and no compensation essentially coerced into doing work for which they were not properly trained or equipped at the risk of their lives and health. This element felt more like propaganda than good storytelling.

Despite the quality camerawork and scenery, I found the narrative confusing and at times disturbing and the movie overlong. While I can appreciate the desire to have a more progressive look at the raising of children, especially in the stories of these complex children, the troubling parts of this movie weighed heavier than the lighthearted tones behind them for me.



7/29/22

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Hell has no fury like a monkey scorned!

Ape Girl must have been a fever dream of writer Hou Cheng because it was several bananas short of a bunch. A combination slapstick, beauty makeover, cross-species (?) kung fu flick with little coherent writing made almost bearable by a simian performance from little known actress Chin Feng Ling. It was burdened by an abundance of over the top cringey humor and in the version I watched almost unintelligible dubbing for some of the characters.


Some spoilers follow---
A kung fu master finds a girl in the jungle who had been raised by apes or is an ape, the story changes back and forth from scene to scene on what she actually is. Ape Girl is hairy and has a tail but otherwise looks like a human, a human trying out for the Broadway show "Cats". The apes in the first scene looked like Teletubbies on crack. The master takes her back home, teaches her to speak and write and refines her natural monkey kung fu. Like a curious kung fu monkey she gets into trouble wherever she goes and in one scene is helped out by the 4th Prince played by kung fu legend Chen Sing. She falls in love with him, follows him, and is brought on as his bodyguard. The Prince is charming and attentive, but it's Chen Sing so we know he will have a nefarious plan waiting to hatch. The Prince is attacked by an assassin, Lo Lieh, another kung fu legend, and the two fight it out. Chen Sing never met a shirt he didn't want to take off, but unlike the striking Bruce Lee, no one was every hoping he'd rip his shirt off in a fight. His nefarious plan is revealed when he tricks Ape Girl into retrieving the emperor's will so that he can change it so that he will inherit the crown.

When our little Ape Girl discovers the Prince thinks she's ugly in two shakes of a monkey's tail she rushes to the Master's friend to have the ultimate depilation treatment. The treatment takes place over three days which is interrupted by the Master, leaving her smooth and beautiful but with a tail still attached. The Master hadn't wanted her to transform because then like all other girls she would fall in love and have her heart broken. The Master trains her how to use her tail in kung fu, I kid you not, and confines her to his property.

Ultimately, she finds out about the Prince's betrayal. For some reason Lo Lieh has changed teams and is a bad guy now and the 8 Heroes show up out of nowhere and it's on like Monkey Kong with Chen taking his shirt off---again!

The fight choreography by Wang Tai Lang was engaging for the most part. Chin Feng Ling was quite athletic and nimble. She seemed to take delight in her monkeyisms and playful fighting. And when it was time to strangle people with her tail she was up for that, too. Lo Lieh and Chen Sing are two of my favorite old school stars and I was delighted to watch them fight each other. Ape Girl swung about with occasional wire-fu but most of the other fighters kept their feet on the ground.

The quality of this old Taiwanese movie has degraded. It didn't look like a big budget film to begin with. For the most part it was on par with a lot of these old martial arts movies made there. The soundtrack was funky 1970's music that could have come straight out of a US cop show.

I wish I could say this was more fun than a barrel of monkeys, but there was just too much monkeying around with the script leaving all logic scattered about like a three day bad banana binge. If the cringey humor hadn't gone on fur so long, I might have enjoyed it more. The fight scenes were fun and Chin was interesting to watch in them, the rest of the movie was painfully bad. If you run across this movie, before it makes a monkey out of you, find the nearest vine and swing far, far away.






7/21/22

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If you don't toe the line, they will crush you

The Serpent aka Orochi is a morality tale that follows a samurai whose sense of honor and lack of forethought land him in deeper and deeper quagmires. A silent movie with Kabuki style makeup and a benshi performance, a narrator who describes the action throughout, The Serpent is a very early silent movie with excellent fight choreography and cinematography. The moviegoer is reminded repeatedly that "not all who are respected are worthy of the name" and "not all who wear the name villain are evil men".

