Ultimate 2000s Blogathon: Hellboy (2004) & Hellboy II:The Golden Army (2008) Podcast by Movies and Tea

Check out the next entry for Ultimate 2000s Blogathon, which is our latest episode for Movies and Tea as we travel to 2004 and 2008 to review Hellboy and Hellboy II: The Golden Army with a special guest, Bubbawheat from Flights, Tights and Movie Nights.

Drew's Movie Reviews

If you know Kim, you know how many activities she is involved with. One of those activities is the Movies and Tea podcast with her co-host Elwood. Kim and Elwood break their show into seasons, with each season focusing on a different director’s filmography. This season, they are discussing films directed by Guillermo del Toro. In their most recent episode, the pair discussed Hellboy and Hellboy II: The Golden Army and have shared it with the blogathon. Have a listen below and head over to their archive to listen to the rest of their discussions.


Hellboy movie posterHellboy II: The Golden Army movie poster

Having already dabbled with a comic book movie with Blade 2, Del Toro’s return to the genre was much more of a passion project as he choose to adapt Mike Mignola’s cult indie comic Hellboy while at the same time bringing his own spin to the character and world he inhabits.

Joining us for this…

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Ultimate 2000s Blogathon: 2046 (2004) by The Stop Button

Its already the second week of the Ultimate 2000s Blogathon. The first guest this week to drop by over here is Andrew from The Stop Button. The Stop Button was started in 2004 focus in film blogging. Over there, you can check out many different segments and film reviews. Its a site that you will definitely something that you will enjoy reading about all kinds of films. With that said, Andrew takes us to check out a unique film, 2004’s romantic fantasy/drama Hong Kong film 2046.


2046

2046 (2004)

2046 is a very strange sequel. Because it’s most definitely a sequel to In the Mood for Love. Tony Chiu-Wai Leung and Lam Siu Ping are playing the same characters, a few years after that film. But the way writer and director Wong deals with the previous film and its events… he intentionally… well, I’m not sure if distorts is the right word, because it works out perfectly, but he delays it. 2046 is a sequel to In the Mood for Love, but it’s also a sequel to itself. The film starts in the mid-1960s with Leung moving home to Hong Kong from Singapore. Well, actually, wait. It starts in 2046, a CGI megalopolis with a train and some narration about riding the train and trying to leave 2046. Like it’s a place.

2046 also has Hong Kong significance—when the British “gave” Hong Kong back to China in 1997, the Chinese said Hong Kong would stay the same way for fifty years. So 2046. Of course, it’s also got a significance to In the Mood for Love. But back to the future for a moment. There’s some love sick guy on the train. He wants to leave 2046. His narration also refers to Love, even though nothing else does.

So all the coincidences collide for Leung—mid-sixties Hong Kong had some significant unrest and Leung spends his time sitting it out, dreaming of the future and writing a serial called… 2046 in a hotel room 2047, which he took because 2046 wasn’t ready yet. Leung brings a litany of nightclub friends with benefits affairs home while musing on the goings on around him at the hotel. Faye Wong is the owner’s older daughter, in love with Japanese guy Kimura Takuya. Her dad (Sum Wang) doesn’t approve. Leung distantly watches the heart attack and incorporates it into his stories, which is good since Kimura plays the story’s protagonist in the future stuff. Leung’s also got to fend off Sum’s younger daughter, Dong Jie, who’s too young.

Because even though Leung is supposed to be a casual sex addict, charming the ladies by night, moping about his previous heartache through his writing, there’s got to be a line. And Wong, director, tests it from time to time. It’s a good narrative hook and only there because we still need to like Leung for later, because later is going to get worse before it gets better. Leung narrates the film–eventually even the future stuff–and it’s a very controlled narration. Wong, writer and director, doesn’t want to show too much. Like Wong, actress, appearing for an almost cameo before disappearing, just like when the film opens on Leung and mystery woman Gong Li to set up the Hong Kong homecoming. Wong, writer, is delaying certain things but for very good reasons, which aren’t clear until the end of the second act.

