https://www.grindhousedatabase.com/api.php?action=feedcontributions&user=Alif&feedformat=atomThe Grindhouse Cinema Database - User contributions [en]2024-03-29T10:23:32ZUser contributionsMediaWiki 1.36.1https://www.grindhousedatabase.com/index.php?title=User:Alif&diff=199406User:Alif2023-08-06T17:22:47Z<p>Alif: </p>
<hr />
<div>====Reviews====<br />
<br />
*[[Almost Human/Review|Almost Human]] <br />
*[[Black Lizard/Review|Black Lizard]]<br />
*[[BMX Bandits/Review|BMX Bandits]]<br />
*[[The Brothers/Review|The Brothers]]<br />
*[[The Bullet Train/Review|The Bullet Train]]<br />
*[[The Challenge/Review|The Challenge]]<br />
*[[Chinatown Kid/Review|Chinatown Kid]]<br />
*[[Equinox/Review|Equinox]]<br />
*[[Fair Game/Review|Fair Game]]<br />
*[[Fists of the White Lotus/Review|Fists of the White Lotus]]<br />
*[[Goke: Body Snatcher From Hell/Review|Goke: Body Snatcher From Hell]]<br />
*[[Goodbye Pork Pie/Review|Goodbye Pork Pie]]<br />
*[[The Gumball Rally/Review|The Gumball Rally]]<br />
*[[Mad Monkey Kung Fu/Review|Mad Monkey Kung Fu]]<br />
*[[The Magic Christian/Review|The Magic Christian]]<br />
*[[Masseur Ichi on the Road/Review|Masseur Ichi on the Road]]<br />
*[[The New Tale of Zatoichi/Review|The New Tale Of Zatoichi]] <br />
*[[Next of Kin/Review|Next of Kin]]<br />
*[[One Armed Boxer/Review|One Armed Boxer]]<br />
*[[The Pom Pom Girls/Review|The Pom Pom Girls]]<br />
*[[The Prodigal Son/Review|The Prodigal Son]]<br />
*[[The Plumber/Review|The Plumber]]<br />
*[[Psych-Out/Review|Psych-Out]]<br />
*[[Putney Swope/Review|Putney Swope]]<br />
*[[Road Games/Review|Road Games]]<br />
*[[The St. Valentine's Day Massacre/Review|The St. Valentine's Day Massacre]]<br />
*[[The Tale Of Zatoichi/Review|The Tale Of Zatoichi]]<br />
*[[The Tale Of Zatoichi Continues/Review|The Tale Of Zatoichi Continues]]<br />
*[[Tokyo Drifter/Review|Tokyo Drifter]]<br />
*[[Thomasine and Bushrod/Review|Thomasine and Bushrod]]<br />
*[[The Toolbox Murders/Review|The Toolbox Murders]]<br />
*[[The Trip/Review|The Trip]]<br />
*[[What Have They Done To Your Daughters?/Review|What Have They Done To Your Daughters?]]<br />
*[[Wild in the Streets/Review|Wild in the Streets]]<br />
*[[Wolf Guy/Review|Wolf Guy]]<br />
*[[Zatoichi the Fugitive/Review|Zatoichi the Fugitive]]<br />
*[[Masseur Ichi on the Road/Review|Zatoichi on the Road]]<br />
*[[200 Motels/Review|200 Motels]]<br />
<br />
<br />
[[Category:GCDB Editors]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Alif_Majeed&diff=185187Alif Majeed2022-01-16T23:20:00Z<p>Alif: </p>
<hr />
<div>====Reviews====<br />
<br />
*[[Almost Human/Review|Almost Human]] <br />
*[[Black Lizard/Review|Black Lizard]]<br />
*[[BMX Bandits/Review|BMX Bandits]]<br />
*[[The Brothers/Review|The Brothers]]<br />
*[[The Bullet Train/Review|The Bullet Train]]<br />
*[[The Challenge/Review|The Challenge]]<br />
*[[Chinatown Kid/Review|Chinatown Kid]]<br />
*[[Equinox/Review|Equinox]]<br />
*[[Fair Game/Review|Fair Game]]<br />
*[[Fists of the White Lotus/Review|Fists of the White Lotus]]<br />
*[[Goke: Body Snatcher From Hell/Review|Goke: Body Snatcher From Hell]]<br />
*[[Goodbye Pork Pie/Review|Goodbye Pork Pie]]<br />
*[[The Gumball Rally/Review|The Gumball Rally]]<br />
*[[Mad Monkey Kung Fu/Review|Mad Monkey Kung Fu]]<br />
*[[The Magic Christian/Review|The Magic Christian]]<br />
*[[The New Tale of Zatoichi/Review|The New Tale Of Zatoichi]]<br />
*[[Next of Kin/Review|Next of Kin]]<br />
*[[One Armed Boxer/Review|One Armed Boxer]]<br />
*[[The Pom Pom Girls/Review|The Pom Pom Girls]]<br />
*[[The Prodigal Son/Review|The Prodigal Son]]<br />
*[[The Plumber/Review|The Plumber]]<br />
*[[Psych-Out/Review|Psych-Out]]<br />
*[[Putney Swope/Review|Putney Swope]]<br />
*[[Road Games/Review|Road Games]]<br />
*[[The St. Valentine's Day Massacre/Review|The St. Valentine's Day Massacre]]<br />
*[[The Tale Of Zatoichi/Review|The Tale Of Zatoichi]]<br />
*[[The Tale Of Zatoichi Continues/Review|The Tale Of Zatoichi Continues]]<br />
*[[Tokyo Drifter/Review|Tokyo Drifter]]<br />
*[[Thomasine and Bushrod/Review|Thomasine and Bushrod]]<br />
*[[The Toolbox Murders/Review|The Toolbox Murders]]<br />
*[[The Trip/Review|The Trip]]<br />
*[[What Have They Done To Your Daughters?/Review|What Have They Done To Your Daughters?]]<br />
*[[Wild in the Streets/Review|Wild in the Streets]]<br />
*[[Wolf Guy/Review|Wolf Guy]]<br />
*[[Zatoichi the Fugitive/Review|Zatoichi the Fugitive]]<br />
*[[200 Motels/Review|200 Motels]]<br />
<br />
<br />
[[Category:GCDB Editors]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Chinatown_Kid&diff=185186Chinatown Kid2022-01-16T23:18:44Z<p>Alif: </p>
<hr />
<div><div class="row"><br />
<div class="large-6 columns">'''Chinatown Kid''' is a Shaw Brothers Kung Fu movie from 1977 by Chang Cheh<br />
* '''Contents''': [[/BluRay|BluRay releases]], [[/Review|Review]]<br />
* ''External links'': [https://www.imdb.com/title/tt0076797/ IMDb]<br />
[[File:Chinatownkid.jpg|Chinatown Kid]]<br />
</div><div class="large-6 columns"><br />
====Main Details====<br />
* US release: 1978<br />
* Director: Chang Cheh<br />
*Stars: Sheng Fu, Shirley Yu, Susan Yam-Yam Shaw<br />
====Also known as====<br />
* Der Kung Fu-Fighter von Chinatown<br />
* Tang ren jie xiao zi<br />
* Il Padrino di chinatown<br />
* Tang Ren Jie Gong Fu Xiao Zi<br />
* Tong Yan Gai Siu Ji<br />
* O Vingador da Cidade<br />
</div></div><br />
[[Category:Films]][[Category:Chang Cheh]][[Category:Shaw Brothers Archives]][[Category:Martial Arts]][[Category:Action/Adventure]][[Category:1977]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Chinatown_Kid&diff=185185Chinatown Kid2022-01-16T23:18:19Z<p>Alif: </p>
<hr />
<div><div class="row"><br />
<div class="large-6 columns">'''Chinatown Kid''' is a Shaw Brothers Kung Fu movie from 1977 by Chang Cheh<br />
* '''Contents''': [[/BluRay|BluRay releases]] [[/Review|Review]]<br />
* ''External links'': [https://www.imdb.com/title/tt0076797/ IMDb]<br />
[[File:Chinatownkid.jpg|Chinatown Kid]]<br />
</div><div class="large-6 columns"><br />
====Main Details====<br />
* US release: 1978<br />
* Director: Chang Cheh<br />
*Stars: Sheng Fu, Shirley Yu, Susan Yam-Yam Shaw<br />
====Also known as====<br />
* Der Kung Fu-Fighter von Chinatown<br />
* Tang ren jie xiao zi<br />
* Il Padrino di chinatown<br />
* Tang Ren Jie Gong Fu Xiao Zi<br />
* Tong Yan Gai Siu Ji<br />
* O Vingador da Cidade<br />
</div></div><br />
[[Category:Films]][[Category:Chang Cheh]][[Category:Shaw Brothers Archives]][[Category:Martial Arts]][[Category:Action/Adventure]][[Category:1977]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Mad_Monkey_Kung_Fu/Review&diff=180118Mad Monkey Kung Fu/Review2021-07-04T15:14:24Z<p>Alif: </p>
<hr />
<div><center>[[File:Madmonkeytop.png|730px|link=Mad Monkey Kung Fu]]</center><br />
<br />
Some movies serve as an incredible introduction to a particular genre. They are examples used to describe it as a whole and are considered classics in the said genre. [[Mad Monkey Kung Fu]], surprisingly, does not fall under most people's idea of a true Kung Fu classic, which is shocking as it is a tremendously entertaining Kung Fu movie worth seeking out. <br />
<br />
[[File:Madmonkey1.jpg]]<br />
<br />
Part of the reason has to be its cast. There are actors in martial arts cinema, like [[:Category:Lo Lieh|Lo Lieh]] or [[:Category:Jimmy Wang Yu|Jimmy Wang Yu]], who might not be natural martial artists but coast along because of their tremendous screen presence. The second group has people like [[:Category:Jackie Chan|Jackie Chan]] or [[:Category:Bruce Lee|Bruce Lee]], who are supremely gifted, genuine martial artists. The one common factor is that all of them were extraordinarily charismatic and can hold the screen without you taking your eyes off them. <br />
<br />
Sadly, although Hsiao Ho, the leading man of this movie, is an incredibly gifted martial artist, his limited screen presence is pretty evident throughout. The same can be said about [[:Category:Lau Kar Leung|Lau Kar-Leung]], too, who may look like he can convincingly beat a thousand men to a pulp without making you feel the any of the awe you felt for the aforementioned martial arts screen legends. Leung is also an actor who is most effective when used in a supporting capacity. Like a man who best fits as a beautiful sideshow and not the main event. Still, he does well as a disgruntled person who has been punishing himself for a crime he has not even committed. <br />
<br />
[[File:Madmonkey2.jpg]]<br />
<br />
Besides Chang Cheh, he is also probably the one director and choreographer who has made the most contributions to the martial arts film genre. Here he is doing triple duty while also acting in the movie as Ho's mentor. The fight choreography is on par with any film he has made, showcasing both the actors' skills. Pity, they don't have the charisma to match the fighting prowess they display on-screen, although the chemistry between the two is impressive and undeniable.<br />
<br />
Leung had taken Ho under his wing in real life and the mutual affection for each other shows during the training scenes, as they were more or less master and student in real life and that spills over on-screen.<br />
<br />
[[File:Madmonkey3.jpg]]<br />
<br />
The movie starts with a brother and sister pair (Lau Kar-Leung and Kara Wai) making a living doing Kung Fu opera shows. Soon, they catch the attention of Tuan (Lo Lieh, playing yet another sleazy villain). <br />
<br />
Though Leung is an extremely skilled martial artist, he has a weakness for drinking. Exploiting this weakness out of jealously and having the hots for his sister, Tuan gets him drunk and tricks the siblings into believing that Leung raped his wife. In defense, the sister offers herself up as Lo Lieh's concubine. Though it comes across as a strange deal now, it is precisely the kind of agreements relating to honor that never seems out of place in a martial arts movie even though you end up widely rolling your eyes. Not wanting enough, and to beat out his ego, Lo also insists that he break Leung's hands, so he can't practice Kung Fu again. <br />
<br />
[[File:Madmonkey4.jpg]]<br />
<br />
Resorting to street hustling with a monkey for company, Leung, having lost all will to fight, wallows in sadness at his own plight and sisters' fate. Amidst all this, comes Ho, who insists on becoming Leung's student and help him take revenge on Lo Lieh and his gang of brothel henchmen. Do they succeed in their quest for vengeance or not forms the rest of the movie.<br />
<br />
In the tradition of the drunken Kung Fu of Jackie Chan, Hsiao Ho learns a form of monkey Kung Fu here. Released on the heels of the Jackie Chan vehicle, which started a trend of comedic martial arts movies, there is no denying that the Mad Monkey Kung Fu is pretty funny despite some pretty problematic undertones. Especially those initial scenes with Lieh's manipulation of Leung. <br />
<br />
[[File:Madmonkey5.jpg]]<br />
<br />
Though it is not his most noteworthy performance, Lo Lieh is reliable as usual and suitably smarmy. His plan may seem absurd and far fetched, but he nails it as the guy who manages to trick Leung into believing the worst in himself is true. Despite his limited screen time, he is pretty good as a devious and vile villain. <br />
<br />
[[File:Madmonkey6.jpg]]<br />
<br />
One could almost wonder what would have happened if a more popular martial arts actor headlined the movie. Would it have been better known as a movie? It is moot, but Mad Monkey Kung Fu deserves its place to be counted as one of Lau Kar-Leung's best films, if not one of the best in the genre. A definite must-watch.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Trip/Review&diff=179788The Trip/Review2021-06-27T07:07:16Z<p>Alif: </p>
<hr />
<div><center><gallery widths=600px heights=400px perrow=6 gallery mode="nolines"><br />
Trip.gif|link=The Trip<br />
</gallery><br />
</center><br />
<br />
[[The Trip]] is a movie that has always aroused fond memories for me. It was a movie that I watched a countless number of times during my college days and still occasionally watch now and then. Even my last viewing ended up me smiling wide throughout the movie. Now I have met a lot of people who wouldn't agree with my repeated viewings of this movie but that's okay. <br />
<br />
[[File:Trip4.jpg]] <br />
<br />
If there was ever a movie where the plot can be described in one line, it would definitely be this one. Paul Groves (played by [[:Category: Peter Fonda|Peter Fonda]]) who's a director of TV commercials, takes his first dose of LSD after going through a messy divorce. That about sums it up. The rest of the movie is purely what goes on in his mind and what he experiences during his "journey". It is a fascinating attempt at trying to show a trip down the rabbit hole in a 90-minute movie. There have been many movies that end up being a psychedelic experience but rarely do you have a movie that portrays what goes on in a person's mind actually having that psychedelic experience. Thankfully, it also does not go the [[Reefer Madness]] route showing some bizarre aftermath of drugs or the experience as a complete descent into madness even though it looks like he might be having a bad trip in spots. At the end of the movie, it even hints that the guy has winded down and gone back to life as usual.<br />
<br />
[[File:Trip1.png]]<br />
<br />
[[:Category: Roger Corman|Roger Corman]] is the biggest MVP in any movie he is involved in and it has his stamp all over it both for better and for worse. A good friend of mine had told me after watching the movie that it feels like a movie that is written by a guy who is high on drugs but not directed by one. Though I dont agree with him, I do get what he means. Even in its most trippy moments, it does feel like someone is cutting corners. That is another criticism I usually hear about it. That for a movie that is trying to portray a drug-induced haze, it looks too cheap and is not psychedelic enough. Well, it is Roger Corman who we are talking about who made the movie with a prayer and a few nickels as usual but I mostly respond by saying "well, it is trying to show ONE guys trip and what is going on in HIS mind and might not be the same for others".<br />
<br />
[[File:Trip2.png]]<br />
<br />
Talking about writing, it is amazing to know that the film was written by Jack Nicholson no less which in retrospect is not that surprising at all. Not the sneering superstar Jack Nicholson we have come to know but the struggling actor who often showed up in random bit roles throughout the '60s. Also look at its amazing cast which includes Peter Fonda, Dennis Hopper, and Bruce Dern. All guys who would go on to do greater things in the future. And to think that just a couple of years down the line, three of the four aforementioned guys would end up making Easy Rider, a cornerstone of 60's counter culture and cinema in general. <br />
<br />
[[File:Trip3.png]]<br />
<br />
Sure, there are harder "psychedelic" movies out there and it might not even be one of Roger Corman's better efforts but I would rather see it as a time capsule look into a fascinating era where a bunch of people just wanted to have fun. I mean, it is hard not to watch this movie and not think about where the young cast and crew would end up eventually. For that alone, The Trip is a movie worth seeking out. <br />
<br />
'''TRIPPY TRIVIA''': This film was based on Roger Corman's own experiences taking LSD.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Trip]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Bullet_Train/Review&diff=179786The Bullet Train/Review2021-06-27T07:03:31Z<p>Alif: </p>
<hr />
<div><center>[[File:Bulletop.png|800px|link=The Bullet Train]]</center><br />
<br />
The first thing that sun in after I finished watching [[The Bullet Train]] was how little of [[Sonny Chiba]] you get to see in the movie. It is a premise that could uniquely use his bear punching, skull smashing skills where he could John McClane his way into rescuing the titular train in peril. After getting over that initial disappointment though, you realize it was a pretty tight thriller that still holds up admirably well. Bullet Train came out just about a year after another 70s train-based thriller classic, The Taking of Pelham One Two Three, and it also follows the wave of all the disaster movies of that era (The Poseidon Adventure, The Towering Inferno, etc). It also had a similarly impressive all-star Japanese movie cast for its time in the tradition of those movies. It is also a pleasant surprise to see Sonny Chiba being relatively subdued and not playing to the galleries here. He is remarkably restrained and plays second fiddle to Ken Takakura and Ken Utsui.<br />
<br />
[[File:Bullettrain4.jpg]]<br />
<br />
Having realized that there are two primary versions of the movie, it was interesting watching both versions back to back. The cut version keeps things real tight by focusing on the kidnappers and the police officials as you hardly feel a wasted moment in this version. However, the personalities and motivations of both sides are more clearly defined in the original version. Though you know that things would end up on the cutting floor as the uncut original version does not quite justify its 152 minutes runtime. You just wished they found a balance between the two as it is a textbook example of a movie having two different regional versions and both working well in their own way. If you have watched both, you will realize exactly what was missing or added and why in the other version. There is still very little of Chiba as he is almost a glorified cameo in both versions.<br />
<br />
[[File:Bullettrain3.jpg]]<br />
<br />
One of the major tropes of a good disaster movie is the reactions of the passengers. How they react when thrust into an extraordinary situation. It is something the uncut version scores majorly on as it has more character moments with a more significant focus on the passengers and their reactions. You have a man whose gut instinct is to pull the brake to get to the office on time despite knowing what will happen if the train stops (It's something that could be their instinctive reaction even if they know the consequences). While that guy is creating a stir to stop the train, somebody takes it upon himself to shoot the whole fight, exclaiming with glee that this will make an excellent film. Or with the pregnant lady who has to give birth on the train because of the delay. The conclusion to the track is heartbreaking. It's character moments like these that are sorely missing in the cut version. They are all nervous and panicking, especially not knowing the whole truth or even whether the people in charge have their plan sorted.<br />
<br />
[[File:Bullettrain2.jpg]]<br />
<br />
The thing about these 70s disaster movies and the later 80s action movies that kept Die Hard as a template is the victims always had a heroic figure to count on, though they usually seem like an everyman. You know Bruce Willis has their back, and he will fight the powers that be. Or you know Keanu Reeves is the hero who will keep the endangered people safe. What works here is even at its most tense, there seem to be no heroes but just ordinary people who are trying to get home. They are normal folks worried that a wrong decision by the higher-ups might screw things up for all involved.<br />
<br />
[[File:Bullettrain1.jpg]]<br />
<br />
The best example is despite having a martial arts/action legend like Sonny Chiba among the cast, he is just a part of the ensemble as the train operator. You also expect the movie to be a battle of wits like what happens with Robert Shaw and Walter Matthau in Taking of Pelham One Two Three. Instead, Ken Takakura as the vengeful Tetsuo Okita and Ken Utsui as Kuramochi as the train supervisor hardly interact. They also portrayed the latter as just a cog in the wheel who has to request permission from many bosses to make one decision.<br />
<br />
No matter which version you are watching, thriller fans would find a lot to love in The Bullet Train. It is a tight thriller that holds up rather well in its place among the 70s disaster movies.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Bullet]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Bullet_Train/Review&diff=179785The Bullet Train/Review2021-06-27T07:01:22Z<p>Alif: </p>
<hr />
<div><center>[[File:Bulletop.png|800px|link=The Bullet Train]]</center><br />
<br />
The first thing that sun in after I finished watching [[The Bullet Train]] was how little of [[Sonny Chiba]] you get to see in the movie. It is a premise that could uniquely use his bear punching, skull smashing skills where he could John McClane his way into rescuing the titular train in peril. After getting over that initial disappointment though, you realize it was a pretty tight thriller that still holds up admirably well. Bullet Train came out just about a year after another 70s train-based thriller classic, The Taking of Pelham One Two Three, and it also follows the wave of all the disaster movies of that era (The Poseidon Adventure, The Towering Inferno, etc). It also had a similarly impressive all-star Japanese movie cast for its time in the tradition of those movies. It is also a pleasant surprise to see Sonny Chiba being relatively subdued and not playing to the galleries here. He is remarkably restrained and plays second fiddle to Ken Takakura and Ken Utsui.<br />
<br />
[[File:Bullettrain4.jpg]]<br />
<br />
Having realized that there are two primary versions of the movie, it was interesting watching both versions back to back. The cut version keeps things real tight by focusing on the kidnappers and the police officials as you hardly feel a wasted moment in this version. However, the personalities and motivations of both sides are more clearly defined in the original version. Though you know that things would end up on the cutting floor as the uncut original version does not quite justify its 152 minutes runtime. You just wished they found a balance between the two as it is a textbook example of a movie having two different regional versions and both working well in their own way. If you have watched both, you will realize exactly what was missing in the other version. There is still very little of Chiba as he is almost a glorified cameo in both versions.<br />
<br />
[[File:Bullettrain3.jpg]]<br />
<br />
One of the major tropes of a good disaster movie is the reactions of the passengers. How they react when thrust into an extraordinary situation. It is something the uncut version scores majorly on as it has more character moments with a more significant focus on the passengers and their reactions. You have a man whose gut instinct is to pull the brake to get to the office on time despite knowing what will happen if the train stops (It's something that could be their instinctive reaction even if they know the consequences). While that guy is creating a stir to stop the train, somebody takes it upon himself to shoot the whole fight, exclaiming with glee that this will make an excellent film. Or with the pregnant lady who has to give birth on the train because of the delay. The conclusion to the track is heartbreaking. It's character moments like these that are sorely missing in the cut version. They are all nervous and panicking, especially not knowing the whole truth or even whether the people in charge have their plan sorted.<br />
<br />
[[File:Bullettrain2.jpg]]<br />
<br />
The thing about these 70s disaster movies and the later 80s action movies that kept Die Hard as a template is the victims always had a heroic figure to count on, though they usually seem like an everyman. You know Bruce Willis has their back, and he will fight the powers that be. Or you know Keanu Reeves is the hero who will keep the endangered people safe. What works here is even at its most tense, there seem to be no heroes but just ordinary people who are trying to get home. They are normal folks worried that a wrong decision by the higher-ups might screw things up for all involved.<br />
