Vance Ang
Posts by Vance Ang:
‘Boldly Insane’ PRISONERS OF THE GHOSTLAND Releasing In Australia Next Month!
Following on from the excellent MANDY (2018) and COLOUR OUT OF SPACE (2019), Nic Cage appears in another avante-garde offering called ‘PRISONERS OF THE GHOSTLAND’ (2021). Cage stars as a condemned man recruited by a wealthy stranger to locate and rescue his daughter imprisoned by some bizarre cult like group. Though a simplistic premise, the movie itself is anything but one note and even the two-minute trailer evokes two adjectives: boldly insane.Whether real or imagined, this trailer immediately reminded me of the bizarre ‘EL TOPO’ (1970) directed by Alejandro Jodorowsky. Drawing from symbolism from both East and West, the characterisations in ‘PRISONERS OF THE GHOSTLAND’ (2021) unashamedly wear its influences on its sleeve; adapting cowboys in westerns, sword fighters from samurai films and a clear post-apocalyptic setting – again boasting the premise that, anything goes.
“VIDEO NASTY” – Movie Review: V/H/S/94 (2021)
Just in time for the Halloween season is the latest found footage film, ‘V/H/S/94’ derived from the acclaimed original ‘V/H/S’ from 2012. The release of this first V/H/S was somewhat of a watershed moment in horror; given that the found footage subgenre was being replicated with far too much enthusiastic frequency, the quality of the output was mixed. With its convincing video tape aesthetic, the original boasted some truly exceptional talents such as Adam Wingard, Ti West and David Buckner and unsurprisingly spawned several sequels of varying quality. At its core these were anthology films, with the inclusion ‘found footage’ as a signature narrative device.
POINT KARATE: Analyzing The Recent Interactions Between Frank Dux And Viking Samurai
So you might not have known but Frank Dux, the real life inspiration for the 80s action classic ‘BLOODSPORT’, recently had some choice words for popular content creator, VIKING SAMURAI (VS) aka David K. In the last few days VS has addressed this (with the video link below) and I am compelled to do the same.
HERE COMES A NEW CHALLENGER: Exciting New Trailer For Oliver Harper’s Street Fighter II Doc
When it comes to YouTube content creators, I have my favourites, the go-to channels that I will frequent with enthusiasm. As the point of interests are so vastly represented, if we focus purely on the entertainment genre my patronage is dedicated to action and pop culture, specifically the great Scott Adkins and his iconic ART OF ACTION interviews; and even more broadly the upcoming brilliance of Viking Samurai, whose productions are so diverse and equally incredible.When it comes to movie reviews, I venture to Ryan Hollinger’s indepth video essays and addicting Irish accent. By contrast Rossatron’s analysis of films possess a level of focus that is unmatched; a similar high-quality element is evident in the works of Accented Cinema who specializes in movies from the Far East. Let’s not forget Canadian Brandon Tenold, whose reviews of cult movies are done with a supremely sardonic comedy that is always entertaining. Then there is ofcourse Oliver Harper from the UK, whose output is characteristically British in its design with production of his reviews being sophisticated and thoughtful. Being an Englishman, Oliver Harper presents absolute refinement and clinical precision in his comprehensive video essays. There is a clear structure to each of his reviews, but this a time-honoured format that his viewers (like myself) do appreciate. In fact, his recent production ‘IN SEARCH OF THE LAST ACTION HEROES’ not only features the aforementioned Adkins as well as (but not limited to) action heroes like Phillip Rhee, Cynthia Rothrock and even famed Directors like Paul Veerhoven, Sheldon Lettich and Joey Ansah. In addition to this highly anticipated documentary movie, Harper recently unveiled a trailer for ‘HERE COMES A NEW CHALLENGER’ a documentary focused on the rise of Capcom’s ground breaking ‘STREET FIGHTER 2.’ As with all of Harper’s productions, this one looks to be high quality, well produced and very much in the sights of gamers worldwide. Possessing a clear 90s aesthetic, the trailer brings on a wave of nostalgia whilst pumping the enthusiasm of the audience; quite simply this looks awesome. This project will be crowd funded via Indie Gogo, and the details of which have been included below. From a critical and more educated standpoint, it is clear that the Japanese developers make the best one-on-one fighting games. The versions of Street Fighter 2 onwards possess a more nuanced tempo, more refined mechanics and a decisive methodology that makes it ideal for the competitive arena – it’s why the best fighting players in the world focus on fighting games birthed in the Land of the Rising Sun.
