08-29-2014La Vita È Bella (1997)http://www.imdb.com/title/tt0118799/
Roberto Benigni struck gold with his La Vita È Bella (1997). The movie won three Academy Awards in 1999 and also numerous awards in the festival circuit. La Vita È Bella is one of those movies nobody really can dislike. Its heart is on the right place and Benigni makes sure that even when he steps out of line he does it in considerable fashion.
At the wake of World War II, Guido (Benigni) is a Jewish Italian waiter/book store owner. The first couple of scenes show Guido bumping into the beautiful Dora (Nicoletta Braschi, Benigni’s wife) over and over again. He falls in love with her instantly and does everything he can to make her his. In a superfly transition of a couple of years, Guido and Dora are living together with their son Joshua (Giorgio Cantarini). The Nazi’s arrest the family and Guido has to use his humour to make Joshua feel safe in one of the unsafest environments ever: a Nazi death camp.
Benigni’s nervous Italian character has the tendency to annoy quickly, but his charm is beyond a doubt overcoming that tendency. His humour prevails. It is exactly this humanistic approach and the accompanying comedic sidesteps that makes La Vita È Bella quite irresistible, but also incredibly sentimental and often melodramatic. These sidesteps, presented behind the horrific backdrop of the Holocaust, could be interpreted as tactless, but Benigni manages to hold a balance between tactless and genuinity. The very convenient plot suffers from this though, with logic and historic accuracy taking some leaps of faith. It’s charming though, and probably not really disliked by anybody.
7

08-29-2014
La Vita È Bella (1997)
http://www.imdb.com/title/tt0118799/

Roberto Benigni struck gold with his La Vita È Bella (1997). The movie won three Academy Awards in 1999 and also numerous awards in the festival circuit. La Vita È Bella is one of those movies nobody really can dislike. Its heart is on the right place and Benigni makes sure that even when he steps out of line he does it in considerable fashion.

At the wake of World War II, Guido (Benigni) is a Jewish Italian waiter/book store owner. The first couple of scenes show Guido bumping into the beautiful Dora (Nicoletta Braschi, Benigni’s wife) over and over again. He falls in love with her instantly and does everything he can to make her his. In a superfly transition of a couple of years, Guido and Dora are living together with their son Joshua (Giorgio Cantarini). The Nazi’s arrest the family and Guido has to use his humour to make Joshua feel safe in one of the unsafest environments ever: a Nazi death camp.

Benigni’s nervous Italian character has the tendency to annoy quickly, but his charm is beyond a doubt overcoming that tendency. His humour prevails. It is exactly this humanistic approach and the accompanying comedic sidesteps that makes La Vita È Bella quite irresistible, but also incredibly sentimental and often melodramatic. These sidesteps, presented behind the horrific backdrop of the Holocaust, could be interpreted as tactless, but Benigni manages to hold a balance between tactless and genuinity. The very convenient plot suffers from this though, with logic and historic accuracy taking some leaps of faith. It’s charming though, and probably not really disliked by anybody.

7

@5 hours ago
#roberto benigni #la vita e bella #la vita è bella #life is beautiful #nicoletta braschi #giorgio cantarini #horst buchholz 
08-26-2014Dong (1998)http://www.imdb.com/title/tt0156610/
Dong (English title: The Hole) is one of the earlier movies of eccentric Malaysian-born director Tsai Ming-liang, one of the most celebrated directors of the second New Wave of Taiwanese cinema. It is a typical Tsai movie, featuring the most bizarre situations situated in an almost surrealistic place.
At the end of the year 1999 there is a widespread epidemic afflicting a very rainy Taiwan. The government urges people to leave their house and find a safe shelter, but a couple of people in an apartment complex decide to stay as long as they can, since they have no incentive to go anywhere else. Tsai centers his story around his two protagonists: the man upstairs (Lee Kang-sheng) and the woman downstairs (Yang Kuei-Mei), whose ceiling he and his plumber have put a hole through because the plumber thought there was a leak. A strange and eerie relationship starts to develop between the two.
Tsai gives the impression in the opening titles of the movie that there is an apocalyptic world suffering from the dryest of droughts, but at no point in this movie is there no water in sight, be it from the rain, tears or pipes, it’s always wet. It’s a contradiction that is only the prelude for many other contradictions and oddities to follow. In long takes, Tsai shows the strange lives of two neighbours, when they are watching their debased television programs or having the briefest and most awkward conversations with the other occupants of the building. It is Tsai as you might have gotten to know him by now, and if you are not charmed by his conceptual approach of film, Dong might not be the perfect movie to watch. But there is something of a hypnotic quality to this movie that is hard to resist if you are into his work.
6