<br />
[[File:Bullettrain1.jpg]]<br />
<br />
The best example is despite having a martial arts/action legend like Sonny Chiba among the cast, he is just a part of the ensemble as the train operator. You also expect the movie to be a battle of wits like what happens with Robert Shaw and Walter Matthau in Taking of Pelham One Two Three. Instead, Ken Takakura as the vengeful Tetsuo Okita and Ken Utsui as Kuramochi as the train supervisor hardly interact. They also portrayed the latter as just a cog in the wheel who has to request permission from many bosses to make one decision.<br />
<br />
No matter which version you are watching, thriller fans would find a lot to love in The Bullet Train. It is a tight thriller that holds up rather well in its place among the 70s disaster movies.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Bullet]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Bullet_Train/Review&diff=179784The Bullet Train/Review2021-06-27T07:00:28Z<p>Alif: </p>
<hr />
<div><center>[[File:Bulletop.png|800px|link=The Bullet Train]]</center><br />
<br />
The first thing that sun in after I finished watching [[The Bullet Train]] was how little of [[Sonny Chiba]] you get to see in the movie. It is a premise that could uniquely use his bear punching, skull smashing skills where he could John McClane his way into rescuing the titular train in peril. After getting over that initial disappointment though, you realize it was a pretty tight thriller that still holds up admirably well. Bullet Train came out just about a year after another 70s train-based thriller classic, The Taking of Pelham One Two Three, and it also follows the wave of all the disaster movies of that era (The Poseidon Adventure, The Towering Inferno, etc). It also had a similarly impressive all-star Japanese movie cast for its time in the tradition of those movies. It is also a pleasant surprise to see Sonny Chiba being relatively subdued and not playing to the galleries here. He is remarkably restrained and plays second fiddle to Ken Takakura and Ken Utsui.<br />
<br />
[[File:Bullettrain4.jpg]]<br />
<br />
Having realized that there are two primary versions of the movie, it was interesting watching both versions back to back. The cut version keeps things real tight by focusing on the kidnappers and the police officials as you hardly feel a wasted moment in this version. However, the personalities and motivations of both sides are more clearly defined in the original version. Though you know that things would end up on the cutting floor as the uncut original version does not quite justify its 152 minutes runtime. You just wished they found a balance between the two as it is a textbook example of a movie having two different regional versions and both working well in their own way. If you have watched both, you will realize exactly what was missing in the other version. There is still very little of Chiba as he is almost a glorified cameo in both versions.<br />
<br />
[[File:Bullettrain3.jpg]]<br />
<br />
One of the major tropes of a good disaster movie is the reactions of the passengers. How they react when thrust into an extraordinary situation. It is something the uncut version scores majorly on as it has more character moments with a more significant focus on the passengers and their reactions. You have a man whose gut instinct is to pull the brake to get to the office on time despite knowing what will happen if the train stops (It's something that could be their instinctive reaction even if they know the consequences). While that guy is creating a stir to stop the train, somebody takes it upon himself to shoot the whole fight, exclaiming with glee that this will make an excellent film. Or with the pregnant lady who has to give birth on the train because of the delay. The conclusion to the track is heartbreaking. It's character moments like these that are sorely missing in the cut version. They are all nervous and panicking, especially not knowing the whole truth or even if the people in charge have their plan sorted.<br />
<br />
[[File:Bullettrain2.jpg]]<br />
<br />
The thing about these 70s disaster movies and the later 80s action movies that kept Die Hard as a template is the victims always had a heroic figure to count on, though they usually seem like an everyman. You know Bruce Willis has their back, and he will fight the powers that be. Or you know Keanu Reeves is the hero who will keep the endangered people safe. What works here is even at its most tense, there seem to be no heroes but just ordinary people who are trying to get home. They are normal folks worried that a wrong decision by the higher-ups might screw things up for all involved.<br />
<br />
[[File:Bullettrain1.jpg]]<br />
<br />
The best example is despite having a martial arts/action legend like Sonny Chiba among the cast, he is just a part of the ensemble as the train operator. You also expect the movie to be a battle of wits like what happens with Robert Shaw and Walter Matthau in Taking of Pelham One Two Three. Instead, Ken Takakura as the vengeful Tetsuo Okita and Ken Utsui as Kuramochi as the train supervisor hardly interact. They also portrayed the latter as just a cog in the wheel who has to request permission from many bosses to make one decision.<br />
<br />
No matter which version you are watching, thriller fans would find a lot to love in The Bullet Train. It is a tight thriller that holds up rather well in its place among the 70s disaster movies.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Bullet]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Bullet_Train/Review&diff=179782The Bullet Train/Review2021-06-27T06:56:22Z<p>Alif: </p>
<hr />
<div><center>[[File:Bulletop.png|800px|link=The Bullet Train]]</center><br />
<br />
The first thing that sun in after I finished watching [[The Bullet Train]] was how little of [[Sonny Chiba]] you get to see in the movie. It is a premise that could uniquely use his bear punching, skull smashing skills where he could John McClane his way into rescuing the titular train in peril. After getting over that initial disappointment though, you realize it was a pretty tight thriller that still holds up admirably well. Bullet Train came out just about a year after another 70s train-based thriller classic, The Taking of Pelham One Two Three, and it also follows the wave of all the disaster movies of that era (The Poseidon Adventure, The Towering Inferno, etc). It also had a similarly impressive all-star Japanese movie cast for its time in the tradition of those movies. It is also a pleasant surprise to see Sonny Chiba being relatively subdued and not playing to the galleries here. He is remarkably restrained and plays second fiddle to Ken Takakura and Ken Utsui.<br />
<br />
[[File:Bullettrain4.jpg]]<br />
<br />
Having realized that there are two primary versions of the movie, it was interesting watching both versions back to back. The cut version keeps things real tight by focusing on the kidnappers and the police officials as you hardly feel a wasted moment in this version. The personalities and motivations of both sides are also more clearly defined in the original version. The uncut version does not justify its 152 minutes runtime though so you know somewhere things would end up on the cutting floor. You just wished they found a balance between the two as it is a textbook example of a movie having two different regional versions and both working well in their own way. If you have watched both, you will realize exactly what was missing in the other version. There is still very little of Chiba as he is almost a glorified cameo in both versions.<br />
<br />
[[File:Bullettrain3.jpg]]<br />
<br />
One of the major tropes of a good disaster movie is the reactions of the passengers. How they react when thrust into an extraordinary situation. It is something the uncut version scores majorly on as it has more character moments with a more significant focus on the passengers and their reactions. You have a man whose gut instinct is to pull the brake to get to the office on time despite knowing what will happen if the train stops (It's something that could be their instinctive reaction even if they know the consequences). While that guy is creating a stir to stop the train, somebody takes it upon himself to shoot the whole fight, exclaiming with glee that this will make an excellent film. Or with the pregnant lady who has to give birth on the train because of the delay. The conclusion to the track is heartbreaking. It's character moments like these that are sorely missing in the cut version. They are all nervous and panicking, especially not knowing the whole truth or even if the people in charge have their plan sorted.<br />
<br />
[[File:Bullettrain2.jpg]]<br />
<br />
The thing about these 70s disaster movies and the later 80s action movies that kept Die Hard as a template is the victims always had a heroic figure to count on, though they usually seem like an everyman. You know Bruce Willis has their back, and he will fight the powers that be. Or you know Keanu Reeves is the hero who will keep the endangered people safe. What works here is even at its most tense, there seem to be no heroes but just ordinary people who are trying to get home. They are normal folks worried that a wrong decision by the higher-ups might screw things up for all involved.<br />
<br />
[[File:Bullettrain1.jpg]]<br />
<br />
The best example is despite having a martial arts/action legend like Sonny Chiba among the cast, he is just a part of the ensemble as the train operator. You also expect the movie to be a battle of wits like what happens with Robert Shaw and Walter Matthau in Taking of Pelham One Two Three. Instead, Ken Takakura as the vengeful Tetsuo Okita and Ken Utsui as Kuramochi as the train supervisor hardly interact. They also portrayed the latter as just a cog in the wheel who has to request permission from many bosses to make one decision.<br />
<br />
No matter which version you are watching, thriller fans would find a lot to love in The Bullet Train. It is a tight thriller that holds up rather well in its place among the 70s disaster movies.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Bullet]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Next_of_Kin/Review&diff=179728Next of Kin/Review2021-06-26T18:52:56Z<p>Alif: </p>
<hr />
<div><center>[[File:Noktop.png|501px|link=Next of Kin]]</center><br />
<br />
[[Next of Kin]] is often ignored as it gets clubbed together with other countless 80's slasher movies out there. Having grown up on a staple of such movies, it's hard not to watch a movie and do a double-take. It has no business getting confused for a regular slasher flick as it is hard to place within the genre. Too eerie and gothic to be a true blue slasher flick, some might even say that the movie is not slasher-y enough. <br />
<br />
[[File:Nok3.jpg]] <br />
<br />
That's the beauty of this movie. You start watching it expecting it to be a typical hack and slash flick. Some time into the movie, you might even be disappointed by the lack of murders. Even though watching it has spooked you quite a bit. And as you are getting used to the spooky and atmospheric eeriness, the murders begin. Making you realize that the rug is slowly getting pulled from underneath your feet without you even knowing it. Because when the murders do happen even though they are few and far between, it is pretty effective and scary. <br />
<br />
The story goes something like this. A girl named Linda (Jacki Kerin) gets ownership of an old age home that was in her mother's name. Given a choice, she decides to be the new caretaker of the place, instead of running away from it. She soon realizes that not all is what it seems as people keep on dying. <br />
<br />
[[File:Nok1.jpg]] <br />
<br />
As she tries to figure out what exactly is happening in this place that makes old people getting killed. This adds an air of mystery and suspense to the proceedings and the ending does offer a surprise in the true killer movie fashion.<br />
<br />
Now it might sound a lot more generic than it is. But there are a few things that set it apart. For instance, the setting of these movies is usually in a prom/camp/ hostel or even an abandoned house. <br />
<br />
As it is set in an old age home, it adds a great level of atmosphere to it. The place is no less spooky than the house in Psycho and the makers have used the setting to their full advantage. The fact that it was also shot in Australia adds to its novelty.<br />
<br />
[[File:Nok2.jpg]] <br />
<br />
That is an enduring thing about Ozploitation movies in general. They can be very culture-specific to their region. I always wondered why do Aussies keep getting portrayed in a certain way. As tough invincible tough man mountains. Even the kids are shown as tough. But here barring the accents, the movie could have been set anywhere and in any region. And that works wonders in its favor.<br />
<br />
There is also one thing that reminded me of the classic thriller movies of yore. It is the nondescript diner that is the prominent setting of two major scenes in the movie. The beginning and the end. It kind of adds up to give the universal nature of the movie. <br />
<br />
[[File:Nok4.jpg]] <br />
<br />
It is easy to believe that these are people in an old age home needing care. As opposed to the kooky characters we meet in such a setting who are there to spook the protagonist. It is also refreshing to see the victims here are not hot-blooded teenagers but retired old folks. That ups the stakes as it poses the question: How can these old folks escape their inevitable fate if they don't even stand a chance in a chase?<br />
<br />
Jacki Kerin is perfect as the well-intentioned Linda who chewed up more than she can handle. Trying to protect the people under her care from getting killed. All the while desperate in trying to figure out who is the murderer. <br />
<br />
[[File:Nok5.JPG]]<br />
<br />
Among the murders, one scene stands out even though it is not of the murder but the aftermath. It's a creepy scene where a resident finds the victim's body in a bathtub while going to take a bath. Now I could be a sucker when it comes to these things but it did give me the chills. The killings as mentioned are more of the aftermath of the scenes than the actual murders that you get to see. It's not a bad thing as it is often more effective. Especially when the movie is not going for blood and gore. But relying more on its ability to spook the audience leaving a more lasting impact. That impact is well documented in the Ozploitation documentary [[Not Quite Hollywood]].<br />
<br />
Quentin Tarantino has compared this movie to The Shining and though that seems like a stretch, you get where he is coming from. And what it does lack in gruesome kills it compensates for with style and atmosphere to burn. It goes without saying that the cinematography and sound are great. Considering how the movie has been praised to the skies by those who have seen it, it is sad that it has been lost in a sea of standard exploitation slashers. It's a must-watch and great addition to the already swell list of atmospheric psycho killer films. <br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Next_of_Kin/Review&diff=179725Next of Kin/Review2021-06-26T18:50:34Z<p>Alif: </p>
<hr />
<div><center>[[File:Noktop.png|501px|link=Next of Kin]]</center><br />
<br />
[[Next of Kin]] is often ignored as it gets clubbed together with other countless 80's slasher movies out there. Having grown up on a staple of such movies, it's hard not to watch a movie and do a double-take. It has no business getting confused for a regular slasher flick as it is hard to place within the genre. Too eerie and gothic to be a true blue slasher flick, some might even say that the movie is not slasher-y enough. <br />
<br />
[[File:Nok3.jpg]] <br />
<br />
That's the beauty of this movie. You start watching it expecting it to be a typical hack and slash flick. Some time into the movie, you might even be disappointed by the lack of murders. Even though watching it has spooked you quite a bit. And as you are getting used to the spooky and atmospheric eeriness, the murders begin. Making you realize that the rug is slowly getting pulled from underneath your feet without you even knowing it. Because when the murders do happen even though they are few and far between, it is pretty effective and scary. <br />
<br />
The story goes something like this. A girl named Linda (Jacki Kerin) gets ownership of an old age home that was in her mother's name. Given a choice, she decides to be the new caretaker of the place, instead of running away from it. She soon realizes that not all is what it seems as people keep on dying. <br />
<br />
[[File:Nok1.jpg]] <br />
<br />
As she tries to figure out what exactly is happening in this place that makes old people getting killed. This adds an air of mystery and suspense to the proceedings and the ending does offer a surprise in the true killer movie fashion.<br />
<br />
Now it might sound a lot more generic than it is. But there are a few things that set it apart. For instance, the setting of these movies is usually in a prom/camp/ hostel or even an abandoned house. <br />
<br />
As it is set in an old age home, it adds a great level of atmosphere to it. The place is no less spooky than the house in Psycho and the makers have used the setting to their full advantage. The fact that it was also shot in Australia adds to its novelty.<br />
<br />
[[File:Nok2.jpg]] <br />
<br />
That is an enduring thing about Ozploitation movies in general. They can be very culture-specific to their region. I always wondered why do Aussies keep getting portrayed in a certain way. As tough invincible tough man mountains. Even the kids are shown as tough. But here barring the accents, the movie could have been set anywhere and in any region. And that works wonders in its favor.<br />
<br />
There is also one thing that reminded me of the classic thriller movies of yore. It is the nondescript diner that is the prominent setting of two major scenes in the movie. The beginning and the end. It kind of adds up to give the universal nature of the movie. <br />
<br />
[[File:Nok4.jpg]] <br />
<br />
It is easy to believe that these are people in an old age home needing care. As opposed to the kooky characters we meet in such a setting who are there to spook the protagonist. It is also refreshing to see the victims here are not hot-blooded teenagers but retired old folks. That ups the stakes as it poses the question: How can these old folks escape their inevitable fate if they don't even stand a chance in a chase?<br />
<br />
Jacki Kerin is perfect as the well-intentioned Linda who chewed up more than she can handle. Trying to protect the people under her care from getting killed. All the while desperate in trying to figure out who is the murderer. <br />
<br />
[[File:Nok5.JPG]]<br />
<br />
Among the murders, one scene stands out even though it is not of the murder but the aftermath. It's a creepy scene where a resident finds the victim's body in a bathtub while going to take a bath. Now I could be a sucker when it comes to these things but it did give me the chills. The killings as mentioned are more of the aftermath of the scenes than the actual murders that you get to see. It's not a bad thing as it is often more effective. Especially when the movie is not going for blood and gore. But relying more on its ability to spook the audience leaving a more lasting impact. That impact is well documented in the Ozploitation documentary [[Not Quite Hollywood]].<br />
<br />
Quentin Tarantino has compared this movie to The Shining and it's hard to disagree with him on that. And what it does lack in gruesome kills it compensates for with style and atmosphere to burn. It goes without saying that the cinematography and sound are great. Considering how the movie has been praised to the skies by those who have seen it, it is sad that it has been lost in a sea of standard exploitation slashers. It's a must-watch and great addition to the already swell list of atmospheric psycho killer films. <br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Next_of_Kin/Review&diff=179723Next of Kin/Review2021-06-26T18:49:53Z<p>Alif: </p>
<hr />
<div><center>[[File:Noktop.png|501px|link=Next of Kin]]</center><br />
<br />
[[Next of Kin]] is often ignored as it gets clubbed together and with countless 80's slasher movies out there. Having grown up on a staple of such movies, it's hard not to watch a movie and do a double-take. It has no business getting confused for a regular slasher flick as it is hard to place within the genre. Too eerie and gothic to be a true blue slasher flick, some might even say that the movie is not slasher-y enough. <br />
<br />
[[File:Nok3.jpg]] <br />
<br />
That's the beauty of this movie. You start watching it expecting it to be a typical hack and slash flick. Some time into the movie, you might even be disappointed by the lack of murders. Even though watching it has spooked you quite a bit. And as you are getting used to the spooky and atmospheric eeriness, the murders begin. Making you realize that the rug is slowly getting pulled from underneath your feet without you even knowing it. Because when the murders do happen even though they are few and far between, it is pretty effective and scary. <br />
<br />
The story goes something like this. A girl named Linda (Jacki Kerin) gets ownership of an old age home that was in her mother's name. Given a choice, she decides to be the new caretaker of the place, instead of running away from it. She soon realizes that not all is what it seems as people keep on dying. <br />
<br />
[[File:Nok1.jpg]] <br />
<br />
As she tries to figure out what exactly is happening in this place that makes old people getting killed. This adds an air of mystery and suspense to the proceedings and the ending does offer a surprise in the true killer movie fashion.<br />
<br />
Now it might sound a lot more generic than it is. But there are a few things that set it apart. For instance, the setting of these movies is usually in a prom/camp/ hostel or even an abandoned house. <br />
<br />
As it is set in an old age home, it adds a great level of atmosphere to it. The place is no less spooky than the house in Psycho and the makers have used the setting to their full advantage. The fact that it was also shot in Australia adds to its novelty.<br />
<br />
[[File:Nok2.jpg]] <br />
<br />
That is an enduring thing about Ozploitation movies in general. They can be very culture-specific to their region. I always wondered why do Aussies keep getting portrayed in a certain way. As tough invincible tough man mountains. Even the kids are shown as tough. But here barring the accents, the movie could have been set anywhere and in any region. And that works wonders in its favor.<br />
<br />
There is also one thing that reminded me of the classic thriller movies of yore. It is the nondescript diner that is the prominent setting of two major scenes in the movie. The beginning and the end. It kind of adds up to give the universal nature of the movie. <br />
<br />
[[File:Nok4.jpg]] <br />
<br />
It is easy to believe that these are people in an old age home needing care. As opposed to the kooky characters we meet in such a setting who are there to spook the protagonist. It is also refreshing to see the victims here are not hot-blooded teenagers but retired old folks. That ups the stakes as it poses the question: How can these old folks escape their inevitable fate if they don't even stand a chance in a chase?<br />
