walterradunsky Reviews

SX_Tape (2013)

Terrifying, Skillfully Directed, Honest & Underrated

[7/10 · 18 May 2014]

While SX_Tape is not one of the best written films directed by Bernard Rose, it is nonetheless wonderfully executed. As far as found-footage horror films go, this is the best and most terrifying one I've seen. I can only assume that the low ratings received for a film this well done and frightening has more than a little to do with the behavior of the films protagonists, which many critics found "hateful" and "annoying." One such user review is even a word-for-word copy of a review published in 1INFLUX Magazine. I'm guessing that the characters got so far under the critic's skin, he couldn't help but to discredit this film anyway he possibly could. But truly bad or mediocre films are not so provocative. The lead characters in SX_TAPE are in fact self-absorbed, careless, insensitively voyeuristic, sarcastic, and self-destructive; but so are a great deal of today's youth. While depicting a boyfriend choosing to film his girlfriend bleeding rather than turning off the camera and helping her is unpleasant, it is nevertheless an honest reflection of a society in which there have been so many instances of people using their cell phones to record videos of others in trouble instead of calling for help. Once again, Bernard Rose has held a mirror up to our faces, and many of the critics don't like what they see. And whereas critical reflections of society were once praised, in today's mob-ruled media, they are vehemently despised.

Incendies (2010)

Another Muslim Propaganda Film

[2/10 · 16 March 2014]

I can understand some of the attraction to 'Incendies,' as there are some well crafted elements of the film, including beautiful cinematography, superb acting, and a story that immediately draws the viewer into the world of its troubled characters. But what I find inexplicable, as well as frightening, is how so many people who have seen 'Incendies' appear incapable of seeing it for what it is, i.e., a Muslim propaganda film. While the protagonist of the story is an Arab Christian, her character clearly serves no other purpose than as a medium for illustrating completely unprovoked evils of her own people against the Muslims, who are all portrayed in this film as the most perfectly innocent victims one could possibly imagine. It is worth noting that the lead actress in Incendies also played a major role in 'Paradise Now,' a Palestinian film in which it is the Jews who are portrayed as the unprovoked tormentors of the Muslim people. While there have in fact been incidents of violence against Muslims by non-Muslims, there is a long and indisputable history of Muslims committing acts of violence upon not only non-Muslims but each other. And while I've seen much passion, beauty and poetry in films written by Muslims, I have unfortunately never seen a single one that even attempts to show any sympathy whatsoever with non-Muslims or that places any responsibility whatsoever upon the Muslim people for any kind of problem facing them. But equally disheartening is how many people--including some of those who are the objects of the lopsided demonization portrayed in so many Muslim-made films--subscribe to such blatant hatred and lies.

Zeitgeist: Moving Forward (2011)

If Not Conniving, Then Stupid Or Confused

[2/10 · 19 December 2013]

Peter Joseph's documentary, 'Zeitgeist: Moving Forward' cites a long list of social and economic problems and then in end proposes that the great solution to all these problems is more technological automation. In other words, rather than suggesting even a single socioeconomic reform, the filmmaker claims that the best way to solve all of our economic and social problems is by simply using technology to exponentially increase unemployment. I'm not sure whether Peter Joseph is trying to be conniving, is just plain stupid, or is simply like so many other Americans who are far too fixated on the next computer gadget and irreparably brainwashed with simple-minded and delusional ideologies to come up with any genuine social and economic advances. In any case, while much of the critique in 'Zeitgeist' is valid and even undeniable, it ultimately proves to be nothing more than a 2 1/2 hour infomercial.

