The White-Bone Sword Part 3 (Review)
The White-Bone Sword (Part 3)
aka 白骨陰陽劍(三集) aka Ingenious swords, part three aka Bai gu yin yang jian san ji
1963
HKMDB Link
Written by Sze-To On
Directed by Ling Yun
 |
|
Me after seeing the Kong: Skull Island trailer!
|
It’s now SOME UNKNOWN TIME LATER, a few things have happened. Okay, mainly one thing happened, which is Black Girl ran off and possibly recovered the White-Boned Swords only to hide them somewhere else. Exactly what happened to her will have to remain a mystery as the actress doesn’t appear in the series any more and there are no subtitles, so we can only assume she got on a bus to Mars. But who needs Black Girl when we got Wong Tin-ho, Wu Seung-fun, and Luk Fong-fei to wander around looking for Black Girl and/or the White-Boned Swords? Plus, if you are a fan of Vampire Lady, you will be happy to know that she is back as well, with an even larger squadron of hopping vampires to command! This leads to some amazing fight sequences later on with skeleton men. And there is a cool gorilla, which is all you need to know that it’s time to watch!
|
Monster of the Nudist Colony (Review)
Monster of the Nudist Colony
2014
Written by James Rogers and Bruno Kennedy
Directed by Louis DeWalnut (as Steve Goldenberg)
 |
|
Even the Monster is nude!
|
Monster of the Nudist Colony blends monsters and softcore sex mayhem into a wondrous combination that’s now available on your local premium cable channel. Monster of the Nudist Colony is a direct parody of The Beast that Killed Women, directed by schlock exploitation master Barry Mahon! Not only have I seen the film, but the Something Weird DVD paired with The Monster of Camp Sunshine was the first Something Weird DVD I ever bought. If you’ve never seen the various nudie cutie films of the 1960s, filmed back when it was legal to film naked people only on a nudist colony, and with nothing frontal below the waist, then prepared to be bored silly (example: Nude on the Moon) There are endless shots of people walking (with strategically placed towels), sitting (with strategically placed towels), and playing games like volleyball (with strategically placed towels!) The Beast that Killed Women shook up the formula a bit by adding a monster killing women (Barry Mahon in a gorilla suit) that substituted for the sexual release that endless shots of nudists playing volleyball would not deliver. In a way, it was one of the Roughies, the name for underground nudie flicks made soon after the exodus from the colonies that had increasingly violent edges (an example we’ve covered is In Hot Blood)
How does a gorilla know how to tie knots so well?
Thankfully, Monster of the Nudist Colony avoids all that violent stuff. The guy in a gorilla suit may gank women, but only to tie them up and make them dance for him! Honestly, it makes the film better, because this is supposed to be a silly parody, we don’t need violent acts perpetrated against women with what may be subtextual racism getting in the way! If anything, Monster of the Nudist Colony is a little too on the nose for it’s subject, to the point where it runs out of plot and fills the last 15 minutes with an all star super orgy. That certainly has the ending dance party seen on subpar animated films beat! If you pay attention, there is plenty of references to nudie flicks: people walking along nature trails with towels, a character who’s totally anti-nudity until they learn to cut loose and be nude, something threatening the security of the nudist colony, and even the occasional visit from law enforcement. What is different is all the sex sex sex! Nudie cuties weren’t allowed to have sex scenes, and official nudist colonies shy away from the sexual aspect of nudity, focusing on freedom. Monster of the Nudist Colony ignores all that and has Circle Double D’s Nudist Colony basically one step away from Hedonism II! Sidenote: the Double D’s Nudist Colony is filmed at the Malibu Dry Gulch Ranch.
And, sorry bigfoot-human sex scene fans, the Monster does not have sex with any women until he has been returned to human form. You might like Sweet Prudence & the Erotic Adventure of Bigfoot instead!
The Librarian from Top Secret!, the prequel!
