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Comments: This film is so Korean. The way it is shot and the way the story is told doesn't conform to the way many Americans think genre clues should be presented and adhered to. At it's heart, The Chaser is a crime drama about a serial killer and the guy who's chasing him, but it evolves from many different angles. It's a comedy of errors in the way the police and politicians are portrayed; a melodrama with its inclusion of the precocious little girl who belongs to the woman serving as the film's primary "chase" and investigative point; a psychological thriller in the way the serial killer messes with the minds of the police; a mildly gory film in the way the bad guy uses a hammer and chisel; a bit of a tragedy in the way it ends. The only thing missing from this film is romance. Thank god they didn't make one of the missing girls a love interest of the pimp—he's only after the money they owe him. That's where the brilliance of the chase begins.

There's a fight scene early on where our protagonist, an ex-detective gone bad turned pimp, is beating the crap out of some guy he thinks has kidnapped and sold some of his girls. A long uphill foot chase precedes the brawl so both combatants are extremely winded when the fighting begins—punches don't land and there's a girly incompetence to the whole thing, which is to say, it's realistic. After finally landing a few punches that subdue his opponent momentarily, the pimp gets up and starts kicking him in disgust. He's very angry, still a bit winded and out of control. One of his kicks only grazes its target causing him to lose his balance and fall on his butt, and because of momentum he begins to roll and his feet fly up in the air. It seems funny, but it's not. You have to sneak in your chuckle as he gets up and continues kicking the guy. When he's finally pummeled his adversary into unconsciousness, he uses his foot to roll him onto his side so he can get to the wallet in his back pocket and ID him. He attempts to sit on him, not to keep him down, but because he's bone tired from all the fighting. He doesn't land squarely which causes the bad guy to shift a bit, and consequently he lands on his butt again. It seems funny but it's not.

After the fight scene both men are brought to the police station for questioning. Because the pimp is an ex-detective with a reputation, the cops initially sympathize with the other guy, thinking the pimp over-reacted—not to mention the causal fender-bender that brought the two men together in the first place. The pimp doesn't know that the other guy just took a hammer and chisel to the head of the girl he is trying to get back, he thinks she's just freshly been sold, making his sense of urgency misplaced, where it remains throughout most of the film. It's kind of awkward for the police to find much urgency in one pimp accusing another of stealing one of his girls. The bad guy insists he didn't sell the girl and then mumbles under his breathe "I killed her", and confesses in great detail how he killed her and several other girls. The pimp screams at the cops, "Can't you see he's just pretending to be crazy now?"

And so it goes. We know there's been killing going on and we know who's been doing it from very early on in the film but it manages to remain suspenseful throughout. The Chaser is a gripping thriller from the beginning until a few minutes from the end. The two main characters are portrayed with impeccable nuance. It's Yun-seok Kim's performance as the bewildered pimp that takes this film to great heights. There are so many things that don't go the way he wants them to, like people hanging up on him when he's talking to them on the phone, a little girl who startles him and asks too many smart questions, the cops can't do anything right; and every time, his subdued response of confused disbelief made me laugh. He brings a Kang-ho Song-ish melancholy humor to the film, (I can't think of an American actor to compare him to), while Jung-woo Ha as the impotent serial killer is so normal and unmoved it's creepy.

There are a handful of groan out loud plot moves in The Chaser, but so what. There are also more than a handful of plot moves this film doesn't do, moves that most people will be guessing it will do, that it more than makes up for it. This is a film I know I'll watch again just for the performance of it. The plot won't matter. It's that good.

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Summary: Joong-ho is a dirty detective turned pimp in financial trouble as several of his girls have recently disappeared without clearing their debts. While trying to track them down, he finds a clue that the vanished girls were all called up by a same client whom one of his girls is meeting with right now.

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Comments: This is the PBS version of the BBC's Five Big Cats and a Camera. It's one of the best and most entertaining Big Cat documentaries I've seen. It does have moments of the filmmakers discussing their 14 years long project, but they don't pretend to add drama to the proceedings. They seem humble and genuinely amazed at the footage they are getting.

Along with Dereck and Beverly Joubert, I think Owen Newman and Amanda Barrett are two of the best and most creative Big Cat filmmakers working today.

Summary: This 14-year retrospective of the work of Owen Newman and Amanda Barrett features the two filmmakers talking about how they managed to capture never-before-seen footage of big cats, including some that had been written off as impossible to film. To these two filmmakers, "impossible" was just a challenge to overcome. Driving into the night, armed with night goggles, infrared lights and cameras, they were the first to film leopards at night, uncovering a whole array of behavior that was new to science and filmmakers alike.