<br />
Jacki Kerin is perfect as the well-intentioned Linda who chewed up more than she can handle. Trying to protect the people under her care from getting killed. All the while desperate in trying to figure out who is the murderer. <br />
<br />
[[File:Nok5.JPG]]<br />
<br />
Among the murders, one scene stands out even though it is not of the murder but the aftermath. It's a creepy scene where a resident finds the victim's body in a bathtub while going to take a bath. Now I could be a sucker when it comes to these things but it did give me the chills. The killings as mentioned are more of the aftermath of the scenes than the actual murders that you get to see. It's not a bad thing as it is often more effective. Especially when the movie is not going for blood and gore. But relying more on its ability to spook the audience leaving a more lasting impact. That impact is well documented in the Ozploitation documentary [[Not Quite Hollywood]].<br />
<br />
Quentin Tarantino has compared this movie to The Shining and it's hard to disagree with him on that. And what it does lack in gruesome kills it compensates for with style and atmosphere to burn. It goes without saying that the cinematography and sound are great. Considering how the movie has been praised to the skies by those who have seen it, it is sad that it has been lost in a sea of standard exploitation slashers. It's a must-watch and great addition to the already swell list of atmospheric psycho killer films. <br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Bullet_Train/Review&diff=179711The Bullet Train/Review2021-06-26T16:35:25Z<p>Alif: </p>
<hr />
<div><center>[[File:Bulletop.png|800px|link=The Bullet Train]]</center><br />
<br />
The first thing that came to my mind when I finished watching [[The Bullet Train]] was how little of [[Sonny Chiba]] you get to see in the movie. It is a premise that could uniquely use his bear punching, skull smashing skills where he could John McClane his way into rescuing the train. After getting over that initial disappointment though, you realize it was a pretty tight thriller that still holds up well. Bullet Train came out just about a year after another 70s train-based thriller classic, The Taking of Pelham One Two Three, and it also follows the wave of all the disaster movies of that era (The Poseidon Adventure, The Towering Inferno, etc). It also had a similarly impressive all-star Japanese movie cast for its time in the tradition of those movies. It is also a pleasant surprise to see Sonny Chiba being relatively subdued and not playing to the galleries here. He is remarkably restrained and plays second fiddle to Ken Takakura and Ken Utsui.<br />
<br />
[[File:Bullettrain4.jpg]]<br />
<br />
Having realized that there are two primary versions of the movie, it was interesting watching both versions back to back. The cut version keeps things real tight by focusing on the kidnappers and the police officials as you hardly feel a wasted moment in this version. The personalities and motivations of both sides are also more clearly defined in the original version. The uncut version does not justify its 152 minutes runtime though so you know somewhere things would end up on the cutting floor. You just wished they found a balance between the two as it is a textbook example of a movie having two different regional versions and both working well in their own way. If you have watched both, you will realize exactly what was missing in the other version. There is still very little of Chiba as he is almost a glorified cameo in both versions.<br />
<br />
[[File:Bullettrain3.jpg]]<br />
<br />
One of the major tropes of a good disaster movie is the reactions of the passengers. How they react when thrust into an extraordinary situation. It is something the uncut version scores majorly on as it has more character moments with a more significant focus on the passengers and their reactions. You have a man whose gut instinct is to pull the brake to get to the office on time despite knowing what will happen if the train stops (It's something that could be their instinctive reaction even if they know the consequences). While that guy is creating a stir to stop the train, somebody takes it upon himself to shoot the whole fight, exclaiming with glee that this will make an excellent film. Or with the pregnant lady who has to give birth on the train because of the delay. The conclusion to the track is heartbreaking. It's character moments like these that are sorely missing in the cut version. They are all nervous and panicking, especially not knowing the whole truth or even if the people in charge have their plan sorted.<br />
<br />
[[File:Bullettrain2.jpg]]<br />
<br />
The thing about these 70s disaster movies and the later 80s action movies that kept Die Hard as a template is the victims always had a heroic figure to count on, though they usually seem like an everyman. You know Bruce Willis has their back, and he will fight the powers that be. Or you know Keanu Reeves is the hero who will keep the endangered people safe. What works here is even at its most tense, there seem to be no heroes but just ordinary people who are trying to get home. They are normal folks worried that a wrong decision by the higher-ups might screw things up for all involved.<br />
<br />
[[File:Bullettrain1.jpg]]<br />
<br />
The best example is despite having a martial arts/action legend like Sonny Chiba among the cast, he is just a part of the ensemble as the train operator. You also expect the movie to be a battle of wits like what happens with Robert Shaw and Walter Matthau in Taking of Pelham One Two Three. Instead, Ken Takakura as the vengeful Tetsuo Okita and Ken Utsui as Kuramochi as the train supervisor hardly interact. They also portrayed the latter as just a cog in the wheel who has to request permission from many bosses to make one decision.<br />
<br />
No matter which version you are watching, thriller fans would find a lot to love in The Bullet Train. It is a tight thriller that holds up rather well in its place among the 70s disaster movies.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Bullet]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Bullet_Train/Review&diff=179710The Bullet Train/Review2021-06-26T16:33:40Z<p>Alif: </p>
<hr />
<div><center>[[File:Bulletop.png|800px|link=The Bullet Train]]</center><br />
<br />
The first thing that came to my mind when I finished watching [[The Bullet Train]] was how little of [[Sonny Chiba]] you get to see in the movie. It is a premise that could uniquely use his bear punching, skull smashing skills where he could John McClane his way into rescuing the train. After getting over that initial disappointment though, you realize it was a pretty tight thriller that still holds up pretty well. Bullet Train came out just about a year after another 70s train-based thriller classic, The Taking of Pelham One Two Three, and it also follows the wave of all the disaster movies of that era (The Poseidon Adventure, The Towering Inferno, etc). It also had a similarly impressive all-star Japanese movie cast for its time in the tradition of those movies. It is also a pleasant surprise to see Sonny Chiba being relatively subdued and not playing to the galleries here. He is remarkably restrained and plays second fiddle to Ken Takakura and Ken Utsui.<br />
<br />
[[File:Bullettrain4.jpg]]<br />
<br />
Having realized that there are two primary versions of the movie, it was interesting watching both versions back to back. The cut version keeps things real tight by focusing on the kidnappers and the police officials as you hardly feel a wasted moment in this version. The personalities and motivations of both sides are also more clearly defined in the original version. The uncut version does not justify its 152 minutes runtime though so you know somewhere things would end up on the cutting floor. You just wished they found a balance between the two as it is a textbook example of a movie having two different regional versions and both working well in their own way. If you have watched both, you will realize exactly what was missing in the other version. There is still very little of Chiba as he is almost a glorified cameo in both versions.<br />
<br />
[[File:Bullettrain3.jpg]]<br />
<br />
One of the major tropes of a good disaster movie is the reactions of the passengers. How they react when thrust into an extraordinary situation. It is something the uncut version scores majorly on as it has more character moments with a more significant focus on the passengers and their reactions. You have a man whose gut instinct is to pull the brake to get to the office on time despite knowing what will happen if the train stops (It's something that could be their instinctive reaction even if they know the consequences). While that guy is creating a stir to stop the train, somebody takes it upon himself to shoot the whole fight, exclaiming with glee that this will make an excellent film. Or with the pregnant lady who has to give birth on the train because of the delay. The conclusion to the track is heartbreaking. It's character moments like these that are sorely missing in the cut version. They are all nervous and panicking, especially not knowing the whole truth or even if the people in charge have their plan sorted.<br />
<br />
[[File:Bullettrain2.jpg]]<br />
<br />
The thing about these 70s disaster movies and the later 80s action movies that kept Die Hard as a template is the victims always had a heroic figure to count on, though they usually seem like an everyman. You know Bruce Willis has their back, and he will fight the powers that be. Or you know Keanu Reeves is the hero who will keep the endangered people safe. What works here is even at its most tense, there seem to be no heroes but just ordinary people who are trying to get home. They are normal folks worried that a wrong decision by the higher-ups might screw things up for all involved.<br />
<br />
[[File:Bullettrain1.jpg]]<br />
<br />
The best example is despite having a martial arts/action legend like Sonny Chiba among the cast, he is just a part of the ensemble as the train operator. You also expect the movie to be a battle of wits like what happens with Robert Shaw and Walter Matthau in Taking of Pelham One Two Three. Instead, Ken Takakura as the vengeful Tetsuo Okita and Ken Utsui as Kuramochi as the train supervisor hardly interact. They also portrayed the latter as just a cog in the wheel who has to request permission from many bosses to make one decision.<br />
<br />
No matter which version you are watching, thriller fans would find a lot to love in The Bullet Train. It is a tight thriller that holds up rather well in its place among the 70s disaster movies.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Bullet]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Bullet_Train/Review&diff=179709The Bullet Train/Review2021-06-26T16:31:59Z<p>Alif: </p>
<hr />
<div><center>[[File:Bulletop.png|800px|link=The Bullet Train]]</center><br />
<br />
The first thing that came to my mind when I finished watching [[The Bullet Train]] was how little of [[Sonny Chiba]] you get to see in the movie. It is a premise that could uniquely use his bear punching, skull smashing skills where he could John McClane his way into rescuing the train. After getting over that initial disappointment though, you realize it was a pretty tight thriller that still holds up pretty well. Bullet Train came out just about a year after another 70s train-based thriller classic, The Taking of Pelham One Two Three, and it also follows the wave of all the disaster movies of that era (The Poseidon Adventure, The Towering Inferno, etc). It also had a similarly impressive all-star Japanese movie cast for its time in the tradition of those movies. It is also a pleasant surprise to see Sonny Chiba being relatively subdued and not playing to the galleries here. He is remarkably restrained and plays second fiddle to Ken Takakura and Ken Utsui.<br />
<br />
[[File:Bullettrain4.jpg]]<br />
<br />
Having realized that there are two primary versions of the movie, it was interesting watching both versions back to back. The cut version keeps things real tight by focusing on the kidnappers and the police officials as you hardly feel a wasted moment in this version. The personalities and motivations of both sides are also more clearly defined in the original version. The uncut version does not justify its 152 minutes runtime though so you know somewhere things would end up on the cutting floor. You just wished they found a balance between the two as it is a textbook example of a movie having two different regional versions and both working well in their own way. If you have watched both versions, you realize exactly what was missing in the other version. There is still very little of Chiba as he is almost a glorified cameo in both versions.<br />
<br />
[[File:Bullettrain3.jpg]]<br />
<br />
One of the major tropes of a good disaster movie is the reactions of the passengers. How they react when thrust into an extraordinary situation. It is something the uncut version scores majorly on as it has more character moments with a more significant focus on the passengers and their reactions. You have a man whose gut instinct is to pull the brake to get to the office on time despite knowing what will happen if the train stops (It's something that could be their instinctive reaction even if they know the consequences). While that guy is creating a stir to stop the train, somebody takes it upon himself to shoot the whole fight, exclaiming with glee that this will make an excellent film. Or with the pregnant lady who has to give birth on the train because of the delay. The conclusion to the track is heartbreaking. It's character moments like these that are sorely missing in the cut version. They are all nervous and panicking, especially not knowing the whole truth or even if the people in charge have their plan sorted.<br />
<br />
[[File:Bullettrain2.jpg]]<br />
<br />
The thing about these 70s disaster movies and the later 80s action movies that kept Die Hard as a template is the victims always had a heroic figure to count on, though they usually seem like an everyman. You know Bruce Willis has their back, and he will fight the powers that be. Or you know Keanu Reeves is the hero who will keep the endangered people safe. What works here is even at its most tense, there seem to be no heroes but just ordinary people who are trying to get home. They are normal folks worried that a wrong decision by the higher-ups might screw things up for all involved.<br />
<br />
[[File:Bullettrain1.jpg]]<br />
<br />
The best example is despite having a martial arts/action legend like Sonny Chiba among the cast, he is just a part of the ensemble as the train operator. You also expect the movie to be a battle of wits like what happens with Robert Shaw and Walter Matthau in Taking of Pelham One Two Three. Instead, Ken Takakura as the vengeful Tetsuo Okita and Ken Utsui as Kuramochi as the train supervisor hardly interact. They also portrayed the latter as just a cog in the wheel who has to request permission from many bosses to make one decision.<br />
<br />
No matter which version you are watching, thriller fans would find a lot to love in The Bullet Train. It is a tight thriller that holds up rather well in its place among the 70s disaster movies.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Bullet]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Alif_Majeed&diff=179708Alif Majeed2021-06-26T16:29:29Z<p>Alif: </p>
<hr />
<div>====Reviews====<br />
<br />
*[[Almost Human/Review|Almost Human]] <br />
*[[Black Lizard/Review|Black Lizard]]<br />
*[[BMX Bandits/Review|BMX Bandits]]<br />
*[[The Brothers/Review|The Brothers]]<br />
*[[The Bullet Train/Review|The Bullet Train]]<br />
*[[The Challenge/Review|The Challenge]]<br />
*[[Equinox/Review|Equinox]]<br />
*[[Fair Game/Review|Fair Game]]<br />
*[[Fists of the White Lotus/Review|Fists of the White Lotus]]<br />
*[[Goke: Body Snatcher From Hell/Review|Goke: Body Snatcher From Hell]]<br />
*[[Goodbye Pork Pie/Review|Goodbye Pork Pie]]<br />
*[[The Gumball Rally/Review|The Gumball Rally]]<br />
*[[Mad Monkey Kung Fu/Review|Mad Monkey Kung Fu]]<br />
*[[The Magic Christian/Review|The Magic Christian]]<br />
*[[The New Tale of Zatoichi/Review|The New Tale Of Zatoichi]]<br />
*[[Next of Kin/Review|Next of Kin]]<br />
*[[One Armed Boxer/Review|One Armed Boxer]]<br />
*[[The Pom Pom Girls/Review|The Pom Pom Girls]]<br />
*[[The Prodigal Son/Review|The Prodigal Son]]<br />
*[[The Plumber/Review|The Plumber]]<br />
*[[Psych-Out/Review|Psych-Out]]<br />
*[[Putney Swope/Review|Putney Swope]]<br />
*[[Road Games/Review|Road Games]]<br />
*[[The St. Valentine's Day Massacre/Review|The St. Valentine's Day Massacre]]<br />
*[[The Tale Of Zatoichi/Review|The Tale Of Zatoichi]]<br />
*[[The Tale Of Zatoichi Continues/Review|The Tale Of Zatoichi Continues]]<br />
*[[Tokyo Drifter/Review|Tokyo Drifter]]<br />
*[[Thomasine and Bushrod/Review|Thomasine and Bushrod]]<br />
*[[The Toolbox Murders/Review|The Toolbox Murders]]<br />
*[[The Trip/Review|The Trip]]<br />
*[[What Have They Done To Your Daughters?/Review|What Have They Done To Your Daughters?]]<br />
*[[Wild in the Streets/Review|Wild in the Streets]]<br />
*[[Wolf Guy/Review|Wolf Guy]]<br />
*[[Zatoichi the Fugitive/Review|Zatoichi the Fugitive]]<br />
*[[200 Motels/Review|200 Motels]]<br />
<br />
<br />
[[Category:GCDB Editors]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Bullet_Train/Review&diff=179707The Bullet Train/Review2021-06-26T16:28:39Z<p>Alif: </p>
<hr />
<div><center>[[File:Bulletop.png|800px|link=The Bullet Train]]</center><br />
<br />
The first thing that came to my mind when I finished watching [[The Bullet Train]] was how little of [[Sonny Chiba]] you get to see in the movie. It is a premise that could uniquely use his bear punching, skull smashing skills where he could John McClane his way into rescuing the train. After getting over that initial disappointment though, you realize it was a pretty tight thriller that still holds up pretty well. Bullet Train came out just about a year after another 70s train-based thriller classic, The Taking of Pelham One Two Three, and it also follows the wave of all the disaster movies of that era (The Poseidon Adventure, The Towering Inferno, etc). It also had a similarly impressive all-star Japanese movie cast for its time in the tradition of those movies. It is also a pleasant surprise to see Sonny Chiba being relatively subdued and not playing to the galleries here. He is remarkably restrained and plays second fiddle to Ken Takakura and Ken Utsui.<br />
<br />
[[File:Bullettrain4.jpg]]<br />
<br />
Having realized that there are two primary versions of the movie, it was interesting watching both versions back to back. The cut version keeps things real tight by focusing on the kidnappers and the police officials as you hardly feel a wasted moment in this version. The personalities and motivations of both sides are also more clearly defined in the original version. The uncut version does not justify its 152 minutes runtime though so you know somewhere things would end up on the cutting floor. You just wished they found a balance between the two as it is a textbook example where both versions work well in their own way. If you have watched both versions, you realize exactly what was missing in the other version. There is still very little of Chiba as he is almost a glorified cameo in both versions.<br />
<br />
[[File:Bullettrain3.jpg]]<br />
<br />
One of the major tropes of a good disaster movie is the reactions of the passengers. How they react when thrust into an extraordinary situation. It is something the uncut version scores majorly on as it has more character moments with a more significant focus on the passengers and their reactions. You have a man whose gut instinct is to pull the brake to get to the office on time despite knowing what will happen if the train stops (It's something that could be their instinctive reaction even if they know the consequences). While that guy is creating a stir to stop the train, somebody takes it upon himself to shoot the whole fight, exclaiming with glee that this will make an excellent film. Or with the pregnant lady who has to give birth on the train because of the delay. The conclusion to the track is heartbreaking. It's character moments like these that are sorely missing in the cut version. They are all nervous and panicking, especially not knowing the whole truth or even if the people in charge have their plan sorted.<br />
<br />
[[File:Bullettrain2.jpg]]<br />
<br />
The thing about these 70s disaster movies and the later 80s action movies that kept Die Hard as a template is the victims always had a heroic figure to count on, though they usually seem like an everyman. You know Bruce Willis has their back, and he will fight the powers that be. Or you know Keanu Reeves is the hero who will keep the endangered people safe. What works here is even at its most tense, there seem to be no heroes but just ordinary people who are trying to get home. They are normal folks worried that a wrong decision by the higher-ups might screw things up for all involved.<br />
<br />
[[File:Bullettrain1.jpg]]<br />
<br />
The best example is despite having a martial arts/action legend like Sonny Chiba among the cast, he is just a part of the ensemble as the train operator. You also expect the movie to be a battle of wits like what happens with Robert Shaw and Walter Matthau in Taking of Pelham One Two Three. Instead, Ken Takakura as the vengeful Tetsuo Okita and Ken Utsui as Kuramochi as the train supervisor hardly interact. They also portrayed the latter as just a cog in the wheel who has to request permission from many bosses to make one decision.<br />
<br />
No matter which version you are watching, thriller fans would find a lot to love in The Bullet Train. It is a tight thriller that holds up rather well in its place among the 70s disaster movies.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Bullet]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Bullet_Train/Review&diff=179706The Bullet Train/Review2021-06-26T16:28:19Z<p>Alif: </p>
<hr />
<div><center>[[File:Bulletop.png|800px|link=The Bullet Train]]</center><br />
<br />
The first thing that came to my mind when I finished watching [[The Bullet Train]] was how little of [[Sonny Chiba]] you get to see in the movie. It is a premise that could uniquely use his bear punching, skull smashing skills where he could John McClane his way into rescuing the train. After getting over that initial disappointment though, you realize it was a pretty tight thriller that still holds up pretty well. Bullet Train came out just about a year after another 70s train-based thriller classic, The Taking of Pelham One Two Three, and it also follows the wave of all the disaster movies of that era (The Poseidon Adventure, The Towering Inferno, etc). It also had a similarly impressive all-star Japanese movie cast for its time in the tradition of those movies. It is also a pleasant surprise to see Sonny Chiba being relatively subdued and not playing to the galleries here. He is remarkably restrained and is plays second fiddle to Ken Takakura and Ken Utsui.<br />
<br />
[[File:Bullettrain4.jpg]]<br />
<br />
