Reviews

Toho do Hammer

Of the Bloodthirsty trilogy, Evil of Dracula feels the most traditional of the lot; yet, I thought only Hammer would have attempted to set a vampire loose amongst girls' college with predictable results. It certainly feels like the type of film Hammer would make given the gratuitous amounts of bare flesh and blood that permeates the runtime, all that's missing is Christopher Lee. It's noticeably crueller than its predecessors adding a layer of disturbing unpredictability but also relishes in a dose of campy surrealism with director Michio Yamamoto delivering a healthy portion of atmosphere and unnerving imagery, especially towards the end. The attempts to mimic Hammer's early gambles are appreciated, especially given the talents of the crew involved, with a particular scene midway through that certainly sticks in my mind. While several elements are revisited from the previous movies, the back story is the most expansive of the two and also adapts ideas straight out of Stoker's novel. It's another gorgeous effort in terms of visual design with strong performances and another so-so-jazzy soundtrack, Evil of Dracula may not break any major new ground for its subgenre but remains chilling enough to frighten even the most timid of viewers.

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Watery Hench

While The Vampire Doll was a fantastic fusion of Western and Japanese elements with an alluring mystery, Lake of Dracula takes a more straight-laced approach but still offers just as much chills and atmosphere as its predecessor. The film has some incredible horror high points during its runtime, from a good old hide in the cupboard from the monster sequence to some drowning Gothic atmosphere, digging its hooks into the viewer right from the beginning. It wastes little time getting into the meat of things with Michio Yamamoto's incredible direction setting the tone and mood straight away, offering plenty of great scares and unnerving tension building throughout. While not delivering a new perspective on the fantasy of vampirism or Dracula, the film is absolutely gorgeous, all accompanied by some terrific performances and another jazzy musical score by Riichirō Manabe, it's not great but it works well in tandem with the film's visual design. Despite the mess of the story, that does not stop Lake of Dracula from delivering a splendid and highly atmospheric homage to the gothic icon. Offering all that a fan of blood-suckers looks for, draped in an alluring, unheimlich atmosphere and decorated with some effective moments of gore.

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Effectively creepy spin on the vampire mythos

The first entry in Toho's Bloodthirsty trilogy, The Vampire Doll, is an aspiring and brilliantly atmospheric spin on the classic vampire mythos. It has all the gothic trappings you'd expect from its Western counterparts while retaining all the eccentricities that come with Japanese filmmaking. A slow-burning and technically fantastic film, Director Michio Yamamoto tells his grisly story with a cool taciturn detachment, with plenty of scares lurking around the bend, some of it even hair-raising. Moody photography and classy art direction sell the isolated mansion setting with eerie grace and although the relatively simple story may not be anything new, it is written exceptionally well and told at a steady pace to keep maximum attention, the fantastic performances from the cast certainly help to sell it. The film's dark spot for me is Riichirō Manabe's score, while ominous, melodic and gloomy it feels overly repetitive and cheap. Fantastically made and brightly hued, The Vampire Doll is not entirely faultless but for fans of old-school atmospheric scares, it's a corker.

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What makes someone a mother

what makes someone mother? is it giving birth? or gender? this story shows that thats all from outside perspective, probably the child can answer better if someone is a mother.
it was a good movie, her conversations with his daughter were very open and maturely handled, in a way movie used the kid as a means to give viewers a better understanding about her gender, biology, feelings and more importantly how she is just a person like everyone.
people hate what is unknown and i think this movie succeeded in making that unknown into more understandable by using kid who is not prejudiced or judgemental but just curious to know, the movie encourages viewers to know.

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Lots of ghosts-no vampires

Mr. Vampire 3 left the hopping vampires behind and embraced ghosts, both the friendly and unfriendly kind, in this installment of the franchise. Lam Ching Ying’s vampire slayer was joined by a fellow Taoist played by Richard Ng. Stronger than the second film, it lagged behind the first for me.

