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Reviews
Yi bu zhi yao (2014)
All That Glitters Isn't Gold
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 (2022)
Entertaining Contemporary Action-Fantasy Film That Is Much Better Than Its Terrible Reputation
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.
Gyul-baek (2020)
Convincing Mixture of a Sinister Drama and a Mysterious Thriller
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.
Konkeuriteu yutopia (2023)
Dangerous Catastrophes Reveal Our True Identities
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 (2021)
A Retreat from This Movie Is Highly Recommended
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.
30 Miles from Nowhere (2018)
Nowhere Near a Decent Horror Movie
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.
Aku wa sonzai shinai (2023)
Nature Always Remains Victorious
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 (2023)
Out of the Ordinary
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.
Ribâ, nagarenaide yo (2023)
A Masterpiece for your Brain, Heart and Soul
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.
Civil War (2024)
A Shockingly Realistic Portrayal of the Worst-Case Scenario for the United States of America
Civil War is a dystopian drama on the pulse of time that depicts the downfall of the United States of America in a near future marked by prejudice, division and an ongoing civil war. This movie recalls dystopian science-fiction literature in the key of Ray Bradbury and Aldous Huxley but also reminds of contemporary politicians such as Donald Trump and Sarah Palin.
This movie makes an important statement for independent journalism throughout. This film follows a diverse group of journalists, including professionals from abroad and from home, including veterans and rookies, including men and women, who travel through a war-torn country as they document suicide bombings, refugee camps and an attack on the White House.
Civil War convinces on numerous levels. First and foremost, the plot as well as its motifs, symbols and themes offer food for thought, discussion and change. This movie portrays the worst-case scenario for the near future of the United States of America. The idea behind this movie is to prevent the things portrayed here from ever happening. This kind of movie should indeed be analyzed in school to educate future generations about the impacts of their choices.
The settings of this film are particularly impressive as well. We get to observe mass protests in New York City, military camps in Charlottesville, Virginia and street combat in Washington D. C.. In between, the journalists travel through beautiful landscapes that however offer a high number of dangers. These include kidnapping, murder and theft involving seemingly ordinary citizens as well as sociopathic radicals.
The acting performances deserve to be praised as well. Every single journalist struggles with the ongoing terror and shows remarkable courage to overcome these challenges. Kirsten Dunst, Evan Lai, Nelson Lee, Stephen McKinley, Sonoya Mizuno, Wagner Moura, Cailee Spaeny and Jefferson White all play convincing, diverse and profound journalists. Nick Offerman portrays a dictatorial President of the United States of America who has decided to serve a third term. Jesse Plemons excels as racist ultranationalist militant and mass murderer.
At the end of the day, the idea to portray a dystopian fate for the United States of America isn't new. The way the movie Civil War portrays such a worst-case scenario is however shockingly realistic. The settings, messages and acting performances elevate this movie to a serious candidate for several Academy Awards nominations.
Furiosa: A Mad Max Saga (2024)
Riding the Path of Vengeance
About a decade ago, Mad Max: Fury Road was a heavily overestimated reboot of the dystopian Australian franchise that offered eye candy over substance, just like the underwhelming Dune trilogy that is currently being praised for unfathomable reasons. I'm however glad to announce that Furiosa: A Mad Max Saga is a significant improvement over its predecessor and overall a very good post-apocalyptic action-drama.
The story revolves around the titular heroine who is kidnapped as a child. Her mother does everything she can to save her but ends up being caught and crucified. The murderer attempts to raise Furiosa as his own daughter until he decides to sell her to a wealthy businessman. Thus begins Furiosa's insatiable quest for vengeance that will take fifteen years of her life.
This movie convinces for numerous reasons. First and foremost, the diversified settings are remarkably beautiful. Bullet Farm, the Citadel and Gas Town complete one another magnificently. The Wasteland offers enough diversity with dunes, rocks and quicksands to remain interesting throughout. The shining highlight is the remarkable oasis The Green Place as the movie shows very well why people are willing to sacrifice their lives to save this heavenly location of abundance.
Up next, the film's special effects are stunning. This starts with the way the different characters age in fifteen years. It continues with the numerous experimental engines that can be seen throughout the film. The genuine highlights are however the fighting sequences that culminate in the movie's resolution.
The acting performances are also strong. Anya Taylor-Joy convinces as gritty heroine of few words. Chris Hemsworth delivers the goods as manipulative antagonist with narcissistic tendencies. Charlee Fraser astonishes as resilient mother willing to sacrifice her life to save her daughter. This movie comes around with a memorable cast of eclectic characters.
You might now wonder why this movie hasn't received an even higher rating. Let's point out a few minor flaws for the sake of justification. First and foremost, this movie overstays its welcome with a length of one hundred forty-eight minutes. Do you remember how the first Mad Max film was only ninety-three minutes long? This is the quality standard the franchise should aim to be returning to.
Up next, the film's plot is as predictable as it gets. Dystopian science-fiction movies have been overdone in the past decade and a half and the quality of the scriptwriting has overall been on a downward spiral. In addition to that, the movie tells a most simple tale of vengeance that doesn't request any kind of intellectual effort from the viewers.
