Saturday, August 24, 2019
While knowingly silly, the film still manages to be somewhat serious with the performances never going over the top even if the situations occasionally are. There are some good action sequences as well. As good a time as I had watching it I would have had a blast if I had seen it with friends so we could riff it.
Friday, August 23, 2019
Miriam Dekalb (Dani Lennon), an activist for P.A.N.A.C (Peace and Non Violence Action Committee, must take on her abusive father, Cyrus, (Ray Wise) owner of Dekalb Industries. He and his accomplice known simply as Gamemaster (Morena Baccarin) are known for putting the lives of humans in jeopardy to satisfy their blood lust. In order to save her siblings, Miriam must outsmart them both and beat them at their own game.
To Your Last Death artist Carl Frank (Magic: The Gathering) uses an impressive combination of both comic book art and 2-D animation which are meant to create a graphic novel appearance. The visuals are spectacular, with the artwork being similar to what you’d find in the adult animated series Archer.
Gamemaster and Miriam are my favorite characters. They each create a unique balance between good and evil. The action sequences and high powered gore scenes work so well within this medium. If this were a live action film I don’t think the quick paced atmosphere would work nearly as well.
I love a story that keeps you on your toes and this one certainly does. Within the first 25 minutes of the film there are so many surprising twists that I wasn’t prepared for. If you aren’t a fan of slow burn films, and you want something that grabs your attention immediately, this film should definitely be on the top of your must watch list.
I’d recommend To Your Last Death to anyone who is a fan of horror and animation. This is such a strong and unique story that I think it deserves a 10/10 rating. The amount work that went into creating this movie is incredible. There was so much drive and determination by everyone involved. Writers Jim Cirile, Tanya C. Klein and Director Jason Axinn did a fantastic job and I look forwarding to seeing more from them.
The world premiere of To Your Last Death will take place at FrightFest London on Friday, August 23, 2019 at 3:50pm.
Thursday, August 22, 2019
One of the more enjoyable Maciste film has the right balance of action, comedy and intrigue. While we know everything is going to be alright- Maciste is Maciste after all, we can't be certain what is going to happen to him before the final fade out.
The film benefits from a serious production tat keeps the sets reasonable real and doesn't allow the proceedings to drift into the realm of outright silliness. The action is also really well done with the muscle man nonsense never getting out of control.
I really like this film and highly recommend it.
Wednesday, August 21, 2019
How you react to this well made film will ultimately be determined by the the switch in the story. For me the creepy first half was lost to a by the numbers torture porn second. I am not a fan of the sub-genre unless there is a really good reason for the nastiness. Here the reason has something to do with voyeurism and spectatorship, which would be all well and good if that sort of thing hadn't been done a few dozen times before just this year.
Very well done this is for fans of nastiness only.
Tuesday, August 20, 2019
Nick is hired by Lilah Fontaine to help find her missing father, Professor Fontaine. Together with his assistant Daisy O’Reilly, the trio arrives at Professor Fontaine’s home only to discover that the ancient artifact has been stolen. With no clues as to who stole the artifact of the whereabouts of Lila’s father, Nick and Daisy embark on a quest to find the truth. Not everything is as it seems and some things are worth killing for.
I really enjoyed this film. Some of the acting is a little rough at times but I think that this adds to the movies charm. Demon Squad is funny, has likable characters, and a solid plot. The story builds momentum quickly but is easy to follow. The ending of the film isn’t what I expected but somehow it feels right.
There is one object in the film that reminds me of a contraption Ichabod Crane used in the 1999 film Sleepy Hollow. I’m not sure if that’s what they were going for but I thought it was a great addition.
The character Nick Moon is a very likable guy, and I really enjoyed the performance of actress Erin Lilley who played Daisy O’Reilly. I highly recommend watching Demon Squad if you don’t mind a little cheesiness in your films. This film doesn’t take itself seriously and in this case it works. Overall I give the film a B+. I look forward to seeing more from Director Thomas Smith, and Writers Erin Lilley and Thomas Smith.
Monday, August 19, 2019
Camden International Film Festival 2019: CIFF Announces Film Slate and Storyforms Immersive Lineup for 15th Edition
CIFF celebrates its 15th Edition with an international showcase of films that interrogate Story & Power.