The film features extensive soundtrack work by RooBiE BreastNuT, not only working through the majority of their songs available on iTunes, but featuring a few news ones (including on that sounds written specifically for Monster of the Nudist Colony!) There is even a cameo by Roobie Breastnut herself! While fan favorite song “Pussy Pussy Bang Bang” is not used, you can hear: “I Want Your Love”, “Girls Like Girls”, “This is the Lust”, “Johnny Lapdance”, “Yeah, That’s Triple X”, “Porn to Be Alive”, “Peeping Jon”, “Hypnotika”, “Dance Dance Dance”, “Nudist Camp”, “Suck on This” and many more that can be found on Roobie Breastnut’s iTunes page!
Director Louis DeWalnut is a pseudonym for Steve Goldenberg, who has worked with Jim Wynorski on several of his softcore adventures. The writing is credited to James Rogers (I couldn’t figure out his prior credits) and Bruno Kennedy (co-writer of some of the Busty Cop movies)
What do you mean, you don’t think Ferris Bueller and Cameron Frye are the same person???
|
She’s secretly the Hamburglar!
Read more…
Categories: Movie Reviews, Ugly Tags: Amber Ashlee, Angie Savage, Bailey Beetleman, Bigfoot, Bridgette B, Britney Young, Frankie Cullen, Hannah Reilly, Lesbians, Lexi Belle, mad monkey time, Melessia Hayden, nudie cutie, nudists, Rickey Ricardo Smith, Roobie Breastnut, Ryan McLane, Samantha Ryan, softcore, T.J. Cummings, Tony Marino
Siluman Teluk Gonggo
Siluman Teluk Gonggo
1988
Based on work by Bastian Tito
Directed by Lilik Sudjio
A giant martial arts fighting spider, a mad rapist with an evil parrot, a giant bird that has seen better days, and a bamboo flamethrower are just part of the fun of Siluman Teluk Gonggo. This fantasy martial arts adventure (since it is Indonesia, it is silat) is one of a series of films about pulp hero Wiro Sableng.
Wiro Sableng’s serialized martial arts adventures gained fame in Indonesia and turned the character into one of their most famous pulp heroes. The world of Wiro Sableng is best described as similar to the Jianghu “martial world” of wuxia fantasy, with different clans and martial sect that have different fighting techniques and local drama. Wiro spends much of his time wandering from area to area learning from the various masters and getting involved in local drama. Author Bastian Tito actually spent time traveling around Indonesia to the places Wiro was visiting, so he could write first-hand knowledge of the area. This also occasionally caused the stories to be delayed.
A planet of me!
This is the sixth movie in the series starring Tony Hidayat as Wiro Sableng. This series is comprised of Empat Berewok Dari Goa Sanggreng, Dendam Orang-Orang Sakti, Neraka Lembah Tengkorak, Tiga Setan Darah Dan Cambuk Api Angin, Sepasang Iblis Betina, Siluman Teluk Gonggo, and Khianat Seorang Pendekar. There were two television series that portrayed the further adventures of Wiro Sableng, first starring Sukendro Herning (also known as Ken Ken) and then Abhie Cancer.
As you can imagine, there isn’t that much information in English. But I have determined the names of the two men who help Wiro Sableng are Lor Gambir Seta (K. Supranto) and Dewa Tuak (Piet Pagau), though I’m not sure which one is which.
But it’s not the actors that give our attention to Siluman Teluk Gonggo, it’s the monsters. Yes, there are Indonesian giant monsters! We get not only Wiro Sableng’s faithful giant bird companion, but a giant spider, a human-sized monkey creature, and some monster so large we only see it’s eyes and huge King Kong-sized hand. Exactly what it is, is a mystery to the ages. Or at least to people who don’t speak Indonesian, as they probably explain what it is.
Spider will be appearing in the next The Raid sequel
Director Lilik Sudjio has a prolific career pumping out lots of Indonesian genre film that has gone barely noticed in the West for far too long. For every The Queen of Black Magic that gets a cool DVD release, there are a dozen Siluman Teluk Gonggos that sit around on vcds. Before his film work he was an actor, and then spent some time in film school in the US before returning to Indonesia and producing a lot of cool stuff. After 1990, he turned to directing television, as that was the way of the future as the film industry was collapsing.
Pulp hero Wiro Sableng has a tattoo that reads “212”, and carries around a variety of weapons. He has an ax that has a dragon-head hilt, and a throwing weapon used like a shuriken, in the film it has a sort of boomerang power and looks like a take on the weapon from Krull, but with just two blades.
