If we lived in a perfect world, Police Story would be the archetypal action film all other action films would emulate. But the world is imperfect and most action films are bloated, $100 million plus productions filled with bad dialogue, aging stars, poorly choreographed fights, and CGI removing any semblance of real threat or excitement. And yet, Police Story is almost thirty years old and still excites in the way action movies should.
Police Story doesn’t wait around to give you tons of unnecessary exposition. Right from the start, it spends only a few minutes establishing who the bad guys are, why the cops are after them, and Chan Ka-Kui's (played by Jackie Chan, also the film’s director) moralistic view of his job. And right when they give you just enough info to get involved in the story, you’re treated to a gunfight followed by cars driving through and destroying an entire shanty town followed by Chan Ka-Kui chasing a bus being held hostage by the escaping villains.Continue Reading
American independent cinema has been ghettoized and marketed into a certain type of cinema. Popular types of independent films include low budget digital cinematography about post-collegiate confusion or Indiewood films about “quirky” relationships and situations involving beautiful losers. It's a sea of films that has flooded festivals like SXSW or Sundance that leave great works of independent cinema behind in the dust. So it’s a grand pleasure to have Andrew Bujalski’s Computer Chess emerge out of Sundance, a film that openly breaks these stereotypes and proves that American independent cinema can be exciting, experimental and even fun.
Taking place sometime in the late '70s or early '80s, several groups of professional, amateur and student programmers meet at a motel to compete in a computer chess tournament where computers are pitted directly against one another to see which program has the most advanced AI. But this is almost just an excuse (a mundane MacGuffin?) for a film that takes leaps into computer philosophy, surrealism and hippie hedonism. Bujalski steps out of his comfort zone of painful, singular character based comedies shot on 16mm with a pastiche shot on low-grade video on a Sony AVC3260 (never a gimmick, but an integral part of the aesthetic and feel). Lesser filmmakers would lament and moan about the use of such an anti-cinematic camera and look, but Bujalski and his excellent regular cinematographer Matthias Grunsky revel in it with jump cuts, bad split screen, video errors, and unsynced sound and light that smears like old live television. The first minute or two of Computer Chess start as a faux-documentary with programmers speaking into mics directly into the camera about why they want to win the championship. Jump cut to an audience preparing to sit down in an auditorium while the camera dollies across the audience--until it crashes too hard into the end of a dolly track, causing another jump cut to static. If you were watching this on an old CRT-TV, you’d probably be provoked to slap the TV straight a few times.Continue Reading