kluseba

My Blueberry Nights is Wong Kar-Wai's ninth full length feature film and his first and only film shot in English and filmed on location in the states of New York, Tennessee and Nevada. Despite the change in language and location, this film is very similar in style to Wong Kar-Wai's previous movies such as 2046 and In the Mood for Love, originally known as Fa Yeung Nin Wah. This movie is a personal drama and tells the story of a young woman who is going through a difficult separation before traveling through the United States of America to find new purpose in life and a romantic partner she can start a serious long-term relationship with. The way her story is told and how she meets numerous quirky characters on her road trip strongly reminds of David Lynch's underrated feature film The Straight Story.

This movie convinces on numerous levels and deserves critical acclaim. The story comes around with enough changes, surprises and turns to keep viewers watching throughout. The characters have been fleshed out with much care and empathy. The acting performances are stellar throughout and singer-songwriter Norah Jones impresses much in her acting debut. Her unique style and delivery recalls Wong Faye's passionate performance in Chungking Express, originally known as Chung Hing Sam Lam. The settings of this movie have been chosen particularly well and show three very different and unique states with beautiful sights and gloomier tones. The bright, detailed and warm camera work is outstanding and still makes this film a joy to watch two decades later. The soundtrack is once again filled with beautiful pop, soul and rhythm and blues music.

Few things deserve to be criticized regarding this wonderful film. Wong Kar-Wai remains faithful to his unique style which however makes the movie rather predictable at times. This film would also have benefitted from an extended length to develop its numerous characters further and introduce other fascinating characters as well. This movie might have best worked as a short television series in my humble opinion.

To keep it short, don't be afraid that this American production corrupts Wong Kar-Wai's unique filmmaking style. My Blueberry Nights is as delicate, profound and tender as his critically acclaimed previous features. This movie here is at times unfairly overlooked and has aged particularly well. It is best described as a contemporary fairy tale that invites viewers to dream, travel and reflect upon life. The film's moral is uplifting, optimistic and hopeful and might inspire viewers to always look on the bright side of life.

The original Samurai Cop is an action film released in the early nineties that was the passion project of a motivated but untalented Iranian director who had moved to the United States of America. Said film is remembered for all the wrong reasons including flat characters, ridiculous continuity mistakes, shallow dialogues, weak plot devices and dreadful settings. To be fair, the film however had energetic action sequences, vivid pace and an overall relatively coherent story. The original movie is thus harshly underrated and qualifies as slightly below average b-movie rather than a complete disaster such as dreadful horror film Hobgoblins for instance.

Samurai Cop 2: Deadly Vengeance tries to cash in on the delayed popularity of Samurai Cop as a flawed film. The simple fact that this film tries to be terrible on purpose takes any ounce of soul from this project that the original film undoubtedly had. There are so many things profoundly wrong with Kickstarter project Samurai Cop 2: Deadly Vengeance that a master thesis could be written about it. What matters most however is that said film is thoroughly unenjoyable, even for cineasts who are genuinely fascinated by the original film or who like to watch bad movies for fun with their friends on a Friday night.

The bland, confusing and uneven story revolves around former cop Joe Marshall who lives in complete isolation after the murder of his wife. When the criminal organization he had defeated two and a half decades ago is on the rise again, his former partner Frank Washington asks him for help.

Let's try to enumerate all the things that are wrong with this film. First and foremost, the story is riddled with weird twists and turns, generally paper thin and absurdly contradicts several elements shown in the original movie. Characters who had been killed on screen two and a half decades ago are suddenly alive and kicking. A whole set of characters that weren't in the original film are suddenly presented as key characters in this film. This movie has so many continuity errors that it makes the original film look like a masterpiece in comparison.

The acting performances are absolutely dreadful throughout this movie. There is no positive exception to be found, not even an average actress or actor to provide at least a bare minimum of quality. While the characters in the original film were flat and stereotypical without a doubt, they were at least partially memorable and some of the cast truly did the best it could to develop its acting careers. Mathew Karedas' already limited acting skills have significantly decreased in the past two and a half decades and his facial expressions would best fit at the local suburban ghost train on Halloween. Mark Frazer's acting and role are as shallow as non-playable characters from shoddy video games. Bai Ling, once a genuinely talented actress, has ruined her life with addictions and crimes and comes off as a fake, obnoxious and untalented diva whose voice will make your ears bleed within seconds. Tommy Wiseau's skills are so dreadful that he had to be fed all of his lines off camera and still, his delivery is atrocious and it's truly difficult to understand what he is saying at all. For his own sake, Tommy Wiseau is in desperate need for an advanced English class and prolonged sessions with a professional speech therapist. Lastly, I must point ou Shane Ryan-Reid who somehow manages to even do worse than any other member of a cast of failed actresses and actors. His so-called acting is best compared to a very tiny aggressive dog on drugs. One has to wonder how desperate a human being needs to be to deliver such a terrible performance and then release it to the world.

Even the most optimistic cineast won't find any genuinely positive elements related to that disasterpiece. The camera work is dark, static and unfocused. The settings have even less charme than the ordinary ones in the original movie. The soundtrack is absolutely dreadful and includes stereotypical gangster rap music that regrettably rose to success in the late nineties. The sound effects sound absolutely ridiculous. The visual effects are some of the worst to ever have been used in a movie and one has to point out the death of Bai Ling's shoddy character as a horrifyingly terrible moment.

There are only two very shallow reasons indeed why this movie deserves two points at all. First and foremost, Samurai Cop 2: Deadly Vengeance features numerous action scenes that are generally at least slightly better choreographed than in the original film. Secondly and lastly, this movie is entertaining for the numerous cameos of dreadful actresses and actors from the past, the present and the future. Let that cabinet of atrocities be a genuine warning to make something decent out of your life.

To keep it short, do yourself a favour and don't watch Samurai Cop 2: Deadly Vengeance. The reason why I watched that flick at all is because I was curious to see how it compared to the original film. As it is now, I'm only filled with regret. That movie is so bad that it's not even so bad that it's good anymore. Watching the original Samurai Cop is at least an entertaining task but making it through that unnecessary sequel is a torturous exercise serving no purpose at all.

2046 is the eighth full length feature film by renowned Chinese director Wong Kar-Wai and it's also by far my favourite movie by him. This film combines elements of science-fiction and personal drama. It is loosely connected to some characters and events shown in previous movies Days of Being Wild, also known as Ah Fei Jing Juen, and In the Mood for Love, originally titled Fa Yeung Nin Wah. While it helps knowing the previous movies, you can still enjoy 2046 on its own and understand it very well.

This movie tells the story of a journalist and writer named Chow Mo-Wan, who meets different people in an apartment complex in Hong Kong. In chronological order, this includes extroverted cabaret dancer Lulu, as well as Jing-Wen who is in love with a Japanese man despite her father's vehement opposition, followed by young, seductive and inexperienced Jie-Wen, up next high-class prostitute Bai Ling and the protagonist's enigmatic former lover and gambler Su. All these characters search for happiness, love and recognition but struggle significantly to achieve any of these goals.

This movie convinces on numerous levels. First and foremost, it takes its time to flesh out its different characters in a detailed way thanks to a perfect running time clocking in just above two hours. The characters are diversified, realistic and unique which makes it easy to empathize with them or develop opinions upon them. The acting performances are outstanding and I would particularly point out Li Gong who excels in her mysterious role of an unpredictable gambler and Wong Faye who excels as a beautiful robot on a futuristic train who coaxes sincere feelings from a hapless human voyager. The latter science-fiction elements give this film a creative, fresh and unique perspective that is particularly memorable. The movie's settings are astonishingly colourful and make the description moving pictures particularly accurate. The film's moody soundtrack enhances the film's different atmospheres perfectly.