Showtime Documentary Films is the 2019 Headlining Sponsor
CAMDEN, Maine, August 19, 2019 – The Camden International Film Festival (CIFF) has announced the slate of feature and short films for its 15th edition, which will take place September 12-15, 2019 throughout Camden, Rockport and Rockland, Maine.
A program of the Points North Institute, CIFF is one of the top documentary film festivals in the world. This year the festival will present 38 features, 50 short films, and 16 virtual reality and immersive experiences from over 35 countries. More than half of the feature films are presented as major premieres, including the US Premiere of Alex Gibney’s Citizen K.
The festival’s 2019 edition aims to advance industry-wide conversations about Story & Power -- examining the ways in which power structures deeply embedded in society have continued to shape the documentary field, including which stories are told, by whom and for whom.
“Our 2019 slate celebrates documentary as a reimagining of the ways we engage with stories from both near and far,” says Ben Fowlie, Executive and Artistic Director of the Points North Institute, and Founder of the Camden International Film Festival. “As programmers, we have been transformed by these films. They take us beyond the headlines and into the hearts of people and their stories, while also engaging us with the creative, political, and ethical decisions that went into these unforgettable films.”
CIFF will present eight World Premieres by award-winning filmmakers, including BAFTA winner Dan Vernon’s Changin’ Times of Ike White, Martha Shane’s Narrowsburg, Vytautas Puidokas’s El Padre Médico, and Michel Negroponte’s My Autonomous Neighbor, all films that set out to tell a story one way, only to uncover countless unexpected turns.
“We’ve been thinking a lot about how power is inherently embedded in the way films are made, in the stories we uphold about ourselves, our values, our places,” says Senior Programmer Samara Chadwick. “As a way of normalising the questioning of that power, we have curated constellations of works within the program that, together, offer varying approaches to common narratives.” For example, a trio of films present very different angles on the interwoven histories of the US and the Philippines. The world premiere of Alexander A. Mora’s The Nightcrawlers offers a harrowing undercover look into the Duterte regime’s brutal war on drugs. Sung-A Yoon’s Overseas, a study of filipina domestic workers training to work abroad, is set in sharp contrast to Lauren Greenfield’s The Kingmaker, which tells the story of Imelda Marcos, exposing her family’s long history of corruption, extravagance, and brutality.
The conflict in Syria will be represented in a kaleidoscope of films, including the US Premiere of Feras Fayyad’s The Cave about a women-led underground hospital, Locarno title Copper Notes of a Dream in which director Reza Farahmand explores the indomitable spirits of children staging a concert in the rubble, and Waad al-Kateab and Edward Watts’s multiple award winning film, For Sama, documenting a journalist mother’s love letter to her war-born daughter.
As a leading showcase of international works, CIFF welcomes the North American premieres of nine films, including the works of several emerging filmmakers, such as The Giverny Document (Single Channel) by Ja'Tovia Gary, Lovemobil by Elke Margarete Lehrenkrauss, Progress In The Valley of the People Who Don’t Know by Florian Kunert, Sankara is not Dead by Lucie Viver, and La Vida en Común by Ezequiel Yanco.
The festival will present new work by documentary luminaries including Agnès Varda, Brett Story, Nikolaus Geyrhalter, Nanfu Wang, Steve Bognar, Julia Reichart, Juan Pablo González, and Ian Cheney. Each of these films, in their own way, finds creative ways of asserting the filmmakers’ role within the story being told. Nearly all screenings will be attended by the filmmakers, with creators from Argentina, Armenia, Belgium, Brazil, Costa Rica, France, Germany, Korea, Lithuania, Mexico, Norway, Peru, the Philippines, South Africa, and Syria, as well as creators from over over a dozen indigenous tribes, all converging on the coast of Maine.
The Festival will also feature two award-winning alumni of the Points North Fellowship program: Midnight Family and Midnight Traveler. The filmmakers selected for this year’s Points North Institute’s Artist Programs at CIFF will be announced in the coming weeks.
A complete list of the program’s selected feature films can be found below.
