Foreign

In my life, I have always made a habit rooting for the underdog. Whether it would be in the business world with a small company or at the NCAA March Madness tournament with a Cinderella team, I always like to see the unexpected. It happens in movies too for the most part, I routed for Rocky, I routed for the Indians in Major League (didn’t root for Rudy though, that was too much even for me.) But what would I think of the little soldier in Little Big Soldier? Well, we will have to see.

Jean-Hugues Anglade plays Zorg (yup, that's his name), a handyman living in a beach-front house, scribbling away quietly in his spare time. Not so quiet is his tempestuous affair with Betty (Béatrice Dalle in her debut), whose passions overwhelm both of them. First, she moves in on him with no warning. Then, when she discovers his writing, she decides they must move to Paris so he can have a career as a writer. To make sure Zorg complies, she burns his house to the ground. Once in Paris, her plans for him fall apart, and so, bit by bit, does she.

Looking for a something a bit different for you gangster flick fix? Then look no further than this box set of gritty, thematically linked Italian crime pictures from director Fernando Di Leo. Things don't get much more delightfully 70s than this.

Many times when you see a trailer over and over, one has to ask themselves: Do they really want to see the movie or is repetition to the point of acceptance playing its fatal card? In the case of Legend of the Fist: Return of Chen Zhen, I had seen the trailer several times in front of Ip Man and the sequel. I wasn’t sure if I was anxious for the movie, so much that I really wanted to see Donnie Yen go absolutely crazy with his kicks and amazing martial arts.

Clowns have been a recurring obsession for Fellini, by the director's own admission, and after having been memorable presences in his films (perhaps most notably in La Strada), here they have an entire film devoted to them. Fellini here offers a mixture of biography, documentary and comedy. The film opens with a young boy (meant to be Fellini) first encountering (and being frightened by) clowns at the circus.

There are usually two schools of thought when it comes to judging sequels. One tends to be very harsh on the proceedings expecting it to surpass the original (which it hardly ever does) in all aspects of film-making. The other still expects a good film but realizes that this sort of thing is usually financially driven and just hopes for something that can favorable stand against the original. I happen to be in the later crowd. But, I certainly found myself inching towards the former when I received the blu-ray package to review Ip Man 2, Legend of the Grandmaster. Let's go inside, shall we?

A stern, hectoring narrator laments the state of the Young People of Today's Modern World, and ascribes their terminal amorality to their having come of age during the World War Two. Having set the stage, he then withdraws until the end, that we might draw the proper moral conclusions from a trio of tales (inspired, loosely, by actual cases) that show the terrible depths to which the Young People of Today's Modern World have plunged.

Three years after her unsettling turn in Dario Argento's Four Flies on Grey Velvet (1971), Mimsy Farmer headlined this giallo-related effort by director/co-writer Francesco Barilli. She plays a successful chemist on the verge of a psychotic break. She has been haunted since her childhood by the death of her father, and she has recurring memories (or are they fantasies?) of her mother in the arms of a sinister man. Her sense of reality crumbles as objects and people from her past appear and vanish.

Connections between Eastern and Western cinema aren’t new, but they do seem to be proliferating. Back in 1964, Italian maestro Sergio Leone borrowed from Japanese genius Akira Kurosawa, turning Yojimbo into A Fistful of Dollars. Just last year, Korean writer-director Lee Jeong-Beom looked to the West for multiple influences, and the result is The Man From Nowhere, a psychological action-thriller that alternately engages, confuses and kicks major butt.

Paula (Carmen Montes), a dancer at a strip club, is arrested for the murder of Paula (Paula Davis), a fellow dancer. The arresting officer (Lina Romay) questions the near-catatonic Paula, and the rest of the film is a slow-motion, flashback of the dead Paula dancing, the two women making love, and the murder. Once the slow-mo begins, there is no further dialogue, except for a cryptic fable that Paula tells to the camera.