SUGAR BABY (1985)

 

Directed By: Percy Adlon 

Written By: Percy Adlon and Gwendolyn Von Ambasser

Cinematography: Johanna Heer

Editor: Jean-Claude Piroue

Cast: Marianne Sagebrecht, Elsi Gulp, Toni Berger, Manuela Denz, Will Spindler, Hans Stadlbauer, Meret Burger 

An asocial, obese German woman lives in a large city. Unfortunately, despite her kind and intelligent personality, she has had a lot of trouble making a connection with people, until she gets a crush on a handsome subway conductor.

Though this film sounds more modern about an older person taking care of a beautiful younger person financially and them doing the ssmenin return socially and physically. The same happens here but it is more romantic and emotional. Same title different meaning. Oh how the times have changed 

Throughout this film I had the feeling that I had seen this film before. As it constantly felt familiar though I I had only learned of this film in the previous weeks. Then by the end a particular scene jogged my memory. I didn’t see this film exactly, but a televison movie name BABYCAKES starring Ricki Lake and Craig Sheffer. Which o found out was a remake of this film.

Only with a happier and less ambiguous ending. As this original is definitely more sexual and a bit more twisted, but still sweet and more direct. 

As this film goes the artistic route in It’s stark lighting and camera work that seems to go a bit haywire at times in romantic scenes. I am shocked this film hasn’t become a cult film with a following. 

The lead played by Marianne Sagebrecht comes off as lonely and sad but also smart and determined. As we watch in her determined pursuit of her crush. Who seems like an epiphany to her one day.

Their romance takes up most of the film. As they find salvation in one another. Even though he is married. Most of the scenes are of their courtship and romance and some sex. The main difference between the movies other than country of origin is in the remake she has a best friend who is jealous and kind of pulls the rug out from under the romance.

The main attraction of this film is that the female is older and overweight. Making her seem all the more desperate and like her pursuit is more of a dream of fairytale. As the guy is considered think or in this original rather average but skinny. So when she manages to get him it is joyous and a wish come true. So it truly feels like the underdog finding victory. Only unlike most romances we stay way past the victory lap and watch as they deal with reality and the world. Remeber You have to defend your title at times. 

As I saw the remake first I have to side with it as far as presentation of the story and offering up a happy ending. Even though the original is more truthful, artistic and focused. 

Grade: C 

JE, TU, IL, ELLE (aka I, YOU, HE, SHE) (1974)

 

Directed By: Chantal Akerman

Written By: Chantal Akerman, Eric De Kuyper and Paul Paquay

Cinematography: Benedicte Delasalle, Renelde Dupont and Charlotte Szlovak

Editor: Luc Freche and Genevieve Luciani

Cast: Chantal Akerman, Niels Arestrup, Claire Wauthion

A young woman, alone in her room, is plagued by love-sickness. She rearranges the few pieces of furniture and then takes them out, with the exception of her mattress. Little by little, she also gets rid of her clothes, eats sugar and writes a letter. Finally, the woman leaves the flat. A lorry driver gives her a lift, enabling her to get to the woman she loves.

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 Chantel Ackerman’s Je, Tu, Il, Elle. One can dig the idea, it’s experimental nature that feels Like a Documentary and performance artist piece all

In one, that she fictionalized a bit. Heartfelt but leaves one feeling empty. As it feels more like a feature length student film. It’s an experience though. 

A film Ultimately about female Sexuality in all of its Forms in one character in her time of existential romantic crisis. That also highlights her mental breakdown and how she cope with it. 

Especially In the second act Where it opens ip 

To two Characters after the first Act of Only her. 

Now it’s her and The truck driver for a long time wordless then finally he Speaks he is talking

To Her. Only directly Into the camera so

It looks Like she is filming him and this is a confessional.

if particularly feels like a chore sitting through this film as there are many scenes were things seem to happen in real time I’m thinking, especially of the shaving scene where I guess as she’s getting to know the truck driver we’re getting to know them just as in the first act, we’re being introduced not to the situation, but the character and getting to know her and her mindset and act she more or less takes her backseat to the truck so she is still there, and this is purely her view.

As Director and actor Chantel Akerman. it gets a little confusing or becomes more and more mad and subversive as are we getting to know the character, the situation the vision or the story.

