humanresistor Reviews

Iris (I) (2001)

Immediately impressive, but verges on superficial.

[8/10 · 1 October 2002]

The most important thing about "Iris" is also the most obvious one: the performances from the four main actors are extremely strong - in fact, it's not worth singling one of them out, they all make the film immediately worth watching.

The structure of the film, with the intertwined stories of two relatively brief periods in Iris Murdoch and John Bayley's life, is also superficially impressive, and creates some impressive juxtapositions. On the other hand, it's this structure that makes "Iris" unrewarding after the first viewing - it jumps from past to present far too frequently, which hampers the plot (there basically isn't one), and means that very little insight is gained into what the characters actually do for a living. Having John Bayley tell us how brilliant Iris is doesn't really engender confidence if all she does in the movie is make a few catty remarks and scribble a few pages.

The depiction of a couple in love and their ageing and death is very nicely done - it's just a pity that we're denied enough detail about what makes Iris and John so special as individuals.

Frankenstein Island (1981)

A masterpiece of incoherence.

[1/10 · 12 August 2002]

Briefly speaking, nothing in this movie makes any sense at all, either on the level of overall plot or of individual scenes or even lines. This would have to be one of the most relentlessly stupid movies ever made. As soon as it looks like something is remotely intelligible, the actors and director seem to do their utmost to bring in yet another non sequitur.

The dialogue seems to have been written by someone who's never actually heard a conversation between people before, and acted by people who've never participated in one.

However, it's extremely amusing. This is an extraordinarily bad movie, but that's not because it's boring. The pink lunchbox, the contact lenses with white-out on them, the rubber skulls, the guy who keeps laughing constantly for no reason, the suburban living room in the middle of the deserted island, the power that attacks your arm when you "mix the particular place, not here but on the outside" (that is, say the name of a city)... champagne cinema.

You could do much worse than track a copy down - but beware - some video copies have the goofiest scenes edited out!

Zoolander (2001)

A very intelligent stupid movie.

[9/10 · 10 August 2002]

The reviews of "Zoolander" have tended to say one of two things:

"it's stupid", or "it's stupid fun". Briefly speaking, I'd choose the

latter option, but there's more to it than that.

What makes "Zoolander" such an entertaining movie is not simply

the ridiculous plot and script; on paper, sometimes it's just too silly

and sometimes it doesn't work.

It's the realisation of the basic idea that makes it effective. The

acting is very strong, the direction creates just the right mood, and

the production design is really excellent. The story, such as it is, is

excellently paced, and the movie flies by.

You really get the impression that thought and care went into

perfecting the stupidity.

Velvet Goldmine (1998)

Fundamentally flawed with a few worthwhile parts.

[6/10 · 5 July 2002]

There's nothing in "Velvet Goldmine" that can really make up for the fact that Ewan McGregor and Jonathan Rhys-Meyers' performances are well below par. They never really seem convincing or even genuinely interested in their parts.

When the movie moves away from its main characters it tends to succeed more, but although some of the supporting actors are excellent (especially Toni Collette), obviously there's only so much they can offer. The newly-recorded music is lukewarm (I looked at the names in the credits and marvelled at how they produced such uninteresting work - it's remarkable just how much the film perks up when the 'real' versions of "Virginia Plain" and "Satellite of Love" are playing) and, overall, the movie does a very poor job of evoking 1974 or indeed 1984. A completely missed opportunity.

Minority Report (2002)

Thought-provoking and well-told movie.

[8/10 · 27 June 2002]

"Minority Report" holds your interest all the way through. It takes pains to set up its basic framework of new ideas (the pre-cogs) clearly, and although this makes the first half-hour of the movie irrelevant to the plot, Spielberg's skill is such that this background information is not only a necessary precursor to the gist of the movie, but also exciting for the viewer.

It follows from this that "Minority Report"'s strengths are its plot and its ideas. The ability of the actors and director means that even when the plot descends into a cliched pursuit of a fugitive, as it does sometimes, the movie doesn't flag.

