Strange Circus (5 Stars)

If you go into "Strange Circus" expecting a straightforward horror film, prepare to have your mind thoroughly scrambled. This is the kind of film that makes you stop asking what's happening and start wondering whether any of it is happening at all.

Directed by Sion Sono, "Strange Circus" blurs the line between memory, fantasy and reality until it completely disappears. Abuse, murder, fiction and trauma become so tangled together that every scene makes you question the last one. Are you watching the truth, a novel, or someone's desperate attempt to escape the truth? The film never gives you an easy answer.

That's what makes it so fascinating.

The dreamlike visuals, grotesque circus imagery and haunting performances create an atmosphere that's both beautiful and deeply unsettling. Every time you think you've worked the story out, Sono quietly suggests you've been fooled.

"Strange Circus" isn't interested in explaining itself. It wants you to leave with questions rather than answers. Days later, you'll probably still be wondering what was real... and whether that question was ever the right one to ask.

In a recent interview Sion Sono claims this is one of his favourite films. It was made in 2005, when he was still developing his style. His previous films, especially "Suicide Club", had established him as a creator of unsettling horror films. "Strange Circus" continues in this vein, but it adds eroticism to the mix in a way that disgusts more than arouses. It's the sort of film that many people will turn off within the first half hour.

At the time Sono made the film he was dating a woman who owned a shop that sold BDSM outfits. Most of the non-speaking extras are the shop's customers, giving the film a bizarre realism.

Bridesmaids over the Edge (3½ Stars)

This short film is included as an extra feature on the Blu-ray release of "Bikini Time Machine", renamed "Swinging Bachelorettes". It follows a similar patten to "Baby Doll Strippers", but it's a better film because the actresses are better. They're actresses that we know from the Medina films. Nicole Sheridan stars as the bride-to-be.

And Christine Nguyen stars as one of the bridesmaids. Wow! What a beauty!

As for the plot... it's the day before Nicole's wedding. She's invited her two bridesmaids Christine and Jassie for a hen party. I refuse to use the word bachelorette, except in the film's title. The film starts with Nicole asking the other women questions, such as the most daring place they've ever had sex, and how they celebrated their own hen parties. Unlike "Baby Doll Strippers", the answers don't seem as natural and were probably scripted.

Then another woman arrives, Brooke, who's been hired as a stripper. She performs for Nicole and the bridesmaids. Then they play a game of Truth or Dare.

Interestingly, "Bridesmaids over the Edge" uses the same musical leitmotifs as the Medina and McKendrick films. The director is listed as Carter Blanche, obviously a fake name. Don't look for a plot or any deep significant meaning in the film; it's just an excuse for sexual titillation.

Bikini Time Machine (4 Stars)

This is the third film from the Medina Collection that Fred Olen Ray has released on Blu-ray this year. That makes me happy, because I want to purchase all 32 films on Blu-ray. Many of the older films look fuzzy on DVD. I'm also happy to see any film starring Jenna Presley, even though she only has a small role at the beginning of the film.

The film is about a university professor who's invented a machine that sends a person's essence into the past. The person doesn't leave the present. She – it's always a woman – remains seated in the professor's office while he observes her activities in the past on a computer screen. No, the woman doesn't need to wear a bikini to travel into the past, but bikinis make a sexy woman like Jenna Presley look even sexier.

A side effect of the time travel is that the woman feels horny and has sex with the first man or woman she meets in the past. That might not seem logical, but what do you expect from a Medina film?

Here's an updated summary of the Retromedia films so far, with the Blu-ray releases marked.

The Medina Collection

1. (BR) Thirteen Erotic Ghosts (2002)
2. (BR) Bikini Airways (2003)
3. (BR) Haunting Desires (2003)
4. Curse of the Erotic Tiki (2003)
5. Bikini Carwash Academy (2004)
6. Erotic Dreams of Jeannie (2004)
7. Teenage Cavegirl (2004)
8. The Good, the Bad and the Beautiful (2005)
9. Bikini Chain Gang (2005)
10. Ghost in a Teeny Bikini (2006)
11. Bikini Girls from the Lost Planet (2006)
12. (BR) Harlots of the Caribbean (2006)
13. Girl with the Sex-Ray Eyes (2006)
14. (BR) Bewitched Housewives (2006)
15. The Girl from BIKINI (2006)
16. (BR) Super Ninja Doll (2007)
17. (BR) Tarzeena (2007)
18. Voodoo Dollz (2008)
19. Bikini Royale (2008)
20. (BR) Bikini Frankenstein (2009)
21. (BR) Twilight Vamps (2009)
22. Bikini Royale 2 (2009)
23. (BR) Bikini Jones and the Temple of Eros (2009)
24. (BR) Housewives from Another World (2010)
25. Lady Chatterley's Ghost (2010)
26. (BR) Bikini Time Machine (2010)
27. (BR) Sexual Witchcraft (2010)
28. Bikini Warriors (2010)
29. The Teenie Weenie Bikini Squad (2011)
30. Dirty Blondes from Beyond (2012)
31. Busty Housewives of Beverly Hills (2012)
32. (BR) Baby Dolls Behind Bars (2012)

