'Miami Supercops' is the spaghettiest body-cop mystery thriller ever made. Thoug it is not pure thriller, rather a toungue in cheek and thoroughly self aware parody of the popular genre. It uses established formula and uses every cliche possible in the book, but somehow manage to feel original and cliche free. The movie is silly and most of the action is over the top and implausible. Besides the charismatic leading duo the implausibility of the cartoonish action is the main charm of the movie. 'Miami Supercops' is not the best, or even funniest from Terence Hill/Bud Spencer, but it will offer amusing hour and a half of entertainment.
Reviews
12 Reviews
Don't Call Me Bambino
15 July 2021
This one never will be such a classic as original Trinity movies with Bud Spencer and Terrence Hill, but it was still fun and highly enjoyable. Both lead actors had working chemistry between them that is comparable with the original duo. Although, neither Heath Kizzier and Keith Neubert are matched with Terrence Hill and Budd Spencer in the acting talents and pure on-screen charisma. The film managed to capture the atmosphere, style and mood of the original movies. That is probably because it was directed by the man who made the two original movies - Enzo Barboni. Although fun and charming, the movie didn't offer anything new besides the new leads. Most of the plot was recycled from the previous films, and the dialogue wasn't that snappy anymore. Still, I thoroughly enjoyed that one. And I love that theme song with a modern electronic touch.
Dragon Lord
(1982)
Lovers and Smugglers
5 July 2021
'Dragon Lord' is not Jackie Chan's first directorial effort. It was his third movie already, but somehow it feels the most incomplete one. At first, it was intended to be the sequel to 'The Young Master' but Chan changed the setting as he wasn't able to properly tie this one to the first movie's story.
The film includes exceptional fight scenes and stunts, but the story seems unfocused. At first, too much time is spent to set up the big love story, but somewhere in the middle that fades away and the romantic angle doesn't get coherent conclusion. Also, the ark with the smugglers doesn't get much needed development at the beginning. So the movie feels like two different movies jammed together. But the fight scenes and choreography is amazing. Jackie experimented with a lot of new stuff in the fight scenes, and the experiments payed off - the fight scenes are exceptional. Jackie Chan is such an amazing performer that poorly constructed story doesn't take away much of the enjoyment from the movie. Also, it was nice to see Mars who usually played some thug, robber or henchman, to get more substantial role.
The fans of Jackie Chan and his type of martial arts slapstick comedy will not be disappointed. Don't expect too thoughtful story though.
The film includes exceptional fight scenes and stunts, but the story seems unfocused. At first, too much time is spent to set up the big love story, but somewhere in the middle that fades away and the romantic angle doesn't get coherent conclusion. Also, the ark with the smugglers doesn't get much needed development at the beginning. So the movie feels like two different movies jammed together. But the fight scenes and choreography is amazing. Jackie experimented with a lot of new stuff in the fight scenes, and the experiments payed off - the fight scenes are exceptional. Jackie Chan is such an amazing performer that poorly constructed story doesn't take away much of the enjoyment from the movie. Also, it was nice to see Mars who usually played some thug, robber or henchman, to get more substantial role.
The fans of Jackie Chan and his type of martial arts slapstick comedy will not be disappointed. Don't expect too thoughtful story though.
Curse of Snakes Valley
(1988)
Curse the Snakes
22 June 2021
'Curse of Snakes Valley' is a perfect cult adventure movie made in the vein of Indiana Jones. The movie explores quite grand ideas but poorly developed screenplay and uneven directing turns it into a mess. Enjoyable mess, that is. There is nothing wrong with ambiguous endings, but only when these are masterfully directed. I understand that the budget wasn't very big, but it also seem that the writers didn't have quite clear clue where they wanted to go with their ideas. There are many scenes in the movie just so the rest of the movie can happen. Some things could have used more explanation. Characters are all one dimensional
A lot of the stuff was unintentionally hilarious, and not all special effects have aged well (still, I prefer poor practical effects over poor CGI), but the story is interesting. Action scenes are modest, to say the least. Real locations help to improve the overall atmosphere of the movie. But what's most important - the film wasn't boring. It was exciting and I had a lot of fun watching this movie.
A lot of the stuff was unintentionally hilarious, and not all special effects have aged well (still, I prefer poor practical effects over poor CGI), but the story is interesting. Action scenes are modest, to say the least. Real locations help to improve the overall atmosphere of the movie. But what's most important - the film wasn't boring. It was exciting and I had a lot of fun watching this movie.
