Welcome to the ICM Forum.
Check out our Magazine

If you notice any issues please post in the Q&A thread. Email issue should be fixed. If you encounter this issue, contact PeacefulAnarchy
Podcast: Talking Images (Episode 56 released August 1st: Is Found Footage the Worst Thing to Happen to Cinema?)
iCinema Magazine: WE ARE LIVE! (We just need more content)
ICMForum Film Festival 2022: Mon Nov 14 - Dec 12
Polls: Swan Songs (Results), Germany (May 30th), New Zealand (Jul 3rd), 1962 (Jul 30th), Performers (Jul 31st), Unofficial Checks (Jul 31st), Brazil (Jul 31st), Philippines (Aug 31st)
Challenges: Canadian, Unofficial Movies, Personal Toplists
About: Welcome All New Members, Terms of Use, Q&A

Which Films Did You See Last Week? [Week 26, 2022]

Post Reply
User avatar
Posts: 8846
Joined: December 23rd, 2012, 7:00 am

Which Films Did You See Last Week? [Week 26, 2022]


Post by Onderhond »

First of all, a word from our founder:

"Please share with us which films you saw last week. It would be great if you could include some comments on each film. It would be awesome if you could also take some time to comment on everyone else's viewings. Please also note that this is intended as a movie discussion thread, not a large image posting thread. Having too many large images makes this thread difficult to navigate through. If you wish to include more than five images in a reply, please use spoiler tags - [ spoiler ][/ spoiler ] - to hide extra images." - sol


01. 4.0* - Flux Gourmet by Peter Strickland (2022)
Strickland latest is his maddest yet, and that's exactly what makes it a step up from his previous films. Flux Gourmet is weird, ambitious and pretentious, but it's also very funny, kooky and self-aware. It's nigh impossible to pin a single genre on it, and horror fans should probably think twice before having a go at it, but if you like to submerge yourself in a surreal and absurd universe, complete with sensory overload, then this is a film worth seeking out. Hopefully Strickland continues on this trajectory.

02. 3.0* - Thunder Road by Jim Cummings (2018)
Jim Cummings' breakthrough film. Credited as director, writer and lead actor, you're getting the full Cummings experience here, but that seems to be the case with all of his film. He's a pretty divisive character, somehow I seem to appreciate his commitment though, so it's no surprise I ended up liking Thunder Road. Jim's mother just died, his wife is filing for divorce and his daughter doesn't really like to spend time with him. He tries to escape in his job, but after some irregularities Jim's thrown off the force. His life is in shambles, and he has no real support system to keep him stable. Still, he wants to fight for his daughter. The balance between drama and comedy is a little off and Jim's character could've use a few more layers, but there are some lovely scenes (like the funeral at the very beginning) and the drama does work pretty well. It's certainly not my favorite Cummings film, but fans of his persona won't be disappointed.

03. 3.0* - Click & Collect by Ben Palmer (2018)
A short Christmas special that's quite a bit better than it has any right to be. Thanks to the comedic timing of Stephen Merchant no doubt, though he also found a perfect partner in Asim Chaudhry. There's plenty of funny chemistry between the two leads, which is all this comedy really needed to succeed. Andrew is a little stingy when he goes to pick up his daughter's Christmas present. When he tries to bluff his way out of it, he ends up with nothing to give. Andrew's neighbor finds one store that still has the preferred toy left, but they have to face a 4.5-hour drive to get there. And Andrew can't really stand his neighbor. The setup is pretty simple and with a 50-minute runtime, the film can't really go anywhere special with it. But Merchant and Chaudhry are a blast, the comedy is funny and season-appropriate, and the pacing is perfect. The film can't really escape its TV roots, but if you're looking for a pleasant comedy, Click & Collect delivers.

