Iro's Film Diary

#309 - Inn of Evil
Masaki Kobayashi, 1971



A band of outlaws who hide out in an inn have their livelihoods threatened not just by the arrival of new constables but also by a young man on the run.

This is another Kobayashi piece that takes a title-as-high-conceptand proceeds to twist it into morally grey drama that questions the ruling class and the officers that keep an unjust peace while providing nuanced portraits of flawed but strangely honourable criminals. It may be short on action even by Kobayashi's standards but it is capable of creating some solid characters in its den of thieves. This even extends to Kobayashi showcasing a knack for capturing environments (giving the inn itself a life of its own in the process) and definitely creating some starkly captivating monochrome visuals (especially those involving riverboats bearing lanterns). Probably the weakest film of his that I've seen so far but that does not make it bad by any means.

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Iro's Top 100 Movies v3.0

#310 - Domino
Tony Scott, 2005



Based on the true story of Domino Harvey, a woman who turned her back on a privileged Hollywood lifestyle in order to become a bounty hunter.

Despite its reputation for being one of Tony Scott's weakest movies, I actually kind of liked Domino. I might even consider it ahead of its time when you consider how much it has in common with gaudy, ultra-violent post-2010 satires like Spring Breakers and Pain and Gain. While I really didn't like Scott's garish and borderline-incoherent visual approach in Man On Fire, it makes much more sense for capturing the exciting highs and traumatic lows in the life of the eponymous bounty hunter (who is played surprisingly well by Keira Knightley). A few decent character actors round out the cast (plus it boasts a delightfully bizarre Tom Waits cameo) and it doesn't get too boring even as it sees Scott revisit former glories (the movie seems to function as a spiritual successor to True Romance in several areas). Even so, Domino proves weirdly charming to me in a way that more popular (or acclaimed) Scott movies have failed to do - though that hardly makes it a masterpiece, it's certainly a demonstration of why I find his work interesting.

#311 - Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles
Chantal Akerman, 1975



A widowed single mother goes about her daily routine that involves cooking, cleaning, and performing sex work.

I think this might be the most mundane, monotonous film I've ever watched - it's just as well that that's the whole point. Though the prospect of seeing the eponymous woman go about her largely ordinary life in excruciatingly slow detail (complete with remarkably stark and static mise-en-scène) is liable to test any viewer's patience, I can't deny how effective it is at conveying the subtly oppressive nature of Jeanne's world. The experience becomes such that something as simple as Jeanne suddenly dropping a fork in the middle of yet another kitchen scene is practically a jump-scare. Though it is a tough watch that I'd be hard-pressed to describe as "enjoyable", I reckon that such a tangible lack of straightforward entertainment value only guarantees that it accomplishes its goal of showcasing one woman's everyday dullness and her quietly desperate need to fight it, avoid it, or just plain deny it.

#312 - Jason Bourne
Paul Greengrass, 2016



A rogue government agent is forced out of hiding when a former associate of his contacts him with new information about his past.

I don't have any great love for the Bourne series, but I don't necessarily hate it either. I think they all make for passable pieces of entertainment that are never too dull to be truly terrible, yet I don't think that their strengths do enough to make them into genuinely great movies. As a result, there was no telling how I'd feel about Jason Bourne, which brings Matt Damon's eponymous ex-spy back to the silver screen for the first time in almost a decade. While it was entirely possible that it might very well fail to meet my already-low expectations, it could always just maintain what has always struck me as a rather stagnant but inoffensive status quo. The premise didn't exactly make the best argument for Bourne's return either; having already completed the search for his true identity in Ultimatum, his return to the fray is based around a former associate (Julia Stiles) stealing information that points to the creation of a new sleeper-agent program similar to the one that created Bourne himself. There's a few other elements in the mix - a mystery surrounding Bourne's father (Gregg Henry), a CIA agent (Alicia Vikander) with her own nebulous agenda, a vindictive assassin (Vincent Cassel) with a vendetta against Bourne - and, while they don't guarantee that much in the way of cohesion, they at least try to fill out any gaps that may appear along the way.

Despite its generally unimpressive exterior, I actually didn't mind Jason Bourne too much. The story isn't overly engaging, but it moves along at a decent pace and even the parts where it loses momentum are buoyed by a solid cast (the most obvious instance of this being the entire sub-plot with Riz Ahmed's tech-genius CEO). With Greengrass returning to the series, the film's action definitely demonstrates the same sort of controlled chaos that came to define the series for the better. However, in Jason it's never terrible so much as...there. The usual jittery camerawork and sharp editing are on display and tend to result in coherence more often than not, but the impact is significantly lessened in places. I'd argue that the chases tend to leave more of an impression than the fights, for example. Though I'd understandably be more justified in disliking this installment than any of the others, I don't feel any especially ill will towards it. Like its predecessors, it delivers a digestible slice of spy action that's fun enough for one watch, though I will admit that it feels a bit more disposable than the others. If the powers that be reconvene for another installment, I hope that they can make it stick better than this one.

