This was a huge improvement over Blue Ruin if you ask me, mostly because the concept (traveling punk band witnesses murder in neo-nazi bar, must fight for their survival) is so fukking great. It creates a cat & mouse game that's original and actually creates a very realistic threat. I also had no idea there were quite a bunch of recognizable actors in here, which was a good thing because they actually made their characters work despite the writing and the dialogues not doing much to make you care about them one bit. But as said the threat feels real and that helps create some serious tension as they figure out what to do, and their escape attempts are almost immediately met with the cold, clinical demise of one of them. It's not a perfect movie but it creates some of the most soul shattering scenes of meaningless violence since A Serbian Film, which is high praise for any movie setting out to do so.
Stephen Chow's
Mei Ren Yu (The Mermaid) is China's biggest box office success of all time, although it does not hold up with Chow's best. A group of mermaids who have been chased out of their homes by sonars dropped in the seas plan to use one of their own to seduce the cruel business man who is responsible. Of course the mermaid and the soon-to-be-revealed not-so-cruel business man fall in love. It's pure slapstick fukkery, boasting some largely unimpressive CGI, so fans of movies that "look good" better stay home. People who value fukkery over special effects (such as myself) however will revel in the hilarity Chow's forté, the endless stream of utterly shameless slapstick comedy. It's a movie that can undeniably only come from Chow's hand, although that's a bigger compliment to Chow than it is to the movie itself.
In a rare situation that most likely will never repeat itself, right before the end of 2016 I was able to visit an advance premiere for a movie that might quite well end up being the absolute worst movie of 2017. That movie is Martin Koolhoven's Brimstone, a 7 year passion project for the Dutch director. A directionless onslaught of violence against women by men who claim power over them through culture, business and most importantly religion, this western "epic" divided in four chapters not so subtly named after the Bible (Revelations, Exodus, Genesis and Retribution) follows a young mute woman (Dakota Fanning), who for reasons unknown fears the new reverend in town (Guy Pearce), but soon he turns her life into hell and slowly the connection between them is revealed. The men in her life try to protect her, but all fail and die empty violent deaths, as she is physically and mentally tortured. The film fancies itself to be some kind of a feminist Passion Of The Christ, but instead presents you with two and a half hours of misogynistic torture lacking any sense of nuance or redeeming factors. It's basically exploitation western horror, overblown my a misguided sense of (self) importance, evident from from the very second the movie's title appears as
Koolhoven's Brimstone, assuming that more than three people outside of the Netherlands give a shyt about the director's work, and implying that he is actually quite proud of having produced this worthless piece of misogyny cinema.