04. 3.0* - Jian Bing Man [Jian Bing Cia] by Chengpeng Dong (2015)
A pretty typical Chinese blockbuster comedy. Jian Bing Man is glossy, high-energy and sporting a wealth of cameos. There aren't too many explicit jokes, instead a somewhat wacky plot and light-hearted characters are meant to provide some giggles throughout. It's doing a pretty decent job too, but the lack of risk taking makes it difficult to stand out from the crowd. Da Peng is a popular TV personality, who manages to ruin his entire reputation in a single night. He is left with nothing and decides it is time to chase an old dream: direct a superhero flick with himself in the lead. With almost no money to spend, he has to resort to some underhanded tactics to get his film finished. The film looks pretty slick for a comedy, there are some rather big names in the cast (who don't mind poking some fun at their own persona) and the pacing is solid, even though the runtime is a bit excessive. It's very easy filler and there isn't a lot to actively dislike, it's just that it's all a bit too formulaic and predictable, and thus not very memorable.

05. 3.0* - A Serial Killer's Guide to Life by Staten Cousins Roe (2019)
A really, really dry comedy. And therefor, maybe not quite crazy or out there enough to create the contrast needed for it to work seamlessly. I wanted to laugh more, I recognized the comedy and appreciated the idea behind it, but the execution felt a little underdeveloped. Louise wants a change in her life, but her life coaches aren't really helping that much. Until she meets Val, a strong and powerful woman who takes Louise on a journey of enlightenment. They visit several types of life improvement programs, but something odd is going on with Val. It's a bit odd the film tries to hide Val's true intentions ... as it is literally there in the title. The performances are decent, the comedy is dark and pretty bitchy, the pacing is perfect and the runtime short. I'm not entirely certain why I didn't like this film more, but somehow it just wasn't as funny as it should've been.

06. 3.0* - Lightyear by Angus MacLane (2022)
It's nice to see Pixar finally taking some risks, even when most people's reaction is clearly not all that positive. It's just another indicator that people generally deserve all the sequels and reboots thrown at them. Not only is Lightyear only tangentially related to the Toy Story series, it's also a much more straight-forward animated sci-fi flick. A fun surprise. Lightyear is the film that inspired the Buzz toy production from Toy Story. It's a film about a group of Space Rangers who get stranded on an alien planet fraught with dangers. Buzz becomes the test pilot for an experimental type of fuel that should get them off the planet, but each test propels Buzz four years into the future, and progress is slow. There's still some typical Pixar comedy present, but much less so compared to their other films. Their signature baseline contradiction is also absent, which is a big relief. Not that Lightyear is hardcore sci-fi, but it has the basic genre beats down and the film delivers a fun space-based adventure. A pleasant surprise. Oh, and if you're wondering about that "kiss", grown up people should be ashamed of themselves to even make an issue out of such a minor, throwaway moment.

07. 2.5* - Revealer by Luke Boyce (2022)
A high-energy horror flick with strong 80s influences. Director Boyce seems to be going all-in too, which is pretty cool, until he starts peppering his film with lazy American (identity) politics. It feels so incredibly out of place that it was hard not to roll my eyes during some of the more nonsensical moments. Angie is a stripper trying to make an honest buck. When she goes to work, she runs into some religious protesters who are making a big fuzz in front of her club. Little does Angie know that the protesters are onto something, as soon after she starts her shift, the Apocalypse begins. Revealer is flashy and colorful, but it's held back by budgetary limitations and some cringeworthy dialogues. Religion, LGBTQ+ and liberal/conservative nonsense invade the film and break up the horror for no good reason at all. It's a pretty big shame, this could've been a lot better.

08. 2.5* - Watcher by Chloe Okuno (2022)
A somewhat disappointing horror/thriller. The premise is tricky, with an American expat having the biggest trouble getting used to a foreign country. It doesn't make for the most sympathetic lead character, which in turn makes it pretty hard to believer and root for her when things are going sideways. Julia follows her husband to Bucharest after his promotion. He is swamped with work, while Julia fills her days with doing not much in particular. When she hears about a serial killer on the loose in the city, she begins to suspect the strange man who is constantly keeping an eye on her from his window. Monroe is very unlikable, the mystery is too simple, the finale pretty disappointing. It's a shame, as the cinematography is quite remarkable, and the score very moody. All the elements were there for a tense little horror film, but the result felt rather flat and uninspired. This was too much "Lost in Translation - The Horror Movie".