If Wong Kar-Wai had only decided to tell all the stories of these numerous fascinating characters until the very end, this movie would be considered a masterpiece. However, he has decided to adapt the same strategy he has been using time and again for the past fifteen years by letting viewers imagine what's not told on screen.

To conclude, 2046 is Wong Kar-Wai's most beautiful movie and goes down as a timelessly aesthetic personal drama with imaginative science-fiction elements that even outclasses the director's numerous other moving pictures.

In the Mood for Love, originally known as Fa Yeung Nin Wah, is the seventh full length feature film by renowned Chinese director Wong Kar-Wai. This movie has achieved much critical acclaim and is often considered the director's greatest creation along with Chungking Express, originally titled Chung Hing Sam Lam, that was released six years earlier. This movie here can be described as a romantic drama taking place in Hong Kong, Singapore and Cambodia.

The story revolves around journalist Chow Mo-Wan and secretary Su Li-Zhen who movie into the same apartment complex in downtown Hong Kong with their romantic partners. As their respective partners spend more and more time at work, they start to realize that they are having a secret romantic relationship with each other. Chow Mo-Wan and Su Li-Zhen grow closer as they are fighting their loneliness, rejection and sadness. Even though they don't want to act the same way their romantic partners have, they start developing strong feeling for each other. Will their relationship come to an end, will it remain platonic or will they defy expectations and pressures to get romantically involved and separate from their disrespectful and unfaithful romantic partners?

There are several elements that deserve to be praised regarding this movie. The camera work is creative, precise and soothing. The settings are authentic, colourful and portray the emotions of the characters splendidly throughout. The acting performances are excellent as Tony Leung and Maggie Cheung convince entirely as fragile expatriates who are shamelessly abandoned by their partners in an environment they barely know. The smooth soundtrack deserves particular praise as well and is quite memorable as in many other movies by Wong Kar-Wai. The plot is realistic which makes it easy to identify with its fascinating characters.

However, this film isn't without several significant flaws. Its pace is particularly slow, even in comparison to the director's former movies. It takes much attention, dedication and patience to make it through the entire film in one single sitting. Don't watch this movie at all if you feel distracted or tired. Up next, the plot is surprisingly thin and spirals out of control as time and place change frequently by the end of the film. If you are hoping for a proper conclusion, please be aware that Wong Kar-Wai doesn't offer anything close to that and leaves viewers imagining the rest entirely by themselves.

At the end of the day, In the Mood for Love should please fans of Wong Kar-Wai's emotional dramas set in Eastern Asia. This film convinces with excellent acting performances, flawless camera work, moody settings, memorable soundtrack and realistic story. However, the film suffers from particularly slow pace, thin plot developments and unfocused resolutions. While this film ultimately still qualifies as good drama, I personally think this is Wong Kar-Wai's weakest movie up to that point in his career and would rather recommend watching Chungking Express, originally titled Chung Hing Sam Lam, and especially Fallen Angels, originally known as Do Lok Tin Si.

Happy Together, originally known as Chun gwong ja sit, is Wong Kar-Wai's sixth full length feature film that was released just a month before British Hong Kong was transferred to the People's Republic of China. This movie remains faithful to some of the director's typical trademarks such as experimental camera work, a profound focus on character development and an eclectic soundtrack. However, this film also walks off the beaten path since it has been filmed in Argentina, Hong Kong and Taiwan, its two protagonists form a homosexual couple and the story doesn't involve any gangster movie elements.

This film tells the story of a homosexual couple consisting of ambitious and hard-working Lai Yiu-Fai as well as spontaneous and free-spirited Ho Po-Wing. They have decided to leave British Hong Kong to give their unstable relationship a fresh start in Argentina. The protagonists initially embrace the energy of football, the feeling of the Spanish language and the techniques of tango. However, they soon grow apart again. While Lai Yiu-Fai gets different jobs and works hard to pay for a plane ticket back home, Ho Po-Wing gets involved with a series of lovers who are abusive and leave him mentally and physically scarred. The protagonists try to reunite time and again but fail to be on the same wavelength. Things get even more complicated when Lai Yiu-Fai falls in love with dynamic Taiwanese work colleague Chang who wants to travel the world.

Happy Together convinces in several departments. First of all, this movie is shot in black and white with only a few segments shot in colour. This provides much atmospheric depth and also tells viewers that the film takes place in the time when British Hong Kong still existed in the last millennium. Up next, the idea to portray the struggles of a homosexual couple living abroad was courageous, innovative and surprising in the mid-nineties and shows perspectives many viewers might not yet have been aware of. By doing so, it also spreads a wonderful inclusive message that is still on the pulse of time. The acting performances are so credible that one could think that Tony Leung, Leslie Cheung and Chang Chen are simply being themselves. The settings in Argentina are intriguing, new and unique. The fact that simple living quarters, busy nocturnal downtown areas and sinister slaughterhouses are shown adds to the film's serious atmosphere. These locations are intertwined with wonderful shots of the famous Iguazú Falls and the southernmost lighthouse on continental America located close to Ushuaia. The settings might truly make viewers want to visit Argentina.

However, Happy Together isn't without several flaws. The film's pace is particularly slow throughout and it takes much dedication, focus and patience to enjoy this movie from start to finish. The story remains simple and several plot devices are repeated on too many occasions, such as the frequent arguments between Lai Yiu-Fai and Ho Po-Wing. The film's ending leaves numerous questions unanswered as viewers are tasked to imagine the rest which could frustrate spectators who might have been hoping for a thorough conclusion. Several scenes that have additionally been shot in Argentina and that can be viewed in the making-of segment, haven't made it into the final version of this film or into any other feature film by Wong Kar-Wai. Some promising potential has thus been wasted as especially Shirley Kwan's participation as a stunning actress would have deserved some recognition. Perhaps viewers will one day get an extended cut or a sequel made out of scenes shot in those chaotic days in the mid-nineties.

At the end of the day, Happy Together shows much promise with remarkable acting skills, excellent camera work, a beautiful inclusive message, wonderful plot elements and diversified settings. This film however suffers from its slow pace, unused additional scenes and vague ending sequences. Many parts of this movie have been randomly put together. Some viewers might praise this spontaneity while others might criticize its directionlessness. Even though I appreciate Wong Kar-Wai exploring new elements with this courageous film, its bothersome downsides lead to this movie being the worst in his filmography up to that point in his career. Happy Together is thus only recommended to adamant fans of his filmography and viewers interested in romantic dramas revolving around homosexuality.

Fallen Angels, originally titled Do lok tin si, is a gangster drama from British Hong Kong and the fifth feature film released by renowned director Wong Kar-wai. This movie is sometimes described as a sequel to much more light-hearted comedy drama Chungking Express, originally known as Chung Hing sam lam. However, only a few locations in downtown Hong Kong are the same. The contents are generally unrelated and both movies can thus be enjoyed independently.

The story revolves around hitman Wong Chi-ming who lives in a chaotic apartment and has taken on a fake identity with a fake wife and a fake child. He starts a fragile relationship with a delusional young woman with eccentric behaviour named Blondie. He starts thinking about changing his life and wants to terminate his business relationship with his female partner who secretly has a crush on him. She is shocked to hear that he wants to change his career and sends him on a last dangerous mission.

