Angels Unaware

 This isn't the first time I've seen Charlie's Angels: Full Throttle (2003). Maybe it was before I started blogging. Anyway, now I own a copy (along with original 2000 film). So here goes.

It starts in a roadhouse in Mongolia. Angel Drew Barrymore is drinking some scum under the table while Lucy Liu skulks around. The door bursts open and Cameron Diaz waltzes in with a Fodor's, playing an oblivious German tourist. She is soon up on the mechanical bull with all male Mogolian eyes on her. The other two angels sneak into the cellar to rescue U.S. Marshall Robert Patrick. 

Back home, we get to meet the new Bosley, Bernie Mac (the orignal Bosley, Bill Murray, is his adopted brother). The new mission is to protect or retrieve two rings that together form the key to the Witness Protection database.

As the mission progresses, we discover that Barrymore is in the database herself, under her birthname Helen Zaas (*snicker*). And we finally find out that the bad guy is her old boyfriend Seamus (Justin Theroux). But first we get some beach time, an Xtreme motocross race scene, a trip to a convent dresses as nuns, and the re-appearance of killer psycho Crispin Glover. 

We also get some personal drama. Aside from Barrymore's old flame, Cameron Diaz is moving in with her boyfriend Luke Wilson, making the other angels worry that she will be leaving the team. Also, Liu's dad, John Cleese, comes to visit (she lives in the Lautner designed Sheat-Goldstein residence!). He thinks she's a nurse, but her boyfriend, Matt LeBlanc, makes him think she leads a team of elite sex workers (through a series of misunderstandings).

The action scenes are mostly pretty good. Director McG's music video past is pretty clear, especially in the motocross section. It looked a lot more realistic than I remembered it - the firsst time, I thought it was all video game CGI. 

But, really, the best parts of these movies is the girl power of the stars. A throw-away scene of Diaz dancing to MC Hammer's "U Can't Touch This" with the other angels joining in - that's what the movie is all about. 

Echo Drum Song

Although I must have seen House of Flying Daggers (2004) while this blog was up, it looks like I haven't blogged it. Now that I own a copy and rewatched, I realized that I remembered very little. So here goes.

In corrupt Tang dynasty China, the House of Flying Daggers is a covert rebel group that fights the establishment. Andy Lau of the Imperial Guard assigns captain Kaneeshiro Takeshi to investigate a new dancer at a local pleasure house. This dancer is the blind Zhang Ziyi. Kaneshiro plays drunk and doesn't believe she is blind, so they play the Echo Game: A circle of drums are set up and Kaneshiro flips a bean at one. Zhang must respond by hitting the same drum with her sleeve while dancing. This is pretty much the only scene I remembered. He is so impressed that he assaults her, leading to a raid, and Zhang is imprisoned.

To gain her confidence, Kaneshiro breaks her out of jail and has a mock fight with the guards trying to get her back. It looks like she is falling for it, and will lead him to the leader of the Flying Daggers. But the guards get orders to kill both of them, and start fighting for real. So Kaneshiro begins to doubt his loyalty to the regime.

I'll just drop a big SPOILER here: It turns out that Lau was an undercover Flying Dagger all along, and the whole operation was planned to turn or neutralize Kameshiro (I'm a little fuzzy on that). Oh, and Zhang isn't blind. And Lau and Zhang were lovers, but she's now in love with Kaneshiro. So mixed up!

There are some great set pieces, including the Echo Game, several fights in a bamboo forest, and a final duel in a blizzard. And, although the plot is twisty, I actually could sort of follow it. I guess Zhang Yimou's costume epics are a little easier on Western sensibilities that some

The Haul

I have an extensive collection of  DVDs, and since Netflix DVDs collapsed, I've been using it more and more. So I got to the library booksale as early as reasonable. Here are the books DVDs picked up. 

• Bird of Paradise - See above
• Queen Christina  - Haven't see it yet
• An American in Paris - For every collection
• Flamenco Flamenco - I think we saw this projected on the wall at Foreign Cinema. So sophisticated and romantic. We love Carlos Saura.
• Predator - Ms. Spenser's favorite monster
• John Wick 4 - Ms. Spenser's favorite human
• Minority Report - I want to rewatch, and it's only dollar. What is that in cents/minute?
• The Marvels - Darn it, I like this movie
• Shoot 'Em Up - I mainly remember the part about looking for lactating whores, and Clive Owen flying through the air, gun in one hand, baby in the other. 
• Charlie's Angels 2 - I already have CA1, and I think I like the second even better. The early computer game CGI and lots of Crispin Glover 
• Josie and the Pussycats - Why not?
• House of Flying Daggers - Not in my collection yet. Can watch over and over
• Crouching Tiger, Hidden Dragon - Best in the batch. 

You wouldn't believe what I left behind. The 2000s X-Men boxset (my collection is only missing part 2), the 2005 Fantastic Four (already own it - but looking for Fantastic Four 2 - Rise of the Silver Surfer), Invaders from Mars, ... Maybe I should have gone back. I don't want to be a hard media absolutist or anything, but you can't trust streaming. 