The movie does sometimes renege on the premises it set up, and bend the rules of what the pre-cogs can do, as a means of setting up thrilling or tear-jerking scenes, but it's still very watchable. It's a little disappointing that the world of 2054 is more or less like today except with a lot more product placement - but hopefully, some of the companies who paid handsomely for their names to be mentioned will go the way of Pan Am in "2001".

Surveillance (1997)

Somewhere between engaging and insipid.

[7/10 · 26 June 2002]

It's superficially a nice story, but "Surveillance" doesn't really show Huang Jianxin at his best. It falls awkwardly between his two unique styles - the overt political symbolism and criticism of his early movies, and the sardonic warmth of his later movies - and ends up being a rather flat movie which doesn't genuinely engage the audience.

Huang's wonderful eye for detail sets him above his Chinese contemporaries in almost all his movies: there are some really enjoyable scenes here, but neither the social observation nor the plot are really enough to sustain a whole film.

Stand Straight, Never Give In (1993)

Worthy commentary on modern China

[8/10 · 26 June 2002]

Huang Jianxin's analysis and criticism on Chinese life is probably at its broadest in "Stand Up Straight, Don't Bend Over" (which goes by about five different English titles). He looks at the transition from socialism to capitalism from a wide variety of perspectives, considering the effects of new entrepreneurs, corruption and bribery, violent crime, the one-child policy, housing, fashion, education, old customs and so on.

The strength of this movie is that although the spectrum of social comment is extremely broad, it doesn't seem artificially "tacked on" to the film as a whole; rather, Huang creates realistic and engaging characters and tells a story which, although it is a little cliched and drags somewhat towards the end, engages the audience in both an emotional and intellectual sense. The conflict between Niu Zhenhua as the hooligan with a heart of gold and Feng Gong as the repressed intellectual is excellently played and a very good central focus for the movie.

The Black Cannon Incident (1985)

Intelligent and interesting.

[8/10 · 26 June 2002]

There's a lot to see and enjoy in "The Black Cannon Incident", but two things are particularly interesting: firstly, the political satire and symbolism, while somewhat guarded, is some of the most scathing ever to reach cinemas in mainland China - it may not always seem like much to Western viewers, but when viewed in the context of, for example, other "post-socialist" films like those of Eastern Europe, it is considerable.

The second aspect of the movie that makes it really worth seeing is its bizarre aesthetic qualities - in this film and "Dislocation", Huang Jianxin uses an industrial setting and discordant music to symbolize visually China's awkward transition into modern Western-style life and the clash of cultures that eventuate. In this and later movies, Huang picks up on seemingly minor details which, under his control, seem to develop much deeper meanings.

On the other hand, it should be stressed that this is a first film for Huang Jianxin - he later refined his film-making considerably. The performances are good, and the idea behind the film is excellent, but the basic storytelling lags behind a bit - the endless meetings and circular conversations may be historically and symbolically realistic, but they don't really excite an audience. If you're prepared to sit through a few dull parts, it's a very interesting viewing experience both for Chinese and foreigners. It's a pity that Huang's plans to collaborate further with German actors fell through.

Not One Less (1999)

Non-actors rescue the movie

[8/10 · 28 April 2002]

"Not One Less" verges on the maudlin and sentimental from the beginning, and by the end it's almost propaganda.

The thing that saves it at every turn, and in fact makes it into an excellent movie, is the combination of Zhang Yimou's experience and ability as a director and the realism and freshness that the cast of non-actors bring to it. Wei Minzhi in particular conveys the emotions and themes of the movie excellently.

Chicken and Duck Talk (1988)

Keep fit!

[10/10 · 28 April 2002]

I suppose you could argue that this movie relies on an extremely silly story and a great deal of stupid, almost juvenile, jokes. And I suppose this is true... but there are so *many* of the jokes, and they're all so *funny*!

It's a wonderful movie, watchable over and over, and superior to just about all of the Hollywood comedies of late. This, and "The Private Eyes", are also great examples of Hong Kong movies which are very accessible and entertaining to audiences worldwide, without compromising their own uniquely Chinese aspects.

