Matthew Saliba is an interesting gentleman. So far his film works have been heavily mired in giallo and exploitation, while presenting his shorts in a myriad of beautifully rendered photographs that tell more of a story than most short films. And if that’s not the kicker he offers up his own interpretation of a Grindhouse classic: “Vampyros Lesbos.” I’m not a big fan of the grindhouse original, but I was very much open to see what Saliba had to offer. As a photographer and director he can tell a damn strong story. Not to mention there be lesbians and vampire lesbians in this, so I saw this as soon as I received it. “Vampyros Lesbos” is an utterly ambitious interpretation from the outset presenting a demonstration not just in sexuality, but orgasmic storytelling told through a series of photographs that rely more on human expression and soul instead of acting ability.
Tag Archives: Romance
In Plain Sight
Ah yes, it’s another show on cable about a super woman who is really just a regular person when she’s with her family, or in her personal life. She mothers everyone, talks back to her superiors, and even has a “Moonlighting” relationship with her hunky partner. And on the outside, she’s a professional risking her life as a Witness Protection Officer relocating witnesses who, well, witness something corroborating, and must be relocated. She’s a not so nice person though, and prefers to act on her gut instead of follow procedure (you know how the song goes!), and this gets her into trouble. But I wasn’t too down on “In Plain Sight,” because while it’s better suited for Lifetime, Mary McCormack finally gets a good vehicle that allows us to see what her supporting performances over the years, haven’t.
Jumper (2008)
Doug Liman’s “Jumper” is the type of action fare that you come to see for the dazzling effects and interesting battles, and then… nothing more, after that. The common complaint is that the film doesn’t fully touch on the concept of jumping, and while that’s true, it does indeed explore how this power would be every man’s fantasy. To be able to jump everywhere, to be able to be anywhere you want without restrictions, and to be able to do whatever you want is something “Jumper” pulls off in emphasizing. And the character of David personifies this idea by often working on motives that are never clear. A firm anti-hero, David is that very wealthy young man that everyone worships and wants to be, and he’s turned into someone working for a cause by accident once he gets the psychotic Paladins on his tail.
Harold & Kumar Escape from Guantanamo Bay (2008)
The original “Harold and Kumar” became one of my favorite comedies of all time after an attempt at giving it a fair chance while on cable television one night. Since then it’s been a constant favorite, and on a replay whenever boredom strikes. Even though it was a prime example of product placement, the stoner classic is utterly hilarious and serves as a testament to the talents of John Cho and Kal Penn. “Guantamo Bay,” though, inadvertently serves as an argument against sequels to any and all films. If some director had attempted to mimic the success of “Harold and Kumar” with less comedic punch, and much more forced social overtones, “Guantanamo Bay” would be pointed at, almost immediately. Because frankly, the only thing offensive about this sequel is that every race joke is horribly unfunny, while so blatantly setting up part three, that it’s almost insulting.
The Hottie & the Nottie (2008)
“The Hottie and the Nottie” is nothing but a big game of “pretend” that director Putnam asks his audience to play along with, but… we can’t. Pretend Paris Hilton is hot, pretend Paris Hilton is one of the most desirable women on the planet, pretend the CGI used to cover Hilton’s fugly features isn’t there, pretend even with an utterly disgusting but sweet woman, that Paris hilton would be the better alternative, pretend this movie is funny, pretend this movie isn’t one of the worst comedies ever made. I can’t even pretend Paris Hilton is good looking, so from the start even with the body doubles (how did she get that ghetto booty?!) and trick camera angles, this “comedy” is a tall order and attack on my senses from the first twenty seconds. Because, a movie where Paris Hilton is a bombshell is less comedy and more Science Fiction.
The Dragon Painter (1919)
While I would have loved to adore “The Dragon Painter” and the story that unfolds, I can’t say that I did. For a movie made in 1919, Sessue Hayakawa’s film is a wonderful epic with some rather incredible splashes of stark color and sweeping landscapes. Even for a print that’s aged and was nearly lost the picture transfer for “The Dragon Painter” is awfully fantastic with crystal clarity, and an incredible score. Even those who dislike the movie will find some value in the backdrops and set pieces, including Hayakawa’s eagerness to break all stereotypes of the Asian culture.
Georgia Rule (2007)
My original thought process going in to “Georgia Rule” was to describe it as nothing more than a two hour sitcom worthy of a local family channel. Filled with every cliché in the book from an eccentric small town, an uppity wealthy socialite, and the local town folks who fill her with a sense of worth, this monstrosity is worthy of every bit of criticism that can be thrown at it. But midway it takes such a confusing stern dramatic direction that it’s just incredibly jarring to sit through. How we go from a big fish in small pond comedy to a Lifetime drama of the week is absolutely ridiculous, but lo and behold, director Gary Marshall tries to pass off the sudden change in this tone, and it’s far from anything resembling seamless or subtle.