Movieline Online

We can all agree that, for the most part, spoilers are bad. But when you’re talking about experimental films that intentionally rearrange the narrative and visual DNA of cinema itself, it helps to have a cheat code. And that’s certainly the case with The Dancing Hawk (1977), an avant-garde Polish drama that follows the professional success and personal failings of one Michal Toporny, a rural farmhand seduced by the Soviet bureaucracy into a life of ruthless ambition. Director Grzegorz Krolikiewicz follows the narrative structure of Citizen Kane but takes wild creative swings that cleverly disguise the tribute to Welles’ classic. Born into a proud sort of poverty, Toporny (Franciszek Trzeciak) begrudgingly agrees to pursue an education in the city, leaving behind a wife and son in hope of securing a better future for them all. But as his career takes off, Toporny scrubs himself clean of all traces of his humble beginnings, remarrying into a better family and spurning the political req...

Yet another take on the “possessed limb” genre which includes legit classics like Mad Love (1935) and the absurd but underrated Body Parts (1991), the supernatural threat from The Eye (2002) is caused by a corneal transplant that allows the new recipient to see the recently deceased. Pulling more inspiration from The Sixth Sense than any of films previously mentioned, this Hong Kong-Singapore production follows the same playbook as other millennial Asian horror entries, but delivers a few shocks you won’t see coming. Blind since the age of two, Mun (Angelica Lee) has her vision surgically restored and immediately realizes there are unintended side-effects. Shadowy figures can be seen leading off patients in the hospital ward and disturbing strangers pop up that no one else can see. Enlisting the aid of a psychologist, the duo travel to Thailand to hunt down the original donor and unravel the psychic trauma left behind. Disjointed, scattered and swimming in editorial cliches of t...

While Kurosawa translated the clichés of the American Western quite successfully in a number of his samurai films, director Kazuhiko Yamaguchi lifts his inspiration wholesale from the Italian Westerns of Sergio Leone in a pair of films starring the iconic Meiko Kaji ( Female Prisoner Scorpion ) as a lone wolf cut from the same pancho. In Wandering Ginza Butterfly,  Nami (Meiko Kaji) d rifts into town with all the icy aloofness of Clint Eastwood’s “Man With No Name,” becoming enmeshed in a local prostitution/gambling ring with rival mobsters fighting for control. A dangerous outsider with a criminal past,  she plays both sides just long enough to decide who deserves what’s coming before delivering it with ruthless efficiency; first with a pool cue…then with a sword. She-Cat Gambler follows a similar formula but adds an element of revenge and the kung-fu stylings of Sonny Chiba ( Street Fighter ) whose bursts of intensity go down like a shot of 5 Hour Energy. Both films unfol...

Samurai films don’t behind and end with the work of Akira Kurosawa, although for decades one couldn’t be blamed for thinking so. The logistics were simple: not enough work from Japan was considered “export friendly” enough to crack the language barrier. So the view of samurai as infallible warriors whose code of honor could not be broken stuck around for quite a while. But the films of Eiichi Kudo are here to politely ruin that assumption. Working in the same sandbox as Kurosawa, Kudo’s trilogy – 13 Assassins (1963), The Great Killing (1964) and 11 Samurai (1967) – ditches the romanticism is favor of mud, blood and the shattering suspicion that the whole "code of honor" thing might be a bad joke played on the people expected to die for it. Based on the true events during the Edo era in which a masochist domain lord was assassinated to prevent him from taking power, 13 Assassins follows a band of weary warriors on what amounts to a suicide mission: take out Lord Matsud...

The ‘80s were a glorious time for fantasy films. After Conan the Barbarian and Excalibur proved that sword ‘n sorcery properties needn’t be confined to marathon D&D sessions in the basement, Hollywood proceeded to crank out one medieval mash-up after another. By the time Red Sonja (1985) came around, Dino De Laurentiis, Richard Fleischer and Arnold Schwarzenegger had already brought a second Robert E. Howard adventure to the big screen – the family friendly Conan the Destroyer . And while not a true sequel, Red Sonja offers a sense of continuity and the next best thing to a full-on cast reunion. Torn from her family and trained as a master swordsman, Sonja (Brigitte Nielsen) waits patiently to exact revenge on Queen Gedren (Sandahl Bergman) and her army of ruthless conquerors. As fate would have it, Gedren comes into possession of a powerful relic that will destroy the world in less than a week. Aided by a displaced prince (Ernie Reyes, Jr), his faithful servant (Paul Smit...

While the floodgates finally opened for classic Japanese cinema not that long ago, contemporary filmmakers don’t seem to have the same cache among collectors. But perhaps 88 Films’ release of Sakuran (2007) and Helter Skelter (2012), both from acclaimed photographer and advertising veteran Mika Ninagawa, will inspire a bit more curiosity. Set in different centuries but dealing with the same pitfalls of beauty and fame, Ninagawa does more than make pretty pictures; she pulls the directorial strings with uncommon skill and righteous neo-feminist fury. In Sakuran , that fury simmers beneath layers of silk and spectacle. Kiyhoha (Anna Tsuchiya) is a courtesan in the famous Edo-era red light district who refuses to be molded into something more manageable, raging against the machine that’s trapped her like a goldfish in a jar. Mixing in contemporary music and a punk rock attitude (think Sofia Coppola’s Marie Antoinette ), the result is less a traditional period drama and more a senso...