Film Review: MIKE WALLACE I HERE (USA 2019) ***1/2 Directed by Avi Belkin

Mike Wallace Is Here Poster
Trailer

A look at the career of ’60 Minutes’ newsman, Mike Wallace.

Director:

Avi Belkin

Documentaries have have often than not, had famous subjects who are talented, who have made a difference in doing good or mankind or those who have changed the course of history.  The new doc directed by Avi Belkin has a different kind fo subject – an obnoxious interviewer that may people did not like.  Mike Wallace is rude, plain nasty and not a very likeable person when he is in front of the camera interviewing people.  Wallace does his best to put his ‘victims’ on the spot by his questions,  to his credit and his team have done the research to dig up the dirt on the interviewee and thus enabling Wallace to do his nastiest best.
The doc follows the identical path of most documentaries.  They go far back to the subject’s childhood, what influenced them to become the persons they are, chart their rise to fame followed often by some tragic downfall and their redemption, if they do succeed in recovering from their fall from grace.
The doc goes back to Wallace when he was a child back in 1937.  His mother was strict and his father was an honest man.  How they affected Wallace is left untouched.  But the film then flashes the photographs of the celebrities that he interviewed in his lifetime.  These include Barbra Streisand, Kirk Douglas, Richard Nixon, Shirley MacLaine, and political leaders like Ayotollah Komeinini, Richard Nixon, Anwar Sadat, Vladimir Putin among others.  Later on in the film, there are footages of more details of these interviews. 
 Among the film’s best segments, Wallace asks mobster Mickey Cohen how many people  he’s killed and ’80s era Donald Trump if he sees politics in his future.  He challenges movie stars (Shirley MacLaine, Barbra Streisand – both telling Wallace what they think of him), politicians (Richard Nixon, Vladimir Putin) and unexpected sorts like the Imperial Wizard of the KKK.  
Sometimes colleagues interview Wallace, who talks about his bouts of depression (which he hid) and the death of his son.
 The film also covers two incidents that rocked the journalism world.  (1) A 1982 libel lawsuit filed against CBS and Wallace by retired U.S. Army Gen. William Westmoreland.  (2) A 1996 pushback when CBS’s corporate side tried to kill a story about tobacco industry whistleblower Dr. Jeffrey Wigand .
The film succeeds in giving audiences a slice of CBS history as well as demonstrate how important an interviewer can be in disseminating information to the public.
The magic question after watching the doc is whether Mike Wallace is a good person.  His interviewees say to him: ” “You don’t have to prove yourself.”  “You are good at what you do.”  When Shirley Maclaine confesses to believing in E.T.s, Wallace jokes that the E.T.s could have met her on her porch, Maclaine tells him: “You don’t have to be this unpleasant, this does not become you.”  The last statement clearly answers that magic question.  And Stresand tells him off; “You put all this toughness in this facade…”   Director Belkin tries to elicit some sympathy for the man with the segment of how he had lost his son.  But the tragedy should have made Wallace a better more considerate man and not the unpleasant interviewer that he had made himself a name of.
MIKE WALLACE is interesting and entertaining enough as a documentary questioning the integrity of the media while confirming the fact what kind of person the man really is.  Director Belkin has made a likeable (and insightful) documentary on a very unlikeable man.
Trailer: https://www.youtube.com/watch?v=dDSq2fF9flk

Film Review: LUCE (USA 2019) ****

Luce Poster
Trailer

A married couple is forced to reckon with their idealized image of their son, adopted from war-torn Eritrea, after an alarming discovery by a devoted high school teacher threatens his status as an all-star student.

Director:

Julius Onah

Writers:

J.C. Lee (play), J.C. Lee (screenplay) | 1 more credit »

Though based on a play, the film co-written by the director an J.C. Lee, seldom feels like one due to director Onah taking the audience out of one scene and moving the action around interiors, exteriors and intercutting the acts so that thee are frequent scene shifts.  It is a good tactic which works well.

