simonesecci Reviews

Mona Lisa and the Blood Moon (2021)

A feverish dream turned into a perfect movie

[9/10 · 23 October 2022]

I didn't really know what to expect from Mona Lisa and the blood moon. I wasn't a huge fan of Ana lily Amirpour most known effort "A girl walks alone at night", I can barely remember seeing it, it didn't manage to leave any lasting impression. Luckily, it's the exact opposite with her latest movie. The narrative that she is able to create is one of lighthearted make believe and feverish dreams, barely stepping into a nightmarish territory just to sidestep without fumbling and losing a beat into a grotesque and surreal comedy. It never needs gore or any prurient sexualization of the characters that are so common in what is fed to the audience in the most boring products of today's cinema. It never feels heavily invested in social matters, while hitting all the right keys just with a light enough touch to be inevitably a creature of the current decade (in the way that highlights the lead female characters for example). Mona Lisa and the Blood Moon is the movie you don't expect and I can't help being so glad those, still exist.

Lady in the Water (2006)

A gentle and timeless fairy tale

[9/10 · 26 October 2021]

Brilliant, touching, different. This movie treads lightly and stands above the roaring grittiness and reiterated exploitative violence that seem to be necessary to satisfy the jaded audience of the last 20 years. It's a gentle and timeless fairy tale wrapped with a warm layer of comedy.

Under the Shadow (2016)

An effective Horror and a compelling historical drama.

[8/10 · 15 February 2021]

Underrated, visually striking and compelling example of what overhyped movies like the American "Us" should have been. There isn't a single piece out of place in this movie. It's a horror movie that manages to agitate our primordial fears as much as our outrage for the slow descent of a country into the abyss of religious fanaticism and extreme misogyny. The gradual fall into the uncontrollable chaos of the paranormal curse that envelops the most sacred of the nuclear family spaces, the house, mirrors the metaphorical fall into an unreasonable political chaos dominated by the lunacy of men. Two women, mother and daughter are progressively abandoned by all the social layers that are supposed to protect them: Their husband/father, the institutions, their friends and even their neighbors. Left to fend for themselves in an impossible and unfair fight against the overwhelming physical destruction of war and the unforgiving incorporeal evil of demons. They are the most powerful and unfathomable of heroes.

Hobo with a Shotgun (2011)

Style over substance

[5/10 · 31 October 2020]

Let's cut to the chase. Is Rutger Hauer's performance worth the 90 minutes of your life you'll spend watching a movie called Hobo with a Shotgun? Not if you haven't seen any of the minor action and sci-fi classics that movie legend starred in the 80s and 90s. If you are a familiar with those, then you just might like this style over substance pastiche of gore and camp. Don't get me wrong at times it's brilliant style, like in the perfectly deceitful blissfulness of the opening sequence or the wildly grotesque sequences with the bikers from hell, that show a glance of what this movie maker could do. Unfortunately it's just promise. Technically he's not (yet?) Cosmatos and substantially doesn't reach the nostalgic perfection of Turbo Kid. Also yes sorry to say but even if you are here for the gore and splatter, Troma and Peter Jackson have already given this movie a run for the money.

Parasite (2019)

Over hyped

[5/10 · 17 July 2020]

To begin with I'm not a fan of Bong Joon-ho. I discover this almost by accident because I had no idea that he was behind Snowpiercer and the Netflix produced, Okja. I couldn't get through the first one and I fell asleep during the second. I gave this one a shot even though I knew that hyped movies are not my cup of tea. They seem to be self-reliant on the hype they generate, that somehow should be enough to reassure us, they'll leave us with an unforgettable memory.

So while this movie isn't bad and technically well-made, is far from unforgettable. It's heavy-handed and pushes the device of the screwball comedy far enough to make its subversion and consequent transformation into carnage, less plausible. A mechanism very dear to French director Francois Ozon, who Bong Joon-ho seems to be definitely indebted to.

A movie that certainly pleases the crowds with its grotesque and cynical satire and its deliberate use of violence. To quote Calvino: "What many consider to be the vitality of the times - noisy, aggressive, revving and roaring - belongs to the realm of death, like a cemetery for rusty old cars."

Riki-Oh: The Story of Ricky (1991)

Unique exploitation film with too much ambition

[5/10 · 2 July 2020]

A large portion of Japanese manga and anime are notoriously full of over the top and surreal depictions of violence and struggle. Bringing that into a low budget exploitation flick is no easy feat and this production is certainly fearless and wild in his splatter approach to violence. If you are approaching this movie, you have to be in it for the mindless fun. However the issue is that there is a lot cinematically, that gets in the way of the fun. The characters are mere caricatures in a way that might work in a videogame but on film ends up resulting i more yawns that laughs (There a few of those to be fair). The attempts at logical plot and the sci fi elements feel completely superfluous, it's an absurdist movie after all why not going in that direction all the way? All and all it will pass the time but it feels more like a dare than anything else.