Weeds (1987)

Very Underrated and Too Unknown

[10/10 · 7 December 2013]

'Weeds', which made its short run on the big screen in 1987, is not so much of a forgotten movie as it is a film that relatively few people have ever seen. As of the time of this review (Dec. 2013) it has never been released on DVD and only resurfaces now and then through a couple of seldom watched YouTube clips. Yet having finally seen the movie in its VHS-aged entirety, I can find no good reason for its obscurity. The cast is made up of many well-known actors, including Nick Nolte, Ernie Hudson, William Forsythe, and Joe Mantegna, all of which give dynamic performances, the musical score by the great cinematic composer Angelo Badalamenti is absolutely beautiful, and the settings, characters and plot are all compelling. Thus, I can't help but to assume that this film has been suppressed by the adverse reviews of professional critics such as Siskel and Ebert (I happen to think these two guys made their greatest contribution to the film industry postmortem, when movies were no longer subjected to their ignorant and simple-minded opinions), and perhaps even more so by the fact that the narrative of the film conflicts with American ideologies. 'Weeds' is a film about a group of maximum security prisoners who start a theater company presenting plays about prison life. The audience, both inside and outside the film, are made to sympathize with the prisoners and see a humanity within them, in spite of the immoralities and serious crimes that they have committed. The character Lee Umstetter, the playwright and protagonist of the film, likens the prisoners to weeds growing through the cracks of the prison walls and blooming with flowers filled with nectar sweet enough to still attract and feed the bees. While such a sentiment may be well understood in countries that have some understanding and, in turn, sympathy with the human condition, it is in complete contradiction to the dogma of America, where--as is pointed out in the film--prison is regarded as punishment rather than rehabilitation, and where criminal behavior is completely removed from the context of class, race, and countless other circumstances in order to be simplified into nothing more than a personal choice.

Although I gave it a perfect score, I don't regard 'Weeds' as a perfect film. The behavior of the characters (perhaps to make the audience further sympathize with them) seemed oversimplified at times, and parts of screenplay adhered too much to the predictable Hollywood formula (though I sense that this was in part done to appeal to as large of an American audience as possible). Nevertheless, I would like to contribute in whatever way I can to raising the status and awareness of a film that, unlike so many of the American films that came out during and after the Regan era, is filled with purpose, meaning and heart, and which deserves far better ratings and reviews than it has normally received from American viewers.

The Living and the Dead (2006)

Unique and Stunning Film Reminiscent of Unclassifiable 1970s Classic

[8/10 · 22 October 2013]

Simon Rumley's "The Living and the Dead" is the kind of film I would not have expected to come out in 2006. While a drama at its core, the movie is constructed of so many other narrative and cinematic nuances and is so possessed by a kind of punk spirit that it looks and feels like it could have been one of the unclassifiable classics of the 1970s. Although only a few final episodes in the life of an aristocratic English family with a mentally ill son are illustrated, these scenes are enough through which to surrealistically distill the gradual and eventual disintegration of their lives into madness and tragedy. This portrayal of tragedy is one of the characteristics that particularly makes this film so interesting. That's not to say that there is not also the element of comedy in this film. The son's character is one that many would consider humorous, at least from a distance. But Rumley takes us deep enough into the life of the son--his private words and behavior, his relationship with his parents, his drug usage, even his dreams--until our laughter is long left behind for more serious thoughts of sympathy and fear. It is as easy to emotionally respond to this film as it is to think about it on an intellectual level, as the simple yet sophisticated dialogue is brilliantly executed and perfectly compliments the literary screenplay, professional directing, artful cinematography, and everything else that makes this film as worthy of viewing as many of the unique favorites of the past.

Rabies (2010)

A Well-Made And Meaningful Israeli Thriller

[8/10 · 20 October 2013]

In general I've been disappointed with Israeli cinema. Rather than giving sincere and insightful expressions of a country with such a heavy sociopolitical atmosphere, a land which underlies so much of the world's history and which has now been so quickly repopulated and rebuilt by a people who have achieved so much under the weight of hatred, exclusion, and genocide, most Israeli filmmakers have followed in the aimless and shallow footsteps of Hollywood trash and self-righteous American liberal con artists. The film "Kalevet," however, is an exception to the current trend of filmmaking in Israel and all the other countries of the world who are to some degree being culturally tainted by one of the worst things America has to offer, i.e., it's cinema. And interestingly enough, "Kalevet" manages to escape the Hollywood pattern by making use of one of it's most simple-minded conventions--the slasher film. By employing sophisticated directing, cinematography, editing, and a screenplay portraying morally complex characters and a narrative that serves as an insightful metaphor for Israeli society as well as a universal statement on the human condition, the creators of "Kalevet" have succeeded in doing what is usually more expected from filmmakers in the more eastern part of Asia, i.e., reinvent a usually meaningless Hollywood genre into something that is not simply entertaining but meaningful.

