Considered by some to be one of Godard’s lighter films because it is more accessible and less maverick in its approach, Band of Outsiders still offers up a fine example of the French maverick at his best, and the fact that he doesn’t imitate himself should be an example of Band of Outsiders‘ inventiveness rather than the other way around.
More zombie action sooner would have made this good movie great, but as it is, I’m hard pressed to complain about what I got. Ultimately, the weird humor of the film makes the bleak ending that much more effective.
But rocky though the 70s may have been for Hammer, Blood from the Mummy’s Tomb is a stand-out that, while perhaps not keeping pace with the company at its best, certainly makes for solid b-movie material.
Bloody Tie sports all the polish and big budget precision typical of Korean action films but combines it with a frenetic, almost anarchic approach that makes the entire thing feel like it’s totally bonkers. The closest comparison is Nowhere to Hide, but you’d have to mix it up with Goodfellas and Battles Without and Humanity.
The movie hits the ground running with ice-cold North Korean spy Pyo involved in an arms deal in Berlin that rapidly goes south. The South Koreans, led by disillusioned veteran Jeong, were looking to make a bust they hoped might lead them to a secret bank account that was kept by recently departed Kim Jong-il.
Bad-ass kungfu guy versus midgets and leopard men, with a jet pack and a purple sportscar and a cool looking track suit thrown in for good measure, is going to provide at least some modicum of entertainment.
Suddenly the room erupts in panic as a black clad, hooded female figure makes a dramatic appearance on the landing above the dance floor. It’s The Black Rose, a Robin Hood-like cat burglar who preys on the rich for the benefit of the city’s poor and downtrodden.
There’s almost a competent movie contained within the running time of Bhoot ke Pechhe Bhoot, though Kishan Shah never gets around to actually making it.
Samurai films have a curious knack for expressing compassionate, humanist ideals via soul-crushing bleakness and violence. One would be hard-pressed to find a bleaker, more violent indictment of the romance […]
Even though the cast and crew are making a lark of a movie, Hasebe never lets it collapse under the weight of its own self-awareness. He understands that the best spoof of the campy spy film of the 1960s also has to be a very enjoyable spy film, and Black Tight Killers doesn’t forget to entertain.