This movie is Wong Kar-wai's strongest film up to this point in his career. The story comes around with multiple twists and turns, some evoking negative and others leading to positive reactions. The characters have much depth and go through profound changes such as the sad hitman and his disappointed partner. This personal drama is intertwined with violent action scenes portraying the rough jobs and lifestyles of the main characters. The entire film takes place at night which adds much atmosphere and shows how the characters live separately in the underworld from regular citizens living in a legal manner.

The only elements that keep this film from being excellent are a rather slow start that requests much patience from its audience and the fact that a few too many sub-stories and side characters are included in this film. Wong Kar-wai could have easily made three movies of about seventy-five minutes each out of this one single film of ninety-six minutes.

Thanks to its creative details, Fallen Angels deserves to be watched time and again and analyzed in depth if you favour melancholic gangster dramas. Wong Kar-wao remains faithful to his unique style but executes all elements with much creativity, drive and experience. Fallen Angels is the director's greatest film up to this point in his career and also serves as an excellent introduction to his fascinating filmography to potential new fans.

Chungking Express, originally known as Chung Hing sam lam, is Wong Kar-wai's third feature film to be released and fourth feature film to be made. This romantic drama has been critically acclaimed and can be considered the director's international breakthrough. This movie includes numerous characteristic elements of his previous films such as a strong focus on character development, slice-of-life elements combining different genres and overlapping storylines that don't necessarily have clear beginnings and endings.

It would be most appropriate to call this film a romantic drama. The first story revolves around young police officer He Qiwu who is dumped by his girlfriend. He decides to wait an entire month to see whether she changes her mind. When this doesn't happen, he approaches a mysterious woman in a blonde wig in a girlie bar who turns out to be a drug dealer who has been set up by a drug baron.

The second story revolves around a cop who is about ten years older than his colleague and who also has to deal with a difficult breakup. His former girlfriend is a flight attendant who values her profession over her relationship. When she leaves a letter with a key to his apartment at his favourite restaurant, a new employee starts developing feelings for the cop and secretly visits his apartment to clean and decorate it. When the two finally decide to go on a date, the young employee suddenly decides to leave for California to become a flight attendant.

This movie impresses for several reasons. First and foremost, the characters are detailed, profound and unique as viewers will easily empathize with them. It's fascinating to observe their developments and relations. Since we are not told everything by the director, this movie invites us to figure out the rest by ourselves. It's refreshing to get such a unique script that takes its viewers seriously.

The settings are also memorable. Once again, Wong Kar-wai manages to bring British Hong Kong in the mid-nineties to life. We get to observe the location's big city life where lives of human beings of many different backgrounds intertwine. The titular restaurant, the girlie bar and the second cop's apartment are locations that any viewer could possibly discover which makes it easy to empathize with the two stories that are being told.

Last but not least, one has to point out the excellent acting throughout the movie and I have to point out Faye Wong who plays the restaurant's employee in particular. Her curious, mild and naive manners strike a chord with viewers. Her passion for animals, food and music is inspiring. The way she behaves, dresses and takes care of herself and others shows a unique human being with much depth. The fact that Faye Wong contributed to the soundtrack of this film makes the connection between the artist and the audience even greater. Faye Wong truly shines in this movie and I would recommend watching this film just for seeing an excellent artist at work.

As usual, even this critically acclaimed romantic drama isn't without its flaws. The first story only covers about one third of the movie and should have been developed further in my humble opinion. This story line ends without a proper conclusion and the two interesting characters would have deserved to be fleshed out even further.

The second story on the other hand slightly overstays its welcome. Especially its middle section includes some unnecessary repetition. The movie is thus a tiny little bit too long. It would work even better if it had been cut by about twenty minutes.

At the end of the day, Chungking Express offers Wong Kar-wai's typical trademarks and stands out thanks to Faye Wong's astonishing participation as a gifted actress and a unique singer. I wouldn't go as far to say that this is Wong Kar-wai's greatest feature film. It rather underlines the director's consistency as this movie has the same very good quality as the preceding As Tears Go By, Days of Being Wild and Ashes of Time. It truly is a matter of detailed personal preferences whether you appreciate this movie most or any other of the three films shot beforehand. My best advice would be to watch all four movies if you are interested in realistic dramas set in British Hong Kong of the late eighties and early nineties.

Days of Being Wild, originally known as Ah fei jing juen, is the second feature film of renowned director Wong Kar-wai. While his first movie explored the identity of British Hong Kong's underworld, this movie takes place in the early sixties and is set in Hong Kong as well as in the Philippines. The genre categorization is much simpler than in his first film as Days of Being Wild is a drama.

The same can't be said about the script. Several stories intertwine in this particular movie. The central character is smooth-talking playboy Yuddy who looks attractive but has a shallow character. He wants to meet his birth mother who lives in the Philippines but she refuses to even see him. This movie also explores the life of his best friend Zeb who has a heart of gold but ends up being underestimated as he can't compete with Yuddy's physical appearance. We also explore the life of Li-zhen who does a series of odd jobs and dreams of a successful mariage inspired her cousin but her potential relationships never materialize. The movie also introduces us to vivacious cabaret dancer Mimi who is judged by her beauty but longs for a serious long-term relationship. Lastly, we have lonesome policeman Tide who takes care of his sick mother and dreams of becoming a sailor. The element that all these characters have in common is that they are all chasing dreams to change their lives.

This movie convinces on several levels. First and foremost, the different characters are memorable, profound and unique. Most viewers might find one or several characters they can empathize with. The character I identified with most is helpful policeman Tide who values his family but finds the courage to organize changes in his life to make his biggest dream come true.

Another strong element of this film are the settings that bring the early sixties back to life. It's interesting to explore both the impoverished and luxurious elements of British Hong Kong and to explore the contrast of big city life and vast landscapes in the Philippines. The director has paid much attention to use appropriate cars, clothing and telephones that give this movie a most realistic vibe.

My favourite scenes from this movie are those that take place in the Philippines. The film quickens up the pace a little bit when cineasts discover locations such as a sinister hotel frequented by prostitutes, a gigantic mansion in the wilderness and an elegant train station filled with a set of dangerous criminals.

Days of Being Wild is however not without several flaws. This movie is best described as a slice-of-life with some stories that are truly interesting while others aren't explored in depth. For instance, Zeb's gentle character isn't fully developed to exploit its full potential.

Another significant issue is the low quality of the cinematography. The images in the opening sequence for instance look dark and lifeless. The film's remastered version looks slightly better but can't fully hide that significant flaw. A more luminous location and better camera equipment would have rated that slow opening sequence up.

At the end of the day, Days of Being Wild is recommended to fans of director Wong Kar-wai, people who are interested in life in Hong Kong and in the Philippines in the early sixties and cineasts who appreciate slow-paced personal dramas that need some patience to be fully appreciated.

As Tears Go By, originally known as Wong Gok ka moon, is the directorial debut of Wong Kar-wai, who was only twenty-nine years old when this film was first released. This movie features many other excellent actresses and actors from Hong Kong in the early days of their careers. An astonishing Andy Lau plays the protagonist at the tender age of twenty-six years. The female lead actress is Maggie Cheung who was only just twenty-three years old but left an impressive mark upon cinema. Other notable actors are successful cantopop singer Jacky Cheung, renowned art director William Chang and veteran actor and singer Alex Man.