Storyforms: Remixing Reality is CIFF’s growing exhibition of immersive documentary experiences and installations. This year the program will feature four room-scale VR and AR installations, nine works of 360° cinema, and a series of large-scale projections that explicitly interrogate representations of race in America, including Garrett Bradley’s award-winning America and Whitney Dow’s The Whiteness Project.
“For the 4th edition of our Storyforms exhibition, we’re showcasing how immersive media can create new spaces for reflection and interrogation of the invisible forces that shape our world,” said Program Director Sean Flynn. Highlighted works include the World Premiere of Alex Suber’s virtual reality documentary, Lux Sine, Lisa Jackson’s Biidaaban: First Light, Common Ground by Darren Emerson and Home with América by Alvaro Morales.
The Points North Institute announced that SHOWTIME® Documentary Films will serve as the Presenting Sponsor for the 2019 Points North Fellowship and a Headlining Sponsor for the 2019 Camden International Film Festival.
The Points North Forum’s lineup of masterclasses, roundtables, panels, and industry delegates will be announced in the coming week. The Forum’s centerpiece this year is the Agora: a daylong series of conversations and panels that explore how each facet of the nonfiction community - from filmmakers, to critics, to gatekeepers and even audiences - can take an active role in building and enjoying a more equitable, inclusive field that celebrates the art and craft of documentary filmmaking. The full Forum announcement and schedule will be released in the coming weeks.
Festival passes and a complete festival lineup can be found on the Points North Institute website www.pointsnorthinstitute.org
The 15th Camden International Film Festival is a program of the Points North Institute. Building on CIFF’s long-established role in the nonfiction film community, the Points North Institute’s filmmaker programs provide a launching pad for the next generation of nonfiction storytellers.
2019 Camden International Film Festival Features
Emily Taguchi | USA | 2019
In the immediate aftermath of the devastating 2018 shooting at Marjory Stoneman Douglas High School, filmmakers embedded with students and parents whose lives were forever changed—from quiet hours of grief and reflection to those of political awakening.
TIGER follows young Estrella whose mother has been carried off by the drug cartels in Mexico. She is left to fend for herself and falls in with a band of boys who have similar stories. They work together to get food and stay safe. They tell each other fairy tales to pass the time. However fate has other plans for the group and they are soon on a collision course with the cartels.
Realistic, but with supernatural overtones, Estrella sees ghosts and a traveling line of blood, this is a real world fairy tale. I should add that this is not a Disney sort of fairy tale but something more akin to the original Grimm's tales where truly bad things happen.
Shocking yet deeply human and moving. TIGERS is a film that is light years above and beyond most other "genre" films out there in that it gets the blend of real and fantastic elements exactly right. Nothing is over done or unbelievable. We buy everything that happens, even the fantastic stuff because we believe in the characters.
At the same time the film is very much a fairy tale with monsters, ghosts, magic, wishes, princes,a princess and any number of fairy tale tropes wandering through the film. However the film is so well done that you'll never think of it as a fairy tale, rather simply as a solid drama.
This film is amazing and get better the more you ponder it. One of the best films of 2018.
Sunday, August 18, 2019
Love it or loath it horror comedy (yea this is a comedy) is either going to thrill you or have you shaking your head. While everything is here in spades, from cast to effects, the comedy is a mix of knowing and over the top which doesn't always blend together. Personally I chuckled a few times but mostly I just groaned, the humor not working its magic on me.
If you like broad knowing comedy give this a shot other wise skip it
Saturday, August 17, 2019
Normally I don’t look at reviews for a film until after I finish a piece, but this time out I wanted to see if other people felt like I did. I shouldn’t have cared but since VILLAINS was the opening film of this year’s Scary Movies I wanted to know if I was missing something. Apparently I didn’t miss anything I just didn’t click with it.
VILLAINS has a couple of sweet kids (Bill Skarsgård and Maika Monroe) robbing their way to Florida where they hope to set up a business selling sea shells. After hitting a gas station they quickly run out of gas in the middle of nowhere. Seeing a nearby house they head off in the hope of wither getting gas or another car. Instead they find themselves in the home of a weird couple (Jeffry Donovan and Kyra Sedgwick) who have a young girl chained in the basement. Humor mixes with growing tension as the couple are found to be not only weird but deadly.