Because it’s not just Leung’s story; there’s also a second story-in-the-story, which Leung writes for writing partner and lovesick buddy Faye Wong for a while in the middle. It’s got a full narrative arc for future guy Kimura and even future Faye Wong. And that narrative arc is later going to matter for Leung and the film. It’s an exceptionally complicated narrative structure. Wong, writer, fractures the narrative in a lot of major ways, sometimes technically surprising ones (but the surprise isn’t the right reaction because they’re inevitable). But he lays out this always forward layer too. For the viewer, who is watching the events of Leung’s life—with tangents—but seeing Leung’s reaction to those events. Macro-reactions, not micro. So very deliberate plotting.

2046 has more than its share of “why is Wong doing this” head-scratchers, but they’re always the exact right move. Because while Wong, director, is keeping with Leung in the present, experiencing new events, Wong, just writer, needs to move the plot in peculiar directions. The film’s got these multiple, dense narrative tense layers and Wong, writer, needs to move between them sometimes rapidly, sometimes not. Wong, director—and with great editing from William Chang and music from Umebayashi Shigeru—has to figure out a way to trigger these movements stylistically. It’s gorgeously done.

The most drastic of the three big narrative shifts is someone I can’t believe I got 700 words into a post about 2046 and haven’t yet—Zhang Ziyi. She’s Leung’s first significant love interest. Meaning she falls in love with him and he treats her like shit.

Remember when I said it was important to like Leung? It’s when he breaks Zhang’s heart, which isn’t really a spoiler because it’s almost still first act stuff. If you took out the future stuff, it’d be first act stuff. 2046—a sequel—is initially just about Leung’s really sexy love affair with his neighbor, Zhang. During that time period, Zhang gets a lot more to do than Leung. It’s not exactly from her perspective, but Wong, director, makes sure it’s real close.

So, in the second act, 2046 becomes a sequel to 2046’s first act, which was a sequel to In the Mood for Love. Only as things go on, it turns out 2046’s first act is a sequel to the end of the second act flashback, which is a sequel to In the Mood for Love. The more Wong, writer, reveals about Leung, either through the present action, flashback, or the future story stuff… the more the narrative distance changes. Narrative distance in this case also taking into account narrative sympathies; assumed intentions as far as Leung goes. 2046 isn’t a mystery, but Wong does almost structure it as one. Really, I guess, the more appropriate phrase would be a secret. 2046 is a secret and Wong is very careful about how he wants to tell it.

Of the three female leads, the best performance is Zhang. Faye Wong is really, really, really close but Zhang wins out. Then Gong. Gong it’s the role. She doesn’t have anywhere near the amount of time as the other two. Gong’s really is the extended cameo it seemed like Wong was getting. Only Gong’s cameo seemed like a really short one when it opened the movie. Because Wong, writer and director, is so forcefully deliberate.

So good.

Leung’s really good. He’s not as good as Zhang, Wong, or Gong. In a way, it’s not his place in the story. Where he’s protagonist. And everything revolves around him. He shouldn’t be overshadowing in that narrative, at least not the way Wong wants to tell it. It’s a very delicate, precise performance. Lots of nuance. It’s outstanding.

It’s just not as good as any of the lead actresses.

Carina Lau has a nice cameo, Wang has some good moments, Ping is hilarious. Not comic relief hilarious, just momentarily hilarious hilarious.

High nineties majority of the film is inside. Restaurants, the hotel rooms, occasionally cars. Quiet moments between characters either on their own or in crowds. There’s one standout party scene, which opens things up for a while, but the scene’s still focused on Leung. Again, the film is exceptionally precise.

Great photography from Christopher Doyle and Kwan Pung-Leung. Great production design from editor Chang. Great everything.

2046 movie probably even works better if you haven’t seen In the Mood for Love, which is a singular description—and, in this case, compliment—for a sequel.

But it’s still a very direct, very intentional sequel.

It’s magnificent.


A huge thanks to Andrew for reviewing this Hong Kong film! Remember to head over to give The Stop Button a follow HERE. Tomorrow, drop by to my co-host Drew’s Movie Reviews to see the next entry.

As always, you can find the full list of entries updated daily HERE!

