The Wing Kong Exchange (feat. Inferno)

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JakeYourBooty

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Re: The Wing Kong Exchange

Real Genius is a class and is also one of my favorite Kilmer performances...I am not much a fan of his work....but this is one of the exceptions...as is (Top Gun, Heat, Kiss Kiss, & Tombstone)...the movie is wildly funny and has a very unique storyline...I have already discussed Atherton & Prescott on my villains list...but one more thing Atherton really is punchable...if they ever do a remake Heath Slater should play Kent...just so we get someone who has an equally punchable face.
 
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Fuji Vice

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Re: The Wing Kong Exchange

Thanks for the comments JL, it is a unique movie for sure. That's the problem with Hollywood today, they don't try things that might not work. I mean Real Genius had every reason to fail, but the director and actors gave it their all and look at the end result. Tomorrow we will be looking at another film that falls into the same category, in the sense that simply reading the script could in no way prepare you for what the actors involved brought to the table. So look forward to that.
 

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Re: The Wing Kong Exchange

Innerspace

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Jack Putter is a hypochondriac store clerk who stumbles and bumbles his way through everyday life. Tuck Pendleton is a brave and bold pilot who has volunteered to be miniaturized and injected into a bunny as part of an experiment. Unfortunately these two cross paths in the worst possible way, as Pendleton is somehow injected into Short by mistake. Now they will have to work together to free Pendleton and save Putter from the ruthless criminals who will stop at nothing to capture him.

innerspace1.jpg


"There was a threesome immediately after this picture was taken..."

Innserspace, released in 1987, is one of those films, much like yesterday’s Real Genius, that could have easily failed. On paper the script probably seemed laughable at best, but the direction and performances of all the actors make it a lot better than it could have ended up being. It is another in a long line of 80’s films that remain criminally underrated and unseen, and indeed has a lot to offer any potential viewer. With a rousing plot, great acting, stellar direction and some really memorable moments and characters, Innerspace is a sure win for anyone willing to give it a shot. When it says “Steven Spielberg Presents†on the top of the poster, you know you’re in for a treat, but nothing can prepare you for the savoury sweetness of this quirky and wonderful film.

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"Stop or I'll shoot my prop gun with blanks into the fake ceiling above me!"

Directed by Joe Dante (Gremlins) and written by Jeffrey Boam (The Dead Zone, The Lost Boys) along with Chip Proser (Iceman), Innerspace was clearly designed to be a sci-fi/comedy with a heavy emphasis on the star power of the leads. Indeed, Martin Short (Putter) and Dennis Quaid (Pendleton) are up to the task and play their characters very well. Meg Ryan is added to the mix as Lydia, Pendleton’s love interest, while Kevin McCarthy (UHF’s RJ Fletcher) shows up as main bad guy Victor Scrimshaw. Rounding out the main cast are Fiona Lewis (The Fury) as an evil doctor and Scrimshaw’s right hand woman, Vernon Wells (Commando’s Bennett and believe me when I tell you he doesn’t look anything like Freddy Mercury here) as Mr. Igoe, Scrimshaw’s chief enforcer and Robert Picardo (Total Recall, Star Trek: Voyager) as The Cowboy, a ruthless criminal hired by Scrimshaw. All of these actors are known from other classic 80’s films and they all do a remarkable job lending an air of believability to a script that is completely and utterly unbelievable in every sense of the word.

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"I know you hated the Three Amigos but this is taking it too far dude!"

For starters, the interaction between Short and Quaid is nothing short of brilliant, as the two share a great on-screen chemistry without actually being on-screen together. Pendleton, stuck in his little probe inside Putter’s body, is as brash as you’d expect a lifelong military test pilot to be, while Short’s Putter, a total basket case, spends the majority of the film freaking out at the prospect of someone being stuck inside him. Yep, as I said, the premise is totally off the wall, but the performances make it work to perfection. There are a lot of great moments between the two leads, such as when Quaid convinces Short to take a huge swig of Southern Comfort so that he can get a sip from his trusty flask. Another great moment occurs when Short and Ryan’s characters kiss; transferring Quaid into her body long enough for him to see that she is pregnant with his child. Again, I’d like to stress that all of this could be very corny if not handled properly, but it is, so it’s not. Short is off the wall wonderful in his zany slapstick way, and his interaction with several characters leads to hilarious results. Ryan is quite good as Lydia, playing the character tough but with a sweetness deep down inside that totally makes me think she is just like that in real life. I’ve always loved Meg Ryan, but I particularly love her performance here.