Then In the third act she finds herself in a same sex relationship that seems to finally release the call energy and call To mind the seduction the previous section with the truck Driver lacks with an extended love Making sequence that is plain and simple devoid of anything erotic. It actually looks more like wrestling. Though is gross enough to rival BLUE IS THE WARMEST COLOR.

As the character tries to find love in these nearly wordless rebounds to get her out of her depression and forget her ex.

In the end we have watched a character through her own lens and neurosis. Though we are never closer to finding out if she is over it or still suffering or really if love for her is just an addiction and she’s trying to find a new one 

Grade: B 

HEART EYES (2025)

 

Directed By: Josh Ruben 

Written By: Philip Murphy, Christopher Landon and Michael Kennedy 

Cinematography: Stephen Murphy 

Editor: Brett W. Bachman 

Cast: Mason Gooding, Olivia Holt, Jordana Brewster, Devon Sawa, Gigi Zumbado, Michela Watkins, Yoson An, Ben Black, Chris Parker, 

For the past several years, the "Heart Eyes Killer" has wreaked havoc on Valentine's Day by stalking and murdering romantic couples. This Valentine's Day, no couple is safe.

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This is a film that plays more like a romantic comedy that builds itself around a horror, film plot. It’s cute. It’s violin. It sometimes has a laugh or two and both sides with each other and against against each other. 

Whereas I wish you could be more like happy death day, which did have a comedy side and a horror side, but it also seemed to have its serious moments too. That made you care a little bit more. 

This film lacks that so that again the characters always feel exactly like that like characters rather than human beings, and why you worry about them in their peril the film, cynical, nature, almost every other character works against it as it seeks to be a dark comedy that reels a little bit more in violence 

If that is what you are seeking, you have found the perfect film for yourself and I will admit it stays entertaining through 90 minutes though after a while, it does becoming a bit predictable, though I will give it points for originality with ending to a certain extent 

No, again like a romantic comedy unfortunately the two leads who we follow are somewhat interesting, but not enough to hold your attention throughout the whole film where you really start to bond with them 

In fact, as a film where again some of the more supporting characters are way more interesting, and you had more screen time, but then it would probably require them to be either pulled into the plot story more killed. The audience would definitely want revenge on the slasher. 

I’m thinking, especially the best friend played by Gigi Zumbado, who the film could’ve benefited with her character being featured more or hell even being the lead character if they make a sequel to this film hopefully she will get that lead role

The film is enjoyable in a disposable way where your entertained while you watch it, but can’t see many watches and some of the scenes. Remind you so much of other horror films that either is paying two or based around. 

In fact, the only scene to me that was the most far would be that all these people are watching one of my favorite movies his girl Friday at a drive-in, even if it is Valentine’s Day.

It’s nice to see Jordana Brewster in any role that is not associated with the FAST & FURIOUS franchise 

Almost like rather than a comedy à la Simpsons episode where there’s a serial killer killing couples out and of course the city decides to still keep it Valentine’s Day celebrations going culminating and a driving and amusement park for lovers the slasher, a perfect opportunity of victims.

Not surprised that this film was also written, but some of the writers of the film’s FREAKY and IT’S A WONDERFUL KNIFE as well as TIME CUT. As this film has a similar feel. Where the concept is pushed more than anything else. Just as being directed by Josh Ruben who made WEREWOLVES WITHIN a mystery that seemed more to push the comedic elements more than the horror or mystery ones. 

Again, I don’t wanna make this film seem worse than it is as it does seem to be having a lot of fun and is made more for an audience. It’s just not a sharp as it seems to aim to be like fast food good in the moment, but overall not the best for you Nor noteworthy

Grade: C+

CRUSH (2013)

 

Directed By Malik Bader

Written By: Sonny Malhi

Cinematography: Scott Kevan 

Editor: Jeff Canavan

Cast: Lucas Till, Sarah Bolger, Crystal Reed, Leigh Whannell, Camille Guaty, Isaiah Mustafa, Holt McCallany, Caitriona Balfe, Reid Ewing, Meredith Salenger 

The promising high school soccer player Scott is injured on the knee in a game and two years after, he is still trying to heal his knee. The teenager Jules feels unrequited love for him but Scott is concentrated in recovering his physical condition and considers her as a friend. The also teenage Bess that works in the store owned by David with her mature colleague Andie has a crush on Scott. When Scott is stalked by a mysterious person that threatens Jules, he believes that Bess is responsible for the weird situations. Is his assumption correct?