08-26-2014
Dong (1998)
http://www.imdb.com/title/tt0156610/

Dong (English title: The Hole) is one of the earlier movies of eccentric Malaysian-born director Tsai Ming-liang, one of the most celebrated directors of the second New Wave of Taiwanese cinema. It is a typical Tsai movie, featuring the most bizarre situations situated in an almost surrealistic place.

At the end of the year 1999 there is a widespread epidemic afflicting a very rainy Taiwan. The government urges people to leave their house and find a safe shelter, but a couple of people in an apartment complex decide to stay as long as they can, since they have no incentive to go anywhere else. Tsai centers his story around his two protagonists: the man upstairs (Lee Kang-sheng) and the woman downstairs (Yang Kuei-Mei), whose ceiling he and his plumber have put a hole through because the plumber thought there was a leak. A strange and eerie relationship starts to develop between the two.

Tsai gives the impression in the opening titles of the movie that there is an apocalyptic world suffering from the dryest of droughts, but at no point in this movie is there no water in sight, be it from the rain, tears or pipes, it’s always wet. It’s a contradiction that is only the prelude for many other contradictions and oddities to follow. In long takes, Tsai shows the strange lives of two neighbours, when they are watching their debased television programs or having the briefest and most awkward conversations with the other occupants of the building. It is Tsai as you might have gotten to know him by now, and if you are not charmed by his conceptual approach of film, Dong might not be the perfect movie to watch. But there is something of a hypnotic quality to this movie that is hard to resist if you are into his work.

6

@2 days ago
#dong #the hole #ming-liang tsai #lee kang-sheng #yang keui-mei 
08-25-2014Hangmen Also Die! (1943)http://www.imdb.com/title/tt0035966/
Made while World War II was in full effect, Hangmen Also Die! is a strong piece of satire and propaganda. It is directed by Fritz Lang, who left Germany in 1934, and written by Marxist Bertolt Brecht, who left Germany in 1933. Brecht wrote many plays in which he made his anti-fascism viewpoints clear, including ones with titles such as The Caucasian Chalk Circle and Fear And Misery Of The Third Reich. Hangmen Also Die! was his only script for a Hollywood film. It is loosely based on the 1942 assassination of Reinhard Heydrich, generally viewed as the number-two man of the SS and chief architect of the Holocaust. He was stationed in Prague when he was shot.
Heydrich’s assassination itself is not in the movie, Lang and Brecht are more interested in its aftermath. The assassin, Dr. Franticek Svoboda (Brian Donlevy) is fleeing from the place of the crime. A local girl, Mascha Novotny (Anna Lee), sees Franticek running way and tells the Gestapo that he went in another direction than he actually went. Franticek’s getaway driver gets arrested and he has nowhere to go, so he seeks out Mascha and asks if he could stay with her and her family. She agrees, but the Gestapo are taking desperate measures to find the assassin.
Lang knows how to stage a scene like no one else. Every scene and every shot is perfectly framed by Lang and shot by cinematographer James Wong Howe. Lang’s hate towards Nazi Germany shows through the almost cartoonesque caricatures he created, from drunk officers to manic officials with pimples all over their faces, it actually leads to some funny moments. Maybe unexpected from the master of darkness, but it gives this movie the slight comic relief that it needs.
There is a lot of talking going on and it takes a lot of patience from the audience to sit through all the conversations in full understanding. This audience also has to struggle through an often confusing plot, especially as it nears its end. However, Lang’s taut filmmaking abilities, his wonderful editing techniques, his use of lighting and shadows and his rustique directing make Hangmen Also Die! almost as good as his classics.
8

08-25-2014
Hangmen Also Die! (1943)
http://www.imdb.com/title/tt0035966/

Made while World War II was in full effect, Hangmen Also Die! is a strong piece of satire and propaganda. It is directed by Fritz Lang, who left Germany in 1934, and written by Marxist Bertolt Brecht, who left Germany in 1933. Brecht wrote many plays in which he made his anti-fascism viewpoints clear, including ones with titles such as The Caucasian Chalk Circle and Fear And Misery Of The Third Reich. Hangmen Also Die! was his only script for a Hollywood film. It is loosely based on the 1942 assassination of Reinhard Heydrich, generally viewed as the number-two man of the SS and chief architect of the Holocaust. He was stationed in Prague when he was shot.