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"He's not a real cowboy folks, he just plays one in this movie..."

As for the bad guys, they totally deserve their own section because they are so damn good. McCarthy douches it up to the extreme as Victor Eugene Scrimshaw. With a name like that you’d think it would be enough for you to hate him on basic principal but McCarthy, obviously preparing for his future role as king douche RJ Fletcher, really sinks his teeth into the role and ends up almost stealing the film. Almost is the key word here, as Robert Picardo (a personal favourite of mine for years) absolutely owns this movie in his brief appearances as The Cowboy. From his holstered hairdryer to his general attitude towards everyone he meets, The Cowboy is a classic movie douchebag of the highest order. By the way, I don’t even think he’s a real cowboy, but whatever! Vernon Wells also dicks it up as Mr. Igoe, a classic henchman and a real jerk. I mean this guy not only kills the kindly scientist who injects Pendleton into Putter, he takes the needle from his dead hands and uses it to pop a child’s balloon. Now that is douche if I’ve ever seen it. Fiona Lewis plays the nasty henchwoman Margaret with a real zest, and gets some great moments in the film as well. These villains all get their comeuppance in different ways, and each of them is suitable for their level of nastiness.

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"Hey, a photographic representation of the effects of a potent dose of MDMA...nice!"

Another thing that makes this film stand out is the incredible special effects on display. As a lot of the film takes place within the body of Putter it’s obvious that they had to mimic as best they could the human body from the inside. I’d just like to point out that they do an excellent job of that the majority of the time, and though we know it’s not real, nothing comes across as obviously fake. There’s a lot of great moments in this film as well, from the opening sequence, a really inventive shot, to the chase through the mall where Pendleton is injected into Putter all the way through to the end, where a little Alice in Wonderland spells the secret to restoring Pendleton to his normal size. Short has a lot of opportunities to ham it up, as he fights off a fake television repairman who is trying to kill him, freaks out in a grocery store (where his boss just happens to be Dr. Klopek from the ‘Burbs, Henry Gibson) and dances drunkenly around Pendleton’s apartment. Short is the true star of this film, as he is relied upon to carry the zany comedy on display, and he does an excellent job of it. Indeed his performance as Jack Putter is brilliant in every sense and it’s a shame so few people have seen it. Innerspace did a modest $26 million at the box office, but those numbers were only good enough for 47th place in the yearly totals. Compared to 1987’s comedy box office champs like Three Men and a Baby and Beverly Hills Cop II its numbers aren’t that good, but the film itself is, and sometimes the numbers don’t tell the whole story.

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"He doesn't want to tell you where that finger's been."

Mixing science-fiction and comedy is never a safe bet, as I can only count a handful of films that have ever gotten it right, including tomorrow’s (an absolute classic in its own right). This one ranks among those and is a film that I can sit down and watch whenever it’s on. It is by no means a classic, or even a great film, but it is entertaining from start to finish, has some great moments and sends the audience home happy. What more can you ask for from a light-hearted, science-fiction comedy about a guy who is injected into another guy’s butt? Not much says I, and I’m the smartest person I know. I cannot in good conscience give it an extremely high rating, as there are some flaws, but it is definitely a movie you should check out at least once. We’ll go 7/10 here, since it can’t be the Tuck Pendleton machine with zero defects, but it’s still pretty damn good.
 

JakeYourBooty

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Re: The Wing Kong Exchange

Loooove innerspace....and any of the baddies from this could have made my list easily...forgot all about em....one of my favorites as a kid
 

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Re: The Wing Kong Exchange

I was remarking to someone else how well this particular movie has held up over the years since it's release. It's definitely one to go back and watch for sure. Plus I cannot get over how different Bennett from Commando looks in this movie, I could have sworn IMDB made a mistake until I watched it again and saw it for myself.
 

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Re: The Wing Kong Exchange

The Blues Brothers​

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Jake Blues is released from prison just in time to find out that the Catholic home where he and his brother Elwood were raised is about to be demolished. Jake and Elwood begin a “mission from Godâ€, planning on reforming their famous band, The Blues Brothers, in order to raise enough money to save the home. Can they avoid the cops, the bad guys and make enough money to save the home?