Sleeper (1973)

A little boy found a butterfly...

[10/10 · 28 April 2002]

In contrast with Woody Allen's later films, "Sleeper" chooses to escape the New York of the present, and, in a similar way, it's rather differently funny to his later classics.

The movie meticulously sets up lots of amusing situations and set-pieces (like the giant tape machine and the expanding instant pudding) and the humour lies in these and in physical comedy, rather than in the more typical wisecracks and one-liners, which often fall a little flat.

Another extremely successful aspect of "Sleeper" is the tone of the movie: the enthusiastic cast, the excellent music and the carefully chosen locations and props combine to give the movie a fresh and upbeat feel (there are a few dramatic moments, but they're not taken too seriously).

But, all things considered, it's not so much the unorthodox nature of "Sleeper" that makes it so great - it's just really funny! Wonder no longer how poets of the future will make their living!

Bride of the Monster (1955)

inflatable beanbag?

[4/10 · 28 April 2002]

I just wanted to gloss over all the obvious aspects of this movie - zero budget, absurd plot, wooden acting, and so on - and say two things: firstly, it's still entertaining and fun; and secondly, if you've seen the reproduction of the climactic scene in "Ed Wood" and not the real thing, I think the actual scene is EVEN MORE badly made than the imitation!

The Skydivers (1963)

It's FUN!!!

[7/10 · 2 February 2001]

I just happen to like this film, and I'd like it just as much without the MST3K characters. It would be a very bleak, depressing movie if it weren't so goofy and stupid. It would be incredibly boring, but the incompetence of everyone involved means that something's always coming out of left field to surprise you.

It's quite a bit more entertaining than most movies. I watch it again and again.

The Micallef Program (1998–2001)

"Thierry Towelling"? Tee hee.

[29 May 2000]

Excellent sketch comedy show, which got even better in its second series. It combines surreal humour with very clever and precise writing and production. Shaun Micallef is genuinely interesting and charismatic. The best series of sketches was probably the claymation p***take "Attentione, il est Myron", with "Sotto Voce", and the "holding the door open for people" sketch coming a close second.

The Late Show (1992–1993)

Champagne sketch comedy

[29 May 2000]

The Late Show would have to be the best Aussie sketch comedy show yet. Its cast was experienced, and each had memorable individual qualities: Tommy G was the quintessential straight man; Rob specialised in absurdly pompous characters and brilliant impersonations (the Desmond Tutu interview has to be one of the funniest things I've ever seen on TV); Mick was shouty and puerile; Judith sarcastic; Santo warm and enthusiastic; Jason said "Let's run over Todd from Neighbours!"; Jane played a wide range of characters, and, last but not least, Tony Martin showed total control of writing and performing.

The best aspects of the show were its accurate observation of Australian life - most of the show was filmed in overcast Melbourne - and the real sense that all the performers were really having a good time. It brought a party atmosphere to many people too young or geeky to go out on Saturday nights.

A review can't sum such a varied show up. Watch the videos if you haven't; if you have, watch them again. (Note that the compilation videos miss out on some cool sketches like the stalking of Ken James, and have a crappy version of the theme music.)

Dogs in Space (1986)

Disappointing

[5/10 · 29 May 2000]

This film may in fact be an accurate depiction of what it was like to live in punky late 70s Melbourne. If so, it was a very boring era. It's stylish, with an excellent soundtrack (even though they talk over the Gang of Four), but really it's hard to ignore the fact that there's about two minutes of plot. Also it's hard to make your groundbreaking No Wave band plausible when the singer looks like Garry Who from "All Together Now".

Stone (1974)

I dig the taste of blood!

[10/10 · 29 May 2000]

Yes, it's very, very silly and 70s-ish. None of the characters are likeable. But, apart from the scenery and cinematography, it still has an endearing quality; it seems like the film-makers and actors were really trying to be genuine and sincere. That's what makes it such a re-watchable film.