Heydrich’s assassination itself is not in the movie, Lang and Brecht are more interested in its aftermath. The assassin, Dr. Franticek Svoboda (Brian Donlevy) is fleeing from the place of the crime. A local girl, Mascha Novotny (Anna Lee), sees Franticek running way and tells the Gestapo that he went in another direction than he actually went. Franticek’s getaway driver gets arrested and he has nowhere to go, so he seeks out Mascha and asks if he could stay with her and her family. She agrees, but the Gestapo are taking desperate measures to find the assassin.

Lang knows how to stage a scene like no one else. Every scene and every shot is perfectly framed by Lang and shot by cinematographer James Wong Howe. Lang’s hate towards Nazi Germany shows through the almost cartoonesque caricatures he created, from drunk officers to manic officials with pimples all over their faces, it actually leads to some funny moments. Maybe unexpected from the master of darkness, but it gives this movie the slight comic relief that it needs.

There is a lot of talking going on and it takes a lot of patience from the audience to sit through all the conversations in full understanding. This audience also has to struggle through an often confusing plot, especially as it nears its end. However, Lang’s taut filmmaking abilities, his wonderful editing techniques, his use of lighting and shadows and his rustique directing make Hangmen Also Die! almost as good as his classics.

8

@3 days ago
#hangmen also die! #hangmen also die #fritz lang #bertolt brecht #reinhard heydrich #brian donlevy #anna lee #james wong howe #walter brennan #gene lockhart #dennis o'keefe #lionel stander 
08-23-2014Riot In Cell Block 11 (1954)http://www.imdb.com/title/tt0047417/
Riot In Cell Block 11 is an early film of filmmaker Don Siegel, who later directed popular movies as Dirty Harry (1971) and Escape From Alcatraz (1979), both starring Clint Eastwood. Like Escape From Alcatraz, Riot In Cell Block 11 is a prison movie, in which Siegel tries to raise awareness of the social situation of inmates. Riot In Cell Block 11 was the first ever film work of Sam Peckinpah, who was hired as  assistant to the director. Siegel and Peckinpah would work together on numerous other occasions.
The movie starts as a kind of newsreel, in which the narrator explains that in prisons all over the country riots have broken out and prisoners are making demands to create a better living environment. The rest of the movie takes place in Folsom State Prison, where the prisoners of cell block 11 protest against the brutal conditions and take four guards hostage.
Siegel constantly gives the impression that an interesting psychological game (between the prisoners themselves, the prisoners and the officials or the officials themselves) is about to ensue, but every time it ends in a riot on massive scale. Riots that are directed in a crafty way, without the use of crazy editing techniques or anything, it’s just the riots and the camera. There is a documentary-feeling that’s arises as a result and it’s that feeling that makes Riot In Cell Block 11 stand out amongst other prison movies of the time.
7

08-23-2014
Riot In Cell Block 11 (1954)
http://www.imdb.com/title/tt0047417/

Riot In Cell Block 11 is an early film of filmmaker Don Siegel, who later directed popular movies as Dirty Harry (1971) and Escape From Alcatraz (1979), both starring Clint Eastwood. Like Escape From Alcatraz, Riot In Cell Block 11 is a prison movie, in which Siegel tries to raise awareness of the social situation of inmates. Riot In Cell Block 11 was the first ever film work of Sam Peckinpah, who was hired as  assistant to the director. Siegel and Peckinpah would work together on numerous other occasions.

The movie starts as a kind of newsreel, in which the narrator explains that in prisons all over the country riots have broken out and prisoners are making demands to create a better living environment. The rest of the movie takes place in Folsom State Prison, where the prisoners of cell block 11 protest against the brutal conditions and take four guards hostage.

Siegel constantly gives the impression that an interesting psychological game (between the prisoners themselves, the prisoners and the officials or the officials themselves) is about to ensue, but every time it ends in a riot on massive scale. Riots that are directed in a crafty way, without the use of crazy editing techniques or anything, it’s just the riots and the camera. There is a documentary-feeling that’s arises as a result and it’s that feeling that makes Riot In Cell Block 11 stand out amongst other prison movies of the time.

