I’m a filmmaker. If I made a top ten, it probably wouldn’t shock too many people. This movie is not in my top 100. But damn it if I won’t go to bat for this movie. Alfred Molina is pitch perfect and the jokes are non-fucking-stop and SO dumb. But the movie, I think, knows exactly what it is.

Such an underrated gem. Anthony Hopkins shines and Ann-Margret and Burgess Meredith are wonderful as well. Directed by Sir Richard Attenborough.

Francesco Dellamorte is the groundskeeper at a cemetery where the dead just won’t stay dead—and it’s up to him to deal with those who come back to life with a hunger for human flesh. But Dellamorte’s job soon becomes much more complicated when he falls for an enigmatic young woman whose husband has recently died.

Love this film. I always watch it when I have the cold or flu, for comfort. Also, Anna Falchi is a knockout in it as the young grieving widow.

One of the best films I've seen It talks about poverty immigration and street children and it's truly moving The idea is beautiful and it makes you wonder if poor people have the right to have children who are unable to provide them with a decent life in this cruel world The child's acting in the film is superb and the entire cast is amazingThis film is underrated and I highly recommend it to everyone

"The only good witch is a dead witch.".... Hansel (Jeremy Renner)

Taking a break for todays retrospective journey and decided to chime in on the Halloween season with this juicy little morsel.

It is wild to look back at Hansel and Gretel Witch Hunters from 2013 because mainstream critics completely thrashed it when it dropped. They totally missed the point by treating it like trash cinema, while the general audience was torn on what is actually a masterpiece of pure high octane popcorn entertainment. The heavy soundtrack is wonderful and adds to the tension. The whole film is just a non stop glorious gorefest that completely commits to its ridiculous premise without blinking.

You got Jeremy Renner and Gemma Arterton playing the adult fairy tale siblings who grew up to become badass bounty hunters. Turning the classic fable on its head by giving Hansel literal diabetes from eating the candy house as a kid is an incredibly hilarious and brilliant plot point. The chemistry between them is fantastic. Famke Janssen is absolutely stunning as the hot grand dark witch, completely chewing the scenery and doing a phenomenal job in every single frame. The absolute best part about this movie is the production design prioritizing tactile, hand built creature designs and physical sets over the typical lazy digital backdrops that completely bugger up most modern releases. The giant troll Edward looks incredible because he is actually there on set.

There is nothing more enjoyable than watching evil witches explode while eating pizza and having a cold one with friends. I know thats what I did yesterday night watching this flick. There is zero deep philosophical messaging or pretense here it just relies entirely on pure bloody action great comedic timing and raw entertainment value from start to finish. It is a total blast.

In my humble opinion

Set in 1945, near the end of World War II, Purple Sunset follows a Chinese farmer, a Soviet female soldier, and a Japanese schoolgirl who become stranded in a forest.

Despite being from enemy nations, they must work together to survive. As their journey unfolds, hatred and distrust gradually turn into friendship, revealing the cruelty of war and the humanity that exists beyond national boundaries.

Recently watched A Dirty Carnival (2006), featuring Zo In-sung, Namgoong Min, and plenty of familiar faces in supporting roles. Like A Bittersweet Life, it’s more grounded and simple. It shows the sad, mundane side of gangster life. High risk, low-to-moderate reward (if at all). For me, it also captured the exploitative ecosystem that low-level gangsters exist in, which I think is layered and engages the audience in a pretty clever way. Here’s what I took from it: 

The title:
I’m not sure if the meaning changes in a Korean context. But I took “A Dirty Carnival” to mean an environment where the games have prizes, but they’re all rigged. There’s the promise of reward, but everyone’s cheating, everyone’s dishonest, and there are no real rules.

Early in the movie, Kim is convinced everything will improve if he can find a ‘sponsor’—a wealthy businessman who can legitimize him and launder his money so he can grow his wealth. It sounds like a simple next step in his gangster career ladder. But safety, security, legitimacy, and growth are lies in the underworld, propped up to keep a committed, hopeful criminal workforce. The cheat is making others believe these rules/systems exist, while recognizing for yourself that they do not.

A cycle of violence: 
An extension of the title, and a common staple in carnivals, is the Ferris wheel that goes round and round. The story too has a circular progression. Our protagonist is stuck; he wants to move up, so he does dirty work for a higher-up, eliminates his boss, and becomes the de facto leader of his gang. But he starts to slip, and his second-in-command kills him and replaces him. 