An all-star high school athlete and accomplished debater, Luce (Kelvin Harrison Jr.) is a poster boy for the new American Dream.  As are his parents (Naomi Watts and Tim Roth), who adopted him from a war-torn country a decade earlier.  When Luce’s teacher, Miss Wilson (Octavia Spencer) makes a shocking discovery, finding dangerous fireworks explosives in his locker, Luce’s stellar reputation is called into question.

The most satisfying element of the film is the way the story and characters grab the audience form the start and never let go.  What ever is revealed is just sufficient to get the audience anticipation going and wanting for more  It is difficult to keep the momentum going and the film thus slag, but jut a little in parts.

The script (and play) also leaves ambiguous points unresolved so that the audience can make up their minds on what actually happened – for example whether Luce actually had fireworks in his locker or was it his friend’s who shared the locker with him.  The answer is irrelevant to propel the story but curiosity is till there with the audience.

Performances are excellent all around, especially that belonging to Octavia Spencer as the history teacher, Miss Wilson.  Spencer displays both he strength, courage yet vulnerability of her character.  As she is finally dismissed as a result of her stand, her loss might turn into another Oscar win fo Spencer who has already won an Oscar for a supporting role in THE HELP.  Waits and Roth are both excellent as the often divided couple but they carry the strength of their roles magnificently.  This is not the first time they play a coupe together.  They id in Michale Hanake’s FUNNY GAMES year back as a couple whose ho i invade by psychotic young neighbours.  Last but not least is the performance by newcomer Sim Sim whose first performance as disturbed young black man is reminiscent of Will Smith’s role in SIX DEGREES OF SEPARATION.   It is at this point that the film feels like a play fuelled by great  performances.  

Director Onah also demonstrates his sense of humour.  Right after a suspenseful remark is made in the film, the next scene is quick shifted to Miss Wilson having a shower withe the water spraying for the showered, Hitchcock’s PSYCHO-style.  Miss Wilson has a shower can and has a towel wrapped around her as i waiting for something ominous to happen.

The characters are human ad subject to the foibles of human nature.  The love for their son forces the adoptive parents to abandon their good judgement of good and evil in order to keep the family together.  This is not what the audience wishes to see but is what is expected to happen in real life.  Feelings and motions often rule above principles.  The non-compromising non-Hollywood happy ending might not satisfy audience when the film ends, but it is an ending worthy of whether the film’s story is heading.

Trailer: https://www.youtube.com/watch?v=aqzgDB1CMI4

Film Review – TEL AVIV ON FIRE (Israel/Luxembourg 2018) ***

Tel Aviv on Fire Poster
Trailer
Salam, an inexperienced young Palestinian man, becomes a writer on a popular soap opera after a chance meeting with an Israeli soldier. His creative career is on the rise – until the …See full summary »

Director:

Sameh Zoabi

Is Tel Aviv really on fire?  TEL AVIV ON FIRE is the name of the fictitious TV spy opera in which a Palestinian female infiltrates the Israeli military in order to kill the commander.  The film begins with an act from the show being filmed.  One can tell right away this is not the real thing but something filmed from the way the scene is carried out, with extra melodrama and cheesiness.  But after the camera pulls back, what happens in the background with arguments among the actress, scriptwriter, director and producer is just as melodramatic.

The film then settles on the writer Salem.  Salem is relatively good-looking, single and a bit of a troublemaker.  Troublemakers make the best reluctant heroes. 

Salem (Kais Nashef) is a Palestinian from East Jerusalem, who is a low-level production assistant on the soap opera “Tel Aviv on Fire” in Ramallah. Following a lie he tells Asi (Yaniv Biton), the commanding officer at the checkpoint he must pass through every day to get to work, Salem is suddenly promoted to be a screenwriter on the show. There is only one problem – Salem can’t write screenplays. To avoid getting fired, Salem makes a deal with Asi, who helps him write in exchange for fine Palestinian hummus, and a promise that the series’ plot will end with a wedding. However, the Palestinian investors want a different ending, and Salem finds himself in a bind.