Uncle Ming, a Taoist priest who utilizes two ghostly brothers to help him make money exorcising “haunted” houses finds himself in the middle of a skirmish between villagers and deadly horse thieves. Uncle Nine leads the villagers and figures out very quickly that the bandits who are impervious to weapons have had a heavy dose of black magic. Uncle Nine convinces Uncle Ming to release his ghosts, but they might just need them when the bandit’s leader, the Devil Lady, decides to seek revenge against the village.

Lam Ching Ying owned this role and despite this being his third outing as the unibrowed Taoist priest gave it his all. Richard Ng was a welcome addition as the Taoist priest who had fallen on hard times yet still had some magical chops. His relationship with the two friendly ghosts was one of the sweeter parts of the film. Pauline Wong, who played a ghost in the first film and a hopping vampire in the second, returned this time as the malevolent Devil Lady. What caused me to drop my rating for this film was the overuse of Billy Lau. As an antagonist with limited screen time in the first he accomplished his task. In the third installment his sycophantic, contemptible disciple of Uncle Nine grated on my nerves. I was rooting for the Devil Lady to tear him apart instead of his friend. Sammo Hung, Wu Ma, and Corey Yuen made guest appearances at a birthday party when they served up a “foreign moon cake” with candles.

This film had very little kung fu unlike the first, which was a shame. Lam Ching Ying in action is a sight to see although he did have a few cool moves in this film. Like the other films in this franchise, the wires were rarely edited out and I could see them in several scenes when the supernatural fights took place. There were rudimentary special effects for the ghostly battles and a deep-fried ghoul scene to top it off. Director Ricky Lau kept the action coming from start to finish.

Mr. Vampire 3 was entertaining for the most part and I enjoyed Richard Ng and his ghosts, though I could have used less of his bare behind. Lam Ching Ying and his twitchy brow were worth watching the film alone. If the writers and director had remembered to dial back the most annoying character it would have been far more enjoyable for me.

14 October 2024

***Trigger warnings: Cockroaches and bats***

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"I want to get that foreign fish fried!"

Lam Ching Ying and his unibrow returned to fight the undead in Vampire vs Vampire. This time he was aided by a Little Vampire, 2 inept disciples, and a fierce Mother Superior. He would be confronted not by hopping vampires, but a European vampire impervious to his magical talismans.

Disciples Ho and Fong disturb a palm ghost and attract her attention. Master Unibrow helps them out but now the ghost will not leave them alone. The two have to find her body so that she can be properly buried. Meanwhile, Master Unibrow is helping the village leader who is having a feng shui problem with the land. Master Unibrow shows him where to dig a well for better water and fortunes. Unfortunately, bats move the marker and workers dig in the wrong spot the next day. During these misadventures a handful of nuns are attempting to rebuild their church. The local captain vows to burn the church down but the nuns are persistent. When the well workers begin digging they find more than artifacts, unbeknownst to them they uncover a European vampire staked in the heart by a cross with a giant ruby in it. The greedy captain and his girlfriend awaken the beast when they try to steal the ruby. Master Unibrow has his hands full when trying to dispatch this new foe.

Vampire vs Vampire was a similar set-up to Mr. Vampire (1985). Lam Ching Ying was once again the adult in the room and constantly helping everyone around them whether it was a bat infestation, blood sucking vampire, or distraught ghost. The casting of Chin Siu Ho promised a few acrobatic fights which he delivered on. Lam Ching Ying who also directed the movie was able to get his kung fu on as well much to my delight. Sandra Ng played the self-absorbed girlfriend who was bitten by the vampire and was able to show a completely different side of her acting. Billy Lau who seemed to be in all of these movies played the character I most wanted to be blown up-the pompous captain. Lam Jing Wang brought the adorable to his Little Vampire, a character familiar to those who watched Mr. Vampire 2 even though it was set in the future. With these movies, logic was never a consideration.

