I have a new one up on The Cultural Gutter! Yesterday’s Tomorrow: A Visit to Tativille is a look at one of my all-time favorite films, 1958’s futurist farce Mon Oncle by Jacques Tati. Tati’s third film, and the second to feature … Continue reading Cultural Gutter: A Visit to Tativille
Italy’s Berlusconi era was characterized by the decadence and corruption of the country’s prime minister. Director Paolo Sorrentino admits that while the decadence was fun, it created a cultural stagnation from which, perhaps, it’s time to emerge. Arts and entertainment … Continue reading The Great Beauty
The Devil used to have a lot more to do on Christmas Eve than he does these days, having been supplanted more or less in the Christmas time evil business by retail store owners and Black Friday stampedes. There was … Continue reading Evenings on a Farm Near Dikanka
Elvis Presley didn’t like his own movies, except maybe Flaming Star and King Creole. He idolized “angry young man” actors like Marlon Brando and James Dean and always hoped that with the right coaching, he might be able to count … Continue reading Aloha from Hawaii
Karate Robo Zaborgar presented me with the sort of soul-searching conflict that often plagues those of us who worry about the higher philosophical questions in life. On the one hand, it was a presumably loving spoof of one of my … Continue reading Karate-Robo Zaborgar
Yatterman is a colorful, overblown, largely idiotic live-action adaptation of an anime series from 1977. It’s also a painful illustration of every weak point wildly hit-or-miss director Takashi Miike possesses, while at the same time it fails to highlight any of the thing he does well. Miike’s staunch unwillingness to make anything less than 14,000 movies a week means that if nothing else, he became by virtue of quantity alone a force to be reckoned with in the reeling, post-bubble Japanese film industry, when more and more directors retreated into the realm of the low-budget direct-to-video (and later, DVD) market. Miike’s prolific nature meant that he produced a few incredibly bad movies, a whole lot of mediocre ones, and a few that either were or teetered on brilliant.
Hong Kong stuntman-turned-star Lam Ching-Ying made a whole slew of vampire comedies following the success of his turn in 1985’s Mr. Vampire, and Vampire vs. Vampire is inarguably one of them. Coming on the heels of two official Mr. Vampire sequels, the film stands out for a couple of reasons, not the least being that it marks Lam’s debut as a director. But, to me, the most interesting aspect of Vampire vs. Vampire is the fact that it pits Lam’s character against a Dracula-like, Western style vampire — rather than the jiang shi, or hopping vampires, seen in the previous entries — and in doing so sets some choice gothic elements against the series’ familiar backdrop of Chinese folk magic.