No, I'm not a woman. No, I'm not a man. I am Octavia.
22 June 2021
This is sort of an experimental musical short film. Octavia St. Laurent performs the song 'Queen of the Underground' while collage of different images of her is shown. Between, the movie cuts into the clips to the interview with Octavia where she vigorously expresses her views on life. She is straightforward, honest and confident. What a fiery, yet intelligent character whose sharp remarks toward the society are not edgy, but guillotine like. This all is interestingly put together. And it has that perfect special 1990's feel to it.
Libahunt
(1968)
Yes, I Am the Werewolf.
19 June 2021
'Libahunt' is an unfairly forgotten classic. Intriguing story, immaculate black and white cinematography, finely timed pacing, and thoughtful performances by all the lead actors. Ene Rämmeld as Tiina was particularly mesmerizing. Score by Veljo Tormis enhances the mysterious, nearly dreamlike atmosphere of the movie. The movie is based on the play by August Kitzberg that itself is quite ambiguous, but the movie goes even further.
The film begins with the scene where the villagers are celebrating Midsummer Day festivities. That scene perfectly establishes the hypocrisy of the villagers - they have condemned and executed Tiina's real mother for being the witch and now they condemn Tiina as the werewolf and chase her into the woods, while as church-going people they perform paganistic rituals for a good harvest. This sort of hypocrisy is still prevailing in society. The movie doesn't shy away from that theme and explores it throughout the film, but it also doesn't rub it in the faces of the audience.
The film smoothly changes between present and past events. The line between reality, dream, and fantasy is thin, so the viewer can make the decision which way to take the conclusion of the movie. The film clocks in barely 71 minutes and it might seem too short for such a complex story, but it is the perfect length. Every scene seemed to be measured and cut together with scientific precision. Longer runtime and the movie would have definitely started to drag. The dialogue is sparse and the story is moved forward using visual imagery. Even the few quiet moments were filled with tension.
Leida Laius as a director didn't get and still doesn't get the recognition she truly deserves.
The film begins with the scene where the villagers are celebrating Midsummer Day festivities. That scene perfectly establishes the hypocrisy of the villagers - they have condemned and executed Tiina's real mother for being the witch and now they condemn Tiina as the werewolf and chase her into the woods, while as church-going people they perform paganistic rituals for a good harvest. This sort of hypocrisy is still prevailing in society. The movie doesn't shy away from that theme and explores it throughout the film, but it also doesn't rub it in the faces of the audience.
The film smoothly changes between present and past events. The line between reality, dream, and fantasy is thin, so the viewer can make the decision which way to take the conclusion of the movie. The film clocks in barely 71 minutes and it might seem too short for such a complex story, but it is the perfect length. Every scene seemed to be measured and cut together with scientific precision. Longer runtime and the movie would have definitely started to drag. The dialogue is sparse and the story is moved forward using visual imagery. Even the few quiet moments were filled with tension.
Leida Laius as a director didn't get and still doesn't get the recognition she truly deserves.
The Celluloid Closet
(1995)
Get Out of the Closet
19 June 2021
'Celluloid Closet' is a fantastic documentary about the representation of gay people in Hollywood movies. But not only. This is also an important piece about the history of cinema, and what filmmakers had to go through to sneak past the censors. Besides talking about how the stereotype of the gay man was born, it also shares some fantastic anecdotes about how filmmakers spiced the movies up (the story behind 'Ben-Hur' was particularly hilarious).
But, this film made me think about movie-making in general and why movies used to be so well written? Don't get me wrong - I in no way wish the censorship to come back in any form, but. . . Back in the days, to tell the stories properly, and give some hints to the viewers, meant that the writers/directors had to be clever. This sneaking between the lines gave us so many fantastic complex characters, dialogue with neat innuendos, and stories that left the audiences to think (those who were capable of such a difficult task). I'm not speaking only from the LGBT point of view, but generally. It is great that the LGBT community nowadays has much better visibility through movies and there have been some great characters, but still, the use of the stereotypes is in the vast majority. Even in the movies that are supposed to be pro LGBT and not comedies using gay characters as comedic relief. I just wish the nuanced writing without too much obvious politics would return into the mainstream cinema.