Pop Skull (2007)

Contemporary American Cerebral Horror/Psychological Thriller Gem

[8/10 · 16 October 2013]

In the dark and fathomless depths of shallow contemporary American horror and thriller movies, "Pop Skull" stands as one of the seldom noticed beacons of light. It is not only Adam Wingard's finest picture to date, but one of the best in its genre. Like all great horror and thriller films, "Pop Skull" eludes categorization by invoking fear for something deeper and more interesting than simple jump scares. Juxtaposing hallucinogenic imagery with realistic dialogue, the film captures the essence of today's young generation, giving expression--through the strained words and cathartic thoughts and actions of its characters--to its fears within the context of it's other anxieties, such as loneliness, depression, confusion and aimlessness. Furthermore, by portraying something as common as heartbreak while illustrating a self-destructive addiction to what most people use and have easy access to, i.e., over-the-counter drugs, the narrative acts a disturbing reflection of the audience by connecting them to something they can all relate to and potentially experience. Simply put, "Pop Skull" is a film that manages to present the audience with an insightful social critique within the entertaining confines of the horror genre.

Nobody (2007)

Underrated Surrealistic Ne-Noir

[7/10 · 12 October 2013]

Fortunately, I didn't let the low ratings this film has received dissuade me from seeing it. Borrowing elements from filmmakers such as the Coen brothers, David Lynch, and David Cronenburg, the writer/director of "Nobody" managed to create his own unique and surreal neo-noir movie. The cinematography and production design is visually stunning, and the meticulously crafted script originated the kind of narrative thread that was later used in the more highly praised "Triangle." The story is not a confusing mess that randomly ends without any closure, as some have suggested; rather, it is a narrative in which the resolution (or lack of) is inextricably tied to the beginning (as was the case in the movie "Memento"). As in all noir films, the mystery is unraveled by an eventual understanding of past events; however, circumstances occurring in the story have led to these past events being revisited in an unusual way. It's unfortunate that this narrative has been the object of all its criticisms, as the narrative is precisely what makes this film so interesting and unique.

Crying Fist (2005)

Another Fantastic Korean Reinvention

[9/10 · 12 October 2013]

One of the great qualities about many Korean filmmakers is their ability to reinvent Hollywood genres. Drawing upon the intellectual and moral sensibilities of their own culture, they transform genres that in America traditionally consist of incredibly simple-minded narratives into something far more human, complex and literary. In the film "Crying Fist," it is the boxing movie genre that is wonderfully reinvented. Rather than presenting the audience with gratuitous action scenes involving a hero and a villain--as American audiences are so used to seeing--"Crying Fist" carefully and sympathetically develops the lives of both fighters. In the end, we are left with not only empathy for both fighters but a thoughtful drama that seeks to deepen our insight into the human condition.

High Tension (2003)

If all's well that ends well, then this is all bad.

[1/10 · 12 October 2013]

If all's well that ends well, then this whole movie is a heaping pile of excrement. This film had one of the most thoughtless endings I've ever seen. I'm not sure whether the screenwriter was just being stupid or lazy when he threw in the so-called "twist," but in any case, he basically took an already stupid cliché and made it even more stupid. But what amazes me most is how many people actually gave this rubbish a high rating and regard it as an intelligent and thought provoking horror film. I'm guessing that's the doing of mostly Americans who not only want to feel proud of themselves for finally watching a movie in subtitles, but are ignorant and idiotic enough to buy into something as dumbed down as themselves.

