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Amok (1963)
Riveting exploitation flm from Greece
"Amok" (1963) starts out as a WIP film, but soon the women escape from prison and eventually end up on a supposedly deserted island, which is not so deserted after all: a German war criminal, his peace-minded son and a collection of Greek hoodlums are also there, looking for a treasure buried in the late WWII years. The men decide to use the women as extra work-force, and more....but the women have some ideas of their own as well. It is a dirty, sweaty, sun-baked, physical exploitation film, quite bold for its time (including some brief nudity), with nary a wasted moment, although the ending is kind of anticlimactic. Capable cast and direction. **1/2 out of 4.
Efialtis (1961)
One of the earliest gialli in film history comes from Greece
"Efialtis" aka "Nightmare" is a unique movie for its time and country: a psychological mystery - thriller when the most fashionable products of the day were either comedies or melodramas. What makes it even more impressive is that it's the writing and directing debut of Errikos Andreou, who was then only 23 (!!) years old. It is certainly influenced by the US and British gothic thrillers of its era, but it really has more in common with the Italian gialli that were to dominate the market the following decade. The plot leads to successful misdirections (I had assumptions about what was going on, which were wrong), there is some striking use of mirror imagery, and Voula Harilaou gives a fantastic performance. On the other hand, the male lead is a bit bland, and some scenes do drag a little. **1/2 out of 4.
Apontes (1996)
Undoubtedly one of the best modern Greek films
A bittersweet slice-of-multiple-lives that touches on themes of memories, adulthood, friendship. Six young men grow up as childhood friends in the Greek island of Salamina (right opposite Athens), and gradually drift apart over the course of seven years. Some move on and succeed, some refuse to move on at all, and some are caught in the middle. The film is moving, technically accomplished (the final sequence is ingenious), and possesses a naturalism, especially in the dialogue, that was most unusual in Greek cinema at the time. This is probably one of the artistically best Greek films of the "modern" era. *** out of 4.
WrestleMania XL (2024)
It's OK, but....
....definitely not "The Best Wrestlemania Ever" or anywhere close - that's just Recency Bias talking. To begin with, it's way too long (duh!) at over 8 hours in total, and if you cut out the commercials, the promos, the rampant product placement (I mean, I know we're talking about the heart of capitalism here, but still...), the trailers, etc you'd probably have a 4-hour show on your hands. My favorite match across both nights has to be the six-pack ladder match on Night 1, which contained some truly jaw-dropping spots and was anybody's game. The IC title match was also very good. On Night 2, the triple threat for the US title was the most fun match. There were also some matches primed for fast-forwarding, like the Mysterio and the Uso "family feuds". The storytelling for the big Cody Rhodes vs. Roman Reigns clash, spread over two nights, was painfully predictable, though the match itself definitely had its pop-inducing moments. There was also a shortage of star power in the women's division for this 'Mania; Bianca Belair deserves more than a midcard spot. 7/10 overall.
I lykaina (1951)
Has nothing to do with werewolves
A grim bucolic melodrama about the stupidity of vendettas and the poisonous cycles of violence and hatred that pass on from generation to generation. "She-Wolf" (a misleading title) was just the second film ever made in Greece by the only female director working there at the time, Maria Plyta, and it is technically crude and primitive, and apparently only available in a scratchy TV print. But it deals with themes which are deep and pioneering for its time, and Plyta's touch is evident in the way she approaches the female characters, especially the young ones at the start. It's an interesting flm despite its faults. **1/2 out of 4.
Eva (1953)
A precursor to "Stella" (1955)
A crude but in some ways modern Greek film, made by the only female director working in the country then, when Greek cinema was still in its infancy. It's interesting for the early teaming of three actors who later became legendary and gained recognition outside Greece (Manos Katrakis, Dinos Iliopoulos, Alekos Alexandrakis), and also as a precursor to the much more famous "Stella" (1955) (also with Alexandrakis): another portrait of an uncompromising woman who pays a heavy price for her autonomy. The script is very weak in terms of storytelling, but it does contain some philosophical dialogue. Nina Sgouridou is stunning in the title role. **1/2 out of 4.
Revans (1983)
Hi Claire, how's your knee?