Having realized that there are two primary versions of the movie, it was interesting watching both versions back to back. The cut version keeps things real tight by focusing on the kidnappers and the police officials as you hardly feel a wasted moment in this version. The personalities and motivations of both sides are also more clearly defined in the original version. The uncut version does not justify its 152 minutes runtime though so you know somewhere things would end up on the cutting floor. You just wished they found a balance between the two as it is a textbook example where both versions work well in their own way. If you have watched both versions, you realize exactly what was missing in the other version. There is still very little of Chiba as he is almost a glorified cameo in both versions.<br />
<br />
[[File:Bullettrain3.jpg]]<br />
<br />
One of the major tropes of a good disaster movie is the reactions of the passengers. How they react when thrust into an extraordinary situation. It is something the uncut version scores majorly on as it has more character moments with a more significant focus on the passengers and their reactions. You have a man whose gut instinct is to pull the brake to get to the office on time despite knowing what will happen if the train stops (It's something that could be their instinctive reaction even if they know the consequences). While that guy is creating a stir to stop the train, somebody takes it upon himself to shoot the whole fight, exclaiming with glee that this will make an excellent film. Or with the pregnant lady who has to give birth on the train because of the delay. The conclusion to the track is heartbreaking. It's character moments like these that are sorely missing in the cut version. They are all nervous and panicking, especially not knowing the whole truth or even if the people in charge have their plan sorted.<br />
<br />
[[File:Bullettrain2.jpg]]<br />
<br />
The thing about these 70s disaster movies and the later 80s action movies that kept Die Hard as a template is the victims always had a heroic figure to count on, though they usually seem like an everyman. You know Bruce Willis has their back, and he will fight the powers that be. Or you know Keanu Reeves is the hero who will keep the endangered people safe. What works here is even at its most tense, there seem to be no heroes but just ordinary people who are trying to get home. They are normal folks worried that a wrong decision by the higher-ups might screw things up for all involved.<br />
<br />
[[File:Bullettrain1.jpg]]<br />
<br />
The best example is despite having a martial arts/action legend like Sonny Chiba among the cast, he is just a part of the ensemble as the train operator. You also expect the movie to be a battle of wits like what happens with Robert Shaw and Walter Matthau in Taking of Pelham One Two Three. Instead, Ken Takakura as the vengeful Tetsuo Okita and Ken Utsui as Kuramochi as the train supervisor hardly interact. They also portrayed the latter as just a cog in the wheel who has to request permission from many bosses to make one decision.<br />
<br />
No matter which version you are watching, thriller fans would find a lot to love in The Bullet Train. It is a tight thriller that holds up rather well in its place among the 70s disaster movies.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Bullet]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Toolbox_Murders/Review&diff=179123The Toolbox Murders/Review2021-06-16T05:52:50Z<p>Alif: </p>
<hr />
<div><center>[[File:Tooltop.png|link=The Toolbox Murders]]</center><br />
<br />
[[The Toolbox Murders]] is a movie that has quite a reputation among horror fans. It is something of a Halloween staple and it's hard to manage expectations if you've heard too much about it. From this comes a movie that is something that you didn't imagine it to be. It is like you are half expecting to see a Jason/Freddy hybrid slasher movie or a Giallo-style suspense piece but it ends up being neither. Is that disappointing? It could be, but it is only because it is not what you expect.<br />
<br />
[[File:Tool2.jpg]]<br />
<br />
While discussing a movie, the beginning of the movie is always the right place to start talking about it. Here it takes an all too different meaning. The film is divided into two phases, though not as simple as the first half and the second half. It's the first 15 minutes and the rest of the movie is how the movie is cut into. Like someone took the first 15 minutes of a slasher movie and cut it into a moody, introspective art piece. Or also like the makers decided that the film they made was not dark enough, so they decided to add the 15 minutes prologue as an afterthought. <br />
<br />
The movie begins in an apartment complex where the tenants include a few girls live who live alone. A killer enters the place and kills all but one of them. As he chops and cleaves and drills his way through, he uses a variety of weapons — Claw-Hammers, screwdrivers, power drills. Even a nail gun (ESPECIALLY the nail gun) becomes the weapon of choice for the killer hunting in the complex. <br />
<br />
[[File:Tool5.jpg]]<br />
<br />
The opening scene includes a murder, which caused a stir when the movie released. When the killer gets to the final room, he catches a young woman masturbating in the bathtub. After chasing her around the room, he finally manages to nail her head to the wall with the deadly gun. This murder does shock and is gruesome. Some movies deemed controversial might be tamer by today's standards. The nail gun scene was a bone of contention and controversy, which makes sense why. There is something odd about the way the scene plays out. Right from the moment, she pleasures herself in the bathtub to her long run, trying to escape from her would-be killer all over the room. To the final shot of her lifeless body hanging with her head nailed to the wall. Another thing that might be off-putting is the rape at the end, which came out of nowhere. Scenes like these are what earned this movie its reputation.<br />
<br />
[[File:Tool3.jpg]]<br />
<br />
Either out of sympathy or lust for the last surviving girl, he decides to keep her for himself. As he ties up the girl at his place, you feel it's a completely different movie, which is weird. Now we come to meet his relatives who also take the bulk of the rest of the film. This part of the movie is also lead by the brother of the missing girl. As he begins his search for her, he is not able to get any help. He goes on with his private investigation which leads him to Vance, the landlord of the house, who might know more about the murder than he lets on. He also meets Vance's nephew, who might also be hiding a few secrets of his own. <br />
<br />
[[:Category:Cameron Mitchell|Cameron Mitchell]], who played Vance, has had quite an interesting career. From acting in the original cast of Death of a Salesman to ending up in a series of exploitation movies, including Toolbox murders. And this has to be one of the hammiest performances among them. Playing a grieving father who is trying to forget his child, he hams it up to the hilt. Must have taken a lot for a guy who started his career in Broadway to talk like a child to a raggedy doll in front of the girl he kidnapped and tied up. Wesley Eure, who plays his nephew, was a popular TV actor back then (starring in shows like Day of our Lives, Land of the Lost). He is adequate in the role of the nephew, coming off better than Cameron Mitchell anyways.<br />
<br />
[[File:Tool1.jpg]]<br />
<br />
I think if The Toolbox Murders was an expansion of the first 15 minutes, it would have been a far better movie. It is worrying when a movie can't live up to the beginning, especially one that is as shocking and entertaining as this one. Imagine, a deranged killer terrorizes a complex full of young girls for no reason. That would be sick and horrifying — both as a situation as well as a movie. Almost like the true crime story of Richard Speck, a serial killer recently portrayed in David Fincher's series Mindhunter (who also inspired Violated Angels, a pinky movie by Kōji Wakamatsu). In fact, Violated Angels actually feel like an expanded version of Toolbox Murders' opening scene. Instead, they grope and meander towards its ending. Pity as the movie could have been so much more.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Toolbox]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Toolbox_Murders/Review&diff=179122The Toolbox Murders/Review2021-06-16T05:30:18Z<p>Alif: </p>
<hr />
<div><center>[[File:Tooltop.png|link=The Toolbox Murders]]</center><br />
<br />
[[The Toolbox Murders]] is a movie that has quite a reputation among horror fans. It is something of a Halloween staple and it's hard to manage expectations if you've heard too much about it. From this comes a movie that is something that you didn't imagine it to be. It is like you are half expecting to see a Jason/Freddy hybrid slasher movie or a Giallo-style suspense piece but it ends up being neither. Is that disappointing? It could be, but it is only because it is not what you expect.<br />
<br />
[[File:Tool2.jpg]]<br />
<br />
While discussing a movie, the beginning of the movie is always the right place to start talking about it. Here it takes an all too different meaning. The film is divided into two phases, though not as simple as the first half and the second half. It's the first 15 minutes and the rest of the movie is how the movie is cut into. Like someone took the first 15 minutes of a slasher movie and cut it into a moody, introspective art piece. Or also like the makers decided that the film they made was not dark enough, so they decided to add the 15 minutes prologue as an afterthought. <br />
<br />
The movie begins in an apartment complex where the tenants include a few girls live who live alone. A killer enters the place and kills all but one of them. As he chops and cleaves and drills his way through, he uses a variety of weapons — Claw-Hammers, screwdrivers, power drills. Even a nail gun (ESPECIALLY the nail gun) becomes the weapon of choice for the killer hunting in the complex. <br />
<br />
[[File:Tool5.jpg]]<br />
<br />
The opening scene includes a murder, which caused a stir when the movie released. When the killer gets to the final room, he catches a young woman masturbating in the bathtub. After chasing her around the room, he finally manages to nail her head to the wall with the deadly gun. This murder does shock and is gruesome. Some movies deemed controversial might be tamer by today's standards. The nail gun scene was a bone of contention and controversy, which makes sense why. There is something odd about the way the scene plays out. Right from the moment, she pleasures herself in the bathtub to her long run, trying to escape from her would-be killer all over the room. To the final shot of her lifeless body hanging with her head nailed to the wall. Another thing that might be off-putting is the rape at the end, which came out of nowhere. Scenes like these are what earned this movie its reputation.<br />
<br />
[[File:Tool3.jpg]]<br />
<br />
Either out of sympathy or lust for the last surviving girl, he decides to keep her for himself. As he ties up the girl at his place, you feel it's a completely different movie, which is weird. Now we come to meet his relatives who also take the bulk of the rest of the film. This part of the movie is also lead by the brother of the missing girl. As he begins his search for her, he is not able to get any help. He goes on with his private investigation which leads him to Vance, the landlord of the house, who might know more about the murder than he lets on. He also meets Vance's nephew, who might also be hiding a few secrets of his own. <br />
<br />
[[:Category:Cameron Mitchell|Cameron Mitchell]], who played Vance, has had quite an interesting career. From acting in the original cast of Death of a Salesman to ending up in a series of exploitation movies, including Toolbox murders. And this has to be one of the hammiest performances among them. Playing a grieving father who is trying to forget his child, he hams it up to the hilt. Must have taken a lot for a guy who started his career in Broadway to talk like a child to a raggedy doll in front of the girl he kidnapped and tied up. Wesley Eure, who plays his nephew, was a popular TV actor back then (starring in shows like Day of our Lives, Land of the Lost). He is adequate in the role of the nephew, coming off better than Cameron Mitchell anyways.<br />
<br />
[[File:Tool1.jpg]]<br />
<br />
I think if The Toolbox Murders was an expansion of the first 15 minutes, it would have been a far better movie. It is worrying when a movie can't live up to the beginning, especially one that is as shocking and entertaining as this one. Imagine, a deranged killer terrorizes a complex full of young girls for no reason. That would have been sick — both the situation as well as the movie. Almost like the true crime story of Richard Speck, a serial killer recently portrayed in David Fincher's series Mindhunter (who also inspired Violated Angels, a pinky movie by Kōji Wakamatsu). In fact, Violated Angels actually feel like an expanded version of Toolbox Murders' opening scene. Instead, they grope and meander towards its ending. Pity as the movie could have been so much more.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Toolbox]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Toolbox_Murders/Review&diff=179121The Toolbox Murders/Review2021-06-16T05:27:13Z<p>Alif: </p>
<hr />
<div><center>[[File:Tooltop.png|link=The Toolbox Murders]]</center><br />
<br />
[[The Toolbox Murders]] is a movie that has quite a reputation among horror fans. It is something of a Halloween staple and it's hard to manage expectations if you've heard too much about it. From this comes a movie that is something that you didn't imagine it to be. It is like you are half expecting to see a Jason/Freddy hybrid slasher movie or a Giallo-style suspense piece but it ends up being neither. Is that disappointing? It could be, but it is only because it is not what you expect.<br />
<br />
[[File:Tool2.jpg]]<br />
<br />
While discussing a movie, the beginning of the movie is always the right place to start talking about it. Here it takes an all too different meaning. The film is divided into two phases, though not as simple as the first half and the second half. It's the first 15 minutes and the rest of the movie is how the movie is cut into. Like someone took the first 15 minutes of a slasher movie and cut it into a moody, introspective art piece. Or also like the makers decided that the film they made was not dark enough, so they decided to add the 15 minutes prologue as an afterthought. <br />
<br />
The movie begins in an apartment complex where the tenants include a few girls live who live alone. A killer enters the place and kills all but one of them. As he chops and cleaves and drills his way through, he uses a variety of weapons — Claw-Hammers, screwdrivers, power drills. Even a nail gun (ESPECIALLY the nail gun) becomes the weapon of choice for the killer hunting in the complex. <br />
<br />
[[File:Tool5.jpg]]<br />
<br />
The opening scene includes a murder, which caused a stir when the movie released. When the killer gets to the final room, he catches a young woman masturbating in the bathtub. After chasing her around the room, he finally manages to nail her head to the wall with the deadly gun. This murder does shock and is gruesome. Some movies deemed controversial might be tamer by today's standards. The nail gun scene was a bone of contention and controversy, which makes sense why. There is something odd about the way the scene plays out. Right from the moment, she pleasures herself in the bathtub to her long run, trying to escape from her would-be killer all over the room. To the final shot of her lifeless body hanging with her head nailed to the wall. Another thing that might be off-putting is the rape at the end, which came out of nowhere. Scenes like these are what earned this movie its reputation.<br />
<br />
[[File:Tool3.jpg]]<br />
<br />
Either out of sympathy or lust for the last surviving girl, he decides to keep her for himself. As he ties up the girl at his place, you feel it's a completely different movie, which is weird. Now we come to meet his relatives who also take the bulk of the rest of the film. This part of the movie is also lead by the brother of the missing girl. As he begins his search for her, he is not able to get any help. He goes on with his private investigation which leads him to Vance, the landlord of the house, who might know more about the murder than he lets on. He also meets Vance's nephew, who might also be hiding a few secrets of his own. <br />
<br />
[[:Category:Cameron Mitchell|Cameron Mitchell]], who played Vance, has had quite an interesting career. From acting in the original cast of Death of a Salesman to ending up in a series of exploitation movies, including Toolbox murders. And this has to be one of the hammiest performances among them. Playing a grieving father who is trying to forget his child, he hams it up to the hilt. Must have taken a lot for a guy who started his career in Broadway to talk like a child to a raggedy doll in front of the girl he kidnapped and tied up. Wesley Eure, who plays his nephew, was a popular TV actor back then (starring in shows like Day of our Lives, Land of the Lost). He is adequate in the role of the nephew, coming off better than Cameron Mitchell anyways.<br />
<br />
[[File:Tool1.jpg]]<br />
<br />
I think if The Toolbox Murders was an expansion of the first 15 minutes, it would have been a far better movie. It is worrying when a movie can't live up to the beginning, especially one that is as shocking and entertaining as this one. Imagine, a deranged killer terrorizes a complex full of nubile girls for no reason. That would have been sick — both the situation as well as the movie. Almost like the true crime story of Richard Speck, a serial killer recently portrayed in David Fincher's series Mindhunter (who also inspired Violated Angels, a pinky movie by Kōji Wakamatsu). In fact, Violated Angels actually feel like an expanded version of Toolbox Murders' opening scene. Instead, they grope and meander towards its ending. Pity as the movie could have been so much more.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Toolbox]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Goke:_Body_Snatcher_From_Hell/Review&diff=179120Goke: Body Snatcher From Hell/Review2021-06-16T05:15:31Z<p>Alif: </p>
<hr />
<div><center>[[File:Goketop.png|701px|link=Goke: Body Snatcher From Hell]]</center><br />
<br />
Goke, Body Snatcher from Hell is by no means a perfect movie. Not even close. It's a harmless but fun movie that you forget the moment you get to the end credits. What it does have in its favor though, is that perfect opening shot. The kind of shot that makes you do a double-take. You know, the ones that might inspire filmmakers like [[Quentin Tarantino's Top 20 Grindhouse Classics|Quentin Tarantino]] to re-create it. But that is also its main issue. That opening shot overshadows everything that comes after. I mean, look at it...<br />
<br />
[[File:Goke1.jpg|500px]] [[File:Gokekb.jpg|390px|link=http://wiki.tarantino.info/index.php/Kill_Bill]]<br />
<br />
<center>'''The beautiful airplane shot (left) that was later used in Quentin Tarantino's Kill Bill (right)'''</center><br />
<br />
It does end up being enjoyable because you realize you know all the beats in the movie. In essence, it is a classic example of a survival movie that we have seen over the years. The thing about watching a movie years after the fact is that it becomes a cliche in itself. I mean you can figure out the next scene from miles away. Even the main characters in these movies become archetypes. Consider this:<br />
<br />
*The morally upright hero<br />
*The damsel in distress<br />
*The second lady who would end up dead but who more or less makes things worse for everybody in her panicky state<br />
*The rich snob and his hanger-on who turns on him mid-movie<br />
*And finally, the know-it-all who gives crucial exposition when the plot requires it. <br />
<br />
[[File:Goke2.jpg]] <br />
<br />
It’s funny how this character is often able to turn an alien invasion into a full-blown social commentary. Without any rhyme or reason, he is able to connect the dots. Even if they have never faced anything close to their present situation. The joy in watching them interact with each other is seeing how they behave or react to the situation. <br />
<br />
The main story involves a plane headed for Nagasaki, Japan, and the characters onboard. Things take a turn when they get a message that a passenger might have smuggled in a bomb. As the crew is trying to figure who it is, a guy, who seems to be the terrorist, threatens the people with a gun. At the same time, the plane almost crashes into an alien spaceship then abruptly lands. Now, all this with the character introductions happens in roughly the span of 10 minutes. Talk about a fast-moving picture! <br />
<br />
[[File:Goke3.jpg]] <br />
<br />
As the terrorist escapes the plane in the chaos, he ends up the first victim of the alien being. The alien gets the guy by opening a vaginal-looking slit on his forehead and entering it. Guess it's time to bring on the sexual innuendos involving forced entries. <br />
The rest of the movie involves how the survivors try to tackle the situation and survive. As with most creature movies, humans turn into their worst enemy. And then turn on each other instead of stopping the creature. <br />
<br />
Now there is no doubt that it is a well-shot movie even discounting the famous plane imagery. There are a few innovative shots involving the creature and the spaceship. I guess it came from a place of significant budgetary restrictions. It is unfortunate that the movie is looked down upon due to the cliches the genre inspired. <br />
<br />
[[File:Goke4.jpg]] <br />
<br />
But what should be noted is that this movie came out before many of the classic survival horror movies of yore. So it may not predate The Thing or [[Planet of The Vampires]] or the original [[Invasion of the Body Snatchers]], movies which were remade into three of my favorite survival horror movies. Yet in a way, the movie does predate many of those movies the genre became famous for. <br />
<br />
And to its credit, it does tell a fun story albeit in a campy way. It’s also fun to watch the actors talk to each other. Early Japanese genre movies are notorious for the way the actors talk to each other. Like how they sound so angry even when they're just asking another person to pass a teacup. It was something that was famously lampooned in the Sofia Coppola movie, Lost in Translation.<br />
<br />
Goke is a movie that might not be the best or most influential in its genre but there is still a lot to enjoy in this often campy movie. And it did inspire that iconic scene from Kill Bill, which is a lot more than can be said about most movies. <br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Goke:_Body_Snatcher_From_Hell/Review&diff=179119Goke: Body Snatcher From Hell/Review2021-06-16T05:13:13Z<p>Alif: </p>
<hr />
<div><center>[[File:Goketop.png|701px|link=Goke: Body Snatcher From Hell]]</center><br />
<br />
Goke, Body Snatcher from Hell is by no means a perfect movie. Not even close. It's a harmless but fun movie that you forget the moment you get to the end credits. What it does have in its favor though, is that perfect opening shot. The kind of shot that makes you do a double-take. You know, the ones that might inspire filmmakers like [[Quentin Tarantino's Top 20 Grindhouse Classics|Quentin Tarantino]] to re-create it. But that is also its main issue. That opening shot overshadows everything that comes after. I mean, look at it...<br />
<br />
[[File:Goke1.jpg|500px]] [[File:Gokekb.jpg|390px|link=http://wiki.tarantino.info/index.php/Kill_Bill]]<br />
<br />
<center>'''The beautiful airplane shot (left) that was later used in Quentin Tarantino's Kill Bill (right)'''</center><br />