Kuritomi Heizaburo was a samurai from a poor background. At a birthday party for his master an aristocrat's son taunts him and throws sake in Kuritomi's face which causes a fight to erupt. Everyone takes the wealthy samurai's side and Kuritomi is suspended for a month. When he stands up for the honor of the master's daughter against three gossiping traveling samurai he is kicked out of not only his master's house but also the town and labeled a bully. A masterless Ronin, in threadbare clothes, Kuritomi rails inside at the injustices visited upon him. The master's daughter he loved, Namie, easily believed evil of him as well as the rest of the samurai and townspeople. After more injustices caused by his place in society and his hot headedness Kuritomi spends time in jail and runs afoul of the law. He falls for another woman, Ochio, who will have nothing to with him because of his bad reputation as an outlaw. All l he wants is for someone to see into his heart and know that he is a good man. Finally, thinking he has found a noble and wise master he learns that the nobility is all a façade and the man is vile to his core.

Time after time in the movie, those who are revered for their place in society turn out to be filled with filth. Kuritomi who starts out with a pure heart is never seen for who he really is and suffers mightily for it, slowly circling down a lawless path. The Serpent is critical of societal structure with wealthy people and those of a higher social stature being able to bend justice to meet their needs while people like Kuritomi cannot find justice for justice has deaf ears where he is concerned. It is also a critique on judging a book by its cover, never looking to see what is behind the mask people wear. Kuritomi was called a blood thirsty devil though he had never killed anyone. He was a desolate, desperate man who only wanted justice and for someone to see that he was a good man.

For a 1925 film, the cinematography was exceptional, with wide pan shots and close-ups as were needed. The filming of the fight sequences were quite creative. If I have one qualm it's that the fight scenes and running scenes were sped up ala Keystone Cops. The fight choreography was so unprecedented for an early film that I wish they had run it at normal speed so that I could have fully enjoyed the intricate moves and falls.

The version I watched had music in the background. I had to mute it for most of the movie because the narration took place in Japanese and Russian overlapping, very distracting. The acting was primitive and not as natural as in some other later silent films.

Kuritomi, as honorable as he saw himself, was flawed. He did not think situations through or weigh consequences. Even though the world showed him over and over it was not a fair place he refused to believe it and ran head long into situations without thinking them through. Where Namie and Ochio were concerned, Kuritomi could be obsessive and overly aggressive, there was a reason they feared him. Yet for all his flaws he was a pitiful character, only wanting to do the honorable thing and always punished for it, no one to trust, no one to care for him. Serpent can be a challenging movie to watch at times when the lead behaves unsympathetically and as unhappiness upon unhappiness is dumped upon him.

If you are open to exploring old movies, and as an example of an early samurai film where the samurai are not shown in a favorable light and a tale of a man, despite being labeled an outlaw, only wanting to be seen and understood, Serpent is worth trying out.






7/20/22

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Two young brothers have to adapt to their new surroundings and unexpected social stature in I Was Born, But…

Bullied after they move to the suburbs the brothers start ditching school only to be found out. The father gives them the age old, and what every kid knows is useless, advice when he tells them to ignore the bullies and they will leave them alone.

The two find an unexpected ally who aids them and the brothers end up the de facto leaders of the little gang. The interactions between the boys and their school mates seemed natural and believable even after nearly 100 years.

Convinced of their place in the world they declare their father the most important out of the fathers of the boys. When they find out their dad is only an office worker and one who plays the office clown for the boss’ amusement they are devastated. Even worse, the boss’ son is part of their gang. They’ve gone from feeling like kings to peasants and they take it out on their father.

Being safe and cared for they couldn’t know the world was in dangerous economic times and their father’s job was vital to their survival. Aside from the economic depression, the viewer will know war was brewing as Japan would invade Manchuria and later move on to other countries. The headstrong, cocky boys came across as ungrateful for their father’s love and sacrifices.

