Posted by Kimberly Lindbergs on May 2, 2013
I first became familiar with Chris D.’s (Dejardins) writing in the early 90s thanks to his work for a small-press magazine (or zine) called Asian Trash Cinema. At the time I was utterly obsessed with Japanese pop culture and history and for a 10 year period roughly between 1991-2001 I spent many of my weekends in San Francisco’s Japantown where I’d rent movies and anime (often without any subtitles), buy manga and books I couldn’t read and eat lots of good meals that I couldn’t pronounce properly. I was also writing and publishing my own zines at the time. Zine culture peaked in the ‘90s before the internet changed the way we all communicate but for a brief time the only place where you could really find good information about cult cinema, B-movies, forgotten gems and unusual art-house films was between the pages of self-published zines and small-press magazines like Psychotronic, Video Watchdog, Shock Cinema and Asian Trash Cinema. These are the kinds of publications that helped shape my own film interests and writing. While many film journalists may have found popular mainstream critics like Pauline Kael and Roger Ebert inspirational, they held little interest for me because they weren’t talking (or writing) about movies that appealed to my own eccentric tastes and if they were, they weren’t particularly kind. But folks like Chris D. were and one of Chris’ early essays from Asian Trash Cinema (Issue #3, 1992) titled YAKUZA EIGA: Losers on Parade is one of my favorite pieces of writing on Japanese cinema. When Chris D. composed that love letter to gangster (aka yakuza) films that I was just discovering and beginning to appreciate, he was one of a handful of writers trying to thoughtfully grapple with a genre that had been ignored and maligned by critics and scholars for decades. Chris helped me see the often tenuous connection between Japanese cinema and the country’s complex cultural fabric that seemed to confuse and perplex many western writers. I mention all this because I’m not exactly an unbiased reviewer. In fact, Chris and I have exchanged numerous notes over the last few years and I was honored to be asked to write a blurb that appears on his latest book GUN AND SWORD: An Encyclopedia of Japanese Gangster Films 1955-1980. I wanted to share his new book with Movie Morlocks’ readers but to be fair I thought I should let you know these facts first. What follows is my honest review of Chris’ latest book but read on at your own discretion.
Posted by davidkalat on January 5, 2013
The late 1970s and early 1980s were lousy with disaster flicks, a sub-genre to which Virus unquestionably belongs. Apocalypse thrillers have always been in vogue, but they do tend to shift in tone with the cultural zeitgeist. But there was something about the Cold War era that gave rise to some wonderful end-of-the-world movies the likes of which we don’t really encounter anymore. The bizarre illogic of the Cold War was somehow more conducive to nightmare poetry: two superpowers armed with enough firepower to destroy life on Earth countless times over, where in order to preserve the peace they each must threaten total war. The only thing keeping those nukes in their holsters was the promise of Mutually Assured Destruction (quite appropriately, MAD). Edward Albee couldn’t have thunk up any better.
And Virus, mind you, is the gift that keeps on giving. It’s a rip-snorting good movie that packs in not just one apocalypse, but two.
Posted by Kimberly Lindbergs on November 15, 2012
The fuzzy line that separates fiction from reality has become increasingly blurred in recent years. Reality television programs promise to provide viewers with an unscripted look at the life of individuals willing to bare all for our entertainment but there is very little reality found in reality television. Inquisitive cameras, altered environments and skillful editors make participants keenly aware of their involvement in an orchestrated production and truth eventually takes a backseat to drama as would-be stars and starlets compete for their moment in the spotlight.
Cinema has also become progressively more self-aware. The current influx of mocumentaries, docudramas, 3D movies and “found footage” films attempt to obscure reality and mimic authenticity while filmmakers such as Werner Herzog, Errol Morris, Michael Haneke and Abbas Kiarostami seem to enjoy encouraging viewer participation in oblique ways. Their films frequently refuse to provide easy answers to the problematic truths they present and directly or indirectly ask audiences to question what they’re seeing on screen. They illustrate how reality is often subjective, transitory and pliable.