WATCH: Viking Samurai’s Tribute To ‘The Mountain Dog’ And ‘The White Tiger’
Having an interest in martial arts and journalistic pedigree in bodybuilding, the loss of two highly influential people literally within the course of 48 hours was quite simply, a shock to the system.
‘THE WAY OF THE PAPER TIGERS’ – Video Interview with Writer Director Bao Tran w/ Producer Al’n Duong
Early June had presented me with the opportunity to sit down and interview Bao Tran, the Director and Writer behind the breakout action hit comedy ‘THE PAPER TIGERS.’ The time difference thankfully didn’t sully any of the content with Bao and his Producer Al’n Duong, providing a candid and enjoyable conversation – illustrating the story behind this incredible project. The perils of interviewing a duo (a phenomena I had experienced at certain junctures during my journalistic pursuits at Australian IRONMAN bodybuilding and fitness magazine) can present a rather unique dynamic, which results in a two contrasting personalities; thus requiring said journalist to adapt and change the line of enquiry. This was certainly not the case with Bao or Al’n. Both were incredibly receptive and accommodating, despite the immense traction and high praise that this film has garnered these creative talents were very humble and open. Both Bao and Al’n had engaged in a hectic media schedule that very day, yet the demands of a Press Junket didn’t deter them from taking time out of their schedule to sit down and talk with this Australian film critic. A range of topics were covered, from story and narrative, to casting and scripting; much of the topics that fascinated me when I first viewed this excellent new movie. Perhaps most intriguingly, was some of the challenges in constructing the film – not presented by the internal stakeholders themselves, but rather that of some studio politics who had made demands that didn’t align with Bao’s vision; but also were antiquated by today’s standards. Regardless, both men continued to walk the path they had forged, refusing to compromise the very ideals that are so intrinsic to the heart and soul of the movie itself. Bao’s integrity and commitment to his original vision, is clearly what makes this movie so special; he has adopted a deliberate old school sense of nostalgia in the construction and thematic elements – but by the same token, he has achieved this with a very modern, and contemporary flavour. As a preface, I will say that my over enthusiasm was too evident and though I cringe at my excitement; it did make for a great contrasting element as you can see my exuberance, whilst both Bao and Al’n were so calm and composed by comparison. To some this footage may seem incredibly raw (lack of proper lightning) and unfiltered, but like the Way of the Tiger, this very delivery was ferociously fun.
COACH VS CLIENT: On The Topic of WAR MOVIES
The premise behind Coach vs Client is predicated on one key element of the training sessions that I myself have with Coach Justin Perillo (aka Coach JP) as the topic of film are a mainstay of the conversations in between sets and for the heavier ones we’d often evoke a film that resonates in that very moment.