The McKendrick Collection

1. Strippers from another world (2013)
2. Big Bust Theory (2013)
3. Intergalactic Swingers (2013)
4. (BR) All Babe Network (2013)
5. Great Bikini Bowling Bash (2014)
6. Stacked Racks from Mars (2014)
7. Atomic Hotel Erotica (2014)
8. Lolita from Interstellar Space (2014)
9. Sexy Warriors (2014)
10. Bikini Avengers (2015)
11. (BR) College Coeds vs Zombie Housewives (2015)
12. Lust in Space (2015)
13. Erotic Vampires of Beverly Hills (2015)
14. (BR) Invisible Centerfolds (2015)
15. (BR) Cinderella's Hot Night (2017)
16. (BR) Sleeping Beauties (2017)

The Apocrypha

1. (BR) Bad Girls Behind Bars (2016)
2. Vixens From Venus (2016)
3. Cyborg Hookers (2016)
4. Cosmic Calendar Girls (2016)
5. Escape From Pleasure Planet (2016)
6. (BR) Paranormal Sexperiments (2016)

The Medina Collection consists of films directed by Fred Olen Ray using the pseudonym Juan Medina. The McKendrick Collection consists of films directed by Dean McKendrick. The Apocrypha consists of films directed for Retromedia by other directors.

Notes:

(1) "Bikini Carwash Academy" (Medina 5) was re-released with a different opening credits sequence, listing the director as Sherman Scott.

(2) "Tomb of the Werewolf" (not listed above) was directed by Fred Olen Ray using his own name, but it's in the Medina style. It has almost the same cast as "Haunting Desires".

(3) Dean McKendrick made seven erotic thrillers for Retromedia, not listed above.

(4) Apocrypha? If you have a better name for these films, let me know.

That's 21 out of 54 films released on Blu-ray so far. Let's hope the others will follow soon.

Noriko's Dinner Table (5 Stars)

If "Suicide Club" was Sion Sono's cinematic hand grenade, "Noriko's Dinner Table" is the slow poison that lingers in your bloodstream long after the explosion. Marketed as a companion piece rather than a straightforward sequel, it revisits the same world from an entirely different angle. Forget the infamous opening train massacre and the barrage of shocking violence. This time Sono's weapon of choice is emotional devastation.

At first glance, the film appears almost restrained. Teenager Noriko (Kazue Fukiishi) runs away from her suffocating rural home after becoming obsessed with an online community, eventually falling under the spell of Kumiko, the mysterious "Ueno Station 54", played with eerie composure by Tsugumi. Kumiko operates one of Tokyo's strangest businesses: a rental family service where complete strangers are hired to become daughters, wives, husbands, parents or entire families. What sounds bizarre quickly becomes terrifying as every relationship dissolves into performance and every performance begins to feel more authentic than reality itself.

This is where "Noriko's Dinner Table" becomes even more disturbing than "Suicide Club". The earlier film shocked audiences with graphic deaths and surreal horror. Here, Sono suggests something far more frightening: that modern society has become so emotionally bankrupt that people are willing to pay complete strangers to pretend they love them. The film argues that identity itself has become a commodity, something to be bought, sold and performed until nobody remembers who they really are.

Sono's portrayal of rental families is a work of genius. Every encounter strips away another layer of authenticity until the audience is trapped in the same uncertainty as the characters. Are they acting? Have they become the roles they were hired to play? Was there ever a "real" person underneath? The film offers no comforting answers, only increasingly unsettling questions.

One of Sono's boldest decisions is his extensive use of voiceovers. Nearly every major character narrates their thoughts, revisiting the same events from conflicting perspectives. In lesser hands, this could have become repetitive or self-indulgent. Instead, it becomes hypnotic. Every new narration peels back another emotional layer, exposing guilt, loneliness, resentment and desperate longing that remain invisible on the surface. The result feels less like watching a film than listening to damaged souls desperately trying to explain themselves.

