YAKUZA PRINCESS NEW website review by Olga Tolkatcheva
The film is based on a Brazilian comic book and has all the features of an indulgent escape: exotic Japanese subculture with samurai philosophy and yakuza tattoos; a beautiful but deadly Japanese girl-orphan living in Brazil; an exquisitely crafted ancient katana sword, famously cursed to bring destruction to its owners; a mysterious powerful stranger with a memory loss, who helps the main heroine. Finally, a portion of mysticism and loads of action complete the recipe.
The ingredients for a gripping action thriller are there, however in trying to stay true to the original graphic story, the result is a stylish, visually stunning movie with schematic characters and a plot that was difficult to follow.
The main character, Akemi, discovers that she is the only surviving heiress to a slain Yakuza crime family. She was saved as an infant and hidden far away from her home. Fate has finally caught up with her, and her proficiency in combat and sword fight comes in handy when she needs to defend herself against the bloodthirsty Yakuza. The war between crime lords provides a perfect backdrop to showcase graphic violence and frequent fight sequences.
I enjoyed beautiful photography and music, as well as the stimulating scenery. It was an interesting view of shadowy, Japanese underworld culture. One of the interesting facts I discovered is that Brazil has the biggest Japanese ex-pat community in the world.
This movie would appeal to die-hard fans of action movies and fans of grungy film-noir.
A FIRE INSIDE NEW website review by MD, a volunteer fireman
A Fire Inside
Every good documentary has an angle. There is some intrinsic point of their subject that has been overlooked by the public that the documentary team whish to shed light upon. Some vital aspect that has gone overlooked by the media and the popular discourse. There’s no shortage of choices when you’re topic is the horrifying bushfires of 2019-2020 – the Red Cross’ flagrant abandonment of their duties as soon as the media cameras packed up and left, the ongoing struggle for resources and housing for the members of the public left homeless and destitute while our moron Prime Minister spends 90 billion dollars on submarines we won’t see for a quarter of a century, the fact that planned burns have been a vital part of fire land management for decades but couldn’t be done in the months leading up to the fires because climate change had so effected conditions that planned burns couldn’t be done safely, the arrogant politicization of the disasters and the utterly bullshit blaming of the situation on “arsonists and lightning” by the Murdoch press, the astonishing surges of domestic violence which occur after a national emergency which Sherele Moody attempted to address and was cancelled for, the fact that selflessness in Australia only extends as far as personal inconvenience and when it comes time to wear a mask and stay indoors for a spell it’s all too much for Australian communities far and wide, the music and comedy industries which came to the rescue of fundraisers and communities only to be shut out and left to destitution come the COVID lockdowns, or maybe the continued and blatant lack of action on providing firefighters the resources they need to combat the growingly complex and aggressive blazes we’re going to see on a regular basis henceforth.
Any of this would have been good. A generic puff-piece full of tear-eyed sentiment, generic montages, and scary music isn’t what we needed. A 90-minute A Current Affair piece does nothing to address the continued lack of initiative shown by the Australian PUBLIC on who they vote for, the corporate destruction of the GLOBAL environment and its consequences, and the mental health of first responders and the public.
Lastly, I seem to remember the fires engulfing most of the country – including Victoria – but it is the gift of the New South Welsh to be able to convince themselves that they are the entire nation.
To accord some credit, mental health is focussed on for a spell. But it is not significant, not targeted, and does not appeal to anyone who needs help now to reach out and seek guidance.
A safe, generic, boring load of shit. Don’t call firefighters heroes. Create a community where we can rest easy knowing we won’t have to put our lives on the line like this – or make the support happen where we need it afterward.
by Jeanette Russell
A Fire Inside is a heartening, inspirational documentary about the lives of volunteers coming together in the wake of a disaster to protect and support their local community in country NSW. This film is a true insight into the lives of some of these dedicated volunteers, the firefighters, who have put their own lives on the line so many times to combat the scary and all engulfing flames. It's the story of volunteers supporting and helping others not only to save their lives, homes and properties, but afterwards to assist people rebuild, re-fence and also to aid with food, clothes and other essentials.
