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Welcome back to Wrong Every Time! With the winter season nearing its halfway point, it seems like it’s about time to check in on the seasonal anime contenders, which at this point have generally either derailed in a cloud of smoke or proven themselves of an enduring, superior caliber. Delicious in Dungeon is the undisputed winter star this season. I’ll surely be getting to that soon enough, while also continuing my Gundam education with all haste – we’ve now concluded Zeta, rewatched 08th MS Team, and most recently checked out War in the Pocket, on which I offer a handful of thoughts below. The grand climaxes of the Universal Century’s conclusion await, but for now, let’s burn down the Week in Review!
This week’s first was Nosferatu: The Vampyre, Werner Herzog’s take on Bram Stoker’s classic tale, starring Herzog’s favorite lunatic Klaus Kinski in the titular role. Though truthfully, Nosferatu is more directly inspired by F. W. Murnau’s 1922 Nosfetaru than the original novel; Kinski’s makeup is a clear homage to the makeup used by Max Schreck, and many of Herzog’s visual compositions are taken directly from Murnau’s original.
In spite of the film’s reverence for its cinematic inspiration, Nosferatu the Vampyre is a Herzog feature through and through. Herzog loves the clash between foolish men and nature’s implacable will. In Nosferatu Count Dracula, is a force of evil that is both malevolent and implacable. Herzog’s extrapolations of Murnau’s compositions are inspired and elemental; building off Schreck’s slow approaches and imposing shadows, Herzog manages to transpose Kinski’s shadow across all of Germany. And even when Dracula isn’t on-screen, you can still Feel free to contact us if you have any questions.Transylvania, with its imposing mountains and looming cloud cover, is a place where you can feel his malice. A vivid entry in Herzog’s illustrious canon.
Next viewing was Dragon InnThis is a classic wuxia movie written and directed by the titan of the genre, King Hu. His other works include the equally canonical Come Drink With Me (which I consider to be one of my favorite martial art films) and A Touch of Zen. Zen’s Shih Chun again stars, here accompanied by the dazzling swordsman Shangkuan Ling-fung, one in a long line of badass Hu heroines. Together with several allies, and a well-meaning but overwhelmed innkeeper they must fight to protect the children of a disgraced but noble general. Meanwhile, all the forces of an evil court eunuch descend upon the humble Dragon Inn.
Dragon Inn is rich in character and spectacle, while also demonstrating Hu’s reliably confident pacing and control of atmosphere. The heroes barely feature across the film’s bandit-focused first act, making the accumulation of this film’s eventual Seven Samurai-esque band of warriors feel all the more consequential and fortuitous. And when our heroes You can find out more about this by clicking here.This tension builds up in the background, resulting in a series incredibly exciting fight scenes. These scenes feature clever choreography, tragic deaths and daring last-second rescues. Wuxia films often combine dance and combat to the point that fights are diluted. This is not the case with Dragon Inn, which concludes with a fight-filled final that would be right at home in an old-fashioned Shaw Brothers film.
Dragon Inn is a film that impresses in almost every way. It has a great cast, believable and well-utilized sets, and a master of wuxia as the director. It’s one of those films that feels almost out of step with its era, as its dramatic conventions predict the blockbuster era in a way that makes it feel approachable and timeless. If you’re looking to get into classic wuxia, Dragon Inn is a perfect place to start – but be sure to journey onward to A Touch of Zen as well!
Disappointed with the ‘50s version of The Blob, yet still not willing to abandon the tantalizing potential of “what if there was a blob that killed people,” my house next journeyed bravely onward to The Blob’Its 1988 remake. We were glad we did this, because the remake of 1988 was a great success. ‘88 Blob genuinely offers everything the ‘50s promises, including stronger performances, a fully realized narrative, and a blob that’The action is satisfyingly brutal.
As a loving tribute ‘50s horror infused with all the innovations of thirty years of genre development, what is most essential to this blob’It is not the script, nor the performances that make a movie successful. But the practical effects. And when considering “a giant pink pile of jello” isn’t the most inherently menacing concept, The Blob ‘88 instead wisely focuses on what is truly horrifying: what this carnivorous, clearly acidic monster can do to a human body. Victim after victim is melted in the most visually tangible and grotesque ways possible, with setpieces expanding beyond the original’s “The Blob in a movie theater”Included in this list are new standouts, such as “The Blob versus a phone booth”The following are some examples of how to get started: “The Blob in the sewers.”
Men, women, children – none are safe from The Blob’s wriggling protuberances, and with a new “government agents arrive to quarantine the town”The film’s third act is inserted with a minimum of extra runtime. It maintains a fast pace throughout, establishing strong leads and clear stakes, while focusing on the titular beast. If you’re looking for a generously gruesome creature feature, The Blob’s remake is a perfect popcorn flick.
We also checked out the latest music releases. War in the Pocket, an acclaimed Gundam OVA released during anime’s direct-to-video golden age. The series is written by Royal Space Force Director Hiroyuki Yamaga and avoids the larger than life stakes, central wunderkinds, and most mainline Gundam Series. Alfred, a young boy of eleven, lives on the relatively calm Side 6 and is the focus of the series. Alfred is thrown into a world beyond his imagination when Zeon soldiers arrive to search for a secret Federation Base.
War in the Pocket offers a fresh and well-crafted twist on the Gundam formula. It puts the experience of civilians in the field ahead of titanic heroes such as Char Aznable. Alfred is a child-like character who views war as a game, until its consequences become apparent. He bonds with the Zeon pilot, who becomes his big brother. The two plot operations together, talk about their hopes for the near future, and become close over time. The show is quite gentle when it comes to character development, which makes the final clashes all the more painful.
In its evocation of the thin line between observation and involvement in war, the OVA articulates a truth I’ve rarely seen expressed in animation (save for the exceptional In This Corner of the World). The children of Side 6 are largely unconcerned as mechs ravage through their hometown. They marvel at the powerful machines, and celebrate days off from school. Even at a distance of this small, the violence remains abstract. It is only Alfred who gets to know the players that the conflict becomes real and terrible.
The series’ ending sequence encapsulates its central contradiction, featuring a parade of children reveling in the detritus remaining from a bloody mobile suit exchange – while war can easily strip us of our innocence, it can just as easily pass like a summer squall, with only those directly touched by its impact bearing the scars of understanding. War in the Pocket, a feature that is both local and unique in its view of conflict, is a must-see for anyone looking to complete their Gundam education.
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Original content by wrongeverytime.com – “Winter 2024 – Week 6 in Review”
Read the full article here https://wrongeverytime.com/2024/02/07/winter-2024-week-6-in-review/