The slower pacing will undoubtedly divide audiences. Anyone expecting another frantic descent into horror like "Suicide Club" may initially wonder whether they're watching the right film. At nearly three hours, Sono deliberately allows scenes to breathe, conversations to linger and silences to become uncomfortable. Yet that patience is exactly what gives the film its crushing emotional weight. Rather than assaulting the audience with horror, it quietly suffocates them.

The links to "Suicide Club" gradually emerge like buried memories. Familiar characters return. Seemingly inexplicable events acquire heartbreaking new meaning. Instead of solving every mystery left behind by its predecessor, "Noriko's Dinner Table" reveals that the mass suicides were merely symptoms. The disease was already there: fractured families, emotional isolation and a generation that no longer knows how to distinguish genuine connection from manufactured affection.

Even the recurring references to Amaterasu, the Shinto Sun Goddess, become devastatingly appropriate. In mythology, Amaterasu hides herself away inside a cave, plunging the world into darkness until she is coaxed back into the light. Sono transforms that ancient story into a metaphor for modern alienation. His characters retreat into emotional caves of their own making, burying themselves beneath invented identities, borrowed personalities and carefully rehearsed roles. They don't simply lose each other; they lose themselves.

Where "Suicide Club" screamed its anger at a disconnected society, "Noriko's Dinner Table" whispers the same message with terrifying conviction. It abandons shock tactics in favour of psychological horror, and the result is arguably even more unsettling. The monsters aren't killers or ghosts. They're ordinary families who have forgotten how to speak to one another, teenagers who find more warmth from strangers than their own parents and adults so desperate for affection that they'll happily pay someone else to fake it.

This isn't simply one of the greatest companion films ever made. It's one of the bleakest examinations of identity, loneliness and modern Japan ever committed to cinema. "Suicide Club" leaves you stunned. "Noriko's Dinner Table" leaves you questioning every relationship in your own life. Long after the credits roll, it's a film that refuses to let go.

Suicide Club (5 Stars)

Time and time again the sky is blue,

And yet it's strange how people seem to always fall in love.

An unfamiliar yellow dog keeps grinning

As it tears us from the ones we love.

Because the dead,

Because the dead,

Because the dead shine all night long.

I want to die as beautifully as Joan of Arc

Inside a Bresson film.

Lesson one, apply the shaving cream and smile

As you slowly slice away the heart

Because the dead,

Because the dead,

Because the dead shine all night long.

Feel the warmth of the spring rain

As it gently moistens down a cheek

That's streaked with dried up tears.

A guileless boy of five years old stares blankly in the face of death

While his heart is cut and torn away.

Because the dead,

Because the dead,

Because the dead shine all night long.

Because the dead,

Because the dead,

Because the dead shine all night long.

Few films have ever announced themselves with such breath-taking audacity. "Suicide Club" opens with one of the most infamous scenes in horror history, as fifty-four smiling schoolgirls calmly join hands and throw themselves beneath an oncoming train. The resulting carnage is so extreme that it's almost surreal, immediately signalling that Sion Sono has no interest in making a conventional thriller.

As mass suicides sweep across Japan, weary detective Kuroda struggles to uncover the truth. Every lead only deepens the mystery. A bizarre website appears to predict the growing death toll, grotesque rolls of stitched human skin arrive at police stations and the relentlessly upbeat J-Pop group Dessert seems to cast an eerie shadow over every tragedy. Meanwhile, the flamboyant psychopath Genesis, played with unforgettable manic energy by Rolly, taunts the investigation while hinting that something far larger is unfolding.

Is Dessert secretly manipulating its fans through coded messages hidden in its posters and songs? Is there a suicide cult operating in the shadows? Or has modern society become so emotionally hollow that people no longer need anyone to persuade them to die? Sono deliberately refuses to provide simple answers, leaving viewers to wrestle with one haunting question: "Are you connected to yourself?"

Beneath the shocking violence lies a savage satire of celebrity culture, media obsession and the loneliness lurking beneath modern life. The unforgettable final concert by Dessert offers no comforting explanation, only the chilling suggestion that the machinery of pop culture will continue smiling long after the bodies have been cleared away.

Violent, provocative and deeply unsettling, Suicide Club remains one of the most original cult horror films of the twenty-first century. Its gruesome set pieces may grab your attention, but it's the questions it leaves behind that will haunt you long after the credits roll.

Baby Doll Strippers (3 Stars)

I read that the Blu-ray "Harlots of the Caribbean" contained an extra feature, a short film called "Strippers Inc". I had no idea what it is, but as soon as it started I recognised it as "Baby Doll Strippers" with a new name.