The boys had to learn the lesson every adult is reminded of almost daily…the world isn’t fair. Competence isn’t always rewarded. Fortunately, if they didn’t eventually learn gratitude, they learned acceptance.

This film was similar in nature to director Ozu’s film Good Morning. I found Good Morning to be the more charming film. These children could be difficult to like at times.

I watched part of an unrestored version, it was glitchy and without music. Fortunately, I found a restored version though the music was heavy handed in it and didn’t always fit the mood.

I Was Born, But was a quiet slice of life film showing the growth of two little boys and the reality of the social hierarchy. How well you like the two boys scrambling for stature and unable to see their parents’ need for acceptance, may determine how much you enjoy this film. For me, though well made, slightly missed the mark.

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Blood Brothers went where many Shanghai gangster films have gone before, but they did it with style and a stellar cast.

The three blood brothers started out dirt poor in rural China. Two were actual biological brothers, one the ruthlessly ambitious brawn (Kang) and the other, the follower lacking in confidence (Hu). The third blood brother (Fung) would be considered a more thoughtful character who wanted to earn enough money to take care of his mother and marry the girl he cared about. The three traveled to Shanghai and ended up working at the Paradise Club, a front for gangland activity. Kang took to it like a fish to water. Merciless and determined to rise in the ranks, he enjoyed the killing. Hu and Fung struggled with the violence and death.

Shu Qi played the enchanting singer and dancer, Lulu, caught between the deadly gang boss and the man she loved, Chang Chen's assassin, Mark. She toyed a little with Fung, but he was never in serious contention. Mark wanted to free Lulu from the boss by killing the big man but had been unable to do so. Lulu's desire to become an actress overrode her survival instincts causing her to refuse to leave Paradise.

The story started out slow, building steam until the stories converged, ultimately exploding into death and mayhem. Most of the story was predictable which is not always a drawback with this genre. The biggest problem it had was with pacing and editing. Some of the transitions were not seamless and felt like footage connecting the scenes had ended up on the cutting room floor.

Another drawback was that the audience was supposed to shortcut to understanding the depth of the bond between the brothers because we've seen it in so many movies. This created problems as the movie went along and I was left wondering if I should really care about these men.

What Blood Brothers lacked in story, it made up for in sets and costumes. Gorgeous and lush, lovingly shot, Blood Brothers was a very stylish film. Shu Qi and Chang Chen's performances carried much of this film. The brothers could be vaguely interesting, but again, they never reeled me in.

Five Venoms Phillip Kwok was the action director and kept the movie interesting with the action scenes when the story had trouble moving forward. People were killed in a variety of gruesome manners. Because most of them were bad guys, their deaths carried little weight.

Despite the pacing issues and bland performances by the brothers, I never lost interest in the movie and enjoyed it for the most part. Other than dressing itself in beautiful clothes and sets, Blood Brothers did little to set itself apart, but sometimes a familiar story in a pretty package is enough to spend some time with.

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Director Naruse Mikio's first talkie was a comic take on a "modern" marriage. The financial roles were reversed in this 1935 film.

Chieko was an actress and the breadwinner of the family while her spouse, Geppu, was a househusband who wore an apron and occasionally submitted poetry without much luck financially. The couple went along day in and day out as if all was normal. A nosy neighbor and the women in the neighborhood didn't understand it. While they liked Geppu, they didn't understand exactly what he did for a living. The men didn't understand why he did the laundry and cooking while his wife slept in late after rehearsals.

The nosy neighbor and her husband had a traditional marriage, yet it didn't insure happiness. She brow beat her husband into selling life insurance one night to their new neighbors. An act that would have consequences later on. The new neighbors were dressed in Western clothes and looked fabulously in love wanting only to be alone. Throw in a wannabe writer who owed everyone he could swindle and that was the main cast. Nose, the writer, was both catalyst and annoyance. I never did find his selfish antics amusing.