Most Israeli and Palestinian films have their conflict as the subject and it is not surprising to see the reason.  The conflict has been going on for ages, is still unresolved and makes a permanent dent in the lives of both peoples.

The script loves playing with life imitating art and art imitating art.  What happens in he soap opera affects the characters in the film and vice versa.  “Why do you like the show?  It is anti-semitic,”  Asks the commander to his wife to which the reply is “Not everything is political.  It is romantic.”  The romance of the soap opera eventually changes his hard-ass attitude towards the war.

There is one excellent written scene in which Asi asks the Israeli writer how to tell a couple is in love.  “By hugs and kisses?” asked the Israeli.  “No but by the way they listen to one another.”  The film is about these two enemies coming together listening and writing the script for the TV soap opera together – a subtle message delivered by the film to the audience.

The film has won numerous awards including Venice Film Festival 2018’s Best Film (Interfilm Award).  It recently opened the Toronto Jewish Film Festival to a sold-out theatre.  A definite crowd-pleaser  – this ingenious rarely-seen comedic satire on the Arab-Israeli conflict, about a Palestinian soap opera writer who takes story ideas from an Israeli checkpoint commander.

The film at times tries too hard to be a crowd pleaser.  It is not difficult to see the reason audiences love the picture.  Audiences also love melodramatic soap operas and TEL AVIV ON FIRE while disguising itself as a satire, often plays like one.

Trailer: https://www.youtube.com/watch?v=M5x4bJZ5_IM

Film Review: HONEYLAND (Republic of Macedonia 2019) ****

Honeyland Poster
Trailer

The last female beehunter in Europe must save the bees and return the natural balance in Honeyland, when a family of nomadic beekeepers invade her land and threaten her livelihood. This … See full summary »

HONEYLAND is the so-called for the film’s setting where honey is produced by wild bees.  It has been touted and well believed that bees are necessary for the planet to survive lest exists.  If bees are eradicated from the face of the earth, so will all living creatures.  HONEYLAND bases its premise on the fact and works well to stress the importance of the living bees.

The film begins as a documentary as the camera moves to show the barren terrain of an unarmed country later revealed through the radio that it is Macedonia.  HONEYLAND also marks the rare occurrence of a film that is made in that country that earns a commercial release in North America.  The film is slated as a documentary but it rarely feels like one.  As the camera spans the mountains, it closes in on an old woman, soon revealed to be the last female beehunter in Europe who must save the bees and return the natural balance in Honeyland.  The film has the feel of fiction as it follows the life of the protagonist as she cares for her ailing mother among other chores.   She removes rock from the mountain while on a narrow edge to reveal bees and honey.  She also cultivates honey with the bees back close to her home while looking after her mother.  The film goes on to show how she etches a living going to the town to sell her high quality honey to the vendors.  She gets about 10 to 20 euros per jar.  But trouble then begins in paradise. A family of nomadic beekeepers invade her land and threaten her livelihood.  She initially bonds with the family till their acts threaten her bees.  Her rule is to take half and leave half of the holy for the bees.  This film is an exploration of an observational Indigenous visual narrative that deeply impacts our behaviour towards natural resources and the human condition.

Nazife Muratova plays herself as the beekeeper.  It is so noticeable that she has bad teeth.  For those unaware – I read this in the internet – that honey is really bad and much worse than sugar for ones teeth.  Yet, she is pretty in her own way and has sufficient charisma as the leading lady in the doc.

As a documentary, the film contains a few unforgettable candid scenes.  One is the birth of  calf as a boy pulls the calf out of the mother.  The other are the segments with the bees.  The beekeepers, Nazife in particular often do not wear any protective gear and yet yet do not get stung.

A multi-award winner at the Sundance festival where it won the Grand Jury Prize (Documentary) and several special mentions, HONEYLAND was also selected at the last Hot Docs Film Festival.  HONEYLAND opens this week at the TIFF Bell Lightbox together with MUSEO a new film from Mexico.  Both these films are the best films opening this weekend.  Take a trip to the Lightbox.