For the Birds

I went to the local library's booksale yesterday, and picked up quite a haul - thirteen DVDs (at $1/each). Most of them were faves that I wanted to add to my permanent collection. I'll make a commented list later. But a few were new to me. For example, I decided to take a chance on Bird of Paradise (1951).

This is a classic tropical romance, filmed in Technicolor, directed by Delmer Daves. It stars Louis Jourdan, a rich Frenchman, sailing to a Pacific isle with his classmate, Jeff Chandler (!), the son of the island's chief. OK, turns out he has a European grandfather, so it's only 3/4 brown face (and hair dye). After an unpleasant meeting with shabby, racist Jack Elam, the ship lands.

Only one ship a year visits the island, and they are greeted by joyous native children swimming out to meet them. This is a big part of why I wanted to see this: it was shot on location in Hawai'i, so there were some real authentic settings. In this scene, the extras were clearly local kids having a ball being in a movie. The joy was real.

One person Jourdan wants to meet is Chandler's sister, dark, blue-eyed Debra Paget. Since she is the chief's daughter, she is taboo, and he can't speak with her. But boy, can they exchange smoldering glances! But he does meet the Kahuna (Maurice Schwartz!), who predicted that a white man would come and bring disaster to the island.

But Jourdan and Paget work their way around the taboo. Paget does a fire walk to show that the gods approve, and they eventually get married. But when the volcano erupts, who do you think will need to appease it?

As I said, this movie is full of authentic (-ish) Polynesian music, dress and customs. Everyone, including Jourdan and Chandler, wear sarongs, there is surfing, old Hawaiian songs and hulas. Also, Louis Jourdan is a fine swimmer, and gets to show it off. Chandler isn't bad either, and has quite the build. But Paget really stands out - smoldering isn't the word for it. Sex just radiates out of her eyes. She can even hula. 

Although this was about as culturally sensitive as you can expect, it still isn't great. Still, it did document real living traditions, especially in the backgrounds and musical selections. Maybe better than, say, Moana.

In conclusion, there were no birds of paradise, either floral or avian, in this movie. 

One Singular Sensation

I've wanted to see Mickey One (1965), but it was kind of hard to find. When it showed up on Amazon Prime, I still took a long while to watch it. I guess I thought it would be a homework movie. But one night, after I couldn't find any bad action or martial arts movies that appealed, I put it on. 

Directed by Arthur Penn, it stars Warren Penn as a successful Detroit night club comic. We see him killing on stage, then drinking, driving his sports car, cuddling with a beautiful woman, and gambling. He also sees some mobsters besting some slob to death. 

He wakes up the next morning and finds that he is in trouble with the mob. He figures he owes them for the gambling - maybe the girl got him drunk so he lost big. OK, so they'l start taking his pay, maybe leave him a little to live on. He asks his manager how much he's owes, and gets silence. A thousand? Ten, twenty? Silence. Was it the girl?  Was she somebody's piece? Silence. How can he get out from under? Silence. He decides to run - his manager tells him he'll have to live like an animal.

So he destroys all his ID, hopes a train to Chicago. He jumps off near a junkyard, where he hears the police talk about the body found in a crushed car. Not really a body, just a smear. He keeps going, picks up a social securit card from a guy who has been mugged, Miklos Wunejeva. He takes it to an employment agency. They give him a disgusting job and tell him he'll be called Mickey One. 

He saves his money, gets some clothes and a place to sleep. He meets a girl who falls for him - he may be down and out, but he's Warren Beatty. He starts checking out the clubs, watches a Dangerfield-type comic (Benny Dunn) and tops his act. The comic greets him as "Brother Rat!' - one of us.

Soon he's getting gigs at some decent clubs. But when the big clubs want to hire him, he's afraid he'll be recognized. But these men, like Hurd Hatfield aren't the type to take no for an answer. 

This is all filmed in a noir/verite/New Wave style. There are touches of absurdity, especially a clown-like man (Katamari Fujiwara) who keeps silently geturing for Beatty to come with him - Beatty assumes it's a trap and ignores him. As far as jokes go, you get the feeling that Beatty is pretty corny, although people seem to go nuts for his act. We really only get a couple of routines. At one point, he tells his girl about his past, making terrible jokes about his terrible life. At the climax, he is alone on stagewith a spotlight on him, and he believes there is a gunman behind the it. He starts riffing: "Whos says I don't have to do this for a living? This sure gives you an appetite... to live!" etc. 

So this is sort of a Godard pastiche, with a touch of Kurosawa (who suggested Fujiwara). It ends with Beatty trying to find any way to get to the mob to plead his case - or even to take his medicine. No one will give him an answer, like Man searching for God. Some call this pretentious. I guess it is, but I like New Wave, black-and-white existential and absurdist movies. So I liked it. 

In conclusion, Beatty is often nasty and paranoid in the movie, This represents cocaine.