The amazing spirit and bravery of these individuals does not go unnoticed. Their phenomenal resilience and perseverance is incredible. I was awestruck.
This not to be missed doco had me in tears, truly inspired and extremely impressed me also. I was so humbled by the character of these strong human beings. It felt such a privilege to have insight into their journeys as they shared very personal stories and accounts of what they had been through.
I felt so moved by the whole film. Volunteers apparently make up 90% of the fireforce which is so surprising to hear. My hat goes off to them, as many described the huge personal sacrifices that have been made not only during Black Saturday, but afterwards coping with mental health issues, physical ailments and the like.
During the stories families share from all aspects of being involved in the Rural Fire Service, from fighting fires on the front line to losing loved ones, and being part of a family waiting for the firies to come home. Other volunteers involved from food bankers, to backpackers who were involved in assisting farmers to re-fence, share their experience. They aptly describe how they feel about volunteering and what it brings to their personal journeys in life.
Thank you so much for the opportunity to review this amazing documentary. It's such a good watch and really gives such valuable insight into the NSW rural communities and how the volunteers are such heroes and mentors. I highly recommend this film. Icon Run time 91 mins Release 7 th of Oct. Writers / directors Justin Krook Luke Mazzaferro Production Michael Hilliard Camilla Mazzaferro Casey Ventura Nick Worthington.
“Last man down “- let me start by saying: what a movie!
It’s one of the most amazing piece of art which was performed so well by two main characters of the movie - John and Maria.
It is a movie full of suspense and amalgamation with great acting, story, directorship and cinematography. It is one of ten few movies which I enjoyed watching after so long.
The character, John is someone who left the civilisation and lives now in a forest, in the woods. The entrance of Maria into his life has not only changed John’s life but also brought a sweet and sour flavour to the film.
Being an artist myself, I understand and appreciate the amount of hardwork and effort which was put into this movie creation by th whole cast and film crew.
I would like to give special congratulations to the director and the writer of the film for this incredible work and for their talent.
Please keep entertaining us with this kind of superb piece of art.
I would highly recommend this movie to anyone and everyone.
TV Series Review: Creepshow Season 3 Episode 1 Mums and Queen Bee Director/s: Rusty Cunieff (Mums), Greg Nicotero (Queen Bee) Cast: Ethan Embry, Brayden Benson, Erin Beute, Malone Thomas, Lowrey Brown, Kaelyn Gobert-Harris, Monica Louwerens, Hannah Kepple, Olivia Hawthorne, Nico Gomez, Bruce Anthony Shepperson Writer/s: Erik Sandoval, Michael Rousselet, Joe Hill Genre: Horror | Comedy Running Time: 46 minutes
Creepshow opens up the season in a true Creepshow fashion and for those who are new to the show it is a modern adaption of the 1982 Creepshow series. It has a nice blend of 1980s style comic story lines, cheesy monsters, and modern cinematography. The first story revolves around the son of a father who is a separatist survivalist. The mother attempts to take the son away but is quickly removed from her son by the dad who dispenses her. Later the son plants some special seeds in the garden and soon after justice is served by the mother. A bond between a mother and her son can never be broken even from beyond the grave. The second story revolves around three teenagers and their pop star idol “Regina”. They learn that she is about to have a baby in a local hospital, so they set off to meet their idol to be the first to see her baby. The encounter with their idol soon takes a strange turn as they then become part of Regina’s new family. This series brings back memories and If you like old fashioned horror comedy short stories with 80’s style monsters to chill out to then this series is good for light viewing.
review by Taylor Cougle
TV Series Review: Creepshow Season 3 Episode 2 Skeletons in the Closet and Familiar Director/s: Greg Nicotero (Skeletons in the Closet), Joe Lynch (Familiar) Cast: James Remar, Victor Rivera, Valerie LeBlanc, Lucas Godfrey, Casey Worham, Andrew Bachelor, Hannah Fierman, Keith Arthur Bolden, Robert Stevens Wayne Writer/s: Greg Nicotero, John Esposito, Josh Malerman Genre: Horror | Comedy Running Time: 49 minutes
Keeping in the tradition of Creepshow with just the right level of comedy horror, campness and darkness the next two stories will not disappoint.