Lastly, this new film could have been connected more smoothly to the other entries in the franchise. Especially the final twenty minutes feel chaotic, disorganized and rushed. Since the makers of this film had already taken more than two hours to tell the whole story, they should have invested an additional ten to fifteen minutes to connect the dots and offer a fluid resolution.
At the end of the day, Furiosa: A Mad Max Saga is a very good science-fiction film that should be appreciated by fans of the franchise and potential new fans alike. A new Mad Max movie is also going to be seeing the light of day in the near future. Dystopian science-fiction cinema has however become uninspired, predictable and lazy throughout the past decade and a half. Instead of pushing this franchise to excessive lengths with more prequels, reboots and sequels, the makers should bring the franchise to a captivating, honourable and respectable conclusion as soon as possible.
Deo mun (2023)
Fly Me to the Moon
The Moon, originally known as Deo Mun, is a South Korean science-fiction drama that impresses with stellar special effects, wonderful settings and excellent acting. The film takes place in the year 2029. Five years after a failed mission, South Korea aims to send three astronauts to the Moon. Strong solar winds however destroy parts of the spacecraft and put the astronauts' lives at risk.
This film impresses with stellar special effects. The spacecraft and its different parts look particularly realistic. The action sequences in space and on the surface of the Moon look absolutely spectacular. The rescue mission portrayed in this film is best enjoyed on a big screen.
The settings are wonderful as well. This includes locations on Earth such as an isolated observatory and the busy control centres of space agencies. One should also mention the far side and the near side of the Moon that are portrayed realistically in this movie.
Lastly, the acting performances are excellent in this film. The confusion, fear, isolation, resilience and strength portrayed by the astronauts most certainly stand out positively. Back on Earth, the bravery, chaos, despair, hopelessness and overcoming by the members of the space agencies and their collaborators certainly strike a chord as well. This movie will most certainly emotionally involve the majority of the viewers. Some scenes are heart-wrenching, melodramatic and tearjerking in a positive way.
Two elements however need to be criticized regarding this very good science-fiction drama. First of all, this movie asks for a complete suspension of disbelief. The story is everything but scientifically accurate.
Up next, the back story of this movie isn't explained well enough. At times, viewers might feel like watching a sequel to a previous science-fiction drama that doesn't even exist yet. However, the makers of The Moon should think about shooting a prequel detailing the events happening in 2024 that lead to everything that is going on in this film.
To keep it short, The Moon, originally known as Deo Mun, is an emotionally intense science-fiction drama from South Korea that is much better than its reputation as it convinces with stellar special effects, wonderful settings and excellent acting performances. The unrealistic story and the lack of detailed information regarding the film's back story prevent a very good movie from being excellent or even perfect. Science-fiction aficionados from all around the world should nonetheless give The Moon a fair chance.
Mei you yi dun huo guo jie jue bu liao de shi (2023)
Comforting Chinese Comedy Film with Creative Elements of Drama and Thriller Genres
Nothing Can't Be Undone by a Hot Pot, originally known as Mei you yi dun huo guo jie jue bu liao de shi, is a quirky Chinese comedy movie with a dynamic mixture of elements from others genres such as drama and thriller. The story revolves around four characters who plan on stealing money from a rich administrator who organizes the planning of new housing projects in an old suburb.
This film convinces on several levels. First and foremost, the interesting mixture of comedy, drama and thriller elements manages to entertain and surprise through a generous running time of one hundred twenty-nine minutes. Every single time the movie makes you laugh, it is soon followed by a dramatic scenes. Every single time there is a tense moment, some unexpected comedy sequences lighten up the mood of the viewers. The scriptwriters deserve particular praise here.
Up next, the story is quite intriguing as well. It involves elements of theft, murder and kidnapping but all these serious issues are being dealt with in a light-hearted way. The film comes around with a multitude of twists and turns that keep viewers on the edges of their seats until the credits will be rolling.
This leads us to the third strong element of this movie. The characters are certainly creative, memorable and unique. The actresses and actors bring them to life with much dedication. Viewers will be introduced to the elderly owner of an opera house who plans on stealing money from a greedy administrator he once tried to bribe. We also meet a young delivery boy with a particular attachment to his mother who has been in the administrator's apartment on numerous occasions. Up next, there is a violent young man who has been to prison in the past and whose crimes seemed to be connected to the administrator's schemes. Lastly, we meet a mysterious young lady who claims to be an innocent fortuneteller but might have a gloomier identity than initially suspected. Numerous intriguing side characters such as the manipulative administrator himself, the watchful mother of the opera house owner and his intelligent wife add further entertainment to this film.
Several plot elements might be predictable, there are a few too many dialogues and the total length of the film cut have easily been cut by about half an hour but such claims are only minor complaints that won't keep viewers from all around the world from enjoying this quirky movie.
At the end of the day, this film is recommended to anyone interested in clever comedy movies and contemporary Chinese culture discussing capitalistic greed and excessive housing projects without being moralizing or propagandistic. Nothing Can't Be Undone by a Hot Pot, originally known as Mei you yi dun huo guo jie jue bu liao de shi, might not be material for movie of the year but will offer more than two hours of light-hearted entertainment that should be enjoyed by children, teenagers and adults alike.