7

@4 days ago
#riot in cell block 11 #don siegel #dirty harry #escape from alcatraz #clint eastwood #sam peckinpah #neville brand #frank faylen #emile meyer #don keefer #dabbs greer #whit bissell #william schallert 
08-28-2014Dementia 13 (1963)http://www.imdb.com/title/tt0056983/
Although Francis Ford Coppola directed some nudie films and a couple of scenes for the US release of Soviet science-fiction movie Nebo Zovyot (1959), Dementia 13 is really his serious and legitimate theatrical debut. It was produced by B-movie hero Roger Corman, who worked with Coppola on Nebo Zovyot and many other future projects.
After John Haloran (Peter Read) dies from a heart attack on a boatride with his wife Louise (Luana Anders), Louise needs to figure out how she can be included in his mother’s will: Louise can only inherit a share of the money when John is alive. She goes to the creepy castle of the family and has to find a way to get included in the will. She soons discovers that things in the house are a little uneasy.
Coppola sets himself up for an interesting movie. The castle alone creates a scary movie vibe many scary movies nowadays struggle with finding. Coppola works from there, using the black-and-white photography and a strange soundtrack to make it a truly Corman-approved movie. Corman-approved also in the often nonsensical and incomprehensible motives: why wouldn’t one roam around a castle and it’s massive garden at night time? It leaves the movie with a silly vibe, B-movie material, but entertaining enough.
5

08-28-2014
Dementia 13 (1963)
http://www.imdb.com/title/tt0056983/

Although Francis Ford Coppola directed some nudie films and a couple of scenes for the US release of Soviet science-fiction movie Nebo Zovyot (1959), Dementia 13 is really his serious and legitimate theatrical debut. It was produced by B-movie hero Roger Corman, who worked with Coppola on Nebo Zovyot and many other future projects.

After John Haloran (Peter Read) dies from a heart attack on a boatride with his wife Louise (Luana Anders), Louise needs to figure out how she can be included in his mother’s will: Louise can only inherit a share of the money when John is alive. She goes to the creepy castle of the family and has to find a way to get included in the will. She soons discovers that things in the house are a little uneasy.

Coppola sets himself up for an interesting movie. The castle alone creates a scary movie vibe many scary movies nowadays struggle with finding. Coppola works from there, using the black-and-white photography and a strange soundtrack to make it a truly Corman-approved movie. Corman-approved also in the often nonsensical and incomprehensible motives: why wouldn’t one roam around a castle and it’s massive garden at night time? It leaves the movie with a silly vibe, B-movie material, but entertaining enough.

5

@1 day ago
#francis ford coppola #nebo zovyot #dementia 13 #roger corman #peter read #luana anders #william campbell #bart patton #mary mitchell 
08-25-2014Godzilla (2014)http://www.imdb.com/title/tt0831387/
The newest Godzilla movie, directed by Englishman Gareth Edwards (who directed the low-budget spooky science fiction movie Monsters in 2010), is already the 33th movie that features the fearless King of the Monsters. The majority of those 33 movies are Japanese productions, this here Godzilla is one of the few Hollywood productions.
The story follows two main characters and three monsters. Joe (Bryan Cranston) is a scientist living in Japan. When he is arrested for reasons unknown, his son, military man Ford (Aaron Taylor-Johnson) bails him out. Shortly after Ford gets his dad out, two giant monsters called MUTO’s (Massive Unidentified Terrestrial Organisms) emerge from the earth. They seriously threaten the earth’s existence and mankind can only rely on mother nature’s monster to save the world: Godzilla.
Logic takes a giant leap of faith in this visual spectacle. Solutions to save the world seem to appear from out of nowhere and there is too much going on in some of the more violent scenes to get a clear idea of what’s actually happening. Also, which is a well-known problem in the big Hollywood disaster movies, sentimentality always has its way to slip through the madness. There are enough melodramatic scenes to satisfy the souls of whoever is into that, but they don’t really do much plotwise. That being said, Godzilla is a great experience on a visual level. The monsters look scary and fierce as hell when they roam through fallen cities as San Francisco. Especially the battle-scenes are intense in which Edwards maintains a balance of the dark and the tranquil.
Godzilla is spectacular if you try to enjoy it. I enjoyed watching it, but I am still waiting for a more original big monster/disaster movie.
6

08-25-2014
Godzilla (2014)
http://www.imdb.com/title/tt0831387/

The newest Godzilla movie, directed by Englishman Gareth Edwards (who directed the low-budget spooky science fiction movie Monsters in 2010), is already the 33th movie that features the fearless King of the Monsters. The majority of those 33 movies are Japanese productions, this here Godzilla is one of the few Hollywood productions.