09. 2.5* - Never Say Die [Xiu Xiu De Tie Quan] by Yang Song, Chiyu Zhang (2017)
Mainstream Chinese comedy. These films tend to do pretty well locally, there isn't too much international appeal though. Maybe it is because they are extremely formulaic, maybe because the star power isn't there yet, or maybe this is just lazy cinema that Hollywood can provide on its own. You're not missing much by just skipping this. Edison is a washed-up MMA fighter who makes an extra buck throwing fights, Xiao is a reporter who is on to his little scheme. After a mysterious incident they switch bodies. Through Edison's life, Xiao discovers more than she ever would have in her own body, but to reach her goal she'll have to win an MMA tournament. So this is just a very basic body-switching comedy with some sports elements thrown in. The cinematography is well above average for this type of film, but that's just about all that stands out. The performances are rather weak, the plot is dull, and the comedy lacks anything distinctive. Just bid budget fluff, not the worst of its kind, but hardly great.

10. 2.5* - Senritsu Kaiki File Kowasugi File 01: Operation Capture the Slit-Mouthed Woman by Koji Shiraishi (2012)
A very basic faux doc exercise from Shiraishi. Set up like an actual TV show, this film takes on the legend of the slit-mouthed woman. There are quite a few films about the subject already. Shiraishi's version doesn't really add too much to what's already out there, but if you're looking for decent horror filler this film definitely fits the bill. Some kids shoot footage from a mysterious woman stalking their neighborhood. They send over the video material to a documentary crew, who decide to further investigate the story. Some preliminary tests suggest the footage is untampered with, soon enough they're on the trail of the infamous legend, who is turning her attention to the crew. You'll find the usual faux doc/found footage scares here, but the slit-mouthed woman isn't really all that scary, neither is the added lore about the amulets. Shiraishi delivers a short and fast-paced film, which is good enough if you're starved for Asian horror cinema, but it's a film that will only please the most hardened fans of the genre.

11. 2.0* - Men by Alex Garland (2022)
Alex Garland's latest reads like a very expensive tweet. It feels as if every other horror film I watch these days is some flaccid social critique, not something I find very engaging. The A24 glazing is getting pretty stale too, either that or Garland isn't really suited to do this type of dark mystery/surrealism. Harper rents a luxurious house in the countryside, hoping to get away from some traumatic events in her past. After a walk in the woods she bumps into a strange, naked man, who ends up in front of her doorstep the next day. It's the start of increasingly distressing situations that slowly put Harper over the edge. I usually appreciate a film that goes completely off the rails in the final act, but stylistically Men is rather poor, even though it's visibly straining to be as atmospheric as possible. The effect simply isn't there. The underlying themes are equally bland and disappointing, which makes for a pretty grotesque failure. At least the ambition was there though.

12. 2.0* - Ghost Zombie [Yûrei Zonbi] by Koji Shiraishi (2007)
This isn't Shiraishi's greatest film, not by a long shot. And it's not that I had any real expectations based on the title, it's as basic as you can get. Still, Shiraishi is a pretty decent horror director, but this film falls into the category of quick and cheap filler. There is some fun to be had for sure, but it's purely and strictly for genre fans only. A young scholar treks up the mountain, looking for a secluded village. With a couple of local punks he discovers an ancient stone. The punks desecrate the landmark and soon after, the village is dealing with a zombie plague. The scholar is killed on his way out and returns as a ghost, helping a local taxi driver to save the remaining villagers. So you get ghosts and zombies, with some minor demon activity at the very end. The tone of the film is very light, the effects are pretty cheap and the performances not that great. The film is short though, and it's pretty fast-paced, so all in all it's pretty amusing. Just don't go in expecting a vintage Shiraishi chiller, and you should be okay.