Monkey Man (2024)
Shamelessly Copying Ideas of Recent Past in an Entertaining Way
Monkey Man is an energetic tale of vengeance that convinces with intense action scenes and an excellent lead actor with Dev Patel who is also the director and writer of this film. The story revolves around a nameless poor young adult who makes a living as a masked fighter in an underground boxing club before getting a job in the kitchen of a high-end brothel that enables him to pursue a quest of vengeance upon an important political figure.
This film indeed convinces with wonderful settings contrasting the lives of the rich and the poor. The story also points out how the poorest members of society get worse as time progresses while the few rich decadents become even greedier. The action sequences are brutal, fluid and memorable throughout. The acting performances however are also fairly above average for an action movie as especially Dev Patel manages to become one with his role. It's obvious to the viewers that Monkey Man is his brain child and passion project and such dedication and passion deserve to be praised and recognized.
The main issue with Monkey Man is its lack of originality. The idea of an underprivileged individual challenging a saturated elite is the key element of numerous dystopian science-fiction stories and especially comic book, movie and television series Snowpiercer might come to mind in this case. The movie however particularly recalls Indonesian movie franchise The Raid as several action scenes, particular locations and even plot elements are nearly identical. Those references are so obvious that they make it difficult to even accept Monkey Man as a serious project of its own.
Needless to say that anyone reading this review should at first watch The Raid and Snowpiercer before even considering watching this film. If you are willing to watch a movie that obviously rehashes ideas of recent past, then you should be able to enjoy this gripping tale of revenge to the fullest. Cinephiles who desire creative, innovative and unique cinema should however stay away from this film that has gotten massive passionate fan support that is however heavily biased and has more to do with the creator's origins and past reputation than with the originality and quality of the actual final product.
Okja (2017)
A Contemporary Fairy Tale as Well as an Emotional and Intellectual Satire
Okja is an international satire and contemporary fairy tale that impresses with excellent acting, wonderful settings and gripping story. Helmed by renowned director Bong Joon-ho, this film focuses on themes such as animal rights, friendship and meat industry. While not being the director's greatest movie which would still be grisly psychological thriller Memories of Murder to this day, Okja might appeal most to an international audience for the three reasons stated below.
To kick things off however, let's take a quick glance at the film's plot. It tells the story of ten-year old Mija who lives with her grand-father on a mountain farm in South Korea. She has grown up with a most wondrous creature named Okja: a gentle giant who looks like a mixture of a manatee, a hippopotamus and a pig. This animal and several twins have been created by a family-owned multinational conglomerate that wants to test where these animals grow up to be the biggest, healthiest and strongest of their kind. Okja is considered to be the winner and is going to be transported to New York City for a massive media campaign. Mija is upset when learning the truth about her best friend and does everything she can to bring her beloved soul sister back to her mountain farm. On her adventurous journey, the teenager crosses paths with animal rights activists, businesspeople and influencers.
This film convinces due to its excellent acting skills. Child actress Ahn Seo-hyun is extraordinary as a rebellious girl with a heart of gold as she represents the innocence of childhood and the friendship of teenagers. Tilda Swinton shines as hypocritical businesswoman with narcissistic and psychopathic tendencies. Paul Dano impresses as unpredictable terrorist with a gentle and a violent side. Jake Gyllenhaal surprises as superficial influencer on the pulse of time who is adored by millions.
The movie's wonderful settings must be pointed out as well. We get to discover bleak environments such as dirty meat industry factories or soulless skyscrapers. We get to see wonderful settings such as colourful mountains and joyful parades in downtown areas. The locations vary from the mountains of South Korea to the westernized heart of Seoul as well as from the nervous beauty of New York City to the desolate rural landscapes where one can find the most gruesome slaughterhouses. As you can read, these settings are at times cold and grey but sometimes also warm and bright. Every single location will evoke strong feelings inside each individual viewer.
The story offers food for thought and discussion. Bong Joon-ho doesn't try to preach morals as some viewers might interpret but instead introduces cinephiles to a balanced mixture of exaggerations and realities that can be understood in numerous different ways. While some people might find the scenes showing brutal animal abuse, vile capitalism and fake influencers most impressive, my favourite part of this movie is actually the incredibly strong friendship between a not-so-innocent girl and her wonderful best friend.
Fairy tales have often had the purpose to scare children in order to teach valuable life lessons. This is also the case for Okja. This satire has some brutal scenes but transmits a wonderful message. This movie is thus recommended to children, teenagers and adults alike and deserves more attention, recognition and respect. It tells the kind of memorable story that might still be relevant years, decades and centuries from here.
Sou jiu (2022)
Sinister Family Drama in Snowy Landscapes
Sou Jiu, internationally known as Come Back Home or Polar Rescue, is an intense family drama from the People's Republic of China. It shows legendary martial artist Donnie Yen in a completely new role as this film doesn't feature any fight sequences at all. To my very positive surprise, Donnie Yen stunningly delivers the goods as this drama turns out to be much better than its lukewarm reception might have indicated.
Let's focus on the story first. Donnie Yen is a family father with a hot temper who is on a winter holiday with his wife, his daughter and his son. The quartet plans on visiting a lake but has a minor car accident on the rough country road. His son is severely disappointed and criticizes his father harshly. The family father overreacts and decides to drive away with his daughter and his wife to teach his son a lesson. When he returns about five minutes later, his son has however disappeared. A search mission is organized as tension drastically increases over time. The family father prevents authorities from doing their job accurately, has frequent arguments with police officers, becomes a suspect in his son's disappearance, is bothered by influencers on social media and realizes how even his own wife alienates from him.
