[youtube https://www.youtube.com/watch?v=suyruCTA2I4&w=640&h=360]
There are certain directors whose new movies should be cause for jubilation. One of them, without any argument, should be the legendary cult Chilean filmmaker Alejandro Jodorowsky. Once the premiere filmmaker for the beautiful philosophies and absurdities one would associate with the surreal (and predating those like David Lynch and Nicolas Winding Refn, who Jodorowsky would eventually become a mentor of sorts to) with films like El Topo and Santa Sangre, Jodorowsky took an extended period of time off after his last film The Rainbow Thief took a harsh toll on him. When it seemed he would only be a fixture on the Q&A circuit, in 2013, Jodorowsky made an audaciously triumphant return with The Dance of Reailty (La danza de la realidad), the first in a multi-part autobiography of sorts mixing philosophies and styles together. As the second entry in the anthological series, Endless Poetry (Poesía sin fin) demonstrates, the story’s really getting fired up and the man behind the camera is still firing on all cylinders.
Beginning immediately where the introductory title ended – a family standing on a small boat heading into an uncertain future as cardboard cutouts of the people they’ve interacted with “wave” goodbye – the Jodorowskys have relocated from their home of Tocopilla to the Chilean capital of Santiago, where father Jaime (played again by Jodorowsky’s eldest son Brontis) has demonstrated the empathy he discovered in his earlier endeavors was short lived when he subjects two diminutive customers to an especially demeaning abuse outside his shoe store early on, something that carries over into his daily family life. Young Alejandro (also returning is Brontis’s son Jeremias Herskovits to play his grandfather as a younger man) has come to that point all youths reach in life where he’s ready to break away from his father’s near tyrannical ideals of life and lead what he feels destined for.
Fate, and the advice of the director himself, lends a helping hand in the form of a book of Federico García Lorca’s poems, scratching the itch this artistry has left Alejandro with. Jaime, refusing to let his son grow up to become a maricon (you’ll have to look the meaning up on that one for yourselves), forbids the pursuit and demands his son become a doctor in the only way he knows how: harsh intimidation and a psychological effect that’s one of the film’s most visually comedic set pieces. Alejandro’s response: to run away from home, boarding with a group of performers and artists who help him navigate his burgeoning adulthood and what lies ahead on the road to becoming a great poet. As a young adult – beautifully played by Jodorowsky’s youngest son Adan, also serving as the film’s composer – a voyage of adulthood is charted through the bastions of life that will define the man Alejandro becomes, both on and off camera.
First off, homage is demanded for Jodorowsky. Much like its predecessor, Endless Poetry, with such a beautifully opulence and absurdity that ranks with the very best of his oeuvre, is well on its way to becoming part of one of the most ambitious experiments ever committed to narrative film. The idea of an artist using his preferred medium to explore their backstory and those events that shaped their lives is not unheard of, but Jodorowsky, well into his 88th year and armed with quite the storied life, is railroading past the set expectations and, thankfully, showing no signs of stopping. Armed with the lush imagery of legendary cinematographer Christopher Doyle, the exaggerated yet meticulously crafted costumes designed by his wife Pascale and his own stylish reimagining of 1940s Santiago, Jodorowsky’s vision is quite the whimsical experience that further reflects his place as one of international cinema’s most foremost artists.
But there is also the darkness that humanity’s penchant for whimsy is intertwined by, both from the the threat of the changing political climate to the behaviors of close friends and family. A good portion of the film where Alejandro discovers his sexuality, after earlier acknowledging his own heterosexuality at the cost of a friendship with a lovelorn cousin who ultimately comes to a less than whimsical fate, when taking tempestuous poet Stella Díaz Varín as his lover goes to be one of Endless Poetry’s most meditative and provocative sequences. Not because of some deeply philosophical idea about poetry and art broached by the story, but Jodorowsky’s decision to have Pamela Flores, the same actress playing Alejandro’s musically oriented mother Sara (which she also reprises here), play Varín. Much like The Dance of Reality, there’s a certain life that comes to Endless Poetry when Ms. Flores is on-screen, be it as mother or “whore.” Here, with her vibrant crimson locks, theatrical outfits and Fellini-esque tattoos and body paints, it is the embodiment of white-hot passion, rage, jealousy and a perverse beauty that will no doubt inform Alejandro’s talents as poet and inevitable filmmaker.