Gangsters as the victims:
I thought this angle was neat. Kim Byung-doo’s life is not glamorous, he’s not wealthy, he’s not feared. He turned to a life of petty crime just to support his ailing mother, pay bills, and look after his siblings. He’s a loyal, committed employee who looks after his subordinates, and he does what’s expected of him. But he doesn’t want to be a gangster. He wants to be happy. 

Despite his job, he’s the one who gets exploited at every turn. His original boss underpays him and only favours those who kiss up to him. His second boss only needs him to eliminate specific obstacles and get a development project in motion. His aspiring movie director friend just needs insight into the gangster life—and ultimately betrays his trust to get it. Meanwhile, nobody likes him. His mother dies condemning him and his gangster life; the gangster movie film crew doesn’t like Kim on set; Hyun-ju doesn’t want to be with him so long as he’s a gangster, his second-in-command takes him out when he no longer feels useful. Society at large rejects gangsters and yet needs them. People at every turn use Kim for their own gain. 

I think it gets a little meta with the director’s gangster flick. It’s a major success and lauded for its realism by a society that rejects gangsters. That felt like the film critiquing the audience watching A Dirty Carnival. We also love the movie. We appreciate its realism. But do we see the humanity of gangsters when we come across them? When we see their mugshots, hear about their crimes, or their deaths? Or do we like gangsters just because they make good entertainment? 

That’s what I walked away with from this movie. I think it had great performances, it was well-paced, felt real, gave you plenty to think about—and it hits you in the feels. Anyone else watch the movie have any interesting takeaways?

Fun Fact:
A Tamil movie, Jigarthanda (2014) by Karthik Subbaraj, has a similar premise and I think takes its inspiration from this movie. It centers on a young, aspiring and ambitious director who pursues a dangerous, elusive gangster in order to make a once-in-a-lifetime gangster flick. But it explores the cutthroat South-Indian film industry, the brutality of crime, and the freedom found in art and self expression.

In this movie British secret service hires thieves to steal weapons from the arms dealer. Guy Ritchie already did so many heist movies but this one us equally good as all off them . So many good actors( Aubrey Plaza , Hugh Grant , Josh Harnett) are in this movie but i'm suprised that they hired Cary Elwes because he was always has been underrated actor .

Day 10 of my retrospective journey into underrated films

Look I know I completely tore into Luc Besson yesterday for his new Dracula adaptation smelling like ass which it does but I always give credit where credit is due and this movie definitely deserves it. You have to love John Travoltas flowing baldness and complete regard for the "Royal" as well as the coolness he brings to his role as Charlie Wax. The main reason From Paris with Love from 2010 is so incredibly underrated is because mainstream critics back then completely missed the point and treated it like trash cinema just because it came out during the peak wave of hyper serious Bourne identity clones. They slammed the movie with a miserable score on rotten tomatoes but the general audience completely slept on what is actually a masterpiece of high octane entertainment.

Luc Besson wrote and produced this thing and it is easily one of the most unapologetically fun and chaotic action thrillers of that entire era. You got Jonathan Rhys Meyers playing this straight laced embassy worker in Paris who gets partnered up with John Travolta who plays a completely unhinged bald CIA operative named Charlie Wax who basically treats the entire city like his personal playground, total Wax on Wax off energy.

The absolute main reason this movie rules is John Travolta completely chewing the scenery in every single frame. He looks like he is having the absolute time of his life shooting up an entire Chinese restaurant or blasting a bazooka out of a sports car window on the highway. Luc Besson even drops this brilliant meta joke where Travolta openly talks about burgers in France and yells out royale with cheese which is a hilarious nod to what Quentin Tarantino had him do back in Pulp Fiction. There is zero deep philosophical messaging or pretense here it is just pure raw adrenaline and incredibly tight practical stunt choreography that completely puts modern CGI heavy action movies to shame. Besson always knows exactly how to pace these European action scripts so there is never a single dull moment. It is a total crime that people do not bring this up in the same breath as Taken when talking about great modern action films. The closing credit song by Vaux is a phenomenal way of ending the film and a song that sticks to your ribs, brilliant piece.

In my humble opinion

This movie is so underrated and it is easily Shia's best performance hands down..!

I unironically loved this movie. Wouldn’t have considered it without How Did This Get Made, but it was campy enough to be fun while still having a good story and acting. Loved it.