How you react to the film is going to depend on how you react to the humor. A full on comedy that grows darker over time you have to connect with it over the top craziness at the start or you’re going to be locked out of the film. I was amused but thought they were trying too hard to be rib tickling.The trying too hard continued with some of the ghoulish twists and turns which chilled but seemed more forcing the hand then natural. It created a disconnect on my end which made me notice some plot turns which had me wondering why the couple didn’t just walk away when they had the chance.
And while I am not in love with the film, I am in like with it. It does have both laughs and chills, something most recent horror comedies fail to achieve. I like the film enough that I did the rooting around to try and find the answer as to why I wasn’t loving it.
Is it worth seeing? If you like ghoulish confections, absolutely. However at the same time I do warn you that your mileage may vary.
VILLAINS opens in theaters September 20
Friday, August 16, 2019
Luis Buñuel is easily the most important surrealist in cinema history. You could also say he was one of the early pioneers of the true-in-spirit hybrid-documentary. Just like his previous films, the 27-minute Las Hurdes: Tierra Sin Pan or Land Without Bread immediately stirred controversy and was duly banned for years. Truth and artistic license jostle each other while witnessing the depths of Spanish poverty in Salvador Simo Busom’s animated making-of feature, Buñuel in the Labyrinth of the Turtles, which opens today in New York, courtesy of GKIDS.
When Buñuel started developing the documentary that would become Land Without Bread, his reputation as a filmmaker essentially rested on two films, Un Chien Andalou, the short film that commenced his collaboration with Salvador Dali and L’Age d’Or, the hour-long satire that pointedly ended it. Both works generated explosive outrage as well as reverence within avant-garde circles. There are frequent references to Buñuel’s frosty relationship with Dali throughout the film, but the psychological influence of his distant and domineering father will be more significant.
Despite his baggage, Buñuel can be charming, at least at this early stage of his career, but also maddening. Just ask his anarchist friend, Ramón Acín Aquilué, who jokingly promised to fund Buñuel’s proposed documentary exposing the desperate living conditions in the Las Hurdes region—and kept his word when it came to pass. However, Acín was most definitely not made of money, which inevitably led to conflict with the not-so practical auteur.
Although most of the film is animated, Simo periodically inserts archival footage from Land Without Bread, cutting back and forth to show us what was happening on both sides of the camera. The way he and editor Jose Manuel Jimenez marry the two styles of footage together is enormously clever and visually striking.
Clearly, Simo has a great deal of sympathy for Buñuel, but the film is not a starry-eyed exercise in hagiography. Instead, he provides a complete portrait of the artist, including his tendencies to be a bit of a user and a flake. Even though Simo takes us pretty extensively into Buñuel’s head, it is still hard to decide what to make of him. Look, geniuses are complicated.
Regardless, Labyrinth of the Turtles (a reference to Las Hurdes’ tortoise shell-like roofs) is an entertaining and erudite primer on Buñuel’s early development as an artist. Simo’s animation is quite elegant, in a style befitting the 1930s, but he mixes in some wild, Freudian flights of fancy that are quite in keeping with the Buñuelian spirit.
Scary and disturbing horror film begins by putting us in a weird place from the opening narration and then refusing to let us go until the final fade out. Full of dark disturbing images and ideas this is a film that left me scrambling to find a means of getting it out of my head.
This is a film that puts us into a unique world with unique rules and we can't escape. As the sisters slide from our world to the next we are with them, which means we are just as lost as they are. Reality becomes malleable and the monsters are coming...and we are so much better for it.
What I love about this film is it feels like any number of strange inde or Euro films that appeared in the late 1970's and early 1980's with stark colors and electronic music. This film is a kind of cousin to the recent BEYOND THE BLACK RAINBOW. The feel brings me back to all the films I was hunting in the early days of home video.
The best thing I can say about the film is I want to not only see it again I want to inflict it on my friends.
BLACK CIRCLE plays August 19 . For more information and tickets go here.