Nowadays, a film such as As Tears Go By would be called a slice-of-life. The movie follows moderately successful mob enforcer Wah who has to help his clumsy subordinate and friend Fly out of many dangerous situations. His life gets even more complicated when Wah is dumped by his girlfriend Mabel who also aborted their baby. Out of the blue, Wah's aunt asks him to take care of his little cousin Ngor who comes to Hong Kong for a medical procedure. The story progresses as Fly's actions spiral dangerously out of control, Wah meets Mabel again under different circumstances and he slowly falls for his cousin who however starts a relationship with her doctor.

This movie manages to convince on numerous levels. First and foremost, the acting performances are certainly above average. Lead actor Andy Lau showcases his versatile talent in this realistic film. Maggie Cheung shines as an actress who doesn't speak much but shows each gesture with much depth. Jacky Cheung excels as clumsy friend with a heart of gold. Alex Man impresses as hot-tempered antagonist who focuses more on appearances than values. The entire cast leaves a memorable and positive impression.

The settings of this film are interesting for anyone curious about Hong Kong. We get to discover rather unknown locations such as rural Lantau Island but also the big city life of downtown Hong Kong. The advertisements, clothing and music portray what this British colony looked like in the eighties. This movie most certainly evokes strong feelings of nostalgia and even longing to locals today.

The plot is a vibrant mixture of genres as it meanders fluidly from action movie over thriller to personal drama and all the way back again. This rollercoaster ride has passages focusing on character development and profound dialogues while other sections are brutal action sequences shot in the nocturnal street life of the bustling colony.

The movie has two notable issues that should be mentioned. First of all, the film suffers from its limited budget as the quality of images and sounds is rudimentary at best. While some cineasts might argue that such an approach is charming, I would actually tend to disagree here as the technical equipment doesn't do the overall very decent film justice.

Another challenge is the changing and shifting plot. This element has since become a trademark for director Wong Kar-wai but his first strike here lacks the depth of his later movies. Several plot elements are poorly developed and feel rushed. Especially the unsatisfactory ending is quite confusing and will leave most viewers scratching their heads.

Still, As Tears Go By goes down as a convincing first movie for director Wong Kar-wai thanks to excellent acting, vibrant settings and a sizzling plot with unpredictable twists and turns. This movie truly showcases the heart and soul of British Hong Kong in the late eighties. Despite the film's overall dark and even desperate atmosphere, there are enough beautiful and inspiring elements to see to understand why some viewers might feel quite nostalgic and mournful while watching this movie. Despite its flaws in form of technical limitations and a plot with many highs and lows, this film is highly recommended to any fan of Hong Kong cinema.

Speak No Evil is a remake of a Danish-Dutch production of the same title that was released only two years earlier. Interestingly, the remake has been achieving more critical acclaim thus far than the original version. The most remarkable difference between these two movies is the ending. Both versions deserve your attention if you like psychological thrillers.

The story revolves around a British couple who befriends families with young children during their holidays and then invite them to their isolated mansion in the country. Telling you anything more would spoil the experience of viewing this movie.

This remake convinces on multiple levels. First and foremost, the acting performances are absolutely credible, intense and memorable. I have to point out James McAvoy who is the greatest contemporary actor from Scotland. He manages to become one with his role and his performance will send shivers down your spine.

Another strong element are the locations. The mansion in the country is surrounded by small hills, beautiful meadows and the wild ocean. The mansion itself consists of a confusing combination of driveways, garages, gardens, living quarters and staples. Despite the size of the mansion, viewers will quickly feel trapped in this location.

This movie also has a strong message that can easily be applied to our everyday lives. Sometimes, we wonder why certain people defy authority, disrespect laws and disobey rules. The simple answer is that these people aren't told to stop. It might seem impolite to restrain expressions and liberties of other people but sometimes it's for the sake of the whole community and the value of equality. This movie shows drastically what can happen when you remain neutral, objective and passive as things can quickly spiral out of control and lead to devastating consequences.

The only downside of this great psychological thriller is that the story is extremely predictable. Just watching the trailer will tell you everything this movie is about. This is why I would recommend you to stop consulting reviews and summaries at this point and enjoy this film without any further knowledge or expectations.

What you will get at the end of the day is a very good psychological thriller with excellent acting performances, memorable locations and a strong message that also applies to our everyday lives.

Alien: Romulus is the ninth entry in the famous science-fiction franchise since its debut forty-five years ago. The new feature film might not be able to compete with the classics like Alien and Aliens but it's certainly better than the franchise's worst entries such as Alien 3 and Prometheus. At the end of the day, Alien: Romulus is situated right in the middle and its quality is best compared to instalments such as Alien Resurrection.

This new movie essentially goes back to the franchise's roots. The first quarter of the movie introduces us to characters and settings. The remaining three quarters are an intense survival story on an abandoned spaceship. The story is serviceable and simple. A group of six young adults want to escape their colony as they are suffering from savage capitalism and brutal working conditions by boarding a derelict spacecraft. Once on board of the abandoned spacecraft, conflicts emerge between the six adults who realize that they aren't prepared to face their upcoming challenges that they had gravely underestimated. In addition to this, they soon learn that they aren't alone on this spacecraft and that several serious dangers await.

This movie convinces on multiple levels. First and foremost, its simple plot feels refreshing and enhances the survival mood of this energetic film. Secondly, this movie has a gloomy atmosphere from start to finish. Thirdly, the movie's special effects aren't overused but employed highly efficiently nonetheless. Fourthly, the enemies the six youngsters encounter are most memorable as they are clever, scary and unpredictable. Fifthly, the settings blend in perfectly as the abandoned spacecraft turns out to be a most confusing mess of corridors, halls and laboratories.

Few things deserve to be criticized in this film. In my opinion, lead actress Cailee Spaeny is miscast in this movie. Don't get me wrong, I have admired her in movies such as Civil War, The Craft: Legacy and Bad Times at the El Royale but she fails to convince in her role as resilient survivor and strong fighter against an army of enemies. Another element that deserves to be pointed out is the movie's ending that hints at a potential sequel. I prefer when a movie has a proper conclusion and I would also like to question whether a tenth entry in the franchise is necessary. Hollywood keeps rehashing ideas from the past time and again and I believe the time has come to explore new territory altogether.

To keep it short, Alien: Romulus is a very good science-fiction film and a great survival horror movie. In the Alien franchise, it's situated right in the middle as it easily outclasses its worst entries but can't compete with its greatest feature films. This movie often reminds me of the excellent video game Alien: Isolation. If you haven't played this game yet, you should certainly do so as it has stood the test of time and manages to outclass this new movie.

The Substance is a pitch-black satire, supernatural drama and body horror movie that has rightfully gotten much attention for its excellent acting, twisted plot and wonderful settings. Cinephiles will notice that this movie combines elements of supernatural dramas in the key of The Picture of Dorian Gray, psychological horror stories such as Carrie and body horror elements like The Fly. Even though the film's general idea is everything but new, it has been executed with such care that it might end up winning multiple awards now and in the near future.

Let's discuss the excellent acting performances in this film. Renowned actress Demi Moore, whose remarkable acting career started forty-three years ago, might be giving the greatest performance of her life. She incarnates a former Academy Award-winning actress with a star on the Hollywood Walk of Fame whose career has been in progressive decline. When her aerobics television show is canceled upon celebrating her fiftieth birthday, she is afraid to disappear into oblivion. Obsessed with beauty, fame and recognition, she goes to great extremes to give her career another boost. Margaret Qualley plays the athletic, beautiful and talented young woman who replaces the aging actress in the aerobics television show. While she is careful, polite and even shy at the very beginning, she becomes arrogant, manipulative and self-centred as the story progresses. Her obsession with fame, money and sex takes drastic tolls upon her life.