Ultimate 2000s Blogathon: Enter the Void (2009) by John Rieber

Ultimate 2000s Blogathon

Wrapping up the first week of Ultimate 2000s Blogathon is John Rieber who runs a blog under his own name. Over on his site, you can find a lot of the same topics as what we cover over here with posts about books, movies, music, travel and food. Its a one stop site for all the fun things in life. His selection takes up into the tale-end of the decade to look at 2009’s fantasy drama film Enter The Void.

Enter The Void

Enter The Void (2009)

Argentinian Director Gasper Noe makes tough, provocative films, most notably “Irreversible” from 2003.  His next film was the hallucinatory “Enter The Void” from 2009.

The film opens with a visual title sequence designed to blast you off on a psychedelic trip that never lets up for 160 minutes. The film is shot from the main character’s point of view. A small-time drug dealer named Oscar (Nathanial Brown) lives in Tokyo with his sister.  He is betrayed by his best friend one night in a bar called “The Void” and is killed by police.

From that moment on, we are swept along as his soul, observing from above the repercussions of his death, seeks resurrection.  His spirit glides over the city, watching his sister Linda (Paz de la Huerta), now utterly alone.  Through a series of hypnotic flashbacks, we see the bond that formed between them through tragedy, a bond that can’t be broken by his death.

“Enter The Void” is creative, powerful filmmaking.  It is explicit, violent, and unflinching. Director Noe described his film as a “Psychedelic Melodrama”. Tokyo is seen only at night, with blazing neon and non-stop energy.  This film pulsates with a visual style and aggressive musical score that is unsettling, compelling and unlike anything you’ve seen since well, “2001: A Space Odyssey.” That’s because the Director said that the film is inspired by the “star gate” sequence from that masterpiece.

Ultimately, our main character Oscar says exactly what we as viewers are experiencing:

“Basically, when you die your spirit leaves your body, actually at first you can see all your life, like reflected in a magic mirror. Then you start floating like a ghost, you can see anything happening around you, you can hear everything but you can’t communicate. Then you see lights, lights of all different colours, these lights are the doors that pull you into other planes of existence, but most people actually like this world so much, that they don’t want to be taken away, so the whole thing turns into a bad trip, and the only way out is to get reincarnated.”

This is a brilliant exercise in experimental filmmaking, and while not for everyone, it is a masterful piece of cinema.


Thanks to John for this fantastic review. Be sure to head over to check out his website HERE and give him a follow.

Remember to head over to Drew’s Movie Reviews on Monday to see the next entry in the blogathon.

As always, you can find the full list of entries updated daily HERE!

Ultimate 2000s Blogathon: Cast Away (2000) by Riley on Film

Our next guest is Riley on Film who takes a look at one of Tom Hanks’ most popular films, Cast Away, a 2000 film that kicks off this decade in a fantastic way. Head over to Drew’s to check out the full review!

Drew's Movie Reviews

Our first week of the Ultimate 2000s Blogathon continues with Damien from Riley on Film and the DRP, or The Damien Riley Podcast. Also, along with Darren, he is co-host of the Talking Stars Podcast. Damien specializes in horror film but is always up for discussing films of any genre, as evident by his recent request for me to challenge him with several comic book films to watch. Check out all of his sites to fully experience Damien’s love of film. Tor this blogathon, he explains his love of the Tom Hanks classic, Cast Away.


Cast Away movie poster
Cast Away is the original “Survivor.” It takes an ordinary man (Tom Hanks) and maroons him on a desert island. This is Hollywood stripped down, minimalized. A Vast majority of the runtime is one man doing things with no dialog. When there is dialog, it’s to a silent, imaginary friend named “Wilson”…

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Ultimate 2000s Blogathon: Queen of the Damned (2002) by 18 Cinema Lane

Next stop in the Ultimate 2000s Blogathon comes to us from Sally Silverscreen at 18 Cinema Lane. 18 Cinema Lane is a place for all kinds of film however Sally Silverscreen is a fan of Hallmark films and the stop for a lot of reviews on those types of films. This time, Sally comes to us with something a little different as she takes a look at 2002 drama Queen of the Damned with an editorial looking at the Toxic Valentine.