13. 2.0* - Romy and Michele's High School Reunion by David Mirkin (1997)
A pretty silly 90s comedy. It's a film with some cult appeal, though I have to admit that I never heard about it before. It's certainly very 90s, so it's no surprise at all that talk about a possible sequel is doing the rounds. Not sure if that's such a good idea, as the core appeal of the film is really tied to its era of release. Romy and Michele are best friends. They had a pretty good childhood, and they're having lots of fun together. When they hear there's a school reunion, they start reminiscing about their past, and they wonder if other people really liked them back then. Their lives aren't all that special either, and they never accomplished much, so they make up a background story to appear more successful. Sorvino is fun, Kudrow has a rather hard time detaching Michele from her character in Friends. The jokes are pretty hit-and-miss and the US 90s pop scene isn't really worth revisiting, but the comedy offers lighthearted fun throughout and the pacing is pleasant. Not great, not terrible.

14. 2.0* - The Foul King [Banchikwang] by Jee-woon Kim (2000)
One of Jee-woon Kim's earliest films. It was the last of his feature films I still had to watch, it seems I made the right call to keep this one until the very end. It's a pretty basic sports comedy with few of Kim's usual touches, which means there really isn't much there to get excited about. Dae-ho is a shy and socially awkward guy who works a boring job in a bank. He can't stand up for himself, which makes him an easy target for others to take advantage of. Dae-ho is tired of him own failures and wants to make a positive change. He turns his life around when he commits to becoming a WWF fighter. The performances aren't great, the film looks pretty bland, the story is not very notable and the runtime is a little excessive. There are a handful of scenes that preempt Kim's later films, and it never gets too dull or uninspired, it's just not enough to keep things interesting for nearly 2 hours.

15. 2.0* - 7 Man Army [Ba Dao Lou Zi] by Cheh Chang (1976)
Chinese war propaganda from the hands of one of Shaw Bros most respected and prolific directors. It's interesting comparing this film with the current wave of Chinese war epics. Apart from the obvious budgetary differences, they're surprisingly similar, highlighting the dedication and pride of soldiers sacrificing themselves for the greater good. The title is pretty self-explanatory. A Chinese regiment is nearly annihilated. Only seven men remain, facing a Japanese army of over 20000 soldiers (and a fair few tanks). The seven men are tasked with defending a strategic stronghold, hoping to slow down the Japanese invasion. To do so, they'll have to be pretty crafty and resort to guerilla techniques. You can't take the Shaw Bros out of Shaw Bros films, meaning this never truly feels like an actual war flick. The fight is never even remotely realistic and the 7 vs 20000 premise feels more like cinematic claptrap, but the action scenes are pretty amusing and the pacing isn't too bad for a 2-hour film. Far from Chang's best, yet passable, if you can stomach the patriotism that is.

16. 1.5* - The Jerk by Carl Reiner (1979)
One of Steve Martin's first feature film successes. I'm not a big fan of his work, it tends to be a little whiney and/or loud, and it's clear that's been there since the very start of his career. While the premise was rather silly, the rest of the film doesn't live up to it, and you're left with Martin being his jerky self. Navin grows up in a black family, wondering why he doesn't have the same skin color. When his mom tells him he is adopted, he decides to take a long trip, hoping to discover his true self. Navin isn't really ready to face the world just yet, but with a little luck and determination he manages to cope. Martin is pretty annoying and lacks the physical comedy this part needed so badly. The puns are horrible, the plot predictable and the obligatory dramatic turn during the pre-finale is annoying. Apparently this film was pretty big when it was first released, can't say it's very deserving of its reputation.

17. 1.0* - The Thief of Bagdad by Ludwig Berger, Michael Powell, Tim Whelan (1940)
The '24 adaptation of this story was a lot better than expected, sadly, the '40 version is every bit as bad as I'd feared. Color and dialogue don't do the film any good. Instead of being mystical and mysterious, it's just terrible cheesy and kitsch. At least, they were smart enough to cut down the length of the film. The plot is once again a simple retake of One Thousand and One Nights. After being tricked by the evil Jaffar, King Ahmad teams up with a thief called Abu to sneak back into the city and save the princess from the clutches of the magician. If you've seen Aladdin, you should know what to expect. The special effects are truly horrendous, and there is no monochrome fuzziness to hide them here. The only appeal comes from how cheesy it all looks, which is nice when the film is in full fantasy mode. The rest is even worse. Just watch the '24 adaptation instead. Longer, but better.