Once Varín leaves the picture, Alejandro’s relationships with poets like Enrique Lihn (Leandro Taub) and Nicanor Parra (Felipe Ríos) come to be as tempestuous as the ones built on love for their conflicting natures and ideals. The former is constantly undermined by the decisions he’s made in life – and those life has made for him – while Parra comes to believe the world cannot be salvaged by art, preceding a chilling moment where the Chilean people come to support the Nazi-like President Ibañez, waiving swastika flags and adorned in masks blurring actual identity from nationalist idealism. Jodorowsky isn’t afraid to comment on the dark hours of a nation’s descent into madness, but rarely does it feel as raw as it does in these moments, especially when considering what will follow.
The cult heroine Auntie Mame once proclaimed “Life is a banquet and most poor suckers are starving to death.” When it comes to Mr. Jodorowsky’s visual poetry, whether it’s endless or isn’t, it is a banquet that gives its admirers plenty to gorge on and still overwhelm the sensations. And, much like its young protagonist disappearing into a fog of uncertainty, Endless Poetry ends on a note of uncertainty and melancholy for what came before, but acknowledging there’s still beauty in life to be found beyond the fog bank, just as there’s beauty and whimsy to be awed by in what lies ahead in the next three chapters of Jodorowsky’s magnum opus.
Endless Poetry is currently playing in limited release and will be expanding out from ABKCO Films over the course of the summer.
By William Coffey
Director: Adhik Ravichandran
Starring: Ajith Kumar, Arjun Das, Trisha, Simran
Genre: Action / Crime Drama
Rating: 4.5/5
“Good Bad Ugly” centers on Red Dragon (Ajith Kumar), a notorious gangster who chooses to surrender himself in the hopes of turning over a new leaf and reuniting with his estranged son. However, when unforeseen threats emerge, Red Dragon is forced to step back into the dangerous underworld to protect the only family he has left.
“Good Bad Ugly” plays to the strengths of Ajith Kumar, delivering a fan-pleasing portrayal of both his vintage villainy and his matured emotional depth. Ajith’s powerful screen presence, coupled with his iconic voice, shines against Arjun Das’s brooding and intense new-age antagonist, creating an electric old-school versus new-school dynamic. The nostalgic return of Simran is a clever nod to longtime fans, bringing heart and familiarity. Trisha brings a strong, grounded performance as the moral compass in Red Dragon’s life, helping move the emotional threads of the story. The film smartly balances action, comedy, and sentimental fan-service moments.
While the film delivers on fan expectations, its narrative could have benefited from tighter pacing and deeper character development for its supporting cast. Some plot conveniences and an overreliance on nostalgia may limit broader audience appeal beyond the fanbase. Certain dramatic beats felt rushed, leaving little time for emotional resonance to fully land.
The ambition to blend high-octane action with heavy emotional stakes sometimes leads to tonal inconsistencies. At moments, the shift from gritty underworld drama to lighter fan moments feels abrupt. Additionally, though Ajith Kumar’s effort to showcase his dancing skills is commendable and welcomed by fans, it slightly disrupts the otherwise darker tone the film establishes.
“Good Bad Ugly” is a tribute to Ajith Kumar’s enduring legacy, offering vintage thrills while teasing new dimensions to his craft. It’s a solid entertainer that successfully taps into fan nostalgia while hinting at an exciting evolution for AK. While not without its flaws, the film’s heart, energy, and performances make it a must-watch for fans and a compelling action-drama for broader audiences.
In these uncertain times, you can’t beat a good old-fashioned horror movie. Unfortunately, Presence is not an old-fashioned horror movie. Yet, as I discovered, this is a good thing!
When I heard about the premise of this movie, I was intrigued. The stylishly subtle trailer was, appropriately, haunting. And was that Lucy Liu? A haunted house movie from the perspective of the ghost? As a seasoned horror movie buff, I was all in!
Like the majority of people I missed the films brief theatrical release. Luckily I was able to catch it on streaming. Visually the film is easy to enjoy from your own home, as it’s rather cosy looking. I never thought I’d be describing a horror movie as ‘cosy’ looking but it’s true! This is not a James Wan type creepy, dusty, decrepit house harbouring a haunting. No, this is a 100 year old jewel toned, oak finished colonial style home.
Despite this the story follows the beats we are all familiar with: troubled family of four move into a new house. The big deviation from the trope is we, the audience, are seeing events unfold from the POV of the ghost or presence.
Director Steven Soderbergh (Ocean’s Eleven) chose to film the entire piece using a small (14mm) hand-held digital camera. Soderbergh himself acted as the ‘presence’ following the actors around. From the audiences perspective it is like watching the family through a barrier or pane of glass. Cleverly, windows and mirrors are hugely prominent and integral throughout.