queen of the damned

Toxic Valentine: Why Lestat and Akasha’s relationship is very problematic in Queen of the Damned (2002)

Ah, Valentine’s Day. A day when the general theme of love is celebrated. The colors of red and pink are a signature staple whenever February 14th comes around. Hearts are the official shape of the holiday, sometimes filled with candy. This special day is usually known as a happy occasion, a time we can set aside to show the people around us how much we truly care about them. Movie fans sometimes take part in Valentine’s Day festivities by talking about their favorite cinematic couples, sharing their opinions on why they think these relationships are romantic and using select movie quotes and scenes to prove their point. However, we movie fans know that not every cinematic relationship is a healthy one. Some of them are down-right toxic.

In this editorial, I will be talking about a cinematic relationship that I, personally, feel is very problematic. By looking at the title, you might already know which on-screen couple I will be talking about. Last October, when I reviewed Queen of the Damned, I mentioned that, to me, Lestat and Akasha’s relationship was one of the most problematic relationships I’ve ever seen in a movie. However, I was only able to briefly explain why I feel this way. Because of my involvement in the Ultimate 2000s blogathon, I now have a chance to explain, in detail, why this particular cinematic relationship is not a healthy one. Before I begin this editorial, I would just like to say that I am only creating this post out of pure honesty and based on my opinion. I am in no way creating this post to be mean-spirited or be negative toward anyone’s cinematic preferences/opinions. In this editorial, I will specifically be referencing the characters and story from the Queen of the Damned film. I will be bringing up specific scenes and quotes in order to prove my point. Now, let’s talk about why Lestat and Akasha’s relationship is problematic by looking at five key areas: lack of consent, lack of communication, a power imbalance, intentional harm toward a significant other, and a not-so-loving significant other.

Lack of Consent

One of the most important components to any romantic relationship is consent. Asking someone’s permission and making sure that both members of a relationship are comfortable before putting themselves and each other in any situation is usually seen as a sign of how much the other person cares for the one they love. Unfortunately, Lestat and Akasha’s relationship is lacking in this department.

In my Queen of the Damned review, I mentioned that Akasha is the one who controlled the relationship, using the analogy of Akasha driving a car and Lestat being stuck in the passenger seat. This is not only true, but it’s also important to keep this truth in mind when discussing these five key areas of Lestat and Akasha’s problematic relationship. The first instance of Akasha not asking for Lestat’s consent happens at his concert. During a performance at his concert, a group of vampires climb up on stage and try to hurt Lestat. Marius tries to fight off these vampires in order to protect Lestat, but eventually he and Lestat are surrounded by even more vampires. While Akasha shows up, in the middle of the concert, and defeats these vampires, she ends up taking advantage of the situation. Akasha crashes through the stage, (as if the concert were her own, making a showstopping entrance in the process) takes Lestat against his will, and leaves. We, the audience, never see her ask Lestat if he wants to go anywhere with her or if he even wants to leave his concert. In fact, we never see Akasha make an effort to contact Lestat and make plans with him ahead of time. While Akasha took away Lestat’s chance to choose whether or not he wanted to leave, this is not the last time Akasha refused ask for his consent.

After Akasha and Lestat leave his concert, they arrive at her house. During their conversation, Akasha briefly mentions her deceased husband. When Lestat asks Akasha about her late husband’s whereabouts, she tells him, “He’s no more. Now you are my consort”. Here, Akasha is not only forcing Lestat to be her new husband, but also forcing Lestat into a marriage with her that he has very little interest in being a part of. Once again, Akasha chose not to ask Lestat if he was okay with being in a relationship in her or if he wanted to be married to her at all. Instead, she refuses to give him a choice or a chance to voice his concerns. After this conversation, Lestat and Akasha have an intimate moment with each other in a tub filled with water and red rose petals. We, the audience, don’t see Akasha asking Lestat if he’s comfortable with the situation or if he even wants to be in the situation. During this scene, it appears, at times, that Lestat is comfortable sharing this intimate moment with Akasha. However, there are a few times when Lestat appears as if he’s slipping out of consciousness. While body language can be helpful in figuring out what someone wants or needs, body language only tells a part of the story. It seems as if Akasha only relied on a select portion of Lestat’s body language in order to receive the message she wanted to hear. Whenever Lestat appears to be slipping out of consciousness, Akasha never addresses Lestat’s reaction or asks him if anything is wrong. She just acts like nothing out of the ordinary is happening.

