Debukochi Reviews

Milo (II) (2017)

A Haunting, Masterful Work

[10/10 · 23 May 2023]

This is one of my favorite films, of short or full-length. This moving opus addresses two instances of profound loss. One is obvious to any viewer who watches it to completion. The other may be difficult to realize without re-watching the beginning until 2:38. It's the loss of never seeing the beauty and wonder already present in our life, if we only would think to look for it.

The Portuguese have a word, saudade, which challenges translation into English. It speaks to a bittersweet melancholy born out of longing for a loved person, place, or time in our life that is forever gone. "It is painful, yet you yearn for it because you only feel saudade when you deeply love." --Beatriz Vasconcellos

Perhaps this film is the visual translation of saudade.

C'mon C'mon (2021)

"To visit planet earth, you will have to be born as a human child."

[9/10 · 13 May 2023]

This one is easy. If you like Transformer movies or think that you'll see Joaquin Phoenix "bust some heads," like he did in "You Were Never Really Here" and "Joker," save your money. This is not your film.

If you are a parent, stepparent, relative, or anyone who has had to provide care for children under less than idealized conditions, you'll probably find this film as touching and endearing as I did. John Lennon's, "Life is what happens while you're busy making other plans." speaks directly to this movie's journey into the realm human emotion, vulnerability, and resiliency.

The film's dialog and narratives, featuring both interviews with children and passages from children's books could not be more relative and poignant.

Old (2021)

Much Better Than its Average Viewer Rating

[7/10 · 27 November 2021]

I suspect that this movie is yet another victim of the "Something in the plot didn't go the way I wanted to." markdown. It's a well-crafted movie with excellent performances (even the kids) that provides a compelling plot twist, esp. To parents and ol' fogies like me. With all MKS movies, it keeps you guessing as to "why?" throughout most of the movie, providing a convincing reasoning of why at its conclusion. For me, it was well-worth the price of streaming.

If I had one criticism of the movie, it would be the extent to which MKS insists on including himself in his movies. I understand that it is an homage to Hitchcock but it comes off like breaking the fourth wall. The briefest of moments where one has to intentionally look to spot him would seem sufficient for this purpose. His actual speaking role in the movie, IMO, goes too far and disrupts the movie's illusion of reality in the viewer's mind. Perhaps that feature provides insight as to the undeservedly low review ratings.

You Should Have Left (2020)

You Should Have Watched (It)

[7/10 · 3 September 2021]

I'm with the user reviewers that are perplexed about the low ratings. I suspect this is a generational "thing." Post-boomers seem to have expectations for how a storyline should progress and be resolved, esp. How it should end. When it doesn't meet those expectations, it's labeled "a bad movie." Perhaps that's why comic book/superhero movies are so popular in that they have a triumphant, uplifting ending. I wonder what those dissatisfied with this movie would think about works like Hitchcock's, "The Birds" or Mann's literary work, "Doctor Faustus."

In my boomer opinion (64 yrs.-old), this movie is well worth the watch. I think it even rates as excellent. The direction and cinematography are better than I've seen in a long time (and by that, I don't mean just the beauty of the setting and the spectacular sets). The imagery is spot-on to the storyline; it's edgy and haunting without being a distraction. But that's not why I'd recommend it. It is creepy, thrilling, and scary; all of the things you want in a horror film, but its strength lies in its thought-provoking narrative and the unusual occurrence that the screenwriting compels most of the audience to actually care about what happens to the characters. This film creeped me out...bigtime.

Lisey's Story (2021)

Pretentious, Boring, and a Self-Absorbed Mess

[3/10 · 19 June 2021]

I commend Apple TV for giving some innovative series a shot, but after wasting my time for an entire season of Servant, waiting for it to go somewhere, I'm not going to make the same mistake with Lisey's Story. The acting is wonderful but the scriptwriting seems so "full of itself" that watching another episode seems about as inviting as folding laundry.

After the fourth episode, I've seen enough to draw the curtain of charity closed on this tiresome series.

Servant: Marino (2021) Season 2, Episode 7

What Did I Just Watch? I'm Sorry, I Can't Remember

[4/10 · 27 February 2021]

I fear this episode may be the "jumped the shark" moment in this series. I've been holding out in the hope that the declining content quality of the past few episodes was because they were establishing important plot 'backstory' issues. I think it's probably more appropriate to speculate that the well has run dry and I'm just watching "filler" episodes.

If the next episode continues to be similarly devoid of interest/intrigue, then, "I'm outa here."

The Eyes of My Mother (2016)

Boring, "Lynch Wanna Be" Fails to Deliver

[4/10 · 12 July 2020]

I've never written a negative review. I guess there's a fist time for everything.