Vampire vs Vampire had plenty of slapstick comedy for those who like it, I’m not one who does. There was low budget special effects and once again I spotted wires in various shots when characters went airborne or amphibians. But the film had a few tense moments when the bats attacked the sisters, maybe because bats* freak me out. The European vampire was scarily funny yet also a good opponent for Master Unibrow. The Dracula wannabe became more gruesome looking as the fights went on. Master Unibrow had to think outside the box to bring down the fanged baddie. Fortunately for him, the sisters were willing to help as well as his incompetent disciples and his cute TNT carrying Little Vampire. If you enjoyed Mr. Vampire, this is one you might want to give a try. (Rated on a curve)

14 October 2024

Trigger warnings-bats and a snake

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The Triangle of Warfare

You know how some movies feature a love triangle, where three people are involved in a romantic drama that can only end with two? Here, we have something akin to a *fighting triangle*, interestingly set up to represent the three parties involved in the conflict: the imperial guards, the slaves, and the Japanese enemies in this historical period of Korean history.

Korean movies usually succeed in conveying strong emotion, and this movie has all the elements of a great drama, spiced up with thrilling battle choreographies. But for some reason, I couldn't empathize with the characters emotionally— basically none of them. The story is great, the actors are very good, and the production is top-notch, but something was not in the right place for a perfect epic, so I couldn't fully enjoy the film. I definitely appreciated the scenery, with its beautiful and sometimes brutal shots, but where the film should have been strongest—in the emotional clashes between the protagonists—something was missing, and I can't fully explain what it is. One of the reasons could be the movie's pacing, which wasn't fluid and jumped from one thing to the next, making it seem like the director didn't focus enough on the central plot.

What I really liked, however, was the theme about Korean society and the relationship between the upper and lower castes. There are echoes of a message that we should all be equal, whether someone is an emperor or a slave, and we know that because of this very message, the Catholic faith in Korea was violently suppressed in the early 19th century.

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Even someday I may fall hard

Story of friendship, perseverance, and the power of dreams.

At its core, the movie shows that success isn’t just about reaching the finish line but about not giving up, even when the odds seem stacked against you. This theme is beautifully woven throughout the story, as the characters face one setback after another, yet refuse to give in. Their determination becomes a symbol of hope for anyone who has ever struggled with making their dreams a reality.

The theme of trust is equally important. The film makes a clear statement that partnerships built on faith and honesty are key to overcoming obstacles and achieving dreams.

I hate to admit but I only watch this because of Peng Yu Chang. While two other main actors deliver the role requirements, for me, Peng Yu Chang delivers an outstanding performance as one of the lead characters. He has a natural charisma that draws you in from the very start, making the audience smile with his light-hearted and humorous portrayal in the early part of the movie. But as the plot thickens and he is forced to make difficult decisions—ultimately choosing to favor his people over his personal desires—he brings a deep emotional intensity to the role. His portrayal is so moving that I found myself genuinely affected by his choices, and at one point, I even got goosebumps. Peng Yu Chang’s ability to balance both the joy and heartbreak of his character’s journey is truly remarkable.

The movie will leave the audience with a lasting message— “never let go of your dreams until you are ready to wake up and make it happen.” It’s a reminder that dreams are worth fighting for, but they also require action, hard work, and, most importantly, faith in yourself and in the people around you.

This film is light-themed, short and sweet, a must-watch for anyone who believes in the power of chasing dreams.

Will I consider watching it again? Yes, probably if Im having wasted effort and needed an inspiration.