The film, if it can be called that, is about a strip club owner interviewing three girls who want to work for her. After the interviews she asks them to show their skills as private dancers. The girls take turns in pretending to be men, so that the potential strippers can show how they seduce them.

The interview sections were so realistic that they seemed like they were candid question and answer sessions, with the actresses giving honest answers from their own lives. The dancing sections were obviously rehearsed. I greatly enjoyed the interview sections, but the dances didn't live up to my expectations. I doubt I'll ever watch this film again.

Despicable Me (4 Stars)

Amazon Friday #43

Today I collected my granddaughter Evelyn from kindergarten. On the way home I asked her if she wanted to watch a film with me. That was an important question. She recently turned five, and she's never watched a film. She's happy watching videos on YouTube. Now it's time for her to move up to the next level. I picked the film "Despicable Me", better known as "the Minions film". Isn't that what everyone calls it?

I thought she might get bored, but she didn't. I'm sure she didn't understand everything. The film started with the Egyptian pyramids being stolen, but she doesn't know what the pyramids are. Nevertheless, she watched the whole film intently, bursting into laughter at any slapstick intervals. The film was a success, and there will be many more.

By the way, she drew this picture for me today. The two hearts are her heart and mine. Forever together. I love her so much.

Success Rate:  + 5.9

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Harlots of the Caribbean (4½ Stars)

It's taken a long time to get here. After 20 years, "Harlots of the Caribbean" has finally been released on Blu-ray. I was worried that Fred Olen Ray would only release his bikini films (as he likes to call them) if they starred Christine Nguyen, because she's his most popular actress, but here we have a film with the amazing Beverly Lynne, Rebecca Love, Nicole Sheridan and Beverly Lynne. Did I just say Beverly Lynne twice? It must be the echo out at sea.

That's not a harlot on the Blu-ray cover. It's the pirate queen Morgana, who used to have sex with every man before she made him walk the plank.

And those aren't harlots either. It's Beverly Lynne and Nicole Sheridan, modern day treasure hunters.

In fact, there aren't any harlots at all in the film. It's just a catchy title.

I bought two Blu-rays in the Medina collection that were released at the same time this month. I'll give a complete summary when I watch the other film.

Vier Fäuste für ein Hallelujah [comedy version] (4 Stars)

This is the comedy version of "Four Fists for a Hallelujah". Supposedly. I don't think it's any funnier than the version I watched yesterday. From what I've read the dubbing was more accurate in the theatrical version, but there's one significant exception: in the new version Terence Hill is called Trinity, as he should have been from the start.

Which version is better? I prefer this one. Trinity remains Trinity.

Vier Fäuste für ein Hallelujah (4 Stars)

I'm so frustrated with this film that I almost decided not to review it. It makes a mockery of my film blog and films in general. I reviewed it once before, using the English DVD title, "Trinity is still my name". That's the literal translation of the original Italian title. In Germany the film is called "Vier Fäuste für ein Hallelujah", i.e. "Four fists for a Hallelujah". That means absolutely nothing, but Germans like spectacular film titles. The title change doesn't bother me, except in the German dubbing Terence Hill isn't called Trinity, his name is Sleepy Joe. Why? The answer is only known to the super-intelligent boss of the German studio responsible for the dubbing when the film was released in 1971.

In 1982 the film was rereleased for video. For reasons also unknown to me the film was redubbed and called the "comedy version". That doesn't make sense either, because the original film was already a comedy. I just watched the original "theatrical" version, and I'll watch the comedy version tomorrow.

The Holy Virgin vs the Evil Dead (4 Stars)

There are cult films, there are cinematic oddities, and then there's "Holy Virgin vs the Evil Dead", a gloriously unhinged slice of Hong Kong supernatural cinema that seems determined to throw every outrageous idea at the screen. The result is a film that's messy, wildly inconsistent and almost impossible to forget.

The story combines Taoist magic, vampires, ghosts, zombies, black magic and martial arts into a single chaotic package. Logic is sacrificed in favour of spectacle, with one bizarre set piece following another at a relentless pace. The film rarely slows down long enough for the audience to question what's happening before introducing another monster, magical duel or outrageous plot twist.

What makes the film so entertaining is its refusal to play by any conventional rules. Horror, slapstick comedy and fantasy action collide throughout, creating the kind of manic energy that defined many low-budget Hong Kong productions of the late 1980's and early 1990's. The special effects are charmingly primitive by modern standards, relying on practical tricks, wire work and energetic performances rather than digital effects. The rough edges only add to the film's appeal.