This film convinces on numerous levels. First and foremost, the story is dramatic, entertaining and gripping from start to finish. The movie has excellent pace and gets to the point in one hundred two minutes. The acting performances are excellent and especially Donnie Yen convinces as a family father on the edge. The locations in northern China are gorgeous and should appeal to anyone who admires winter time. The special effects in the movie are quite intense as they are used in small doses. The film's dramatic finale left a particularly lasting impression upon me.
On the negative side, one might criticize that some parts of the plot feel exaggerated to a point that they become unrealistic. This movie thus asks for a complete suspension of disbelief. As almost all contemporary Chinese productions, this movie here also includes a heavy dose of patriotism. The film points out the heroic actions of the rescue team when they remember past accomplishments and sing nationalistic songs. However, such minor flaws don't bother much in this very good film because they aren't heavily overused and don't take anything away from the positive elements mentioned above.
In the end, Sou Jiu, also known as Polar Rescue and Come Back Home, is an intense family drama set in wonderful landscapes and featuring a healthy dose of action sequences. Don't expect a traditional martial arts film since this movie involves Donnie Yen. This film should rather be seen as an emancipation for this underrated actor who is finally not typecast for another massive action spectacle.
Jeepers Creepers: Reborn (2022)
A Tree Bearing Fruit
Few franchises have faced as much negative backlash as Jeepers Creepers and especially the third and fourth movies have been harshly criticized. Jeepers Creepers: Reborn has a worse rating on this website than infamous cinematic disasters such as Samurai Cop, The Room and New York Ninja to only name a few examples. Any reviewer who has dared giving this film a higher rating than two out of ten points has been met with massive negative feedback, no matter how well-written, meaningful and articulate some of these reviews have been. Under grislier circumstances, one might describe such instances as excessive peer pressure, relentless internet bullying and particularly radical bias. Let's not go so far in the case of an underproduced low-budget horror movie but it's already obvious for me at this point that this review is going to be sparking angry reactions. I'm however not looking to get attention, to enrage or to be passive-aggressive. I'm simply putting down my honest opinion on Jeepers Creepers: Reborn.
Ever since watching the first movie about two decades ago, I have had a soft spot for the franchise and have remained a fan for two decades and counting by now. From the start, I was hoping for Jeepers Creepers: Reborn to be atmospheric and entertaining and didn't expect anything more due to the unknown cast and limited budget. This movie has delivered in both regards and even offered some additional quality that was unexpected.
The film's story is simple but efficient. It tells how young adult Chase desires to attend a niche horror convention known as Horror Hound Festival with his skeptical but supportive girlfriend Laine. Chase nervously prepares to propose to his beloved girlfriend while she learns that she is pregnant. The couple wins a fixed competition at the convention that allows them to participate in an escape room activity connected to a mysterious urban legend. Things take a grisly turn when members of the television team that accompanies them go missing. The couple and its companions soon realize that they are trapped in a gigantic mansion and that something very dangerous is inside with them.
On the film's positive side, this movie has a creepy atmosphere from the opening scenes with the sympathetic elderly couple to the flick's final showdown involving the titular character. The film doesn't rely on predictable jump scares but instead works with gloomy lighting techniques, sinister locations and ominous soundtrack. This movie is also pleasantly entertaining in its concise length. The opening scenes go by in a heartbeat and reference the franchise's first film charmingly. The introduction to the film's main characters is just long enough to develop them properly without drifting off into boring stereotypes. The scenes at the festival are colourful, eclectic and memorable. The passages at the cemetery are without any lengths and increase the film's vibrant atmosphere a few notches. The concluding finale at the mansion is creative, detailed and intense. The film has a satisfactory conclusion and then the credits already start rolling. I wouldn't have added or cut anything to or from this film as director Timo Vuorensola deserves praise and recognition for an expert job under challenging circumstances. Other elements that deserve praise in my opinion are the two protagonists who complete each other perfectly and make for a believable, charming and sympathetic couple you want to root for. The acting performances might not earn the cast any nominations or awards at film festivals but they are doing surprisingly solid jobs for this kind of movie genre. The plot also deserves some respect as several side elements such as the references to the first entry in the franchise, the male protagonist's objective to get engaged to his girlfriend and the female protagonist's surprising discovery that she is pregnant are diversified, entertaining and sympathetic. As you can read, this movie has enough strengths to warrant a positive rating.
However, there are obviously also a few downsides. The story around the titular character is obviously quite predictable. The film itself is lacking scary or even shocking moments and could have been slightly more intense and sinister. The movie's low budget is visible in some special effects and would certainly have benefitted from a more generous production. However, all those flaws are relatively small and won't prevent franchise fans from enjoying this film to the fullest.
As you can read, Jeepers Creepers: Reborn is a very decent atmospheric horror movie that should certainly please fans of this particular franchise and independent horror cinema of the twenty-first century in general. Ignore the masses of pessimistic reviews and give this film a fair chance. A trailer might actually give you a good idea whether this film lives up to your expectations or not. In my personal case, Jeepers Creepers: Reborn is a positive surprise and while it can't compete with the first entry, it certainly equals and even outclasses parts of the second and third movie in the franchise. I would like to thank everyone who has taken the time to read my review until the end and given it a rating.