The presence mainly follows and tries to interact with the daughter of the family, Chloe (Callina Liang), who has recently suffered the trauma of her best friend dying suddenly. Through Soderbergh’s experimental filming, we feel the dysphoria and frustration the ‘ghost’ is feeling at trying to affect the world around it, particularly during the anxiety-inducing final scene!
However, in what could be yet another mismarketing of a film, the trailer promised to be the ‘scariest movie you will see this year’ and ‘terrifying’; instead, they delivered this subversive, character-driven, family drama. If you are expecting jump scares and dramatic music stings, this is not your movie. I could understand if someone was disappointed that the only seemingly scary thing is the mother’s and son’s relationship, right up until the gut-punch of the final scene.
Presence is definitely a slow burn, tension building until the final scene, and the unveiling of the ‘presence’ giving us a new understanding of the whole story. The ending is disturbing and stays with you as you re-analyse earlier scenes.
My one complaint is that the character Ryan (West Mulholland) with his Chesney Hawkes hair, perhaps needed more subtlety. The rest of the cast was completely solid and believable as a family with so many unspoken issues.
I wouldn’t recommend this film for everybody but maybe be as so bold to say it’s a horror movie for people that don’t like horror movies. It’s well-lit and cerebral with realistically flawed characters.
Presence is available to stream.
Three and a half stars.
Genre: Action, Fantasy, Martial Arts, Historical
Runtime: Each episode runs approximately 20-30 minutes
Director: Lin Hun (also the Creator)
Studio: Samsara Animation Studio
Main Voice Actors (Chinese Cast):Liu Zhi Shi as Wen Ren Yu Xuan Zhou Qi as Shen Nong Fang Yuan as Xuan
Overview
Fog Hill of the Five Elements is a breathtaking Chinese anime (donghua) that merges traditional Chinese ink-painting aesthetics with high-intensity martial arts action. Created and directed by Lin Hun, this series delivers a spellbinding visual experience that rivals, and in many ways surpasses, mainstream Japanese anime. Produced by Samsara Animation Studio, the anime is a labor of love, known for its hand-drawn animation and meticulous detail.
Set in a mythological world where elemental beasts roam free, the series follows the Five Elemental Envoys tasked with protecting humanity. The story focuses on Wen Ren Yu Xuan, the Fire Envoy, whose actions set off a chain of events threatening the delicate balance between humans and beasts. The tale is steeped in Chinese folklore and myth, weaving a complex narrative of duty, power, and sacrifice.
Without question, Fog Hill of the Five Elements is one of the most visually stunning animated series in recent memory. The blend of traditional Chinese ink wash painting with modern dynamic action scenes is masterful. Every frame looks like a moving scroll painting, with fluid character movements and kinetic fight choreography that puts many mainstream series to shame.
The characters are deeply tied to traditional archetypes found in Chinese legends but are fleshed out with emotional depth and conflict. Voice acting by Liu Zhi Shi, Zhou Qi, and Fang Yuan brings authenticity and gravitas to their respective roles. The dialogue is steeped in poetic language, enhancing the mythic feel of the story.
The soundtrack complements the epic visuals with traditional Chinese instrumentation mixed with modern elements. The sound design heightens the impact of every battle and emotional moment.
Rating: 9/10
Fog Hill of the Five Elements earns a 9 out of 10 for its groundbreaking animation style, deep mythological storytelling, and heart-pounding action. The only downside is its limited number of episodes and slow release schedule, which leaves fans craving more.
Pros
- Unparalleled hand-drawn animation
- Unique art direction inspired by traditional Chinese painting
- Rich mythological lore
- Epic fight choreography
Cons
- Sparse episode release
- Story pacing can be uneven at times
Final Verdict 9/10
If you’re an anime enthusiast or a fan of animation artistry, Fog Hill of the Five Elements is a must-watch. Its fusion of stunning visuals, martial arts action, and mythological storytelling makes it one of the standout titles in modern animation. Whether you’re into Japanese anime or Chinese donghua, this series deserves a spot on your watchlist.
Review of “Good Bad Ugly”
Presence: A Horror Movie For People That Don’t Like Horror Movies
Anime Review: Fog Hill of the Five Elements (Wu Shan Wu Xing)
Dammu (2012) Movie Review: NTR Jr. Delivers a Thunderous Mass Action Performance
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Presence: A Horror Movie For People That Don’t Like Horror Movies
Top 10 Unexpected Movies Where The Bad Guy Wins
Review of “Good Bad Ugly”
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Anime Review: Fog Hill of the Five Elements (Wu Shan Wu Xing)
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