These days, Bullitt‘s reputation is built almost entirely on the exhilarating eleven-minute car chase. Even people who have never seen the movie have seen or heard about that scene.
Despite secret lairs and spy gadgets, Asia-pol plays things straight where other Shaw Bros. espionage efforts reveled in the most outlandish sci-fi aspects of spy films.
Mars Men kicks off with a little kid stumbling upon a hidden cave in which he finds a small statue of Yud Wud Jaeng. The kid insists on calling him “Hanamajin”, and the rest of the cast follows suit.
As the series begins, Quatermass and his team are in a quandary after their most recent manned space flight vanishes without a trace, only to turn up later when it crashes into a farmer’s field. Rushing to the site, Quatermass is baffled to discover that of the three astronauts launched into orbit, only one is still in the ship.
Inframan is, in many ways, a perfect film, in that it is resoundingly successful in achieving what it sets out to do. Every one of its scenes could be bullet-pointed with the word “SEE!” in front of it.
Although one certainly cannot dismiss the impact of World War II on the United States, it’s an order of magnitude more shocking to witness the devastation wrought across Europe. For all our suffering, we could come home to a country that remained largely untouched by large-scale conflict. Those in Europe, however, were already home.
A double agent operating in London dreams of retiring, but his life is complicated when he is assigned to assassinate a traitor: himself. With one foot in the pop art fantasy of James Bond and another in the grim world of John Le Carre, A Dandy in Aspic never quite succeeds at being either.
Testi plays Milo, a small-time hood who, when the film opens is lugging his wounded buddy through a field after a heist that has apparently gone rather poorly. His friend dies, and Testi buries him in the field before getting arrested and ending up in a jail run by Oliver Reed’s Vito Cipriani.
There are many tales of love, bitterness and vengeful ghosts, but like a certain Scottish play, Tokaido Yotsuya Kaidan is unique in having a curse associated with it.
The surreal swirl of stark futurism, psychedelia, and neon indulgence is…pleasantly overwhelming? Comfortably disturbing?
Spectre’s obsession with mythology building and referencing previous films results in a tangled mess that, despite being over two hours, still feels like an hour of the film is missing.
A lone samurai making his way home late at night meets a defenseless woman. So begins the horror of Kaneto Shindô’s tale of ghosts, vengeance, and the wrongs visited upon women by entitled men.