The twisted plot most certainly deserves its own paragraph as well. The movie starts with a slow pace in its first third, develops steady pace in its second third and truly quickens up the pace in its most dramatic final third. The script combines numerous genres fluidly and logically. This movie is a pitch-black satire of ruthless Hollywood executives and fame-obsessed actresses. It's also a personal drama about the challenges of aging and the issues of achieving stardom at a young age. The film turns into a body horror movie by the end that might shock viewers upon first view who are unfamiliar with this particular genre. This genre however has an intellectual point and wasn't just thrown into the mixture to get a strong reaction from the viewers. The movie's devastating ending shows how some actresses and actors are willing to give everything they have and even are to achieve stardom.

Another element that deserves acclaim are the movie's settings. The beginning of the movie takes place in a sunny city and on luminous television sets to illustrate the idea of beauty in Hollywood. The exact contrast is however portrayed when the protagonist ends up going to the man's restrooms as she hears a dreadful conversation of a media executive who speaks of her as if she were worth less than a piece of meat. The same contrasts can be observed in the protagonist's condominium that looks costly, elegant and luxurious at first sight but gradually becomes dirty, messy and soulless. This contrasting guideline can even be found in the film's very ending as an ambitious New Year's show turns into shocking carnival of depraved behaviours. Let's also add that the visual special effects in this movie have been executed with great care and will most certainly leave a lasting impression upon viewers.

At the end of the day, The Substance might not be as innovative as some cinephiles claim but the movie certainly impresses with stellar acting, clever plot twists and most remarkable settings and special effects. If the mixture of a pitch-black satire, a supernatural drama and a body horror movie with intellectual depth and strong messages sounds intriguing to you, then do yourself a favour and watch this wonderful movie. Be aware however that the final third is graphically violent, so make sure to have a positive mindset and a strong stomach.

Never Let Go is a family drama, a supernatural horror film and a psychological thriller all at once. It stars excellent actress Halle Berry as well as child actors Percy Daggs IV and Anthony B. Jenkins. The film's plot is similar to M. Night Shyamalan's The Village. The story revolves around a mother and her two children who have taken refuge in a cabin in the woods. They live in complete isolation and suffer from starvation. The mother keeps telling her children that evil forces surround their home. The only way to avoid a grisly fate is by being tied to a series of ropes that are installed in the cabin's basement. As the children grow into teenagers, they slowly start to doubt their mother's stories. When they finally decide to let go of the ropes, a dramatic series of events occurs.

This movie has several noteworthy strengths. First and foremost, the plot is clever and comes around with several twists and turns throughout. While the general idea of the story isn't new at all, it has been executed with enough wit to keep genre fans entertained from start to finish.

Another remarkable strength is the acting in this film. Halle Berry excels as fragile, obsessive and strict mother. The two child actors convince throughout as well with one of them portraying a son who truly believes his mother's tales while the other one showcases a more rebellious, independent and free-spirited attitude. The two actors complete each other splendidly. Both of them should have great careers ahead of themselves.

The locations have also been chosen with care. The old cabin truly underlines the simple, regressive and difficult lives that the three protagonists are living. The forest with its old trees, rough rocks and colourful moss is the perfect setting for a tale of isolation.

However, this film isn't without flaws. The movie's pace is particularly slow and especially the film's first half needs resilient, optimistic and mature viewers who are open to give this film time to grow. They will be rewarded with a more dramatic second half.

This movie is missing truly gripping scenes. A gloomy atmosphere is present from start to finish but the film plods along without any notable highlights. This is a very mild drama and thriller that would have benefitted from a few more intense sequences.

At the end of the day, Never Let Go is a family drama, supernatural horror movie and psychological thriller that convinces with a clever plot, strong acting performances and fitting settings while suffering from a particularly slow pace and a lack of intensity. Never Let Go is thus recommended to mature, optimistic and resilient genre fans only.

Longlegs is an American psychological thriller that tells the story of a mysterious serial killer of the same name. The film takes place in the nineties and revolves around young female FBI agent Lee Harker with a dark past and strong social awkwardness who is however excellent at analysis and intuition. She tries to solve several murder-suicide cases involving seemingly stable local families and soon realizes that these cases might be related to her very own childhood.

This movie convinces on numerous levels. First and foremost, the plot is clever and comes around with a few interesting twists and turns that should get viewers hooked until the very end.

Up next, the film convinces with an oppressing atmosphere from start to finish. This is enhanced with gloomy light effects, bare landscapes and a moody soundtrack.

The acting performances are great. Maika Monroe is a strong lead actress who becomes one with her complex role. Nicolas Cage uses his remarkable charisma to efficiently portray the antagonist.

This film shouldn't be classified as a horror movie. There are no noteworthy jump scares and the movie's intensity relies on tense atmosphere alone. Despite the topic dealing with a violent serial killer, this film isn't particularly graphic and could thus even be watched by mature teenagers from my perspective. The fact that this film takes place in the nineties will however rather appeal to an audience that has grown up in that decade and thus to viewers in their thirties, forties and fifties.

At the end of the day, Longlegs is a good psychological thriller with excellent actresses and actors, intense atmosphere and a creative plot. The massive hype around the movie is however greatly exaggerated as I wouldn't call Longlegs material for movie of the year. Genre enthusiasts should certainly give it a try while others can focus on a different genre and movie without any regrets.

Trap is the new psychological thriller by renowned yet controversial director M. Night Shyamalan. As usual, his most recent film is discussed as intensely as all of his films of the last twenty years. This is an experience that he shares with many other artists who have walked off the beaten paths in order to define their very own styles and add new manners to create art forms that defy conventions, expectations and routines. If you like the director's bleak, imaginative and twisted style, you are going to be in for a wild ride. If you expect logic, novelty and realism, then you should avoid this movie from the start.

Here are some other important hints to enjoy this film to its fullest: don't watch the trailer, don't read any newspaper articles and don't consult any encyclopedias. The less you know from the start, the better your viewing experience will be. I will thus only describe the film's very general outline. Trap tells the story of family father Cooper and his young teenage daughter Riley who attend the concert of pop artist Lady Raven in Philadelphia while a massive police operation connected to the event is being set up at the very same time.

This movie convinces on multiple levels. The plot comes around with several changes, turns and twists from start to finish. Some of them are predictable for genre experts while others still manage to grab the viewers' attention. While some of these defy logic, they never do so exaggeratedly and one should always keep on mind that one is watching a movie that allows artists to bend conventions, expectations and rules in any way they like.

The acting performances are particularly great in this film. Josh Hartnett offers the greatest performance of his respectable career and deserves much recognition for keeping this eclectic movie together with a gripping portrayal of a family father. Teenage actress Ariel Donoghue excels as quirky teenage daughter and has excellent screen chemistry with the film's lead actor. I'm looking forward to watching more movies with her.

Another strength is the film's impressive electronic pop soundtrack that entertains from start to finish and even impresses viewers who might usually not care about said genre. This is due to three specific reasons. First of all, several of the songs portrayed involve quirky featured artists and surprise guests. Secondly, the performances on stage during the concert are visually stunning. Thirdly, the director's daughter Saleka Shyamalan isn't only a great singer but also a convincing actress. Trap is a family project done very well.

At the end of the day, seasoned fans of Shyamalan's films should certainly enjoy Trap while those who have been criticizing him time and again in the past two decades will be wasting much money, patience and time. Needless to say that I belong to the former category and would classify Trap as the director's strongest film since Split eight years ago. I don't mind several plot holes and a complete suspension of disbelief if I'm going to be entertained flawlessly with excellent acting performances, a quirky plot and one of the greatest movie soundtracks in quite some time.