The performances embrace the madness with complete sincerity. Nobody seems concerned about realism; every actor commits wholeheartedly to the increasingly absurd situations. That commitment helps transform what could have been an incoherent mess into something strangely infectious.

Viewed as a conventional horror film, "Holy Virgin vs the Evil Dead" has obvious flaws. The plot barely holds together, character development is minimal and tonal shifts can be dizzying. But those are also the qualities that have earned it a loyal cult following. Fans of Hong Kong genre cinema appreciate its fearless imagination and willingness to ignore every filmmaking rule in pursuit of entertainment.

It's not a polished classic, it's an unforgettable curiosity. If you enjoy supernatural martial arts films, over-the-top practical effects and wonderfully unpredictable storytelling, "Holy Virgin vs the Evil Dead" offers a delirious ride unlike almost anything else. It's exactly the kind of wonderfully eccentric film that rewards cult cinema enthusiasts willing to embrace its glorious insanity.

The Paperboy (5 Stars)

Quietly, practically unnoticed, "The Paperboy" delivered one of the creepiest evil child thrillers of the 1990's. Directed by Douglas Jackson, the Canadian film follows a lonely paperboy who becomes obsessed with creating the perfect family, eliminating anyone who stands in his way.

What makes "The Paperboy" memorable isn't graphic violence but the unsettling performance by Marc Marut. He gives Johnny an unnerving mix of childish innocence and cold-blooded manipulation, making him far more disturbing than many supernatural horror villains. The suburban setting and low-budget production give the film an everyday realism that makes his behaviour even more believable, while the script plays on the fear that true evil can hide behind the face of an apparently ordinary child.

Although it was released straight to video and largely overlooked by critics, "The Paperboy" has steadily built a reputation among horror fans. Much of that reputation can be traced to legendary horror host Joe Bob Briggs, who championed the film during his MonsterVision run, famously calling it "the most underrated horror film ever". That endorsement introduced countless genre fans to a film that many had never even heard of, and Briggs' enthusiasm helped cement its status as a hidden gem.

Its scarcity only added to the mystique. For many years "The Paperboy" was difficult to obtain in English-speaking countries, leading horror fans to seek out rare VHS tapes, imported DVDs and later online copies. Combined with its bizarre premise, memorable scenes and Marc Marut's unforgettable performance, that rarity transformed the film into exactly the kind of title that thrives through word of mouth. Rather than becoming famous through box office success, it earned its reputation through devoted fans recommending it to one another.

The Paperboy isn't a polished classic, but its creepy atmosphere, genuinely disturbing central performance and enduring reputation as an overlooked gem make it one of the most deserving cult horror discoveries of the 1990's. Even if Joe Bob Briggs' claim that it's "the most underrated horror film ever" is open to debate, the fact that people are still discovering and celebrating it more than three decades later suggests he wasn't exaggerating by very much.

There's a high probability that the film will one day be released on Blu-ray or even 4K. The reason for optimism is that "The Paperboy" has gone from being an obscure direct-to-video thriller to a genuine cult title. Over the last decade it's been rediscovered by horror fans, helped enormously by Joe Bob Briggs' enthusiastic endorsement and the rise of boutique labels that specialise in forgotten genre films. Companies such as Vinegar Syndrome, Severin Films, Arrow Video, Terror Vision and Unearthed Films have built their businesses on releasing exactly this kind of overlooked cult horror.

A new Blu-ray would make sense because:

• the film has never received a widely available, restored HD release in North America.

• its reputation has grown steadily through word of mouth.

• boutique labels are increasingly licensing direct-to-video horror from the 1980's and 1990's.

• Marc Marut's performance has become something of a cult talking point among horror fans.

A special edition could easily include:

• a new 2K or 4K scan of the original camera negative (if it still exists).

• an interview with Marc Marut.

• a retrospective with director Douglas Jackson.

• a commentary discussing the "evil child" subgenre.

• Joe Bob Briggs explaining why he considers it "the most underrated horror film ever".

If any forgotten 1990's horror film deserves this treatment, "The Paperboy" is one of the strongest candidates. Its cult reputation is still growing rather than diminishing, which is exactly the kind of trajectory that attracts boutique physical media labels.

The Baby's Room (4 Stars)

It's taken me a long time to get my hands on this film. It's the only film made by Alex de la Iglesia that's never been released with English subtitles. I was finally able to find a downloadable version on the web site DVD Lady. Unfortunately, the subtitles are poor quality with countless spelling mistakes, but at least they're understandable. For instance, the word forget is always spelt with two t's, i.e. "forgett". Apostrophes are either omitted or inserted in the wrong place, e.g. "I dont wan't to go home".