David Lynch's "Eraserhead" (1977) was a groundbreaking horror film due to its creativity and "otherworldliness". Lynch's direction solicits the viewer's empathy for the main character despite his remarkably bizarre life. It's a fascinating, unconventional work of cinematic art that transports the viewer through heretofore unimaginable events.

"The Eyes of My Mother" (2016), which seems stylistically influenced by Lynch's work (even using black & white film) comes off as an overly morose, boring "Lynch wanna be" production; artless in its execution and unable to even obliquely capture my interest. What little plot there is seems exhaustingly simpleminded (instead of stylistically austere). Just try to think as a 13 year old boy would and you'll be able to predict where the film is going.

The best part of the film is that it's only 1:16 long.

The Killing of a Sacred Deer (2017)

Not a Horror Movie, But a Horrifying Classic Tragedy.

[9/10 · 26 January 2020]

This is a contemporary arthouse rework of the classic Greek tragedy, Iphigenia [ee-pah-gay'-nee-yah] (contrary to YouTube mispronunciations), written by Euripides (484-406 BCE), and interpreted by Michael Cacoyannis in one of the great films of the '70s of the same name. (One can perform a simple Internet search for insight into the mythical origin of this story.) This stylized interpretation is absent any of the archaic, poetic prose of its antecedents--choosing to tell this tale in a contemporary style and setting. Despite this, it can be confusing and even seem illogical, irrational and obtuse to viewers not familiar with the genre of the classic Greek tragedy. Several reviewers seem to be looking for the film to provide an explanation, palatable to a modern mindset, which clarifies 'how' these events could be unfolding. That's not how Greek tragedies work. The film will, however, provide a 'why' for these horrific events (i.e. think 'vengeful gods,' unmoved by even the most passionate pleas for mercy). Not even brilliant physicians, the 'high priests' of our current culture, can provide an understanding or affect a course change in the punishment exacted by these gods through their human vessel (the character, Martin). Viewed in this light, a haircutting scene, foreshadowed early in the film, becomes a gut-wrenching sight--a frantic, futile offering of appeasement by a child, desperately trying to elicit sympathy. This scene is a variation of one from Cacoyannis' Iphigenia, and, when understood in this context, is just as emotionally overwhelming. (I sobbed.) You'd expect A-list actors like Kidman and Farrell to deliver great performances--which they do--but Barry Keoghan's acting as 'Martin' was remarkably haunting; eliciting sympathy, fondness and revulsion, simultaneously. As with most Greek tragedies, the survivors, despite their initial presumed entitlement, acquiesce to accepting the unacceptable (but unavoidable) outcome and find a means to move on, humbled by their inability to escape their fate.

The Wailing (2016)

Film Deftly Evolves From Moderately Humorous to Terrifying, and Ends Leaving One Speechless.

[8/10 · 28 December 2019]

The protagonist, a marginally incompetent policeman, endears himself to viewers with his less than motivated, 'everyday guy' approach to his civil service career. An unrelenting series of gruesome murders begins to change the tenor of this film as the sergeant's investigation becomes more earnest. When the horrors in his village continue, and an evil entity is suspected, the sergeant becomes more focused. As this malevolence begins to manifest itself in his daughter, his unfailing devotion to her allays his fears and drives him to become singularly possessed with confronting this evil. At this point, any humor has vanished from this film.

This film, like the antagonistic entity it features, is remarkably deceptive and will keep you guessing right up to the last minute. (I felt as if all of the air had been sucked out of the room when it ended.) To have so successfully pulled this off, Do-won Kwak (actor portraying the police sergeant) gives nothing short of an A-list performance--which I wasn't expecting.

Joshua (2007)

Not really a horror film, per se, but a film about a family overwhelmed by a horrifying struggle with mental illness.

[7/10 · 7 September 2019]

No nannies diving out of windows to Orff's "Carmina Burana" (Conan music) in this film, so I can understand the <6 rating, if that's what audiences expected from the film's marketing. That said, there are some stomach-turning moments. What I watched was better than expected; a believable portrayal of a family struggling to find their way while under the burden of mental illness. These are realistic characters, setting out on a series of credible actions, committed to "doing the right thing"--not bungling clichés who deserve what they get because they acted illogically, foolishly or even monstrously. Sam Rockwell's character is esp. engaging in terms of his sincere effort to care for his distressed spouse while also earnestly trying to make an intimate connection with his son--a son who is becoming ever more distant and troubled after the birth of his baby sister. The difference between this film and others of this genre is the extent to which Joshua, though a bit eccentric, is very likeable; endearing himself to the movie's viewers. The plot twist, referred to in reviews, is actually a logical conclusion that many viewers (myself included) were likely to overlook, despite its foreshadowing throughout the movie. It brings a real thread of understanding to the fabric in the storyline.

