What a damn exploitation gem from Manilla...Underrated and not for intellectuals, but rather single blue collars after work or for sundays matinees. Lousy directing, laughable dialogues as in a cartoon album for ten years old kids, corny script, where sub characters are so unusual, where there is no real lead role and a topic for which the audience never gets bored. Every one watching this film wishes the gang to suceed in his task: rob the bank. The most unexpected heist film I have ever seen and of course improbable too, except DOBERMAN GANG, where a bank heist was pulled not by blind men but dogs; you can confound both movies, at least put them on the same scale. I highly prefer this to any Hollywood one hundred million dollars budget crap. I repeat, tha main thing to remember is that there is NO LEAD, MAIN character in this movie. And that's the first time in my moviegoer life that I see a film where the "should be main character" appears in the last seven minutes of the feature. All the rest of the crew, the cast have already "disappeared". Sooo unexpected, and hat's precisely what I like. I love.
Incredibly unique, though not remotely good story about syndicate of gangsters who stage a bank robbery using blind men. Give them points for the unique plot, take away a good many more for poor acting, bad dubbing and some of the most bizarre jaw dropping twists in a film. This is truly a bad movie lovers delight and the sort of thing to inflict, er, share with friends of a similar mind. Amazing, in a mind bending sort of way. Come on, can you really take a movie seriously who has the wonderful line of dialog "All Units its all going down at the International House of Pancakes". Even Fred Williamson, touted as the nominal star walks through his scenes (he's only in the last 10 minutes) in such away that he makes it clear it's a pay check job. (Williamson's scenes appear to have been shot in one day and you can watch as the sun's shadows lengthen as the sequences go on). The back of the DVD called this film a must see, I would add only for those wanting to see cinema of the strange, all others stay away.
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In the wake of the Vietnam war, the United States plans to send millions of dollars in aid to Southeast Asia, in order to prevent a feared "domino effect" of instability in the region. For some reason, the U.S. government didn't foresee that a criminal mastermind named Johnny Duran (Davao) has hired a woman named Sally (Hermosa) to corral a group of blind men to stage a robbery on the bank where the money is being held. BLIND MEN ROBBING A BANK. That's pretty much it. That is, until Jesse Crowder (Williamson) shows up to get to the bottom of the heist and get justice. Will the blind indeed lead the blind...to a multi-million dollar payoff? Find out today...? The original Blind Fury (1989), Blind Rage is the original vision impairment-based action movie. While we absolutely fell in love with the concept of the film: namely, a group of multi-racial blindies getting together for a bank heist, a couple of things weigh down the movie as a whole. The main detriment is the slow pace. There are long, extensively detailed scenes of "robbery practice" where Sally teaches the blind boys of Alabama how to properly execute the heist. The other thing is a mixed blessing. It's the inclusion of Fred Williamson. His appearance towards the end of the film rescues the movie from the doldrums, but the problem is, Fred should have been involved the whole time. Let's not forget this is from the same director as Ninja Assassins (1978), the movie where Cameron Mitchell didn't appear until the third act. Maybe that's director Pinon's idea of playing his last ace.There are plenty of things to admire about Blind Rage, however. The 70's style we all know and love is in evidence, best exemplified by the massive cars that are roughly the size of aircraft carriers. The funk on the soundtrack and the rotary phones reinforce the vibe as well, not to mention the loudly patterned shirts and wood-paneled rec rooms. Speaking of the soundtrack, there's this one annoying high-pitched note that appears at least twice in the movie, and it's so ear-shatteringly irritating, and is held for such an interminably long time, we actually had to hit mute. Hopfully that wasn't Pinon's idea of suspense music. But that one note (not to be confused with the movie's idea) is washed away by the funk, as well as the presences of Fong and Williamson.Fong plays a guy blinded during a fight with the triads, and Fred is just cool (he even exits a car in an extremely cool manner), but the rest of the acting is hilariously stilted and packed with funny pauses. That alone makes Blind Rage worth seeing, despite its flaws. And let's not forget the immortal credit "Golay as Chan". Yes, there is a man (?) out there simply named Golay. He's obviously the Cher or Madonna of the Philippines. And he played Chan. So now you know. Golay, we hardly knew ye.Featuring a song we think is called "The System" by Helen Gamboa (Manila's answer to Shirley Bassey?), Blind Rage does have some dull moments and is flawed, but the overall concept and some of the sillier moments make for relatively painless viewing.
Longtime Safdie brothers collaborator Ronald Bronstein has described his lone directorial effort as "a rotten egg lobbed with bad aim at the silver screen." Be forewarned: audience response has been intensely divided. FROWNLAND has garnered both passionate raves and scathing denunciation, while festival screenings have ended in screaming matches between patrons. It's strong stuff, yes, but none of its notorious reputation does justice to its savage dark humor, emotional heft, and stylistic audacity. Above all else, FROWNLAND is a pitch-black character study of Keith Sontag (Dore Mann), a neurotic, manipulative, stridently unlovable New Yorker whose pitiless roommate aptly describes him, to his face, as "a burbling troll in his underwear." With the most basic elements of human communication a struggle, Keith lurches his way through an uncaring city, attempting to aid a suicidal friend, evict his unctuous roommate, and simply attain some measure of self-respect. An apoplectic seizure of blind rage, sorrow, and bleating humor . . . FROWNLAND.
What follows is a tumbled cascade of scenes as Cameron gamely tries to be a good father. On a practical level he often fails, at times spectacularly: He takes the girls on long walks in the woods rather than to school. He pesters strangers with elaborate offers of unwanted and unneeded assistance. He storms out of the apartment in a blind rage in the middle of the night, leaving the girls on their own.
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