kluseba Reviews

Come Back Home (2022)

Sinister Family Drama in Snowy Landscapes

[8/10 · 8 May 2024]

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

[7/10 · 1 May 2024]

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.

Exhuma (2024)

Supernatural Horror Movie Harmed by Unnecessary Racism

[7/10 · 23 April 2024]

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.

Project Wolf Hunting (2022)

Violent Bloodshed without any Compromises

[7/10 · 22 April 2024]

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

[6/10 · 19 April 2024]

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.

Kagero-za (1981)

The Temptation of Bladder Cherries in a Time When Tradition and Modernization Clash

[6/10 · 18 April 2024]

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.

Zigeunerweisen (1980)

Gypsy Ways

[7/10 · 20 March 2024]

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.

Article 20 (2024)

A Serious Legal Drama Meets Absurd Situation Comedy

[7/10 · 19 March 2024]

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.

Tokyo Drifter (1966)

An Experimental Tale of a Melancholic Loner Trying to Clear His Name

[7/10 · 19 March 2024]

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.

Black Cat (1968)

Historical Drama Meets Folkloristic Horror

[7/10 · 15 March 2024]

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.

Love, Thy Name Be Sorrow (1962)

A Colourful Collision of Folkore, Musical and Theatre Elements

[7/10 · 15 March 2024]

Koiya Koi Nasuna Koi is internationally known as Love, Thy Name Be Sorrow or as The Mad Fox. This movie was made by Uchida Tomu, who has been making several remarkable period dramas known as jidaigeki. This particular movie is based upon a puppet theatre play, also known as a bunraku play, from the early eighteenth century. This is the reason why the movie includes several elements of theatre play such as pieces of scenery, singing performances and stages. Artistically, intellectually and visually, this movie is certainly unique and might need some time to properly unfold.

The story is quite complex, epic and traditional. It revolves around renowned fortune-teller Kamo no Yasunori who is murdered in a plot planned by his devious wife and his jealous former student. His faithful disciple and his adopted daughter get blamed for this vicious crime. She gets tortured to death while he manages to escape, murders the pitiless widow of the deceased fortune-teller and steals the oracle scroll. Maddened by the tragical series of events, the faithful disciple wanders Japan until he meets the twin sister of the murderer adopted daughter. Mistaking her for the deceased lady, he decides to settle with her. The jealous former student has however mobilized troops to find and assassinate the maddened disciple and reclaim the oracle scroll. As the troops are hunting the faithful disciple and his lover, a fox lady gets severely injured. The disciple saves her life and brings the kitsune to her husband and her granddaughter who falls in love with the disciple. On their way back home, the disciple and his lover get attacked and separated by the troops. The fox people intervene, save their lives and retrieve the oracle scroll. The granddaughter takes the appearance of the disciple's lover, nurses him back to health and established a family with him. A dramatic turn of events occurs when the faithful disciple regains his sanity and understands that he has been tricked more than once.

This film convinces on multiple layers. First and foremost, the influences of traditional Japanese theatre plays make this film creative, diversified and unique. The folkloristic elements ranging from characters over costumes to locations add much depth to the movie. The detailed, diversified and profound story challenges viewers on an emotional and intellectual level.

However, this film also has a few minor downsides. Its intellectual style might be difficult to approach not only for foreign audiences but also for contemporary Japanese viewers. This film at times includes too many ideas instead of fleshing out a few essential points. The settings look cheap and haven't aged particularly well. The singing performances that increase by the movie's resolution sound nerve-firing.

At the end of the day, Koiya Koi Nasuna Koi is a movie that deserves to be explored by cineasts who like to think outside the box. The combination of folklore, musical and theatre elements make this romantic drama one of a kind. Viewers however need an open mind and a lot of patience to appreciate this film for what it is. This movie is best enjoyed on your own on a rainy night but nothing to be watched with family members or friends in a joyful and light-hearted setting.

Drive-Away Dolls (2024)

Quirky Rollercoaster Ride That Values Entertainment over Substance

[7/10 · 12 March 2024]

Drive-Away Dolls is a quirky crime comedy movie with psychedelic elements directed by renowned filmmaker Ethan Coen. The film revolves around two lesbian friends who organize changes in their lives as they drive from Pennsylvania to Florida. They get caught up in a criminal scheme involving a confused rental car shop owner, two inept criminals and their bipolar boss as well as a conservative politician with a wild past. While dealing with all those unexpected obstacles, the two ladies also start transitioning from friends over sexual partners to genuine lovers.

This movie convinces on several levels. First of all, the filmmaking is entertaining with creative camera angles, efficient lighting techniques and wonderful psychedelic passages used as smooth transitions between scenes. Up next, the plot is filled with numerous quirky characters and creative ideas that make this wild ride diverting throughout. The acting performances are certainly unique, memorable and diversified with an outgoing Margaret Qualley and a much more serious Geraldine Viswanathan. The film's quirky soundtrack blends in wonderfully with the movie's overall tone.

On the negative side, the film's story might be eclectic but remains paper-thin at its essence. The movie is at times overloaded with quirky side stories that add entertainment but no substance whatsoever. The film also desperately tries to include as many ethnical, sexual and visible minorities among its characters which makes a well-intentioned approach feel pretentiously exaggerated.