Pamyo (2024)
Supernatural Horror Movie Harmed by Unnecessary Racism
Exhuma is a supernatural horror movie from South Korea by director Jang Jae-hyun and starring one of the country's greatest actors ever with versatile Choi Min-sik. In a globalized world, I was more than happy to enjoy this film at the cinema of my neighbouring city. To my negative surprise, I was the only spectator who wasn't Korean in the audience. People finally need to understand that there is a wonderful cinematic world to discover out of Hollywood. Make sure to spread the word about this very good horror film.
This movie revolves around two shamans, a mortician and a Feng Shui master who are hired to lift the curse from a prosperous family of Korean emigrants by relocating the grave of their ancestor. However, things start completely spiralling out of control when this relocation occurs. Something far more sinister than the buried body of an ancestor is hidden on the gloomy hill next to the North Korean border.
Exhuma convinces on several levels. First of all, the story comes around with a few interesting shifts and turns that will keep the audience entertained throughout. The movie's ominous atmosphere is gripping from start to finish. The acting performances are overall very good as we get to witness a particularly balanced cast. The movie's final third gets quite intense and some of the viewers at the cinema were particularly scared. Light and sound techniques increase this intensity even further. The camera work is precise and focused and the special visual effects aren't overused and work particularly well.
However, this movie also has a few minor flaws. The excellent actors and actresses aren't given a script in which they can really show their immense talents. This film focuses too much on its sinister story rather than its promising characters. While some viewers at the cinema were actually scared, I didn't find the film terrifying at all as a horror movie enthusiast. The atmosphere is tense but there isn't one particularly scary scene that has stayed on my mind.
An important issue that deserves its own paragraph is the presence of racism in this film. I'm very familiar with Korean culture and cinema, have been following Korean movies closely for about two decades and have read several books on this subject as well, so people who might tell me that I don't understand some of the remarks or that I'm exaggerating things are wrong. Those are usually the kind of remarks that you get when criticizing Korean cinema. Believe me when I tell you that I think that Korean cinema has been the greatest in the world for the past two decades and that in ninety-nine out of one hundred cases I only have favourable things to say. This is why it's important to criticize things when they really matter as is the case here. Two elements have left a bitter taste in this film. First of all, the daughter of the Feng Shui master is studying in Germany and dating a local man. Instead of caring how this man treats his daughter, the only thing the master is worried about is that their children might have blue eyes. Besides the fact that blue eyes are truly beautiful, reducing future family members to one small physical detail is stereotypical racism at its worst. Another even worse element worth to be pointed out is the movie's particularly negative portrayal of Japanese culture. I'm aware that Japan has occupied Korea and committed atrocious crimes in the past but one has to eventually get over this and realize that such things happened eighty years ago when none of the characters in the movie was even alive. The film starts with a scene where a polite stewardess shyly speaks Japanese to one of the characters who rebuffs her aggressively by telling her proudly that she is Korean. Such exaggerated anger in relation to an innocent mistake seems excessive to me. That film also discusses and portrays some of the horrors the Japanese have committed in the past but these elements don't add anything to expand the depth of the plot. Such negative remarks just feel gratuitous, old-fashioned and resentful. Furthermore, the film's antagonist also turns out to be Japanese which is analyzed, discussed and shown on numerous occasions. This film attempts to show that the Korean shamans, mortician and master are courageous, determined and idealistic while the Japanese and their collaborators from the past are inherently evil. Such drastic decisions almost give this film the style of an obsolete propaganda film that might as well come from North Korea. Let me tell you that contemporary Japanese horror movies on the other side don't attempt to make any foreign ethnicities look dreadful. There are no evil buried American generals haunting poor Japanese babies. That is however exactly what you get in this film with a Japanese warrior tormenting Korean families for centuries. This movie would have been so much better if it had simply focused on an evil Korean warlord of the past as an antagonist rather than strategically dishonouring Japanese culture, history and people. The scriptwriters deserve nothing but shame for such an excessive portrayal of racism and don't even try to justify the unjustifiable.
Aside of that major flaw that deserves to be addressed, analyzed and discussed, Exhuma, originally known as Pamyo, is nonetheless an atmospheric, entertaining and intense supernatural horror movie that deserves more attention, recognition and respect. If you like this particular movie, make sure to watch other South Korean films with similar vibes that are executed even better such as The Wailing, I Saw the Devil and Memories of Murder. The underestimated recently released The Ghost Station that actually honours Japanese horror cinema also deserves your attention.
Neugdaesanyang (2022)
Violent Bloodshed without any Compromises
Project Wolf Hunting, originally known as Neugdaesanyang, is one of the most brutal movies I have ever watched in my life. This South Korean film of two hours and two minutes is best described as gory action thriller. The story revolves around a group of dangerous criminals of South Korean origin who are extradited from the Philippines to South Korea on a cargo ship.
This film convinces on numerous levels. First of all, the isolated location of a cargo ship gives this movie a claustrophobic, filthy and tense atmosphere. Up next, this movie impresses with vivid pace that is gradually getting more intense towards the finale. The flashbacks going all the way back to the horrors of the Second World War offer some great background information and introduce viewers to a different location.