18. 1.0* - Crossfire by Edward Dmytryk (1947)
A murder mystery with a more noirish feel and an "important theme". The film isn't too subtle about it (then again, very few classics seem to be) and it does regularly get in the way of the genre elements, on the other hand it did create a nice diversion from what otherwise would've been a very basic noir film. Finlay is a homicide detective who is assigned the case of Joseph Samuels, a Jewish man murdered after a night out in town. A group of army friends are the primary suspects. Monty is a bit of a loose canon, his friends are too drunk to remember anything. Finlay seeks the help of their sergeant, hoping he might crack the case. This is another noir with a lot (and I mean a lot!) of conversation. It's a very simple narrative, that regularly makes way to delve into the possible anti-Semitic nature of the case. I say "delve", but it's almost like watching school TV, with people delivering very flat and explanatory monologues. Not very good.
User avatar
Perception de Ambiguity
Posts: 4222
Joined: July 9th, 2011, 6:00 am
Location: in space the stars are no nearer


Post by Perception de Ambiguity »

The Inside Outtakes (2022, Bo Burnham) 8+

Crimes of the Future (2022, David Cronenberg) 7

Men (2022, Alex Garland) 6+

Once Upon a Time ... in Hollywood (2019, QT) (5th viewing) 9 (from 8)


The Absent-Minded Waiter (1977, Carl Gottlieb) 5


The Joe Rogan Experience - #602 Ari Shaffir & Dunca Trussell (2015) 6+
The Joe Rogan Experience - #1837 Gina Carano (2022) 5+
The Joe Rogan Experience - #1838 Brian Simpson (2022) 6

notable online media

top top:
Bo Burnham - Inside In Context
The Most Insane Interstellar Cover On A Public Piano
Why did Schopenhauer HATE Hegel?
The Video Everyone Wants Me to Make! [by Jeremiah Content]
bill hader snl moments that pickle my tickle
If Red Hot Chili Peppers were from India
The Walking Dead VR Made Me Do VERY Bad Things (Saints And Sinners)
so this game lets you bully space children... (Cosmonious High VR)
hitman in vr is an emotional disaster...
best vr game ever. [by IAmCrusty]
youtube demonetized this video [by IAmCrusty]
Whatever Happened to the Bee Apocalypse?
Tony Hinchcliffe being a savage for 11 minutes straight
this is a vr game about torturing ragdolls...
So I tried robbing a virtual reality bank... (Hitman VR)
Reservoir Dogs behind the scenes with stuntman Ken Lesco
[Quest 2 vidz]
Superman 2: What Happens When You Change Directors Mid-Movie
Roseanne Barr Makes Her 1st TV Appearance Ever on "The Tonight Show" -- 1985
Twitter Ban [by Jordan B Peterson]
Bob and Louis talk about Louie
All Eyes On Me -- Bo Burnham (from "Inside" - album out now) [rewatch]
Man shoots moose with his GLOCK after being attacked.
Lift this dumbbell, WIN £1,000!!
Hitler Vs Mussolini Live Freestyle!!!!
Welcome to the Internet - Bo Burnham (from "Inside" -- ALBUM OUT NOW) [rewatch]
picture stuff of the week


We do not have to understand new things, but by dint of patience, effort and method to come to understand with our whole self the truths which are evident.Image
LETTERBOXD | MUBI | IMDb | tumblr.
User avatar
Posts: 5462
Joined: June 30th, 2011, 6:00 am
Location: Germany


Post by Torgo »

More bad luck than luck here

Reconstruction (1968) (5,5/10)
Calamari Union (1985) (5,5/10)
Doctor Strange in the Multiverse of Madness (2022) (6,5/10)
Il Grido (The Cry) (1957) (6/10)
Street Fighter (1994) (4/10)
Karakter (1997) (7,5/10)
Turks Fruit (1973) (6,5/10)
Kin-dza-dza! (1986) (6,5/10)
Where Do We Go Now? (2011) (7/10)
The Loneliness of the Long Distance Runner (1962) (7/10)
The Harder They Come (1972) (5/10)
Walking the Streets of Moscow (1964) (7/10)
The Girl with the Red Scarf (1977) (5? 6?/10)
Aniki Bóbó (1942) (7,5/10)
User avatar
Posts: 3933
Joined: February 3rd, 2017, 7:00 am
Location: Industrial Wasteland, USA


Post by GruesomeTwosome »

@ Onderhond: I’m with you on Lightyear, I’m glad that it was just a fun, straightforward sci-fi space adventure, nothing more/nothing less. Not sure what you mean in this sentence though: “Their signature baseline contradiction is also absent, which is a big relief.”