At the end of the day, Drive-Away Dolls is a quirky comedy film on the pulse of time that offers entertainment over substance. It's a great popcorn cinema flick that invites to switch your brain off for eighty-four minutes, take a break from your everyday life and enjoy the wild ride while it lasts. While this rollercoaster ride is diverting throughout, the film certainly doesn't have any deeper meaning and doesn't offer much, if any replay value. Enjoy this flick at your local cinema or in the comfort of your living-room with a few drinks and some friends but don't purchase this feature film while expecting to revisit it time and again.

The Ghost Station (2022)

Connecting Every Single Outstanding Element of Classic Asian Horror Cinema with Promising New Faces

[9/10 · 12 March 2024]

The Ghost Station, originally known as Ogsuyeog Gwisin, is a short and concise South-Korean horror film that entertains from start to finish as it pays tribute to Japanese horror movies from the late nineties and early years of the new millennium. If you are a fan of films such as The Ring, Dark Water and Marebito, then you are going to be enjoying The Ghost Station for sure. If you like this new film but aren't familiar with these Japanese horror films yet, then there are many outstanding feature films for you to discover and enjoy.

To keep it simple, this movie tells the story of a nervous male security agent and an ambitious female journalist who are investigating a series of mysterious events related to an abandoned train station.

This film convinces on numerous levels. Its length is concise, focused and precise without any passages dragging on for much too long or completely unnecessary scenes.

The film's gloomy, mysterious and uneasy atmosphere is sustained from start to finish which leads to an excellent exposition, a tense rising action, an exciting climax, a breathtaking falling action and a memorable resolution.

The realistic locations with a sinister touch add a realistic tone to the horror film which makes it chilling, creepy and tense.

Instead of revolving around overtly brutal scenes or unimaginative jump scares, the film cleverly builds up a haunting atmosphere that gets almost unbearable by the end of the film.

This movie however also focuses on character development as the two lead characters are authentic, courageous and sympathetic as they care about important values such as honesty, justice and truth. The side characters are also fleshed out wonderfully such as the traumatized lady bringing the terrible past to light and the journalist's manipulative, nihilistic and selfish boss.

The acting performances are certainly above average throughout with promising newcomer Kim Na-yoon delivering the goods as pitiless villainess and seasoned actress Shin So-yul incarnating a traumatized woman with a haunting background story.

The varied, dynamic and creative camera work throughout the movie transmits an claustrophobic, dark and eerie atmosphere.

Lighting techniques are used very cleverly to enhance these strong emotions. The combination of lights and shades makes for a balanced mixture intertwining investigate scenes with horrifying highlights. The lighting techniques are at times foreboding but may also lead viewers down a wrong path on certain occasions. The technicians behind this film certainly deserve much approval and recognition.

The varied sound effects blend in perfectly. They are perfectly balanced between calmer sections and louder moments. The former evoke a sinister atmosphere while the latter will bring viewers onto the edges of their seats.

The somber soundtrack makes the bigger picture even more convincing. Rather than showing off or being unnecessarily experimental, the music employed in this feature film precisely enhances the atmospheres of the different scenes. Dark elements of foreshadowing employ an elegiac score while the film's intense moments feature a much more unnerving soundtrack.

The fact that numerous surprisingly harsh critics claim that the plot isn't original is actually the whole purpose of this film since it pays tribute to the classics released two to three decades ago by now. Genre fans will certainly appreciate spotting references, easter eggs and allusions here and there as these elements also add to the replay value of this underrated gem. Instead of nervously innovating, this film brings the aforementioned classics back to life in a refreshing way that feels dynamic rather than nostalgic.

As a seasoned fan of Asian horror cinema, I hold The Ghost Station in high regard as it includes every single element that make this genre stand out so positively while adding fresh new faces in form of excellent actors and actresses. The number of Asian horror films has steadily been decreasing in the past few years and I hope that movies such as The Ghost Station will inspire a return of this dearly appreciated cinematic universe.

Perfect Days (2023)

The Beauty Lies in the Simplicity of Things

[8/10 · 12 March 2024]

Perfect Days is a slice-of-life combining comedy and drama elements directed by renowned German filmmaking veteran Wim Wenders and starring a selection of extraordinary Japanese actresses and actors. Shot in only seventeen days in Tokyo, this movie shows us two weeks in the life of a middle-aged public toilet cleaner. This movie has been nominated for an Academy Award for Best International Feature Film and overall deserves its critical acclaim.

This movie convinces on numerous levels. First of all, the locations in Tokyo are particularly fascinating as we get to explore a selection of modern, clean and artistic public toilets that should set new quality standards all around the world.

Up next, the movie convinces with its realism and almost feels like a documentary which makes it easy to empathize with its characters.

Speaking of its characters, they are quite eclectic, memorable and unique. Lead character Hirayama is a humble, quiet and simple man who enjoys the little details in his everyday life such as music from the sixties and seventies that he is listening to on his old cassettes, the colours, growth and shapes of trees in urban parks or the occasional drink at his favourite bar whose middle-aged owner is an extraordinary singer. His colleague Takashi is the exact opposite of the protagonist. He is rather young, often nervous and disorganized and doesn't value his job as he often comes late, leaves early and ultimately quits altogether from one day to the next. His crush Aya is a beautiful young woman with extraordinary style but behind the façade is a fragile lady who has trouble establishing lasting relationships. Hirayama's new colleague Sato on the other side is disciplined, organized and socially awkward. His niece Niko has a troublesome relationship with her strict mother, runs away from home and craves for life lessons from her calm and composed uncle. Speaking of her mother Keiko, we notice that she has a successful career and wealthy lifestyle but is lacking empathy and has trouble getting along with others. Every single side character is fleshed out very decently in this movie from the wise-cracking bookstore owner over the lonesome divorced mama and her nostalgic ex-husband who is dying of cancer to the young man with Down syndrome who has an obsession with Takashi's ears.

