Possession (Original Cut): follows the breakdown of a relationship between an international spy and his increasingly disturbed wife. Highly stylized, the masterful direction immediately jumps out; the camera is perpetually moving, with long and involving shots that roam around the actors, thrusting you right into the middle of the powerful, visceral drama. The acting is superb throughout, borderline theatrical but it assists in dragging you further into the intriguing plot. The entire film has an unusual vibe that’s both quasi-religious and heavily-surreal – somewhere between arthouse and exploitation – aided by a phenomenally creepy score that is one of the most unsettling I can remember. Not without it’s flaws, by the 75-minute mark, I was wishing I’d opted for the 90-minute edit, as the film takes a lingering detour into an examination of the body, soul, god, chance, and faith. It’s also a movie that has echoed strongly throughout the years, with a lot of imagery and powerful shots “borrowed” from this, and some of the most photogenic Berlin buildings – inside and out. Capped off with a genuinely crazy, jaw-dropping ending this is a film that you won’t be forgetting in a hurry; yet is such an intense experience that you won be rushing to re-watch. Marginalized because of it’s supernatural and excessive elements, Possession is ripe for a retrospective viewing: almost 40 years on it remains a modern thriller/horror that was way, way ahead of it’s time.
The Accidental Spy (AKA – 特務迷城, Tè Wù Mí Chéng): an exercise equipment salesman from HK must hunt down his absent – now dead – father’s fortune and lung cancer cure. The story is a bit of a mess; far more convoluted than it needed to be, and for the most part – quite difficult to follow. The film mirrors this, opening with a rough Taliban-style massacre; then switching to a comedy Jackie Chan workout – and ping-ponging between quite dark elements and light entertainment. The action sees an older (but still totally ripped!) JC swap out some of his trademark physically demanding fights for more traditional big budget moments: an entire wooden pier gets trashed; and planes, cars, & flaming tankers all explode after driving through every obstacle known to man. The highlight is a foot–chase from a Turkish bathhouse that sees Chan fight off various henchmen butt-naked whilst simultaneously covering his modesty; cheeky and entertaining – you couldn’t imagine anyone else pulling it off. People marvel at ‘peak’ Arnie, or Sly, but I’d rather have 1% of JC‘s agility and finesse than all the muscles in China! Overall, it’s one of the more forgettable Jackie Chan outings (like a lot of his made-for-the-west output), but even an average JC film is better than most action films. The Accidental Spy never overcomes the tonal mismatch of having the cheeky and goofy everyman surrounded by heroin-addicted damsels, violent terrorists, and absolutely retarded writing at the end (C.I.A. twist).