Thursday, August 15, 2019
No matter how lapsed they think they are, lapsed Catholics are still Catholics. MMA champion Park Yong-hu denies it, but he is a perfect case in point. For years, he claimed he did not believe in God, but he was really just angry over his father’s death. He would still seem like an unlikely candidate to carry the stigmata, but there it is anyway. Despite his skepticism, Park gets pulled into an epic battle of G vs. E in Kim Joo-hwan’s The Divine Fury, the closing film of the 2019 Fantasia International Film Festival, which opens this Friday in New York.
Park’s father was a devout policeman, who was killed by a demonically possessed motorist during a routine traffic stop. Alas, Park’s prayers were not enough to save him. Subsequently, Park turned against God and allowed his heart to harden against the rest of humanity. Then one day, his palm starts bleeding from a wound that refuses to close. Starting with doctors and proceeding to shamans, Park is mysteriously directed to Father Ahn, a grizzled Vatican exorcist.
The good Father has returned to Korea to hunt for the Dark Bishop, a powerful servant of demonic powers. He has been responsible for a wave of frighteningly severe possessions, like the one Park walks in on, saving Father Ahn with the power of his stigmata. Much to his surprise, he does not dislike Father Ahn. In fact, he almost feels compelled to help him, but the forces of evil, led by Ji-sin, the Dark Bishop himself, will be relentless and vicious.
Relentless is indeed the word. Divine Fury has some of the most intense and exhausting exorcism scenes since the mother of all exorcism films, Friedkin’s The Exorcist. Arguably, Jang Jae-hyun’s The Priests is even more frightening, because it leans into the Catholic imagery and demonic archetypes to a greater extent, but Divine is still all kinds of scary and intense.
There is no question veteran thesp Ahn Sung-ki is the rock on which Divine Fury is built. He is absolutely terrific as the weary Father Ahn. We are used to seeing movie exorcists who are either blind believers or mired in a crisis of faith, but Father Ahn is particularly compelling, because he has faith as well as self-doubts, making him acutely human. For the better part of the film, Park Seo-joon is rather standoffish as Park Yong-hu, but he humanizes the fighter when the film really needs him to. In contrast, Woo Do-hwan is never less than coldly, clammily sinister as the Dark Bishop.
It begins when a man heads home to take care of his sister. Injured years before in an accident she is bed ridden and has a terrible scar on the side of her face. He seems to be doing the best he can but all is not right. He is on heavy anti-psychotics himself and he is waiting for the coming of some visitors from elsewhere who may be able to help his sister.
All I can say is buy a ticket and take the right- just be prepared to be deeply deeply disturbed. Full of dream logic and nightmare imagery this is a film you just need to see because this is a cinematic gem. To be certain it's a gem forged in hell, but it's a gem none the less.
I know you want me to actually talk about the film but I'm not going to do that- I had to walk into this haunted forest with outany sort of warning so you should to. I am not going to warn you about the body blows because taking the shots is what this film is all about.
ALL THE GODS IN THE SKY is probably the best film at this year's Scary Movies and as such is highly recommended.
For tickets and more information go here.
Wednesday, August 14, 2019
You will forgive me if I simply discuss the film as a film and not as lesbian film, which is the selling point the press material and all of the other recent reviews I've read on the film. While the film is historically important as one of the first films to have any sort of lesbian characters on the big screen, and while I went into the the film out of curiosity about how the film would handle them, I ultimately stopped caring, nay even thinking about the fact that everyone on screen was a woman about five minutes in. For me the film is good enough that I simply fell into the story and was carried along.
Beautifully acted by all concerned, and looking spectacular, OLIVIA is a wonderful drama on it's own terms. It doesn't need to be sold as anything other than that. Frankly if the film wasn't as good as it is and speaking volumes beyond the fact that all of the characters are women this film would not have survived almost 70 years as much more than a footnote in a book. The fact that it has been lovingly restored proves that.
Like the earlier and similar MADCHEN IN UNIFORM, it really does transcend being pigeon holed and works because the story of human interactions is very real. We care about the characters and can relate to their feelings regardless of or sexual orientation. Human emotion is the same regardless of who we love.
OLIVIA is a solid drama on on any terms and is recommended.