Posted by keelsetter on August 26, 2012
In my last post I provided a look behind the curtain for the first five weeks of film programming for my fall film calendar. This week we look at the remaining 24 titles that round out the schedule. It features everything from classics such as Vertigo to the state premiere of the latest uncompromising and visually arresting film by Bruno Dumont, Outside Satan (a scene of which is pictured above). READ MORE
Posted by keelsetter on August 12, 2012
The art house film calendar that I program goes to press in two days and, although I’m still waiting for some confirmations, I’m sharing the rough-draft with TCM readers, along with some brief thoughts regarding the choices made.
Posted by medusamorlock on August 8, 2012
With apologies to all the film aficionados and experts frequently present here on Movie Morlocks, I don’t believe I’m going out on much of a limb in saying that many other people know or have heard of Toshiro Mifune not from his appearances in masterworks of Japanese cinema but from his appearance in one of the most famous broadcast television miniseries ever presented. On September 15, 1980, NBC presented Part 1 of their five-part adaptation of Shogun, novelist James Clavell’s sweeping saga about a British sailor shipwrecked in 17th century Japan who ends up smack in the middle of an intense rivalry between two powerful and ambitious men who crave the same thing — to win the title of Shogun.
Posted by davidkalat on August 4, 2012
A boilingly hot summer day, a crush of commuters, a moment of carelessness. With these universal ingredients, Akira Kurosawa set up a film that would mix the grim obsessions of film noir with a documentarian’s observation of postwar Japanese life. Talk about universal–Stray Dog is a mashup of pulp pop and reportage, of true crime and intimate drama, of buddy cop movies and art house cinema, of East and West. There isn’t much a movie can do that Stray Dog doesn’t put on its agenda.
That being said, the international critical acclaim that greeted this film requires some dissection, because there’s something really weird going on here. Stray Dog was never a barn-burning commercial splash, and it wasn’t even distributed in the US until 1963 (almost 15 years after it was made) but it was an award-winning and highly regarded art house release that contributed substantially to Akira Kurosawa’s growing renown, and there’s something screwy about that.
Posted by R. Emmet Sweeney on July 10, 2012
For the sixth year running, the Japan Cuts film series in New York City presents an eye-opening glimpse of contemporary filmmaking from across the Pacific, the vast majority of which will never receive distribution in the United States. Programmed in concert with the ongoing New York Asian Film Festival (which I covered for Film Comment), it runs from July 12 – 28 at the Japan Society, and will screen 37 features and two shorts. The normally sober-minded fest has gone pop this year, booking a slate bubbling with hyperactive rom-coms and sci-fi extravaganzas, but there is also a sidebar of films responding to the Fukushima nuclear disaster, as well as a tribute to the expressively stone-faced actor Koji Yakusho, who will appear in-person for the screening of The Woodsman and the Rain (2011).
Posted by davidkalat on July 7, 2012
J-Horror don’t get no respect. The long-haired ghosts have become a cliché to be ridiculed, and the tragedy of it is that the audiences perhaps best attuned to appreciate what J-Horror had to offer in its heyday are those least inclined to give it a chance. I know—I speak from experience. My love affair with J-Horror began, as all the best movie love affairs do, with opposition.
Posted by R. Emmet Sweeney on June 19, 2012
The characters in a Nobuhiro Yamashita film do a lot of standing around. They are waiting for something, whether it be a friend, a bus, or simply for the day to end. Yamashita’s films are about killing time, in the hope that the following morning will contain less of it. But each day seems to grow longer, and these young men and women continue to stand, until they have forgotten what they were waiting for in the first place. These are films attuned to the rhythms of in-between moments , reveling in their awkward absurdity and percolating anxiousness. Yamashita’s films are frequently hilarious but of a kind that sticks in the throat, as life sails by his weightless, indecisive characters. Operating in near-anonymity out of Japan, with little festival or international distribution, Yamashita has forged a consistently funny and bittersweet body of work that is deserving of a vastly wider audience.
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