amesmonde
Joined May 2002
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Gina Hayes, a grieving mother driven to vengeance after her young son is killed in a Yakuza crossfire. Identifying the killer only by a distinctive blue tiger tattoo, Gina infiltrates the Japanese underworld of Los Angeles, seeking retribution.
Director Norberto Barba's 1994 offering Blue Tiger rises well above standard straight to video fare, delivering a moody, atmospheric thriller that's executed with care and style. Christopher Walling's cinematography brings an unexpected polish to the production, capturing the neon-lit streets, murky backrooms, and shadowy interiors with a noir sensibility. Despite its modest budget, the film's visual style and pacing enhance the gritty tone throughout.
Virginia Madsen gives a strong, driven performance, convincingly charting Gina's transformation from heartbroken mother to vengeful huntress. Toru Nakamura oozes sleek menace as Seiji, while Ryo Ishibashi (also seen in American Yakuza) lends subtle gravitas as another figure in the Japanese underworld. Harry Dean Stanton turns up in an extended cameo as a tattoo artist, adding reliable presence, while an uncredited Michael Madsen cameo adds a familiar face for genre fans. The supporting cast features Yuji Okumoto (The Karate Kid Part II) as a sharp detective and Dean Hallo, known for his role as a henchman in Teenage Mutant Ninja Turtles, adding to the film's characterful line-up.
Though Blue Tiger saw only a direct to video release, particularly in the UK, it stands out for its simple yet effective story, written by Takashige Ichise and Joel Soisson, its atmospheric visuals, and confident execution.
Overall, a solid, stylish slice of 90s neo-noir revenge, and one that's worth seeking out.
Director Norberto Barba's 1994 offering Blue Tiger rises well above standard straight to video fare, delivering a moody, atmospheric thriller that's executed with care and style. Christopher Walling's cinematography brings an unexpected polish to the production, capturing the neon-lit streets, murky backrooms, and shadowy interiors with a noir sensibility. Despite its modest budget, the film's visual style and pacing enhance the gritty tone throughout.
Virginia Madsen gives a strong, driven performance, convincingly charting Gina's transformation from heartbroken mother to vengeful huntress. Toru Nakamura oozes sleek menace as Seiji, while Ryo Ishibashi (also seen in American Yakuza) lends subtle gravitas as another figure in the Japanese underworld. Harry Dean Stanton turns up in an extended cameo as a tattoo artist, adding reliable presence, while an uncredited Michael Madsen cameo adds a familiar face for genre fans. The supporting cast features Yuji Okumoto (The Karate Kid Part II) as a sharp detective and Dean Hallo, known for his role as a henchman in Teenage Mutant Ninja Turtles, adding to the film's characterful line-up.
Though Blue Tiger saw only a direct to video release, particularly in the UK, it stands out for its simple yet effective story, written by Takashige Ichise and Joel Soisson, its atmospheric visuals, and confident execution.
Overall, a solid, stylish slice of 90s neo-noir revenge, and one that's worth seeking out.
Two neighbouring families attempt to survive the first night of a zombie outbreak.
Feast director John Gulager helms Zombie Night (2013), one of the better SyFy/Asylum outings-an under-the-radar undead flick that, while flawed, still has a little bite. With a score by Alan Howarth (of Carpenter collaborator fame) and shambling Romero-style zombies, the film has enough going for it to warrant attention. Unfortunately, it's let down by a flat, made-for-TV aesthetic (despite its 1.78 : 1 aspect ratio) and a cacophony of unnecessary screaming that drags it into DTV territory. That said, the lighting, Damian Horan's cinematography, and use of practical locations lend it some much-needed atmosphere.
Leading the cast are '80s stars Anthony Michael Hall, Daryl Hannah, and Alan Ruck-each delivering grounded performances that rise above the material. The night-bound premise is intriguing, and Gulager's love for Romero's mythos shows. Zombies don't run-they creep. You don't turn from a bite; you turn from death. Classic rules. As a possible homage, this could have been marketed as Night of the Living Zombies, with moments lifted straight from Night of the Living Dead and a similarly clothed zombie and attack echoing Uncle Rege from the 1990 remake. It also borrows from Romero's Diary, Dawn and Day of the Dead.
There are some decent gore effects, especially for an Asylum production, with creepy undead, and moments of genuine tension-particularly in the greenhouse and cemetery-set finale. But a lack of visual polish and character reactions dull what could've been a tight, small-scale horror.
Overall, a missed opportunity, but still one of Gulager's more watchable post-Feast efforts. Strong leads and solid zombie work, but ultimately held back by its shrill tone and TV aesthetic.