But, this film made me think about movie-making in general and why movies used to be so well written? Don't get me wrong - I in no way wish the censorship to come back in any form, but. . . Back in the days, to tell the stories properly, and give some hints to the viewers, meant that the writers/directors had to be clever. This sneaking between the lines gave us so many fantastic complex characters, dialogue with neat innuendos, and stories that left the audiences to think (those who were capable of such a difficult task). I'm not speaking only from the LGBT point of view, but generally. It is great that the LGBT community nowadays has much better visibility through movies and there have been some great characters, but still, the use of the stereotypes is in the vast majority. Even in the movies that are supposed to be pro LGBT and not comedies using gay characters as comedic relief. I just wish the nuanced writing without too much obvious politics would return into the mainstream cinema.
Divine Trash
(1998)
The Styling the Pope of Trash
7 June 2021
'Divine Trash' is a documentary about the life and career of visionary cult director John Waters. To be honest, it is a documentary about his earlier career until the release of 'Pink Flamingos'. His later career is touched only briefly. I like that the movie concentrated more on his earlier life - how John Waters became the artist he is known today. What inspired him in his childhood, and his adolescence? Footage from his earlier films, interviews with the cast and crew. Behind the scenes footage. Pure gold.
Besides the interviews with filmmakers who were inspired by John Waters, there were also interviews with journalists, film historians, and even psychologists. A nice touch was the interviews with the lady from the film censorship board. I liked that the documentary didn't try to turn her into some kind of a villain. She was just a Christian lady who didn't like these sort of movies. The interviews with the parents of John Waters, and with the mother of Divine were sweet. It was nice to learn that, although they had never seen 'Pink Flamingoes' they all were supportive of their children's choices.
This documentary is timeless and a must-see for any John Waters fan (although, they probably already know everything). And not only - actually anyone deeply interested in the film has to see that documentary. Yes, it is that important of a movie.
Besides the interviews with filmmakers who were inspired by John Waters, there were also interviews with journalists, film historians, and even psychologists. A nice touch was the interviews with the lady from the film censorship board. I liked that the documentary didn't try to turn her into some kind of a villain. She was just a Christian lady who didn't like these sort of movies. The interviews with the parents of John Waters, and with the mother of Divine were sweet. It was nice to learn that, although they had never seen 'Pink Flamingoes' they all were supportive of their children's choices.
This documentary is timeless and a must-see for any John Waters fan (although, they probably already know everything). And not only - actually anyone deeply interested in the film has to see that documentary. Yes, it is that important of a movie.
Paris Is Burning
(1990)
The Burning Truth
6 June 2021
'Paris is Burning' was selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant. It is. In all three categories. Along with 1968's 'The Queen', 'Paris is Burning' is the most important documentary about the Drag subculture. The director, Jennie Livingston has said, that this is a film that is important for anyone to see, whether they're gay or not. She is correct. This is a must-see movie because it sheds a lot of light to the problems which the trans, gay and drag community had to go through. To be honest, a lot of these people still face the exact same troubles, although society has seemingly become more acceptive and tolerant.
The film also has huge entertaining value, especially for those who are into Drag as an art form. It documents the origins of 'Voguing'. Explains the meaning of the words 'reading', 'shade', 'legendary', 'house' and 'mother' in the Drag subculture. Also the fabulous footage from the Ball where people could be free, just themselves. It was fun to watch the contestants of the 'Banjee realness' compete over who could look more passable as a macho. Besides the introduction into the Balls, and the tragic stories of these awesome people, the movie offers a deep social commentary. Just listen to some of these interviews. And then listen to them again. A lot of truths were thrown out.
Livingston has been criticized for leaving herself out of the film, but I liked that the movie didn't try to give the concrete perspective, rather allowing the audience to decide themselves how they see the movie.
The film perfectly managed to balance the fun and the seriousness of the LGBT world, but still, the sad undertone remains - why someone can't be who they truly are and express themselves like they truly are.
The film also has huge entertaining value, especially for those who are into Drag as an art form. It documents the origins of 'Voguing'. Explains the meaning of the words 'reading', 'shade', 'legendary', 'house' and 'mother' in the Drag subculture. Also the fabulous footage from the Ball where people could be free, just themselves. It was fun to watch the contestants of the 'Banjee realness' compete over who could look more passable as a macho. Besides the introduction into the Balls, and the tragic stories of these awesome people, the movie offers a deep social commentary. Just listen to some of these interviews. And then listen to them again. A lot of truths were thrown out.