Point Break (1991)

So ridiculous you might think it's the SNL parody of itself.

[4/10 · 7 June 2020]

This movie is like a beautiful old sports car with no engine. Fast paced action sequences and beautifully shot surf rides are the background of a sequence of predictable clichés and outdated 90s machismo. The end sequence is so unrealistic and ridiculous you might think it's the SNL parody of itself.

Angel Heart (1987)

A majestically eerie movie by Alan Parker

[8/10 · 4 May 2020]

Angel Heart it's a movie that gives you something different every time you re-discover it. Every cinematographic element in this movie is pretty extraordinary. From the incredible performance of both Robert De Niro and Mickey Rourke to the masterwork of Alan Parker. There is a perceivable balance in the visuals between a melancholic celebration of the 1950s, (the shots embrace that imagery fully, almost like an Edward Hopper's painting) and the expressionist use of Chiaroscuro where the sinister undertone of the movie takes over, but the two coexist perfectly to create a truly unique feeling throughout the movie. The screenplay embraces the dualism of the descent into madness/descent into hell and it does so gradually, with increasingly disturbing and gruesome elements that eventually reach an inevitable peak by the end. However at its best Angel Heart is not just style over substance, is a very captivating supernatural thriller that keeps you glued to your chair all the way to the end, wanting for more.

Dreamscape (1984)

Underrated genre bending 80s movie

[8/10 · 1 May 2020]

Underrated genre bending 80s movie with a young Dennis Quaid in full form playing his usual smirky good guy role that made his fortune throughout the decade. Stellar cast including Max von Sydow and Kate Capshaw, but is David Patrick Kelly performance as murderous villain and his interplay with Quaid that really shines in the movie. Joseph Ruben directs with capable hand and handles surprisingly well a crowded plot line that mixes elements of sci fi-horror and action thriller with a comedic vibe. Imagine a very successful mix of David Cronenberger and Chris Columbus. Such efforts allow the self-indulgence of the special effects to get a pass.

Shakedown (1988)

80s action flick, buddy comedy and a courtroom drama package

[6/10 · 29 April 2020]

It's an enjoyable action flick overall. However it's also a buddy comedy and a courtroom drama quickly whisked together and served in one massive high protein shake. And that's its biggest downfall. Don't get me wrong I deeply enjoy the mindless entertainment of 80s "tough policemen" movies but the usual straightforwardness of a Schwarzenegger or a Stallone is lost here. An amazing cast (Sam Elliott, Peter Weller and Patricia Charbonneau) which would have done really well in any high budget Hollywood production, gets involved in all kinds of extravagant and adrenalin inducing events while distilling great acting throughout and keeping up with the highly energetic pace set by director James Glickenhaus. Not cohesive but if you're a fan of Lethal Weapon, 48 hrs or Tango and Cash it will serve you well.

The Man Who Killed Hitler and Then the Bigfoot (2018)

A timeless and romantic cinematographic tale

[9/10 · 21 January 2020]

Imaginative yet deeply human and melancholic, this movie is a rare gem in today's cinematic world. Sam Elliott portrays a rugged and mysterious war hero, who carries the weight of his own myth and the burden of his memories with quiet dignity. Surprisingly within the confines of highly unbelievable premises and a factitious title the movie manages to pack a truly majestic adventure and a romantic and heartfelt story of deep human connection. A timeless piece that is unafraid of saying things with a beautiful simplicity that is almost lost in today's cinema.

Kamikaze 89 (1982)

Absurdist exercise in retrofuturism.

[8/10 · 5 November 2019]

A movie worth seeing for none other that three main reasons: The absurdist exercise in retrofuturism. The drunkenly charming performance of Fassbinder. The colorful anarchism of a production design that rewrites all the rules of what was then known as cyberpunk. The movie with his unbridled and convoluted plot owes way more to William Burroughs than William Gibson. The satire, in this unique cinematographic experience is more a direction chosen by director Wolf Gremm, than a clearly defined series of remarks that one can extract or decipher in the script. It is certainly witty and doesn't take itself seriously but you will hardly find any classically intended humour in the short and surreal lines of the actors. However this is the true strength of the movie and what allows it, to stand the test of time.

The Fabulous Baker Boys (1989)

A true and rare masterpiece that is a pleasure to periodically re-discover.