The film stands apart from all of De La Iglesia's other films. It's lacking his typical comedic elements. The reason is that he was commissioned to make a film for a horror anthology series; six films were made by six different directors. He was constrained in the content he could create, and he was even more constrained in his budget. He was only given one million Euros to make the film, which limited him in his use of locations. And yet I was surprised to read glowing reviews of "The Baby's Room". It's considered the best of the six films in the anthology, which hardly surprises me, but many critics also call it a masterpiece of supernatural horror. 

The film is about Juan and Sonia, a couple with a seven-year-old son who buy a large run-down building. The problems begin when they install a baby phone. They hear a man's voice in their baby's room, but when they rush into the room the baby is alone in his bed. So they buy a baby monitor with a camera. Juan wakes up and sees someone sitting next to his son. He rushes into the room and finds nobody. Is it possible that there are ghosts who're only visible on electronic devices, not to the human eye? That's the mystery.

Do I like it or not? Initially I was disappointed because it was so un-Iglesia-ish. As the film progressed and the secrets were slowly unveiled I became increasingly enthralled. I'm sure to watch the film again later this year. Wait for my next review.

The Legend of Fong Sai Yuk 2 (4½ Stars)

While "The Legend of Fong Sai Yuk" is remembered as one of the great martial arts comedies of the 1990's, "The Legend of Fong Sai Yuk 2" takes a noticeably different approach. Although it reunites Jet Li with director Corey Yuen and retains the dazzling action that made the original such a success, the sequel shifts away from broad comedy and romantic adventure towards a more serious patriotic drama. The result is a film that feels less playful but more emotionally driven.

The first film balanced spectacular kung fu with slapstick humour, outrageous misunderstandings and an almost screwball romance. Much of its charm came from Fong Sai Yuk's youthful recklessness, his attempts to win the heart of Ting Ting and the hilarious relationship between his parents, especially his formidable mother. Even the elaborate fight scenes often had a comic edge, turning martial arts into a form of physical comedy.

The sequel largely abandons that tone. Instead, Fong becomes involved with the Red Flower Society, an underground resistance movement dedicated to overthrowing the Qing dynasty. Political intrigue replaces romantic confusion and the story carries genuine emotional weight as questions of loyalty, sacrifice and patriotism come to the forefront. The stakes are considerably higher than in the original, giving the film a more mature atmosphere.

Jet Li adapts effortlessly to this change in tone. His Fong Sai Yuk is still energetic and charismatic but has become a more responsible and determined hero. Rather than simply reacting to outrageous situations, he is forced to make difficult moral choices, making the character feel as though he has genuinely grown since the first film.

The action remains exceptional. Corey Yuen stages another series of inventive martial arts sequences, filled with speed, precision and astonishing athleticism. The choreography is slightly less whimsical than before, favouring fast, intense combat over comic invention. The climactic battles are among the most impressive of Jet Li's early Hong Kong career, combining graceful wirework with bone-crunching hand-to-hand combat.

The supporting cast also reflects the film's changing priorities. While Fong's mother still provides flashes of humour and proves once again to be one of Hong Kong cinema's greatest action heroines, the comic family dynamics take a back seat to the larger political conflict. The villains are darker, the betrayals more personal and the emotional consequences far more significant than in the first film.

Viewed on its own, "The Legend of Fong Sai Yuk 2" is an outstanding martial arts adventure that successfully broadens the scope of its predecessor. Those expecting another carefree action comedy may initially be surprised by its more serious direction, but the stronger dramatic focus gives the sequel an identity of its own rather than simply repeating the original formula. Together, the two films complement each other perfectly; one celebrates youthful exuberance and romance, while the other explores courage, loyalty and sacrifice without ever sacrificing the breath-taking action that defines the series.

Supergirl [2026 film] (4 Stars)

Over the last few weeks I've seen various trailers for "Supergirl" in the cinema. I rarely watch trailers at home. I've seen videos on YouTube predicting it would be a massive flop. Again, I didn't watch the videos, but the titles and info screens told me all I needed to know. But I didn't let myself be put off. I went to the cinema today, and I enjoyed the film. The only major thing I disliked is that it's set on alien planets. I would have preferred to see Supergirl on Earth.

What I enjoyed most was seeing Supergirl's power. She's more than a match for any opponent or groups of opponents who face her. I couldn't help thinking that her fight scenes are what MCU's Drax should have fought like. The whole outer space alien planet setting reminded me of the Guardians of the Galaxy films, which isn't something bad in itself.