‘SWINE FURY’ – Review of PIG (2021)
The absolute versatility of Nic Cage, cannot be understated and this is evident in his latest film ‘PIG’ directed by Michael Sarnoski. The brooding atmosphere comes courtesy of Cage’s protagonist, an unkept and dishevelled pig farmer who wrecks havoc on members of the underworld who had abducted his prized truffle pig – uncreatively named Pig. In what initially seems like a backwater John Wick, using any and all means to exact revenge and reclaim what is rightfully his. The muted tone of the film seems to add to the very dour and depressing atmosphere, perhaps laced with some cynical comedy as Cage’s protagonist is a fish-out-of-water in a modern city, seemingly as out of place as the premise of this dark film. Cage plays Robin ‘Rob’ Feld, a once renowned chef turned truffle forager who now appreciates the solitude more than days of fame. Since the passing of his wife, Rob now lives a quiet and reclusive existence with his prized truffle seeking pig, but the serenity of his world is shattered when he is assaulted and Pig is abducted. What transpires is a somewhat bizarre path of destruction, where the act of vengeance is conveys that palpable feeling of loss when violence is as unrestrained as the emotions. Though prima facie, the movie is a simple by the numbers revenge film; it is nuanced enough to slowly reveal the subtleties of the narrative, perhaps in the same way Cage’s character unravels in LEAVING LAS VEGAS (1995). With this being the directorial debut of Sarnorski, it may be easy to opine that Cage allowed himself to be a blank slate and enable Sanorski to capitalise on the very essence of who Cage was – at that very moment. He allows Cage to deconstruct Robin’s persona, going from calm and contemplative to inhumanly berserk. It’s as much an existential drama as it is a pure revenge film, and it is stylish enough to be beautiful to watch without being overly pretentious. From the melancholy score to the relaxed camera, the clear focus is on the path of the protagonist and how he impacts on others and not the other way round.The primary supporting cast of Alex Wolff and Adam Arkin are serviceable, but yet somehow forgettable when so much mystery and intrigue surrounds Robin and his somewhat tainted past. Part of the film’s brilliance, is that it does make itself impossible to review without revealing too much of the plot, with the very fragility of human emotions explored in every scene that Cage is in. This is yet another valid endorsement of Cage’s skill, he is by no means over-the-hill, especially when he (like Robin) is not one to shy away from risks and challenge himself in new and diverse roles. Here he is jaded and cynical, and hence grips onto the one remaining piece of family that he has left; more valuable than the foodie scene that he once dominated. He seems to even perplex each and every opponent he encounters, by a simple glare or a quiet comment that more often than not is darkly humorous.
‘John Cena’s FAVOURITE ANIMATED MOVIE (…and 7 other reasons that you should watch FIST OF THE NORTH STAR)’
The title isn’t bluster and instead evokes WWE star Kurt Angle’s line: ‘It’s true, it’s true’ Yes, John Cena, the famed WWE sports entertainer and Hollywood actor, and co-star of Justin Lin’s newest theatrical release out of Universal Pictures, F9, has openly admitted his fandom for the exciting Japanese manga series written by Buronson and illustrated by Tetsuo Hara. And yet it is merely one of several reasons, that will prompt you to consider watching (or even reading) the legendary FIST OF THE NORTH STAR (FOTNS) The reasons are summarized below:8. FORMUALIC BUT FAVOURABLE‘FIST OF THE NORTH STAR’ (‘FOTNS’) doesn’t possess a complex story or narrative, in fact one could argue that the premise is very simplistic in that it is simply the story of a stoic martial artist seeking to locate his beloved fiancée, Yuria. Yet forgoing any complexity, enables the viewer to invest in the emotional content highly evident in the characters; in many ways this provides us the opportunity to simply enjoy the action and the set pieces – ultimately to be engaged in a mature story. The heroes like Kenshiro or Rei are determined and noble, and they go up against some incredibly powerful adversaries that often have morally ambiguous characteristics. Given its formulaic narrative, it is one of those creative works that is incredibly easy to get into at any juncture.
AMERICAN FIGHTER Review: Derivative, But Still Packs A Punch
AMERICAN FIGHTER is not an action film per se but rather a sports drama, think more along the lines of ‘BEST OF THE BEST’ (1989), ‘BLOODSPORT’ (1988) or even ‘ROCKY’ (1976); and though it lacks the same pedigree as those classics, there is still much to like about this film by Director Shaun Paul Piccinino. The clinch here (pun intended) is that the protagonist is not an all American boy-next-door, but rather that of an Iranian refugee seeking his own version of the fabled ‘American dream.’ Yet it eludes him due to his ethnicity, with the 80s setting besieged by conflict in an era of the Iranian hostage crisis and the like.