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The year was 1980, and the film was The Blues Brothers. Perhaps the most successful SNL skit spinoff film ever (but are you really surprised when comparing it to films like “It’s Pat†or “Coneheadsâ€), this hilarious comedy would go on to establish one of the largest cult followings of any 80’s film. In fact, it is often quoted among children of the 80’s even today, including by myself and several friends. Taking a five minute sketch and turning it into a 133 minute film was not going to be an easy task by any stretch of the imagination, but the actors involved were all at the top of their game and the direction was perfect. Its also a perfect example of the meshing of movie and music, as it has one of the all time great soundtracks and indeed can be considered something of a musical comedy, as there are certainly enough numbers throughout to back up this designation. The Blues Brothers stands out among many other 80’s comedies, no small feat considering the fertile breeding ground for comedy that was the decade.

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"Don't even think about serving me with those hands Pee Wee!"

Directed by John Landis (American Werewolf in London) and written by Landis along with Dan Aykroyd (Trading Places), the film was clearly designed as a set piece for the great chemistry between its two stars as well as a way to get great blues artists some recognition. It succeeds on both levels, and credit must be given to the stars, the supporting cast, the director, and of course, the musicians who inspired this idea in the first place. The late John Belushi (man he would have been a mega-star) tackles the role of “Joliet†Jake Blues with ease, bringing a cocky charisma to the character, along with a reckless abandon. Aykroyd takes the role of Elwood and really makes it his own. Again I would like to stress how difficult it must have been for these two to make the transition from short sketch to feature length film, and the fact that they added subtle nuances and idiosyncracies to their characters speaks volumes to the talents of these two individuals, both on and off screen. The film also features some hilarious cameos from performers Carrie Fisher (um, Return of the Jedi bikini woman) as “Mystery Womanâ€, Henry Gibson (good old Dr. Klopek from The ‘Burbs) as “Head Nazi†and John Candy (Splash, Plains Trains and Automobiles) as Burton Mercer, Jake’s annoying parole officer.

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"Screw Jamie Fox, we got the REAL Ray Charles here!"

Outside of the real actors, the film features cameos and performances from several legendary blues performers. We’ve got Ray Charles playing a pawn shop owner as well as himself, Aretha Franklin as the wife of the band’s guitar player, Cab Calloway as Curtis, John Lee Hooker as a street musician, and even the Godfather of soul himself, Mr. James Brown, as the Reverend Cleophus James. It’s a wonderful show of respect that these performers were asked to be in a film that takes a lot of it’s inspiration from their music, and I think no tribute could be more fitting. They also get a chance to perform some of their own songs, and let me tell you, it’s a real treat. Outside of the musicians there are a lot of bit parts filled by famous people here, including Frank Oz (AKA Yoda). Twiggy (skinny model), Charles Napier (famous space hippie from Star Trek: TOS), Paul Reubens (better known as Pee Wee Herman, masturbator extraordinaire), director John Landis himself, and even Steven Spielberg (um, do I have to tell you who he is?) as the Cook County Assessor’s Office Clerk (a pivotal role in the film).

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"Godfather of Soul up in this motherfucker!"

As far as what goes on in this film, I can only say that it packs as much into the 133 minute run time as is humanly possible. From one of the most wild car chases you will ever see (through a mall no less) to a running gag involving Fisher’s character attempting to blow up the brothers, there is a laugh a minute and they never stop coming. I’d like to touch on a couple of moments in the film that I consider to be real highlights. One is the scene at the country and western bar, featuring perhaps the funniest cover of the Rawhide theme song that I’ve ever heard. Well actually it’s the only cover of the Rawhide theme song that I’ve ever heard, because anyone who was planning on doing one after hearing this just totally gave up. Another is the sound made by the SWAT team guys as they are attempting to storm the office at the end. The mindless “hut hut hut†droning never fails to make me burst out laughing, which sometimes freaks out people who are watching the film with me, but then again nobody ever accused me of being altogether sane.

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"R..E..S..P..E..C..T"

The music is the other highlight in the film, as there are plenty of songs from both the great artists in the cast as well as the Blues Brother’s band themselves. The brothers do their versions of such classics as “Gimme’ Some Lovin’â€, “Everybody Needs Somebody to Loveâ€, and “Jailhouse Rockâ€, while Cab Calloway busts out a rocking rendition of his classic tune “Minnie the Moocher†which really has to be heard to be appreciated. James Brown sings an awesome song, “The Old Landmarkâ€, complete with backing vocals from Chaka Khan, while Aretha Franklin puts her best foot forward with the song “Thinkâ€, complete with the brothers themselves on backing vocals. Another great aspect of the music is the instrumental compositions, including the extremely well known theme song used during the car chase.