Lack of Communication

A necessary component that is interwoven with consent is communication. In a romantic relationship, words are needed to share feelings, address concerns, and build/strengthen a bond. As I mentioned before, Akasha is the one controlling her relationship with Lestat. Therefore, she is controlling their conversation. During their first conversation at her house, Akasha is talking at Lestat and not to him, leaving very little room for Lestat to contribute to their conversation. In fact, half of this conversation is about Akasha. For example, when she tells Lestat about things she has observed about him, she says “You live your life in the open, like I did”. After she tells Lestat that he is now her husband, Akasha tells him “That’s why I kept you safe. Alive”. It seems like Akasha always finds a way to insert herself into the conversation. She doesn’t want to bother with Lestat’s perspective on anything. It is clear that Akasha is not interested in participating in an equally balanced conversation between her and Lestat.

It’s also important to observe how Akasha talks about Lestat. She mostly refers to him as “my love” or my king”. However, she only addresses Lestat by his name on less than three occasions. Based on this observation, it appears that Akasha wants to highlight her connection to Lestat, almost as if she holds a sort of ownership over him. During the film’s climax, when Lestat is drinking some of her blood, Akasha tells the other vampires in her presence “You see how he obeys me”. In that sentence alone, Akasha not only refuses to address Lestat by his name, but also seems like Akasha does not see Lestat as an equal sigfinicant other to her, but instead something she feels she can control.

A Power Imbalance

In a healthy relationship, both members should be equal to one another. Any type of power should be shared amongst each other and a balanced amount of control should be given to each member of that relationship. Unfortunately, this is not the case for Lestat and Akasha’s relationship. Because Akasha is a queen and one of the first vampires ever created, according to Queen of the Damned, Akasha feels she has the right to do, say, act, and treat others whatever and however she wants. This is why Akasha is the one controlling her relationship with Lestat, because she feels she is the most important and powerful vampire in that particular cinematic world. In the morning, after Akasha takes Lestat to her house, she tells him “This is but a taste of what we shall share, my love. My king. Behold our kingdom”. However, Akasha purposefully leaves him out of the process of building their “kingdom”. Lestat wakes up all alone and, later, finds several dead mortals at the pool and on the beach. He has no idea where Akasha is until she shows up minutes later. During this conversation, Lestat appears to be unhappy with what Akasha is telling him, even looking disgusted when Akasha talks about the dead mortals on her property. In their relationship, Lestat and Akasha never make any decisions together, don’t discuss any matters of importance, or contemplate Lestat new “title”. It honestly feels as if Lestat and Akasha aren’t on the same page, let alone the same book.

Because of Akasha’s title and her amount of control in their relationship, if appears to be negatively affecting Lestat as a person. Earlier in the film, Lestat is interacting with two female fans. When one of the fans tries to physically take advantage of him, Lestat pushes her hands away and tells her “Don’t do that”. Since there was no power imbalance present in this interaction, Lestat appeared comfortable addressing this fan’s error in not asking for his consent. In his relationship with Akasha, Lestat says very little to her. In the two conversations they had at her house, Lestat only asks short questions. At Marahet’s house, during the film’s climax, Lestat mostly stays silent, more often than not speaking when someone is addressing him. During their intimate moment in the rose petal filled tub, Lestat doesn’t say a word to Akasha, even when she bites his chest. Based on his reaction, it seems like Lestat was negatively affected by her actions, but doesn’t speak up about it to Akasha. It hard to tell if he is remaining quiet out of fear or to play along with Akasha’s plan in order to defeat her. Throughout their relationship, the audience doesn’t receive any voice-overs from Lestat like in previous scenes within this film.