“ENTER THE AUSTRALIAN: THE MAN WHO TRAINED THE MORTAL KOMBATANTS” – A Word With Martial Arts Instructor Nino Pilla
With over 44 years experience, the name Nino Pilla is synonymous with the more progressive styles of martial arts. Highly regarded by many as one of the world’s top authorities on Bruce Lee’s Jeet Kune Do (JKD, being one of the forerunners to Modern Mixed Martial Arts), his experience has garnered him equal praise and reverence. His high level skill and incomparable knowledge had made him highly sought after, regularly featuring in Silvio Morelli’s famed BLITZ publications where his step by step methodologies were demonstrated the gritty yet refined style of JKD.
‘An Elegant Nightmare’ – Retro Review: THE PIANO TEACHER
Though debated as an art form, cinema can do more than just entertain as it can harness raw emotions to solicit reactions ranging from elation to fear. If one looks hard enough, cinematic avenues beyond the mainstream present themselves and the art that one seeks can quickly distort and ultimately disturb the viewer. From personal experience, one key scene in Gaspar Noe’s ‘IRREVERSIBLE’ (2002) caused me to exit the theatre as I dry wretched; Srđan Spasojević’s ‘A SERBIAN FILM’ (2010) prompted severe insomnia for over two days; Pascal Laugier’s ‘MARTYRS’ (2008) rendered me incapable of eating for a day, whilst the less said about Pier Pasolini’s ‘SALO’ aka ‘120 DAYS OF SODOM’ (1975) or Takashi Miike’s ‘AUDITION’ (1999), the better. Pragmatists will critique such reactions asserting the fictionalized stories as ‘It’s only a movie’ but these are often the same people who may blatantly avoid such alternative genres, rendering their criticisms as moot. These style of films do not exclusively exist within a vacuum, however their presence is undeniable and thus should be treated as more than merely a curio. The stark question will always be why venture into this style of modern cinema in the first place? Some genuinely seek a shocking experience, yet for the most part (in my opinion) it is all about witnessing the risk a film maker has decided to take, with the pay-off being the audience appreciation and creating an unforgettable experience. Although touted as a romance or psychological drama, Michael Haneke’s 2001 film THE PIANO TEACHER (TPT) nestles nicely into the aforementioned category of disturbing films – and though it flirts with eroticism, there are enough terrifying elements to make this a gothic horror film. Based on a 1983 novel by Austrian playwright and novelist, Elfriede Jelinek; TPT is a descent into the depths of depravity with the hellish concepts of sado-masochism juxtaposed against the classy and sterile setting of a music conservatory. What transpires is a slow burn, but one that Haneke initiates so masterfully it really gets under the skin. Isabelle Hupert plays Erika Kohut, a middle aged piano professor teaching at the Vienna music conservatory. She is seemingly strict and demanding, with such being attributed to her own sense of perfection and high skill. However, despite her self-assured manner, Erika still shares an apartment with her controlling elderly mother as her father had previously been committed to an asylum years prior. Though professionally brilliant, her personal life is besieged by an unnatural level of control and Erika is a sexually repressed and isolated lady that is fascinated by everything from sadomasochistic fetishes to self-mutilation. Whilst by day she commands respect and fear from her conservatory students, by night she is tormented by parental restraint – even having her own finances micromanaged by her unnamed mother (Annie Girardot). Suddenly, Erika fixates her attention on a young engineer and new talented musician in Walter Klemmer (Benoit Magimel) with whom she meets at a recital. Walter initially expressed his admiration for Erika’s talent, however her aloofness creates a social barrier that prevents him from getting close to her, further enforcing their their Teacher-Student dynamic. Deeming her uninterested, the young and handsome Walter flirts with another student Anna (Anna Sigalevitch), which causes the jealous Erika to covertly exact a vicious act and damage Anna’s piano playing hands. Though Walter tries his best to pursue Erika, she rebukes his advances