On the way home I watched "Supergirl" reviews on YouTube and replies to the reviews. It seems like most of the critics liked the film less than I did, but I understood their arguments. The replies were less balanced. They claimed that critics don't like "Supergirl" because it's a film about a powerful woman. That's not something I read in any of the critical reviews. They also claimed that the opponents of the film are MAGA supporters. That's an even stranger argument, which isn't backed up by anything I've read online. People are trying to politicise fair criticism. That's wrong.

I'll probably read more criticism of the film. but it won't change my mind. I like it.

The Legend of Fong Sai Yuk (4½ Stars)

Few martial arts films capture the sheer joy of Hong Kong action cinema as perfectly as "The Legend of Fong Sai Yuk". directed by Corey Yuen in 1993. Starring Jet Li at the peak of his abilities, the film combines dazzling fight choreography, broad comedy and memorable characters into one of the most entertaining kung fu adventures of the 1990's.

Loosely based on the legendary Chinese folk hero Fong Sai Yuk, the story follows a gifted young martial artist whose impulsive nature repeatedly gets him into trouble. Jet Li brings an infectious charm to the role, balancing heroic swagger with comic timing. Unlike many martial arts heroes of the era, Fong is neither brooding nor solemn. He's playful, mischievous and constantly finding himself in absurd situations.

The film's greatest strength is undoubtedly its action. Corey Yuen's choreography is nothing short of extraordinary, blending traditional kung fu with acrobatic stunts and inventive visual gags. Every fight sequence feels unique, whether it's a chaotic street brawl, a duel fought under impossible circumstances or the legendary tournament sequence that has become one of the defining action scenes of Hong Kong cinema. The performers execute astonishingly complex moves with a speed and precision that still impresses more than three decades later. Even viewers who have seen countless martial arts films will find themselves amazed by the creativity on display.

Another aspect that sets "The Legend of Fong Sai Yuk" apart is its treatment of female characters. The women aren't merely spectators or romantic interests; many of them are formidable fighters in their own right. The standout is Josephine Siao's Miu Tsui-fa, Fong's mother, who is every bit as skilled, fearless and entertaining as her son. Her action scenes rank among the film's best, and she often steals the spotlight from Jet Li himself. At a time when many action films relegated women to supporting roles, The Legend of Fong Sai Yuk presents female fighters as genuine equals.

One of the film's most unusual elements is the romantic subplot between Miu Tsui-fa and Xiaohuan. While disguised as a male martial artist, Miu Tsui-fa encounters Xiaohuan in combat, and the younger woman becomes captivated by the stranger's fighting skill and heroic bearing. The resulting romance is played largely for comedy, but it remains surprisingly affectionate. Long before homosexual themes became common in mainstream action cinema, "The Legend of Fong Sai Yuk" devoted a substantial portion of its running time to a woman falling in love with another woman, albeit under a mistaken identity. The subplot adds another layer of charm to a film already overflowing with personality.

The film's blend of spectacular action, strong female characters and unconventional humour gives it a unique personality. It never pauses for heavy drama or historical realism. Instead, it embraces entertainment in its purest form, delivering one inventive set piece after another while maintaining an infectious sense of fun.

More than thirty years after its release, "The Legend of Fong Sai Yuk" remains one of the crown jewels of Hong Kong martial arts cinema. With Jet Li's star-making performance, Corey Yuen's breath-taking choreography, a cast of unforgettable female fighters and an unexpectedly charming same-sex romance subplot, it's a film that continues to delight audiences and stands as one of the finest action-comedies ever made.

Backrooms (4 Stars)

I didn't wait very long to watch "Backrooms" again. I'm visiting my son Benjamin this weekend, and I told him "Backrooms" is a film he needs to see. We went to the Lichterspielhaus in Schwäbisch Hall, one of Germany's oldest cinemas, opened in 1913. In a way it's a perfect setting for the film, since the rooms are dug into the cellars.

We watched it dubbed into German. That wasn't a problem, since German dubbing is so good. Benjamin loved it, and so did I. He's disappointed with me for only rating it four stars. Maybe it deserves more. Ask me again next year when I have the Blu-ray disc in my hand.

As I mentioned in my last review, the film takes place in 1990. That's a good year. Everything looks modern, but there are no smart phones or Internet. Things like that would spoil the film and make parts of the plot impossible.

Backrooms (4 Stars)

Does a film have to explain everything? And if it does offer explanations, do they have to make sense? That's a question I have to ask when I watch a film like "Backrooms". So much in the film is infeasible, even when explanations are offered.

