It’s probably not the case that all Thai movies are deliriously loopy; my sample size of three is far too small. However, The Bodyguard is deliriously loopy. It’s like a goofy 80s Hong Kong cop movie, except much more so. I wanted to see this one because it stars Petchtai Wongkamlao, aka Mum Jokmok, who was in the incredibly cool Ong Bak. Phanom Yeerum, the lead from Ong Bak, has a cameo appearance as well. Alas, his cameo is the only serious martial arts moment in the movie — the Riverdance sequence later on doesn’t really count — and The Bodyguard is emphatically more of a comedy than an action movie. Think Chris Rock, but without Jackie Chan around to provide butt-kicking. ...

I figured Into The Mirror was going to be just another postmillenial Asian horror film. (How quickly we become jaded!) Turns out it’s a cop movie about the redemption of a man who got his partner killed and now labors as a security guard. His story just happens to take place in the context of a clever slasher movie with Asian horror elements to it. The lead, Ji-tae Yu, was the antagonist in Oldboy, and while I didn’t like Oldboy that much, I remember thinking he was good. I’m coming perilously close to having enough of a handle on Korean cinema to go out hunting obscure DVDs. Gotta keep a handle on that tendency. ...

That was kind of like finding a string quartet in the middle of a Metallica album. (Yes, I know.) After two days of gleeful carnage, sudden action, and low humor, Robot Stories came along and provided two hours of gently humanistic science fiction. There’s science fiction as the literature of ideas, in which the driving force is the concept; then there’s science fiction that uses the tropes of science fiction to tell stories that couldn’t exist in the world in which we live. Greg Pak’s movie is the latter. The best of the four independent segments is the last, “Clay,” which tells the story of a dying sculptor grappling with the possibility of uploading himself and finding immortality. It’s a common enough science fictional concept, but the segment is not about the implications of uploading — although Pak clearly understands them — it’s about the implications of the human decision to upload or not upload. ...

Toolbox Murders starts out as a simple slasher flick, then takes a sharp right turn into semi-Masonic horror. But the slasher element never gets too far away. Basic plot: nice young couple moves into creepy apartment building with alchemical symbols on the floor. People die. Wife discovers something she will regret discovering, and explores it. That last bit is the sharp right turn, and if you’re the kind of person who really liked the house in The Blair Witch Project and that cave in Jeepers Creepers, you’d really like the places this movie goes. ...

The biggest obstacle in the path of machinima is the lack of expressiveness in 3D game engines. Of course, Malice@Doll’s characters were completely without expression, so maybe it’s not such a big barrier after all. Red Vs. Blue gets around the problem by using characters in powered armor. This works out just fine. Burnie Burns, the director and creator, has enough of a handle on what he’s doing to pull off double-takes, both in the character animations and with the camera, which is more than I can say for some traditional directors. He’s got the chops to make machinima believable as cinema. He also knows how to protect his weaknesses: for example, shaky voice acting is fixed up by filtering everyone through radio static, which makes perfect sense in the powered armor context. ...

OMG Cutie Honey OMG. How sad I am that I would not have seen this epic were it not for the cancellation of Porco Rosso. OMG. I am fairly certain that, during the making of this film, not once did anyone say “We shouldn’t do that because it’d look goofier in live action than on the comic book page.” I think that there was no restraint involved in the making of this movie. Restraints, perhaps, but not restraint. ...

Was that another day? I think so. I lost track of reality around the time I walked out of Harry Knuckles and the Pearl Necklace, which drew so heavily on action movies and the vocabulary of action established by Hong Kong kung fu movies, and walked into Executioners From Shaolin. When I woke up this morning, I expected the television to speak to me in Japanese. I’ve seen movies in four languages and trailers in a couple more, and I’m not even talking about the cinematic vocabularies I seem to be obsessing on in other posts. ...

Malice@Doll. Uh. Fetishistic 3D CGI adult anime set in a future without people. Malice is a sex doll who encounters some sort of monster that changes her into a human and gives her the ability to do the same to other machines. There are tenticular penises involved, sometimes, but not always. Things do not go as well as the newly human Malice had hoped. I think it was some kind of allegory for the danger of letting women and robots get uppity, although Malice does get to transcend at the end. Everyone else goes back to normal, though. A fair number of people walked out during the movie, and Hillside Strangler has been displaced as the worst movie I’ve seen so far.

Nothing like seeing a pristine copy of a Shaw Brothers film on the big screen. I think the colors were a little less saturated and the picture was a little more crisp than those on the DVDs I have; I expect the digitization process accounts for both of those. I wouldn’t really say I prefer either. Either way, I’m getting the superb kung fu and the dramatic period pieces and all. ...

Harry Knuckles and the Pearl Necklace is an example of a semi-pro film that sort of works, unlike Hillside Strangler. The acting is kind of painful and the script is too full of action movie in-jokes that go on too long, but the tongue is in the cheek and the totality is fairly enjoyable. Besides, “Smells like fish — tastes like pain” is a great line, so that’s all good. ...