tired: end-credits blooper reel
wired: end-credits anthony anderson and tom arnold riffing on sex and shitting for six minutes
perfectly fine way to pass the time, i guess, and it looks pretty and Oldman's stoic performance is engaging, but this is ultimately pretty futile, joyless film that is so narrow in scope and self-involved that its reveal doesnt have any broader implication than "oh, it was that guy. huh.."
i'm guessing this is the most viewed of D'Amato's Emanuelle films because of the shock elements, which are some of its best moments. there are other great images her and there, but ultimately bogged down by the racism inherent to the subgenre. the stuff in America is often really cool tho
you could make the case that my lack of enthusiasm for this is because its my fifth in three days, but this one just didnt do a whole lot for me. perfectly fine. nothing in it even comes close to the underwater sequence of ...America or the score of ...Bangkok.
that being said, I'm glad she was on the case and that her editors trust her so much.
perhaps i'm being a bit generous here, but my enthusiasm for the pure vibes of this movie never waned. D'Amato, shooting under a DP alias, does beautiful work. and Nico Fidenco's score, especially the sex scene leitmotif, which becomes nearly incessant, never gets old.
starting to realize the Em(m)aneuelle series might largely be about the safety and joy she finds having sex with women vs. the mechanical, painful, abusive sex she usually finds with men
an obvious metatext about Favreau's saltiness over the bombing of Cowboys & Aliens in which he equates his work with Marvel to fine dining and, at one time, exciting, daring cuisine.
he also equates Chef to going "back to his roots," creating out of joy. ironically, there is almost no moment in Chef that isn't clearly in service of its own gear-turning.
also, a kid "geo-tagging" a food truck on twitter as a significant plot point is high on the cringe meter
the first act is kinda slow, and the whole thing would be kind of a slog if Jess Franco wasnt so good at creating good vibes. the really cool slow electronic score, done by Norbert Verrone (no clue if thats just another Franco pseudonym) also does a lot of heavy lifting here as well.