with a nasty level of humiliation, playing mind games as she pretends to satisfy his urges before quickly becoming distant. Walter is clearly infatuated with Erika and pursues her with enthusiasm, only to sharply alter his perspective when she presents him a document that details her deepest and darkest desires. Justifiably repulsed by Erika’s requests, Walter seemingly exits the dynamic only to return in a brutal fashion that leaves the piano teacher distraught and in an almost catatonic state. Without revealing too much, Haneke snares the viewer into a pit of despair, where idealized notions of love are instead challenged and replaced by primal human desire. Magimel’s Walter Klemmer is everything that Erika lusts after, as he is good looking, talented and seemingly kind. However, Walter’s outward appearance hides a darker and malicious persona that further corrupts Erika’s already twisted mind. There is a shifting power dynamic that quickly alters but only serves to benefit one party and leaves the other in a damaged state beyond any sense of repair.Huppert is excellent as the repressed Erika, whose overwhelming coldness to those around her inhibits her own ability to feel the warmth of love that she so desperately seeks. When the opportunity presents itself, she is unable to articulate any expression of real humanity with her own self destructive desires resulting in the worst possible outcome. Whether willing or unwitting, one could easily opine that Erika quickly becomes the prey given her lack of self-awareness or understanding of social norms. With that, even her cold exterior serves as poor protection for the predatory manner of those she desires most. Ultimately what she seeks from Walter, results not in catharsis nor liberation but the realization that her own growth has been stagnated by the way she has treated others. This perhaps a by-product of her own strange upbringing, which is never explored in full, but certainly implied. Though this movie was released over 20 years ago, one could assert that it is largely polemic as much as polarizing. Although it may have been dogged by controversy in the year of release, viewing it now still leaves a potent taste in one’s mouth; akin to that of a hangover permeated by taste of Chartreuse or any strong alcoholic beverage still lingering in one’s system. There is no miracle cure, but once sobriety (or rather normality) is achieved, we venture back into the same decadence that caused the pain in the first place. Such is the masochistic excellence of THE PIANO TEACHER, hence at the 2001 Cannes Film Festival, this movie won the Grand Prix with the two leads (Huppert and Magimel) winning Best Actress and Actor, respectivelyYet with a retrospective view, one cannot but praise Haneke for what is essentially an antithetical piece that thumbed its nose to the formulaic structure of mainstream cinema. And this is an assertion that can still be applied today, two decades after the movie was released. That is the sheer talent of Michael Haneke. As with his original ‘FUNNY GAMES’ (1997) and the more recent ‘HAPPY END’ (2017), Haneke freely studies the darker side of humanity, with equal parts creativity and shock value. Throughout the course of the film, the audience is (somewhat unsurprisingly) treated to an incredible soundtrack, punctuated with key classical notes that perhaps lull you into a false sense of security. And as masterfully as this is established, the final act is devoid of any such audible purity as we witness a horrific moment of dehumanization. When you peel back the veneer of perceived perfection, there is sometimes a hellish scenario of depravity, a theme that is evident in Haneke’s film. It is reminiscent of the opening scenes of David Lynch’s BLUE VELVET (1986), where the pristine quality of suburbia hides what is essentially imperfect, corrupted and contaminated. TPT is very difficult to get through, but if one can stomach the subject matter then it becomes easy to appreciate the absolute brilliance of this Austrian Director. Quite frankly, what Haneke has managed to paint is an elegant nightmare, and one that will continue to fester in your consciousness days after you have experienced it. Paradoxically, this is as much a careful warning as it is a glowing endorsement.