[10/10 · 26 October 2019]

A movie that embodies the poetic ethos of 20th century America. A romantic and lighthearted drama that shines the brightest in his nocturnal and subtle atmosphere. The Fabulous Baker Boys is the masterpiece of director/screenwriter Steve Kloves. The debuting directors' pick of the themes of the underdog and the landscape of old nightclub characters he penned, seem to come straight out of the Tom Waits songbook. However what could have been a painful acolyte of clichès, is modeled by Kloves into nothing short of visual poetry. The movie features one of the best opening sequences of American cinematic history, almost (maybe?) an homage to the Altman of Atlantic City, a magnetic portrait of loneliness and decadence, that unveils with the warmth and sensuality of a jazz ballad. The glamorous lasciviousness of the American underbelly is depicted here with skill and accuracy, similarly to what a cinematic giant (and Kloves'contemporary) David Lynch does, but without any of the nightmarish fury. There is no dark secret to be discovered in this movie. Only the common frailty of human failures. The movie feels deeply like a love letter to a group of characters clumsily out of time and out of place that inevitably find refuge in each other, from a daylight world of family ties and self realization that seems equally unreachable and undesirable. A true and rare masterpiece that is a pleasure to periodically re-discover.

Troll (1986)

Hits all the right spots when it comes to 80s nostalgia.

[7/10 · 20 October 2019]

Lesser known that the infamous sequel, Troll definitely falls into the category of guilty pleasures with both feet, however it really hits all the right spots when it comes to 80s nostalgia. A rather bizarre combination of Labyrinth and Gremlins it has some pretty great visuals (although just hilarious at times) for a low budget movie. It can count on some really entertaining performances by Michael Moriarty (already starring a few similar cult flicks by Larry Cohen during the era) and June Lockhart. Not to mention Julia Louis Dreyfus as a scantily clad nymph of sorts. If all the above enticed you, you're definitely in for a treat.

Chastity Bites (2013)

Confused horror comedy with political commentary ambitions

[5/10 · 28 September 2019]

Sort of a direct to video attempt to fuse b movie horror stylistic devices and the wikipedia summarized version of feminist themes, the movie gets lost in its own lack of direction. If you are able to ignore the cringe-worthy moments in the scipt and you are on a high withdrawal from Buffy the Vampire Slayer's binge watching, it could still be worth spending the time on.

Shazam! (2019)

Wholesome fun

[8/10 · 14 April 2019]

Finally a Superhero movie that doesn't try to be edgy or introduce some redundant posturing to a comic book character! Zachary Levi is everything people miss about the great portrayal of Superman by Christopher Reeve: Wholesome, human and funny as hell.

Mandy (I) (2018)

A bizarre Heavy Metal music video in slow motion

[6/10 · 18 November 2018]

The movie has its strongholds in a memorable performance by Nicholas Cage and some fascinating and original visuals. Equally taking from the more obscure and disturbing pop and counter culture unsung heroes of the fantasy horror genre. Imagine an unlikely mix of Wes Craven and Alejandro Jodorowsky. Unfortunately even with such ambitious and exciting premises, Mandy never really feels like a movie as much as a Heavy Metal music video in slow motion. Fun at times and excruciatingly boring at others.

The Predator (2018)

An original sequel that doesn't disappoint and doesn't bore one minute.

[8/10 · 16 September 2018]

One thing that hardcore fans of the franchise seems to hate and that I found absolutely brilliant about the movie is that it doesn't try to mimic any of his predecessors. Shane Blake a director with a strong and clear vision on how to approach an entertainment flick, manages to deliver a fast paced action comedy without a hint of revivalist nostalgia. A great cast also contributes to the unbridled and juvenile fun that this movie embodies (tons of gore that will not disappoint the younger generations). I dare to say, a group of rogue veteran soldiers who are way better constructed and assembled that the original group of Schwarzenegger and an assortment of cartoonish characters (Jesse Ventura's Blain or Sonny Landham's highly stereotypical native American). The movie as expected for a sequel has its clear flaws starting from a hardly believable government scientist played by Olivia Munn that miraculously turns into acrobat fighter in the blink of an eye and that doesn't really cover any particularly significative role in the story. Another aspect where the movie only half succeed would have to be on his sci fi elements. Where the idea of giving a new spin to the Predators saga(the Predators evolutionary scientific efforts) is definitely fresh and interesting, some sci fi elements seems to be a bit redundant and gratuitous: Predators Dogs all of the sudden being brought to earth?, Humans being completely comfortable with alien tech? A few question mark will surely popped up in your head if you are even a casual aficionado of the genre. Nonetheless "The Predator" hits the mark of an original sequel that doesn't disappoint and doesn't bore one minute.