Joshua (2007)

Another Stupid American Story About A Brilliant Evil Child

[3/10 · 7 October 2013]

Why are there so many American narratives about brilliant evil children? I'm guessing it's because a) these narratives fits perfectly into our incredibly narrow-minded ideology that everyone who behaves in an exceptionally immoral way is simply born that way, with all circumstances of upbringing and other experiences being completely irrelevant to how we turn out, and b) our enculturated stupidity and ignorance is justified by constantly associating intelligence with evil. The movie "Joshua" presents a perfect example of this kind of trite and idiotic story about a highly intelligent boy who in spite of being well cared for and affectionately nurtured wants to hurt his parents and others as much as possible for apparently no reason whatsoever. And, of course, Joshua's family is upper class, because God forbid Hollywood portray the existence of any other kind of social class in America. Nevertheless, most of the other elements of the movie--the directing, acting, cinematography, etc.--are well executed. However, providing beautiful packaging for the usual piece of trash only makes the trash all the more disappointing.

The Purge (I) (2013)

well-written and meaningful horror/thriller

[7/10 · 2 October 2013]

If there's one thing I've learned about American reviews of movies, books, and plays it's this: you can't trust any commentary about anything that in any way addresses the issue of social class. It's no coincidence that a society as brainwashed as ours produces and watches so many zombie movies. We can identify with the metaphor in these films and, at least on a subconscious level, understand that what has happened in them is what has already happened to us. Nevertheless, like zombies, we cannot help what we do; most of our brains have been eaten by what we've been indoctrinated to believe and we must eat the brains of others in return, especially if they are still filled with any questions or critical views concerning social class and poverty. In the case of movie reviews, the vast majority of Americans will not simply bash a film for making a statement about social class, but be so conniving and ignorant of their own mindlessness as to suggest that this statement was the film's only admirable quality. Many reviews of the "The Purge" serve as perfect examples of such connivance and ignorance. While perhaps no masterpiece, the film is easily far better than most American horror movies, including many which have been given rave reviews. The narrative, for example, is both focused and meaningful. The film examines a family, the father of which has become wealthy and provided abundantly for his wife and children, i.e., has achieved the American dream, by the exploiting the fears of Americans during a time when all crime is permitted for one night each year. But this dream turns into a nightmare during a particular purge in which the son allows a homeless man to take shelter in their home, which is excessively guarded by the same type of security system that the father has profited from. This act of morality incurs the wrath of the family's upper class neighbors, who not only hunt down those who cannot afford to protect themselves, i.e., the poor, but have grown jealous of the father's financial success. That which the father created for prosperity and protection suddenly becomes an entrapment and the greatest threat to their well being. These events and characters are not only meaningfully tied together but present a metaphor of society that is just as familiar to Americans as the zombie genre. Unfortunately, however, the familiarity with the society presented in "The Purge" is of a kind that severely aggravates those who both choose and try to convince others to choose to ignore anything that might help to explain why it is that they have turned into zombies.

A Serbian Film (2010)

Artful, Insightful, and Intelligent

[8/10 · 24 September 2013]

As so many reviews attest to, I think that many people are too brainwashed and absorbed with their own self-righteousness to give any kind of insightful or honest review of a movie like this. A Serbian Film may not be pleasant to watch, but I believe that it is a brilliantly constructed and meaningful movie, one that gets more profound with each new reflection. Not only does the film artfully illustrate how unseen persons in power can manipulate, perverse, and ultimately destroy the lives of others, but it makes an insightful statement about the interaction of human beings and film itself. A comparison of the films (mainstream as well as pornographic) that entertain and arouse us today with those of the past clearly shows a sharp increase in both violence and raunchiness, with an audience that becomes more and more desensitized as filmmakers continue going to greater extremes to make that audience still feel something. A Serbian Film does well in not only illustrating this situation with increasingly brutal and perverse scenarios, but crosses so far over the line that the already desensitized viewer may feel deeply disturbed enough to understand how sadistic and immoral society, under the current momentum of politics and entertainment, may become. Like a great dystopian narrative, A Serbian Film provides a creative and insightful, albeit disturbing, critique of what we have become by showing us what we may one day be. Unfortunately, like so may other films that make a powerful statement, this critique is either unseen or willfully ignored by those concerned about proving to others how righteous they still are as they look further for depictions of violence and perversity that will give them greater pleasure.