Feast director John Gulager helms Zombie Night (2013), one of the better SyFy/Asylum outings-an under-the-radar undead flick that, while flawed, still has a little bite. With a score by Alan Howarth (of Carpenter collaborator fame) and shambling Romero-style zombies, the film has enough going for it to warrant attention. Unfortunately, it's let down by a flat, made-for-TV aesthetic (despite its 1.78 : 1 aspect ratio) and a cacophony of unnecessary screaming that drags it into DTV territory. That said, the lighting, Damian Horan's cinematography, and use of practical locations lend it some much-needed atmosphere.
Leading the cast are '80s stars Anthony Michael Hall, Daryl Hannah, and Alan Ruck-each delivering grounded performances that rise above the material. The night-bound premise is intriguing, and Gulager's love for Romero's mythos shows. Zombies don't run-they creep. You don't turn from a bite; you turn from death. Classic rules. As a possible homage, this could have been marketed as Night of the Living Zombies, with moments lifted straight from Night of the Living Dead and a similarly clothed zombie and attack echoing Uncle Rege from the 1990 remake. It also borrows from Romero's Diary, Dawn and Day of the Dead.
There are some decent gore effects, especially for an Asylum production, with creepy undead, and moments of genuine tension-particularly in the greenhouse and cemetery-set finale. But a lack of visual polish and character reactions dull what could've been a tight, small-scale horror.
Overall, a missed opportunity, but still one of Gulager's more watchable post-Feast efforts. Strong leads and solid zombie work, but ultimately held back by its shrill tone and TV aesthetic.
In 19th-century Europe, a young estate agent named Thomas is sent to a remote Transylvanian castle, only to discover its reclusive occupant, Count Orlok, has dark intentions-unleashing a plague-like curse that brings obsession, death, and dread back to his homeland.
Based on Nosferatu: A Symphony of Horror by Henrik Galeen and Dracula by Bram Stoker, Robert Eggers' Nosferatu is a shadow-drenched, atmospheric remake that honours the 1922 classic while adding his visual flair. Louise Ford's great editing interestingly adds to the transitions and story, even at times emulating Hammer Horror as well as the original film.
Though the Bram Stoker-inspired beats may feel overfamiliar and slow, it never loses sight of its source, offering a vivid interpretation with a sexual edge. The production values are high. From towering gothic castles, villages, and forests to fog-drenched streets and harbours, the film's settings are gorgeously grim, courtesy of cinematographer Jarin Blaschke. With great effects and costume design, it has reverence, grit, and style.
An unrecognisable Bill Skarsgård with intense 'Mad Monk' Grigori Rasputin vibes, brings an unsettling, near-feral energy as Count Orlok, while Willem Dafoe delivers a magnetic performance as Albin, laced with quirkiness. Lily-Rose Depp offers a tragic elegance, and Nicholas Hoult is solid as the tormented Thomas. Simon McBurney impresses as Knock, bringing a twitchy intensity, but it's Ralph Ineson in a surprise turn who steals scenes with commanding presence as Dr. Wilhelm Sievers.
Overall, backed by an eerie, swelling score from Robin Carolan and strong performances, Nosferatu does what it says on the tin and is worth a watch.
Based on Nosferatu: A Symphony of Horror by Henrik Galeen and Dracula by Bram Stoker, Robert Eggers' Nosferatu is a shadow-drenched, atmospheric remake that honours the 1922 classic while adding his visual flair. Louise Ford's great editing interestingly adds to the transitions and story, even at times emulating Hammer Horror as well as the original film.
Though the Bram Stoker-inspired beats may feel overfamiliar and slow, it never loses sight of its source, offering a vivid interpretation with a sexual edge. The production values are high. From towering gothic castles, villages, and forests to fog-drenched streets and harbours, the film's settings are gorgeously grim, courtesy of cinematographer Jarin Blaschke. With great effects and costume design, it has reverence, grit, and style.
An unrecognisable Bill Skarsgård with intense 'Mad Monk' Grigori Rasputin vibes, brings an unsettling, near-feral energy as Count Orlok, while Willem Dafoe delivers a magnetic performance as Albin, laced with quirkiness. Lily-Rose Depp offers a tragic elegance, and Nicholas Hoult is solid as the tormented Thomas. Simon McBurney impresses as Knock, bringing a twitchy intensity, but it's Ralph Ineson in a surprise turn who steals scenes with commanding presence as Dr. Wilhelm Sievers.
Overall, backed by an eerie, swelling score from Robin Carolan and strong performances, Nosferatu does what it says on the tin and is worth a watch.