Right?
This news comes from Grumpy Cat’s reps – manager Ben Lashes and rep Al Hassas. That’s right, an internet cat has multiple “people”. You can go put your head in a stove now.
via Deadline
Right?
This news comes from Grumpy Cat’s reps – manager Ben Lashes and rep Al Hassas. That’s right, an internet cat has multiple “people”. You can go put your head in a stove now.
via Deadline
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!
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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…
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The Midnites for Maniacs series is curated by Jesse Hawthorne Ficks, who used to be a projectionist at the 4Star and now teaches at the Academy of Arts and is a SFBay Guardian contributor
This triple bill was the DiRTY LiTTLE MUNCHKiNS marathon, and was composed of The Bad News Bears, Gummo, and The Garbage Pail Kids Movie, making this one of the greatest triple features of all time. This was also my fourth time seeing The Garbage Pail Kids Movie at one of these Midnites for Maniacs events, which now makes it the film I’ve seen in the theaters the most.
This was the first time I had watched The Bad News Bears since I was a young kid of like 7. Ostensibly a film about a children’s baseball team, The Bad News Bears is a very adult film that is filled with commentary on America in the post-Vietnam post-Civil Rights era. The team is packed with a mixed assortment of rejects from other teams, combined together due to a lawsuit forcing the league to accept all players. It’s ethnically diverse and filled with stereotypes we all know and love – fat kids, skinny kids, kids who climb on rocks. Tough kids, sissy kids, though no one gets chicken pox. Also a girl. The Bad News Bears casually drops filthy and racist language, and Walter Matthau is brilliant as the usually drunk coach who is in this for the paycheck at first, but then it becomes something more. The team begins to come together, becoming less of a joke and more of a threat to the established order.
This was the first time I had seen Gummo, from writer/director Harmony Korine. It doesn’t follow the traditional narrative form, instead is more of a loose collection of events and sketches that form a larger abstract story. It features a lot of real people who aren’t professional actors, and showcases a decaying underbelly of small town America, taking place in a town that was struck by a tornado years ago, which has only increased the pace of its withering away. Gummo features disturbing imagery, but is hauntingly beautiful in a weird way. It is not really a film I would recommend to most people, but if you have an appreciation of the obscure and the strange that has more going on then first appearances would suggest, you will have a feast.
And that brings us to The Garbage Pail Kids Movie. A film that deserves a giant review on this site and will hopefully get that soon (I did spring for the DVD after all!) The Garbage Pail Kids Movie is one of the greatest films of all times. It is visually unlike anything that has every existed, complete with the most ugly animatronic little person costumes and the most 80s fashion that was ever in the 1980s. Our hero Dodger can’t seem to not get beaten up by the local drug dealer gang leader, who is so big time he robs middle school kids for their lunch money. Dodger lusts after the girl Tangerine, who is dating the drug dealer and is not very nice. Dodger works at an antique shop where the owner is an eccentric world traveler, and there is a garbage pail that is knocked over, and the Garbage Pail Kids emerge to cause havoc in the city. But there is danger, because the city is carting everyone ugly way to State Home For The Ugly, where the ugly are then squashed into cubes. Luckily, the Garbage Pail Kids have the power of sewing.
Trust me, this all makes sense! And it’s awesome. And remember: You can be a Garbage Pail Kid!
ATTENTION, WHOVIANS! (For the uninitiated, that is not something Jay-Z yells at the beginning of a song, it’s a name for Doctor Who fans)
Before Matt Smith, before David Tennant, before Christopher Eccleston, before even the scarf and afro guy, there was Peter Cushing. Well, not before, exactly, because this feature-length movie isn’t a canonical part of the Doctor Who universe or storyline. So it’s sort of more adjacent, than before. It’s nearby, if nothing else. Approximate, at least. Like, Dr. Who is in it! But instead of a mysterious Timelord alien, he’s kind of just a confused human grandpa with the last name Who. But he does have a TARDIS! Of course, instead of a disguised alien craft it’s just, like, this junky thing he made with his granddaughter. Oh yeah, he hangs out with his granddaughters. Yeah. But then they travel through space and fight the most classic Dr. Who bad guys of all, the Daleks! Of course, in this imagining of Dr. Who, the Daleks are just some dopey trashcan looking guys with plungers sticking out of ‘em that talk funny — oh, that’s how they still are? Seriously?? PERFECT! IT’S CANON AFTER ALL!
So no matter how much you know, don’t know, or don’t want to know about Dr. Who, this movie will fill your needs. Plus, the RiffTrax itself is totally canon, and an official part of the Mike, Kevin, and Bill timeline (unlike that regrettable one-off TV special, “RiffTrax goes to Hawaii”, which shall never be spoken of again). Exterminate Dr. Who and the Daleks today!
aka Lost and Found
2011
Story by Eddie Powell
Written by Mona Sunoy
Directed by Eddie Powell
I know you purposefully hid my dog to spend more time with me, but you did it while wearing a beret!
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Hey, remember that movie Lost & Found, about a guy who helped his hot neighbor find her dog, while the dog was at his apartment the whole time? Well, a movie called Lost and Found was filmed in 2011, which was basically the hardcore porno version of Lost & Found. And thanks to the magic of creative editing and filming a few alternate bits, Sex Pets is the softcore version of Lost and Found. So, yes, Sex Pets is a softcore version of a hardcore version of a David Spade romantic comedy. You got to wonder how many films can claim the same thing, and my guess is a whole zero.
Yes, 19 boxes filled with framed pictures of me with my dog. Why does everyone thing that’s weird?
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Sex Pets follows the same basic plot (though it doesn’t later get complicated like Lost & Found does) with a guy sick of the hookup culture making friends with the newly single hot girl next door and her friendly pooch. Egged on to craft a web of lies by his friend Steve, David lets Jen believe that her dog Boz is still missing after he’s found it just so he can spend more time with her. Because we have to make time for the sex scenes, the plot never gets too complicated, and you know from the start that Jen and David will end up together. The sex scene feature minimal music, often there is no noise except the acting of the actors. I would even say it is too quiet in the background.
Sex Pets is one of those films where I cared more about the plot than I did about the sex. Which is an odd thing to say about a movie called Sex Pets, but it is the truth. One thing Sex Pets does have is some cool cinematography. It looks amazing!
That’s the worst Mpreg Brony art I’ve ever seen!
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Finally a film captures a true slice of life of 20-something America!
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