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"Move 'em up, head 'em up, head 'em up, move 'em out, move 'em up, head 'em up RAWHIDE!"

The Blues Brothers was a critical and commercial success, grossing over $115 million dollars worldwide. That currently places it as the 9th most successful film musical ever and 2nd among films adapted from SNL sketches (only Wayne’s World made more). It is highly regarded among film critics as an excellent road movie and generally receives favourable reviews from all who have seen it. Indeed it is a film that once again simply must be seen if you haven’t before. You are really doing yourself a disservice if you don’t check it out, because everything in it works and there is literally no filler. That’s saying a lot considering any comedy that surpasses the 100 minute mark normally starts to stink, but that is not the case here. The Blues Brothers will always be in my rotation of “go to†movies, as I never fail to be entertained by both its great music and its simple comic brilliance. I think an 8.5/10 isn’t stretching it too far here and besides the Lord told me to give it that rating…we have an understanding after all.
 

ThePlumber702

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Re: The Wing Kong Exchange

You so totally forgot to put over John Belushi and Dan Akroid a ton more. You're right to say they were at the top of their game when recording this.. If not for his death I think John would have gone on to be one of the biggest comic actors of our time. Maybe THE biggest. You're right about the soundtrack to. One of the best, I know because I own a copy. The nun was really scary, and the sheriff made me laugh like a hyena throughout. I would like to see your review of the sequel, (Blues Brothers 2000) a lesser movie in all respects, but still imo something that could be watched and enjoyed easily by just about anyone.
 

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Re: The Wing Kong Exchange

I didn't really feel the need to put them over more because anyone who sees the film will know that they are the best. You are right about Belushi though, which is why I made that little note in the review. I think he would still be a mega-star today and its just kind of sad to see how things turned out. On a positive note, thanks for the comments, you are much cooler than Troy! I may do BB 2000 but I have honestly never seen it despite the fact that part of it was filmed in my hometown of Markham and a friend of mine is apparently an extra in it. Not sure why I've never gotten around to it but I think I'll have to now.
 

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Re: The Wing Kong Exchange

Obviously a great movie, with two guys at their comedic prime IMO. I know there's probably an entire generation right now who has no idea how great this movie is, and are missing out, lol.



But I refuse to comment more until I see one for Blues Brothers 2 as well >,>
 

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Re: The Wing Kong Exchange

Well unfortunately you will have to wait a little bit for BB 2000 as I have a lot of stuff to go through ahead of it. There are going to be some theme review weeks coming up shortly and I am going to start taking requests here as well (though not quite yet). However I promise that BB 2000 will be done sometime within the next two weeks because I love you all for commenting (except Troy because he hasn't in awhile and it makes me sad).
 

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Re: The Wing Kong Exchange

V for Vendetta

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In a futuristic, dystopian society, a man in a Guy Fawkes mask fights the tyrannical government’s oppression as best he can. After rescuing a young woman from the secret police he finds an unlikely, yet strong ally in his fight. Now the two must stand against the entire totalitarian government, who will stop at nothing to silence them once and for all.

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"Guy Fawkes mask....creepy."​

“Remember, remember, the Fifth of November, the gunpowder treason and plot. I can think of no reason why the gunpowder treason should ever be forgot”. Thus begins the film adaptation of British comic book writer and magician (yes I am serious) Alan Moore’s classic graphic novel, V for Vendetta. At times a challenging film, nearly as much so as the source material on which it is based, V is never anything short of a brilliantly dark and vivid sketch of one possible future, and a lesson in how to avoid it. While Moore’s original book remains untouched in its superiority, the film version does a remarkable job of bringing his vision to the big screen. This is no easy task as none other than Moore himself has previously stated that he purposely writes his works so as not to have them be “filmable” as he puts it. While the obvious sensationalism of the film and the action within is overt, it does not distract the viewer from the underlying message of being careful never to let those in charge have too much power. As the saying goes, absolute power corrupts absolutely, something that is clearly examined in great depth both in the film and even more so in the graphic novel.

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"This is why you don't go out at night in London..."