The turning point came when Chieko asked Geppu to run lines with her. The characters were a husband and wife fighting over the husband allowing a deadbeat friend to stay with him. As in real life the wife was the owner of the home and in charge financially. The two had never fought in real life and Chieko didn't know how to portray this part. Soon enough life imitated art and a real fight took place shaking up the status quo.

Spoilery comments below...



The acting was adequate, nothing very memorable. Overall, the film was well made. The story made nice arcs with the husband and wife. Geppu gently asserted himself and Chieko learned to treat her husband as more than an errand boy. The Nosy neighbors were brought in for contrast and comic relief. Nose was the irritating stone in their and my shoe. The real fight became physical which seemed out of place and unnecessary. The new neighbors' story took a dark turn which stood only to create conflict in the nosy neighbors' marriage.

For much of this film the couple's relationship seemed more modern than many recent marriages I've seen portrayed in Jdramas and movies. The wife was not berated by the husband and told repeatedly that her main job was to serve him and take care of the household. Their unique paradigm came across as fresh and I wonder how this was received early in the 20th century. The moments when he balked against their dynamic seemed natural when he felt underappreciated.

The ending felt like a step backwards in this progressive relationship, for a moment I had a flashback to the Stepford Wives movies, but I choose to believe Chieko stayed an independent woman, only one who paid more affectionate care of her husband instead of being shoved into a household role for which she wasn't made. And Geppu continued to be a loving househusband who learned it was okay to disagree with Chieko. Perhaps the marriage needed a shake-up to let each other know what was missing in their relationship. On a different day I might have rated this a 7, the ending, some dangling plot holes, and Nose's tiresome presence graded it down for me.

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If he goes to heaven, I'll him pull him down...

Dancing Kung Fu was an odd juxtaposition of a comedy and a drama both paralleling each other for a time by two groups chasing the main lead until everyone crashed together in the end.

Doris Lung played Ping Erh, an 18-year-old girl, deemed ready for marriage by her grandfather. He took her to the market square and called out that anyone who could beat her in kung fu would win her hand in marriage. Over the next 20 minutes a very odd assortment of men took their shot, including a pair of guys who "do everything" together. Don't even want to ask. She made short work of her opponents until Szema Lung's Kan somehow ended up fighting her and won. He had no desire to wed her and made a hasty exit with his traveling buddy. Grandpa and Erh spent much of the rest of the movie chasing them down and ending up in grand fights with random others at an inn and then a brothel.

The more serious plot involved Kan and his unnamed traveling companion needing to deliver a secrety, secret list to the rebel forces. Ching agents were chasing them to obtain the list as well as Grandpa and the jilted fiancée wanting to obtain her a husband. As so often happens in kung fu movies, laughter turned to tears. Eventually, Kan met up with the rebels only to be betrayed and had to face off with Lo Lieh in his white wig. Every kung fu fan knows Lo Lieh in a white wig means big trouble. His henchmen wore leopard skin off the shoulder shirts, not sure if their outfits were supposed to invoke fear in their opponents or laughter on the audience's part.

The comedy wasn't too cringey. Grandpa and Erh seemed to be one step ahead of the secret list carrying men and ruffling their feathers along the way. Because there was also a serious tale embedded in the story, the comedy went down easier. Comedy that included a man beaten so badly by Erh that he peed himself in public and a romantic couple were interrupted by the fighting. How much you enjoy this movie will in large part depend on how much you like this kind of visual humor.

Most of the fights were well choreographed by Huang Fei Long. Some could be slow and there were a few shots that missed by a mile. Overall, the fights were entertaining. Lo Lieh's Sorrow and Joy technique was new to me. He was either laughing or sobbing to keep his opponents off-guard. The Yin-Yang attack was unique, if not a little cheerleady. If cheerleaders carried swords and used their pyramids to kill people.

