Crocodile (1979) [REVIEW] | Thai Croc Jaws #sharksncrocspartdeux

Can’t get more basic than “Crocodile”, not “killer”, not “mutant”, nor “apocalypse”, just your plain old reptilian creature to not be confused with an alligator.

Which is arguably kind of a lie, since this is an obscure Thai monster movie that was made – in unison – “to ride Jaws’ coat-tail”. I don’t even do this on purpose, there’s that big a chance even killer croc movies somehow can be linked back to it, either due to the decade of their release or the basic plot structure and popularized cliches.

Often it’s both, as “Crocodile” was released just years after Jaws rocked the box office, AND the plot it’s virtually identical… or is it?

Not to be confused with a 1978’s Korean movie also with the international title of “Crocodile”, from which this 1979 Thai film is edited from… and by that i’d say it borrows some stock footage from the 1978 one, i don’t know to what extend, since i couldn’t find a copy of the 1978’s film, because i do believe these are two different – yet almost identical sounding – movies, not one and the same.

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12 Days Of Dino Dicember #22: Tyranno’s Claw (1994)

Time for something very obscure and very fun, with some history behind it, too, because when i think old monster movies from Korea, my mind goes immediatly to good old Pulgasari/Bulgasari.

And guess what, i’m gonna give myself a pat on the back, and you might too, since in 1994 the director of D-War: Dragon Wars and Yonggary (the 1999 movie, itself a remake of 1967’s Yongary, Monster From The Deep), Shim Hyung-rae, caught wind of the international dinosaur-mania, so he concocted one of the most peculiar and strange kaiju films ever committed to celluloid, Tyranno’s Claw, far from the obvious Jurassic Park mockbuster the year of release might suggest.

Even though there IS a “goat scene” …. this is something else indeed.

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[EXPRESSO] Broker (2022) | “Your Baby, Delivered To You, In A Box”

I was miraculously able to watch a preview screening for this one, which competed in this years’ Cannes Film Festival, and is a South-Korean drama directed and written by Hirokazu Kore-eda, better known for Like Father, Like Son, Shoplifters, Maborosi, also director of The Truth/La Veritè, a french film starring a very international cast and his first movie not set (or filmed) in Japan.

Given the director’s well known penchant for family dramas, it’s not surprising his new film it’s about the theme of family, but here touched upon in a more unique way, as it involves a woman who leaves her newborn in a baby box, only to be stolen by child traffickers with a proven scheme.

The mother of the child does come back, tracks down the two traffickers, but instead of ratting them out or worse, she decides to go along on a roadtrip with them so to interview potential new parents for the baby. But eventually this unusual crew is finally tailed by two police officers that are also investigating a murder…

If you’re expecting this to turn into a Hangover style roadtrip movie, you clearly haven’t been paying attention to the premise i just wrote, because rest assured that Zach Galiafinakis isn’t gonna show up and play a mentally challenged manchild, as Broker deals with the themes of child abandonment, criminality and family as seriously as you would expect from a movie that touches upon such serious and real situations.

Though, it manages to sport a surprising amount of levity and tender moments, quite needed in this delicate drama about murder, pregnancy, adoptions, etc, because Broker it’s good & depressing. Quite depressing, but not entirely hopeless.

My kind of movie… though Broker felt a bit longer than necessary, for me.

Still, a solid, good drama.

Ninja Of The Magnificence (1988) [REVIEW] | Monk VS The Ninja Slavers

Also known as American Ninja: The Magnificent, would it really be a 80’s ninja movie from the depths of Godfrey Ho’ “ninja mines” if i didn’t have at least one alternative title? And didn’t have a guy named “Elton Chow” in it?

Yes, this is the 100 % new ninja movie review i promised, and i hope you’re still hungry for Filmark/IFD Film and Arts brand of ninjaxploitation shit, because there’s more, there’s always more.

This one though it’s arguably one of the better known of the bunch, thanks to it being more widely distributed and also happening to be one of the more fun of these “cut-n-paste” cinematic meatloaf servings, as it features Brad Jones’ beloved obscure actor Pierre Kirby, taking the mantle of the ninja protagonist that otherwise was mostly worn by a very reluctant Richard Harrison.

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[EXPRESSO] #Alive (2020) | SNS Zombies

No cinema for me this week, so guess i’ll dust off Netflix, see and review this new korean zombie movie, which comes with the hashtag already built in the title. The plot sees a streamer in Seoul waking up and logging on to do some online gaming (he’s shown playing PUBG), only to hear people chatting of something weird being broadcast on tv, and soon enough even in the very streets below him, as a zombie virus of sorts spreads.

He’s forced to barricade himself home, trying to use his tech savviness to understand what is exactly going on outside, all made harder by scarce rations and social medias (or the reception for phones) not working most the time.

It’s better than i expected, and being set in “the now” you get to see fun stuff like zombie (of the running and “contorsionist” variety) getting attacked by drones’s eliblades, and there are some cool action scenes, production values are fairly decent-good, same for the special effects. Problem is, there isn’t too much to the plot, there’s enough, but nothing special, and after a fairly fast start, the movie suffers from pacing problems.

I understand it would be more realistic to see characters barricade themselves into their apartments, and while this is to feed into the “surviving days and days into a zombie apocalypse”, this kinda backfires, as the plot doesn’t really moves forward or backwards, and it’s not until the third act where it picks up again. Thankfully the characters are likeable, given how much time you spend watching them try to communicate or concoct a plan, but they’re not good enough to gloss over the fairly typical twists and turns of the narrative. Not even with some cool “hip” music.

Decent, worth a watch, for sure, but nothing special.