Movie Review: See You Next Tuesday (2013)

Directed by Drew Tobia

Movie Review by Greg Goodsell

Declared “The Most Effectively Offensive Film” of the 2013 Boston Underground Film Festival, See You Next Tuesday takes no prisoners. Described as a film that “the whole family can enjoy cutting themselves to,” there are plentiful laughs to be found here, just be warned that it has several sights and sounds that shocked this most seasoned reviewer …

Mona (Eleanore Pienta) is a verging-on-psychotic check-out girl at a Brooklyn market. Days away from giving birth – no word on the father or medical treatment, as Mona hates those doctors putting their fingers in her vagina, she stumbles from her colorless job to her shithole apartment in a daze. Put upon by her ghetto fabulous coworkers, Mona turns to her immediate family for solace. There’s her mother May (Dana Eskelson), a selfish, verbally abusive woman who lives for her Alcoholics Anonymous meetings and the gossip opportunities it brings.

Movie Review: Home, James (2014)

Directed by Jonathan Rossetti

Movie Review by Greg Goodsell
   
James (played by director Jonathan Rossetti) is an aspiring fine art photographer who lives in Tulsa, Oklahoma. He pays the bills by working as a sober driver, trolling the pubs of the downtown area, offering rides to inebriated club goers. It is in this seedy milieu that he meets Cooper (Kerry Knuppe), a woman who likes her liquor and high times. James plugs away at his photography career while dating the carefree Cooper, until he gets a break with a major gallery owner. Matching Cooper drink-by-drink, James stumbles and falls and realizes he must divest himself from what is essentially a toxic, dead-end relationship.

Home, James is a microscopic budget indie romance and labor of love currently making the film festival rounds. Its story is simple and stark, and the performers are able to pull off the subtle gradations of infatuation, romance, love and alienation in a compelling manner. Director-writer-star Rossetti seems a bit too old to be playing a conflicted twenty-something artist. Co-star Knuppe has probably tired of being told how much she resemble Julia Roberts. As befitting a story about a photographer, the cinematography by George Su is gorgeous. Especially noteworthy are the scenes set at dawn, where the young lovers are bathed in exterior scenes doused in rosy hues of peach and red.

Movie Review: Whore Hospital (1997, Pink Eiga VOD)

Directed by Chise Matoba

Starring Rei Asakura, Myuu Aso and Kanichi Hiraga

Run Time: 61 minutes

Gather round kids, Pink Eiga is going Video-on-Demand and one of the their first releases is this little gem with one of the catchiest titles ever.....Whore Hospital. Where Chise Matoba, ( director of such pink classics as Maid in Japan and Orgasm Counselor), gives you a behind the scenes look at, well....lets just call it, “non-traditional” medical treatments. If your in Japan and feeling ill, this is the place to go because all of the nurses just happen to be nymphomaniacs. Got a broken leg? That's nothing a little screwing cant fix. Pneumonia? A prescription of blowjobs should do the trick.

Movie Review: Mourning Wife (Pink Eiga, VOD)

“The Mourning Wife” is the latest offering from the great folks at Pink Eiga. Directed by renowned pink director Daisuke Goto. The film itself is a take on the classic 1981 film-noir “The Postman Always Rings Twice” which starred Jack Nicholson & Jessica Lang and adapted by the ultra talented David Mamet.

Let's start this review off by saying I was leery at first about this film. I'm a huge film-noir buff and a big fan of the original 1939 novel. So I was curious to see how all of the themes of the book would jell with a Japanese adaptation. Moving the location from California to Japan actually worked very well.

I was expecting your typical pink film when I started watching this but this film surprised me. That's right, this isn't your typical soft-core film. It's a well acted, superbly directed sensual Japanese film-noir. The icing on the cake is Masahide Iioka's gritty cinematography. The visuals alone bring back the feeling of Kinji Fukasku's crime films from the 70's.