Archive | April, 2014

MAKE YOUR MOVE: K-Pop star BoA takes the lead in American-South Korean musical

19 Apr

MAKE YOUR MOVE opened in New York theaters yesterday (April 18, 2014), after circulating in other countries around the world last year. It’s an American-South Korean co-production (shot mostly in Canada) starring Derek Hough, from the TV show “Dancing with the Stars,” and BoA, a Korean pop star who’s had her most significant success in Japan over the past ten years or so. The film is a musical centering on dance (making it a “dancical,” to use a term my daughter introduced to me), and is set primarily in Brooklyn among a subculture of underground dance clubs and assorted acts employing a wide range of dance styles. It was written and directed by Duane Adler, who’s credited with the screenplays for two notable teen dance movies, SAVE THE LAST DANCE (2001) and STEP UP (2006) and two additional dance-themed movies, THE WAY SHE MOVES (2001, TV) and MAKE IT HAPPEN (2008). I went to see this (at a 42nd Street multiplex) without having seen much in the way of this genre (other than the Disney Channel HIGH SCHOOL MUSICAL and CHEETAH GIRLS franchises), so I don’t know how closely it hews to the teen dance formula. I came to this film as a onetime fan of BoA and happen to have a couple of her albums containing song CDs and music video DVDs in my collection. I’ve dabbled a little bit in K-pop (Korean pop music), although my main interest is in J-pop (Japanese pop music). (The BoA albums I have are sung in Japanese.) In any event, MAKE YOUR MOVE is the first American movie with an Asian female pop star in the lead. (NINJA ASSASSIN, 2009, had a male Korean pop star, Rain, in the lead but it wasn’t a musical.)

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VHS Discoveries: Italian Genre Films from Hercules to Bronson

14 Apr

My first exposure to English-dubbed Italian genre films was when I saw TV commercials for “sword ‘n’ sandal” movies when I was a child, including HERCULES, HERCULES UNCHAINED, THE LAST DAYS OF POMPEII and THE COLOSSUS OF RHODES. I didn’t get to see any of these in theaters at the time but would eventually see all of them on TV. The first film of this type I would see on the big screen was GOLIATH AND THE BARBARIANS, starring “Hercules” himself, Steve Reeves, and it played on a double bill with JET OVER THE ATLANTIC, a low-budget black-and-white American thriller set on an airplane, in January 1960, when I was six years old. Two years later, I saw several more Italian mini-spectacles when I began patronizing the Tremont Theater, which offered triple features of movies that had already played every other theater. Among the films I saw there were THE TROJAN HORSE, also starring Reeves; THE MONGOLS, starring Jack Palance and Anita Ekberg; LAST OF THE VIKINGS, starring Cameron Mitchell; and THE MINOTAUR, starring American Olympic athlete Bob Mathias. On March 10, 1963, I saw my first all-Italian double feature, SAMSON AND THE SEVEN MIRACLES OF THE WORLD and WARRIORS FIVE, chronicled here on March 10, 2013 in my blog entry entitled, “March 10, 1963: The Making of a Film Buff.”

(Steve Reeves as Aeneas in THE TROJAN HORSE)

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The Devil Finds Work: James Baldwin Goes to the Movies

5 Apr

I’m always thrilled when a great writer not known for writing about film tackles the subject and applies particular insights that film historians and critics may miss about important films of the past. I already wrote about Gore Vidal’s contribution, Screening History, back on August 2, 2012, not long after Vidal’s death. For this entry, I have retrieved a review I wrote in early 2001 of a book published in 1976 by novelist/essayist James Baldwin (1924-1987) called The Devil Finds Work, which explores Baldwin’s reactions to Hollywood movies over the years. I submitted this review to a print publication, which had enthusiastically accepted my pitch, since the book had only recently been reissued, but I never saw a copy of the publication and never got paid, nor do I know to this day if the review was ever actually published. So here it is, finally seeing the light of day. The complete review follows; the only alterations I’ve made are the restoration of full quotes from the book that I’d initially shortened to meet the required word count.

Baldwin 1

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