Trailer: https://www.youtube.com/watch?v=B27ORUHlp6E

Film Review: FAST & FURIOUS PRESENTS: HOBBS & SHAW (USA 2019)

Fast & Furious Presents: Hobbs & Shaw Poster
Lawman Luke Hobbs and outcast Deckard Shaw form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity.

Director:

David Leitch

Writers:

Chris Morgan (story by), Chris Morgan (screenplay by) |2 more credits »

There is the recent debate in Hollywood whether they now make a product or a film.  From this film’s title, what comes out is clearly a product.  HOBBS & SHAW is a product from the FAST & THE FURIOUS franchise.  And this is not a good thing.

From the makers of THE FAST AND FURIOUS films, HOBBS & SHAW is as much a  film about fast cars than human beings.  Any chance the script gets for an excuse for a vehicle chase, there comes one.  If that is not enough, anytime there is anything to do with skyscrapers (the last FAST & FURIOUS film had an unbelievable stunt where a car drove from then top of one skyscraper to another), there is one.

When the film opens, a crew of MI6 agents attempt to retrieve a virus, Snowflake, which can be programmed to decimate millions of people, from terrorist organization Eteon. Brixton Lore (Idris Elba), an Eteon operative with advanced cybernetic implants that allow him to perform superhuman feats, arrives and kills all agents except for their leader, Hattie Shaw (Vanessa Kirby), who injects Snowflake into herself as a dormant carrier and escapes. Brixton frames Hattie as a traitor who killed her team and stole Snowflake, forcing her to go on the run.

Luke Hobbs (Dwayne Johnson) and Deckard Shaw (Jason Statham) are both informed of the missing virus and are assigned to work together reluctantly to track it down.  The trio locate Professor Andreiko (Eddie Marson) who brings a bit of life into the picture.  The arguing duo save the world in a midst of fast and furious car chases.

The film takes quite a while to get its footing, and when it does, it does not stay focused.  To give the director credit, Leitch (DEADPOOL 2) achieves quite the feat with his action set pieces.  The one with Hobbs and Shaw racing down the skyscraper in pursuit of the kidnappers captures both the humour and excitement of the moment.  The climatic chase and tugging of the helicopter and cars at the edge of the mountains are impressive and almost saves the movie.  The villain Idris Elba is too invincible to excite any suspense in the fight scenes.  The buddy or enmity between Hobbss and Shaw that is supposed to be key in the move is average at best, eliciting a few laughs at most – nothing that is not already done in other buddy cop movies.  

Statham and Johnson deliver average performances – what audiences expect from them.  The film contains quite a few surprise cameos, that will not be disclosed in the review.  These are tactically spread out throughout the film.

The script goes at lengths to bring in more human element to the story.  The introduction of Hobb’s 9-year old daughter does not do much to enhance the film but his extended family with his mother in Samoa, Hawaii stirs up the much needed boost in the story.

HOBBS & SHAW is so forgettable that it is doubtful many would remember who played Shaw and who played Hobbs in the movie.  Apart from the excellent action set-pieces HOBBS & SHAW is a total bore!

Trailer: https://www.youtube.com/watch?v=7W–71iLZ0g

Film Review: BARBARA RUDIN AND THE EXPLODING NY UNDERGROUND (USA 2018) ***1/2

Barbara Rubin and the Exploding NY Underground Poster
Trailer

Barbara Rubin’s twenty-nine-minute experimental film ‘Christmas on Earth’ caused a sensation when it first screened in New York City in 1963. Its orgy scenes, double projections and …See full summary »

Director:

Chuck Smith

This new doc educates on underground filmmaker Barbara Rubin who rose to fame from her 1964 art-porn so-called masterpiece “Christmas on Earth”, made when she was only 18 years old.  The film, showing segments (that are both shocking yet innovative) in the doc, shattered creative and sexist boundaries and shocked NYC’s experimental film scene.
Barbara worked for a large part other ‘career’ with Jonas Mekas at the Filmmaker’s Coop.  Barbara was instrumental in creating NYC’s thriving underground film community and a rare female voice in a world of powerful men.  A rebellious Zelig of the Sixties, she introduced Andy Warhol to the Velvet Underground and Bob Dylan to the Kabbalah.
But beyond shaping the spirit of the Sixties, Barbara was seeking the deeper meaning of life.  After retiring to a farm with Allen Ginsberg, she shocked everyone by becoming a Hasidic Jew.
For years, 94-year-old filmmaker Jonas Mekas has saved all of Barbara’s letters and cherished her memory.  Working with Mekas’ footage and rare clips from the Andy Warhol archives, the film reveals inside the world and mind of Barbara Rubin; a woman who truly believed that film could change the world and then vanished into obscurity.

Like most biopics, the doc begin with the background and influences on the subject,  traces the rise to fame, then some grave downfall and then hopefully, their redemption to a sort of normalcy in life.  How interesting a biopic is usually is affected by how interesting the subject is.  Biopics are often accompanied by interviews with the subject, if still living, their friends and family with archive footage. This doc allows an identical path.

The Barbara Rudin doc can be divided int two parts.  The first charts her and her underground films and the second her lifestyle.  The two blend into each other, but the underground filmmaking slowly disappears as Barbara gets weirder and weirder.

The film gets as weird as its character.  Barbara’s most famous film was the art-porn CHRISTMAS ON EARTH.  One fo the film’s segments has her open letter to Disney asking them to finance her movie, she claiming that she was affected by SNOW WHITE AND THE SEVEN DWARFS.  The film also details the pure implausibility of what Barbara wants to have in the film  which is a galactic cast of famous stars and artists including The Beatles, Marlon Brando, Herman’s Hermits and a host of others.  Of course the film never got made.

The film’s most intriguing portion is the last this when Barbara begins to behave very erratically.  This is when the audience sees how crazy this woman can be.   At one point, she wanted to have children with Allen Ginsberg, who never wanted any.  When rejected, she became more isolated, depressed and crazy.  She finally showed up at an Orthodox Jewish orphanage and decided that that was her calling.  She denounced everything that she accomplished, friends included to learn the ways of the Orthodox Jew.

By the end of the film, one can end up either admiring Barbara as a gifted, independent go-getter who influenced the underground art world greatly or some tiresome opinionated commandeering bitch.  Whatever ones opinion on Barbara Rudin, one cannot deny that this woman was a force to be reckoned with.

The film has a limited release at the Royal Cinema.  Originally slated for showings on Aug 4 and 5th, the latter screening has been cancelled (but will be re-scheduled) due to the long weekend holidays.  

Trailer: https://vimeo.com/147803638

Film Review: MUSEO (MUSEUM) (Mexico 2019) ***** Top 10

Museo Poster
Trailer

In 1985, a group of criminals mock the security of the National Museum of Anthropology in Mexico City to extract 140 pre-Hispanic pieces from their showcases.

Directors:

Alonso Ruizpalacios (as Alonso Ruiz Palacios), Alonso Ruizpalacios

Writers:

Manuel AlcaláAlonso Ruizpalacios (as Alonso Ruiz Palacios)

It seems that Mexico has surprised international cinema with two unforgettable films this past year – ROMA and now MUSEO.  

What happens when two slackers who know nada about artifacts decide to steal and sell them?  MUSEO tells the amazing entertaining and credible possibility of a ‘true’ story.  The titles say at the film’s start: “This is a replica of an original (story).”

Two students and best friends plan on robbing the National Museum of Anthropology in Mexico City and steal precious Mayan, Mixtec and Zapotec artefacts.  There is hesitance at the start as one of them Ben (Leonardo Ortizgris) is looking after his frail grandfather and he does not wish to abandon him as it might be their last Christmas together.  On the other hand, the more insistant  and confident one, Juan (Gael Bernal Garcia) uses the Christmas gathering he is at as an excuse to to do the robbery as he has the perfect alibi of being at the Christmas dinner thus sneaking off  soon after.  The funniest thing about all this is that Juan has to borrow his dad’s car as the getaway vehicle.