Monster, originally known as Kaibutsu, is a wonderful coming-of-age drama on the pulse of time that deals with delicate topics in a most empathic way. Without telling you too much, the movie revolves around a student who struggles with significant changes he is going through while the society around him is unable or even unwilling to help him.

One element that makes this Japanese drama stand out is its creative storytelling. The story is first told from the perspective of the student's single mother who is worried about the changes her son is going through. The second perspective comes from one of the student's teachers who attempts to help but fails to get through to him. The third and final perspective is the protagonist's very own. The plot first leads you unto several wrong paths leading to false assumptions before each perspective gradually explains and answers the film's most important questions.

These three perspectives lead to another significant strength of this movie which is its memorable ending. This film takes itself very seriously as it doesn't answer every single question and leaves the audience putting the remaining pieces of the puzzle together. Whether the film's ending is a happy one, a tragical one or even something in between is simply a matter of perspective. Depending on your moral compass, personal experiences and daily mood, your appreciation and interpretation of this film might be going through changes. This means that this film deserves to be both revisited and reinterpreted as well as shared and discussed with others. This is also an excellent film to be shown and analyzed in school, particularly if you teach arts, ethics and philosophy.

The acting performances are also absolutely great. The actresses and actors become one with their respective roles. Child actors Kurokawa Soya and Hiiragi Hinata deserve particular praise for playing complex, intriguing and profound characters with much brain, heart and soul.

Some viewers might misinterpret the movie's title Monster and expect a horror movie or a psychological thriller here. Aside from a few minor elements of those genres, those are certainly not what you are getting here. This inspiring drama should certainly be viewed by adults and teenagers alike. Viewers will also realize why the film's title still makes sense in the context of the clever plot.

To keep it short, Kaibutsu or Monster is one of the greatest contemporary dramas in recent memory that convinces with creative storytelling, a remarkable ending and stunning acting performances. This movie deserves acclaim, attention and respect and should even be considered to be taught, discussed and analyzed in schools around the globe.

Gone with the Bullets, obviously a pun on Gone with the Wind, is a Chinese comedy-drama with romantic undertones, originally known as Yi Bu Zhi Yao. This film is the second part of a trilogy that started four years earlier with Let the Bullets Fly, originally known as Rang Zi Dan Fei, and that concluded four years later with Hidden Man, originally titled Xie Bu Ya Zheng. The good news is that you don't need to know the prequel or the sequel to enjoy this film on its own. The bad news is that this film has the worst ratings of the three and it isn't difficult to understand why.

Let's focus on the story before analyzing this movie properly. This film takes place in the bustling multi-cultural city of Shanghai in the lush twenties of the past century. The movie revolves around a beauty pageant that is surprisingly won by self-confident Chinese manager Wan Yanying. She tries to seduce one of the colourful organizers of the event who is Ma Zouri. Their relationship is however based upon deceits, immaturity and misunderstandings. One night, the unstable couple smokes opium and goes on a joyride through town. Ma Zouri has a mental blackout and when he awakes he finds the car broken down and Wan Yanying deceased. The protagonist thus becomes a fugitive targeted by acquaintances and friends, the media and the police as he somehow tries to clear his name.

This film features a few noteworthy strengths. First and foremost, the colourful settings in the golden twenties are particularly beautiful. The costumes and make-up used throughout the film are absolutely gorgeous. The genre mixture of comedy, drama and thriller is entertaining and exciting alike. The film's energetic showdown certainly leaves a lasting impression.

However, this movie also has several important flaws. The meandering story lacks focus throughout. The chemistry between different actors and actresses is thin which makes several relationships between characters unbelievable and even irritating. The film's length is challenging and certainly overstays its welcome.

At the end of the day, Gone with the Bullets, originally titled Yi Bu Zhi Yao fails to fully exploit its promising potential. The settings, make-up and costumes are outstanding, the genre mixture is unique and the film's conclusion leaves a lasting impression. However, the movie suffers significantly from its overlong running time, meandering plot and at times notably poor acting chemistry. This movie is thus only recommended to those interested in Chinese arts, culture and history between the downfall of imperialism and the establishment of communism as a state doctrine.

Blade of the 47 Ronin is often described as a sequel to 47 Ronin directed by Carl Rinsch and starring Keanu Reeves. However, the casts, promotions and scripts are so widely different that there is only a very loose connection in my opinion. One can easily enjoy both films separately for different reasons. 47 Ronin is a historically inspired action movie with a lush production while Blade of the 47 Ronin is a contemporary fantasy film with limited budget. This movie here tells the story of a wizard who attempts to murder the descendants of the forty-seven ronin and to unite the two halves of the Tengu Sword to become the most powerful villain in the world.

This movie has several positive elements that deserve to be pointed out. First and foremost, the fighting scenes might not be particularly realistic but they are quite energetic and manage to entertain from start to finish. The acting performances are also above average in my book. Teresa Ting convinces as resilient fighter with a mysterious past, Anna Akana leaves a mark as rebellious outsider who needs to take on important responsibilities and seeing action film icon Mark Dacascos as wise nobleman is a joy for genre enthusiasts. One should also point out the wonderful settings in Budapest such as the clean airport, colourful bars, elegant hotels, comfortable restaurants, intriguing safe houses and sinister train stations. I certainly wasn't certain about an American cast portraying a Japanese plot in a Hungarian setting but this eclectic mixture actually makes this film worthy to be remembered.

A few negative elements however also need to be pointed out. The plot for instance is as thin as it gets and one shouldn't expect any clever storytelling. The visual special effects are at times overdone and look quite artificial. The martial arts techniques used in such a genre film could be a little bit more spectacular in my opinion.

However, Blade of the 47 Ronin is a modern action-fantasy film that is much better than its lukewarm to dreadful reputation. One shouldn't make the mistake to associate this film to 47 Ronin and instead view it as an independent release with a limited budget and mostly unknown cast. This movie however convinces with great acting performances, energetic fight scenes and surprisingly beautiful settings that make me want to visit Budapest one day. Give this film a fair try if you feel like watching a contemporary action-fantasy film on a lazy afternoon or on a relaxed evening.

Innocence, originally titled Gyul-baek, is a South Korean movie halfway between a drama and a thriller. It tells the story of a successful female lawyer who travels from the busy capital of Seoul back to her gloomy hometown to defend her own mother suffering from dementia who is accused of having poisoned five men with rice wine.

This movie convinces on numerous levels. First and foremost, the actresses and actors are truly excellent. Shin Hye-sun excels as successful young lawyer who must revisit her own difficult past in order to protect her mother suffering from dementia and her little brother struggling with autism. Bae Jong-ok impresses as elderly mother dealing with severe dementia who has more than one sinister secret to hide. Hong Kyung indeed delivers the goods as innocent but observant younger brother dealing with a severe case of autism who is negatively influenced by corrupt acquaintances and emotional family members alike. Huh Joon-ho touches viewers by portraying a corrupt politician who is unafraid of betraying, exploiting and harming friends time and again. Tae Hang-ho deserves a special mention for portraying a clumsy but perseverant constable with a heart of gold.

Another strong element of this movie is its emotional plot that comes around with a few decent twists and turns by the end of the film. Viewers will get to explore themes such as attempted suicide, child abuse, corruption, mental illnesses and murders. However, this movie also features a few positive themes such as courage, family, friendship, justice and resilience. Viewers are going to explore an intense rollercoaster ride from start to finish.