On the negative side, the brutal scenes in this film are heavily exaggerated. Two and a half tons of blood were used to portray roughly two dozen injured or murdered characters. This fact alone should give you a very good idea of how relentless this movie is. The story is paper-thin as the creators of this movie have just been looking for a weak excuse to justify the violent bloodshed. Whenever a character starts to develop something resembling depth and sympathy, then it isn't long before her or his untimely demise.
At the end of the day, Project Wolf Hunting is an entertaining movie for viewers who appreciate particularly brutal action flicks without any compromises. Switch your brain off and go on this violent fun ride for two vibrant hours. Anyone who expects memorable characters or interesting plot twists should however ignore this film entirely.
Yumeji (1991)
The End of the Dream is the Start of the Journey
Yumeji is the third and final part of director Suzuki Seijun's Taisho Roman Trilogy. It comes around a whopping ten years after its predecessor Kagerô-za that didn't achieve the same critical and financial success as first instalment Zigeunerweisen. Just like its two predecessors, this final entry in the trilogy combines a romantic drama with mysterious supernatural elements.
The story is a semi-faithful biography of painter and poet Takehisa Yumeji. The movie tells how he leaves his best female friend behind to meet a mysterious lover he has only been contacting by mail. The strange lady is however getting sick and faces oppression from her family to join the painter and poet. The protagonist is stuck alone in an inn in the countryside and starts falling in love with the widow who runs it. She is looking for the body of her murdered husband on a nearby lake. He was murdered for desiring a married woman and was thus killed by her violent husband who has since been hiding from the police in the nearby mountains. Things get complicated when the murdered husband turns out to be alive and well and wants to win his wife over again. The unsuccessful murderer however also makes an appearance and wants to finish his tale of vengeance. The protagonist ends up feeling overwhelmed by these drastic changes in his life and starts losing his sanity.
This movie deserves praise for several elements. The settings are absolutely magnificent as the Japanese countryside evokes a magical atmosphere that makes viewers want to visit these locations. The calm, melodic and mysterious soundtrack blends in splendidly to enhance this atmosphere. The plot comes around with a few surprises, many of which are so absurd that this film has an almost humorous touch at times. This unpredictability of events will keep viewers watching until the very end.
However, this movie isn't without several notable flaws. Even though ten years have passed between this film and its predecessor, this movie feels so old-fashioned that it might have been made about a decade earlier. The story features numerous similarities to its two predecessors. The camera techniques haven't evolved one iota in a decade as the director never attempts to try out any new creative turns. This stagnant stability makes it difficult to even consider him a genuine artist and such a lack of development can't be defended by the idea of consistency either. Another issue present throughout the trilogy is yet again the film's slow middle section and its challenging length of one hundred twenty-eight minutes.
At the end of the day, viewers who have been enjoying this film's predecessors Zigeunerweisen and Kagerô-za are also going to be appreciating the concluding Yumeji. This movie convinces with mysterious atmosphere, intriguing plot and stunning settings. However, this third entry suffers from uninspired camera work, slow pace and repetitive themes. Despite a few memorable sequences such as the film's surreal opening that could come straight from a progressive rock music video or the hilarious hunting sequence between the dangerous failed murderer and his cowardly target, this movie is overall the weakest entry in the Taisho Roman Trilogy. It's only recommended to those familiar with its two predecessors and cineasts who appreciate the combination of tragical romantic dramas and atmospheric supernatural elements. In the end, Suzuki Seijun's Taisho Roman Trilogy can be described as an acquired taste that needs much empathy, patience and time to be fully enjoyed. Personally, I'm glad to have watched all three movies but won't be revisiting them for quite a while.
Kagerô-za (1981)
The Temptation of Bladder Cherries in a Time When Tradition and Modernization Clash
Kagerô-za is the second part of director Suzuki Seijun's Taisho Roman Trilogy and comes around only one year after the unconventional comeback success of Zigeunerweisen. This movie is based upon a novel by Izumi Kyoka. The film tells the story of a naive young playwright who feels attracted to a mysterious married woman who mysteriously appears into and disappears out of his life . He however soon finds out that her rich husband has a second wife of German origin whose blonde hair and blue eyes can only be seen under the moonlight. There are however rumours in town that the foreign wife is actually dead and has come back as a ghostly apparition. Caught between guilt and passion, the protagonist must decide whether he should defy traditional conventions and be with the lady he desires or commit a double suicide to escape from the nightmarish circumstances.
This film convinces with its overall mysterious and sinister atmosphere. Despite an absence of shocking scenes, Kagerô-za has a creepy vibe from start to finish. Viewers will wonder whether the whole story is fiction or reality or perhaps something in between. The theme of the contrast between traditional Japanese values and radical modernization is perfectly represented by the two female lead characters. The confusion, fear and loss caused by this clash is portrayed brilliantly by the protagonist. This movie doesn't offer any answers, solutions or strategies to these challenges, conflicts and problems. Viewers are thus invited to imagine possible outcomes and discuss these with other cineasts. This movie thus appeals to an intellectual audience and takes its viewers very seriously. In this regard, this film is pleasantly old-fashioned but might be a struggle for younger audiences at first contact.