While everyone celebrates Christmas, the two thieves manage to break inside the museum and steal hundred of pieces. They return home to see on the news how their deed is described as an attack on the entire nation and realize that there is no turning back.

There are many pleasures to be derived from director Alonso Ruizpalacios’ film.  First and foremost besides his excellent camerawork, visuals and cinematography Damian Garcia, Ruizpalacios is able to surprise his audience with a host of other things.  One of the film’s most ecstatic moments is when Juan and Ben have just gotten away with the stolen artifacts, driving off in the car.  There is the look of elation on Juan’s face, as he cries “We did it.”  Ben’s response is “I need to pee,” when he suddenly stops the car and takes the pee.  The look of relief as he pees is just as gratifying as Juan’s previous look of elation.

The cinematography of the theft at night in the museum and the escape through the dark tunnels are magnificently shot.  Ruizpalacios and his d.p. Garcia has a series of still photos flash on the screen really quickly one after the other, that evokes an effect like stop-motion animation.  One part involves the light coming on and the pair leaving a hammer on the ground when the guards  are making their rounds.  This is suspense worthy of Hitchcock.  There are also images that astound during the museum theft.  For an image, it is usually the background that is still and the foreground (the subject or subjects) that moves.  Director Ruizpalacios reverses the effect.  As the thieves remain stationary the foreground, the background comprising of dust particle and little moths form the movement in the image.

The film covers several genres including family (dysfunctional) drama and suspense thriller.  One common complaint is that films that cover more than one genre never settles on one.  This is true for MUSEO as well but Ruizpalacios proves that his film can still work with multiple genres working side-by-side.

The story also plays like a buddy film as the thieves are two childhood friends.  Yet the odd thing is that their personalities are as different as night and day.

MUSEU is a total delight for cineastes especially with its constant cinematic surprises around every corner.  The best foreign film I have seen this this year.  Opens at the Bell Lightbox.

Trailer: https://www.youtube.com/watch?v=qsf4wQqLrQk

Film Review: DAVID CROSBY REMEMBER MY NAME (USA 2019) ***

David Crosby: Remember My Name Poster
Trailer

Meet David Crosby in this portrait of a man with everything but an easy retirement on his mind.

Director:

A.J. Eaton

Framed by core interviews conducted by Cameron Crowe (director of ALMOST FAMOUS who won an Oscar for the script of the film, and who did his first interview with him way back when he was a young teen of 16), this doc follows the life, aspirations, hopes and regrets of singer/songwriter/musician David Crosby.   Crosby now in his 70’s has performed solo as well as in super bands, The Byrds; Crosby, Stills & Nash; and Crosby, Stills, Nash & Young.
The doc is directed by Eaton, not Crowe, who steers his story of Crosby in chronological order unfolding it as if be a fiction film.  Crowe is never seen on screen though his voice heard.  Crowe does not appear to steer the film in any direction.  Instead he asks silly questions such as if he (Crosby) were to give up music or his family (wife and sons) what would his choice be.  The question is not only nonsensical as Crosby politely states as he would never come to a state where he would have to make this decision and if so, any musician would ultimate cost music as the answer.

Crosby, now in the 70’s has survived several heart attacks and drug overdoses and currently suffers from several ailments including diabetes He reminisces his life..

The film revisits David Crosby’s life, from the heady days in ’60s LA to the present time when he’s enjoying a rebirth of creativity, despite his past excesses and his estrangement
from ex-band members, including Graham Nash and Neil Young.  
This doc follows the typical path of a musician/rock star’s biopic.  As in ROCKETMAN (Elton John), BOHEMIAN RHAPSODY (Queen), the Asia Kapadia 2015 Oscar Winner AMY (on Amy Winehouse) all the biopics chart the protagonists rise to fame, their downfall, and if fortunate redemption back to fame.  Drug addiction and drink the number one factor for Crosby’s downfall is shared among his famed contemporaries.