The movie doesn't follow a precise story line and might be interpreted in many different ways. In my opinion, this movie is about enjoying the little things in life and being content with your decisions regardless of the judgement of others. Hirayama faces a lot of comments, expectations and opinions. His colleague doesn't understand at all why he is taking his job so seriously. His sister looks down upon him because he is a public toilet cleaner. The ex-husband of the mama wants him to take care of the lady after his own demise. Hirayama shows much affection, empathy and sympathy towards all these characters which shows his emotional, fragile and soft side but he is overall content with his the beauty, simplicity and routine of his own life. These conflicting emotions are shown in the memorable closing scene that is worth being discussed among cineasts.

The more one tends to analyze, revisit and think of this movie, the better Perfect Days becomes. It's a wonderful film to revisit if you are craving for a composed, emotional and thoughtful movie without any action sequences, special effects and thrills. This film is greater than its parts and its down-stripped approach certainly makes it stand out.

A few elements one could criticize are the film's considerable length, its slow pace and the lack of a gripping story. Still, these are no accidental mistakes but deliberate decisions taken by an experienced filmmaker. It's simply a matter of perspective whether you interpret such elements as flaws or strengths or decide to keep a neutral attitude about them.

In my personal case, I have come to appreciate the peaceful, inspiring and beautiful nature of Perfect Days and would strongly recommend it to my friends and also purchase this movie to revisit it anytime I need to take a creative break from my everyday life.

Anatomy of a Fall (2023)

Anatomy of an Overrated Family Drama

[6/10 · 11 March 2024]

Many reviewers have claimed that Anatomy of a Fall is a wonderful courtroom drama that offers a refreshing change since such movies aren't made anymore in this day and age. However, I could name you three courtroom dramas from the past eighteen months that are all better than Anatomy of a Fall. A Guilty Conscience offers a most gripping plot and a powerful message on the pulse of time that influential, rich and self-centered people can't buy justice. Last Suspect offers an intense story with multiple twists and turns that blur the lines between innocence and guilt on more than one occasion. Article Twenty deals with a heart-wrenching case of excessive self-defence when a plagued victim resists against his pitiless aggressor. Anatomy of Fall doesn't have the emotions, intellect and twists that all these three movies have and ultimately qualifies as slightly above average family drama with excessive lengths.

The story revolves around an international couple, consisting of a moderately famous German author and her husband who is a depressed French university lecturer. They have met in England, got a visually impaired son who needs much attention and care and ultimately moved to the isolation of the French Alps. One day, the husband is found dead in front of their house as he seems to have died from a fall. Police soon starts investigating and discovers that the relationship between husband and wife was extremely strained. The French Court now wants to find out whether the husband's death was accidental or whether a murder has been committed. The only witness who can testify is the visually impaired child who is traumatized by the events and doesn't know what or who to believe anymore.

This movie has several strengths that deserve praise. First and foremost, the acting performances are particularly strong. Sandra Hüller convinces as tormented mother and widow who faces justice in a country that isn't her own during a trial using a language that isn't hers either. Samuel Theis delivers the goods as depressed, desperate and manipulative husband whose life has gradually been spinning out of control. Milo Machado-Graner excels as timid and frightened but intelligent and observant child who is going through difficult changes. Swann Arlaud plays a caring, empathic and resilient lawyer who develops intimate feelings for the woman he is tasked to defend. Antoine Reinartz excels as tough prosecutor who is aggressively putting the accused and the witness under pressure. A most serious honourable mention goes out to film dog Messi who astonishingly and convincingly pretends to be poisoned and to be dying. Other noteworthy positive elements from this movie are the fitting soundtrack enhancing the different scenes, the realistic plot that keeps viewers guessing until the very end and the movie's burdensome, gloomy and numbing atmosphere.

However, this movie isn't without several significant flaws. While the plot is realistic, it is missing surprising twists, turns or ideas to keep the viewers intellectually and emotionally involved throughout. Several scenes severely overstay their welcome, especially the ones taking place between the death of the father and husband as well as the beginning of the trial. Clocking in at a challenging one hundred fifty-one minutes, the screenplay ought to have been more concise as at least half an hour should have been cut to make this movie easier to digest. The pace of the movie is at times painfully slow which makes it difficult to get into and even more challenging to remain interested until the final third is almost conciliatory.

At the end of the day, Anatomy of a Fall is recommended to viewers who want to watch a realistic family drama involving gifted actresses and actors. Those who want to watch a gripping courtroom drama with emotional characters and intellectual plot devices should however watch the three movies mentioned in the introduction. At the end of the day, Anatomy of a Fall's positive elements slightly outweigh its considerable downsides. What viewers get here is a slightly above average melodramatic drama that is only appreciated so much because people have stopped discovering intriguing contemporary movies outside of commercial movie theatres.