There are however several reasons why this interesting movie nonetheless deserves a lower rating than its immediate predecessor Zigeunerweisen. First and foremost, Kagerô-za uses several stylistic devices from the predecessor such as its general atmosphere, parts of its plot and the general themes. This movie thus feels at times predictable, repetitive and uninspired. Even the camera angles and soundtrack offer numerous similarities. Viewers might feel that this film can't really stand on its own. Another significant issue is the film's challenging length of one hundred thirty-nine minutes. This film feels plodding in its middle section and is at least half an hour too long. Director Suzuki Seijun honestly did much better jobs when the studio limited his films to running times around ninety minutes in the sixties. His independent films from the eighties onwards should have benefited from some suggestions, overviews and cuts from studio executives to be easier to digest. The advantage is that his films from this era really represent the director's creativity, ideas and opinions without any filter but the notable downside is that these movies are at times overbearingly long, suffocatingly self-important and uncomfortably uncompromising.
As you can read, viewers will need a lot of empathy, patience and time to appreciate Suzuki Seijun's Taisho Roman Trilogy to the fullest. Kagerô-za convinces with interesting characters, beautiful settings and mysterious story. The downsides are its repetitive elements, excessive length and slow pace. This movie is thus recommended to admirers of Suzuki Seijun's later career and cineasts appreciating romantic dramas with supernatural elements. If you already feel that this movie might not suit your preferences by reading this review, then you simply shouldn't waste your time and can skip this feature without any relevant regrets. If you feel however intrigued by this review and generally appreciate films that walk off the beaten path, then you might want to give Kagerô-za a chance.
Tsigoineruwaizen (1980)
Gypsy Ways
Zigeunerweisen, which translates to Gypsy Airs from German and refers to a recording by Spanish violinist Pablo de Sarasate, is the first part of director Suzuki Seijun's Taisho Roman Trilogy. Let me explain these elements a little bit further. The movie title refers to the recording because the two lead characters are listening to it and trying to figure out the violinist's words that are briefly being uttered. The trilogy refers to films taking place during the Taisho era between 1912 and 1926. Said era is often interpreted as inspired by arts, democracy, diplomacy, individualism and liberalism. All three films tell romantic dramas with hints at gothic ghost stories.
This first movie marked a remarkable independent return for veteran director Suzuki Seijun thirteen years after his last movie Branded to Kill created for production company Nikkatsu Corporation. The director was fired by the corporation for a lack of focused scriptwriting and commercial acclaim and successfully sued the company over many years which led to dramatic changes in Japan's cinematic industry. In the meantime, Suzuki Seijun had only created negatively received social satire A Tale of Sorrow and Sadness. Zigeunerweisen was shown in inflatable tents on convenience stores and in public places rather than in public or private cinemas which gathered a lot of attention. The movie is thus also the most commercially successful of the trilogy.
The story revolves around two intellectual former colleagues and friends who couldn't be more different from each other. Aochi is calm, gentle and organized as he prioritizes stability over experiments. Nakasago is wild, rough and disorganized and values experiments over stability. Aochi suffers greatly from believing his wife might have a romantic relationship with Nakasago. On the other side, Nakasago doesn't only seduce his friend's wife but also becomes smitten with a geisha. In his despair, Aochi bonds with Nakasago's abandoned wife during one of his prolonged absences. Despite those struggles, the two men remain friends and the morbid Nakasago suggests that whoever outlives the other should get the other's bones. When Nakasago dies alone in the countryside due to a drug overdose, Aochi continues to be haunted by his friend through his wife's admiration for him, the deceased's geisha's frequent visits and the strange daughter of the dead man.
This movie discusses numerous different themes such as death, desire, family, friendship and love. The film thus inspires profound discussions among cineasts. The mysterious story has several interesting changes and shifts and concludes on a surprising note. The acting performances are excellent throughout. The settings in rural Japan are wonderful to observe. The elegant costumes are truly inspiring. The soundtrack based upon classical music provides much atmosphere.
The film however suffers from its excessive length, clocking in at an ambitious one hundred forty-four minutes, that starkly contrasts the filmmaker's previous films that usually weren't longer than ninety minutes. Especially the movie's middle section is particularly slow, focuses on much repetition and doesn't properly develop the plot. The movie's commercial success was mostly due to its circumstances and presentation but not due to its content and quality.
At the end of the day, Zigeunerweisen is a mysterious drama that should appeal to intellectual audiences, experienced cineasts and people interested in the Taisho era. This movie is however too ambitious, complicated and long to appeal to wider audiences. Its overall style hasn't aged very well either and looks particularly old-fashioned by contemporary standards. You must muster a lot of attention, patience and time to fully embrace this experimental feature film.
Di er shi tiao (2024)
A Serious Legal Drama Meets Absurd Situation Comedy
Di er shi tiao, internationally known as Article Twenty, is a Chinese courtroom drama directed by renowned veteran Zhang Yimou. This is the first legal-themed Chinese movie that focuses on the issue of justifiable defence. The movie aims to prove the righteousness of Chinese justice, law and politics as it can thus be considered a contemporary propaganda film.
Three stories are told throughout the film. The most important one focuses on a desperate man who gravely injured the bully of a village who had been insulting him and raping his wife for several months. The second case focuses on a courageous bus driver who protected a young woman from two louts but was accused as an assailant and now files petitions in the capital to clear his name. The third and final case focuses on a stubborn high-school student who intervened against a vicious group of intimidators targeting a sole victim in a restroom.