Crosby does a lot of talking in Eaton’s film.  There should be more performances on film.  The result is a rather boring first two-thirds before it picks up and garbs the audience’s attention like a sock in the jaw.  This is when Crosby talks about his drunkenness and drug addiction.   Crosby states that members of his old bands refuse to talk to him as a result of his previous bad behaviour.  When Crower asks him the reason he does not initiate the reconciliation, Crosby dodges the question.

But every famous person accomplishes some good in life.  For Crosby, it is the use of his songs to do good, such as justice in the American system.  This film like the recent documentary WATERGATE enforces the evil that Presidents (in this case past President Richard Nixon) do.

The film’s most engrossing segment is the one showing Crosby’s lowest point in his life.  This is when his drug addiction got him arrested and jailed in the penitentiary with no money and nothing to his name.  But Crosby finally perseveres, comes out clean and does good in his life.

More that an examination of an artists’s talent, the doc is more interesting as a testament of the fallen star and how Crosby redeemed himself.

Trailer: https://www.youtube.com/watch?v=ln9dtQ8tuKk

Film Review: MASTER Z- THE IP MAN LEGACY (Hong Kong 2018) ***

Master Z: Ip Man Legacy Poster
Trailer

Director:

Woo-Ping Yuen

Writers:

Edmond Wong (screenplay by), Tai-lee Chan (screenplay by) (as Chan Tai Lee)

The fourth and spin-off of the 2015 IP MAN 3, MASTER Z- THE IP MAN LEGACY still has plenty of bite in the franchise.  The IP MAN films have been a hit, one after the other, because the filmmakers kept to the successful formula while keeping the action and its execution fresh.  Though the stories have been told before, they still come across as fresh and convincing.

MASTER Z can stand alone without anything known about the three IP films.  When the film opens, the protagonist, Cheung Tin Chi (Max Zhang) has lost a bout with IP MAN, not shown, just mentioned.  He retreats with his shy son to Hong Kong where he opens a grocery store, hoping to retire without notice and lead a normal non-fighting life.  A little romance is provided by Julia (Liu Yan) who Tin Chi rescues from a local thug, Kit (Kevin Cheng).  This is the typical story where a hit man wants to come clean or a boxer who wishes to stop fighting, but is then pushed past his limit so that he is forced to complete one final job.  The same in this film.  The local thugs will not leave him alone – burning down his grocery store and house while nearly killing his son.

The film has quite a few innovative action set pieces.  The fights on the scaffoldings and on the signs that cover the top the builds are impressive.

The film has a good cameo from Thai fighter Tony Jaa (those who love martial-arts movies will immediately recognize him) as the hired assassin.  Michelle Yeoh (CRAZY RICH ASIANS, former Bond girl and Martial-arts film regular in Martial-arts films like THE HEROIC TRIO) has a supporting but important role as the local gangster sister and boss who wishes to make all her activities legal despite objections.

The film pokes fun at the white man and the colonized Hong Kong by the British.  The police commissioner is a white man who take bribes from the local gangsters.  The scenes are played funny the way he accepts the bribes and how the Chinese under him are forced to obey his every command.  A scene in the bar that the protagonist works at also shows the way the Chinese kow-tows to white people – something they do outwardly but grudgingly.  Dave Bautista (AVENGERS, STUBER) has a role of Davidson, a bad drug dealer.  The film takes the issue one step further, though done in a cheesy way, with the Chinese subduing their corrupt white authorities.

The segment where the drugs are dealt in public is unrealistic.  Only reason this is likely done is so that Tin Chi can witness the drug deal.

For a Martial-arts film MASTER Z is above average – which is a good compliment considering the number of shitty Martial-Art films Hong Kong used to churn out in the past and also the present.  The fight sequences are expertly executed (director Yuen is martial-arts choreographer who has worked in the MATRIX films) and alone worth the price of the ticket.