The story follows two main characters and three monsters. Joe (Bryan Cranston) is a scientist living in Japan. When he is arrested for reasons unknown, his son, military man Ford (Aaron Taylor-Johnson) bails him out. Shortly after Ford gets his dad out, two giant monsters called MUTO’s (Massive Unidentified Terrestrial Organisms) emerge from the earth. They seriously threaten the earth’s existence and mankind can only rely on mother nature’s monster to save the world: Godzilla.

Logic takes a giant leap of faith in this visual spectacle. Solutions to save the world seem to appear from out of nowhere and there is too much going on in some of the more violent scenes to get a clear idea of what’s actually happening. Also, which is a well-known problem in the big Hollywood disaster movies, sentimentality always has its way to slip through the madness. There are enough melodramatic scenes to satisfy the souls of whoever is into that, but they don’t really do much plotwise. That being said, Godzilla is a great experience on a visual level. The monsters look scary and fierce as hell when they roam through fallen cities as San Francisco. Especially the battle-scenes are intense in which Edwards maintains a balance of the dark and the tranquil.

Godzilla is spectacular if you try to enjoy it. I enjoyed watching it, but I am still waiting for a more original big monster/disaster movie.

6

@3 days ago with 2 notes
#godzilla #gareth edwards #monsters #bryan cranston #aaron taylor-johnson #MUTO #ken watanabe #elizabeth olsen #sally hawkins #juliette binoche #richard t. jones #david strathairn 
08-24-2014Eating Raoul (1982)http://www.imdb.com/title/tt0083869/
Eating Raoul is a funny movie directed by funny man Paul Bartel, who also stars alongside Mary Woronov. The duo continued to work together on various occasions, but their husband and wife couple in Eating Raoul is unmatched in its unique black humour.
Bartel presents us a story of Hollywood today. Not a pretty story, but presented here exactly as it happened, according to the narrator. Paul Bland (Bartel) and Mary Bland (Woronov) don’t have the most exciting of jobs (Paul is a recently fired wine merchant, Mary a nurse) and they dream of opening their own restaurant in the country. The down payment is $20.000 and they have to come up with this in just a couple of weeks. Desperately, they find a solution in killing and robbing rich swingers.
This is one of those movies where I instantly had the feeling that this was going to be fun. Bartel has a great and weird sense of timing, with the resulting jokes often being out of line (even the running gags are out of line, Mary constantly getting or about to get raped). However, the strange acting and weird conversations without too much emotional charge makes it feel like you’re in a dream world of sorts, like you just entered paradise cuckooland with its nice and fluffy 80s interior designs. It makes Eating Raoul quite the resistless movie, even though it’s not necessarily a ‘good’ movie. Especially editing and cinematography aren’t of the highest of standards, but that’s alright. It’s sexual enlightenment for the masses, everybody can enjoy crude jokes.
It’s easy to dismiss Eating Raoul as cheap trash, but behind the definetly present trashy layer, there is this creepy feeling urging to get out through the fascinating plot, many jokes and some hilarious one-liners.
7

08-24-2014
Eating Raoul (1982)
http://www.imdb.com/title/tt0083869/

Eating Raoul is a funny movie directed by funny man Paul Bartel, who also stars alongside Mary Woronov. The duo continued to work together on various occasions, but their husband and wife couple in Eating Raoul is unmatched in its unique black humour.

Bartel presents us a story of Hollywood today. Not a pretty story, but presented here exactly as it happened, according to the narrator. Paul Bland (Bartel) and Mary Bland (Woronov) don’t have the most exciting of jobs (Paul is a recently fired wine merchant, Mary a nurse) and they dream of opening their own restaurant in the country. The down payment is $20.000 and they have to come up with this in just a couple of weeks. Desperately, they find a solution in killing and robbing rich swingers.