Directed by James McTeigue (the wildly entertaining 2009 film Ninja Assassin) and written by the Wachowski Brothers, Andy and Lana (formerly Larry, yeah I know different strokes for different folks), previously known for The Matrix Trilogy and subsequently for the flop Speed Racer, the film is both a departure from and an homage to Moore’s original source material. Abandoning major plot points from the story in favour of speeding up the action and pacing was not a bad idea, as the film version plays sort of like the condensed version of the book on which it is based. The film stars Hugo Weaving (The Matrix’s Agent Smith when he’s not prancing around Middle Earth as Elrond) as the titular character V, and he does a remarkable job with the role. It is clear that he is a fan of the original book, as he has most certainly designed his character after the written version, and his understated subtlety in delivering his lines is a real highlight of a film where he is required to be both poetic and preachy. Natalie Portman shows up as Evey, his ally and muse, and she too is quite good in her role. Though she plays the character differently than I would have imagined her to be from the books it is nonetheless a satisfying performance that fits well in the overall scheme of the film.

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"Too much of an a$$hole to be a douchebag."

Supporting parts are played by such notables as Stephen Rea, spot on in his performance here as Finch, John Hurt as High Chancellor Adam Sutler, the defacto dictator of Britain here, Tim Piggott-Smith as Peter Creedy, the actual main antagonist of the film and the leader of the secret police, and Rupert Graves as Dominic Stone, Finch’s lieutenant. Each of these actors does a brilliant job of characterizing their novelized counterparts and must have studied the source material in great detail to understand the nuances of their individual characters. Stephen Fry also does an admirable job as Gordon Dietrich, a closeted homosexual character who ends up paying the ultimate price for his choice in leading a free and unrestrained lifestyle. Finally credit must be given to Roger Allam, who I think captures the character of Lewis Prothero as perfectly as one could given the written version of him. His “Voice of London” part is wonderful in every way and is, in my opinion, the closest one to the novelized version of his character. No small feat considering the great talents he was working with in this film, Graves must be commended on his performance.

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"If you thought what happened to you in Alien was bad wait until I get done with you."​

The film itself is a darkly twisted vision of what can go wrong when allowing those in charge to do things unchallenged. Obviously the subplot about how the villains in question gained their power cannot be described here as it would simply ruin the film for anyone who hasn’t seen it. Similarly, I cannot in good conscience reminisce on my favourite scenes as they are all integral to the plot itself. However, if you are looking for good action, good acting and good dialogue you have certainly come to the right place. Everything that works in this film works extremely well, and hardly anything doesn’t work. That is saying a lot because I am (crucify me now) not a fan of the Wachowski’s work on The Matrix trilogy (at least the second two) and of course Speed Racer blew the big one. Knowing their tendency to be overly grandiose, I was surprised to see the restraint shown here, and it really was refreshing. Perhaps the direction of McTeigue helped, as he has been a long time collaborator and knows them well. Suffice to say, the film is food for thought for the viewer and does a remarkable job recreating the book’s chillingly believable totalitarian society. It certainly captures both the suffocating nature of life in this authoritarian police state and also shows a great deal of the redemptive power of the human spirit.

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"Hello my dear, you look mighty fine with hair."

It’s not always about the message though, as there are plenty of eye popping moments to be had as well. From the opening fight sequences all the way through to the incredibly well shot battle through the station and the inevitable fight with the praetorian guards. There is also a chilling police raid scene on Dietrich’s home that is quite well executed (pardon the pun) and really shows a depth to McTiegue’s filmmaking style that I was not expecting. In fact, many of the shots here are designed to show the dark society in all its horror, something that the book does as well through the use of creative panel arrangements. The film also features a rousing finale which brings the idea of the human spirit combining to crush oppression to the forefront and does a great job of putting this message forth without becoming overly obnoxious about it. Indeed the ideas and principles reflected in the film are not meant to be taken lightly however they are meant to be subtle as opposed to obvious. This is most important, as a message is sometimes better understood subconsciously, as was the intent with this film, and indeed with the book that preceded it.

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"United we stand...."

Critics were fairly divided on this film; some loved it for what it was and got the message while others felt that it was all over the place. I’m not sure where the idea that it is incoherent comes from as I had no trouble following it. Perhaps these critics were not paying attention to the film as closely as I was? Regardless I fall into the first category, and found myself completely and utterly surprised, as I did not expect and adaptation of Moore’s work to be this well done. Indeed, one only has to look at Snyder’s adaptation of Watchmen to see how butchered Moore’s work can be when in the wrong hands. Thankfully the right hands had control of this one, and they crafted an excellent and meaningful film with them. While it met with only modest commercial success ($132 million worldwide, 36th best in 2006) it is a film that should be seen by everyone at least once, if for nothing more than to be enlightened by the spectacle of it all. I found some issues with the plot (some details removed and others changed) but nothing offended me too much. I think I can safely give it an 8.5/10 and feel good about myself at the end of the day. “Remember, remember, the Fifth of November”…and remember to go check this film out. You will not be disappointed.
 