We all have a skeleton or two in our closet, but some have more than others. Events take a twist prior to the world premier of Lampini’s “Skeletons in the Closet” when one of the props comes to life with murder in its bones. Who will save the son of the great Lampini?
This is a fun story with references to some old movies such as Dawn of the Dead and Psycho plus several other classic horror movies. Watch this to the end for the twist.
Have you had the feeling of being followed by something, well “Familiar” is a darker story centred around Jackson and his girlfriend. They visit a psychic after a night in a club, but he is warned of darker things lurking in the shadows. The dark spirit teases Jackson and the Psychic suggests trapping the beast. Can you trap evil or will evil find a way to trap you? If you enjoy references to classic horror with just the right level of campness and darkness then these two stories are worth watching.
Years ago, the critical darlings of cinema were challenged by a movement spearheaded by Roger Corman who endeavoured to give b-movies – and movies all the way down the scale to z – a bigger audience by filling them with schlock, action, barely believable stunts and all the other things critics hate. Voyage to the Prehistoric Planet (1965) The Wild Angels (1966) Women in Cages (1972) and Battle Beyond the Stars (1981) are loved and respected to this day for the cheerful way they subverted the Hollywood Elite’s ideas of “quality” by giving the audience the gore, sex, and crummy set pieces they secretly wanted but previous sought for in high art.
Brian Trenchard-Smith took up the mantle in Australia and produced a string of movies that were to become synonymous with the Golden Age of Australian Cinema – pictures like The Man from Hong Kong (1975) Turkey Shoot (1982) and BMX Bandits (1983) and follow-ups by apprentices such as Russell Mulcahy with Razorback (1984) and Doctor George Miller with Mad Max (1979) are respected by the Corman crowd as well as Hollywood’s auteurs.
The difference between these films which Scorsese called “art but in another way”, and Wych Kaosayananda’s Zero Tolerance is that people like Corman, Trenchard-Smith, Mulcahy, and Miller still strove for quality in some form. Early performances by Pam Grier, Jack Nicholson, and Dennis Hopper can be found in Corman’s films, while Trenchard-Smith discovered the likes of Nicole Kidman, Mulcahy David Argue, and Miller Mel Gibson. The writing was carefully exercised to be so-bad-it’s-good. As Kurt Cobain said, it takes a lot of work to sound raw and edgy. Art doesn’t just happen.
Sharknado is a good example of schlock done artfully well. If the actors suck, don’t give them too much dialogue. How much talking is in Sharknado? These films reach for the absurd and deliver. Kaosayananda fails because he reaches for traditional quality – Scott Adkins and Dustin Nguyen have way too much dialogue for their abilities. There are loooong scenes of talking featuring Nguyen, who actually looks as bored as the audience. Looong scenes where Adkins sips his drink aggressively and broods at the horizon so you know he’s the bad guy. Tender scenes of family with Nguyen even though he clearly just met this woman and those kids so you know he’s the good guy.
By the fifty-minute mark you’ll be wondering where all the sex and action promised by the opening montage is. I’ll tell you – it’s with Corman. Go where the fun is.