The fighting choreography isn’t half bad, either. It’s not The Raid, but it isn’t The Bumbling, either. Though many of the actors are terrible at playing dead, they just casually drop to the floor like they’re going to sleep. The pacing and lack of subtitles (Here at TarsTarkas.NET, we don’t need no stinking subtitles!) might drive some away, but stay for the last 20 minutes, that’s where the real fun and most of the monsters are.
How’s about a little fire, Scarecrow?
|
Categories: Movie Reviews, Ugly Tags: Arthur Tobing, awful monster costumes, Bastian Tito, giant spiders, Indonesia, K. Supranto, Kiki Amelia, Lilik Sudjio, mad monkey time, Piet Pagau, Tony Hidayat, Zaitun Sulaiman
A Chinese Odyssey Part Two – Cinderella
A Chinese Odyssey Part Two – Cinderella
aka 西遊記完結篇仙履奇緣 aka Sai yau gei: Daai git guk ji – Sin leui kei yun
1995
Written and directed by Jeff Lau Chun-Wai
Thus continues the fairy tales and romantic adventures of a guy named Joker who is really Monkey King with A Chinese Odyssey Part Two – Cinderella. The sweeping action and epic timescope of the original is expanded on, while the extra time gives us a chance to get to know a few of the characters we saw little of in the first part. Don’t worry, there are generous amounts of ridiculous slapstick, special effects fights,
Part of the fun of these Hong Kong films is the varying quality of the copy that is used for DVDs. In this case, the copy has burnt in subtitles, which calls some characters slightly different names than in Part 1. I’ve done my best to try to rectify the situation, but welcome to planet reality. If you missed the review of A Chinese Odyssey Part One – Pandora’s Box, it is here.
Even more fun, the plot of Part Two is vastly more complicated, and is rendered further difficult because several characters switch bodies in the second half. And yet, despite the zaniness, it works, as actors get more to do and the danger of repetitiveness is staved off for a while. While a tale as large as this can run the risk of becoming far too long, the brisk pace prevents fatigue from setting in. Some reviews I read thought this section was confusing and ruined the film, but I see it more as helping things from getting too stale. And if you try to follow things too logically, your brain will explode, as the timeline gets completely disrupted by all the time travel. Let’s just say there is probably a reality where King Bull opens a casino in Hill Valley…
The lovers on the roof scene at the end has become an iconic shot that is instantly recognized by people who haven’t even seen the movie in years. It’s also one of my favorite moments in Hong Kong cinema, because the whole thing is perfect. The closure of the lovers story, the chance for Monkey King to talk one last time to the woman he loved but cannot love, the looks of the torn emotions of the two characters on the roof, the look back as Monkey King walks away, and especially the music, all making a perfect storm of awesome.
The tales of destined true love that endures lots of hardships and doesn’t usually end in happy endings are common themes in the works of both Lau and Chow. This time they even have characters literally speaking to the heart to learn the heart’s desire and true love. Another common thread in Steve Chow’s films is him having a whole host of women who fall for him. It’s good to be the king! Add to that to his reputation as a playboy and how different the women are in some of Chow’s later films, and you get the feeling there is some sort of hangup about women. But that’s a whole article to itself.
The Chinese Odyssey films would end up becoming so beloved that attempts would be made to recapture the magic. Lau would return with A Chinese Odyssey 2002, and try again with A Chinese Tall Tale, and then Yet Another Pandora’s Box. While each of those films have their own merits, none of them achieve the level of special significance that the originals did. Chow also used the nostalgia of these films to excite everyone with his return to directing for Journey to the West: Conquering the Demons, though that film is so tonally different that they are only connected by the true love theme. Several other adaptations of Journey to the West are in the pipeline, the popularity of the stories will ensure their retelling for generations. Some will attempt to be creative and unique, while others will rely on the past and be lazy and derivative. We may one day see a challenger to the throne, but for now, it is time to hail to the Monkey King, baby!
|
A Chinese Odyssey Part One – Pandora’s Box
A Chinese Odyssey Part One – Pandora’s Box
aka 西遊記101回月光寶盒 aka Sai yau gei: Dai yat baak ling yat wui ji – Yut gwong bou haap
1995
Written and directed by Jeff Lau Chun-Wai
Stephen Chow and Jeff Lau’s classic masterpiece, the A Chinese Odyssey films are among the most important cinema to come out of Hong Kong. And I don’t just say that because I love the films. A combination of many factors at just the right time collide and create a lightning in a bottle event that films have been attempting to repeat ever since.