#313 - The Mechanic
Michael Winner, 1972



After a hitman is contracted to take out one of his organisation's bosses, he opts to take the boss's son on as an apprentice.

Considering how I mainly know Winner for directing Charles Bronson in multiple Death Wish movies, it's weirdly pleasant to see the two of them pair up for something that is not just functional but also free of questionable politics. Though Bronson's character is a familiar one - a contract killer whose profession causes him to lead a cold and empty life - he sells it well underneath his usual grit and in his interplay with Jan-Michael Vincent as his young protege. The action tends to be par for the early-'70s, though it's never truly dull. Also, it features what has to be one of the best endings I've seen in quite a while.

I liked this movie a lot more than you did, but enjoyed reading your review. I, too, am someone who can always watch Kurt Russell.

I agree with just about everything you've said here...I thought this movie was excellent.

It really is one of those movies where I'm just baffled by any attempts to defend it, even if it is a light 'n' cheesy '80s rom-com. It also seriously tested my watch-anything affinity for Russell in ways that not even movies like Captain Ron or Stargate could match.

I feel like it's a little less impressive in hindsight - it's decent, but I don't really have any desire to watch it again.

#314 - Embrace of the Serpent
Ciro Guerra, 2015



A sickly German anthropologist and his manservant must enlist the help of a lone Amazonian shaman in order to locate a rare plant with healing powers.

Though a sufficiently experienced film buff should be able to pick apart the various influences and homages that can be found in Embrace of the Serpent, the fact that it barely matters to the film outside of that is a testament to its power. Based on actual ethnographic journals, the film jumps back and forth in time as it follows an Amazonian shaman named Karamakate. The first part of the story involves him reluctantly teaming up with German explorer Theodor and his ex-slave companion Manduca after Manduca implores him to help Theodor by using his medicinal prowess. This prompts the trio to set off on a voyage along the Amazon in order to find the rare and sacred yakruna plant that is necessary for healing Theodor's particular illness. The second part of the story takes place many years later as an older Karamakate meets another white man who is searching for yakruna - an American botanist named Evans, whose interest in the plant is strictly academic. In any case, they both serve as similar yet distinct foundations upon which a story can be told and many issues surrounding Colombia's history of colonialism and genocide can be examined.

Embrace of the Serpent is perhaps a bit too blunt and slow to be truly hypnotic, but it nevertheless proves a thoroughly fascinating watch. The interplay between the varied cast of characters is great as their perspectives are established and thrown into conflict against one another (with a striking early example being a scene involving Karamakate and Theodor arguing over a compass), all while averting or subverting rudimentary tropes such as those of the noble savage or the white saviour. Both the young and old versions of Karamakate prove outstanding in a cast where even the simplest of characters have personality to spare. The monochromatic cinematography makes good use of darkness and provides a starkly captivating side to otherwise verdant scenes of nature, plus it makes some of the film's more nightmarish moments seem even bleaker and more troubling than one would think possible. As a result, Embrace of the Serpent becomes a truly outstanding piece of work that hits virtually every mark it aims for in telling a story that is outwardly harsh and intimidating in terms of both its visual style and its depiction of turn-of-the-century barbarism. It may be almost completely devoid of romanticism, but it's not lifeless - powerful cinematic blood courses through every frame.

I gotta see Embrace, I have wanted to since last year. Maybe tonight.

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“Except for markf, you’re all a disgrace to cinema.”

Assuming it counts as a 2016 release (and I'm not so sure that it does), it might just be my favourite film of the year so far.

It is hard to know how to count some of these kind of films. I am pretty sure NY and LA got it here last year, not just festivals.

#315 - Cop Land
James Mangold, 1997



The sheriff of a small New Jersey town populated mainly by New York police officers becomes embroiled in a conspiracy involving one of their own.

Much like its protagonist, Cop Land is a fairly unassuming film on the surface but there's a considerable depth that gives it more merit than your average '90s crime drama. Not only does it assemble a real murderer's row of talent to bring the proceedings to life, but it features Sylvester Stallone putting out one of his best performances as the wounded and flawed but ultimately righteous sheriff of the so-called "cop land". Beyond that, it's got a certain amount of verve to its lean little tale that helps to lend it some serious staying power.

#316 - Religulous
Larry Charles, 2008



A documentary that follows comedian Bill Maher as he conducts a critical investigation of organised religion.

If you'll pardon the expression, Religulous really does feel like a film that preaches to the converted. Having it share the same director as Borat only underlines how it shares a similar premise (television personality goes around getting into provocative discussions with people) that seems more interested in attacking low-hanging fruit for easy laughs than having anything especially profound to say. I won't deny that there are some fairly absurd things on display here (most prominently a Biblical theme park located in Florida) and I did get the odd laugh out of Maher's deadpan wise-cracking. There's also something to be said for the film actually attempting to address serious issues such as terrorism and bigotry amidst all their fun-poking. Ultimately, Religulous can't be treated too seriously or favourably as any in-depth examinations of faith are compromised by the smug sense of self-righteousness that has come to define the stereotypical atheist. While I won't deny that religious intolerance has caused and continues to cause major problems in society, this does nothing to make Religulous and its comedic cross-examination into a great documentary.

