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Early on in Bookworm, a doctor struggles to have a conversation with a child about her injured mother. The medical professional tries to ease the child’s anxiety and kind of makes a fool of himself, because the young girl just wants a straight answer, “I just want to be told the truth.” Right out of the gate, it is clear that Ant Timpson’s ‘anti-bubble-wrap’ wilderness adventure is going to be about words, and how they matter, as much (perhaps more) than the outdoor adventure put up on screen. The child at the centre of the film is Mildred (Nell Fisher), a precocious 11 year old. She is the kind kid who reads Charles Dickens, and is comfortable using big words and crisp, cutting diction...
[Read the whole post on screenanarchy.com...]
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From the first hand-to-hand duel on a sinking inflatable boat to the final orgy of explosions and harbour destruction, Nicholas Tse choreographed this film like his life depended on it. He throws himself into the fray with wild abandon, taking as many punches as he doles out. His and Yau’s formal approach to HK action is traditional in the best sense of the word – energetic, propelling, and legible, all the while offering nostalgic vistas of Hong Kong by night. The kinetics smartly rely on a strong sense of geography that exploits spatial possibilities (see the intense mid-film car chase) and solid editing that utilises inserts or close-ups only to enhance the impact of strikes or falls.
The final 15-min set piece is a golden age HK action fan’s wet dream that combines shootouts, cat-and-mouse games on and among containers, massive budget naval destruction, and an exhilarating one-vs-many fight where Tse takes on multiple attackers at once while Yau masterfully stitches shots together to give a feeling of continuous adrenaline without falling into outrageous oner theatricality.
Despite (or perhaps because of) many shortcomings in terms of writing and character development, Customs Frontline plays like a revival of 90s Hong Kong actioners for better and for worse, never circumventing its models’ weaknesses in terms of writing, but making sure it goes higher, harder, louder in the action department. It does not quite reach the high of last year’s The White Storm 3 but comes pretty damn close. Yau proves once again to be one of the most reliable filmmakers currently working in Hong Kong, while Tse comes out as a new, promising voice in action design.
Full review : https://filmexposure.ch/2024/07/16/customs-frontline-90s-hk-actioners-resurrected/
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The post Film Movement Plus Launches Classic Trio Celebrating Hideo Gosha first appeared on Film Combat Syndicate.
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Check out my latest video discussing the functionality and power of the Supernote Digest:
https://youtu.be/s4yFRIbmI8s
submitted by /u/Change_Agent_73
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Thanks to all who joined me for the discussion today. If you were unable to see it live, please check out the recording here on various Obsidian and Supernote discussions:
https://youtube.com/live/BpaG_Y877_o?feature=share
submitted by /u/Change_Agent_73
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BashVault is a lightweight TUI (terminal UI) app that runs in full screen mode in your chosen emulator. It allows you to import local or remote resources, keep them in sync easily, manage them using a visual interface, and run them by simply pressing [ENTER].
View startup
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Larry Fessenden's indie horror picture stars Alex Hurt, Addison Timlin, and Motell Gyn Foster.
[Read the whole post on screenanarchy.com...]
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Hong Sangsoo and Isabelle Huppert reunite to explore themes of existential wanderlust and the complexity of human connections.
[Read the whole post on screenanarchy.com...]
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The old world is dead and the new one wants to kill us in Benjamin Brewer’s solo feature directing debut, Arcadian. A post-apocalyptic survival horror with strong character work and some incredible monsters, Arcadian packs an emotional punch rarely seen in a creature feature like this. Paul (Nicolas Cage) lives with his sons Joseph (Jaeden Martell) and Thomas (Maxwell Jenkins) in a decaying farmhouse in rural Ireland. It’s some time after an apocalyptic event that wiped out the majority of the human race, leaving the survivors to fend for themselves with no structure in place to keep them safe. Once the sun goes down, the beasts come out, and they have only one goal: destruction. When Thomas sneaks off to see his crush, Charlotte (Sadie...
[Read the whole post on screenanarchy.com...]
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King Baby, by directors Kit Redstone and Arran Shearing, could've gone wrong in so many ways. The film is a send-up of masculine power plays, toxic machismo and the thin veneer of social niceties that hide volcanic violence waiting to burst. It is also more than just a film that tries to smash the patriarchy, it is tackling class struggle and the fallacies of monarchy and other political structures, too. In King Baby, two men live all alone in the ruins of a castle. One is The King and one is The Servant. The Servant serves The King's every whim, but once complacency sets in, and The King starts having nightmares, it is time for a change. Perhaps a role reversal might help? Next to...
[Read the whole post on screenanarchy.com...]
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By all accounts In A Violent Nature, the feature film debut from writer/director Chris Nash, is a game changer, a single film that revolutionizes the slasher genre. One of the buzziest titles to come out of Sundance this year we're pleased as punch that Nash and company garnered this much praise for their little Canadian horror flick. It's no wonder that it was picked up so quick and that the fine folks at IFC Films and Shudder will be releasing it, starting in cinemas on May 31st. No official word on when Shudder will stream it. But the trailer is here and if you want a sense as to how hard Nash goes with In A Violent Nature then skip to the bottom right...
[Read the whole post on screenanarchy.com...]
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The post Audience Favorite HUNDREDS OF BEAVERS Now Playing In Select Theaters appeared first on Film Combat Syndicate.
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Filmmaker Herman Yau has been cooking in the early 1980s working as a cinematographer in the Hong Kong film industry, ultimately working his way into the director’s chair. His shelf life has proven positive for him as well, especially in the age of social media where the action genre continues to nuture an immensely active community celebrating the achievements of numerous laureates and auteurs of late. Yau, with his accomplishments is no different, following the recently completed Mission Moscow and upcoming Nicholas Tse starrer Customs Frontline, and more to the point with his latest trilogy installer, The White Storm 3: Heaven Or Hell, which had its North American in-person only premiere last summer at the New York Asian Film Festival.
The post THE WHITE STORM 3: HEAVEN OR HELL Review: Herman Yau Stays The Course With Another Career Best appeared first on Film Combat Syndicate.
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Ewan McGregor, Gregory Mann, Tilda Swinton, David Bradley, and Christoph Waltz star in the award-winning stop-motion take on the dark fairy tale.
[Read the whole post on screenanarchy.com...]
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