Most of the acting was fine. Szema Lung didn't make very many movies, but he managed to carry off the fights well and look properly horrified at the thought of marriage. Doris Lung had a chance to shine and have some power of her own, completely unfazed by the men she fought. Yi Yuan as a comic good guy was nice, playing the aged grandpa with plenty of kung fu tricks in his magic staff. Nancy Yen joined in the fighting near the end. Lo Lieh in his wig and smirk gave the incongruent team a worthy foe, causing them to have to band together to survive.

Dancing Kung Fu, aka The Cavalier, aka The Smart Cavalier needs some loving restoration. It has faded badly and much of it had a blue hue to it. Though the version I watched was dubbed in English, they did leave in some Chinese songs and music which added a modicum of authenticity to it.

I enjoyed the unique take on a kung fu movie with the chasing Grandpa and kung fu girl. The fights were worth watching. But parts of Dancing with Kung Fu were incomprehensible either due to shoddy editing or writing. And as I mentioned, the humor could go over the top and vulgar. It had its fun moments, and, in the end, I didn't think I'd wasted my time. Not exactly exultant praise but there are some movies I wish I had the 90 minutes back, though this isn't one of them thanks to Erh and her grandpa.

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Your knowledge is thin like a piece of paper...

Avalanche does not involve snow and ice, but it does signify the disaster one arrogant man brings down upon himself.

Goro is the spoiled child of a rich family, self-centered, entitled, and thinks he is much smarter than he is. He's been married for a year to sweet, obedient, traditional Fukiko and he is already bored. Goro is in love with Yayoi and wants to divorce Fukiko to marry her. His father puts his foot down and tells him he has responsibilities as a married man to his wife and society. Yayoi, the object of his affection, wants to be with Goro yet also feels guilty. Goro has no such compassion for his wife or feelings of guilt. Like a petulant child Goro wants what he wants now without caring how his actions will affect others. Father and son continually argue about duty and desire.

Avalanche can be a difficult film to watch, regardless of how you feel about infidelity. Goro is a selfish protagonist with no redeeming qualities. Even if you start to feel sorry for his situation, by the end of the film, he will have wiped it all away in a particularly dark moment.

I've been conflicted on how to rate this film. It is well made. The scenes flow easily into one another. Unlike some older movies where the action takes place within a couple of sets and the characters are static, Avalanche's scenes are fluid. The characters hold conversations while walking in a forest, in town or naturally in the home. Conversations involving the father tend to be smart and on point more often than not as the father realizes how vacuously empty his son is of any morals. It is obvious the director is contrasting the old and the new as well. The house is Western in design and furnishings. Fukiko dresses as a traditional Japanese married woman, whereas the men and Yayoi are in Western clothes at all times. Father and son eat in a Western style restaurant. Two generations and two different cultural attitudes clash at every moment.

The problem I have with the movie if I try to view it as a character study is that none of the characters grows or have much depth to them. Fukiko is devoid of personality and obedient unto death. Goro thinks only of himself. The trigger for a disastrous emotional release occurs when his father tries to reign him in with the threat of being disowned. As Goro's father tells him, he wouldn't go down this path if he didn't have the cushion of a wealthy family to land and rely on. Yayoi is caught up in Goro's avalanche, unable to extricate herself even though she is aware the price to be paid in society for their actions. Yet even she begins to believe Goro that to be happy one has to ignore the pain it causes others. Before the film ends, Goro steps beyond being merely disdainful and pitiless, to evil. At that point the film falters as it does not bring about a satisfactory or even comprehensible ending. With all the dialogue and inner thoughts this film encompassed, it lacked the few sentences which might have made the last actions understandable to the character and the audience.

The father compared Goro's thoughts to being as thin as paper. Too often the characters came across thinly drawn as well. In the end, it was hard to care about any of the main players. Whether motivated by love or desire, their actions or inactions brought down an avalanche upon them, leaving none of them unscathed or particularly sympathetic. In the end, Avalanche plummeted into a crevice with me, offering neither character development nor emotional release.