The Chinese Odyssey flicks are a mish-mash of classic literature is melded with Jeff Lau’s love of hugely complex plots with dozens of characters and love stories through reincarnation, combined with Chow’s singular wit, fast talking, and physical comedy making cinematic bliss. A classic tomb is hijacked and reworked into a sprawling tale that still uses much of general mythology of its source.
The complex plot and phone book of characters (with most of the headliners playing dual roles) does not help with an easy description, but the basic idea is Monkey King has been punished and trapped for 500 years. In the interim, he was reincarnated as a local head of a gang of thieves, a group largely incompetent and filled with lovable losers. Now named Joker, he runs the gang as they dress fierce to claim control of the area. His chief lieutenants are Assistant Master and Blind Bing, who we also know as Journey to the West characters Pigsy and Sandy.
The actual world of Journey to the West has not stopped during this time, so there are still creatures searching for Tripitaka/The Longevity Monk to devour his flesh, and they plan to use Monkey King to find him. Of course, they first have to find the Monkey King, only knowing where he was imprisoned. Those who knew Monkey King recognize him in Joker on sight, despite Joker’s insistence that he is no one special. Regardless, he gets dragged into a world of spider demons, ghost ladies, bull men, giant goddesses, and reincarnated characters.
Despite the large amount of plot going on, the films aren’t adverse to just stopping for a while to let Stephen Chow do his thing. Which is a wise decision, because the comedy is great! The physical comedy transcends all languages and cultures, while many of Chow’s zingers manage to produce laughs despite terrible subtitle translations. It’s a testament to just how good things are when it overcomes some of the usual stumbling blocks.
Monkey King is historically a defiant character, he stands against the forces of Heaven and against anyone who stands in his way. His adventures feature a lot of visits to fantastic lands and fighting gods and demons. Pandora’s Box brings him down to a more human level, which is even a point in the sequel, as his human emotions are what must be shed to continue on his journey, even though in these films he falls in love repeatedly. That’s called conflict, people!
While Joker doesn’t remember anything Monkey King did, he gets involved in the consequences of Monkey King’s various shenanigans. In the course of Joker’s lying and double lies and triple lies to get out of trouble, he ends up connecting with someone Monkey King hurt as well as dealing with Monkey King and Longevity Monk’s enemies, the huge crowd of characters who want to eat the Longevity Monk’s flesh.
Monkey King ruined the marriage of Jing Jing, and then left her waiting alone. A hard lesson in not trusting Monkey King to do anything right, but thanks to Joker being Monkey King, Jing Jing is able to confront the person who messed up her love life, and Joker is able to make a sort of amends as he falls for Jing Jing. Due to even more convoluted plot development, Jing Jing is poisoned, Joker is imprisoned attempting to get her the cure, and she believes he abandoned her and tries to kill herself, though is saved by King Bull.
The reprieve is temporary, as later she does kill herself amidst a battle in the middle of the Cave of the Silken Web after thinking Joker betrayed her. Joker is then desperately attempting to go back in time just in time to save her, but keeps being just too late. If you think repeatedly watching someone kill themselves can’t be funny, then here is a way to change your mind.
The Chinese Odyssey films have gone on to be cult classics, and are one of the first Hong Kong films I saw back in the days of getting movies from the one cool video store. Luckily for me, a roommate had vcd versions, which I managed to watch just after watching Black Mask – thus Karen Mok became a reoccurring theme in Hong Kong cinema for me, and eventually an avatar I use in many locations online. The films themselves were just so unlike anything I had seen to that point, only some of the Hong Kong films I had watched at that point had fantasy elements. At that point I was totally unfamiliar with the Journey to the West story, so everything was new to me. So while Bruce Lee and Jackie Chan may have been my gateway drugs into Hong Kong cinema, Stephen Chow became the chocolate-covered crack that kept me coming back. And decades later things are very different, the films still remain and still entertain. Thanks to the internet, many are just a few clicks away. Gone are the days of wandering through the “Foreign” section hoping for anything new, but the films I saw then – Chinese Odyssey, Drunken Master, A Chinese Ghost Story, Hard Boiled, many others – will always have that nostalgic feeling.