Intentional Harm toward a Significant Other

When we think of a typical, healthy relationship, we think of significant others who treat each other with kindness and respect. Images of loving actions, such as hugging and snuggling on the couch, sometimes come to mind. In Lestat and Akasha’s relationship, we never see them perform loving actions toward each other, such as hugging. Even though they have an intimate moment on two separate occasions, both of them involving a lot of kissing, that is the closest thing to a loving action we see throughout their relationship. During Lestat and Akasha’s intimate moment in the rose petal filled tub, Akasha decides to bite Lestat’s chest. This causes him to flinch in pain and have a bloody wound on his chest. Akasha, however, does not seem to care that she has physically hurt her “husband”. Instead, she continues to kiss Lestat as if nothing ever happened. Lestat also never mentions this incident to Akasha or anyone else. The next day, at Maharet’s house, Lestat drinks some of Akasha’s blood. When Akasha is trying to make Lestat stop, she physically pushes him to the point of, practically, throwing him. This causes Lestat to fall on cement stairs. Fortunately, Lestat does not appear to receive any injuries from this incident. As for Lestat, the only thing closest to a harmful action toward Akasha happens on two occasions;

a) When Lestat is drinking her blood, but in this situation, he is pretending not to stop in order to provide a distraction so the other vampires can have a chance to defeat Akasha and;

b) When Lestat drinks Akasha’s blood again, but this time, to protect himself and the others at Maharet’s house from Akasha’s dangerous and villainous ways.

A not-so-loving significant other

For any romantic relationship, there needs to be a significant amount of love between those two people. A true love where both individuals love that person for who they are as well each other’s characters is an important ingredient. In Lestat and Akasha’s relationship, however, it never feels like they truly love each other. Because Lestat was forced into the relationship by Akasha, it doesn’t seem like he is invested in the relationship. Meanwhile, Akasha claims to love Lestat, but her reasons for loving him make one wonder if her intentions are self-centered. Earlier in Queen in the Damned, Akasha visits a vampire bar. When she arrives, she sees Lestat on television. When a patron at the bar asks if she likes Lestat, Akasha replies by saying “He reminds me of someone”. Days later, when Akasha forcibly takes Lestat to her house, she tells Lestat “Now you are my consort. That’s why I kept you safe. Alive”. As Lestat asks her if she really did save him at his concert, Akasha asks him “You thought it was all you” and then says “The ego of a king as well”. Based on what Akasha has said, it seems like she loves Lestat because he reminds her of her deceased husband. Though she never directly tell Lestat or anybody this, it is left to be assumed by the audience.

During their relationship, Akasha doesn’t really make an effort to get to know Lestat. In fact, she assumes she knows enough about him in order for their relationship to work. In their first conversation at her house, she tells him “all your wishes are come true”. When Lestat asks Akasha to specify what wishes she’s referring to, she tells him “For a companion. To share eternity”. Prior to this interaction, Lestat never mentioned anything about wanting or needing a companion. In fact, when Marius visits Lestat in Los Angeles, he tells Marius “I only have myself. You taught me that”. Also, during Akasha and Lestat’s first conversation at her house, she tells him “You’re bold, like your music” and “I know you, Lestat. I know that you crave to have the world at your feet”. Two things happen because of Akasha’s assumptions. The first thing is Akasha is basing her knowledge of Lestat on the image he’s presented as a musical performer. She’s only listened to a few of his songs, seen him on television once, and interrupted his concert. The musical side of Lestat is only a small part of him, so Akasha does not have as much information about him as she thinks she does. The second thing is Akasha assumes she knows what Lestat wants. Throughout the film, Lestat has said that he wants to walk in the light and not hide in the shadows. But, because Akasha does not take the time to ask Lestat what he wants, she gives him a royal title that he did not want or ask for. In Lestat’s case, he knows enough about Akasha to know what kind of a person she is. All of his knowledge of her comes from Marius, after Lestat stumbled across Akasha’s statue-esque being in Marius’ house. While in Los Angeles, Marius shares with Lestat that not only has his music woken Akasha up, but that she also killed her husband and took his blood and powers.