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Before the United States sent men to the moon South Korea had a futuristic space program...and...a giant fire breathing lizard visiting from out of town.

Prior to becoming a tv and film grandpa, Lee Soon Jae was an astronaut and pilot trying to celebrate his wedding night. Instead of celebrating he was called into action to observe from space an earthquake moving in a straight line toward Seoul.
Ill Woo, a young overworked scientist, tracked the phenomenon from the ground. Low and behold up popped from the ground Yongary, hungry and tearing through town looking for something to eat.

The requisite politicians and military took charge and performed all the tried-and-true tactics against a Kaiju, starting with tanks. This is where Korea broke with Japan when the tank commander didn't take long to call for a retreat. Anyone who watches these movies knows that the poor tank guys don't have a long life span when battling giant monsters. A helicopter managed to make it through, too. They also sent a plethora of missiles to pelt the beast, against Ill Woo's recommendation, which only served to strengthen the monster.

This is where I should mention the one thing I disliked about this movie. Yongary had one of the most annoying kids in monster movies, almost tying a couple of early Gamera flicks. The eight-year-old Icho delighted in pulling pranks such as using a beam his uncle invented which caused people to itch, like the poor honeymooners, and often disappearing from his older sister's care to follow Yongary around. And of course, the young scientific genius figured out what needed to be done to stop the behemoth. Ill Woo might have done the heavy lifting constructing the deadly weapon but he couldn't have done it without his plucky irritating sidekick. This was one of those movies I was rooting for the monster to eat the child.

Yongary's costume was almost on par with Godzilla's from this era, the flame nozzle in Y's mouth was quite visible, but in a rubber suit, I'm not sure how they would have worked around it. And Yongary danced, the actor inside of the suit was quite agile for all he was required to do. South Korea must have sunk some money into this movie because overall the miniatures were quite good. Not to say they were all well-constructed, one canvas backdrop of the city looked like they should have ironed it before filming. A tank that was set on fire had it's wiring showing beneath it. Oh, and the moon looked like a Death Star prototype. But other than those few quibbles, the miniatures, forced perspective, sets and overlay were pleasing and well done.

Aside from the overly precocious child, the human stories were slightly above par for an old Kaiju movie and the acting passable. The Koreans brought a more emotional element to the genre. There was no moral to the story except sometimes you have to do things you don't like to do to survive.

Yongary was a fun monster romp, with lots of monster action. Toho could be stingy with Godzilla's scenes, this movie let the monster stomp, burn, laser and dance his way through South Korea before being brought low. A word of caution, the ending was a bit gruesome for the time period. Yongary was better than Son of Godzilla that came out in the same year, not saying much I know. I would have rated this slightly higher except for Yongary's diminutive fan who seemed to pop up in nearly every scene. If you enjoy giant monster movies from this time period and all the camp and tiny planes that entails, you might want to try this one.

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Human Lanterns was a grotesque kung fu horror movie. Two rich men in a small town vied at every chance to outdo and humiliate each other, opening a crack that let in a deadlier presence to further fuel their hatred and destroy their luxurious lives.

The opening scene laid open the conflict as Lung (Tony Liu) and Tan (Chen Kuan Tai) fought over a prostitute at a village celebration. Tan showed off the lantern he was going to use at the lantern festival and Lung determined to outshine him with an even more exquisite lantern. In order to win, Lung had to find a master lantern maker who turned out to be a rival he had humiliated years ago. Thinking money could smooth over anything Lung hired Chao (Lo Lieh) which propelled into motion deadly consequences.

The title refers to lanterns made with human skin and Chao set about using people close to the men to craft the gruesome light fixtures. Lung and Tan blamed each other for the disappearances of their loved ones while the inept police led by Sgt Poon (Sun Chien) flailed about between the two powerful men.