A Chinese Odyssey is ultimately about love. The gags and costumes and violence is all dressing for a tale about love. Not about finding love, but about love itself. Love that is destined. Love of a master and a disciple. Love that is joyful. The pain of love, and of love lost. Of love and duty, of casting love aside, or taking chances for love. Even the final ending pushes this home. The dealing with love of all types and not just romantic love expands the universal appeal, reaching audiences who don’t respond to just your average romance tale.
As we shall see with Part 2, one love can just be a stepping stone to your true love. But even then other things may be destined for you. Life can be funny that way…
But let’s first knock out the Roll Call for A Chinese Odyssey Part One – Pandora’s Box, and the drop a huge plot recap and discussion! Because that’s how we roll…
|
Flying Monkeys
Flying Monkeys
2013
Written by Silvero Gouris
Directed by Robert Grasmere
 |
|
What did you say about my stinking paws???
|
Flying Monkeys is a perfect example of a SyFy flick. It’s got a swarm of ridiculous creatures, lots of bloody death, bad CGI, and random acting talent. Released to cash in on Oz: The Great and Powerful, Flying Monkeys wedges in two small Oz references, but then goes on its own direction in what may be one of the most liberal SyFy films ever.
 |
|
This monkey is a curse to all it touches…it was in Hangover 2!
|
Does Flying Monkeys promote exotic animals as pets, or is it a warning against them? Without being preachy, Flying Monkeys shows that exotic animals are smuggled into the US, are sold by a gun-packing jerk, and can cause horrible ecological damage and death when introduced to a new ecosystem. Also that they slaughter and devour entire towns full of random people, just like kudzu does!
Even more crazy, Flying Monkeys has a commentary on gun control! Flying Monkeys is anti-gun. If the flying monkeys (actually a Chinese mythological creature called a hsigo) are killed, they just turn into two hsigos. They can only be killed by special weapons blessed by the Emperor of China. Guns just make things worse, though they may cause a brief way to escape, they ultimately just increase the problem. Characters disparage how everyone in the US has a gun, because it makes the effort to kill the hsigos that much harder. Hsigos are like Gremlins, except they reproduce thanks to violent gun culture instead of water. Expand this out to how gun violence can create more gun violence, and Flying Monkeys is suddenly drawing a line in the sand.
 |
|
First we catch the monkey, then I argue with it about post-Baum Oz books and which should be considered canon, until it dies of boredom!
|
There is also a throwaway bit about how Skippy the flying monkey leader doesn’t kill Joan because she’s nice to him in monkey form. The hunters are shocked at this, stating because no one has ever been kind to a hsigo, ever. Then they go to kill him anyway, though this suggests that maybe, just maybe, the killer monkeys could be rehabilitated.
As we declared long ago, Type A SyFy films feature one (or a small number) of invincible creatures that slaughter everyone. Type B SyFy films (which Flying Monkeys is an example of) feature a whole swarm of creatures that slaughter everyone, but the creatures have a weakness in that they have a Queen-type creature that if killed, they all die. Type C SyFy films feature a whole swarm of killable creatures that slaughter everyone, with no leader creature. I’ve since added Type D SyFy flicks, which is when creatures battle each other, though those films can also fit in with any of the prior three types.
The hsigo of Chinese mythology (from what little I’ve found on them in English) are actually helper animals, winged monkeys with human faces. Their depiction in Flying Monkeys seems largely invented. The creatures are played by a mix of real monkeys, CGI, and gloved monster hands used for closeup shots. But let’s not forget the greatest thing of all, FLYING MONKEY VISION!
 |
|
Rainbow Heart: The sign of a true killer
|
|
 |
|
Delicious!
|