This film convinces on several levels. First and foremost, the movie intertwines emotional, intense and realistic dramatic elements with entertaining, quirky and surprising situation comedy in an overall balanced way. Up next, viewers will easily roots for the brave heroines and heroes of this film and against the selfish villainesses and villains of this movie. The acting performances are particularly strong throughout. The movie has been filmed with calm, focus and precision which makes it a joy to watch on the big screen.
On the negative side, that movie clocks in at one hundred forty-one minutes which is at least half an hour too long. Especially the film's middle section drags on and loses the promising momentum of the exposition before picking pace up again towards the resolution. Sometimes, the combination of comedy and drama elements is slightly inappropriate, unpleasant and wooden. For instance, the movie sometimes establishes a dramatic atmosphere dealing with a relevant topic involving traumatized characters before a joke is suddenly brought up to break the ice. While many viewers at my local cinema were cheering and laughing, such cases rather made me wince and question the audience's judgements.
At the end of the day, the movie's memorable resolution pardons for several flaws in its middle section. Article Twenty thus qualifies as propagandistic but nonetheless relevant legal drama with a few elements of situation comedy that should please Chinese viewers as well as international audiences who care about justice, law and politics. This film might not be Zhang Yimou's finest hour but it underlines the consistent quality of his cinematography in recent years.
Tôkyô nagaremono (1966)
An Experimental Tale of a Melancholic Loner Trying to Clear His Name
Tôkyô nagaremono, internationally known as Tokyo Drifter, is a melancholic gangster drama from the mid-sixties by renowned experimental director Suzuki Seijun. The movie tells the story of loyal enforcer Phoenix Tetsu who becomes a drifter in order to protect his former boss and respected father figure. Our protagonist however gets hunted down by former rivals and is even abandoned by the person he tried to protect at any cost. Phoenix Tetsu thus decides clear his name, redeem himself and have his vengeance.
This movie convinces on numerous levels. First and foremost, the film's characters are intriguing with a haunted protagonist and his father figure who shifts from a benevolent protagonist to a betraying antagonist. Up next, the film finds a refined balance between entertaining action sequences and emotional depth. The dialogues in particular and the scriptwriting in general deserve particular praise. The settings of the movie are remarkably colourful thanks to wonderful costumes, intriguing pieces of equipment and elaborate lighting techniques. The soundtrack focusing on jazzy lounge sounds and a catchy title track deserve much acclaim.
On the negative side, the film's pace is at times rather slow, particularly in its overlong middle section. The story could have been fleshed out a little bit more as the movie would be more complete if about fifteen minutes were added to develop side characters in particular. The film was made with a heavily restricted budget and despite the creative innovation of the director, such a lack of resources is obviously visible and makes the movie look particularly old-fashioned despite its intellectual elements of avant-garde cinema.
At the end of the day, Tokyo Drifter is a gangster movie that should appeal to intellectual audiences. Instead of focusing on brutal action sequences like many other films of its time, this movie focuses on melancholic atmosphere, avant-garde cinema and themes such as friendship, isolation and loyalty. This film certainly still deserves acclaim, attention and recognition because it thinks outside the box and innovates the gangster movie genre.
Yabu no naka no kuroneko (1968)
Historical Drama Meets Folkloristic Horror
Yabu no Naka no Kuroneko, internationally known as The Black Cat, is a Japanese movie from the late sixties shot in black and white that combines historical drama and folkloristic horror elements.
This film tells the story of a mother and her daughter-in-law who get brutally raped and murdered by a group of sixteen samurai while their son and husband is absent for military duty. As their hut burns down, their black cat licks their dead bodies and the ladies decide to make a pact with the devil in order to bring vengeance upon the samurai who are often considered national heroes. Several years later, the ladies appear at a gate at night and lure lonely samurai into the woods to murder them. The governor decides to send his best samurai to investigate the serial killings. Ironically, the son and husband of the deceased is chosen for this task. A dramatic turn of events thus unfolds.
This movie convinces on numerous levels. First, the combination of historical drama and folkloristic horror elements is balanced, diversified and exciting throughout. The story is emotional, intriguing and traditional. The fact that the movie was shot in black and white adds much atmosphere to the creepy movie that will sends shivers down your spine. Visual special effects are used in small doses but work particularly efficiently up to this day. The acting performances are very decent and so are the fascinating characters. The movie is also quite unique since it shows samurai as brutal, egoistical and selfish which is actually a trademark for director Shindo Kaneto. The bonus material on the Criterion release of this film provides educating, interesting and surprising additional information about the feature film.
This film however also has a few minor downsides. Its pace is rather slow and makes the movie difficult to get into. Several scenes are repetitive as we observe the ghostly women lure quite a few men into their deadly trap. The film's resolution is certainly a bold choice but also a quite controversial one. Personally, I haven't appreciated how this movie ends as it left me unsatisfied and scratching my head.
Still, Yabu no Naka no Kuroneko is a historical drama and folkloristic horror movie that deserves attention, recognition and respect. The visual effects, the story and the characters are particularly interesting. If you don't mind a slow pace, some repetition and a daring conclusion, then you certainly should give this movie a try.