The film was originally released in a severely cut version in the US entitled THE PIT OF LONELINESS. The film is finally getting a restored release in the US starting Friday where it will play at the Quad Cinemas in New York.
Focusing more on the dogs than the skaters, we see the skaters as they skate and hang out around the dogs, this is a quiet look at the life of man’s best friend. If you love dogs then you might want to consider seeing this because the two dogs will worm their way into your heart—and then break it since it becomes clear that one of them isn’t long for the world. (bring tissues)
I liked the film, but to be honest if I hadn’t said I’d cover the film I would have walked away. There simply isn’t enough here to really support the films 70 minutes. While the film did break my heart I was kind of left wondering what I got out of it beyond that.
Tuesday, August 13, 2019
One of the best of the recent found footage films I've seen, FERAL does everything exactly right. Using the medium to tell the story rather than to hide the short comings of the story, FERAL plays exactly like any number of documentaries. It is so good at copying the form that you could probably submitted this to a film festival as doc and have it picked up as the genuine article. The sheen of reality adds greatly to the creepiness.
More disturbing and haunting than out right scary FERAL is a real gem. This is a film that quietly gets under your skin and makes you wonder why you are watching this when it is just bothering you so much. Think of it as what would have happened if the Truffaut film WILD CHILD went really wrong. I was looking at this film late at night and I had to do something to clear it from my head before turning in for the evening.
One of my favorite films at this year's Scary Movies. Recommended.
FERAL plays Friday at 9:30 PM For tickets and more information go here.
A member of an AA type group is out with his friend and sponsor and lamenting the loss of his girlfriend when they happen upon a another member in trouble...things spiral out in unexpected ways from there.
I am so tempted to tell you what is going on but that would ruin an excellent little thriller. Beautifully told in 16 minutes ANONYMOUS goes off in all sorts of unexpected directions and thus ends up keeping the tension extremely tight. Trust me on this you want to see this film- and you want to go in as blindly as possible.
An absolute gem I expect to storm the festival circuit.
For tickets and ore information go here.
Monday, August 12, 2019
I'm not going to say a great deal about ECHOES OF YOU because the film is above and you can just see it for yourself.
The film is the story of a hopeful pianist looking for a break while he works as janitor. Along the way he finds his greatest fulfillment in an unexpected place.
This is a stunning piece of filmmaking. Perfectly timed out for maximum effect this is a film that could nor survive being expanded into a feature, which seems to be the hope of most shorts these days, nor could it work any shorter since the climax comes at a perfectly placed moment to give us maximum effect.
That the film works as well as it does is thanks to Laurence Fuller's stunning performance in the lead. Literally a full bodied performance, the film has very little dialog, Fuller doesn't so much play the lead as have the lead in habit him. Every move, every gesture gives us so much more than words could ever do, with the result that when the ends come we are reaching not just a tissue but a whole box. This is the sort of performance that makes it a sin that Oscar doesn't recognize the work actors and actresses do in short films because Fuller is so good he should be in the running for an Oscar.
Beyond that there is nothing else to say other than WOW.
Highly recommended ECHOES OF YOU is one of the great finds of the year and Laurence Fuller's is one of the best performances in any film of any length I've seen in 2019.
Do yourself a favor and take 20 minutes and watch the film.
You could say the Line Walker feature films are to deep cover operations what the Overheard films are to surveillance details. They do not share the same characters or a continuing narrative, but they address similar themes and feature the same actors. However, in this case, it is the bad guys who have gone deep undercover in Jazz Boon’s Line Walker 2: Invisible Spy, which opens this Friday in New York.
A shadowy international criminal organization is kidnapping children in the Philippines to be groomed and programmed to act as moles in police forces around the world. Apparently, the Hong Kong police force has been compromised, making it rather difficult to solve the mystery of a rash of suicide attacks plaguing the city. However, there might be a big break in the case when Inspector Ching To saves the wary freelance journalist-hacker Yiu Ho-yee from an assassin. Yet, just as he wins her trust, Cheng Chun-yin from the Security Wing sweeps in, claiming jurisdiction over the case and his witness.