‘Grave Encounters’: ONE GRAVE FOR THREE MEN Review – Fantaspoa 2021
On a whole, it’d remiss not preface this review with the statement that this journalist is largely unfamiliar with Latin American cinema on the whole. By contrast to the larger, better established European markets as Germany, France or Italy venturing into this nation’s output came with a degree of trepidation. And yet ‘UNA TUMBA PARA TRES’ aka ‘ONE GRAVE FOR THREE MEN’ (OGTM), was a pleasant surprise, though nothing ground breaking – no pun intended. It was included as part of the selection for the recent FANTASPOA Film Festival and given its kitschy entertainment value, it is easy to see why. OTGM starts as a by the numbers crime story with an bank robber/enforcer named Victor (Diego Cremonesi) having his vacation unceremoniously cut short by two colleagues Manuel (Demian Salamon) and Juan (Daniel Pacheco). Understandably fazed by this intrusion Victor reluctantly accompanies his colleagues, on the advice of their mob boss Roselli (Chucho Fernandez) but given this premise, nothing goes to plan.There is a genuinely appealing dynamic between the three low rent criminals throughout the movie. In the opening moments of the film Manuel and Juan bicker over the quality of pizza at a specific venue, whilst Victor’s face portrays equal parts fatigue and annoyance. Through the snappy dialogue, we quickly become privy to the job that these three are pursuing; they enter a seemingly vacant property seeking to capture Carlos (Hernan Marquez) a reckless relative of their mob boss. However, the foreboding silence is quickly destroyed by a seemingly invincible Carlos attacking them and all three retaliating with gunfire and killing Carlos. Problems immediately arise when their boss, calls to check in and informs the unlucky three that their target was needed alive. Understandably vexed by their irreversible act, the three concoct schemes to cover up their mistake – with Manuel proposing the unconventional use of a mysterious shaman named El Chebu (Emiliano Carrazone). For a small fee, the creepy looking El Chebu calls on his expertise to reanimate the corpse of Carlos whilst Manuel and Juan drink whisky and Victor indulges in elicit substance abuse. Though, the effectiveness of the shaman is unknown at this juncture of the story, the impulsiveness of Juan results in a stand-off, resulting in El Chebu acquiring a swag of cash, drugs and leaving the three stranded as they await the arrival of their mob boss.The sudden appearance of two vivacious but street wise women Sandy (Soledad Garcia) and Sol (Daniela Pantano) add an additional element to the mix, as now the tragic trio are left having to deal with new unwanted female guests, a problematic neighbour named Nelly (Monica Villa) and the impending arrival of their mob boss and his heavies. All the while the corrupt and irate Police Chief Rosas (Gerardo Romano) is also closing in on the location, with a posse of his armed police. Cue a hilarious siege scenario, complete with a requisite shoot out and an unpredictable twist ending. The way that the circumstances unravel and gradually become increasingly complicated, may sound tedious but instead of complicating the viewer interest – it makes it all the more hilarious. The three main protagonists all vary in personalities, and hence manage the circumstances differently. Victor is the obvious leader with a more practical outlook (that is before his rampant hallucinatory drug use occurs); Manuel is largely sensitive and friendly, whilst Juan is belligerent and impulsive. Regardless of the dynamic, all three are likable and it’s the interplay between them and other characters is the key selling point of the film. The distinctions in each of their characters, makes their behaviour, largely unique and definitely keeps the audience engaged. None of the three are the slick underworld types that boast the romanticised ‘cool’ factor of say Michael Corleone in ‘THE GODFATHER’ or even any of the ill-fated players in ‘RESERVOIR DOGS’; but their hapless yet well meaning abilities make them more endearing throughout the course of the film. The compounding issues escalate with severity but the Director, Mariano Cattaneo has laced his film with so much humour one cannot help but to laugh; whether it be at the trio’s attempts to cajole their mob boss or even the brief introduction of bumbling two highway police officers who debate retro action movies. By and large, new characters are introduced at somewhat of a haphazard pace but it adds to the manic and decidedly comedic quality of the film.Given the occupations of the leads, the corruption of law enforcement and the dubiousness of the mystic it was somewhat of a relief to have Nelly, the nosy neighbour as the moral centre of the piece. Though initially appearing as cantankerous side character, her history with one of the players is gradually revealed, with her own vengeance arc being pursued and her heroics are a standout. Make no mistake, this is not the award winning ‘CITY OF GOD’ nor is it trying to be. At a cursory level one may think it shares more in common with Robert Rodriguez’s ‘FROM DUSK TILL DAWN’, but such a comparison would be an over simplification of what Mariano Cattaneo has achieved with this film. There are shades of the excellent but seemingly forgotten ‘PERDITA DURANGO’, but this is a genuinely funny and unique comedy. More astute viewers may focus on the title to guide their cinematic expectations, however with a comedy like this, it is more viable to watch this with an open mind and just be entertained.