Poor Things (2023)

The Comeback of Commercial Success for Artistic Cinema

[8/10 · 11 March 2024]

Poor Things is a dramatic science-fiction film that has been praised by critics and audiences alike. The film tells the story of a pregnant woman who commits suicide and is then brought back to life with the brain of her deceased child inside of her. The audience follows Bella Baxter as she is raised by controversial scientist Godwin Baxter, gets engaged to his nervous assistant Max McCandles, visits Europe with ladykiller Duncan Wedderburn and ultimately meets her sadistic husband Alfie Blessington. This movie is recommended to fans of classic science-fiction stories, early horror movies and avant-garde cinema.

On the positive side, the acting performances in this movie are convincing throughout. Emma Stone shines as the protagonist who at first showcases child-like behaviour, then grows into a rebellious teenager before becoming a lustful young woman and ultimately a mature lady organizing changes in her life. Up next, the visual effects of this movie are absolutely outstanding. The shots in black and white ooze with atmosphere and recall early horror and science-fiction cinema. The use of colours in this movie is particularly vibrant, memorable and imaginative. Several scenes look like paintings rather than moving pictures. The sound effects of this film are executed with precision, intellect and balance. The soundtrack of this movie is equally diversified, eclectic and entertaining. The story comes around with a few creative ideas here and there such as the protagonist's shocking impressions of hunger in Alexandria or her meeting the husband of her former life in London.

On the negative side, this movie is certainly too long as it clocks in at one hundred forty-one minutes. Several passages drag on for far too long such as the scenes at the hotel in Portugal or the parts at the whorehouse in France. The story itself isn't particularly innovating either as it recalls several classic horror stories such as Bride of Frankenstein. One could get the impression that this movie often values eye candy over intellectual depth.

Still, Poor Things is a movie that deserves its praise. It convinces with strong acting, wonderful locations, impressive sound effects, memorable soundtrack and incredible visual effects. The plot could have been more unique and several scenes overstay their welcome. Ultimately, it's great that such artistic movies are commercially successful in this day and age and prompt the next generations to inspire and move their audiences alike.

Madame Web (2024)

Caught in the Web of Shallow Superhero Flicks

[5/10 · 11 March 2024]

I have never been a fan of Marvel's cinematic universe since the vast majority of its films are boring, predictable and shallow. If you wonder why I even bothered watching Madame Web, then I would like to let you know that I had to attend this film because of my job. The reviews for this film were particularly negative and even adamant fans of the Marvel franchise were harshly critical of this movie. For the very first time regarding a cinematic release of the Marvel franchise, I must honestly admit that this movie isn't as bad as most people claim. I'm not going to tell you that it's a great or even a good movie because it isn't but it ultimately qualifies as average flick.

The story revolves around antisocial paramedic Cassandra Webb who experiences signs of clairvoyance. She thus saves the lives of three teenagers who are targeted by a mysterious enemy. Cassandra Webb soon learns that the brutal antagonist is also related to her own past. The paramedic thus supports the three teenagers in defeating their powerful enemy.

On the positive side, this movie manages to entertain through most of its running time and features only a few unnecessary scenes. The settings of the jungles of Peru in the seventies and a busy New York City in the early years of the millennium complement each other particularly well. The film's special effects have been created with care and especially the final fighting scene at a firework factory should be enjoyed on the big screen.

On the negative side, the actresses and actors lack emotions, empathy and energy to appeal to the audience. Lead actress Dakota Johnson is particularly pale and incarnates one of the least sympathetic protagonists I have come across in quite some time. The story is insultingly predictable to appeal to a wide audience and particularly to young teenagers and children. The ridiculous references to the Marvel universe in the film's conclusion feel pulled out of thin air.

At the end of the day, Madame Web is a decent movie for anyone who is looking for an entertaining fantasy film with beautiful locations, thorough pace and impressive special effects. Anyone who is hoping for great acting skills, a clever story or any elements breaking new ground can skip this film entirely. Madame Web isn't as bad as some harsh critics claim but it remains an average movie that will only appeal to adamant fans of Marvel Comics. Here's hope that at least some viewers will finally understand how shallow these superhero movies are, stop promoting them by watching them and thus inspire brave, creative and fresh change in cinema.

The Execution Game (1979)

A Deep, Intellectual and Philosophical Conclusion to an Underrated Gangster Movie Trilogy

[9/10 · 27 February 2024]

Shokei yuugi, internationally known as The Execution Game, is the third and last part in a movie series about pitiless contract killer Narumi Shouhei. This is also the greatest effort in the entertaining trilogy. The story is more personal than ever before this time around as Narumi Shouhei gets trapped by a group of vicious gangsters who torture him and force him to orchestrate a hit on one of his colleagues.

This movie convinces on numerous levels. First and foremost, the movie's character development is absolutely outstanding. Lead character Narumi Shouhei has become somewhat disillusioned by his profession. He seeks a stable romantic relationship, is haunted by bouts of isolation and behaves in a more conscious, philosophical and responsible way. His target is Okajima Yoshikatsu, a veteran among hitmen who wants to retire from the dangerous job, leave his past behind and start a new life abroad. The protagonist's mysterious lover is Kano Noako who works for a group of ruthless criminals to seduce men and put them into dangerous or even deadly situations. She starts regretting her actions, desires to organize changes in her life and wants to break free. The relations between these three key characters are fascinating throughout the film.