One should also mention this movie's consistent sinister atmosphere. Viewers will get to explore funerals, prison cells and courtroom settings in the present while exploring locations connected to abuse, betrayal and murder in numerous cleverly interwoven flashbacks. The film's very good lighting techniques, sound effects and soundtrack elevate it to an above-average entry in both the drama and thriller genres.

At the end of the day, Innocence, originally titled Gyul-baek, is a slow burn that develops into a mysterious thriller and a sinister drama. This very good movie is carried by excellent acting, gripping atmosphere and clever plot with a few twists and turns. While not innovating its genres or leaving a profound mark, genre fans and followers of contemporary South Korean cinema should most definitely give this movie a fair chance.

Concrete Utopia, originally known as Konkeuriteu Yutopia, is a South-Korean adventure drama. It tells the story of a massive natural catastrophe that destroys huge parts of South Korean capital Seoul and only leaves one apartment complex standing. The residents start abusing, attacking and exploiting survivors living in the destroyed neighbourhood. However, conflicts inside the apartment complex also start to emerge since several inhabitants have sinister secrets to hide and are willing to do anything they can to protect their reputations.

This sinister movie convinces on numerous levels. First and foremost, the film's special effects are truly haunting. The natural catastrophe looks absolutely terrifying and opens the movie with a bang as it omits any lengths. The state of destruction portrayed throughout the film is truly memorable as well. Viewers get to observe collapsed buildings, sinkholes where highways once stood and decaying bodies of those who didn't survive. The visual effects evoke a most dystopian atmosphere that serves as gloomy guideline from start to finish.

Up next, the characters and their development throughout the film deserve praise. Extreme situations show us how people truly behave, react and think. What you will be exploring in this movie isn't going to be particularly pleasing as we are going to be observing manipulations, menaces and power trips risking considerable collateral damage. However, the balanced, resilient and sincere behaviour of a select few offers hope in the worst-case scenario.

The acting performances also deserve much praise. Even the greatest script can only come to life with dedicated actresses and actors and I'm relieved to inform you that this movie features many of these. Lee Byung-hun offers a chilling performance as initially positive leader who soon becomes obsessed with his position of power and develops into a pitiless antagonist. Kim Sun-young leaves a lasting impression as dynamic orator who soon values her family's selfish interests over her actual responsibilities. Park Ji-hu leaves a mark as traumatized survivor whose knowledge becomes an uncomfortable menace to the apartment complex's dystopian society. Park Bo-young impresses as compassionate young woman who sincerely cares about those who are suffering and offers specific help while risking her own life. Park Seo-joon delivers the goods as initially kind-hearted man who slowly gets manipulated into becoming a monster who even scares his beloved wife.

As you can read, Concrete Utopia, originally titled Konkeuriteu Yutopia, is a dystopian adventure drama that impresses with gruesome special effects, intriguing characters and excellent acting performances. The movie starts with a bang and maintains solid pace until the very end. This film's success has also been leading to a sequel entitled Badland Hunters that tells the same catastrophe from the points of view of other survivors in a different area of Seoul.

The Retreat is a Canadian horror movie shot in the beautiful province of Ontario. It tells the story of a lesbian couple from Toronto that wants to spend a romantic weekend in the woods. However, the hosts of their cabin have mysteriously vanished upon arrival. Soon after, their car and cell phones also disappear. The two protagonists must face a group of psychopaths who attempt to capture, torture and murder them for the live stream of a snuff film.

Only few elements can convince in this weak horror movie. First of all, some of the locations are quite appealing and especially the city of Toronto looks absolutely magnificently. If you have never visited this city, do yourself a favour and don't hesitate to do so. In my humble opinion, this city is even more beautiful than any American City on the East Coast that I have been to. The second element that deserves praise are the brutal killing scenes in the second half of the movie. Especially the final three kills are quite memorable for genre enthusiasts. Lastly, I would like to point out the very good acting skills by Tommie-Amber Pirie who convinces as gritty city girl with a rural past. Viewers will be rooting for her survival and happiness until the very end. I'm looking forward to seeing her in other Canadian movies in the future.

Everything else regarding that movie is however a disappointment. The plot is as predictable, shallow and unimaginative as it gets. The villains and the villainess portrayed in the movie are as exchangeable as they get. The settings in the forest are as bland as they get which comes as a unwelcome surprise since the natural environment of Ontario is truly gorgeous. For a horror movie, this film lacks drama, intensity and tension. Especially the opening twenty minutes are boring and the numerous scenes shot in a dark basement are at best sleep-inducing. The movie's ending is disappointing as it fades out rather than ending with a bang. The scriptwriters have been very lazy here and have left out the opportunity to end their horror movie with a memorable twist. What we get instead is a mellow happy ending that doesn't suit its genre at all.

In the end, The Retreat is a below average Canadian horror movie that is only interesting for adamant genre enthusiasts. The shots filmed in Toronto, the acting performance of Tommie-Amber Pirie and the killing scenes in the film's second half deserve praise. The ending, the plot, the settings, the tension and the villains are all disappointing. As you can read, the negative elements certainly outnumber the positive ones. You can spend the eighty-two minutes of this film doing much more beautiful things to be honest.

Thirty Miles from Nowhere is a below average Australian-American horror film. The story revolves around five college pals who return to rural Wisconsin for the funeral of one of their friends who committed suicide for vague reasons. The negative atmosphere is further enhanced by the odd behaviour of the widow and the deceased's mother who suffers from dementia. When a heavy storm comes up, the five pals are stuck in a cabin that hides more than one dark secret. As old tensions resurface, the second night at the cabin becomes a quest for survival.

Let's start with the few positive elements regarding that weak movie. First and foremost, the film develops some tense atmosphere in its second half thanks to the intense storm, the movie taking place at night and the sinister location. The ending comes around with a twist that certainly walks off the beaten path and offers food for discussion and thought. Lastly, I would like to point out actress Cathy Shim as the most charismatic presence on screen.

Everything else is a disappointment. The dialogues are incredibly childish and make the characters extremely antipathic. The decisions made by all characters throughout the film are ridiculous. In general, the characters aren't fleshed out at all and remain terribly superficial. The scary moments in the film fail to leave any significant impression. The acting performance of the antagonist is one of the worst to have ever been filmed and I sincerely state this as someone who has been watching several thousands of movies. Even Tommy Wiseau would have done a more authentic job. While the ending comes around with a twist, it's actually shockingly ridiculous and asks for a complete suspension of disbelief.

At the end of the day, don't hesitate at all to skip Thirty Miles from Nowhere altogether. Even adamant horror movie enthusiasts won't be enjoying such a film. Even people who might want to watch that film just to have a good laugh won't be satisfied by the film's dreadful dialogues and dragging pace. Everyone involved in that production from near or far should aspire to achieve much better things in the future or change careers altogether.

Evil Does Not Exist, originally known as Aku wa sonzai shinai, is a Japanese drama by renowned director Hamaguchi Ryusuke, who has been receiving international acclaim for movies such as Drive My Car. This slow-paced, mysterious and intellectual film tells the story of a conflict between businesspeople from Tokyo and villagers from Mizubiki. The former want to open a glamping site for capitalistic reasons while the latter want to protect nature for environmental reasons. Both sides are radical in their positions and a compromise seems to be a dangerous undertaking. Tension really starts to rise when two representatives of the company decide to spend an entire day in Mizubiki with odd job man Takumi.