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Re: The Wing Kong Exchange

Ah...I was little worried you weren't going to rate this movie high enough.

This is, by far, one of the more underrated Comic/Graphic Novel movie versions ever made IMO. It stands right up there with the best of the.


Thanks for uploading it BTW...I just realized I had a bootleg copy from years ago anyways...so the quality is shitty.
 

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Re: The Wing Kong Exchange

No worries Drew, though I didn't upload it but thanks anyways!! It is an awesome movie that deserves to be seen by many more than already have and I'm glad you pointed that out as well!
 

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Re: The Wing Kong Exchange

No Country for Old Men

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When hunter Llewelyn Moss discovers the remains of some drug runners along with $2 million he decides against reporting it and simply takes the money for himself. Unfortunately for him the vicious killer Anton Chigurh is looking for this money and now him as well. Now Moss finds himself on the run from one of the coldest killers the world has ever seen and a cop who will stop at nothing to figure out what’s going on. Can Moss make it out alive?

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The Cohen Brothers have long been known for their interesting choice of film projects. From their earliest work, the excellent “Blood Simpleâ€￾ through to their most recent film, the remake of “True Gritâ€￾, the Cohen’s have always done things just a little differently than the rest of Hollywood. This is a good thing, as their films generally tend to be a welcome breath of fresh air in an industry dominated by pedestrian screenplays and lackadaisical direction. 2007’s “No Country for Old Menâ€￾ is the proto-typical example of the Cohen Brothers work, a seamless adaptation of an incredibly well written novel by Cormac McCarthy. As is expected with their films, everything seems to work quite well here, and the end result is one of the finer American films of the last 5 years. From the chillingly charismatic performance of the main antagonist to the incredible sense of pacing from the director, this film truly stands out amongst the Cohen’s works, and indeed ends up being one of their absolute best.

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"Aiming for the varmint who convinced me to star in Jonah Hex."

Written and directed by the Cohen’s (Fargo, Raising Arizona), the film and screenplay were based on a novel by Cormac McCarthy. McCarthy’s writing’s can normally be called modernist westerns, which this film certainly is. His understanding of the themes of fate and circumstance fit very well with the Cohen’s own ideals in this regard, as they have tackled the subject before, most notably in Fargo and Blood Simple. Once the screenplay was finished, acting was obviously going to be the next order of business, and they certainly found a trio of brilliant talents to play the main roles. Josh Brolin (Brand from The Goonies, Milk), who has slowly but surely become one of the best actors in the game, does an excellent job playing the morally conflicted yet ever defiant Moss. The role may be one of Brolin’s best, as it is a great showcase for his particular brand of understated acting. Tommy Lee Jones (The Fugitive) portrays Sheriff Ed Bell well and brings a nice undertone of simplicity to his character. Clearly Bell is struggling with trying to understand the scope of the events he is involved in, and Jones does an exceptional job portraying those feelings on-screen. Support is lent by Kelly Macdonald (Gosford Park, Trainspotting) as Llewelyn’s wife, who plays a key role in the film as well, and Woody Harrelson (Natural Born Killers) as a rival of Chigurh’s.

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"The real life Terminator..."

The role of Chigurh himself was plaved by Javier Bardem (Before Night Falls), and it is one of the brightest performances of his career. That is saying a lot as the man had previously garnered critical acclaim for his roles in Pedro Almodovar’s films as well as an oscar nomination for the above-mentioned “Before Night Fallsâ€￾. However his portrayal of Chigurh is so unsettling that one genuinely finds themselves terrified of him. Perhaps it’s his incredibly unassuming way of speaking, knowing that he can be a man of simple words as his actions define him instead. Or maybe it’s his callous disregard for human life, tending to determine the fate of even the most random of strangers on a simple coin toss. Finally, it may just be his use of the Captive Bolt Pistol, one of the deadliest weapons I have ever come across in a film, that makes us as the audience sit back and thank whatever deity we pray to that this man has not come looking for us as well. Bardem won an Oscar (Best Supporting Actor) for this performance, which is a testament to how good he was in the role. Chigurh is the type of legendary villain that rarely comes along, and he is one who will stick with you long after the film is over.