An honourable mention goes out to the nameless side character who runs a watch repair shop. She is fascinated by Narumi Shouhei's sophisticated watch and his cool manners but when she finally has the courage to ask him out on a date, the lonesome hitman who would have initiated such an invitation himself in the past now decides to turn her down because he realizes that his identity, lifestyle and past might put her at risk. These gradual interactions between the young lady and the seasoned hitman throughout the movie show the protagonist's development best.

Another element that has changed in comparison to the two predecessors are the locations. While the previous films take place in busy downtown areas with hostess bars, this movie shows Narumi Shouhei living in a quiet suburb of Tokyo, walking relaxedly to the watch repair shop and taking his lover on a beautiful drive to the coast. These settings show the protagonist's calm, isolated and yearning character traits.

The film's opening is another noteworthy element that stands out right from the start. While the two predecessors always show Narumi Shouhei in complete control of even the most complicated and dangerous situations, things take a different turn here. The contract killer is seduced and set up by a mysterious woman he barely knows, he is then brutally tortured by a group of ruthless criminals and when he finally manages to free himself, the criminals capture him again and explain that his temporary escape was actually a test planned by the organization. It's fascinating to watch the protagonist deal with this unexpected loss of control and its consequences.

The movie's ending is equally memorable as the protagonist's character development in this moody conclusion of the trilogy comes full circle. Without giving you too many details, the protagonist offers one of the antagonists a choice rather than imposing his views by force. This more mature, responsible and thoughtful procedure underlines that the character who has been going through changes throughout the film has now found his new identity. It's only fitting that the trilogy concludes this way as the protagonist decidedly moves on with his life.

Needless to say that despite all these intriguing new elements, The Execution Game still remains an outstanding action-thriller. The protagonist gets seduced, tortured and exploited. Up next, he investigates, infiltrates and executes his orders with deadly precision. Narumi Shouhei finally turns against his oppressors in a manner that combines violence with intellect. This swiftly-paced gangster movie has stood the test of time and should still keep viewers on the edges of their seats after all these years.

To conclude, the third and final film of the Game Trilogy reminds me a little bit of the third and final film of The Godfather trilogy. In both cases, the atmosphere is moody, the lead character is going through changes and philosophical elements become as important as the business side of organized crime. Many critics find the third and final film of The Godfather trilogy the worst but it has always been my personal favourite. For very similar reasons, The Execution Game is also my favourite entry in this trilogy as it deserves to be revisited time and again. If you are only looking for a brutal gangster film, then the two predecessors might please you much more but if you like action-thrillers with emotional, intellectual and philosophical depth, then this wonderful conclusion to the trilogy delivers in spades and still deserves recognition and respect in this day and age.

The Killing Game (1978)

Only a Tough Guy Survives When Past and Present Collide

[8/10 · 22 February 2024]

Satsujin yugi, internationally known as The Killing Game, is the second film in the trilogy about ruthless hitman Narumi Shouhei. In this particular movie, Narumi Shouhei has pulled off a spectacular hit on a mobster and has gone into hiding for five years. His return to Tokyo is quite miserable as his apartment has fallen into disrepair, he has significant financial struggles and he is bothered by an old friend who has developed a creepy obsession with him. To make matters worse, Narumi Shouhei encounters two women he spared during his legendary hit. The lover of his target has become the owner of a hostess bar, now dates another brutal mobster and hasn't learnt anything from her mistakes from the past. The daughter of his victim has become an employee of the hostess bar who is forced to drink alcohol, consume drugs and offer sexual pleasure to her misogynistic customers. Narumi Shouhei is soon haunted by his past as two pitiless mobsters hire him to murder one another. Narumi Shouhei must play a most dangerous game yet again to walk the thin line between both employers and keep the ladies and his friend save in Tokyo's pitiless underworld.

This second entry in the trilogy is an improvement over the first film. The mixture of past events and present repercussions is pulled off with emotional depth and clever details. The protagonist's character gets some additional development as his present struggles show the human being behind the brutal hitman. The way women are portrayed in Tokyo's underworld is gripping as their issues are shown in a cold, depressing and realistic way. New topics such as friendship, loyalty and pity are being dealt with throughout the film.

This movie however also brings back all elements that made the predecessor stand out. The action scenes are brutal, entertaining and extended. Cool dialogues can be found from start to finish. The protagonist's raw side still shines through on many occasions. The realistic settings bring Tokyo of the late seventies to life in an authentic manner. The moody yet playful jazzy soundtrack blends in wonderfully.

Few things could be criticized about this strong action-thriller and gangster movie. The film might rehash a few too many elements from its predecessor to stand on its own. The plot is only of an average quality and overall predictable for genre experts.

Despite those minor flaws, Satsujin yugi or The Killing Game is an improvement in the noteworthy gangster film trilogy. This movie convinces with a balance between past and present events, profound character development, intriguing female side characters who are fleshed out decently and several new themes such as friendship, loyalty and pity while still offering intense action scenes, cool dialogues, a rough protagonist, realistic settings and an enjoyable soundtrack.

The Most Dangerous Game (1978)

The First Tale of a Brutal Anti-Hero Who Takes No Prisoners

[7/10 · 20 February 2024]

Mottomo kiken na yuugi, internationally known as The Most Dangerous Game, is the first film in a trilogy about hitman Narumi Shouhei. This character is a rough anti-hero who is addicted to gambling, has debts of several million yen, is constantly drinking alcohol and smoking cigarettes and often sleeps until the late afternoon. He gets hired by the chief executive officer of an important company that is starting to work on a national air defense project. One of the company's most important managers has been kidnapped and the chief executive officer believes that another company is responsible for the crime. Narumi Shouhei's task is to free the kidnapped manager and eliminate the leaders of the other company and their hired guns.