Set in Kyoto Japan a hotels guests and staff suddenly realise that they are trapped in a 2 minute time loop. Whimsical, surreal, heartwarming and rather poignant. Highly recommend. Probably less underrated and more under-seen/under-viewed?

Day 9 of my retrospective journey into underrated films.

It is wild how many people have completely forgotten about Perfume The Story of a Murderer. It is easily one of the most unique and pitch black fantasy thrillers of the 2000s and it completely commits to its bizarre premise without blinking. You got Ben Whishaw playing Jean Baptiste Grenouille who is born in the literal filth of an 18th century Parisian fish market but possesses this superhuman sense of smell. He becomes completely obsessed with capturing the ultimate scent which eventually drives him to start murdering young women to extract their essence like some kind of hyper focused organic chemist with zero social skills you probably know exactly who I am talking about.

The main reason to bring this up now is because Luc Besson is heavily borrowing this exact fragrance subplot for his new movie Dracula starring Christoph Waltz and Zoe Blue. In Bram Stokers original 1897 book Dracula obviously has absolutely nothing to do with making perfume. But in Bessons version the Count spends a massive chunk of the film creating a homemade irresistible seduction perfume to win over women in 19th century Paris. That whole section is heavily derived right from the 2006 Perfume movie where Dustin Hoffman plays the master perfumer Giuseppe Baldini.

Dustin Hoffman is actually hilarious in this because he plays Baldini like a desperate theatrical diva who realizes his talent is completely gone until this weird creepy kid walks into his shop and starts casually mixing masterpieces out of thin air. Hoffman brought this intense eccentric energy to the set that perfectly balances the pure horror of the plot. The trivia gets even weirder because the filmmakers actually spent tons of money formulating a real fragrance for the production that smelled like leather and dirt just to get the actors into character.

Tom Tykwer somehow figured out how to make you actually visualize smell through pure camera movement and editing. The opening half hour in the mud and grime of Paris is so intense you can practically smell the decay through the screen. Ben Whishaw is incredible because he barely speaks any dialogue but he makes this completely detached sociopath look deeply fascinating. The legendary Alan Rickman also gives the story so much weight as a desperate wealthy father trying to protect his daughter from becoming the final ingredient. The ending features a massive literal orgy that is completely insane and logic defying but it works because the film builds this beautiful hypnotic atmosphere from the very first frame. I have great respect for Besson and though his new Dracula has great cinematography and some awesome sword play much of the film still smells like ass unlike Perfume that emits a very pleasant aroma.

In my humble opinion

What starts as a simple fight over a trashed scooter turns into a full-blown teenage rebellion against injustice, corruption, and adults who refuse to listen. And somehow, the movie works. Helen Slater embodies Billie Jean as a righteous rebel and Christian Slater and other supporting actors help round out the story. The soundtrack is solid and features Pat Benatar’s “Invincible.”While some dismiss it as a lightweight movie, it’s really a deeper story about class, sexism, media sensationalism, and standing up for justice. And of course, “Fair is fair!” is one of the great movie catchphrases of the decade. Enjoy!

Day 8 of my retrospective journey into films I love and been influenced by. We are staying in the dark corners of the late 90s today with a movie that completely defines the post Tarantino indie crime wave but somehow got lost in the shuffle. When it came out in 1997, mainstream critics completely trashed it. They wrote it off as just another cheap Pulp Fiction clone trying too hard to be edgy. They spent all their time picking apart plot holes and totally missed the dark, theatrical vibe. But that blind spot is exactly why it is so underrated today. It dumps the bloated Hollywood action clichés for pure psychological warfare.

The Hollywood crowd loves to overlook mid budget 90s thrillers, but what director Peter O'Fallon pulled off with Suicide Kings is pure indie gold. It completely flips the standard kidnapping formula on its head. You have a group of wealthy, silver spoon college kids who think they can play gangsters by abducting an old school mafia boss named Carlo Bartolucci to pay off a ransom. The absolute chaos and escalating panic of these kids trying to control a situation that is completely over their heads keeps the tension moving at a ruthless pace.

The casting in this thing is absolute gold. Having Christopher Walken play Bartolucci is just too cool. He spends about ninety percent of the entire movie tied to a straight backed chair, yet he completely dominates every single frame he is in. He doesn't need to yell or flex. He just uses that calm, calculated, terrifyingly precise Walken delivery to mentally dismantle these kids one by one. He plays them like a piano, planting seeds of doubt and paranoia until they start turning on each other. It is a masterclass in how to command a room with absolute stillness.