To be perfectly honest, I am not a horror fan and had to fast forward through some of the bloodier scenes of Chao working on his victims. Despite the age of the film, it was disturbing enough for me to try and avoid most of the scenes once he began to work. For the faint of heart, it did show flaying.

Tony Liu and Chen Kuan Tai played their roles stoically with some bravado, pretty much copy and paste from other performances. Neither Lung nor Tan would be considered heroes, more concerned about their rivalry and honor than the well-being of their missing loved ones. The real star of this movie was Lo Lieh who stole every scene he was in with his unhinged performance as the maniacal killer seeking revenge for the loss of his honor years ago. With his facial expressions and fluid body motion he dominated the screen with his malevolent presence.

The movie kept the story moving at a rapid clip, interspersing fight scenes between gore and the over-the-top squabbling between Lung and Tan. Most of the fights were more pose-fu than well-choreographed fast fights. They were slow and then even slower when slow-motion was used. The final fight was the best of the lot, destructive, deadly, and extreme. There was sword work, kung fu, and wire fu. Maybe it was because Lo Lieh was involved that I enjoyed it more, he upped the energy and stakes, regardless, the final fight was intense.

The sets and costumes were well done. The silver lame was kept to a minimum and the sets weren’t some of the cheaper ones designed for people to be thrown through the walls. The wealthy men’s homes seemed appropriately opulent while Chao’s dungeon was eerily macabre.

Unlike many Shaw Brothers films this one has a proper ending. Too often the stories end abruptly as if the crew ran out of film. For the most part, everyone got what they deserved, even if I thought one of the characters got off too lightly. I downgraded the film some due to the grisly scenes only the women had to go through. This older kung fu movie went too far in titillating the audience with female nudity and deaths.

Human Lanterns is not a film for everyone to be sure. At its heart HL was a story about the price paid for hubris and pride. The cast is what drew me to it, HL was loaded with familiar faces and stuntmen. If you enjoy old martial arts movies and/or old horror movies, this one might be of interest to you.

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Anyone who brings trouble...answers to my fist!

Lo Lieh and Don Wong Tao began this movie as the unstoppable Kung Fu Dynamic Duo of Crime Fighting. Bad guys were no match for these awesome fighters.

Unfortunately, the partnership and fun didn’t last for long, as the synopsis says, Chow Lung (Lo Lieh) died when Meng Hu (Don Wong) accidentally caused his partner’s death. The movie quickly turned into a melodrama and Meng Hu relegated himself to the coward of the county status, vowing to never fight again. Even when Chung Tung and his wicked golden needles skills and gang of miscreants showed up threatening to bring opium to and through town. Even when his new friends’ lives were threatened. This is not one of my favorite tropes. The skilled warrior decides to never fight again because of the loss of one life, but in the process many others are killed. Eventually, the depressed hero decided to act and take on the white-haired needle thrower and his crew. The body count ran pretty high in Fatal Needles.

Don Wong, in his Bruce Lee wig, did well in his fights and portraying the mopey hero. He didn’t add much depth to the character or excitement though. Lo Lieh in his jaunty hat made the most of his brief screen time during the early scenes. Chang Yi, as the white-haired evil doer, had no problem bringing life to his character. There were numerous supporting characters, some more memorable than others. The fighter with what looks like a hairy squid on his chest will not be forgotten.

The fights were adequate, not very creative or fast, but serviceable. Though there was a revenge fight and a duel there were no training scenes, no secret book, no secret list, just a battle against the deadly golden needle thrower and his minions. The final battle between the two elite warriors on opposite sides of the law was weak after all the build-up leading to it.

The women had strong roles even if two of them were prostitutes. Two fought with cunning, another with her fists and kicks. The movie did come to a screeching halt at one point when one of the prostitutes launched into a lengthy anti-drug Public Service Announcement.

Fatal Needles vs Deadly Fists had more story, and though I wasn’t a fan of the trope, more comprehensible story than many old kung fu movies. At times engaging, at other times plodding, Fatal Needles was entertaining overall.

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