My viewings:

Lightyear (2022, Angus MacLane) - 6/10

Beavis and Butt-head Do the Universe (2022, Mike Judge) - 6/10. There are some jokes that miss, it’s not as tight and funny as the Do America movie from 1996 nor as good as the previous revival of this dim-witted duo (the single series in 2011), but it was fun to catch up with these guys again.

Flirting with Disaster (1996, David O. Russell) - 7/10. I think I’ve found my favorite Russell movie, a director who admittedly has rarely been to my tastes. Just a very funny, neurotic comedy full of kooky characters and situations.

The Empty Man (2020, David Prior) - 5/10. Have heard from a few people whose tastes I typically trust that this was an undeservedly under-the-radar/underrated horror film worth checking out, and I was intrigued by the premise. Unfortunately…yeah I don’t see it. Didn’t get much of a sense of dread/atmosphere/foreboding that I like to see in my favorite horror films.

Alice in Wonderland (1951, various) - 7/10

Na srebrnym globie / On the Silver Globe (1988, Andrzej Zulawski) - 8/10. Admittedly, much of the dialogue flew right by me, but Zulawski’s masterful world-building, immersive camerawork and the cinematography all worked together in making this a fully unique experience (even if certain chunks of this unfinished film had to be explained in voiceovers since the scenes were unable to be filmed).
I’m to remember every man I've seen fall into a plate of spaghetti???

My IMDB profile
User avatar
Posts: 8846
Joined: December 23rd, 2012, 7:00 am


Post by Onderhond »

GruesomeTwosome wrote: July 3rd, 2022, 8:57 pm “Their signature baseline contradiction is also absent, which is a big relief.”
That pretty much every (older) Pixar is based on a seeming contradiction. Living toys, nice monsters, a rat in the kitchen, a loving robot, race cars in a rural setting, a normal family of superheroes etc etc. I don't care for that formula at all.
User avatar
Posts: 894
Joined: January 13th, 2015, 7:00 am
Location: astarikar 4


Post by Minkin »

Fairly uneventful week, which was to be expected as my partner was gone on her wedding trip. Didn't make as much progress as I had hoped I would on all of my projects, but I'm slowly getting there.
Highlights of the Past Week in my meager existence
-Had my 1st pulmonologist appt: think I have more of a throat problem than lungs. Got my first xray done, which was interesting. More tests to come though
-Parents brought home some more cakes from Porto's bakery - as we want to try all their cakes. Got cheesecake this time
-Finally work on Cinema Safari again for the first time in 2022, not much real progress made, but did a lot of research
The Happy Hooker Goes Hollywood (1980) - Los Angeles County - Rating: 3/10