Livingston has been criticized for leaving herself out of the film, but I liked that the movie didn't try to give the concrete perspective, rather allowing the audience to decide themselves how they see the movie.
The film perfectly managed to balance the fun and the seriousness of the LGBT world, but still, the sad undertone remains - why someone can't be who they truly are and express themselves like they truly are.
Vremya zhit, vremya lyubit
(1977)
Lifeless, Loveless
3 June 2021
Over time I've heard many people saying how bad or horrible this movie is. So, I went into it expecting one of the worst movies ever made. I was disappointed. Yeah, I was expecting exceptionally awful movie, yet the film wasn't half that bad. The film is below average. On the whole, the movie is rather forgettable, although the premise is quite intriguing. The whole film felt like a couple of relatively good scenes poorly put together to form a movie. With that, the film lacked proper conception - it didn't work as over-the-top melodrama or neither a character study with the underscore of the meaning of life and love. Uneven pacing made the mess only worse, so it was unclear what the movie tried to tell.
The film has many problems that are common for Soviet-era Estonian movies - overly dramatic soundtrack that is way too loud compared with the dialogue (occasionally drowning the dialogue so it is hard to comprehend what is being said); dimly lit indoor or night scenes; unnecessary city or nature shots while this time could have been used better with giving more background to certain characters or shed more light to some events. Time to Live, Time to Love has all of them.
The acting was mostly great. Especially Heino Mandri as Professor Talvik.
A forgettable and unfocused drama that has its moments but fails to leave any kind of lasting impression.
The film has many problems that are common for Soviet-era Estonian movies - overly dramatic soundtrack that is way too loud compared with the dialogue (occasionally drowning the dialogue so it is hard to comprehend what is being said); dimly lit indoor or night scenes; unnecessary city or nature shots while this time could have been used better with giving more background to certain characters or shed more light to some events. Time to Live, Time to Love has all of them.
The acting was mostly great. Especially Heino Mandri as Professor Talvik.
A forgettable and unfocused drama that has its moments but fails to leave any kind of lasting impression.
The Queen
(1968)
You are all winners
2 June 2021
Warning: Spoilers
'The Queen' is a groundbreaking documentary that takes the viewer behind the scenes of the 1967 Miss All-AmericanCamp Beauty Contest. With that, the movie sheds a light on what was Drag community back then. I learned that in the sixties Flawless Sabrina was something like RuPaul is today - supreme Queen. We see the preparations for the contest and we see how the contestants interact with each other. We hear the contestants share their own different experiences and different world views. Awesome set of awesome personalities. I liked the sincerity and naivety of the movie. No unnecessary artificial drama. There were moments like where Joe scolds Richard (or Miss Harlow) for behaving like a child. And that iconic moment in the end with Crystal LaBeija. But these weren't forced artificial drama moments. These were authentic.
The viewer could almost feel the carefree atmosphere where the people were enjoying themselves like they were. I liked how the movie didn't try to address the difficult situation of the LGBT community and how they were looked down on by society. It helped to separate the Drag Queen world from the rest of society. Like an independent universe without all the square conformists. It was all joy to watch.
The viewer could almost feel the carefree atmosphere where the people were enjoying themselves like they were. I liked how the movie didn't try to address the difficult situation of the LGBT community and how they were looked down on by society. It helped to separate the Drag Queen world from the rest of society. Like an independent universe without all the square conformists. It was all joy to watch.
He Surprised Us All
1 June 2021
Warning: Spoilers
The Man Who Surprised Everyone is much more than a movie about a man who is wearing a dress. It is a quiet meditation on the shortness of life and the fight to make it longer. It is almost a fairytale that, it seems, some people took too literally.
Yegor is a forest guard in Siberia. He is happily married and his wife is expecting their second child. Once Yegor finds out that he has about two months to live, he first tries to hide the fact from his wife, Natalia. When Natalia learns about her husband's condition, she goes all the way to find a way to treat him. They even visit a Shaman. When nothing seems to help, the Shaman Woman tells an old legend about drake Zhamba who disguised himself to cheat death. Yegor starts to dress up as a woman. First, his wife finds out and soon the whole village knows. And the villagers don't take kindly that highly respected Yegor is now dressing as a woman.