<br />
It does end up being enjoyable because you realize you know all the beats in the movie. In essence, it is a classic example of a survival movie that we have seen over the years. The thing about watching a movie years after the fact is that it becomes a cliche in itself. I mean you can figure out the next scene from miles away. Even the main characters in these movies become archetypes. Consider this:<br />
<br />
* The morally upright hero<br />
*The damsel in distress<br />
*The second lady who would end up dead but who more or less makes things worse for everybody in her panicky state<br />
*The rich snob and his hanger-on who turns on him mid-movie<br />
*And finally, the know-it-all who gives crucial exposition when the plot requires it. <br />
<br />
[[File:Goke2.jpg]] <br />
<br />
It’s funny how this character is often able to turn an alien invasion into a full-blown social commentary. Without any rhyme or reason, he is able to connect the dots. Even if they have never faced anything close to their present situation. The joy in watching them interact with each other is seeing how they behave or react to the situation. <br />
<br />
The main story involves a plane headed for Nagasaki, Japan and the characters onboard. Things take a turn when they get a message that a passenger might have smuggled in a bomb. As the crew is trying to figure who it is, a guy, who seems to be the terrorist, threatens the people with a gun. At the same time, the plane almost crashes into an alien spaceship then abruptly lands. Now, all this with the character introductions happens in roughly the span of 10 minutes. Talk about a fast-moving picture! <br />
<br />
[[File:Goke3.jpg]] <br />
<br />
As the terrorist escapes the plane in the chaos, he ends up the first victim of the alien being. The alien gets the guy by opening a vaginal-looking slit on his forehead and entering it. Guess it's time to bring on the sexual innuendos involving forced entries. <br />
The rest of the movie involves how the survivors try to tackle the situation and survive. As with most creature movies, humans turn into their worst enemy. And then turn on each other instead of stopping the creature. <br />
<br />
Now there is no doubt that it is a well-shot movie even discounting the famous plane imagery. There are a few innovative shots involving the creature and the spaceship. I guess it came from a place of significant budgetary restrictions. It is unfortunate that the movie is looked down upon due to the cliches the genre inspired. <br />
<br />
[[File:Goke4.jpg]] <br />
<br />
But what should be noted is that this movie came out before many of the classic survival horror movies of yore. So it may not predate The Thing or [[Planet of The Vampires]] or [[Invasion of the Body Snatchers (original)]], movies which were remade into three of my favorite survival horror movies. Yet in a way, the movie does predate many of those movies the genre became famous for. <br />
<br />
And to its credit, it does tell a fun story albeit in a campy way. It’s also fun to watch the actors talk to each other. Early Japanese genre movies are notorious for the way the actors talk to each other. Like how they sound so angry even when they're just asking another person to pass a teacup. It was something that was famously lampooned in the Sofia Coppola movie, Lost in Translation.<br />
<br />
Goke is a movie that might not be the best or most influential in its genre but there is still a lot to enjoy in this often campy movie. And it did inspire that iconic scene from Kill Bill, which is a lot more than can be said about most movies. <br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Tale_Of_Zatoichi_Continues/Review&diff=179118The Tale Of Zatoichi Continues/Review2021-06-16T05:04:40Z<p>Alif: </p>
<hr />
<div><center>[[File:Zatcontintop.png|800px|link=The Tale Of Zatoichi Continues]]</center><br />
<br />
The second movie of the Zatoichi franchise aptly named [[The Tale Of Zatoichi Continues]] might seem like a quick cash grab at first. Indeed there was a sense of closure the way the previous film ended. Still, the makers wisely kept it open-ended enough that a sequel was entirely plausible.<br />
<br />
Unlike the later entries of the series, which became pretty episodic, the movie starts a year after the prequel when he returns to the same village to visit the grave of the ronin Miki Hirate. The same person he had defeated and buried at the end of the first movie. As he is massaging an influential nobleman for some quick money, he realizes that the guy is insane and can't hold sway over the place if the truth comes out. The nobleman’s retainers try to get him killed to hide the fact, fearing that Zatoichi might reveal the truth. Though Zatoichi manages to dispatch the people sent to kill him quickly, it sets in motion the chain of events leading to a final confrontation with the same gang he fought for in the prequel.<br />
<br />
[[File:Talezatcon4.jpg]]<br />
<br />
Amidst all this is a mysterious one-armed swordsman Yoshirō (Tomisaburō Wakayama, Shintarō Katsu's real-life brother) who is at one moment his protector and another his formidable adversary. It turns out Yoshiro is Zatoichi's brother who has his reasons for wanting him dead.<br />
<br />
Watching the real-life siblings playing reel life siblings brings a strange joy, especially when knowing that Tomisaburō would go on to be most famous for playing the titular ronin [[Shogun Assassin|Ogami Itto]] in the [[:Category: The Lone Wolf and Cub Series|Lone Wolf and Cub]] series a decade later. The series has often had Zatoichi go up against and sometimes even team up with slightly modified versions of some of kung fu and samurai cinemas iconic characters like [[The One Armed Swordsman]] ([[:Category:Jimmy Wang Yu|Jimmy Wang Wu]]) and Yojimbo (Toshiro Mifune).<br />
<br />
[[File:Talezatcon3.jpg]]<br />
<br />
In retrospect, it would have been great if he did go up against the Lone Wolf character Ogami Itto, and though we know it doesn’t happen, the confrontations between Yoshiro and Zatoichi give you a small idea of what could have been.<br />
<br />
It is heavily implied that the bone of contention between the two might partly have caused their disabilities and could be the consequence of their shared past. In a scene where the two accidentally meet at a restaurant, they have a slight alteration about who gets to spend the night with a prostitute staying there. They begin to describe a woman they both loved who had the same name, not letting anyone else know that the woman in question is the same person.<br />
<br />
[[File:Talezatcon2.jpg]]<br />
<br />
Hugh Hefner once famously said when asked, "Hef, how do you get so many bitches?". His response was, "Well, for starters, I don't call them bitches." A little manners goes a long way, and it becomes evident in the restaurant scene when the prostitute chooses to stay with Zatoichi due to the disrespectful way Yoshiro treats them.<br />
<br />
When Zatoichi decides to let it be and move on to be the sweet-natured but deadly ronin that he is, Yoshiro decides to be bitter about it and lash out at the former no matter what. The scene where they talk about the woman they both loved when he speaks about her with tenderness, and Yoshiro talks about her with scathing damnation. That tenderness says a lot about Zatoichi as a character.<br />
<br />
[[File:Talezatcon1.jpg]]<br />
<br />
If you think all this would lead to a brutal final confrontation between the two, let's just say it would not be what you expected. The Tale of Zatoichi Continues might not have the surprise element of seeing this character pull the rug from under his adversaries. It is a lot tighter than its predecessor due to its short running time, making it a sequel worthy of the series canon.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Tale Of Zatoichi Continues]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Goodbye_Pork_Pie/Review&diff=179114Goodbye Pork Pie/Review2021-06-15T19:33:29Z<p>Alif: </p>
<hr />
<div><center>[[File:Porkpietop.png|800px|link=Goodbye Pork Pie]]</center><br />
<br />
Some movies deserve to be ranked among those that brought the cinema of their country to a wider audience. They may not always be the critically acclaimed classics but they have a hand in popularizing their native country's film industry. [[Goodbye Pork Pie]] is among the ones that brought New Zealand (or Kiwi cinema) to the mainstream. It is a fun zany romp that doesn't let up and justifies its presence in New Zealand cinema history. Though it might seem dated and the humor might even seem patchy at times, it is hard not to root for its main chaos-loving goofs who thrive on spreading anarchy as they go. It is also a wonderful travelogue of the country as we get to follow the zany adventures of the two protagonists across New Zealand.<br />
<br />
[[File:Goodbyepork6.png|495px]] [[File:Goodbyepork5.jpg|640px]]<br />
<br />
The film is directed by Geoff Murphy, who also made the New Zealand classics Utu and The Quiet Earth. After moving to Hollywood, he directed a few movies which include Young Guns II and the infamous Freejack starring Mick Jagger, Emilio Estevez, and Anthony Hopkins. The contrast from how he did so little despite having an amazing cast and resources in Freejack, to this movie where he did so much with so little is amazing. Later, he became the 2nd unit director on the Lord of the Rings trilogy, everyone's favorite movies shot in New Zealand! <br />
<br />
The story of Goodbye Pork Pie is straightforward. Gerry Austin (Kelly Johnson) rents a Mini with money he's stolen. Driving to Auckland without a specific aim, he befriends John (Tony Barry) who helped him get out of a tough spot. John wants to go to Invercargill to win back his girlfriend who has broken up with him. To help him out, Gerry gives him a lift while also picking up Shirl (Claire Oberman). After driving off without paying for petrol, the trio draws the attention of the cops. This starts an epic and nationwide manhunt and chase across New Zealand for them. <br />
<br />
It might be surprising for a movie that involves a car and cops chasing it, the action might seem a little sparse. It doesn't have the epic sense of chaos and car crashes of [[Gone in 60 Seconds]], Cannonball Run, or even [[Grand Theft Auto]]. Movies that fit into being Pork Pie's big brother contemporaries. The low budget of the movie also shows. Though the filmmakers expanded and stretched their resources pretty well. What with many of the stunts also performed by the director himself. <br />
<br />
[[File:Goodbyepork4.jpg|580px]] [[File:Goodbyepork3.jpg|560px]] <br />
<br />
It could also draw parallels with [[Dirty Mary Crazy Larry]] as the main characters seem similar in both movies. With the crazy younger partner stuck with the older wiser man and a sassy young girl stuck between them. Even if that is not the case. And the girl kind of drifts away midway through the movie. But hey, the actors look like they are having a blast and the stunts feel real. And it does a bang-up job glorifying drifters and vagabonds who wallow and revel in their aimlessness. <br />
<br />
What might also disappoint some would be the lack of "iconic" cars. With 'more is better' being the usual norm in the car chase genre.<br />
There might be an alternate universe where the yellow mini of the movie became a cultural icon. That's also a running gag in the movie. It's hard to miss it by a mile and the cops keep coming at them because of that. Yet they still wouldn't part with it. Despite the car having been crashed, rolled, smashed, broken, taken to hell and back. Finally going down in a blaze of glory.<br />
<br />
[[File:Goodbyepork2.jpg|630px]] [[File:Goodbyepork1.jpg|490px]] <br />
<br />
The movie was later remade as Pork Pie by Geoff Murphy's son and that film is well worth your time too. I watched both back to back as a double feature. It might not work for everyone but it is worth seeking out for like-minded film geeks. <br />
<br />
The thing about the New Zealand film industry is it was not cult movie-heavy at the time when Goodbye Pork Pie came out. For instance, it was not able to justify its existence as a true genre like [[:Category:Ozploitation|Ozploitation]] since very few movies broke out from the region. Sure, an easy temptation is to join it up with that genre as it is often confused with or thought to be a part of Australian cinema. That could be the reason for it not being as known as its neighboring country's genre movies. Even though the movie is as crazy and zany as the best of those and was released during the height of the initial Ozploitation craze. But rather than trying to pigeonhole it into a specific genre, I would say enjoy it as a fun zany romp that may not be perfect but once you get used to the heavy accents of the leads, you are in for a real ride.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=The_Prodigal_Son/Review&diff=179105The Prodigal Son/Review2021-06-15T19:08:01Z<p>Alif: </p>
<hr />
<div><center>[[File:Prodtop.png|853px|link=The Prodigal Son]]</center><br />
<br />
[[The Prodigal Son]] is a critical movie in the career of both [[:Category:Sammo Hung|Sammo Hung]] and Yuen Biao. There is a lot in it that is purely inspired by what came before it, including the mandatory training montages, a staple without which traditional Kung Fu movies can't seem to be complete. But solely based on entertainment value, this manages to tower above many martial arts movies out there. <br />
<br />
What also sets it apart is its theme, which somehow makes it universal and relevant even today. It talks about the lengths overprotective parents go to protect themselves from their own flaws, causing them to stop developing into fully functional adults, which is often not what the parents might have intended. <br />
<br />
[[File:Prodigal6.jpg]]<br />
<br />
The movie starts with Leung Chang (Yuen Biao) being challenged by a man to a duel. The reaction of the crowd at the restaurant where it happens makes it look like it is an unusual occurrence. After dispatching the guy with ease, we soon realize that his father has been manipulating and fixing the fights to make Yuen believe he has always won on his own.<br />
<br />
The entire village plays along with the charade as his father is an influential figure in the community. These staged one-sided fights also cause Leung to develop a massive ego as he foolishly starts to believe in his own amazing prowess. All this comes to an abrupt end when he comes to close quarters with a real fighter Leung Yee-Tai (played by a never-better Lam Ching-Ying), who refuses to back down. Chang manages to get resoundingly trashed and decides to be Yee-Tai's apprentice after eating humble pie. <br />
<br />
[[File:Prodigal5.jpg]]<br />
<br />
In the beginning, Yee-Tai treats Chang more like an irritable fly who keeps coming back but he eventually becomes accustomed to his annoying presence. It continues even when Chang gets him into a lot more trouble than he wants. As Yee-Tai is part of a theatre group and is a traveling artist, they come across another prodigal son, Ngai Fei (Frankie Chan), who challenges Yee to a fight when they travel to another town. Unlike Chang's father, Ngai's dad is more ruthless in his dealings, having the theater where Yee-Tai is performing destroyed, and the members of his troupe killed while Yee and Chang barely escape to recuperate and go into hiding at Yee's friend Wong's (Sammo Hung) farm.<br />
<br />
Here, Chang gets to train with both his masters as while he manages to convince or trick Wong into teaching him a more freestyle-based fighting style while Yee-Tai continues to teach him traditional Wing Chun. The rest of the movie is about whether Chang and Yee are able to go back and get their revenge. <br />
<br />
[[File:Prodigal4.jpg]]<br />
<br />
The most noteworthy part of the movie is the cast who are all aces in the film. Yuen Biao, forever in the shadows of his illustrious friends [[:Category:Jackie Chan|Jackie Chan]] and Sammo Hung is often considered the most serious among the three. The straight arrow stuck in the crossfire usually caused by Chan and Hung. Still, he delivers a brilliant comedic performance here. He is at his most self-deprecating best as he is mainly playing the clown who everyone mocks and jeers behind his back. His transformation from eating humble pie at his early defeat, to his concern and loyalty for his master and his chemistry with Lam Ching-Ying and his long-time friend Hung, all this makes it stand tall among martial arts comedic performances.<br />
<br />
Lam Ching-Ying and Sammo Hung brilliantly play off each other as the masters of Chang. Lam Ching, forever crippled and stereotyped by his vampire movies, is in full swing here as Yee-Tai. Though not an entirely comedic performance, he gracefully lets Biao and Hung do all the comedic heavy lifting while retaining a certain impishness as the Kung Fu expert who plays female characters in theatre. Some of the movies' best laughs also come when a lot of men mistakenly believe him to be female and try to hit on him. His fights with the two titular prodigal sons also count among the highlights.<br />
<br />
[[File:Prodigal3.jpg]]<br />
<br />
It is refreshing to see Frankie Chan as an honorable villain, which is usually not the case in these movies where the villain would want to win by hook or crook. The concern he shows when Yee-Tai gets a fit of asthma during their fight is almost heartwarming and shocking at the same time. As is his obliviousness at the cruelty shown by his henchmen, who are tasked with destroying whoever becomes a threat to his delusional facade.<br />
<br />
The final fight between Frankie and Yuen takes a new meaning as the battle between the two prodigal sons. Yes, Yuen Biao is the titular protagonist, but Frankie Chan's sincerity, both performance-wise and as a character, makes it hard not to at least partially root for him for being such a nice guy. <br />
<br />
[[File:Prodigal2.jpg]]<br />
<br />
There is always this giant adorable quality that Sammo Hung has where you want to cuddle this huge likable teddy bear. The best example is Heroes on Wheels, where he plays the sweet, friendly, mentally challenged brother of Jackie Chan. It is on full display here where he plays the Kung Fu master who is also a lovable rascal who is not beneath using his daughter to hustle strangers.<br />
<br />
Ultimately, The Prodigal Son is about the blind love that parents have for their children, sometimes even to the point of being detrimental to their well-being. When participation medals are not enough, and the need to protect the children from their faults causes them to be clueless about their abilities. <br />
<br />
[[File:Prodigal1.jpg]]<br />
<br />
If there is any doubt about why The Prodigal Son won several accolades for its action choreography, watch the movie to dispel your doubts. It is a movie that hands down deserves its place in any best martial arts movie list. A movie which is as good as its reputation suggests. Go for it.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews|Prodigal Son]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Wolf_Guy/Review&diff=179104Wolf Guy/Review2021-06-15T18:55:11Z<p>Alif: </p>
<hr />
<div><center>[[File:Wolftop.png|link=Wolf Guy]]</center><br />
<br />
[[Sonny Chiba]] is always an entertaining actor whose movies have a high nostalgia value and a huge cult following. Having been a fan of his many martial arts movies, it was surprising to find this small gem sandwiched between his highly entertaining [[The Streetfighter|Street Fighter trilogy]]. Some movies live and die by their premise, as no matter how bad things get, it can still work well if you buy into the fundamental premise of the film. That's what happens in this case as [[Wolf Guy]] has a bizarre one for the ages. It has Chiba playing a werewolf detective stuck in the crosshairs of both supernatural cults and government agents out for his (literal) blood.<br />
<br />
[[File:Wolfguy6.png|1200px]]<br />
<br />
Based on a manga by Kazumasa Hirai, which had already been adapted into a movie before, Wolf Guy significantly departs from its source material. That earlier movie is a straight adaptation, while this version of Wolf Guy plays very loosely with the manga, which involved a teen werewolf. You actually wonder why it is considered an adaptation as it is only one in name alone.<br />
<br />
The movie starts with Sonny Chiba roaming the streets in the night, and he meets a guy who is, to the amazement of everyone, slowly being ripped to shreds by an invisible force. Now this being a detective movie, Sonny goes around being a curious little cat trying to figure out the mystery behind the invisible ripper.<br />
<br />
[[File:Wolfguy2.jpg|1200px]]<br />
<br />
What is both fantastic and dumbfounding about the movie is the twists and turns it takes. Director Kazuhiko Yamaguchi (of the [[Karate Bear Fighter]] and [[Sister Streetfighter]] trilogy fame) has made one hell of a gonzo cocktail of all the genres that caught his fancy and that somehow works in its favor as a cult genre movie. You cannot predict what turns the movie will take. As it keeps switching genres so often, sometimes even in a single scene, that it is hard to keep track. It goes from a beginning with supernatural creatures and gold-hearted prostitutes to, yes, all of it tied up into a government conspiracy that makes it rather stupifying. This movie is one scene away from being an incoherent mess, and it flirts with it pretty closely. But Sonny Chiba, as expected, heroically saves the movie from itself. If there are moments where you lose the plot, he will drag you back in with style.<br />
<br />
Take the scene after he gets kidnapped by the government agents out for his blood, so they can duplicate it and farm raise werewolf super-soldiers. The sight of seeing him scoop his intestines back into his stomach using the power of his mind and super werewolf powers is a true highlight. It is a mess for sure, but one that is also deliciously enjoyable as Sonny Chiba, (the mass paperback martial arts movie version of a best seller) completely makes you buy into it. <br />
<br />
[[File:Wolfguy5.jpg|1200px]]<br />
<br />
There is a reason that expecting excellence while watching a movie like this might backfire. You might end up thinking you wasted your time watching a stupid movie. That's not the audience for Wolf Guy. This is one for the cult movie fans to celebrate Sonny Chiba and the experience of watching him slashing and screaming his way to grindhouse immortality.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Wolf_Guy/Review&diff=179103Wolf Guy/Review2021-06-15T18:54:15Z<p>Alif: </p>
<hr />
<div><center>[[File:Wolftop.png|link=Wolf Guy]]</center><br />
<br />
[[Sonny Chiba]] is always an entertaining actor whose movies have a high nostalgia value and a huge cult following. Having been a fan of his many martial arts movies, it was surprising to find this small gem sandwiched between his highly entertaining [[The Streetfighter|Street Fighter trilogy]]. Some movies live and die by their premise, as no matter how bad things get, it can still work well if you buy into the fundamental premise of the film. That's what happens in this case as [[Wolf Guy]] has a bizarre one for the ages. It has Chiba playing a werewolf detective stuck in the crosshairs of both supernatural cults and government agents out for his (literal) blood.<br />
<br />
[[File:Wolfguy6.png|1200px]]<br />
<br />
Based on a manga by Kazumasa Hirai, which had already been adapted into a movie before, Wolf Guy significantly departs from its source material. That earlier movie is a straight adaptation, while this version of Wolf Guy plays very loosely with the manga, which involved a teen werewolf. You actually wonder why it is considered an adaptation as it is only one in name alone.<br />