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"I just dropped by to invite you to my Oxygen Bar..."

The story here is quite basic, as one has come to expect from the Cohen Brother’s. They never feel the need to be grandiose or sensationalistic, preferring to focus on the minutiae of everyday life and the characters themselves. Understanding the basic concepts of what works and doesn’t work in films is a real talent they have, and it is a talent that is on full display here. Even when they are shooting violent scenes they manage to create an air of tension that is unparalleled in the works of their contemporaries. Their understanding of the human side of their characters, the parts that we see ourselves reflected in, is also here in spades. How many of us would do the same thing Moss did in his situation? How many of us would even begin to fight to defend ourselves rather than simply giving a psychopath what he wants? The answers to these and other questions raised in the film are not easy, yet they must be understood for us to glean some insight into ourselves, a point the Cohen’s make perfectly.

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"Whoa, it IS a country for old men..."

The film also touches on the theme of changing times and our ability to adapt to them. At one point, Sheriff Bell has a conversation with his Uncle Ellis (a great acting job by Barry Corbin), who himself is an ex-lawman. Bell confesses that he plans on retiring because he feels overmatched and helpless in the face of the events that he is witnessing unfold. Ellis simply tells him that the area they patrol has always been violent and that he shouldn’t expect it to stay around waiting for him because that would be vanity. Indeed Bell seems at times out of touch with the ever-shifting landscape that surrounds him, and he could easily be looked at as an anachronism in this film, representing a man in the wrong time period. However many of us suffer these same feelings in our daily lives and so again we find ourselves reflected properly in the eyes of this character. The end of the film, involving Bells relation of two dreams to his wife and his eventual waking up reflects the awakening of his character and indeed us the audience, as we are finally forced to deal with our own perceptions in regards to the things we have just witnessed. Quite simply the film works from beginning to end and is a challenging piece that, when given time and attention, rewards us quite remarkably.

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"Whichever kid threw that rock is dead meat..."

No Country for Old Men was a critical and commercial success, garnering rave reviews for the acting, direction and indeed the film itself. It grossed over $171 million on a budget of just $25 million and made Bardem a household name after his Oscar win. The Cohen’s themselves did quite well also, earning the Oscar’s for Best Picture, Best Director and Best Adapted Screenplay. As a long-standing anti-Oscar individual I can honestly say these were some of the most well-deserved awards that the Academy has ever handed out and I was genuinely surprised yet wildly ecstatic that the Cohen’s earned the respect of a group of individuals who normally just pick the most popular choice to bestow their golden statues upon. At the end of the day it is not a film for everyone to be sure, as many will find it’s pacing to be slow or its minimalist tone to be unappealing. However if you are a person who is interested in storytelling of the highest order and films that make you think then you can look no further, as “No Country for Old Menâ€￾ will satisfy you completely. 9/10.
 

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Re: The Wing Kong Exchange

Sorry for my delay on commenting on these. So without further ado.

Blues Brothers: I honestly hated this movie for so long. I know it's weird, but I did. I ended up watching it 10 or 11 years ago at my friends house since it was his favorite movie. I gained a new found respect for the movie and ended up loving it. I don't know if it was because I didn't get the humor at first or what, but it is what it is. As for the review, it was good. You hit all the good points that I love about the movie. I also liked the fact that you didn't spend a lot of time talking about Akroyd or Belushi since if you have seen the movie you know how strong of characters they are. It has been quite a few years since I have seen it, but after reading the review it makes me want to throw it in and watch it.

V for Vendetta: I love this movie. I never would have given it a chance had Natalie Portman not been in it because I did not care for the graphic novel. Hugo Weaving and Portman had such a great chemistry together and it showed in every scene they were in. The adaption was done very well and all the shots in the movie are exquisite. Everything was spot on in the review. I don't know if I would have rated it as high, but really, I can't disagree with the rating to much. You have left enough intrigue in the review to make me want to watch it if I had not seen it already. That is something I haven't seen much of in your reviews and I like it.

No Country for Old Men: You're probably going to shoot me for this, but I have never seen the movie. You do make it sound interesting, although I am afraid not interesting enough for me to put it in right now. It isn't the review itself as much as it is the movie in question because it is a great review, if that makes sense. For some reason the movie never struck a chord with me and made me want to see it. One of these days I may though.