The film was neatly paced and perfectly balanced. The tragedy never becomes overwhelming and it is smoothed out with little bits of humor in here and there (come on, the moment where all the villagers had gathered at Yegor's door and demanded him to come out, and then finally the man appears in the red dress, nylons, and high heeled boots, and confidently struts through the crowd). Especially the first hour of the movie was nearly perfect. There were a lot of quiet moments but they didn't feel empty. These moments carried the movie as well as all other parts. The acting was perfect - Evgeniy Tsyganov as Yegor, a quiet man who has accepted his faith but still decides to go further with his fight for survival. Natalya Kudryashova deserves every praise she has gotten for her role. The handheld cinematography was smooth and added much to the overall atmosphere of the movie without turning it into unnecessarily artsy. The different themes were seamlessly intertwined. Not to mention the beautiful Siberian nature that gave the movie a mystical and fairytale-like atmosphere.
Unfortunately, the final act was a total letdown, and many questions were left unanswered. The film was ambiguous enough, it didn't need an ambiguous ending. A more concrete conclusion would have benefited the movie more. We saw that Natalia visited Yegor at his hideout. She washed the man and did his make-up. The next scene is in the waiting room of the hospital where Yegor is waiting while Natalia gives birth. Then Yegor gets the MRI and doctors find no trace of cancer. And then Yegor is alone in the hospital room. THE END. Did Yegor's wife accept the man's strange behavior? Did she forgive him? He was cured of cancer, but why was he in the hospital? Was it a psychiatric ward? Did he go back to the village? How the villagers took his recovery? It also became annoying that Yegor didn't even bother to explain his behavior. I get it, he was the quiet stoic guy, and after the first confrontation with his wife, he was embarrassed. Also, it seemed that it was the community that sticks out for each other, so there could have been a pretty good possibility to explain the situation. Instead, Yegor's actions started to make less and less sense.
Peculiar movie with an interesting story. Although its main message seemed to be about being different in a fairly conservative community, the film went further than just the gender issue.
Yegor is a forest guard in Siberia. He is happily married and his wife is expecting their second child. Once Yegor finds out that he has about two months to live, he first tries to hide the fact from his wife, Natalia. When Natalia learns about her husband's condition, she goes all the way to find a way to treat him. They even visit a Shaman. When nothing seems to help, the Shaman Woman tells an old legend about drake Zhamba who disguised himself to cheat death. Yegor starts to dress up as a woman. First, his wife finds out and soon the whole village knows. And the villagers don't take kindly that highly respected Yegor is now dressing as a woman.
The film was neatly paced and perfectly balanced. The tragedy never becomes overwhelming and it is smoothed out with little bits of humor in here and there (come on, the moment where all the villagers had gathered at Yegor's door and demanded him to come out, and then finally the man appears in the red dress, nylons, and high heeled boots, and confidently struts through the crowd). Especially the first hour of the movie was nearly perfect. There were a lot of quiet moments but they didn't feel empty. These moments carried the movie as well as all other parts. The acting was perfect - Evgeniy Tsyganov as Yegor, a quiet man who has accepted his faith but still decides to go further with his fight for survival. Natalya Kudryashova deserves every praise she has gotten for her role. The handheld cinematography was smooth and added much to the overall atmosphere of the movie without turning it into unnecessarily artsy. The different themes were seamlessly intertwined. Not to mention the beautiful Siberian nature that gave the movie a mystical and fairytale-like atmosphere.
Unfortunately, the final act was a total letdown, and many questions were left unanswered. The film was ambiguous enough, it didn't need an ambiguous ending. A more concrete conclusion would have benefited the movie more. We saw that Natalia visited Yegor at his hideout. She washed the man and did his make-up. The next scene is in the waiting room of the hospital where Yegor is waiting while Natalia gives birth. Then Yegor gets the MRI and doctors find no trace of cancer. And then Yegor is alone in the hospital room. THE END. Did Yegor's wife accept the man's strange behavior? Did she forgive him? He was cured of cancer, but why was he in the hospital? Was it a psychiatric ward? Did he go back to the village? How the villagers took his recovery? It also became annoying that Yegor didn't even bother to explain his behavior. I get it, he was the quiet stoic guy, and after the first confrontation with his wife, he was embarrassed. Also, it seemed that it was the community that sticks out for each other, so there could have been a pretty good possibility to explain the situation. Instead, Yegor's actions started to make less and less sense.
Peculiar movie with an interesting story. Although its main message seemed to be about being different in a fairly conservative community, the film went further than just the gender issue.
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