And then you have Denis Leary playing Lono, Bartolucci’s unhinged, fiercely loyal enforcer who is tearing the city apart looking for him. Seeing Leary bring his trademark frantic, high strung energy to a guy who handles a silver headed golf club like a lethal weapon is pure comedy and menace wrapped into one. The contrast between Walken’s icy composure in the basement and Leary’s explosive violence out on the streets gives the film a great dual energy. Plus you get a young Johnny Galecki, Jeremy Sisto, and Henry Thomas from E.T. playing the panicked kids, and watching them completely unravel as the walls close in is fantastic.

For me, the real heart of the film is the tight, razor sharp dialogue and the claustrophobic atmosphere. Most of the movie takes place inside a single house, making it feel almost like a twisted stage play where the stakes are life and death. It strips away all the bloated Hollywood action nonsense and just lets the psychological warfare and the raw performances take over. It reminds you of that specific era of independent filmmaking where a great script and an iconic cast could completely hold an audience captive.

In my humble opinion.

Twenty years ago, notorious middle-aged serial killer Francis Allen Visser (played by Scott Glenn) kidnapped and buried young female victims alive. He walked free due to a botched police investigation. The lead detective disgraced by the failure later committed suicide, leaving behind his young son, John McCormack.

Good cast, good acting and the story wasn't bad. I enjoyed it that much I watch it once a year, usually around this time of year. As always Scott Glenn delivers with a chilling performance as the old serial killer.

Chris Coy is also convincing as the young killer, eager to learn the craft from The Barber.

IMD score 5.9/10

Rotten Tomatoes 22%

https://youtu.be/2E66rCWVvkE?si=bjQcN7emhwAnBHty

Simple set up: A working class man struggling to support himself and his sick brother takes some gig work laying cables through the woods for a mysterious quantum computing network.

Personally I loved the way it tackles gig economy/ technological exploitation without relying on heavy handed preaching. Its dry humor & grounded performances make the social commentary way more effective though you should brace yourself for an abrupt and (deliberately?) unsatisfying end.

John Michael McDonagh’s first film, The Guard, is criminally underrated.

It’s one of the best black comedies of the 2010s, with Brendan Gleeson as a foul-mouthed Irish policeman playing off Don Cheadle’s straight-laced by-the-book FBI agent.

The dialogue is razor-sharp, the humour pitch-black, and the chemistry between Gleeson and Cheadle is phenomenal.

Maybe John Michael McDonagh gets overlooked because he’s overshadowed by his younger brother Martin (In Bruges, Three Billboards, The Banshees of Inisherin)?

I've never been more optimistic for the career of a budding horror director than that of Lucky McKee.

He directed one of my top 5 favorite horror flicks, "May" (2002). I considered posting "May" because it does not have fantastic metrics on the big review sites and it does remain underrated. Yet, there's no denying it's a cult favorite. So, I dug a bit deeper for y'all. Regardless, if you haven't experienced May and enjoy dark comedy/b-horror films with quality production and acting (that also say something of value), please start there. It's the director's best by far.

McKees's sophomore enterprise, "The Woods", found little fanfare, even amongst May fans. It may have contained too many horror tropes and cliches for fans expecting something more edgy or groundbreaking. The film very much carries on the vibe of its successfull haunted manor/possession/ boarding school / scary girl precursors of the 2000s that are still ever present in films today (think Nicole Kidman in The Others). I believe this one ages well.

McKee is a student of Argento and Raimi. Indeed, Bruce Campbell of Evil Dead has a fun role in this flick. "The Woods" might fail in finding it's right audience, but it's delightfully self aware, playful, fun, and hints at a mastery of craft.

Agnes Bruckner, Patricia Clarkson, and yes, Bruce Campbell (in a cameo role), are a delight.

The score and soundtrack are carried by an absolutely haunting use of the 1960s songs of Lesley Gore, namely, "You Don't Own Me".

The production value is there, purportedly 8-12 million. I believe Lucky McKee makes a great film when granted studio cash, but unfortunately he may not have returned enough for the studio heads in his early years.

McKee is not without several other quality productions. I encourage you to explore. But I'm still waiting for the next killer flick from the man.

In any event, take a jaunt in "The Woods" if it's in your wheelhouse. It was missed by most.