The film is available on digital and on DVD/Blu-Ray Tuesday, July 23rd.

Trailer: https://www.youtube.com/watch?v=GqpmvER7a_E

Film Review: ONCE UPON A TIME IN … HOLLYWOOD (USA 2019) ****

Once Upon a Time ... in Hollywood Poster
A faded television actor and his stunt double strive to achieve fame and success in the film industry during the final years of Hollywood’s Golden Age in 1969 Los Angeles.

One of the year’s most anticipated films, Quentin Tarantino’s 9th and latest film, ONCE UPON A TIME IN … HOLLYWOOD follows the misadventures of has-been star Rick Danton and his stunt double and best friend Cliff Booth set in 1969 Hollywood.  The action takes place in three separate days on February the 8th and 9th and August the 8th, the night of the Charles Manson murders.

To reveal more of the plot would spoil ones entertainment of the film.

Tarantino is so much loved by cineastes that he can get away with murder.    ONCE UPON A TIME also contains minor racist humour, regarding Mexicans, Germans and Indians.  “Don’t cry in front of the Mexicans”  “Fresh sauerkraut” “The only good Indian is a dead Indian” are three such lines uttered in the film.

There are just so many impressive plusses in the film.  Foremost are the performances from the two leads, Leonardo DiCaprio as the has-been Hollywood star Rick Danton and Brad Pitt as his stunt double Cliff Booth.  DiCaprio exhibits the paranoia and childishness of a spoilt star while in perfect contrast Pitt plays the super-cool macho stuntman that supports Dalton but at  the same time needs him for employment – a excellent irony of a relationship.  Apparently Tarantino noticed the relationship between an actor and his stunt double and their support for each other and based his script from that keen observation.  To make matters more interesting, their relationship unfolds in the background of the infamous Charles Manson murders which included the death of Roman Polanski’s wife, Sharon Tate.  Or so it seems.  Tarantino has played with History as in his best film INGLOURIOUS BASTERDS and he does the same (not to be detailed in this review as to reveal a spoiler) in this film.

The film contains lots of references to the late 60’s films (as the film is set in 1969) that those growing up during those times will find particularly nostalgic.  Seen in posters in the film or heard announced on the radio are films like Jack Smight’s 1969 THE ILLUSTRATED MAN, Gordon Douglas’ Tony Rome 1968 LADY IN CEMENT, Richard Wilson’s 1968 3 IN THE ATTIC, Mike Sarne’s 1968 JOANNA, Phil Karlson’s Matt Helm flick the 1968 THE WRECKING CREW and Alexander Mackendrick’s 1967 DON’T MAKE WAVES the latter two films also starring Sharon Tate. These are not classics but the typical type of films common that help mold many a cineaste, me included.  It is puzzling why Tarantino did not include the Roman Polanski’s 1967 film THE FEARLESS VAMPIRE KILLERS in the list.  Fans are also in for a treat with a scene in THE WRECKING CREW where Sharon Tate takes down Nancy Kwan.  If these films are not enough, Tarantino also creates fake films starring Rick Dalton and other stars at the time like Telly Savalas and Ann-Margaret.

Cliff Booth gets fired from a job on a Hollywood set.  Tarantino shows the incident that led to the firing in the film’s best and funniest scene where Cliff Booth kicks Bice Lee’s (an excellent Mike Moh) ass in a fight on the set of THE GREEN HORNET.

This film, Tarantino’s 9th and reportedly his lasting clearly displays the director’s indulgence in his passion for film within a certain period. There is nothing wrong with this.  Though a little overlong, there are details that can be observed (especially in the background) and tons of references.  No Tarantino film has failed to surprise and this film is no exception.  And with so much detail, ONCE UPON A TIME IN … HOLLYWOOD which premiered in Cannes to a 15-minute standing ovation deserves to be see a second time.

Trailer: https://www.youtube.com/watch?v=Scf8nIJCvs4