It's a glimpse we're made privy to without the distraction of narration or talking heads, too – we're simply watching Dawson City.īill Morrison's doc is a mesmerizing experience for the senses as we fall into the town's past, from financial booms to devastating busts, and as it unspools before us, the story of America and of Hollywood's burgeoning film industry comes equally to life. Their monetary value may not be as impressive as the one associated with piles of gold bars or tombs filled with treasures, but as a glimpse into the past, these treasures are priceless. ![]() ![]() Many of the reels represent the only surviving copies of films, meaning their discovery and subsequent clean-up revealed images thought gone forever. This is entertainment to watch loud, and on as big a screen as you can find.ĭocumentaries don't typically come into play on these lists, but the film reels represent a treasure unlike any other and were thought equally lost. Lee Byung-hun, Song Kang-ho, and Jung Woo-sung bring the lead trio to life, and each of them embodies their chaotic alignments with energy, personality, and charisma. There's still plenty of death, but it feels far less cruel in its execution. Terrifically crafted set-pieces litter the film with small interactions and epic chase sequences across the wide-open landscape.ĭirector Kim Jee-woon is no stranger to cinematic brilliance having also gifted us with the likes of I Saw the Devil (2010) and A Bittersweet Life (2005), but here he applies it to somewhat lighter fare. Seek it out now if that's you: the movie is a beautiful, stylish, and action-packed riff on Sergio Leone's The Good, the Bad and the Ugly (1966) that stakes its claim throughout as more than mere homage. Like Chan's films above, this South Korean masterpiece is far from obscure, but being a foreign language release, it's a movie still not enough people have seen. It's weird, icky, and all part of this bonkers action/adventure. Is there more incest than diamond hunting? Possibly. Later on, he fondles a woman who's been surgically altered to look like his sister and it's a while before he hesitates. Ginty's Bo gawks at his nude sister – she was skinny-dipping, and he yanked her towel away – and wonders aloud about what he'd do if they weren't related. It's not shy about the T&A angle either, but it gives the fleshy bits a twist of sorts in that the focus is usually on some unnerving affection between the siblings. The opening scene offers a slow-motion survival run set to a ballad that ends with a ridiculously irresponsible fire stunt – one of two in the film! From there we cut to the siblings as adults and things get really nuts with Robert Ginty, Fred Williamson, some gory chainsaw attacks, a mysterious surgeon and her cult-like lesbian entourage, lots of gunfire, and a magical diamond that burns people when they touch it. It's poorly made by most standards, but good gravy is it a crazy fun slice of exploitation. Remember when I mentioned iron pyrite in the intro above? Let's just say this absolute gem and objectively bad movie is the fool's gold I was referring to. ![]() This was during the region's heyday of crazy stunts being attempted and achieved without regulation, and while things have come a long way since and the film can and should still be enjoyed, our appreciation comes with the understanding of the cost paid by filmmakers. The relatively long sequence is fantastic and easily among the best boat chase scenes ever filmed as it features speed, jumps, collisions, and genuine thrills. The film's highlight comes with a heavy dose of tragedy, though, as the centerpiece stunt sequence – a wickedly cool boat chase – left three airboat pilots dead when things got out of control during production. The gorgeous New Zealand locales add to the film's appeal as it takes full advantage of the landscape's eye-catching beauty. Helicopters and boats are used in some truly stunning chases, stunts, and set-pieces that keep adrenaline high. This is a simple little adventure tale, but there's such a sense of fun in both the performances – from Donald Pleasance, Ken Wahl, Lesley Ann Warren, George Peppard, and Bruno Lawrence – and the action sequences.
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