This film needs a lot of patience in order to be fully appreciated. The pace is particularly slow. The opening sequences consists of shots of Mizubiki's environment. Dialogues meander between being sparse before becoming almost overbearing. Several things aren't openly said and need some analysis from the viewers to be fully understood. The movie's ending certainly walks off the beaten path as it takes viewers by surprise and leaves several questions unanswered.

This unique style however makes the film quite memorable. In addition to this, the plot can be described as realistic fiction. The landscapes are intriguing to discover. The characters are profound and deserve to be analyzed in depth. The acting performances are so realistic that one might believe to watch a documentary. The movie's ending offers food for thought and discussion. It's highly recommended to watch this movie peacefully with some family members or friends in order to discuss what you make of it. Multiple viewings might be recommendable as well, so don't hesitate to purchase a physical version of this movie rather than watching it just once at the cinema.

To keep it short, Evil Does Not Exist, originally titled Aku wa sonzai shinai, is a slow-paced, mysterious and intellectual drama rooted in realistic fiction. It convinces with beautiful settings, a realistic plot and intriguing characters. The movie's shining highlight is its ending that offers food for thought and discussion. The negative elements of this film are its lengthy shots of nature, slow pace and odd transitions from silence to overbearing dialogues and vice versa. People who appreciate renowned director Hamaguchi Ryusuke can watch this movie without any worries. Those who really want to discover one of Japan's most acclaimed contemporary directors might start their discovery right here right now. Cineasts who can't stand dragging, intellectual and vague movies should however stay away from this film.

Mami Wata is a movie that mixes fantasy and folklore, present and past as well as thriller and drama elements in an captivating, innovating and unique manner. This movie was written and directed by Nigerian cineast C. J. Obasi and shot in Benin during Fête du Vodoun. The story takes place in a coastal village whose population believes in mermaid deity Mami Wata. The most important person in this matriarchal society is Intermediary Mama Efe who communicates between the mermaid deity and the villagers. Some villagers however start doubting the worship of the mermaid deity as they observe neighbouring communities build streets, schools and hospitals while their children keep on dying at a young age. When Mami Wata's daughter Zinwe starts doubting her community's traditions and decides to flee the community as mysterious mercenary Jasper appears and attempts to seduce the other daughter Prisca, things start violently shifting out of control.

This wonderful movie convinces on numerous levels. First and foremost, the director has taken the extraordinary decision to shoot this movie in black and white. This strategy enhances the atmospheric depth of the natural landscapes such as the dark ocean, the long beaches and the nearby vegetation. This creative approach also makes the huts and streets look more sinister. The artistic face paintings equally manage to stand out which helps viewers distinguish the numerous different characters.

Speaking of the characters, they have been incarnated with much talent by several excellent actresses and actors. Rita Edochie convinces as calm, confident and courageous religious leader. Uzoamaka Aniunoh impresses as confused daughter and heir who loses her faith in Mami Wata. Evelyne Ily Juhen delivers the goods as initially jealous and naive daughter who ends up becoming a brave and smart leader. Kelechi Udegbe excels as narrow-minded villager who spends his time consuming alcohol, complaining about traditions and seducing women. Emeka Amakeze leaves a lasting impression as mysterious mercenary who arrives seemingly coincidentally in the community and shifts from a philosophical seducer to a violent leader.

The way this movie portrays the clash between progress and traditions is impressive as well. The flaws and strengths of both sides are shown throughout the movie without ever being moralizing. The flaws of traditions are child deaths, increasing poverty and disgruntled villagers. The strengths of traditions are common beliefs, steadfast rituals and strong stability. The flaws of progress are unpredictable manipulations, divided societies and increased weaponry. The strengths of progress are hope for the future, increased health and improved infrastructures. This goes to show that no option is imperfect or perfect.

The movie's story and the way it's told also deserve to be pointed out. The film starts as a family drama that turns into an action-thriller. The entire movie interweaves elements of folkore as well as supernatural sequences. The film's final scene leaves a particularly lasting impression in this regard. The film is told slowly but surely as it will reward patient viewers with an open mind most.

To keep it short, Mami Wata is a movie like none other. The Nigerian production shot in Benin combines a family drama with an action-thriller and cleverly interweaves elements of folklore with supernatural sequences. The changing and shifting story is told slowly but intriguingly. The cinematic choices stand out positively and leave lasting impressions. The actresses and actors convince throughout. This movie certainly deserves more attention and acclaim, so don't hesitate to give it a fair chance whenever you have the opportunity to do so.

River, originally known as Ribâ, nagarenaide yo, is a Japanese science-fiction movie with elements of comedy, drama, mystery and romance. The film takes place in Kifune, a calm mountainous town north of Kyoto, on an automnal afternoon. The main setting is a traditional Japanese inn where we meet the film's most important characters. We have the elderly couple who owns the place, two young ladies taking care of customers, a group of elderly and young cooks, two friends of old date who meet for the first time in many years, a desperate author with writer's block and his manager who pressures him to respect an upcoming deadline. Suddenly, time starts to loop every two minutes. The different characters are at first confused, then fall victim to panic before attempting to end the loop.

Watching this movie was so rewarding that I immediately decided to watch it again the very next day. Needless to say that I will continue to watch and recommend it in the future. River most certainly qualifies as greatest film of its year of release.

There are several elements that make this movie stand out. As you could already read, the film's plot is particularly imaginative. The scriptwriter has incorporated numerous different ideas into this film. The movie leads you upon numerous wrong paths before coming around with a rewarding final turn that explains everything that has been happening. This twist came as a most wonderful surprise since my very own theory turned out not to be true.

This film also convinces so much because it incorporates many different genres. The idea of a time loop firmly positions this movie into science-fiction territory. However, everything else is pleasantly realistic and filled with emotions. Several scenes offer hilarious slapstick comedy. One example is when the stressful manager runs out of the public bath on ground level and tries to meet the nervous writer on the first floor. Many scenes incorporate drama. One example is when the two friends of old date painfully remember what separated them in the past and try to overcome these unsolved issues in the present. This film also includes a healthy dose of mystery. For instance, several characters believe to be responsible for the time loop and try different strategies to put an end to what they believe they have started. This movie also includes some bittersweet romance. Two characters have strong feelings for each other but are unable to talk things out and face a future when they might be separated by thousands of miles.

Another noteworthy strength are the wonderful locations. Kifune truly looks like Heaven on Earth to me. This includes automnal colours as well as gentle snowfall, it references the beautiful winding roads, it makes allusions to the well-maintained traditional buildings, it's related to the elegant shrine and the long stairs leading up to it and it also has to do with the gentle river itself and its immediate natural surroundings. This movie most certainly makes me want to visit Kifune one day.

The characters also deserve much praise because they are detailed, profound and realistic as viewers will most certainly care about, empathize with and think about them. Many different types of people are being represented throughout the movie such as business partners, friends of old date, hunters, lovers and work colleagues. This movie doesn't attempt to forcefully include children, immigrants or any other minorities which makes for a refreshing alternative in times when Western cinema nervously tries to appeal to every possible group of people scriptwriters can think of. This movie here feels timeless as it could have been made fifty years ago, today or even in fifty years. I predict that this movie is going to be ageing particularly well.

If you are waiting for a negative remark about this film, then let me assure you that there isn't any in my humble opinion. River or Ribâ, nagarenaide yo is a flawless science-fiction film with elements of comedy, drama, mystery and romance. The actors and actresses, caterers, director, editors, make-up artists, producers, scriptwriter and everyone else involved in the creation of this film deserve nothing but admiration, praise and respect. Do yourself a favour and watch this movie as soon as you can as it will be good for your brain, your heart and your soul.