Aside from the nerd-gasm of seeing William Shatner and Christopher Lloyd reunited for the first time since Kirk kicked that pesky Klingon into a volcanic ravine at the end of Star Trek III: Search for Spock, A Senior Moment offers nothing new. Shatner plays William Shatner… uh… sorry… Victor Martin, an old has-been who still chases 20-something year-old-women around LA and somehow inexplicably scores now and then due to his previous career as… a pilot. Because all pilots become local celebrities when they retire, right? It’s not like Los Angeles has any other people of note living in the area… You know for certain a woman didn’t come within a hundred miles of the script while it was being developed in the first few minutes. However, after Shatner… no… Martin loses his driver’s license (because that’s somehow connected to the pilot thing, see) the 90-year-old starts to appreciate the simpler things in life while on his journey to regaining his vehicular freedom. One such pleasure is the love of Jean Smart’s Caroline, a woman still twenty years too young for the role or for Shatner… no, Martin, and who learns to appreciate gas-guzzling ozone destroyers despite her pesky, silly love of nature and turtle conservation. Women, right? If Wild Hogs excited you and Last Vegas tickled your fancy, then A Senior Moment will give you more of the same. Have fun.
COMING HOME IN THE DARK website review by Vellu Khanna
Coming Home In The Dark
Rare indeed are those artistic renditions that truly inspire the darkness within us, with its intent on clawing its way to the surface. 'Coming Home In The Dark' is one such work of art, hailing from the serene airs of New Zealand - and one could only applaud the creativity of its director, James Ashcroft. It is also apparent that the skills of the antagonists (i.e. Daniel Gillies and Erik Thomson) are top-notch.
The movie begins with a family of four (parents with two teenage sons) on a road trip. Within the first ten minutes, a downward spiral ensues, whereby two unruly characters take them hostage. We are then propelled to experience a surreal moment on the screen, definitely drawing out a sense of horror and disgust. And all of these within the first ten minutes of the flick...
Over the course of the movie, renditions and visits to past events unfold, and the audience is cast into a world of circumstances and choices that were made by all of the characters in the past. Ultimately, however, the effects are set to inspire the darkness within themselves - particularly of those deeds which they have hoped to have been left buried in the distant past.
'Coming Home In The Dark' is truly a riveting experience, and one for the horror-slash-thriller seekers.
Film Review: Disclosure Writer/Director: Michael Bentham Producer: Donna Lyon Cast: Mark Leonard Winter, Geraldine Hakewill, Tom Wren, Matilda Ridgway Running Time: 84 minutes Trigger Warning: The film contains references about rape and has sexual scenes
Disclosure is an Australian Psychological drama which portrays the destruction of a friendship of two families when the four-year-old daughter of the Bowmans makes allegations against son of the Chalmers.
The film begins with the Bowmans in a moment of intimacy which they record and soon cuts to scenes of calm, happy and carefree country township with children playing, parents walking children to school, a fire warning sign which is in the green portraying a sense of safety and showing a mother with children walking past a sign of Joel Chalmers running as the local member of parliament. You get a sense that this is a wholesome family orientated country town.
You soon hear screams, and the daughter yells out “Stop” whilst staying at the Chalmers house. Six weeks pass and the Chalmers visit the Bowmans with the intent of getting their sons name off the allegations which are not yet public, this was an open disclosure by the Bowmans of the incident that was privately made to the Chalmers. The Bowmans appear to just want the son of the Chalmers to get help and for them to acknowledge that their may be an issue with their son’s behaviour, however the Chalmers are in denial and defensive, so the situation soon deteriorates, and cracks start to open up between the two families.
The actors portrayed their roles well and you can clearly see and feel their concern, anguish, deceit, and manipulation. With one side trying to get the truth and support their daughter whilst the other family will do anything to protect their careers and to a lesser extent their child. You get to see how each of them see the truth through their individual lenses and experiences. The imagery is well framed and the nearly the entire film is based at the Bowmans property. The scenes support the story well as well as giving an insight into the personalities of each character. You get to glimpse a little bit of the past of both Emily and Bek through their dialog which helps build a picture of what makes them today and their behaviours.
Overall, this is a well written and produced film that highlights how generational trauma, aspirational behaviour and denial can twist the truth without concern for the wellbeing of others.