Author: KickingK
Date: Sunday June 08th, 2025
Wanna see a bunch of Nazis get fucked up?
Freaky Tales
Of course you do, who wouldn't. Well boy have I got the film for you.
This is a portmanteau film featuring four, based on real-life stories (spoilers), all taking place over twenty fours hours in Oakland, 1987. And it is a blast.
The music is absolutely amazing, it is relentlessly funny, the gore is off the scale, every performance is absolutely nailed. There's a surprise guest cameo appearance from someone who abso-bloody-lutely understands the assignment.
It's a love letter to Oakland. To the eighties. To films. To kicking the shit out of Nazis. To teaching clowns how to juggle. To just having a good time.
An actual riot of a film.
Author: KickingK
Date: Saturday May 31st, 2025
Outdated plot, contemporary and beautiful people
The Wedding Banquet
I've not seen the 1993 film that this is a remake of. It's somehow passed me by despite being a big fan of Ang Lee. So I don't know how much has changed from the original. But good lord this film feels weird at times.
The plot is characterised by the kind of high-concept, situation lead set-up common to rom-coms of the eighties and nineties. But the direction takes a little bit of a back seat, allowing the actors the time and space to make their characters entirely believable, despite the patently absurd (and staggeringly predictable) situations the plot places them in.
And it works. That time and space is where the comedy lives. There are plenty of proper belly laughs that come from nothing more than a sideways glance or muted 'harrumph'. Youn Yuh-jung's grandmother managed to steal almost every scene without even moving her face. Understated, character-led comedy is exactly my kind of thing and this film has it in spades.
If I have a criticism of the film, it's the cinematography. It's very basic and lacks flair. It's arguably not a problem for a rom-com, except... art plays a big part in this film. Both Bowen Yang and Han Gi-Chan play artists whose work is genuinely beautiful and yet the film seems almost completely un-interested in exploring that. Which is an issue when that art plays a part of one characters plot-changing and emotional decision. The moment works, the characters make it work, but it would have been so much more powerful if you saw in the art what that character saw. But the film doesn't give you that opportunity.
But I loved this film. It's relentlessly funny. And I believed in the characters even if I didn't believe in the plot. Beautiful.
Author: KickingK
Date: Sunday May 11th, 2025
Turns out that "Borrowed nostalgia for the unremembered '80s" is great, actually
Lisa Frankenstein
Lisa is a misunderstood, lonely teenager. Her dad doesn't understand her, her cheerleading step-sister doesn't understand her and mental health nurse step mum positively hates her. She spends her free time in a decrepit grave yard talking to the gravestone of a dead poet, whose zombified body she inadvertently resurrects.
Cue journey of self discovery as she tries to hide, fix and date her hot zombie poet boyfriend. The problem being that what Lisa discovers about herself is that she's an absolute dick.
And this is what makes this film an absolute riot. Whilst Lisa is always entirely relatable (all of us were a this self obsessed at one point in our teenage years), watching her gradually embrace her new found self confidence to the point of serial murderer is glorious.
A Diablo Cody script being sharp, warm, funny and insightful is hardly a surprise. But Zelda Williams 80's-to-the-Max aesthetic really is. It's not nostalgic as she doesn't remember the eighties. Instead, she leans into the idea that this is an eighties teen comedy made by someone who's never experienced the actual eighties and instead has pieced together what it was like from pop-culture. It's familiar but new and I loved it.
One of the films of the year for me, an absolute belter.