This movie might not sit well with contemporary conservative audiences. Narumi Shouhei is drunk half of the movie, smokes one cigarette after another, insults employers and villains alike, is only focused on monetary rewards and is particularly rough with his opponents as the body count rises rather drastically as the film progresses. In one scene, Narumi Shouhei tries to get the attention of a ruthless manager and decides to break into his apartment, interrogate and torture his girlfriend Sasaka Kyoko and then proceeds to rape her while the upset manager is listening on the phone. Interestingly enough, Sasaka Kyoko ends up feeling attached to the brutal rapist as she takes care of him and worries about his fate. Such script elements ask for much tolerance, suspension of disbelief and open-mindedness to put it mildly.

Another significant element that needs to be pointed out is the lighting technique used throughout the film. If you prefer a realistic movie, then you will have several shaky scenes filmed with handheld cameras as you won't see what's exactly going on in some scenes portraying nightly infiltrations and chaotic fighting sequences. If you are looking for an artistically appealing movie with calm and clear shots, that element will significantly decrease your enjoyment of that feature.

One must confess that the rude anti-hero stands out with his pitiless behaviour and won't leave any viewer neutral or bored. There is even a certain dark humour to some of his gestures that blends in refreshingly in an otherwise brutal film. Other positive elements include the short, precise and cool dialogues, the intriguing settings including an abandoned asylum and the brutal extended fighting scenes that still keep viewers on the edges of their seats in this day and age. Let's not forget about the moody jazz soundtrack that blends in surprisingly well, even for audiences who usually don't care about jazz music at all like myself.

At the end of the day, Mottomo kiken na yuugi or The Most Dangerous Game is certainly a product of its time that might not have aged very well for more conservative audiences but might appeal to cineasts intrigued by Japanese gangster movies of the seventies. On the movie's strong side, you will get a charismatic anti-hero, a healthy dose of black humour, cool dialogues, atmospheric locations, bloody fight scenes and a jazzy soundtrack. On the negative side, some scenes are extremely tough to digest, the shaky camera work might induce headaches and the lighting technique used throughout the film is below average to be generous. I have recently been watching this film with a good friend and we have both been greatly entertained but we also think that the other two entries in the trilogy offer an overall more elevated quality.

Big Shark (2023)

Consistent Absurdity

[6/10 · 19 February 2024]

For years, fans of Tommy Wiseau have been waiting for the release of Big Shark. A trailer was dropped, then the project seemed to be on hold, up next it appeared to be canceled, suddenly a new trailer dropped and the film was finally released last year. It was a unique experience watching this film at Ottawa's legendary Mayfair Theatre with much crowd participation and a few drinks beforehand. This is the exact attitude you need when watching Big Shark. This film is so absurd that it requests a complete suspension of disbelief to take this feature humorously. Otherwise, you will get frustrated by the movie's excessively weird characters, terrible dialogues filled with stunning grammatical mistakes and paper-thin plot that doesn't make any sense whatsoever.

To keep it short, this movie revolves around three firefighters who spend their time partying, hitting on women and drinking booze every single day. One day, one of these firefighters named Patrick claims to have spotted a thirty-five-foot shark in a muddy lake that he calls a river for unfathomable reasons. His friends don't believe him but soon a gigantic shark surfs through New Orleans on randomly appearing rivulets of water. For vague reasons, the three firefighters decide to kill the shark as the military and police don't intervene at all. They decide to catch three pigs as bait for the shark that they ultimately decide not to use. Instead, they get a dead pig at a butcher's place, fill it with blood and dynamite and launch it on a rubber dinghy to kill the shark.

For those who are not familiar with Tommy Wiseau's work yet, there are several reasons why people enjoy watching his movies. First of all, his movies are so uniquely bad that they don't compare to anyone or anything else. Even other controversial directors look like experienced geniuses next to Tommy Wiseau. Up next, these movies are so hilariously bad that they are genuinely entertaining as viewers will come back revisiting them by remembering their favourite worst scenes, plot twists and awkward dialogues. The characters in his movies stand out because they act entirely irrationally and sometimes change their attitudes, behaviours and mindsets from one minute to the other. The technical aspects of the movies also leave a lot to be desired as the shifts in the sound department are excessive, lighting work at times blinds the audience and the settings offer numerous awkward choices.

You might now wonder why people watch a movie like Big Shark that sounds bad on paper and is actually even worse than you expect it to be. This movie offers unparalleled escapism and invites for a light-hearted fun ride that is best enjoyed with a few drinks and friends. I have watched The Room time and again and would watch it again in a heartbeat. Big Shark is even more consistent in its absurdity and thus appeals even more to me. I'm prepared to return to the cinema to watch this film again, I would purchase it physically to enjoy it at home and I have written this review to promote this weird masterpiece to the entire world.

For those who are already familiar with the works of Tommy Wiseau, this movie is everything you expect it to be and might even exceed your expectations as you will be crying tears of joy while watching this unbelievable cinematic accident.