The film takes place in 1990. The owner of a furniture store has recently been thrown out of his home by his wife, so he now lives in an area on an underground floor of the store. He has everything he needs, since the store contains beds, television sets and armchairs. One night he discovers a hidden door which leads to an endless labyrinth of rooms and corridors.

I'll leave the description there. The atmosphere and the tension make up for whatever might remain unexplained. It's a film I want to see again.

Chiwetel Ejiofor, who I first noticed when he played Baron Mordo in "Doctor Strange", is rapidly becoming one of my favourite actors. Something about his calm demeanour even in the midst  of terror fascinates me.

Disclosure Day (3 Stars)

I saw the trailer for "Disclosure Day" frequently in the cinema, at least ten times during the Stuttgart Nights Festival. The trailer looked curious, to say the least, but I thought to myself, "It's a Spielberg film, and any film directed by Steven Spielberg has to be good".

I was being too optimistic. Today I sat down in the cinema, and despite the high quality production I had a sinking feeling in my chest.

Usually when I write about a new film I've just seen in the cinema I just tell my readers what the premise is. This time I can't do it. The film has a relatively simple premise, but it isn't revealed until late in the film, so it would mean giving spoilers to tell you what the film is about.

The film starts with two young people who have seemingly nothing to do with one another. Daniel Kellner is someone who's stolen secret data from Wardex, the company where he works. Margaret Fairchild is a television weather girl who suddenly becomes able to understand and speak every language, as well as gaining the ability to read minds. For the first hour the action jumps between the two people without telling us their connection. This irritated me, but I knew everything would be explained later.

Then it was explained. But I was still unhappy. Some things still didn't make sense.

Usually I would promise to write a second review with spoilers when I have the film on disc, explaining all the things I didn't like. Not this time. I have no intention of watching the film again, not even on streaming. I wasted two and a half hours of my life today. That's enough.

Steven Spielberg is responsible for some of the best films ever made. "Jaws" and "Jurassic Park" are just two examples. His name is a guarantee for quality. Usually. If "Disclosure Day" is the best he can do now, it's time for him to retire.

Thunderbird 6 (4 Stars)

This is a curious film for me as a Thunderbirds fan. It was released in 1968, less than two years after "Thunderbirds Are Go", but I never heard about it. How did I possibly miss it, even in the pre-Internet age? I didn't find out that the film existed for more than 40 years, and today is my first chance to watch it. Maybe it had something to do with the fact that Richard Lee and I were no longer friends. We were close in primary school, but he lost interest in me in grammar school, even though our alphabetically ordered desks were close together. I know the reason, but in retrospect I still don't understand it. In grammar school Richard was interested in the science subjects, whereas I gravitated to foreign languages. He was only friends with boys who shared similar interests. Strange, but that's what happens sometimes.

The film shows the Thunderbirds member Brains attempting to design a new craft for International Rescue. But the title is misleading. It's only a subplot that's briefly shown at the beginning and the end of the film. The main story is about a skyship that Brains has designed for a civilian aviation company, the New World Aircraft Corporation. Somehow it looks very retro, like an early 20th Century German Zeppelin. The main difference is that it isn't powered by hot air, but by an ant-gravity engine.

Brains is invited to travel on the maiden voyage. He's accompanied by Lady Penelope, Parker and Alan Tracy. As always, the Hood is waiting to attack. He kills the skyship's crew and replaces them with his own men.

There are several features that set "Thunderbird 6" apart from the previous film.

1) Stylistically, it has the feeling of a standalone film, not just an extended television episode.

2) The puppet strings are never visible. In the previous film they were sometimes visible, and in the TV series they're almost always visible.

3) Lady Penelope plays the leading role.

The third change is significant. In a 2010 interview Sylvia said that she pushed for this change. Due to strong women being shown in new TV series like "The Avengers", she thought that audiences were ready for a strong female character. Maybe they were, but the box office said otherwise. "Thunderbird 6" was a big flop. Maybe this was just because it wasn't properly advertised. More young boys like me would have gone to see the film if they'd known about it. "Thunderbirds Are Go" was visible everywhere, including special packets of Kellogg's Smacks, which I ate regularly. The second film wasn't pushed to the same extent.

Here's the beautiful Lady Penelope between her colleagues. Or are they her admirers? In the first film there's a scene where Virgil asks her on a date, but she gently turns him down. In this film she spends a lot of time with Alan, but it's all professional, without a hint of romance.

In case you're still wondering what Thunderbird 6 is, we get an answer at the end of the film. Watch it yourself if you're curious.