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A bloody, vibrant adventure with lots of action

First of all, it was a beautiful movie. It was an exciting, adventurous, action-packed movie from beginning to end. I think the striking title was friendship. It started as friendship, but continued with backstabbing, misunderstandings, betrayal and fighting. Finally, they settled accounts. They also resolved the misunderstanding. But it was too late.
What is essential here is the strict rules of the past. Freedom being in the hands of others and the pain this caused to humanity were revealed. It turned into a struggle for rights for people classified as noble, common and slave class. The kingdom is also in a separate place. No one thinks about their people. That's why the kingdom collapses. The people rebel. Freedoms are gained.
Of course, we couldn't see the gain, but maybe a sequel will be made.
The story was well thought out, but some things were skipped, the easy way was preferred, and simplified in order to fit into a movie. Also, there are very bloody scenes, the excessive exposure of organ severings is annoying for the audience. I don't know if it will be encouraging, but it may seem disgusting and oppressive to some people. I think it should be less and should be glossed over more simply, it shouldn't be shown too much. Other than that, the acting was good. I liked it. Especially Cha Seung Won, who played the king, was the most prominent in my opinion. He played it very well. I can even say that he added a role to his role. I liked it. Kang Don Won, Park Jeong Min, Kim Shin Rok, Jin Seon Kyu, Jun Sung Ill are the ones I like. I recommend it to those who like this kind of action. Watch it. It's very good.

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I see a thread of light at the end of the road

Through the intercultural relationship of Jie Cheng (Ivan), a well-behaved Taiwanese student, and Eric, a rebellious American exchange student, Californian filmmaker Steven Liang explores adolescence and acceptance in the society of Taiwan.
Despite his mother's objections, Jie Cheng, who lives under constant pressure from her, meets Eric and together they embark on a journey along the most dangerous road in Taiwan.
Their trip is cut short when Eric reveals that he must return home after graduation, forcing Jie Cheng to confront his darkest demons.
Beautiful, sensitive and charming, 'Coming Home' has been screened at 30 international film festivals, following its world premiere at the Seattle International Film Festival.
Having been selected to participate in the Beijing Queer Film Festival, LA Asian Pacific Film Festival, Outfest, San Diego Asian Film Festival, Asian American International Film Festival (New York), Boston Asian American Film Festival, Boston LGBT Film Festival, CineSLAM: Vermont's LGBT Film Festival, Festival de Cannes: Short Film Corner, InDPanda Film Festival (Hong Kong), International Student Film Festival PÍSEK (Czech Republic), KASHISH: Mumbai International Queer Film Festival, Marais Film Festival (Paris, France), Peace & Love Film Festival (Örebro, Sweden), Pride of the Ocean Film Festival, Q! Film Festival: Indonesia's LGBT Film Festival, Seattle Lesbian & Gay Film Festival, Taiwan Queer Film Festival, Bilbao International LGTB Film & Performing Arts Festival (Spain), Kansai Queer Film Festival (Osaka, Japan) and Asians on Film Film Festival (Los Angeles) ), speaks clearly about this film co-produced by Taiwan and the United States.
The film made history as the first gay-themed project funded by the Taiwan Tourism Bureau and was distributed by Outplay Films.
Written by Timothy Chang and Steven Liang himself, the film stars Yu-Ting Hsu as Jie Cheng, Benjamin Turman as Eric and Bi Lan Li as the mother.
Interested in telling stories about the resilience of those living on the margins, Steven Liang, an award-winning director and House Ballroom scene photographer, addresses themes of homosexuality and transsexuality, as demonstrated in 'The Extra Mile' (2013), A Better Life (2014), Afuera (2017), Emma and the Butt (2017), Falling for Angels (2017), and Transplant (2018), Coming of Age, among other productions.
Screened in New York as part of the 2015 Asian American International Film Festival, the film, written by Timothy Chang and Steven Liang himself, stars Yu-Ting Hsu as Jie Cheng, Benjamin Turman as Eric and Bi Lan Li as the mother .
The story is populated with thousands of small details, which enrich the look, and a grayer color that carries with it questions that the viewer must answer, if he can.
The song "I Need Your Love", performed by Grace, plays magnificently with the story, and creates a unique and fascinating atmosphere that allows the plot to perfectly connect with the viewer.
The story does not leave anyone who approaches it indifferent, and we all wait for the boys to have a happy ending, and the mother to finally accept her son's sexuality.
The photography and direction are commendable. The plot is beautiful, and although it may seem that all is lost, I see a thread of light at the end of the road.

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