Movie Review: The Paper Tigers – “FEROCIOUS FERVOR”
Late one evening, a venerated martial arts master Sifu Cheng (Roger Yuan) is quickly dispatched by a superior opponent cloaked in shadow, who respectfully bows and fades into darkness as the master succumbs to his injuries. Though jarring, it quickly sets a shocking tone for ‘THE PAPER TIGERS’ (TPT) before quickly doing a flashback into the past with three young pupils being mentored by the aforementioned fallen master. The young children are friends Danny, Hing and Jim (played by child actors Kieran Tamondong, Bryan Kinder and Malakai James). Through the literal lens of VHS, these memories show how this trio develop into talented and lethal martial arts fighters, winning challenge matches in high school, at rival dojos and even on the street. Teens Danny (Yoshi Sudarso), Hing (Peter Adrian Sudarso) and Jim (Gui DaSilva-Greene) quickly gain notoriety for their prowess and are dubbed as ‘The Three Tigers’, growing their reputation thus prompting overseas fight opportunities. They afford their opponents little mercy, boasting equal parts swagger and skill as they quickly dispatch opponents with a single kick or punch. As soon as the nostalgia goggles refocus, TPT ushers us back into the present day. Danny (Alain Uy) is a middle aged corporate type balancing life a single father in conflict with his ex-wife Caryn (Jae Suh Park) as they share joint custody of their young son Ed (Joziah Lagonoy). Hing (Ron Yuan) is a now a portly herbal medicine expert on workers compensation due to a leg injury; whilst Jim (Mykel Shannon Jenkins) has diversified his fighting skills and operates as an MMA instructor. Though living separate lives, the three are brought together with news that their master, Sifu Cheng has died from a heart attack. United by suspicion as much as solidarity, the three Tigers unite once again to determine the real cause of Sifu Cheng’s demise. On their quest for answers , the Three Tigers encounter a ‘friendly’ adversary in Carter (Matt Page) from their teen years, a trio of talented but obnoxious young kung fu exponents (Andy Le, Brian Le and Phillip Dang) and the memories of the past as their martial arts training resurfaces out of necessity more than nostalgia. At a cursory glance one may be forgiven for assuming that TPT is a simple revenge story, yet this would be an inaccurate assessment. More uniquely, TPT uses this call back to the classic 1970s martial arts films where revenge was primary motivator for fighting. However, rather than subscribe to a trope or appear derivative, the focus of TPT centres on its characters. Each of them has to accept that the iconic status they established in their youth, has been eroded by the rigors of adult life. Danny, once known as ‘Danny Eight Hands’, is now a middle aged father struggling to be the ideal parent, often putting his work as an insurance consultant before his son. The promising herbal doctor in Hing suffers from a constant leg injury making him less nimble than he was before, though his mastery of Traditional Chinese Medicine is now more pronounced. And though seemingly the most adept of the three, the now middle aged Jim has traded the graceful high kicks of Sifu Cheng’s Kung Fu instead embracing the grappling style of MMA.There are a few sub plots such as Danny’s co-parenting and the ever present element of bullying, yet TPT doesn’t allow itself to be bogged down by side stories. In fact, the film weaves these efficiently into the DNA of the story thus retaining the audience enthusiasm throughout. Director Bao Tran delivers with a deeply engaging sincerity, demonstrating not just a passion for action films but also a masterful discussion of character dynamic. Tran’s style is an effective fusion somewhat reminiscent of the smart comedy of Tina Fey or Judd Apatow, with the added bonus of 80s Hong Kong martial arts cinema. The world that Tran has created deserves the utmost attention, as you become so immersed in the characters that are relatable and yet the laughs-per-minute quotient is also remarkably frequent. There is a real freshness to this movie with Tran devising something so original, thereby making his vision profoundly potent. Herein is an earnest quality to Tran’s direction, with a vibrancy in each shot whether it be the inviting setting of a lounge room with friends to the more unsettling night time scenario of a moonlit pier. None of his characters become trivial filler, as the combination of a strong script and very effective directing foster a palatable connection to the protagonists. There is such powerful chemistry between the three, that one could easily believe these are indeed childhood friends.