Right from the opening fantasy sequence of Antonis Kafetzopoulos imitating Humphrey Bogart in "Casablanca", you can tell "Revanche" is NOT going to be an ordinary movie. It is in fact very peculiar, fresh, dreamy, aimless, idiosyncratic: definitely not for all moods (more for a late-late night one), and probably works better on the second viewing - with the use of fast-forward where necesssary. Partly it's like a Greek "Jules & Jim", but it's more than that; its occasional pretentiousness is leavened by some very funny lines. Giota Festa is a dynamo, and a feminist ahead of the curve. **1/2 out of 4.
Oi apenanti (1981)
The Greek "Rear Window", minus any thriller elements
If you think that the (in)famous "Greek Weird Wave" started only in 2009 with Yorgos Lanthimos' "Dogtooth", think again: here's a pretty weird Greek film from 1981. It's sort of a Greek "Rear Window", but without any of the thriller elements. It is also a period snapshot of Athens and its youth in the early 1980s (expect lots of Pacman and bike racing). Giorgos Panousopoulos seems to be a better director than writer: there is not much story here - the narrative is rather loose - but the film is a stylish, absorbing, hypnotic mood piece. It brought something new to Greek cinema when it came out. *** out of 4.
Amfivolies (1964)
Competent Greek imitation of "Gaslight" and "Diabolique"
"Amfivolies" aka "Doubts" begins as the Greek "Gaslight" (husband tries to drive wife crazy) and develops into the Greek "Diabolique" (wife apparently kills husband but his body disappears). It is competently directed, with attractive leads (Nikos Kourkoulos, Viveta Tsiouni), and a fun supporting turn by the curvaceous Eleni Anousaki (she has a literally blink-and-you'll-miss-it nude scene). The plot, based on a book by a famous Greek writer of police stories, is mostly transparent, but it does have one good twist (and a very puzzling final shot). The film feels padded at 88 minutes and it's nothing really special, but it is watchable. **1/2 out of 4.
I fotografia (1986)
Powerful if flawed Greek drama
"The Photograph" has been cited by Greek critics as one of the best Greek fims of all time. It is undeniably flawed: much of the dialogue sounds unnatural, or even post-dubbed, and Aris Retsos gives an awkward, weird performance - at times he seems to be playing someone mentally handicapped, although at other times he is as sharp as a nail. Hristos Valavanidis, in a thankfully small part, gives a comically overwrought performance. But the main story, once it kicks in, is powerful, and Christos Tsagas' performance is remarkable. The film came out at a time when the Greek movie industry was, by all accords, dominated by cheap commercial cinema on one side and inaccessible arthouse cinema on the other, and it is notable for being far removed from either extreme; it carves its own path. **1/2 out of 4.
Anaparastasi (1970)
Occasionally visually impressive, but inert
Theodoros Angelopoulos' first feature-length film could perhaps be desrcibed, in broad terms, as the Greek "Rashomon". It's ocassionally visually impressive, especially in the sections shot in a mountain village so deserted that it almost looks like a post-apocalyptic landscape, though at other times the images are dark and murky. The pace is inert, the dialogue is spare and stilted, and the storytelling is disjointed; the juggling of the choronological sequence of events seems more confusing than illuminating. In any case, if you want to see an arthouse black-and-white Greek policier, this is probably one of your very few options. ** out of 4.
Saeif Halq Al Wadi (1996)
Wonderful slice-of-life
"A Summer In La Goulette" provides a rare cinematic look into Tunisian culture; in fact, it seems to capture the soul of Tunisia. Do not expect much "plot", this falls more into the "slice-of-life" category, switching its focus among a variety of characters; if Robert Altman was Tunisian, he might have made something like this. It contains marvellous music, and some of the most beautiful women you will ever see (including native Claudia Cardinale, in her mid-50s, in a small appearance as "herself"). Perhaps the most fascinating thing about it is the cultural and language blend - people are not ony multi-lingual, but constantly go from French to Arabic to Italian, sometimes within the same sentence! *** out of 4.
Forever Young, Forever Free (1975)
Some nice moments, but unsatisfying overall
"E' Lollipop" suffers from trying to be about too many things at once: the friendship of two boys of different colors; strict religious figures; the efforts to bring education to Africa; two diamond smugglers; a wise witch doctor; a boy that urgently needs an operation; an African boy lost in the wilderness of noisy New York; an orphan whose remaining relatives finally track down; and more. What's strange is that, with all this happening, the film doesn't really seem to have a story or anything propelling it forward; it does have a depressing ending, though (at least in the original version; apparently the US one, re-titled "Forever Young, Forever Free", has a happy one!). What saves the film is the nice scenery, both in Africa and in N. Y., the wonderful Muntu Ndebele, and the cute elfin Karen Valentine. ** out of 4.