As for Tommy Wiseau himself, I have nothing but genuine respect for him as I sincerely admire his resilience at creating movies despite innumerable obstacles. This man deserves recognition because he is living his dream and has offered hours of comedic entertainment to fans from all around the world. I would like to encourage him to continue doing his work as long as he wants to as I'm willing to give all of his releases a shot.

On a closing note, I would rather watch a ridiculous but entertaining, funny and sympathetic movie such as Big Shark than an intellectual but depressing, overlong and pretentious feature such as the heavily overrated Anatomy of a Fall.

Argylle (2024)

A King's Woman Can't Be a Kingslayer

[7/10 · 15 February 2024]

Do you know the difference between the movie Argylle and the song Kingslayer by Bring Me the Horizon and Babymetal? The former is tame, predictable and appealing while the latter is experimental, energetic and challenging. Argylle tells the story of a spy novel author who is suddenly torn into genuine secret agent business upon being attacked by strangers on a train and helped by a mysterious protector who seems to know her very well. This movie mixes slapstick situation comedy with mild romance. It combines dynamic action scenes with tense thriller elements. The film tells its intriguing own story yet makes numerous connections to the King's Man franchise.

Let's get the negative elements out of the way right from the start. This movie asks for a complete suspension of disbelief that goes even further than most fantasy and science-fiction movies in recent memory. That overwhelming element of constant exaggeration makes even the film's more serious scenes and tense sequences look inappropriately light-hearted and unintentionally funny. The connections with the King's Man franchise diminish the qualities of this movie and uncomfortably push it into an exhausting bigger picture. Especially the film's ending feels flawed and rushed in that regard just for the sake of promoting potential sequels.

On the positive side, this quirky movie provides energetic entertainment from start to finish. The characters are complex, intriguing and profound. The acting performances are convincing with Bryce Dallas Howard excelling as multi-faceted lead actress and Samuel L. Jackson oozing with charisma in his memorable role as former secret agency deputy director. The settings of this movie are particularly appealing and transition from the snow-covered Rocky Mountains of the United States of America to the urban density of London in England and sunny vineyards in southern France. The story comes around with multiple turns and twists, some being predictable while a few being genuine surprises. Lighting, sound and special effects have been executed with an impressive budget and great care as they are best enjoyed on the big screen. The film's soundtrack finds a balanced mixture of well-known classics and a few new tunes.

As you can read, Argylle has a lot more positive elements to offer than nagging downsides. Just be aware that this movie is connected to the King's Man franchise and that you should be familiar with said film series in order to enjoy this feature to the fullest. Furthermore, please understand that this movie is supposed to be the start of a trilogy and that watching this feature might make you feel obligated to view upcoming sequels as well. On its own however, Argylle finds an excellent mixture of humorous tones and serious sequences that should appeal to a wide audience from curious teenagers to seasoned genre experts. This movie thus offers wonderful entertainment for the whole family.

The Princess (I) (2022)

The Perfect Action Movie

[10/10 · 7 February 2024]

Do you remember Indonesian action thriller The Raid that portrays how a squad of twenty men attempts to raid an apartment block to arrest a naughty crime lord? Well, The Princess has a very similar premise. Except that it's one young woman instead of twenty man and that she is trying to get from the top of a tower to the bottom in order to save her imprisoned family members and stop the dangerous sociopath who attempted to force her into marriage.

I have read and heard what many critics have been writing and saying about this film. It asks for a complete suspension of disbelief. Check. The story is easily predictable. Check. Casting a rather small and slim actress as a strong martial artist might be questionable. Check.

However, despite such obvious flaws, The Princess is one of the very best contemporary action movies. First and foremost, this film entertains from start to finish and doesn't include one single second of boredom. This is a wild ride of ninety-four minutes and once it's over, you just can't wait to experience it time and again.

As for the story, this movie keeps things simple and focuses on topics that most viewers will easily empathize with. The Princess focuses on a lead character protecting her family and stopping those who have been doing them wrong in terrible ways. Certainly, this kind of movie won't qualify for nominations at the Academy Awards but viewers don't always need profound, serious and thought-provoking ideas to get involved. Rooting for the sympathetic lead character is all that is needed to carry this explosive feature.

Up next, the costumes, make-up and settings are absolutely spectacular. The castle where the entire story takes place is filled with beautiful bedrooms, impressive churches and dark dungeons. The way the lead character is dressed, the looks of her allies and the manner how her brutal opponents appear have been planned and executed with care, intellect and precision.

The fighting scenes are absolutely spectacular and can compete with contemporary action franchises such as John Wick. This movie features excellent use of martial arts techniques. It includes a clever use of dangerous weapons and improvised tools. Spectacular chases and risky jumps will keep viewers out of breath.

The acting performances are excellent. One must particularly point out the outstanding job by lead actress Joey King. She has been a rising and shining star in the last few years, convincing in low-budget horror films like Slender Man, impressing among multiple international stars as villainess in Bullet Ride and now delivering the goods as brave, clever and resilient heroine who will fight the world in order to protect her family and save her kingdom. The lead character's ideas, motivations and struggles are believable thanks to a disciplined, empathic and powerful performance by Joey King. Let's not forget that she was only twenty-two years old when this movie was made and released. She is already one of the greatest young actresses in the business and here's hope that she will continue her excellent work throughout the next years.