“AN UNFOCUSSED BUT UNSETTLING CREATION” – Movie Review: ‘Making Monsters’
Chris (Tim Loden) and Allison (Alana Elmer) a YouTube couple who have made a name for themselves in concocting realistic prank videos, with the latter serving as a hapless victim to her husband’s schemes. Prompting a career change due to an intended pregnancy, Chris reluctantly agrees to forgo the prankster’s lifestyle and pursue a different path. Like Milos in Srđan Spasojević excellent ‘A SERBIAN FILM’, Chris accepts a foreboding invitation from an old friend Jessie (King Chiu) to stay at his renovated church, only to find himself and his wife spending time with the eccentric David (Jonathan Craig), where a horrific course of events ensue. These include actual monstrous beings, a murderous masked slasher and even a ghost.The Directors Justin Harding and Rob Brunner are commendable in managing Justin Harding’s passable script that has too many elements, though their excellent pacing stops the movie from becoming essentially a watered down horror film. There are clear evidentiary benefits in having a smaller cast, generally this enables a more focussed narrative and concentrated effort in fully immersing the audience.In the case of MM, the deliberate choice to select a myriad of horror tropes works against it at times. Initially this results in a clear inability to develop one key concept or primary substantive theme – in favour of multiple tropes. Those being the aforementioned monsters, the slasher and the ghost; the inclusion of all three comes at the expense of a more cohesive narrative, especially with such a small cast and limited budget.However, despite the issues in the multi themed narrative, the acting of both leads are exceptional. Characters in horror films go through a range of negative emotions whether it be (but not limited to) fear, despair, hopelessness and shock. Both Loden and Elmer, manage to convey a realistic sense of terror in how they react to a series of incomprehensible events that would leave them in a catatonic state before an eventual demise.Given the dire circumstances faced by these two doomed protagonists, it is easy to draw some comparisons to Lucio Fulci’s 1981 film ‘The Beyond’. The protagonists are largely likable, and this largely compels the audience to empthasise with two ordinary people undergoing an extraordinary (and shocking) course of events. And whilst we are drawn equally to both characters, there is a clear distinction between them that sets them apart as Chris lacks the maturity of his wife, whilst Allie’s influence forces Chris to grow and better adapt. Despite the prankster origins of Chris, Loden has made this character likeable more than obnoxious and there is a genuinely convincing chemistry between the two. There are some genuinely hilarious moments courtesy of Jonathan Craig’s caretaker of sorts, who manages to boast excellent comic delivery.The use of contemporary social media ‘influencer’ culture fosters a relatability for the audience; but that in itself is a flawed given that this setting is all the more common and contrived. It may offer a deeper message into the legitimate perils of internet fame, however the narrative doesn’t allow such nuance to be fully explored. Despite the contemporised novelty of internet celebrity, this takes a backseat to an excessive amount of brutality and carnage especially within the third act of the film. Some unexpected humour was even injected into this third act, which would no doubt have caused some audience members to chuckle as it played out, perhaps serving as a morbid palate cleanser for viewers.With some immediacy the villain is quickly established, with the unsettling feeling of a ruse being prevalent in the audience’s mind and where luring this couple was a very deliberate and heinous act. The intensity of movie is quickly ramped up, that the audience can overlook the aforementioned flaws as they are drawn into the horrific shocking series of events.An intermittent melancholy score throughout the film highlights the sombre tone, enhancing that exhaustive agony felt by the lead characters that we quickly become attached to. MM manages to create similar feelings of those felt by Sergeant Howie (Edward Woodward) in THE WICKER MAN, or Jeff Mills (Tim Daly) in the seemingly forgotten hidden gem, SPELL BINDER. Thematic references to the Deep Web, enables MM to draw these prior works of fiction into something that is often debated within the contemporary urban legends and internet lore.MAKING MONSTERS (MM) may not have been created with the biggest budget, but for all its minor flaws it proves itself to be a slick and enjoyably frightening production. It may not be the most ground breaking horror film in recent years, but it is certainly worth a watch.
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