08 / 07 / 05 - Shutter

Not unlike a hammer: blunt, predictable, guaranteed to get the job done. The directors don't believe in subtlety: every way of ratcheting up the tension is used to maximum effect: dark interiors, brooding sounds, flash editing, decaying girls with long black hair... And while it's inelegant, there's no denying that the approach works; the audience gasped, screamed, whimpered, laughed, and clapped early and often. One to be venerated, Shutter isn't, but as far as scary movies go, it's at least half-good. [**]

10 / 07 / 05 - The New One-Armed Swordsman

A muscular swordplay epic, whose balance between intimate male bonding and iconic, violent encounters spotlights Chang Cheh's mastery of the genre. Fan favorites David Chang and Lo Lieh do memorable work as the archenemies, and the final showdown is a satisfying orgy of blood and martial arts. The spotless new print (premiered at Cannes) also showcases the broad-stroked appeal of the Shaw Bros. studio settings; no real location carries quite the same cinematic charm. Solid entertainment. [**]

11 / 17 / 05 - One Missed Call 2

Preposterous, inept lump of garbage that pisses on the characters, story, and scares of the original but has none to speak of itself. When, about half-way through, a technical problem slid the image out of focus and distorted the sound, people clapped. [No Stars]

12 / 17 / 05 - R-Point

Strong descent-into-madness tale, set during the Vietnam war and disguised as a horror picture. Refreshingly, director Kong eschews gore in favor of brooding atmospherics: using expressive sound design and dilapidated visuals, he builds impressive tension, and the few moments of visceral blood-letting register all the more sharply. The only misstep I could discern is strategic: although the film suggests that much of what happens is due to mental deterioration, some instances of the supernatural are too tangible to ignore, and cheapen its effect. Still, and overall, R-Point mixes genre wickedness with strong drama and thoughtful themes better than any film so far this year. [***]

13 / 17 / 05 - Zee Oui

A grisly tale of child murder and cannibalism told in the way of a Hallmark commercial. The storytelling, painfully inappropriate: the script develops with infantile predictability and reduces a serial killer's mindset to a few pat flashbacks, and a directorial hand that knows no subtlety delivers performances and dramatics so overwrought they induced belly laughs. That being said, the potential for a strong and thoughtful movie exists: the true-life subject matter, societal criticism and uniqueness of the killer's dementia are a fascinating starting point. This remarkably misguided film begs for a remake. [*]

14 / 17 / 05 - Izo

Post-modern take on the action movie? Abstract essay on the brutality of man? Bald-faced joke at the audience's expense? I'll be perfectly honest -- other than a two-hour compilation of bloodshed, archival footage and live music, I have no idea what Izo is. But I do know I liked more than half of it, and flat-out loved certain segments. Miike detractors need not bother, but those with a taste for the Japanese tyro's ceaseless experimentation should take note. [**]

[Watched it on video, but since it's playing at Fantasia right now, I thought it appropriate...]

18 / 17 / 05 - Shaolin Temple

All-star epic telling that most iconic of tales: the fall of the Shaolin Temple at the hands of the Manchurians, and the training of Fong Si Yu. Chang Cheh's greatest talents --iconic imagery, broadly drawn heroism, male bonding-- are in full force, and the setting allows for memorable set-pieces (including a labyrinthine mechanical maze). Not quite up to the manic level of 8 Diagram Pole Fighter or Executioners from Shaolin, but a must-see. [***]

18 / 17 / 05 - The Devil's Rejects

A cult classic in the making, and one of the best grindhouse throwbacks I've ever seen. Remarkable is the craftsmanship: Rob Zombie's direction is stylish but sure-footed, and his mix of grisly comedy and of violence has a polish that was sorely missing in his first outing. But most surprising is the film's reach: not content with being a mere pastiche, its third act captures some of the poetry at the core of the exploitation genre, the strange lyricism found in the actions of men and women far removed from conventional notions of morality and justice. [***]

19 / 17 / 05 - P

Demonic possession as a metaphor for the prostitution and drug addiction -- one of the best high-concepts in recent horror movie memory. Too bad the execution's so wasteful. When director Paul Spurrier explores his ideas on a vague elemental level, through tone, suggestive imagery and a percussive score, he gives them haunting power. But when he treats them literally, with weak scares and fake effects galore, the film becomes downright laughable. As a whole, it's a rather disappointing experience, but the sight of six beautiful Thai strippers dancing in slow, united motion carries at least some value. [*]

22 / 17 / 05 - Three ... Extremes

Still one of the year's best films. [****]

23 / 17 / 05 - Night of the Living Dorks

American Pie meets Night of the Living Dead -- reasonably inspired, surprisingly satisfying. A big-budget remake wouldn't surprise me. [**]

25 / 17 / 05 - G.O.R.A.

Ridiculous Turkish rebuttal to mega-budget Hollywood productions that would have been insufferably cocky if not for a genuinely funny streak of self-awareness, and a canny knowledge of genre stereotypes ("Hey! I've seen this before, in that Fifth Element movie with Bruce Willis!"). Overall, it's still stupefyingly silly, but some charms are there. [**]