Two other cats, servals and caracals, only glimpsed in passing by other filmmakers, became newly discovered stars of their own films. With captivating stories and characters, Newman and Barrett were able to transform lions from big cats everyone thought they knew into individuals with personalities, griefs, and grudges.

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Comments: If you run you're dead...if you stay, you're dead again. Period.

Summary: Like cinematic dynamite, City of God lights a fuse under its squalid Brazilian ghetto, and we're a captive audience to its violent explosion. The titular favela is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--like most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted soul. With enough visual vitality and provocative substance to spark heated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically immediate--that City of God prompted reforms in socioeconomic policy. It's a bracing feat of stylistic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away. --Jeff Shannon

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Comments: Harry Caul will go anywhere to bug a private conversation.

Summary: After the success of the first Godfather picture, Francis Ford Coppola could do anything he wanted. He chose a very loose adaptation from the leading character and basic scenario of Michelangelo Antonioni's Blow-up, to create this both exciting and provocative thriller about a surveillance specialist who finds himself involved in a murder plot.



In Blow-up, a fashion photographer takes a picture in the park and comes to believe that he may have evidence of a murder. The difficulty is that the visual evidence is not conclusive -- it demands interpretation and no amount of manipulation can overcome the ambiguity of the image. Here, Harry Caul uses elaborate techniques to record and collect fragments from what seems to be an innocuous conversation, but that he begins to suspect will be used in a murder plot.



Just as Blow-up became not only a film about a photographer and a murderer but also a meditation on vision and on the cinema -- so The Conversation is a rich and sophisticated film about the nature of sound and the interpretation of sound and in particular about the way in which sound is captured for film. Apart from having an excellent jazz soundtrack, the film is very subtle in its sound editing.



It opens on a crowded park, and we immediately become aware that the sound of the crowds and the music and the individual people and the cars is recorded sound. We hear the subtle distortions that come from blowing up sound recorded from a distance, and that in a finished soundtrack would be removed. It turns out we are both watching the crowd and watching and listening in as a couple in the crowd is being recorded through a number of highly specialized surveillance techniques. Later in the film, we are reminded at several points and in several ways that the sound in a film is an artificial construction and that it is independent of the visuals. Some scenes that initially seem like they are part of the normal exegesis of the film, turn out to be reconstructions based on how certain characters heard and interpreted recorded sound; in other scenes the aural artifacts we have become familiar with show up to indicate that we can never be sure whether the sound is just part of the film or whether it is being recorded by a third party.



This is an excellent film on a number of levels, as a political thriller, as a portrait of a paranoid individual, but also as a meditation on the nature of sound in film. Definitely one to watch ... and listen to.

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Comments: THe HD TV version

Summary: Call it a case of mistaken identity. When it comes to camouflage, chameleons get all the attention. But the often-overlooked cuttlefish is the real master of disguise. Cousins of the squid and octopus, cuttlefish are among the most unusual animals on our planet. With stunning underwater footage and in-depth expert interviews, NOVA gets up close and personal with this astonishing brainy bunch.

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Comments: The Standard TV Version of Kings of Camouflage

Summary: Imagine an alien with three hearts and ten arms growing out of its head. This intriguing special reveals the spectacular pyrotechnics of cuttlefish, discovering what goes on between their eyes and what can they teach us about our own brainpower.

This alien actually exists. Cuttlefish are the one of the strangest animals on our planet. Leading expert Dr. Mark Norman reveals how these shape-shifting champions can hypnotize their prey, impersonate the other sex and even turn out to be deadly. And they share something with us: brainpower. Cuttlefish have the largest brain to body ratio of all invertebrates. But does this mean they are intelligent? Can they learn and remember complex new tricks? Cuttlefish – the Brainy Bunch brings to the surface the spectacular pyrotechnics of these clever creatures, discovering just what goes on between their eyes and what they can teach us about our own wits.

Cuttlefish might seem a better subject for Jamie's Kitchen - brushed with five-spice and served with a mango and coconut salad - than for a wildlife documentary, but the first few minutes of Cuttlefish: The Brainy Bunch quickly establish how fascinating the beasts can be, even if they haven't been brushed with five spice and served up with a mango and coconut salad.

Cuttlefish, we're told, are masters of disguise and, just like that, we see them underwater, changing colours and shape to blend in with surrounding coral and rocks. They are also relatively intelligent: their doughnut-shaped brains are proportionately the largest of the invertebrates and they are able to learn and remember tasks.

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