This is one of those movies where I instantly had the feeling that this was going to be fun. Bartel has a great and weird sense of timing, with the resulting jokes often being out of line (even the running gags are out of line, Mary constantly getting or about to get raped). However, the strange acting and weird conversations without too much emotional charge makes it feel like you’re in a dream world of sorts, like you just entered paradise cuckooland with its nice and fluffy 80s interior designs. It makes Eating Raoul quite the resistless movie, even though it’s not necessarily a ‘good’ movie. Especially editing and cinematography aren’t of the highest of standards, but that’s alright. It’s sexual enlightenment for the masses, everybody can enjoy crude jokes.

It’s easy to dismiss Eating Raoul as cheap trash, but behind the definetly present trashy layer, there is this creepy feeling urging to get out through the fascinating plot, many jokes and some hilarious one-liners.

7

@4 days ago
#eating raoul #paul bartel #mary woronov #robert beltran #susan saiger #lynn hobart #richard paul 
08-22-2014Steak (2007)http://www.imdb.com/title/tt0889665/
Flat beat Mr Oizo (or Quentin Dupieux, as his real name is) has directed a couple of odd yet hilarious comedies. Wrong (2012), about a man whose dog got kidnapped by some mysterious creatures, is my favorite, featuring a whole lot of bizarre and surrealistic scenes. Steak is his debut feature film, which is just as weird but sadly not as funny as his other movies. It stars popular French comedy duo Éric and Ramzy.
Blaise (Éric Judor) and Georges (Ramzy Bedia) are two young misfits who only have each other as friends. When Georges finds a gun in the middle of the street, he shoots the three kids that are always nagging him at school. Georges runs into Blaise after the shooting, who takes his gun from him and starts to goof around with it. The police arrive and arrest Blaise, who has to spend seven years in jail. After his release, his best friend Georges isn’t the same anymore.
The opening scene is promising. An official looking military man drives on a deserted road and loses his toupet, all in great deadpan fashion. It is a scene one familiar with Dupieux’ movies would recognize as a typically strange scene, funny but weird, shot by a steady camera and under the electronic music one can expect from Mr Oizo and his friends Sébastien Tellier and SebastiAn. However, Dupieux’ plot fails to give himself more opportunities to create the weird situations he likes to create. Steak is missing the sharp edge that made Wrong or Wrong Cops (2013) so good, is comes across as rather silly as a result. Still Dupieux comical talent shines through, especially his great sense of timing and static directing makes that deadpan feeling even stronger.
6

08-22-2014
Steak (2007)
http://www.imdb.com/title/tt0889665/

Flat beat Mr Oizo (or Quentin Dupieux, as his real name is) has directed a couple of odd yet hilarious comedies. Wrong (2012), about a man whose dog got kidnapped by some mysterious creatures, is my favorite, featuring a whole lot of bizarre and surrealistic scenes. Steak is his debut feature film, which is just as weird but sadly not as funny as his other movies. It stars popular French comedy duo Éric and Ramzy.

Blaise (Éric Judor) and Georges (Ramzy Bedia) are two young misfits who only have each other as friends. When Georges finds a gun in the middle of the street, he shoots the three kids that are always nagging him at school. Georges runs into Blaise after the shooting, who takes his gun from him and starts to goof around with it. The police arrive and arrest Blaise, who has to spend seven years in jail. After his release, his best friend Georges isn’t the same anymore.

The opening scene is promising. An official looking military man drives on a deserted road and loses his toupet, all in great deadpan fashion. It is a scene one familiar with Dupieux’ movies would recognize as a typically strange scene, funny but weird, shot by a steady camera and under the electronic music one can expect from Mr Oizo and his friends Sébastien Tellier and SebastiAn. However, Dupieux’ plot fails to give himself more opportunities to create the weird situations he likes to create. Steak is missing the sharp edge that made Wrong or Wrong Cops (2013) so good, is comes across as rather silly as a result. Still Dupieux comical talent shines through, especially his great sense of timing and static directing makes that deadpan feeling even stronger.

6

@5 days ago with 1 note
#mr oizo #mr. oizo #quentin dupieux #wrong #éric judor #eric judor #ramzy bedia #sébastien tellier #sebastien tellier #sebastian #wrong cops