#317 - Enron: The Smartest Guys in the Room
Alex Gibney, 2005



A documentary about Enron, an energy company that went bankrupt as a result of illegal financial practices.

In hindsight, I probably should have watched this before Inside Job - when watched the other way around, its account of a pre-GFC financial disaster almost feels quaint. In any case, this feels like a functional documentary about a major economic debacle and does have the odd interesting touch (especially when it comes to the soundtrack choices) but that's about all I can really say about it.

Put Embrace of the Serpent at the top of my netflix queue, based on your rec.

#318 - Hardcore Henry
Ilya Naishuller, 2015



A man with cybernetic implants goes on a vengeful rampage in order to rescue his wife from a telekinetic villain.

The concept of an action movie that is filmed entirely from the perspective of its protagonist is liable to inspire intrigue and skepticism. While pulling it off would certainly be an impressive feat in and of itself, it could always prove boring due to the limitations that would be imposed by the commitment to an unchanging technical approach (especially when it comes to the narrative). Hardcore Henry tries to work around this by embracing the limitations and concocting a plot that understandably draws heavy influence from first-person-shooter games. Not only is the eponymous Henry a silent and unblinking cyborg whose recently-installed mechanical parts are both his strength and his weakness, but his goal is established mere minutes after he wakes up - his scientist wife (Haley Bennett) is kidnapped by a murderous psychic (Danila Kozlovsky) with an army of gun-toting goons at his disposal. To this end, Henry must join forces with a mysterious ally (Sharlto Copley) and fight his way through whoever is standing between him and victory.

I'll grant that Hardcore Henry manages to at least partially deliver on the promise of a unique experience by indulging some fantastic weirdness right out of the gate with its cyborg hero and psychic villain before invoking more bizarre sci-fi concepts as it continues. This props up the point-of-view technique as it results in the odd spot of interesting visuals here and there for reasons that could probably be considered spoilers. For all the intensity that a constantly-shifting point-of-view shot should grant the film, it doesn't do a whole lot to make the action too interesting. It's at this point where respect for the ambition ends and skepticism over the action's actual quality begins. As a result, Hardcore Henry can be seen to settle into a number of familiar set-ups involving shoot-outs, punch-ups, and chases of both pedestrian and vehicular varieties. This is borne out by the largely generic collection of settings and enemies that Henry encounters, which either struggle to lend the proceedings any personality (such as a run-down apartment building) or perhaps try too hard to inject personality (such as one sequence that takes place in a brothel). Throughout it all, Copley's tendency to pop up and crack wise in a variety of guises makes for an appreciable constant, even if his wacky antics are as liable to leave one cold as they are to amuse (especially in one sequence that plays out like a not-quite-respectable homage to the best scene in Gamer).

Hardcore Henry could have easily turned out to be a genuinely unwatchable disaster not only because of its disorienting visual hook but also because of its propensity for ultra-violent carnage and juvenile humour. For far too much of the film, this feels like the case as its supposed novelty value is compromised by a tendency to buy into FPS blandness rather than improve upon it. Even attempts to play up the fun side of watching wave after wave of anonymous henchmen get dispatched in various brutal ways can't help but ring a little false; the sudden inclusion of Queen's "Don't Stop Me Now" at one point does little to liven up the film's umpteenth blood-soaked brawl. However, I can't totally write it off because it does have the odd moment where it makes good on the promise of its premise (especially in the rather off-the-wall finale). I'd like to see a more finely-tuned execution of this concept that isn't quite as dependent on valuing the quantity of violent action scenes over their quality - such potential can be glimpsed in Hardcore Henry, but the film moves so fast that it's easy to miss it.

I swear Bill Maher has actually admitted to that at some point. I don't remember if it's in the movie, or the commentary, or what.

I figured that'd be about what you'd give it.

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"Well, at least your intentions behind the UTTERLY DEVASTATING FAULTS IN YOUR LOGIC are good." - Captain Steel

Maybe. I don't think it was in the movie and I didn't listen to the commentary.

Yeah, I think it's got enough interesting visuals to kick it up to a full two popcorns but beyond that...eh.

#319 - Kwaidan
Masaki Kobayashi, 1964



An anthology of ghost stories.

Getting to see Kobayashi work in colour for once is definitely a treat. Though the fact that the title translates to "ghost stories" is practically a spoiler for at least one of these tales, it does nothing but help Kobayashi realise his well-demonstrated capacity for narrative fatalism (especially in the first segment). The colours on display are vivid ones that are used to bring a variety of striking visuals to life, whether it's in unnerving renditions of characters' inner dread or ethereal displays of supernatural manifestations. The stories tend to be simple ones where experienced viewers are liable to see where things are going (hell, one segment gives away a massive spoiler in its title alone!) but what's really amazing about Kwaidan is how much that simply does not matter. It is as fundamental an example of how much strong execution can elevate outwardly weak material as you are liable to find - that, and it's just really good to watch.