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Like a raging, flesh-eating zombie this blog is about to rejoin the world of the living. After a two week lapse gears are squirting back into motion, ready for a fresh delivery of tasty updates. Unlike past years I didn't post a little reminder before I closed the doors, read on if you want to know why. For those who can't be bothered, just know that business will resume as usual from this point on, so take leave your squishy brain muscle at the door and trust me to handle it with care.

Not too long ago I watched Kamome Diner, a pleasant little film made by female director Naoko Ogigami. I was pretty taken with that film and it sparked enough interest to seek out more of her work. First in line was her feature length debut, Yoshino's Barber Shop, a sweet-looking comedy featuring the down-tempo atmosphere of the Japanese countryside. Lucky for me it proved to be every bit as good as expected.

What are film genres but mere indications of a film's content. They might tell you what a film is about but they won't say anything about style, atmosphere or execution. The Clone Return Home is classified as sci-fi and that's okay, but those expecting a bustling space adventure, alien warfare or high-tech gadgetry can stop reading right now. Nakajima is aiming for something very different. And better.

Comic books, superheros in silly suits, victorious nerds and spiffy oneliners. On paper, Kick-Ass wasn't going to be my kind of movie and so I kindly waited for the hype to blow over. I ignored all reviews and comments as to enter the film without too much prejudice. Turns out all the bad stuff is nothing a touch of sprawling directorial efforts couldn't fix. Welcome back Matthew Vaughn, I missed you!