Heung Gong wun fung kwong (1993)
Sloppy slapstick
"Crazy Hong Kong" is a lame continuation of "The Gods Must Be Crazy!" saga, transporting - via accident - N! Xau from the Kalahari desert to crowded Hong Kong. The culture clash is eye-catching for a while, but the novelty, as well as the laughs, run out pretty quickly, leaving only sloppy slapstick behind. The version I saw was also badly dubbed in English (one HK extra actually says "hit the road Jack, and don't you come back no more, no more"). What does survive from this mishmash is N! Xau's unconditional and unwavering good nature; the gorgeous Carina Lau also manages to emerge unscathed. *1/2 out of 4.
Jewel of the Gods (1989)
Low-rent South African Indiana Jones
Dull, exposition-heavy, low-rent South African Indiana Jones copy, with a few token scenes with a native thrown in to feign a connection with "The Gods Must Be Crazy!" films; it does reunite the two leads of the first of those, Marius Weyers and Sandra Prinsloo, and they do still have some chemistry (plus Prinsloo displays impressive cleavage in the entire second half of the picture), but the rest of the cast is basically one ethnic stereotype after another (British, German, Indian, etc.). There is also some nice scenery and some good stunts, but this film is still only for the terminally curious. *1/2 out of 4.
Gladiators (2024)
Still kickass entertainment, though it needs minor revisions for the next season
"Gladiators" is an enduring classic of sports game shows, no matter what country it is made in. In 2024, perhaps unexpectedly, not one but two franchises were revived: the British and the Australian. Both were pretty good. The British version has a solid line-up of gladiators (Legend is a funny successor to Wolf), and the female winner & runner-up are soooo beautiful and humble. The two major changes that are needed for the second season, which has already been confirmed, are: 1) a longer format. 11 are too few episodes, which leads to some losers of the Heats actually qualifying for the next rounds. The ideal number of episodes has always been 15. 2) the Gauntlet MUST be made more difficult (narrower? One more glad added?), because as it stands now almost every contender is getting maximum points and that's boring. But apart from those two complaints, I have no others. Even the hosts, who seemed a little iffy at first, have grown into their roles. 7.5 out of 10.
La anam (1957)
Slick Freudian soap opera
"Sleepless" (1957) is another Egyptian film which I would recommend to anyone interested in getting a taste of Egyptian cinema, as it is a very accessible, technically proficient film - it plays almost like a Hollywood melodrama, only in a different language. It's an overlong (a little over two hours) but engrossing soap opera, with Freudian implications. Slickly made, in vivid color, and a prime cast: Egyptian superstar Faten Hamamah, convincingly playing below her age, is especially effective in her off-screen narration, while Hind Rustum is worth two Jayne Mansfields all by herself. And if all that is not enough, Omar Sharif has a sizable role as well. *** out of 4.
Bab el hadid (1958)
The Egyptian "Peeping Tom"
If you want to dip your feet into Egyptian cinema, "Bab El Hadid" aka "Cairo Station" is probably a safe bet: reportedly considered by connoiseurs as one of the very best films of this country's industry ever made, it also quite accessible to "Western" audiences, and available in a fair-quality print with very good English subtitles. It's very well-crafted, with impressive use of close-ups and a highly suspenseful climax. Of course the "illiterate sexually-frustrated deviant" is a familiar trope by now, but in 1958 it wasn't - and in fact "Cairo Station" predates the similar, more famous British film "Peeping Tom" by two years. And in this film, the psycho-sexual thriller is fused with social-realism and the formation of workers' unions! Worth tracking down. *** out of 4.
Bayn el samaa wa el ard (1959)
Perhaps the only movie ever made entirely about people trapped in a stuck elevator
Perhaps the only movie ever made entirely about people trapped in a stuck elevator: these include a mega-sexy film star, a petty crook, a robber, an escaped lunatic, a pair of illicit lovers, a pregnant woman and her husband, the man operating the elevator, and others. The action also expands to the roof of the building, where a film is being shot and the boyfriend of one of the passengers has a suicide pact with her. It's an intriguing mosaic / microcosm of Egyptian society at the time, and certainly a technical marvel, athough at feature length it feels a little stretched-out, and some of the performances - the lunatic and the director, in particular - are pitched too high. **1/2 out of 4.