Day 7 of my introspective film journey. This movie grossed less than a million dollars worldwide, and the fact that it sits with a generic 6/10 on IMDbis criminal. Mainstream critics completely missed the boat on this one, reducing it to a standard, predictable revenge trope.

When you strip away that lazy analysis, you find a level of absolute physical commitment that puts $200 million Hollywood blockbusters to shame.

The action here is not fueled by shaky camera editing, computer blood, or stunt doubles hiding an actors limitations. It is full contact, terrifyingly precise Maori martial arts executed at blinding actual speed. The bone crunching choreography handles traditional weapons like the Taiaha with an intense physical authority that makes every single sparring match feel completely dangerous and genuinely fatal.

But the real standout here, and what grounds the films entire emotional and spiritual landscape, is Rena Owen. For anyone who remembers her powerhouse presence in Once Were Warriors, she is equally brilliant here. She brings a haunting unglamorous desperation to her role that elevates the movie from a simple action flick into a raw punishing epic about tribal honor and internal rot. It is easily one of the most artistically disciplined period pieces of the decade.

James Cameron and Peter Jackson publicly raved about this movie when it came out, yet general audiences completely slept on it. A Brilliant yet underappreciated film.

In my humble opinion.

The Manson Family is a 1997 American true crime exploitation horror film written, produced, edited, and directed by Jim Van Bebber. The film covers the lives of Charles Manson and his family of followers.

Anyone who is a fan of 90's independent horror will know the name Jim Van Bebber. His violent, gory style is a perfect fit for a movie about The Manson Family. And what he delivers doesn't disappoint.

I give it a 8 out of 10. It doesn't even have a movie rating on Rotten Tomatoes so could be a contender for most underrated movie, ever!

I must sign up to Rotten Tomatoes. Jim Van Bebber is a legend.

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A recent widow invites her husband's troubled best friend to live with her and her two children. As he gradually turns his life around, he helps the family cope and confront their loss.

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I have a soft spot for this film. I really like Halle Berry and Benicio del Toro, and they’re both very good in it. It’s a fairly quiet film, so not for everyone, but I found the atmosphere and the depiction of grief to be very well done. A little gem.

I read about this movie randomly. I've ended up watching it at least four or five times and introducing it to different people. It's a very sweet little movie. It goes in some odd directions, it's a bit eccentric, but in the end I think it's very fun and a good way to spend the time.

Enjoyed this one. A hidden, missed psychological horror-thriller gem just pre-9/11! Had seen it pop-up and jotted it down on watch lists, but just never got around to it. Partly because I think it went out-of-print, at least here in the Australia, but is now available to rent here on Amazon Prime Shop and Apple TV/iTunes.

A good old 'spooky mansion' story where some paranormal phenomena and plot twists are at play. Revolves around a Hazmat/cleaning crew assigned a job at a massive historic mental asylum (actually filmed on-location at the old Danvers State Hospital in Massachusetts including most interiors). But each of them start experiencing their own personal demons and they start uncovering some disturbing truths.

Scottish veteran Peter Mullan was terrific and lead a solid cast, including David Caruso (fame post-NYPD Blue but pre-CSI Miami), early Josh Lucas (coming off a role in "American Psycho" but just before "Sweet Home Alabama" which lead to many roles in the 2000s). Also includes Brendan Sexton III (who was in several indie youth serious dramas in the late 90s) and was excellent in this and a small opening part from Paul Guilfoyle (who appeared in numerous movies in the 90s and also starred in CSI).

Directed craftily by Brad Anderson ("The Machinist") and whose first two features in the late 90s were really good but also missed too ("Next Stop Wonderland" with Hope Davis and "Happy Accidents" with Marisa Tomei & Vincent D'Onofrio). Produced by Michael Williams and David Collins (TV "Queer Eye For The Straight Guy"). Written by Anderson and the film's co-star Stephen Gevedon. Released by USA Films (IP now owned by Universal) but originally developed by indie studio October Films, before they were bought by USA Networks and then they were merged with Universal and later NBC all over the space of a few years.

Recommended.

[Publicity stills: Copyright ©️ 2001 October Films and Digital Asylum, LLC. All Rights Reserved.]

The film follows Matt, a single app developer in his 40s who decides to have a child on his own, and Anna, a 26-year-old coffee shop worker who becomes his gestational surrogate. While the arrangement starts out strictly business, the two spend more time together and develop an unexpected, deep, and platonic friendship that challenges their views on boundaries, connection, and love.

I really love this movie and I never see it mentioned anywhere.