The Current (2014)

Christian Movie Focused on a Young Adolescent Boy's Coming of Age

[5/10 · 19 August 2019]

This is a Christian movie--with a very strong faith narrative (esp. the second half)--something that should be clearly understood by potential viewers. The acting starts out a bit 'stiff' but the first half effectively communicates a plot involving typical family issues that happen with a boy (main character) just starting adolescence (i.e. rebellion, a search for self and identify). These issues are 'lightly' handled in a manner befitting a family-friendly movie. The second half of the film becomes solidly steeped in Christian ideology, with a rather predictable, faith-driven outcome, but also has some genuinely moving scenes as viewers see the personal growth of the movie's young protagonist, esp. when dealing with a tragedy. The setting of this movie seems to imply that, absent the boy's removal from the harmful influence of an urban environment, his future would have been bleak--an unfortunate message, I think, for any urban families that may want to enjoy this genre of film with their children.

Home Movie (II) (2008)

Chronicle of family's collapse under the weight of severe metal illness.

[8/10 · 12 February 2011]

I found the film's clever concept and almost Spartan production a welcomed change to overwrought, special effects-driven horror flicks. This film's austerity nicely compliments its premise—namely, that these are a series of video clips that chronicle a family's shocking collapse under the weight of severe metal illness. I suspect anyone who has worked with families will appreciate the role denial plays in perpetuating and even facilitating dysfunctional behavior—even more so when it involves metal illness.

Contrary to the claim in an accompanying review, I find the disturbing behavior well (even clinically) explained and revealed at a pace that keeps the movie engrossing but plausible. I suspect parents who enjoy the reality/horror genre will find this movie especially engaging.

12 and Holding (2005)

A terrific movie about children, but not for children.

[9/10 · 12 August 2006]

This is a haunting coming-of-age film about children, bound by a common, shocking tragedy, who struggle to get on with life and overcome their own troubling problems. Despite the severity of issues conveyed in this film's overlapping vignettes, it never becomes melodramatic. Artful screen writing and direction infuse humor in the telling of these children's stories---stories rich with characters who are colorful, but never contrived. All of the children provide very genuine, endearing performances---essential if the audience is going to empathize with them and their disturbing behavior. This movie will frequently make you uncomfortable---very uncomfortable. But no matter how horrifying and even monstrous these children's actions may be, they never lose their appealing and disarming qualities as children. These are very cool kids, even the most troubled, who easily win your affection.

During the course of the movie, one of the children queries the others by asking, "Do you know ninety-percent of people's problems are due to their inability to get over the past?" All of these children will be faced with this challenge. You hope all will overcome this obstacle, but sadly, not all of them will or should be able to get over their past.

Bloody Mallory (2002)

Buffy meets Men in Black; meets Blade; meets La Cage aux Folles; meets...

[6/10 · 20 November 2005]

If you like over-the-top horror farces, this may be your movie! The acting and direction are surprisingly good. If you take your Buffy genre too seriously, you'll hate it.

A female agent (Bloody Mallory), from a secret French ministry charged with monitoring evil supernatural beings (mais bien sûr) heads off in her accessorized pink Hearse to rescue the Pope from flesh-eating ghoul kidnappers. She is joined by her sidekicks, a "flawless" foul-mouthed American transvestite (Vena Cava) and a telepathic mute girl (Talking Tina) in an action-packed romp in the underworld.

If you follow French comedy farces, like the Eric and Ramzy films, you know that the best part is finding all of the "homages" to other movies and popular culture. These include the Exorcist, Hellraiser, Nightbreed, Indiana Jones, Duran Duran, The Three Stooges and many more (in both French and English).

Une famille pas comme les autres (2005 TV Movie)

Enjoyable family drama about a boy from an alternative family.

[7/10 · 18 October 2005]

An enjoyable family drama about a little boy trying to come to terms with his alternative family situation---a family with two gay fathers. Michel-Ange (Jeffrey Barbeau) uses his appealing nature and con-artist skills to charm two elderly acquaintances (Line Renaud and Gus Bedos) into playing the role of substitute grandparents because his real grandparents, estranged from his gay father, aren't even aware of his existence. As his conscripted grandparents become aware of Michel-Ange's family problems, they attempt to bring the family together. In so doing, they become inseparable members of Michel-Ange's extended family---a family not like others (une famille pas comme les autres).