As I’ve said before, Akasha is the one controlling this relationship. This causes her to feel like she can do and say whatever her vampire heart desires. Despite the fact that she is the film’s villain, she doesn’t seem to have any trace of kindness or empathy toward others. At Maharet’s house, during the film’s climax, Akasha asks Lestat if he loves her. When Lestat says “Yes”, Akasha says “Then prove it” and orders him to kill Jesse, a woman that Lestat not only knows quite well, but also would rather be in a romantic relationship with. If two people love each other, they do not need to prove anything to the other person. Their actions and choices should speak for themselves. By Akasha forcing Lestat to prove his “love” for her by hurting someone else shows that Akasha doesn’t really think that highly of Lestat or anybody that he personally knows. If their relationship was healthy, Lestat’s love for his significant other would be enough proof that he cares about that person. It seems no matter what Lestat does or says, it will never be good enough for Akasha.

While Lestat and Akasha’s relationship is very problematic, it fortunately does not last long. Lestat and the other vampires at Maheret’s house are able to successfully defeat Akasha. This allows Lestat to escape this toxic relationship and enter a healthy, romantic relationship with Jesse. When I’ve read reviews for Queen of the Damned, no one had brought up Lestat and Akasha’s horrible, but short-lived relationship. It also doesn’t help that this film’s marketing campaign paints their relationship in a very different light. On the film’s poster, Lestat and Akasha are the only two people featured in the image. In the trailer, not only are Lestat and Akasha the only two characters who are prominently featured, but the movie’s footage and the voice-overs are set up in a way that makes it seem like Lestat chose to be in a relationship with Akasha and had contemplated turning to the dark side. As my editorial and the film itself shows, this is far from the truth. Even though movie fans would, probably, rather talk about the cinematic relationships worth rooting for, it’s important to take the time to talk about the not-so-healthy relationships in film. When observing these choices and behaviors, we movie fans and people in general can learn how not to treat others as well as leading a better example in our own real-life relationships, whether or not they’re romantic. It will not only make for a better Valentine’s Day, but also for better and many years to come.

Have fun at the movies!


A huge thanks to Sally for joining the Ultimate 2000s Blogathon with this insightful and thorough editorial. Be sure to head over to her site, 18 Cinema Lane and give her a follow to check out her great content!

As always, you can find the full list of entries updated daily HERE!

Ultimate 2000s Blogathon Kick-Off: EuroTrip (2004)

Head over to check out my fantastic co-host’s kick-off review as he takes a look at 2004’s EuroTrip!

Drew's Movie Reviews

Hello, friends! Welcome to the fourth annual Ultimate Decades Blogathon! This year’s spotlight decade is the 2000s. Over the next few weeks, my wonderful co-host Kim from Tranquil Dreams and I will be posting reviews from our fellow bloggers highlighting their favorite films from the decade. Kim kicked off the blogathon on her site with her review of SPL: Kill Zone, which you should definitely go check out. Now it’s my turn to get things started! Here is my review of EuroTrip.


Synopsis
After Scott (Scott Mechlowicz) is dumped by his girlfriend at high school graduation, he decides to take a trip to Europe, accompanied by his best friend, Cooper (Jacob Pitts), to meet his pen pal, Mieke (Jessica Boehrs).

Review
As per usual for my opening entry of an Ultimate Decades Blogathon, here are several reasons why I think EuroTrip is an excellent snapshot of the first…

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Ultimate 2000s Blogathon Kick-off: SPL: Kill Zone 殺破狼 (2005)

Today is a very special day! Ultimate 2000s Blogathon officially kicks off today! Like previous years, both myself and my amazing co-host Drew from Drew’s Movie Reviews will both be sharing our kick-off movie on our respective blogs. To start things off, it only makes sense to kick off with a Hong Kong action crime thriller called SPL: Kill Zone. Hong Kong movies have always been a big part of my life and while its struggled through some of its content, Kill Zone breaths new life into this genre with its fantastic cast and its surprising how I haven’t reviewed it here yet.