The New York madam turned novelist is back, and sleezy Hollywood producers, Phil Silvers, Richard Deacon, and Adam West (played well against his type) want to turn the book into a motion picture in this, I guess, sex comedy. The main problem with the film is that its almost never funny – especially as, being a product of its era, most of the jokes are at the expense of someone marginalized – chiefly women, but also the queer, or the single black girl (who gets the jungle room). That said, I did enjoy seeing most of the film’s other fetish rooms – which is probably the best joke going here – what with things like a delicatessen party, or a lost sheep being returned to Little Bo Peep. But so much of the film was just unpleasant to sit through. Primarily the “let’s make West and Deacon dress in drag” segment – all just to make a joke of further denigrating queer people as delusional. That, and for how sex positive this film tries to be, its difficult to feel liberated when its mostly women having sex for the benefit of their employer, because at the end of the day, she’s still running a brothel. Things like having a subordinate pay off the camera rental fee with sex; and sure, Xaviera sometimes participates, but it’s largely the effort of all those beneath her. This just feels like a Cannon Films version of what sex liberation is supposed to be about – and whilst I appreciate the strong central women who weaponizes her sexuality, its just a shame that there isn’t anything more depthful or impacting than just the pursuit of the dollar. Sure, that might be par for the course for these movies – that it’s just one barely legitimate racket against another, but this film doesn’t have anything better to say than keep chasing $$. I mean hell, the independent production company the women setup for themselves isn’t any less sleezy – as there’s nothing empowering about it – which just makes me wonder why this film even bothered. So, there isn’t really much appeal here for either sex nor comedy, other than seeing naked Adam West, and a few other has-beens go through a difficult stage in their career.
Young Lady Chatterley II (1985) - England / Los Angeles County - Rating: 3/10

Lady Chatterley’s niece is back and done with any beating around the bush, this time she’s out for blood and she doesn’t care as to age, sexuality, or consent in her quest for sex in this softcore porn. This film has a lot of issues with pressuring people into sex – be them employees of the estate, or people too young and inexperienced to know otherwise, but then this film includes one outright planned assault – with Chatterley organizing the entire thing, it’s awful. Almost everyone in this film is so beholden to and controlled by their sexual desires – that it causes them to make irrational or even harmful decisions – like tempting a priest away from the flock. I must admit, even though this had to be the low point of his career, Adam West makes for a great oblivious, asexual professor, who’s too engrossed in his Lady Godiva historical research and maps to take notice of Chatterley’s lust – he makes for the only decent humor here and rather reminds me of myself at times. I appreciate that he’s so full of zeal for life, just in a non-sexual way, and though that’s all meant to be comedic, especially compared to the street dog lust of everyone else, it’s a perfectly valid expression of existence. West will do things like interrupt people in the midst of sex, just to show them some new part of his project he’s discovered, only to then go fall into a well. It’s his level of non-sexual passion that makes West perhaps the only appealing person here – as few people have this devoted energy in a constructive way. Despite West’s fun presence, this is a terrible sequel, full of really bad jokes, a lot of consent issues and is completely stripped of any semblance of D.H. Lawrence’s work or poeticism. It just feels like any other softcore porn, instead of a treatise on libertine values and sexual freedom hidden behind aristocratic dispositions – and I think that does a disservice to everyone involved with this project.
Cleaning Up!!? (1921) - Missouri - Rating: 0/10

An animator, I assume Disney himself, appears, lights a pipe and then we see his drawing of a Kansas City criminal being kicked out of town (with a “stay out” brick for extra measure) in this first Disney “animated” short (it’s just a single frame, no animation). The political satire here isn’t very deep or impacting – as it’s just saying that Kansas City is finally addressing the issue of crime and removing criminals – which seems about as innocuous as you can get with a political cartoon. As being against crime isn’t exactly a risky viewpoint, I suppose the emphasis is that Kansas City was a safe harbor for criminals until recently and after some change of leadership – the matter of crime is at last being tackled. I do know that the “tough on crime” approach favored by a majority of people doesn’t actually solve the underlying issues, but just ruins impoverished people’s lives – so I’m not into this whole “let’s kick the bad people out of town” – as that sort of defeatist viewpoint that the only solution is removal is ultimately a very harmful one. This all seems like the sort of existence that Disney would prefer – keeping any sort of “degenerate” out of their fantasy world in favor of this perfect, clean, animatronic excuse of a human being. So Disney’s vision of Kansas City might be more akin to the city who puts their most vulnerable on a one-way bus ticket out of state – so that they can be someone else’s problem. For Disney is advocating for forced removal rather than any semblance of reform or healing, which makes this the perfect way to summarize the empire he built for himself. So go ahead Disney, kick out criminals and other folks with pre-existing conditions, but realize that one day they’ll be coming after you next.
Cinema Safari (Currently working on Inyo County, CA + Zimbabwe upgrade) Help recommend me movies to watch) Letterboxd
Post Reply