<br />
The movie starts with Sonny Chiba roaming the streets in the night, and he meets a guy who is, to the amazement of everyone, slowly being ripped to shreds by an invisible force. Now this being a detective movie, Sonny goes around being a curious little cat trying to figure out the mystery behind the invisible ripper.<br />
<br />
[[File:Wolfguy2.jpg|1200px]]<br />
<br />
What is both fantastic and dumbfounding about the movie is the twists and turns it takes. Director Kazuhiko Yamaguchi (of the [[Karate Bear Fighter]] and [[Sister Streetfighter]] trilogy fame) has made one hell of a gonzo cocktail of all the genres that caught his fancy and that somehow works in its favor as a cult genre movie. You cannot predict what turns the movie will take. As it keeps switching genres so often, sometimes even in a single scene, that it is hard to keep track. It goes from a beginning with supernatural creatures and gold-hearted prostitutes to, yes, all of it tied up into a government conspiracy that makes it rather stupifying. This movie is one scene away from being an incoherent mess, and it flirts with it pretty closely. But Sonny Chiba, as expected, heroically saves the movie from itself. If there are moments where you lose the plot, he will drag you back in with style.<br />
<br />
Take the scene after he gets kidnapped by the government agents out for his blood, so they can duplicate it and farm raise werewolf super-soldiers. The sight of seeing him scoop his intestines back into his stomach using the power of his mind and super werewolf powers is a true highlight. It is a mess for sure, but one that is also deliciously enjoyable as Sonny Chiba, (the mass paperback martial arts movie version of a best seller) completely makes you buy into that scene. <br />
<br />
[[File:Wolfguy5.jpg|1200px]]<br />
<br />
There is a reason that expecting excellence while watching a movie like this might backfire. You might end up thinking you wasted your time watching a stupid movie. That's not the audience for Wolf Guy. This is one for the cult movie fans to celebrate Sonny Chiba and the experience of watching him slashing and screaming his way to grindhouse immortality.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Wolf_Guy/Review&diff=179102Wolf Guy/Review2021-06-15T18:44:57Z<p>Alif: </p>
<hr />
<div><center>[[File:Wolftop.png|link=Wolf Guy]]</center><br />
<br />
[[Sonny Chiba]] is always an entertaining actor whose movies have a high nostalgia value and a huge cult following. Having been a fan of his many martial arts movies, it was surprising to find this small gem sandwiched between his highly entertaining [[The Streetfighter|Street Fighter trilogy]]. Some movies live and die by their premise, as no matter how bad things get, it can still work well if you buy into the fundamental premise of the film. That's what happens in this case as [[Wolf Guy]] has a bizarre one for the ages. It has Chiba playing a werewolf detective stuck in the crosshairs of both supernatural cults and government agents out for his (literal) blood.<br />
<br />
[[File:Wolfguy6.png|1200px]]<br />
<br />
Based on a manga by Kazumasa Hirai, which had already been adapted into a movie before, Wolf Guy significantly departs from its source material. That earlier movie is a straight adaptation, while this version of Wolf Guy plays very loosely with the manga, which involved a teen werewolf. You actually wonder why it is considered an adaptation as it is only one in name alone.<br />
<br />
The movie starts with Sonny Chiba roaming the streets in the night, and he meets a guy who is, to the amazement of everyone, slowly being ripped to shreds by an invisible force. Now this being a detective movie, Sonny goes around being a curious little cat trying to figure out the mystery behind the invisible ripper.<br />
<br />
[[File:Wolfguy2.jpg|1200px]]<br />
<br />
What is both fantastic and dumbfounding about the movie is the twists and turns it takes. Director Kazuhiko Yamaguchi (of the [[Karate Bear Fighter]] and [[Sister Streetfighter]] trilogy fame) has made one hell of a gonzo cocktail of all the genres that caught his fancy and that somehow works in its favor as a cult genre movie. You cannot predict what turns the movie will take. As it keeps switching genres so often, sometimes even in a single scene, that it is hard to keep track. It goes from a beginning with supernatural creatures and gold-hearted prostitutes to, yes, all of it tied up into a government conspiracy that makes it rather stupifying. This movie is one scene away from being an incoherent mess, and it flirts with it pretty closely. But Sonny Chiba, as expected, heroically saves the movie from itself. If there are moments where you lose the plot, he will drag you back in with style.<br />
<br />
Take the scene after he gets kidnapped by the government agents out for his blood, so they can duplicate it and farm raise werewolf super-soldiers. The sight of seeing him scoop his intestines back into his stomach using the power of his mind and super werewolf powers is a true highlight. And as this involves Sonny Chiba, (the mass paperback martial arts movie version of a best seller) he makes you completely buy into that scene. It is a mess for sure, but one that is also deliciously enjoyable.<br />
<br />
[[File:Wolfguy5.jpg|1200px]]<br />
<br />
There is a reason that expecting excellence while watching a movie like this might backfire. You might end up thinking you wasted your time watching a stupid movie. That's not the audience for Wolf Guy. This is one for the cult movie fans to celebrate Sonny Chiba and the experience of watching him slashing and screaming his way to grindhouse immortality.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Wolf_Guy/Review&diff=179101Wolf Guy/Review2021-06-15T18:41:24Z<p>Alif: </p>
<hr />
<div><center>[[File:Wolftop.png|link=Wolf Guy]]</center><br />
<br />
[[Sonny Chiba]] is always an entertaining actor whose movies have a high nostalgia value and a huge cult following. Having been a fan of his many martial arts movies, it was surprising to find this small gem sandwiched between his highly entertaining [[The Streetfighter|Street Fighter trilogy]]. Some movies live and die by their premise, as no matter how bad things get, it can still work well if you buy into the fundamental premise of the film. That's what happens in this case as [[Wolf Guy]] has a bizarre one for the ages. It has Chiba playing a werewolf detective stuck in the crosshairs of both supernatural cults and government agents out for his (literal) blood.<br />
<br />
[[File:Wolfguy6.png|1200px]]<br />
<br />
Based on a manga by Kazumasa Hirai, which had already been adapted into a movie before, Wolf Guy significantly departs from its source material. That earlier movie is a straight adaptation, while this version of Wolf Guy plays very loosely with the manga, which involved a teen werewolf. You actually wonder why it is considered an adaptation as it is only one in name alone.<br />
<br />
The movie starts with Sonny Chiba roaming the streets in the night, and he meets a guy who is, to the amazement of everyone, slowly being ripped to shreds by an invisible force. Now this being a detective movie, Sonny goes around being a curious little cat trying to figure out the mystery behind the invisible ripper.<br />
<br />
[[File:Wolfguy2.jpg|1200px]]<br />
<br />
What is both fantastic and dumbfounding about the movie is the twists and turns it takes. Director Kazuhiko Yamaguchi (of the [[Karate Bear Fighter]] and [[Sister Streetfighter]] trilogy fame) has made one hell of a gonzo cocktail of all the genres that caught his fancy and that somehow works in its favor as a cult genre movie. You cannot predict what turns the movie will take. As it keeps switching genres so often, sometimes even in a single scene, that it is hard to keep track. It goes from a beginning with supernatural creatures and gold-hearted prostitutes to, yes, all of it tied up into a government conspiracy that makes it rather stupifying. This movie is one scene away from being an incoherent mess, and it flirts with it pretty closely. But Sonny Chiba, as expected, heroically saves the movie from itself. If there are moments where you lose the plot, he will drag you back in with style.<br />
<br />
Take the scene after he gets kidnapped by the government agents out for his blood, so they can duplicate it and farm raise werewolf super-soldiers. The sight of seeing him scoop his intestines back into his stomach using the power of his mind and super werewolf powers is a true highlight. And being Sonny Chiba (the mass paperback martial arts movie version of a best seller) makes you completely buy into that scene. It is a mess for sure, but one that is also deliciously enjoyable.<br />
<br />
[[File:Wolfguy5.jpg|1200px]]<br />
<br />
There is a reason that expecting excellence while watching a movie like this might backfire. You might end up thinking you wasted your time watching a stupid movie. That's not the audience for Wolf Guy. This is one for the cult movie fans to celebrate Sonny Chiba and the experience of watching him slashing and screaming his way to grindhouse immortality.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Wolf_Guy/Review&diff=179100Wolf Guy/Review2021-06-15T18:39:20Z<p>Alif: </p>
<hr />
<div><center>[[File:Wolftop.png|link=Wolf Guy]]</center><br />
<br />
[[Sonny Chiba]] is always an entertaining actor whose movies have a high nostalgia value and a huge cult following. Having been a fan of his many martial arts movies, it was surprising to find this small gem sandwiched between his highly entertaining [[The Streetfighter|Street Fighter trilogy]]. Some movies live and die by their premise, as no matter how bad things get, it can still work well if you buy into the fundamental premise of the film. That's what happens in this case as [[Wolf Guy]] has a bizarre one for the ages. It has Chiba playing a werewolf detective stuck in the crosshairs of both supernatural cults and government agents out for his (literal) blood.<br />
<br />
[[File:Wolfguy6.png|1200px]]<br />
<br />
Based on a manga by Kazumasa Hirai, which had already been adapted into a movie before, Wolf Guy significantly departs from its source material. That earlier movie is a straight adaptation, while this version of Wolf Guy plays very loosely with the manga, which involved a teen werewolf. You actually wonder why it is considered an adaptation as it is only one in name alone.<br />
<br />
The movie starts with Sonny Chiba roaming the streets in the night, and he meets a guy who is, to the amazement of everyone, slowly being ripped to shreds by an invisible force. Now this being a detective movie, Sonny goes around being a curious little cat trying to figure out the mystery behind the invisible ripper.<br />
<br />
[[File:Wolfguy2.jpg|1200px]]<br />
<br />
What is both fantastic and dumbfounding about the movie is the twists and turns it takes. Director Kazuhiko Yamaguchi (of the [[Karate Bear Fighter]] and [[Sister Streetfighter]] trilogy fame) has made one hell of a gonzo cocktail of all the genres that caught his fancy and that somehow works in its favor as a cult genre movie. You cannot predict what turns the movie will take. As it keeps switching genres so often, sometimes even in a single scene, that it is hard to keep track. It goes from a beginning with supernatural creatures and gold-hearted prostitutes to, yes, all of it tied up into a government conspiracy that makes it rather stupifying. This movie is one scene away from being an incoherent mess, and it flirts with it pretty closely. But Sonny Chiba, as expected, heroically saves the movie from itself. If there are moments where you lose the plot, he will drag you back in with style.<br />
<br />
Take the scene after he gets kidnapped by the government agents out for his blood, so they can duplicate it and farm raise super-soldiers and werewolf soldiers. The sight of seeing him scoop his intestines back into his stomach using the power of his mind and super werewolf powers is a true highlight. And being Sonny Chiba (the mass paperback martial arts movie version of a best seller) makes you completely buy into that scene. It is a mess for sure, but one that is also deliciously enjoyable.<br />
<br />
[[File:Wolfguy5.jpg|1200px]]<br />
<br />
There is a reason that expecting excellence while watching a movie like this might backfire. You might end up thinking you wasted your time watching a stupid movie. That's not the audience for Wolf Guy. This is one for the cult movie fans to celebrate Sonny Chiba and the experience of watching him slashing and screaming his way to grindhouse immortality.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Wolf_Guy/Review&diff=179099Wolf Guy/Review2021-06-15T18:38:06Z<p>Alif: </p>
<hr />
<div><center>[[File:Wolftop.png|link=Wolf Guy]]</center><br />
<br />
[[Sonny Chiba]] is always an entertaining actor whose movies have a high nostalgia value and a huge cult following. Having been a fan of his many martial arts movies, it was surprising to find this small gem sandwiched between his highly entertaining [[The Streetfighter|Street Fighter trilogy]]. Some movies live and die by their premise, no matter bad things get, it can still work well if you buy into the fundamental premise of the film. That's what happens in this case as [[Wolf Guy]] has a bizarre one for the ages. It has Chiba playing a werewolf detective stuck in the crosshairs of both supernatural cults and government agents out for his (literal) blood.<br />
<br />
[[File:Wolfguy6.png|1200px]]<br />
<br />
Based on a manga by Kazumasa Hirai, which had already been adapted into a movie before, Wolf Guy significantly departs from its source material. That earlier movie is a straight adaptation, while this version of Wolf Guy plays very loosely with the manga, which involved a teen werewolf. You actually wonder why it is considered an adaptation as it is only one in name alone.<br />
<br />
The movie starts with Sonny Chiba roaming the streets in the night, and he meets a guy who is, to the amazement of everyone, slowly being ripped to shreds by an invisible force. Now this being a detective movie, Sonny goes around being a curious little cat trying to figure out the mystery behind the invisible ripper.<br />
<br />
[[File:Wolfguy2.jpg|1200px]]<br />
<br />
What is both fantastic and dumbfounding about the movie is the twists and turns it takes. Director Kazuhiko Yamaguchi (of the [[Karate Bear Fighter]] and [[Sister Streetfighter]] trilogy fame) has made one hell of a gonzo cocktail of all the genres that caught his fancy and that somehow works in its favor as a cult genre movie. You cannot predict what turns the movie will take. As it keeps switching genres so often, sometimes even in a single scene, that it is hard to keep track. It goes from a beginning with supernatural creatures and gold-hearted prostitutes to, yes, all of it tied up into a government conspiracy that makes it rather stupifying. This movie is one scene away from being an incoherent mess, and it flirts with it pretty closely. But Sonny Chiba, as expected, heroically saves the movie from itself. If there are moments where you lose the plot, he will drag you back in with style.<br />
<br />
Take the scene after he gets kidnapped by the government agents out for his blood, so they can duplicate it and farm raise super-soldiers and werewolf soldiers. The sight of seeing him scoop his intestines back into his stomach using the power of his mind and super werewolf powers is a true highlight. And being Sonny Chiba (the mass paperback martial arts movie version of a best seller) makes you completely buy into that scene. It is a mess for sure, but one that is also deliciously enjoyable.<br />
<br />
[[File:Wolfguy5.jpg|1200px]]<br />
<br />
There is a reason that expecting excellence while watching a movie like this might backfire. You might end up thinking you wasted your time watching a stupid movie. That's not the audience for Wolf Guy. This is one for the cult movie fans to celebrate Sonny Chiba and the experience of watching him slashing and screaming his way to grindhouse immortality.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Wolf_Guy/Review&diff=179098Wolf Guy/Review2021-06-15T18:37:12Z<p>Alif: </p>
<hr />
<div><center>[[File:Wolftop.png|link=Wolf Guy]]</center><br />
<br />
[[Sonny Chiba]] is always an entertaining actor whose movies have a high nostalgia value and a huge cult following. Having been a fan of his many martial arts movies, it was surprising to find this small gem sandwiched between his highly entertaining [[The Streetfighter|Street Fighter trilogy]]. Some movies live and die by their premise, no matter bad things get, it can still work well if you buy into the fundamental premise of the film. That's what happens in this case as [[Wolf Guy]] has a bizarre one for the ages. It has Chiba playing a werewolf detective stuck in the crosshairs of both supernatural cults and government agents out for his (literal) blood.<br />
<br />
[[File:Wolfguy6.png|1200px]]<br />
<br />
Based on a manga by Kazumasa Hirai, which had already been adapted into a movie before, Wolf Guy significantly departs from its source material. That earlier movie is a straight adaptation, while this version of Wolf Guy plays very loosely with the manga, which involved a teen werewolf student. You actually wonder why it is considered an adaptation as it is only one in name alone.<br />
<br />
The movie starts with Sonny Chiba roaming the streets in the night, and he meets a guy who is, to the amazement of everyone, slowly being ripped to shreds by an invisible force. Now this being a detective movie, Sonny goes around being a curious little cat trying to figure out the mystery behind the invisible ripper.<br />
<br />
[[File:Wolfguy2.jpg|1200px]]<br />
<br />
What is both fantastic and dumbfounding about the movie is the twists and turns it takes. Director Kazuhiko Yamaguchi (of the [[Karate Bear Fighter]] and [[Sister Streetfighter]] trilogy fame) has made one hell of a gonzo cocktail of all the genres that caught his fancy and that somehow works in its favor as a cult genre movie. You cannot predict what turns the movie will take. As it keeps switching genres so often, sometimes even in a single scene, that it is hard to keep track. It goes from a beginning with supernatural creatures and gold-hearted prostitutes to, yes, all of it tied up into a government conspiracy that makes it rather stupifying. This movie is one scene away from being an incoherent mess, and it flirts with it pretty closely. But Sonny Chiba, as expected, heroically saves the movie from itself. If there are moments where you lose the plot, he will drag you back in with style.<br />
<br />
Take the scene after he gets kidnapped by the government agents out for his blood, so they can duplicate it and farm raise super-soldiers and werewolf soldiers. The sight of seeing him scoop his intestines back into his stomach using the power of his mind and super werewolf powers is a true highlight. And being Sonny Chiba (the mass paperback martial arts movie version of a best seller) makes you completely buy into that scene. It is a mess for sure, but one that is also deliciously enjoyable.<br />
<br />
[[File:Wolfguy5.jpg|1200px]]<br />
<br />
There is a reason that expecting excellence while watching a movie like this might backfire. You might end up thinking you wasted your time watching a stupid movie. That's not the audience for Wolf Guy. This is one for the cult movie fans to celebrate Sonny Chiba and the experience of watching him slashing and screaming his way to grindhouse immortality.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Wolf_Guy/Review&diff=179095Wolf Guy/Review2021-06-15T18:25:46Z<p>Alif: </p>
<hr />
<div><center>[[File:Wolftop.png|link=Wolf Guy]]</center><br />
<br />
[[Sonny Chiba]] is always an entertaining actor whose movies have a high nostalgia value and a huge cult following. Having been a fan of his many martial arts movies, it was surprising to find this small gem sandwiched between his highly entertaining [[The Streetfighter|Street Fighter trilogy]]. Some movies live and die by their premise, no matter what happens, yet it can sometimes work well if you buy into the fundamental premise of the film. That's what happens in this case as [[Wolf Guy]] has a bizarre one for the ages. It has Chiba playing a werewolf detective stuck in the crosshairs of both supernatural cults and government agents out for his (literal) blood.<br />
<br />
[[File:Wolfguy6.png|1200px]]<br />
<br />
Based on a manga by Kazumasa Hirai, which had already been adapted into a movie before, Wolf Guy significantly departs from its source material. That earlier movie is a straight adaptation, while this version of Wolf Guy plays very loosely with the manga, which involved a teen werewolf student. You actually wonder why it is considered an adaptation as it is only one in name alone.<br />
<br />
The movie starts with Sonny Chiba roaming the streets in the night, and he meets a guy who is, to the amazement of everyone, slowly being ripped to shreds by an invisible force. Now this being a detective movie, Sonny goes around being a curious little cat trying to figure out the mystery behind the invisible ripper.<br />
<br />
[[File:Wolfguy2.jpg|1200px]]<br />
<br />
What is both fantastic and dumbfounding about the movie is the twists and turns it takes. Director Kazuhiko Yamaguchi (of the [[Karate Bear Fighter]] and [[Sister Streetfighter]] trilogy fame) has made one hell of a gonzo cocktail of all the genres that caught his fancy and that somehow works in its favor as a cult genre movie. You cannot predict what turns the movie will take. As it keeps switching genres so often, sometimes even in a single scene, that it is hard to keep track. It goes from a beginning with supernatural creatures and gold-hearted prostitutes to, yes, all of it tied up into a government conspiracy that makes it rather stupifying. This movie is one scene away from being an incoherent mess, and it flirts with it pretty closely. But Sonny Chiba, as expected, heroically saves the movie from itself. If there are moments where you lose the plot, he will drag you back in with style.<br />
<br />
Take the scene after he gets kidnapped by the government agents out for his blood, so they can duplicate it and farm raise super-soldiers and werewolf soldiers. The sight of seeing him scoop his intestines back into his stomach using the power of his mind and super werewolf powers is a true highlight. And being Sonny Chiba (the mass paperback martial arts movie version of a best seller) makes you completely buy into that scene. It is a mess for sure, but one that is also deliciously enjoyable.<br />
<br />
[[File:Wolfguy5.jpg|1200px]]<br />
<br />
There is a reason that expecting excellence while watching a movie like this might backfire. You might end up thinking you wasted your time watching a stupid movie. That's not the audience for Wolf Guy. This is one for the cult movie fans to celebrate Sonny Chiba and the experience of watching him slashing and screaming his way to grindhouse immortality.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Wolf_Guy/Review&diff=179094Wolf Guy/Review2021-06-15T18:17:13Z<p>Alif: </p>
<hr />
<div><center>[[File:Wolftop.png|link=Wolf Guy]]</center><br />
<br />