SPL: Kill Zone 殺破狼 (2005)

SPL: Kill Zone

Director (& co-writer): Wilson Yip

Cast: Donnie Yen, Simon Yam, Sammo Hung, Jing Wu, Kai Chi Liu, Danny Summer, Ken Chang, Austin Wai

A near retired inspector and his unit are willing to put down a crime boss at all costs while dealing with his replacement, who is getting in their way. Meanwhile, the crime boss sends his top henchmen to put an end to their dirty schemes. – IMDB

2000s Hong Kong films was a bit of a mixed bag full of some dumb humor, recycled ideas and predictable plot lines. But in between all this, they had some great films with great casts that stood out, maybe even call it a decade of great crime thrillers from Infernal Affairs to Election to this film. Call this something of a comeback film that brought together some big stars as well as welcoming Donnie Yen back to the Hong Kong scene showing that his martial arts has not lost one bit of speed. The starting scene changes the pace of the entire film whether it is with its main inspector, Inspector Chan who takes in the orphaned child and realizes his days are limited or crime boss Wong Po’s release after insufficient evidence which sets off the pressing time limit for Inspector’s team to catch him.

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Right in the opening moments, we get a good idea of the personality of everyone here. Be it Donnie Yen‘s character Inspector Ma’s first appearance on scene going head to head in the car with Inspector Chan’s team and then their conversation of his past events. While we’ve already seen Inspector Chan and the bond with his team and the quick introduction of each member as Ma Kwan looks at his desk of the team. It shows their character and their role in the movie which brings them to what starts off this film and the vengeful events that start. Kai Chi Liu, Danny Summer and Ken Chang play the three members of this team who are all capable in their own manner and create a balance. The first two of these names are seasoned actors in the business already. Its this bond between the team of five that builds up during the film that makes this film even more valuable as they make us care for each of them.

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With a competent team, there has to be the other side of the spectrum and Sammo Hung‘s Wong Po does exactly that. Call him the mastermind throughout most of it with each scene very much making his presence known. Sammo Hung, despite his age, also flaunts some impressive martial arts move as he goes head to head in some fast-paced fighting scenes up against Donnie Yen.It helps that his top henchman is a white clad martial arts powerhouse, Jack played by Jing Wu, in one of his first roles. Jing Wu truly shows off his skills especially when his scenes are not a lot of talking but a lot of brutal “execution” for our characters leading into a fantastically shot alleyway fighting scene with Donnie Yen.

Qi sha (Seven Killings) is the Power Star; Po Jun (Army Breaker) is the Ruinous Star; Tan Lang (Greed Wolf) is the Flirting Star. According to Chinese astology, these three stars, with their changes, could create or destroy that beautiful life of yours. – SPL: KillZone

Nothing beats a crime thriller like having a nice background story to investigate. There is a lot going on here with parallel storylines and investigations that intertwine each other gradually. There is a lot of style here as well. While it embeds its foundation in Chinese astrology, the script itself embeds all these things just like how Seven uses its seven sins. It also has the brutality of films like Election. The fighting scenes are meticulously shot as well as the chase scenes. There is this real sense of what is the limit of ethics and morals of being a police officer when faced with the triad and its ruthless crime boss. Between the team and Donnie Yen’s addition that shows a friction between injecting himself and being accepted. A different person and a different approach gives Inspector Chan’s long time team and Inspector Ma the division that makes this an extra layer to explore in the story.  At the same time, Kill Zone also adds in a heavy dose of Chinese belief in karma.

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SPL: Kill Zone is a one of a kind action crime thriller. It defines its genre so well in what makes Hong Kong films so worth watching. 2000s brought about a new wave of crime thrillers that gave itself a lot of twists and intertwined plots that gave it so much more depth. Whether its for Donnie Yen or Sammo Hung or Simon Yam, no doubt the more known actors here, this film gives it a nice blend of impressive fight scenes, brutal almost execution moments, and a thought-provoking themes about morals and ethics as well as choices and karma. Its fast-paced and ramps up its intensity with each scene and its frictional moment between its characters making it such a joy to watch over and over again.


Remember to head over to my co-host Drew at Drew’s Movie Reviews to check out his kick-off review and give him a follow to not miss any posts from the Ultimate 2000s Blogathon! We have a little hashtag set for this blogathon #ultimate00sblogathon if you want to give us a mention or share some of the posts! 🙂

As always, you can find the full list of entries updated daily HERE!