Apparently, Yiu’s partner in Burma downloaded a hard drive full of sensitive intel from the conspiratorial organization, so a team will be dispatched to retrieve it. Rather awkwardly, both Cheng and Ching will be under the operational command of Superintendent Yip Kwok-fan, Ching’s current boss and Cheng’s former mentor. Unfortunately, the mission will go down spectacularly badly, in a way that will cast suspicions on both Ching and Cheng, but in very different ways.
Nick Cheung, Louis Koo, and Francis Ng are all back from the original Line Walker film, even though not all of their characters made it through the first feature alive. Although the first feature maintained some tenuous connections to the Line Walker television series, Boon basically shakes the Etch-a-Sketch clear for the sequel. What he keeps, besides the all-star trio, is an abiding interest in the psychological ramifications of operating undercover with an assumed identity. He also continues to stage some adrenaline-charged action sequences, but this time he goes bigger—way bigger. An unforgettable case in point is the final extended smash-up sequence, involving the running of the bulls in Spain, which Boon and action director Chin Ka-lok make the absolute most of.
Yet, perhaps the biggest surprise is Louis Koo. He has certainly played his share of steely gangsters before, notably in Johnnie To films like Election and Drug War, but as Cheng, he projects existential anguish and inner turmoil truly impressive range. Of course, Cheung continues to be one of the hardest hard-nosed action leads in the business, so Inspector Ching To is totally in his wheelhouse. Ng is also perfectly cast as the upright and conscientious Yip, while Zhang Yichi makes quite a creepy (and athletic) heavy as “Demon,” the henchman who becomes the primary antagonist down the stretch.
One of the best films you will see this year-What You Gonna Do When The World's On Fire? -opens Friday
It begins and ends with the preparation for Mardi Gras. We begin and end kind in the same place where some things have changed but not a lot, and little of it for good. And in between we spend a stark year with a group of people trying desperately to not only get by but also stay alive.
One of the opening images is of brothers Ronoldo and Titus in haunted house trying to convince themselves not to be afraid. It is an image of the boys where their masks slip and the make believe horrors over take their ability to remain stoic. It is the sort of image that many will claim is kind of cliche and obvious, and it is, but at the same time there are times when "cliches" are so perfect that you have to use them because they carry a great deal of weight. Here it speaks volumes about what we are going to see.
WHAT YOU GONNA TO DO WHEN THE WORLD IS ON FIRE? is the story of several people in New Orleans trying to not just survive but thrive in a world where people are dying and the system seems/clearly is rigged against them. There are the two teen brothers and their mom who are trying to stay alive in a neighborhood where shootings are regular and as the film starts five people were shot just down the block. There is Judy, who is trying to keep her family afloat and save her bar before it’s snapped up by the creditors who have it in for her. Kevin, who is trying to keep the traditions of the Mardi Gras Indians alive. And there is the local Black Panthers, trying to fight the rampant racism and turn the community around.
Getting better as it goes on, WHAT YOU GONNA TO DO.... is rude wake up call for anyone who isn't living the life depicted...which is going to be the vast majority of the people seeing this film (especially at the New York Film Festival where this film played last year, which had a much too expensive ticket for anyone in the film to see). If you are not person of color living in financially desperate circumstance this film is going to be a jarring because you really don't know what it's like-- no matter how many TV news stories you've watched, New Yorker think pieces you've read or previous documentaries you've seen.
Five minutes in to the film it was clear we are nowhere near any sort of look at race and poverty in America that has come out previously. Yes, there have been other films, some observational, some political,but there have been very few as immersive and as powerful as this. We are in the lives of these people for better and worse. There are no grand triumphs just the endless fight to remain safe.
Truthfully I am beyond words. Partly because of the films power and largely because I don't feel that I have any right to say anything about the film. I am a white male, thus part of the problem. What right do I have to say anything about what is in the film? Even saying I am a film writer does not give me the sort of credibility to say anything other than "Just see this film".
See this film not just because it is good but because if you are a caring human being you need to know how wrong things really are.
One of the most important films you will see in this or any other year.
WHAT YOU GONNA DO WHEN THE WORLD'S ON FIRE? opens on 8/16 at Film at Lincoln Center, 8/23 at the Maysles Documentary Film Center and 9/6 in LA (Laemmle Glendale) followed by a national release via KimStim