Cairo (1963)
Flavorful but routine caper film
"Cairo" (1963) is notable for being set in Cairo (duh...), but otherwise it's a routine caper film. It's quite leisurely - the caper doesn't start until halfway through the running time - and when it does get to the caper, it's totally unbelievable (the crooks enter the barely guarded Egyptian museum in a thoroughly noisy and indiscreet way!). On-location shooting and a good cast are the strongest assets; Faten Hamamah, reportedly the most popular Egyptian actress of all time, has a rather thankless role in her only Hollywood film, but still manages to give a charming performance. **1/2 out of 4.
Cairo (1942)
Slick spy comedy with music
"Cairo" (1942) is a typically polished MGM production - even if it does take place in an entirely Hollywood-studio Cairo. It features some surprising, for the time, "meta" humor, like Jeanette MacDonald's response to the question "Have you ever been to San Francisco?", or the final scene where she "teaches" Robert Young how to carry himself as an actor in front of a supposed camera - which is the actual camera filming them. There is perhaps a tad too much singing, although MacDonald, who looks gorgeous and younger than her age, has a remarkable voice. A fine supporting cast helps. **1/2 out of 4.
The Gods Must Be Crazy II (1989)
Slapsticky follow-up
The two "Gods Must Be Crazy!" films must be credited for bringing more people to African cinema than perhaps any other film, but let's face it: they are made primarily for a Western audience, and their nominal lead, the true Kalahari native N! Xau, is more of a supporting character in both. This sequel consists mostly of endless slapstick shenanigans; the script seems to be running around in circles - often literally. But the slapstick IS occasionally inventive, the photography-stuntwork-animal integration are all good, the unconditionally positive N! Xau is still great, Lena Farugia displays a legendary pair of legs, and there is a heartwarming ending to everything. **1/2 out of 4.
The Gods Must Be Crazy (1980)
Some unique aspects, others less so
"The Gods Must Be Crazy!", African cinema's biggest worldwide box-office hit ever, is a fairly entertaining mix of ethnographic documentary, slapstick comedy, romance, and action movie. I found the first of those ingredients to be the best: I cannot remember seeing another movie about the bushmen of the Kalahari desert. On the other hand, I do remember seeing movies about vehicles out of control, trigger-happy guerillas, and a clumsy guy trying to win over the affections of a beautiful woman, so those aspects were less interesting to me. N! Xau should be the star of the film, but he stays off-screen for considerable periods of time. That said, Sandra Prinsloo is beautiful and game, and Marius Weyers' Buster Keaton-esque sight gags do produce some chuckles. **1/2 out of 4.
No Man's Land (1985)
Personal study in alienation and disillusionment
Leonard Maltin calls "No Man's Land" a companion piece to Alain Tanner's more acclaimed "Jonah Who Will Be 25 In The Year 2000"; true, it too is an ensemble piece, made by the same director in a similar minimalistic style, but it has no "plot" connection to "Jonah" and lacks its political charge and its surrealistic elements. It is also not as engaging. But it is effectively disorienting (we're never quite sure which side of the French - Swiss border we're on, living up to the title), beautifully photographed (especially at night-time, in the forest), and has some wonderfully introspective moments, like a man describing seeing a woman's soul through her eyes ("it's like a well...you don't see the bottom"). **1/2 out of 4.
La totale ! (1991)
"True Lies" was overblown; this is undercooked
I always thought that the 1994 Arnold Schwarzenegger vehicle "True Lies" was overrated - a step back into more mindless action films for Arnie after the extra-witty "Last Action Hero". Learning that it was a remake of a French film, and that in fact James Cameron has lifted entire sequences almost identically, certainly did not raise it in my estimation. But if "True Lies" was overblown, "La Totale!" is undercooked: it is essentially a slight, old-fashioned marital farce, punctuated by (very) sporadic action - and some unexpected blood squibs near the end. The two leads, Thierry Lhermitte and Miou Miou, are good, but the film is a little flat. Of course it doesn't help that the "official" English subtitles are rather poor, not making full sense at several points (example: "c'est pas vrai" becomes "superway"!). **1/2 out of 4.