This film is just  so tedious and badly paced most of the time it keeps building up and then when it does finally offer a release you are so thankful but never truly lives up to It’s potential or premise 

The way the film points at the red herring the more it becomes obvious that it’s not them.

It could have been a bit more fun if it played up it’s Ridiculous aspects or camped it up or actually added thrills. The way it plays it is more limp. Where you find yourself asking questions or creating your own scenarios rather then go with what is on screen. As it is taking way too long at a little over 90 minutes 

Not to mention the main character has looks and seems to be a good moral kid, but he has very little personality for all these ladies to have such crushes on him. Especially the teacher.

Though a teenage boy who is really into classic black and white films. Warmed my heart as I wished I could go to this town’s theater, but feels mroe an invention of a writer. Who wanted to put a piece of themselves and lvoe of film In there. As the film chosen isnMt even an inside joke or a hint of what is to come. 

Though will say she seemed to only be here for eye candy for anyone desiring some skin other then some from the lead actor and even what is shown is more pg-13 quality 

Know it would most likely be straight to home video quality but expected a bit better then what is offered. Espeically with such a recognizable cast, but we all have to start somewhere. 

It feels like a WB channel thriller if you remember what those were more targeted to the youth, a little risqué, but almost every character is picture perfect good looking.

While there’s barely anything objectionable, that is why it feels more like a TV movie or a movie meant for or could’ve easily played on a lifetime channel or MTV or WB

Crystal reed is the only true notable performance throughout. Everyone else does what is expected of them. 

Grade: D+

THE STRANGE VICE OF MRS. WARDH (1971)

 

Directed By: Sergio Martino 

Written By: Eduardo Manzanos, Ernesto Gastaldi and Vittorio Caronia 

Cinematography: Emilio Foriscot and Floriano Trenker 

Editor: Eugenio Alabiso 

Cast: Edwige French, George Hilton, Cristina Airoldi, Manuel Gill, Alberto De Mendoza, Bruno Corazzari, Carlo Alighiero, Ivan Rassimov 

After arriving in Vienna with her diplomat husband, a woman is stalked by a mysterious, razor-wielding maniac, with people around her getting killed one by one.

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  right now, I am truly immersing myself and the Gallo genre or at least catching up on many that I have never seen and truly never heard of when is thankful for Tubi for actually having a lot of these films to offer finding out about these films from various box sets devoted to lesser known examples of the genre. vinegar syndrome in particularly has a bunch of these in box sets that help me just discover titles to try to find and see for myself

There is a certain grace in Giallo films 

And it fees  like the story telling is on a rhythm almost like liquid as it flows. This film feels more rough around the edges att times. Which adds to it’s Charms. 

Though they started in these films and the women sometimes are treated horribly in them. Though the Film and filmmaker seems devoted to showcasing the actresses as unearthly beautiful but makes their behavior all the more human. That either you root for them in their indiscretions as their partners treat them horribly. So that you feel a certain sympathy for them. It is also the filmmakers putting you on yheornside as the men do I a te the women to make them seem all the more human and weak to a certain extent. that way each film seems like a testament to the actress or the lead character and the actress just encases the role.

story wise this film is pretty typical of Gallos. There’s always a murder mystery at hand and the film offers. You many suspects as well as grand death scenes scenes were the lead female character is almost a victim, but it saved last minute or manages to escape. 

it tries to make you believe that anyone could be the killer offering, red herrings, and plenty of motives for different characters who are close to the main character to do it as well as scenes that try to provide alibis or reasons as to why we might suspect cannot be the killer.

While also providing plenty of intrigue, seduction, glamour, international landscapes,  sex scenes, nudity and graphic violence that the directors usually try to make seem brutal, yet artistic in the aftermath.

Even though a little more predictable than usual, this film is truly an undiscovered gem as again it’s imperfections or set it apart from the typical Gallo, which can be original sometimes are so stylistic that it’s too much for their own good.

Edwige Fenech captivtes the screen. As you want to see more of her or for her to do more. One can’t take their eyes off of her. Conchita Airoldi does the same in a more supporting role. Which has her leavi g the film before she can truly make too much of an impression, but while she is there. She works as a distraction at times though one with a great smile. 

By the end the puzzle isn’t too hard to figure out but the end packs a hell of a punch. 

Grade: B