[[Sonny Chiba]] is always an entertaining actor whose movies have a high nostalgia value and a huge cult following. Having been a fan of his many martial arts movies, it was surprising to find this small gem sandwiched between his highly entertaining [[The Streetfighter|Street Fighter trilogy]]. Some movies live and die by their premise, no matter what happens, yet it can sometimes work well if you buy into the fundamental premise of the film. That's what happens in this case as [[Wolf Guy]] has a bizarre one for the ages. It has Chiba playing a werewolf detective stuck in the crosshairs of both supernatural cults and government agents out for his (literal) blood.<br />
<br />
[[File:Wolfguy6.png|1200px]]<br />
<br />
Based on a manga by Kazumasa Hirai, which had already been adapted into a movie before, Wolf Guy significantly departs from its source material. That earlier movie is a straight adaptation, while this version of Wolf Guy plays very loosely with the manga, which involved a teen werewolf student. You actually wonder why it is considered an adaptation as it is only one in name alone.<br />
<br />
The movie starts with Sonny Chiba roaming the streets in the night, and he meets a guy who is, to the amazement of everyone, slowly being ripped to shreds by an invisible force. Now this being a detective movie, Sonny goes around being a curious little cat trying to figure out the mystery behind the invisible ripper.<br />
<br />
[[File:Wolfguy2.jpg|1200px]]<br />
<br />
What is both fantastic and dumbfounding about the movie is the twists and turns it takes. Director Kazuhiko Yamaguchi (of the [[Karate Bear Fighter]] and [[Sister Streetfighter]] trilogy fame) has made one hell of a gonzo cocktail of all the genres that caught his fancy and that somehow works in its favor as a cult genre movie. You cannot predict what turns the movie will take. As it keeps switching genres so often, sometimes even in a single scene, that it is hard to keep track. It goes from a beginning with supernatural creatures and gold-hearted prostitutes to, yes, all of it tied up into a government conspiracy that makes it rather stupifying. This movie is one scene away from being an incoherent mess, and it flirts with it pretty closely. But Sonny Chiba, as expected, heroically saves the movie from itself. If there are moments where you lose the plot, he will drag you back in with style.<br />
<br />
Take the scene after he gets kidnapped by the government agents out for his blood, so they can duplicate it and farm raise super-soldiers and werewolf soldiers. The sight of seeing him scoop his intestines back into his stomach using the power of his mind and super werewolf powers is a true highlight. And being Sonny Chiba (the mass paperback martial arts movie version of a best seller) makes you completely buy into that scene. It is an incoherent mess that is also deliciously enjoyable.<br />
<br />
[[File:Wolfguy5.jpg|1200px]]<br />
<br />
There is a reason that expecting excellence while watching a movie like this might backfire. You might end up thinking you wasted your time watching a stupid movie. That's not the audience for Wolf Guy. This is one for the cult movie fans to celebrate Sonny Chiba and the experience of watching him slashing and screaming his way to grindhouse immortality.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Alif_Majeed&diff=179093Alif Majeed2021-06-15T18:13:03Z<p>Alif: </p>
<hr />
<div>====Reviews====<br />
<br />
*[[Almost Human/Review|Almost Human]] <br />
*[[Black Lizard/Review|Black Lizard]]<br />
*[[BMX Bandits/Review|BMX Bandits]]<br />
*[[The Brothers/Review|The Brothers]]<br />
*[[The Challenge/Review|The Challenge]]<br />
*[[Equinox/Review|Equinox]]<br />
*[[Fair Game/Review|Fair Game]]<br />
*[[Fists of the White Lotus/Review|Fists of the White Lotus]]<br />
*[[Goke: Body Snatcher From Hell/Review|Goke: Body Snatcher From Hell]]<br />
*[[Goodbye Pork Pie/Review|Goodbye Pork Pie]]<br />
*[[The Gumball Rally/Review|The Gumball Rally]]<br />
*[[Mad Monkey Kung Fu/Review|Mad Monkey Kung Fu]]<br />
*[[The Magic Christian/Review|The Magic Christian]]<br />
*[[The New Tale of Zatoichi/Review|The New Tale Of Zatoichi]]<br />
*[[Next of Kin/Review|Next of Kin]]<br />
*[[One Armed Boxer/Review|One Armed Boxer]]<br />
*[[The Pom Pom Girls/Review|The Pom Pom Girls]]<br />
*[[The Prodigal Son/Review|The Prodigal Son]]<br />
*[[The Plumber/Review|The Plumber]]<br />
*[[Psych-Out/Review|Psych-Out]]<br />
*[[Putney Swope/Review|Putney Swope]]<br />
*[[Road Games/Review|Road Games]]<br />
*[[The St. Valentine's Day Massacre/Review|The St. Valentine's Day Massacre]]<br />
*[[The Tale Of Zatoichi/Review|The Tale Of Zatoichi]]<br />
*[[The Tale Of Zatoichi Continues/Review|The Tale Of Zatoichi Continues]]<br />
*[[Tokyo Drifter/Review|Tokyo Drifter]]<br />
*[[Thomasine and Bushrod/Review|Thomasine and Bushrod]]<br />
*[[The Toolbox Murders/Review|The Toolbox Murders]]<br />
*[[The Trip/Review|The Trip]]<br />
*[[What Have They Done To Your Daughters?/Review|What Have They Done To Your Daughters?]]<br />
*[[Wild in the Streets/Review|Wild in the Streets]]<br />
*[[Wolf Guy/Review|Wolf Guy]]<br />
*[[Zatoichi the Fugitive/Review|Zatoichi the Fugitive]]<br />
*[[200 Motels/Review|200 Motels]]<br />
<br />
<br />
[[Category:GCDB Editors]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Wolf_Guy/Review&diff=179092Wolf Guy/Review2021-06-15T18:11:48Z<p>Alif: </p>
<hr />
<div><center>[[File:Wolftop.png|link=Wolf Guy]]</center><br />
<br />
[[Sonny Chiba]] is always an entertaining actor whose movies have a high nostalgia value and a huge cult following. Having been a fan of his many martial arts movies, it was surprising to find this small gem sandwiched between his highly entertaining [[The Streetfighter|Street Fighter trilogy]]. Some movies live and die by their premise, no matter what happens, yet it can sometimes work well if you buy into the fundamental premise of the film. That's what happens in this case as [[Wolf Guy]] has a bizarre one for the ages. It has Chiba playing a werewolf detective stuck in the crosshairs of both supernatural cults and government agents out for his (literal) blood.<br />
<br />
[[File:Wolfguy6.png|1200px]]<br />
<br />
Based on a manga by Kazumasa Hirai, which had already been adapted into a movie before, Wolf Guy significantly departs from its source material. That earlier movie is a straight adaptation, while this version of Wolf Guy plays very loosely with the manga, which involved a teen werewolf student. You actually wonder why it is considered an adaptation as it is only one in name alone.<br />
<br />
The movie starts with Sonny Chiba roaming the streets in the night, and he meets a guy who is, to the amazement of everyone, slowly being ripped to shreds by an invisible force. Now this being a detective movie, Sonny goes around being a curious little cat trying to figure out the mystery behind the invisible ripper.<br />
<br />
[[File:Wolfguy2.jpg|1200px]]<br />
<br />
What is both fantastic and dumbfounding about the movie is the twists and turns it takes. Director Kazuhiko Yamaguchi (of the [[Karate Bear Fighter]] and [[Sister Streetfighter]] trilogy fame) has made one hell of a gonzo cocktail of all the genres that caught his fancy and that somehow works in its favor as a cult genre movie. You cannot predict what turns the movie will take. As it keeps switching genres so often, sometimes even in a single scene, that it is hard to keep track. It goes from a beginning with supernatural creatures and gold-hearted prostitutes to, yes, all of it tied up into a government conspiracy that makes it rather stupifying. This movie is one scene away from being an incoherent mess, and it flirts with it pretty closely. But Sonny Chiba, as expected, heroically saves the movie from itself. If there are moments where you lose the plot, he will drag you back in with style.<br />
<br />
Take the scene after he gets kidnapped by the government agents out for his blood, so they can duplicate it and farm raise super-soldiers and werewolf soldiers. The sight of seeing him scoop his intestines back into his stomach and using his super werewolf powers is a highlight. And being Sonny Chiba (the mass paperback martial arts movie version of a best seller) makes you completely buy into that scene. It is an incoherent mess that is also deliciously enjoyable.<br />
<br />
[[File:Wolfguy5.jpg|1200px]]<br />
<br />
There is a reason that expecting excellence while watching a movie like this might backfire. You might end up thinking you wasted your time watching a stupid movie. That's not the audience for Wolf Guy. This is one for the cult movie fans to celebrate Sonny Chiba and the experience of watching him slashing and screaming his way to grindhouse immortality.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=BMX_Bandits/Review&diff=177186BMX Bandits/Review2021-03-29T22:32:03Z<p>Alif: </p>
<hr />
<div><center>[[File:Bmx-banditstop.png|750px|link=BMX Bandits]]</center><br />
<br />
Apart from its reputation as a perennial children's film classic, BMX Bandits is also famous for [[Quentin Tarantino's Top 20 Grindhouse Classics|Quentin Tarantino]]’s quote describing it. Having been a champion advocate of [[Brian Trenchard-Smith]], he had famously said, "If I was an Australian, BMX Bandits would be our version of The Goonies." That seems like a tall claim at first, but the comparison is very much valid. Although it doesn't have that touch of fantasy with the pirate ships and hidden treasures, the two movies follow the same paradigm of pitting meddling pesky adventurous kids against bumbling thieves, which is one of the principal reasons it worked. Apart from lots and lots of BMX bike stunts of course. <br />
<br />
[[File:Bmxbandits1.jpg]]<br />
<br />
While he is famous for his [[Stunt Rock|stunt-heavy movies]], it is not surprising that for a considerable section of Brian Trenchard-Smith's admirers, their favorite movie might be this children's flick about three teenagers thwarting robbers and having fun on their BMX bikes. It is a pure wish-fulfillment fantasy that appeals to your memory of a romanticized childhood.<br />
<br />
BMX Bandits is about three kids (including future Oscar winner Nicole Kidman) who accidentally find a stash of police radios hidden by a gang of robbers for their heists. The precarious kids then decide to sell these fancy radios for a quick buck, thus getting entangled in the robbers' schemes, as they are out to recover their missing property. They also come under the radar of the local cops who have started listening in on their radio conversations. There is a funny moment when a lady cop realizes they are dealing with children instead of hardcore criminals from their nicknames or, as she explains, "BMX talks".<br />
<br />
[[File:Bmxbandits2.jpg]]<br />
<br />
As per the director, he had made two choices that helped enhance the movie immensely. The first was to age the lead trio from 10-year-olds to the 15-16 age bracket. Second, he set the film in Sydney instead of Melbourne, which was the initial location chosen. Both these factors helped increase the scope of the action while also changing the group dynamics between the lead actors. <br />
<br />
In a scene that proclaimed her stardom to the world, Nicole Kidman takes the new bike that she bought with the money she made selling the radios for a spin. Her two co-stars watch her utterly smitten and charmed, and by default, so are the audience. The scene almost screams out that this young lady is a future star.<br />
<br />
[[File:Bmxband4.jpg]] <br />
<br />
There has been a minor criticism from certain quarters that the movie is not realistic enough, i.e., and the kids never look like they are in any kind of real danger (even when a bad guy is brandishing a knife at Nicole Kidman). It is an issue the makers of most children's movies face, whether to make it realistic or just plain crazy. <br />
<br />
The same dilemma was something even someone like Steven Spielberg faced when he digitally altered the guns in E.T.'s famous chase scene to walkie-talkies for the re-release to make it seem less threatening. But you will be glad that Smith chose to keep it light here instead of trying to add realism for the heck of it. Even in the climactic showdown, which ends in a bubble bath, the ultimate choice of weapon for the children is simple baking flour.<br />
<br />
[[File:Bmxband3.jpg]]<br />
<br />
Brian Trenchard-Smith has a point when he said that it is a throwback to an idealized childhood which does not exist anymore but is something that many would love to go back to. Therein lies its appeal and a massive part of its nostalgia factor.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Alif_Majeed&diff=177185Alif Majeed2021-03-29T22:28:13Z<p>Alif: </p>
<hr />
<div>====Reviews====<br />
<br />
*[[Almost Human/Review|Almost Human]] <br />
*[[Black Lizard/Review|Black Lizard]]<br />
*[[BMX Bandits/Review|BMX Bandits]]<br />
*[[The Brothers/Review|The Brothers]]<br />
*[[The Challenge/Review|The Challenge]]<br />
*[[Equinox/Review|Equinox]]<br />
*[[Fair Game/Review|Fair Game]]<br />
*[[Fists of the White Lotus/Review|Fists of the White Lotus]]<br />
*[[Goke: Body Snatcher From Hell/Review|Goke: Body Snatcher From Hell]]<br />
*[[Goodbye Pork Pie/Review|Goodbye Pork Pie]]<br />
*[[The Gumball Rally/Review|The Gumball Rally]]<br />
*[[Mad Monkey Kung Fu/Review|Mad Monkey Kung Fu]]<br />
*[[The Magic Christian/Review|The Magic Christian]]<br />
*[[The New Tale of Zatoichi/Review|The New Tale Of Zatoichi]]<br />
*[[Next of Kin/Review|Next of Kin]]<br />
*[[One Armed Boxer/Review|One Armed Boxer]]<br />
*[[The Pom Pom Girls/Review|The Pom Pom Girls]]<br />
*[[The Prodigal Son/Review|The Prodigal Son]]<br />
*[[The Plumber/Review|The Plumber]]<br />
*[[Psych-Out/Review|Psych-Out]]<br />
*[[Putney Swope/Review|Putney Swope]]<br />
*[[Road Games/Review|Road Games]]<br />
*[[The St. Valentine's Day Massacre/Review|The St. Valentine's Day Massacre]]<br />
*[[The Tale Of Zatoichi/Review|The Tale Of Zatoichi]]<br />
*[[The Tale Of Zatoichi Continues/Review|The Tale Of Zatoichi Continues]]<br />
*[[Tokyo Drifter/Review|Tokyo Drifter]]<br />
*[[Thomasine and Bushrod/Review|Thomasine and Bushrod]]<br />
*[[The Toolbox Murders/Review|The Toolbox Murders]]<br />
*[[The Trip/Review|The Trip]]<br />
*[[What Have They Done To Your Daughters?/Review|What Have They Done To Your Daughters?]]<br />
*[[Wild in the Streets/Review|Wild in the Streets]]<br />
*[[Zatoichi the Fugitive/Review|Zatoichi the Fugitive]]<br />
*[[200 Motels/Review|200 Motels]]<br />
<br />
<br />
[[Category:GCDB Editors]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Alif_Majeed&diff=177164Alif Majeed2021-03-28T17:34:05Z<p>Alif: /* Reviews */</p>
<hr />
<div>====Reviews====<br />
<br />
*[[Almost Human/Review|Almost Human]] <br />
*[[Black Lizard/Review|Black Lizard]]<br />
*[[BMX Bandits/Review 2|BMX Bandits]]<br />
*[[The Brothers/Review|The Brothers]]<br />
*[[The Challenge/Review|The Challenge]]<br />
*[[Equinox/Review|Equinox]]<br />
*[[Fair Game/Review|Fair Game]]<br />
*[[Fists of the White Lotus/Review|Fists of the White Lotus]]<br />
*[[Goke: Body Snatcher From Hell/Review|Goke: Body Snatcher From Hell]]<br />
*[[Goodbye Pork Pie/Review|Goodbye Pork Pie]]<br />
*[[The Gumball Rally/Review|The Gumball Rally]]<br />
*[[Mad Monkey Kung Fu/Review|Mad Monkey Kung Fu]]<br />
*[[The Magic Christian/Review|The Magic Christian]]<br />
*[[The New Tale of Zatoichi/Review|The New Tale Of Zatoichi]]<br />
*[[Next of Kin/Review|Next of Kin]]<br />
*[[One Armed Boxer/Review|One Armed Boxer]]<br />
*[[The Pom Pom Girls/Review|The Pom Pom Girls]]<br />
*[[The Prodigal Son/Review|The Prodigal Son]]<br />
*[[The Plumber/Review|The Plumber]]<br />
*[[Psych-Out/Review|Psych-Out]]<br />
*[[Putney Swope/Review|Putney Swope]]<br />
*[[Road Games/Review|Road Games]]<br />
*[[The St. Valentine's Day Massacre/Review|The St. Valentine's Day Massacre]]<br />
*[[The Tale Of Zatoichi/Review|The Tale Of Zatoichi]]<br />
*[[The Tale Of Zatoichi Continues/Review|The Tale Of Zatoichi Continues]]<br />
*[[Tokyo Drifter/Review|Tokyo Drifter]]<br />
*[[Thomasine and Bushrod/Review|Thomasine and Bushrod]]<br />
*[[The Toolbox Murders/Review|The Toolbox Murders]]<br />
*[[The Trip/Review|The Trip]]<br />
*[[What Have They Done To Your Daughters?/Review|What Have They Done To Your Daughters?]]<br />
*[[Wild in the Streets/Review|Wild in the Streets]]<br />
*[[Zatoichi the Fugitive/Review|Zatoichi the Fugitive]]<br />
*[[200 Motels/Review|200 Motels]]<br />
<br />
<br />
[[Category:GCDB Editors]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Alif_Majeed&diff=177163Alif Majeed2021-03-28T17:33:48Z<p>Alif: </p>
<hr />
<div>====Reviews====<br />
<br />
*[[Almost Human/Review|Almost Human]] *[[Black Lizard/Review|Black Lizard]]<br />
*[[BMX Bandits/Review 2|BMX Bandits]]<br />
*[[The Brothers/Review|The Brothers]]<br />
*[[The Challenge/Review|The Challenge]]<br />
*[[Equinox/Review|Equinox]]<br />
*[[Fair Game/Review|Fair Game]]<br />
*[[Fists of the White Lotus/Review|Fists of the White Lotus]]<br />
*[[Goke: Body Snatcher From Hell/Review|Goke: Body Snatcher From Hell]]<br />
*[[Goodbye Pork Pie/Review|Goodbye Pork Pie]]<br />
*[[The Gumball Rally/Review|The Gumball Rally]]<br />
*[[Mad Monkey Kung Fu/Review|Mad Monkey Kung Fu]]<br />
*[[The Magic Christian/Review|The Magic Christian]]<br />
*[[The New Tale of Zatoichi/Review|The New Tale Of Zatoichi]]<br />
*[[Next of Kin/Review|Next of Kin]]<br />
*[[One Armed Boxer/Review|One Armed Boxer]]<br />
*[[The Pom Pom Girls/Review|The Pom Pom Girls]]<br />
*[[The Prodigal Son/Review|The Prodigal Son]]<br />
*[[The Plumber/Review|The Plumber]]<br />
*[[Psych-Out/Review|Psych-Out]]<br />
*[[Putney Swope/Review|Putney Swope]]<br />
*[[Road Games/Review|Road Games]]<br />
*[[The St. Valentine's Day Massacre/Review|The St. Valentine's Day Massacre]]<br />
*[[The Tale Of Zatoichi/Review|The Tale Of Zatoichi]]<br />
*[[The Tale Of Zatoichi Continues/Review|The Tale Of Zatoichi Continues]]<br />
*[[Tokyo Drifter/Review|Tokyo Drifter]]<br />
*[[Thomasine and Bushrod/Review|Thomasine and Bushrod]]<br />
*[[The Toolbox Murders/Review|The Toolbox Murders]]<br />
*[[The Trip/Review|The Trip]]<br />
*[[What Have They Done To Your Daughters?/Review|What Have They Done To Your Daughters?]]<br />
*[[Wild in the Streets/Review|Wild in the Streets]]<br />
*[[Zatoichi the Fugitive/Review|Zatoichi the Fugitive]]<br />
*[[200 Motels/Review|200 Motels]]<br />
<br />
<br />
[[Category:GCDB Editors]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=Alif_Majeed&diff=177162Alif Majeed2021-03-28T17:33:24Z<p>Alif: </p>
<hr />
<div>====Reviews====<br />
<br />
*[[Almost Human/Review|Almost Human]], *[[Black Lizard/Review|Black Lizard]]<br />
*[[BMX Bandits/Review 2|BMX Bandits]]<br />
*[[The Brothers/Review|The Brothers]]<br />
*[[The Challenge/Review|The Challenge]]<br />
*[[Equinox/Review|Equinox]]<br />
*[[Fair Game/Review|Fair Game]]<br />
*[[Fists of the White Lotus/Review|Fists of the White Lotus]]<br />
*[[Goke: Body Snatcher From Hell/Review|Goke: Body Snatcher From Hell]]<br />
*[[Goodbye Pork Pie/Review|Goodbye Pork Pie]]<br />
*[[The Gumball Rally/Review|The Gumball Rally]]<br />
*[[Mad Monkey Kung Fu/Review|Mad Monkey Kung Fu]]<br />
*[[The Magic Christian/Review|The Magic Christian]]<br />
*[[The New Tale of Zatoichi/Review|The New Tale Of Zatoichi]]<br />
*[[Next of Kin/Review|Next of Kin]]<br />
*[[One Armed Boxer/Review|One Armed Boxer]]<br />
*[[The Pom Pom Girls/Review|The Pom Pom Girls]]<br />
*[[The Prodigal Son/Review|The Prodigal Son]]<br />
*[[The Plumber/Review|The Plumber]]<br />
*[[Psych-Out/Review|Psych-Out]]<br />
*[[Putney Swope/Review|Putney Swope]]<br />
*[[Road Games/Review|Road Games]]<br />
*[[The St. Valentine's Day Massacre/Review|The St. Valentine's Day Massacre]]<br />
*[[The Tale Of Zatoichi/Review|The Tale Of Zatoichi]]<br />
*[[The Tale Of Zatoichi Continues/Review|The Tale Of Zatoichi Continues]]<br />
*[[Tokyo Drifter/Review|Tokyo Drifter]]<br />
*[[Thomasine and Bushrod/Review|Thomasine and Bushrod]]<br />
*[[The Toolbox Murders/Review|The Toolbox Murders]]<br />
*[[The Trip/Review|The Trip]]<br />
*[[What Have They Done To Your Daughters?/Review|What Have They Done To Your Daughters?]]<br />
*[[Wild in the Streets/Review|Wild in the Streets]]<br />
*[[Zatoichi the Fugitive/Review|Zatoichi the Fugitive]]<br />
*[[200 Motels/Review|200 Motels]]<br />
<br />
<br />
[[Category:GCDB Editors]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=BMX_Bandits/Review_2&diff=177158BMX Bandits/Review 22021-03-28T10:54:29Z<p>Alif: </p>
<hr />
<div><center>[[File:Bmx-banditstop.png|750px|link=BMX Bandits]]</center><br />
<br />
Apart from its reputation as a perennial children's film classic, BMX Bandits is also famous for [[Quentin Tarantino's Top 20 Grindhouse Classics|Quentin Tarantino]]’s quote describing it. Having been a champion advocate of [[Brian Trenchard-Smith]], he had famously said, "If I was an Australian, BMX Bandits would be our version of The Goonies." That seems like a tall claim at first, but the comparison is very much valid. Although it doesn't have that touch of fantasy with the pirate ships and hidden treasures, the two movies follow the same paradigm of pitting meddling pesky adventurous kids against bumbling thieves, which is one of the principal reasons it worked. Apart from lots and lots of BMX bike stunts of course. <br />
<br />
[[File:Bmxbandits1.jpg]]<br />
<br />
While he is famous for his [[Stunt Rock|stunt-heavy movies]], it is not surprising that for a considerable section of Brian Trenchard-Smith's admirers, their favorite movie might be this children's flick about three teenagers thwarting robbers and having fun on their BMX bikes. It is a pure wish-fulfillment fantasy that appeals to your memory of a romanticized childhood.<br />
<br />
BMX Bandits is about three kids (including future Oscar winner Nicole Kidman) who accidentally find a stash of police radios hidden by a gang of robbers for their heists. The precarious kids then decide to sell these fancy radios for a quick buck, thus getting entangled in the robbers' schemes, as they are out to recover their missing property. They also come under the radar of the local cops who have started listening in on their radio conversations. There is a funny moment when a lady cop realizes they are dealing with children instead of hardcore criminals from their nicknames or, as she explains, "BMX talks".<br />
<br />
[[File:Bmxbandits2.jpg]]<br />
<br />
As per the director, he had made two choices that helped enhance the movie immensely. The first was to age the lead trio from 10-year-olds to the 15-16 age bracket. Second, he set the film in Sydney instead of Melbourne, which was the initial location chosen. Both these factors helped increase the scope of the action while also changing the group dynamics between the lead actors. <br />
<br />
In a scene that proclaimed her stardom to the world, Nicole Kidman takes the new bike that she bought with the money she made selling the radios for a spin. Her two co-stars watch her utterly smitten and charmed, and by default, so are the audience. The scene almost screams out that this young lady is a future star.<br />
<br />
[[File:Bmxband4.jpg]] <br />
<br />
There has been a minor criticism from certain quarters that the movie is not realistic enough, i.e., and the kids never look like they are in any kind of danger (even when a bad guy is brandishing a knife at Nicole Kidman). It is an issue the makers of most children's movies face, whether to make it realistic or just plain crazy. <br />
<br />
The same dilemma was something even someone like Steven Spielberg faced when he digitally altered the guns in E.T.'s famous chase scene to walkie-talkies for the re-release to make it seem less threatening. But you will be glad that Smith chose to keep it light here instead of trying to add realism for the heck of it. Even in the climactic showdown, which ends in a bubble bath, the ultimate choice of weapon for the children is simple baking flour.<br />