At the end of the day, The Princess is a wonderful action film with excellent pace, fitting story, imaginative settings, impressive fight choreographies and convincing acting performances. This film's strengths are so strong that minor flaws such as unrealistic plot elements, predictable story and surprising casting choices won't harm the final result in the slightest. The Princess offers a maximum of enjoyment and is a perfect candidate for a movie night with family and friends.

Baby Assassins 2 Babies (2023)

A Guilty Pleasure

[6/10 · 17 January 2024]

In the year 2021, unconventional action-comedy Baby Assassins was a remarkable success despite its limited budget thanks to creative characters, gripping martial arts elements and unpredictable plot elements. The idea to plan and film a sequel entitled Baby Assassins 2 Babies seemed logical and promising at the time. However, this second movie in the series only qualifies as just above average. Where did this film go wrong?

First of all, the plot is really paper-thin. Two male assassins want to earn more money and thus plan on murdering the two female assassins who are living and working together to take their places. This is it. The story doesn't have enough depth to carry this film through one hundred one minutes.

Up next, the side stories in this film simply repeat ideas from the first film on a less convincing level. Our unconventional heroines Fukagawa Mahiro and Sugimoto Chisato are training for their future missions. They are discussing food culture. The lead characters are taking on side jobs as mascots that are very annoying. The movie rehashes past ideas instead of adding anything exciting to the plot. The film's middle section thus has significant lengths.

Several scenes in this movie are executed oddly to say the least. The final fight that is supposed to be the film's highlight has a weird break that attempts to be creative but will leave viewers scratching their heads in confusion. The same could be said about the post-credit scene that shows the lead characters having a discussion about dumplings that is completely unimportant and abruptly ends right in the middle. That isn't how intriguing post-credit shots should be done at all.

However, this film still has some redeeming values despite its significant flaws. The two male gangsters are surprisingly sympathetic and seem to have a solid friendship. One of them is more serious, organized and cold as he also portrays excellent martial arts skills. His partner is funny, nervous and quirky and even too shy to speak to the waitress of his favourite restaurant that he would like to ask out on a date. In many ways, the new male characters are comparable to the two lead characters. The movie deserves respect for not attempting to create romantic side stories involving these four teenagers and instead confronting them in a matter of life and death.

The two lead characters continue to be intriguing. Sugimoto Chisato is emotional, outgoing and quirky while Fukagawa Mahiro is calm, socially awkward and rational. The challenges these two characters are going through are also fascinating. Sugimoto Chisato struggles with a gambling addiction. Fukagawa Mahiro fails her driving classes time and again. Both of them have significant financial struggles.

It's also interesting how this second movie continues to portray life in downtown Tokyo. It involves street gambling, enthusiastic lotteries and low-budget restaurants while also featuring hideouts for criminals and crime scene cleaners. The sum is certainly greater than its parts in this series.

At the end of the day, there are just enough intriguing elements that justify watching Baby Assassins 2 Babies if you are familiar with the first entry in the series. This movie convinces with two intriguing new male characters, the charisma of the unconventional lead characters and quirky details of life in downtown Tokyo. The film however suffers from a paper-thin plot, repetitive side stories and several odd scenes slowing down its fluidity. Despite such flaws, this series remains a guilty pleasure for me and I would watch a third film in a heartbeat. As I have been pointing out, this series is quite unique and you either like it for this reason or you don't. In my case, this series is exactly my kind of movie series and I will thus remain faithful to it.

Wo te po po tsen me pa chuan chuan kao tiu le (2023)

Great Lead Actress in a Comedy without Much Depth

[6/10 · 16 January 2024]

Wo Te Po Po Tsen Me Pa Chuan Chuan Kao Tiu Le, internationally known under the stupid title U Motherbaker - The Movie, is a Taiwanese comedy movie based upon the popular television series of the same title. The movie revolves around middle-aged mother and cake shop owner Su Lin Tsai Hsiang who is desperate to meet popular actor and singer OO. She makes her dream come true when she infiltrates a party as a waitress and invites the overwhelmed artist for a ride to a beautiful lookout on the outskirts of Taipei late at night. Things get a sinister turn when OO mysteriously vanishes right after the eventful night. Since Su Lin Tsai Hsiang might have been the last person who has seen OO, she is eager to investigate to clear her name and find out what happened to the mysterious artist.

This film convinces on a few levels. The story has a few decent surprises, turns and twists that keep the movie overall entertaining through a running time of one hundred thirteen minutes. Lead actress Chung Hsin-Ling impresses with quirky charisma as she turns out to be the greatest actress by a mile in this film. The portrayal of family issues, social media and international stardom are treated in a sarcastic way that offers not only solid entertainment but also some food for thought.

However, the movie isn't without its flaws. It slightly overstays its welcome with a plodding middle section and could have been cut by at least twenty minutes. The film features too many sub-stories that range from mildly interesting to downright forgettable. Aside from the lead actress, the other actresses and actors can't impress much which is due to excessive overacting that makes this film look like a childish comic book at times.

At the end of the day, this film can only be recommended to fans of the television series and anyone interested in Taiwanese comedy movies. The film is entertaining, dynamic and quirky while it lasts but doesn't offer much that is worth remembering in the long run. Cineasts should however take note of excellent actress Chung Hsin-Ling who deserves attention and acclaim for her performance. She has been acting in more than forty movies and television series, so there are certainly better choices to appreciate her remarkable skills than in this overall just below average Taiwanese comedy movie.