<br />
[[File:Bmxband3.jpg]]<br />
<br />
Brian Trenchard-Smith has a point when he said that it is a throwback to an idealized childhood which does not exist anymore but is something that many would love to go back to. Therein lies its appeal and a massive part of its nostalgia factor.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=BMX_Bandits/Review_2&diff=177157BMX Bandits/Review 22021-03-28T08:43:36Z<p>Alif: </p>
<hr />
<div><center>[[File:Bmx-banditstop.png|750px|link=BMX Bandits]]</center><br />
<br />
Apart from its reputation as a perennial children's film classic, BMX Bandits is also famous for [[Quentin Tarantino's Top 20 Grindhouse Classics|Quentin Tarantino]]’s quote describing it. Having been a champion advocate of [[Brian Trenchard-Smith]], he had famously said, "If I was an Australian, BMX Bandits would be our version of The Goonies." That seems like a tall claim at first, but the comparison is very much valid. Although it doesn't have that touch of fantasy with the pirate ships and hidden treasures, the two movies follow the same paradigm of pitting meddling pesky adventurous kids against bumbling thieves, which is one of the principal reasons it worked. Apart from lots and lots of BMX bike stunts of course. <br />
<br />
[[File:Bmxbandits1.jpg]]<br />
<br />
While he is famous for his [[Stunt Rock|stunt-heavy movies]], it is not surprising that for a considerable section of Brian Trenchard-Smith's admirers, their favorite movie might be this children's flick about three teenagers thwarting robbers and having fun on their BMX bikes. It is a pure wish-fulfillment fantasy that appeals to your memory of a romanticized childhood.<br />
<br />
BMX Bandits is about three kids (including future Oscar winner Nicole Kidman) who accidentally find a stash of police radios hidden by a gang of robbers for their heists. The precarious kids then decide to sell these fancy radios for a quick buck, thus getting entangled in the robbers' schemes who are out to recover their missing property. They also come under the radar of the local cops who have started listening in on their radio conversations. There is a funny moment when a lady cop realizes they are dealing with children instead of hardcore criminals from their nicknames or, as she explains, "BMX talks".<br />
<br />
[[File:Bmxbandits2.jpg]]<br />
<br />
As per the director, he had made two choices that helped enhance the movie immensely. The first was to age the lead trio from 10-year-olds to the 15-16 age bracket. Second, he set the film in Sydney instead of Melbourne, which was the initial location chosen. Both these factors helped increase the scope of the action while also changing the group dynamics between the lead actors. <br />
<br />
In a scene that proclaimed her stardom to the world, Nicole Kidman takes the new bike that she bought with the money she made selling the radios for a spin. Her two co-stars watch her utterly smitten and charmed, and by default, so are the audience. The scene almost screams out that this young lady is a future star.<br />
<br />
[[File:Bmxband4.jpg]] <br />
<br />
There has been a minor criticism from certain quarters that the movie is not realistic enough, i.e., and the kids never look like they are in any kind of danger (even when a bad guy is brandishing a knife at Nicole Kidman). It is an issue the makers of most children's movies face, whether to make it realistic or just plain crazy. <br />
<br />
The same dilemma was something even someone like Steven Spielberg faced when he digitally altered the guns in E.T.'s famous chase scene to walkie-talkies for the re-release to make it seem less threatening. But you will be glad that Smith chose to keep it light here instead of trying to add realism for the heck of it. Even in the climactic showdown, which ends in a bubble bath, the ultimate choice of weapon for the children is simple baking flour.<br />
<br />
[[File:Bmxband3.jpg]]<br />
<br />
Brian Trenchard-Smith has a point when he said that it is a throwback to an idealized childhood which does not exist anymore but is something that many would love to go back to. Therein lies its appeal and a massive part of its nostalgia factor.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=BMX_Bandits/Review_2&diff=177156BMX Bandits/Review 22021-03-28T08:39:41Z<p>Alif: </p>
<hr />
<div><center>[[File:Bmx-banditstop.png|750px|link=BMX Bandits]]</center><br />
<br />
Apart from its reputation as a perennial children's film classic, BMX Bandits is also famous for [[Quentin Tarantino's Top 20 Grindhouse Classics|Quentin Tarantino]]’s quote describing it. Having been a champion advocate of [[Brian Trenchard-Smith]], he had famously said, "If I was an Australian, BMX Bandits would be our version of The Goonies." That seems like a tall claim at first, but the comparison is very much valid. Although it doesn't have that touch of fantasy with the pirate ships and hidden treasures, the two movies follow the same paradigm of pitting meddling pesky adventurous kids against bumbling criminals, which is one of the principal reasons it worked. Apart from lots and lots of BMX bike stunts of course. <br />
<br />
[[File:Bmxbandits1.jpg]]<br />
<br />
While he is famous for his [[Stunt Rock|stunt-heavy movies]], it is not surprising that for a considerable section of Brian Trenchard-Smith's admirers, their favorite movie might be this children's flick about three teenagers thwarting robbers and having fun on their BMX bikes. It is a pure wish-fulfillment fantasy that appeals to your memory of a romanticized childhood.<br />
<br />
BMX Bandits is about three kids (including future Oscar winner Nicole Kidman) who accidentally find a stash of police radios hidden by a gang of robbers for their heists. The precarious kids then decide to sell these fancy radios for a quick buck, thus getting entangled in the robbers' schemes who are out to recover their missing property. They also come under the radar of the local cops who have started listening in on their radio conversations. There is a funny moment when a lady cop realizes they are dealing with children instead of hardcore criminals from their nicknames or, as she explains, "BMX talks".<br />
<br />
[[File:Bmxbandits2.jpg]]<br />
<br />
As per the director, he had made two choices that helped enhance the movie immensely. The first was to age the lead trio from 10-year-olds to the 15-16 age bracket. Second, he set the film in Sydney instead of Melbourne, which was the initial location chosen. Both these factors helped increase the scope of the action while also changing the group dynamics between the lead actors. <br />
<br />
In a scene that proclaimed her stardom to the world, Nicole Kidman takes the new bike that she bought with the money she made selling the radios for a spin. Her two co-stars watch her utterly smitten and charmed, and by default, so are the audience. The scene almost screams out that this young lady is a future star.<br />
<br />
[[File:Bmxband4.jpg]] <br />
<br />
There has been a minor criticism from certain quarters that the movie is not realistic enough, i.e., and the kids never look like they are in any kind of danger (even when a bad guy is brandishing a knife at Nicole Kidman). It is an issue the makers of most children's movies face, whether to make it realistic or just plain crazy. <br />
<br />
The same dilemma was something even someone like Steven Spielberg faced when he digitally altered the guns in E.T.'s famous chase scene to walkie-talkies for the re-release to make it seem less threatening. But you will be glad that Smith chose to keep it light here instead of trying to add realism for the heck of it. Even in the climactic showdown, which ends in a bubble bath, the ultimate choice of weapon for the children is simple baking flour.<br />
<br />
[[File:Bmxband3.jpg]]<br />
<br />
Brian Trenchard-Smith has a point when he said that it is a throwback to an idealized childhood which does not exist anymore but is something that many would love to go back to. Therein lies its appeal and a massive part of its nostalgia factor.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=BMX_Bandits/Review_2&diff=177155BMX Bandits/Review 22021-03-28T08:31:21Z<p>Alif: </p>
<hr />
<div><center>[[File:Bmx-banditstop.png|750px|link=BMX Bandits]]</center><br />
<br />
Apart from its reputation as a perennial children's film classic, BMX Bandits is also famous for [[Quentin Tarantino's Top 20 Grindhouse Classics|Quentin Tarantino]]’s quote describing it. Having been a champion advocate of [[Brian Trenchard-Smith]], he had famously said, "If I was an Australian, BMX Bandits would be our version of The Goonies." That seems like a tall claim at first, but the comparison is very much valid. Although it doesn't have that touch of fantasy with the pirate ships and hidden treasures, the two movies follow the same paradigm of pitting meddling pesky adventurous kids against bumbling robbers, which is one of the principal reasons it worked. Apart from lots and lots of BMX bike stunts of course. <br />
<br />
[[File:Bmxbandits1.jpg]]<br />
<br />
While he is famous for his [[Stunt Rock|stunt-heavy movies]], it is not surprising that for a considerable section of Brian Trenchard-Smith's admirers, their favorite movie might be this children's flick about three teenagers thwarting robbers and having fun on their BMX bikes. It is a pure wish-fulfillment fantasy that appeals to your memory of a romanticized childhood.<br />
<br />
BMX Bandits is about three kids (including future Oscar winner Nicole Kidman) who accidentally find a stash of police radios hidden by a gang of robbers for their heists. The precarious kids then decide to sell these fancy radios for a quick buck, thus getting entangled in the robbers' schemes who are out to recover their missing property. They also come under the radar of the local cops who have started listening in on their radio conversations. There is a funny moment when a lady cop realizes they are dealing with children instead of hardcore criminals from their nicknames or, as she explains, "BMX talks".<br />
<br />
[[File:Bmxbandits2.jpg]]<br />
<br />
As per the director, he had made two choices that helped enhance the movie immensely. The first was to age the lead trio from 10-year-olds to the 15-16 age bracket. Second, he set the film in Sydney instead of Melbourne, which was the initial location chosen. Both these factors helped increase the scope of the action while also changing the group dynamics between the lead actors. <br />
<br />
In a scene that proclaimed her stardom to the world, Nicole Kidman takes the new bike that she bought with the money she made selling the radios for a spin. Her two co-stars watch her utterly smitten and charmed, and by default, so are the audience. The scene almost screams out that this young lady is a future star.<br />
<br />
[[File:Bmxband4.jpg]] <br />
<br />
There has been a minor criticism from certain quarters that the movie is not realistic enough, i.e., and the kids never look like they are in any kind of danger (even when a bad guy is brandishing a knife at Nicole Kidman). It is an issue the makers of most children's movies face, whether to make it realistic or just plain crazy. <br />
<br />
The same dilemma was something even someone like Steven Spielberg faced when he digitally altered the guns in E.T.'s famous chase scene to walkie-talkies for the re-release to make it seem less threatening. But you will be glad that Smith chose to keep it light here instead of trying to add realism for the heck of it. Even in the climactic showdown, which ends in a bubble bath, the ultimate choice of weapon for the children is simple baking flour.<br />
<br />
[[File:Bmxband3.jpg]]<br />
<br />
Brian Trenchard-Smith has a point when he said that it is a throwback to an idealized childhood which does not exist anymore but is something that many would love to go back to. Therein lies its appeal and a massive part of its nostalgia factor.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=BMX_Bandits/Review_2&diff=177154BMX Bandits/Review 22021-03-28T08:23:08Z<p>Alif: </p>
<hr />
<div><center>[[File:Bmx-banditstop.png|750px|link=BMX Bandits]]</center><br />
<br />
Apart from its reputation as a perennial children's film classic, BMX Bandits is also famous for [[Quentin Tarantino's Top 20 Grindhouse Classics|Quentin Tarantino]]’s quote describing it. Having been a champion advocate of [[Brian Trenchard-Smith]], he had famously said, "If I was an Australian, BMX Bandits would be our version of The Goonies." That seems like a tall claim at first, but the comparison is very much valid. Although it doesn't have that touch of fantasy with the pirate ships and hidden treasures, the two movies follow the same paradigm of pitting meddling pesky adventurous kids against bumbling robbers, which is one of the principal reasons it worked. Apart from lots and lots of BMX bike stunts of course. <br />
<br />
[[File:Bmxbandits1.jpg]]<br />
<br />
While he is famous for his [[Stunt Rock|stunt-heavy movies]], it is not surprising that for a considerable section of Brian Trenchard-Smith's admirers, their favorite movie might be this children's flick about three teenagers thwarting robbers and having fun on their BMX bikes. It is a pure wish-fulfillment fantasy that appeals to your memory of a romanticized childhood.<br />
<br />
BMX Bandits is about three kids (including future Oscar winner Nicole Kidman) who accidentally find a stash of police radios hidden by a gang of robbers for their heists. The precarious kids then decide to sell these fancy radios for a quick buck, thus getting entangled in the robbers' schemes who are out to recover their missing property. They also come under the radar of the local cops who have started listening in on their radio conversations. There is a funny moment when a lady cop realizes they are dealing with children instead of hardcore criminals from their nicknames or, as she explains, "BMX talks".<br />
<br />
[[File:Bmxbandits2.jpg]]<br />
<br />
As per the director, he had made two choices that helped enhance the movie immensely. The first was to age the lead trio from 10-year-olds to the 15-16 age bracket. Second, he set the film in Sydney instead of Melbourne, which was the initial location chosen. Both these factors helped increase the scope of the action while also changing the group dynamics between the lead actors. <br />
<br />
In a scene that proclaimed her stardom to the world, Nicole Kidman takes the new bike that she bought with the money she made selling the radios for a spin. Her two co-stars watch her utterly smitten and charmed, and by default, so are we as the audience. The scene almost screams out that this young lady is a future star.<br />
<br />
[[File:Bmxband4.jpg]] <br />
<br />
There has been a minor criticism from certain quarters that the movie is not realistic enough, i.e., and the kids never look like they are in any kind of danger (even when a bad guy is brandishing a knife at Nicole Kidman). It is an issue the makers of most children's movies face, whether to make it realistic or just plain crazy. <br />
<br />
The same dilemma was something even someone like Steven Spielberg faced when he digitally altered the guns in E.T.'s famous chase scene to walkie-talkies for the re-release to make it seem less threatening. But you will be glad that Smith chose to keep it light here instead of trying to add realism for the heck of it. Even in the climactic showdown, which ends in a bubble bath, the ultimate choice of weapon for the children is simple baking flour.<br />
<br />
[[File:Bmxband3.jpg]]<br />
<br />
Brian Trenchard-Smith has a point when he said that it is a throwback to an idealized childhood which does not exist anymore but is something that many would love to go back to. Therein lies its appeal and a massive part of its nostalgia factor.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=BMX_Bandits/Review_2&diff=177153BMX Bandits/Review 22021-03-28T08:15:08Z<p>Alif: </p>
<hr />
<div><center>[[File:Bmx-banditstop.png|750px|link=BMX Bandits]]</center><br />
<br />
Apart from its reputation as a perennial children's film classic, BMX Bandits is also famous for [[Quentin Tarantino's Top 20 Grindhouse Classics|Quentin Tarantino]]’s quote describing it. Having been a champion advocate of [[Brian Trenchard-Smith]], he had famously said, "If I was an Australian, BMX Bandits would be our version of The Goonies." That seems like a tall claim at first, but the comparison is very much valid. Although it doesn't have that touch of fantasy with the pirate ships and hidden treasures, the two movies follow the same paradigm of pitting meddling pesky adventurous kids against bumbling robbers, which is one of the principal reasons it worked. Apart from lots and lots of BMX bike stunts of course. <br />
<br />
[[File:Bmxbandits1.jpg]]<br />
<br />
While he is famous for his [[Stunt Rock|stunt-heavy movies]], it is not surprising that for a considerable section of Brian Trenchard-Smith's admirers, their favorite movie might be this children's flick about three teenagers thwarting robbers and having fun on their BMX bikes. It is a pure wish-fulfillment fantasy that appeals to your memory of a romanticized childhood.<br />
<br />
BMX Bandits is about three kids (including future Oscar winner Nicole Kidman) who accidentally find a stash of police radios hidden by a gang of robbers for their heists. The precarious kids then decide to sell these fancy radios for prices they believe are profitable but are a steal for their customers, thus getting entangled in the robbers' schemes. They also come under the radar of the local cops who have started listening in on their radio conversations. There is a funny moment when a lady cop realizes they are dealing with children instead of hardcore criminals from their nicknames or, as she explains, "BMX talks".<br />
<br />
[[File:Bmxbandits2.jpg]]<br />
<br />
As per the director, he had made two choices that helped enhance the movie immensely. The first was to age the lead trio from 10-year-olds to the 15-16 age bracket. Second, he set the film in Sydney instead of Melbourne, which was the initial location chosen. Both these factors helped increase the scope of the action while also changing the group dynamics between the lead actors. <br />
<br />
In a scene that proclaimed her stardom to the world, Nicole Kidman takes the new bike that she bought with the money she made selling the radios for a spin. Her two co-stars watch her utterly smitten and charmed, and by default, so are we as the audience. The scene almost screams out that this young lady is a future star.<br />
<br />
[[File:Bmxband4.jpg]] <br />
<br />
There has been a minor criticism from certain quarters that the movie is not realistic enough, i.e., and the kids never look like they are in any kind of danger (even when a bad guy is brandishing a knife at Nicole Kidman). It is an issue the makers of most children's movies face, whether to make it realistic or just plain crazy. <br />
<br />
The same dilemma was something even someone like Steven Spielberg faced when he digitally altered the guns in E.T.'s famous chase scene to walkie-talkies for the re-release to make it seem less threatening. But you will be glad that Smith chose to keep it light here instead of trying to add realism for the heck of it. Even in the climactic showdown, which ends in a bubble bath, the ultimate choice of weapon for the children is simple baking flour.<br />
<br />
[[File:Bmxband3.jpg]]<br />
<br />
Brian Trenchard-Smith has a point when he said that it is a throwback to an idealized childhood which does not exist anymore but is something that many would love to go back to. Therein lies its appeal and a massive part of its nostalgia factor.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alifhttps://www.grindhousedatabase.com/index.php?title=BMX_Bandits/Review_2&diff=177152BMX Bandits/Review 22021-03-28T08:09:10Z<p>Alif: </p>
<hr />
<div><center>[[File:Bmx-banditstop.png|750px|link=BMX Bandits]]</center><br />
<br />
Apart from its reputation as a perennial children's film classic, BMX Bandits is also famous for [[Quentin Tarantino's Top 20 Grindhouse Classics|Quentin Tarantino]]’s quote describing it. Having been a champion advocate of [[Brian Trenchard-Smith]], he had famously said, "If I was an Australian, BMX Bandits would be our version of The Goonies." That seems like a tall claim at first, but the comparison is very much valid. Although it doesn't have that touch of fantasy with the pirate ships and hidden treasures, the two movies follow the same paradigm of pitting meddling pesky adventurous kids against bumbling robbers, which is one of the principal reasons it worked. Apart from lots and lots of BMX bike stunts of course. <br />
<br />
[[File:Bmxbandits1.jpg]]<br />
<br />
While he is famous for his [[Stunt Rock|stunt-heavy movies]], it is not surprising that for a considerable section of Brian Trenchard-Smith's admirers, their favorite movie might be this children's flick about three teenagers thwarting robbers and having fun on their BMX bikes. It is a pure wish-fulfillment fantasy that appeals to your memory of a romanticized childhood.<br />
<br />
BMX Bandits is about three kids (including future Oscar winner Nicole Kidman) who accidentally find a stash of police radios hidden by a gang of robbers for their heists. The precarious kids then decide to sell these fancy radios for prices they believe are profitable but are a steal for their customers, thus getting entangled in the robbers' schemes. They also come under the radar of the local cops who have started listening in on their radio conversations. There is a funny moment when a lady cop realizes they are dealing with children instead of hardcore criminals from their nicknames or, as she explains, "BMX talks".<br />
<br />
[[File:Bmxbandits2.jpg]]<br />
<br />
As per the director, he had made two choices that helped enhance the movie immensely. The first was to age the lead trio from 10-year-olds to the 15-16 age bracket. Second, he set the film in Sydney instead of Melbourne, which was the initial location chosen. Both these factors helped increase the scope of the action while also changing the group dynamics between the lead actors. <br />
<br />
In a scene that proclaimed her stardom to the world, Nicole Kidman takes the new bike that she bought with the money she made selling the radios for a spin. Her two co-stars watch her utterly smitten and charmed, and by default, so are we as the audience. The scene almost screams out that this young lady is a future star.<br />
<br />
[[File:Bmxband4.jpg]] <br />
<br />
There has been a minor criticism from certain quarters that the movie is not realistic enough, i.e., and the kids never look like they are in any kind of danger (even when a bad guy is brandishing a knife at Nicole Kidman). It is an issue the makers of most children's movies face, whether to make it realistic or just plain crazy. <br />
<br />
The same dilemma was something even someone like Steven Spielberg faced when he digitally altered the guns in E.T.'s famous chase scene to walkie-talkies for the re-release to make it seem less threatening. But you will be glad that Smith chose to keep it light here instead of trying to add realism for the heck of it. Even in the climactic showdown, which ends in a bubble bath, the ultimate choice of weapon for the children is simple baking flour.<br />
<br />
[[File:Bmxband3.jpg]]<br />
<br />
Brian Trenchard-Smith has a point when he says that it is a throwback to an idealized childhood which does not exist anymore but is something that many would love to go back to. Therein lies its appeal and a massive part of its nostalgia factor.<br />
<br />
{{Alif}}<br />
<br />
[[Category:Reviews]]</div>Alif