Log: week 29 / 2025
So, in theory, this should've been a movie for me, as I face similar challenges as the lead character. However, the way she handled the situation was irritating; the endless conversations didn't appear particularly insightful, and the finale didn't do it for me either. Good cinema for me isn't about how much I can identify with characters or situations. French cinema has a reputation for being dialogue-heavy, which I suspect is thanks to films like The Green Ray. The performances weren't great, the characters were somewhat annoying, and the presentation was lacking. It's not a complete bore, but I had better hopes for this one.Read all
Herman Yau returns with a financial thriller. As one of the final Hong Kong hold-outs, it's a little disappointing to see him making films in China (and in line with regular Chinese blockbuster formulas), then again, I'm always happy to give the latest Yau a fair shot. And truth be told, it was nice seeing Andy Lau again, too. The film itself is a slick thriller, but it's pretty predictable, with a young man being overwhelmed by the cut-throat industry he enters as a college graduate. The performances are solid, the presentation is lush, but two hours is a bit too long, and the drama doesn't always land. Not Yau's best, but it kept me entertained.Read all
A touching Japanese drama that relies heavily on Asano's performance. He portrays an interesting character and does so in his typical style. His performance isn't too on the nose, and a lot of meaning is hidden in his body language. The two women are also excellent, and they provide the necessary counterbalance. The styling is pleasant, but almost two decades later, I've seen so many similar dramas that I need a bit more to be thoroughly entranced. The colors are somewhat murky, and the camera work could've been more polished. The score, on the other hand, is lovely and resembles Hisaishi's work for Kitano. A fine film, but not amongst the best in its genre, and as such, not a personal favorite anymore.Read all
A cute but extremely compact romance. Introducing the characters takes up about half the movie, so the rest has to move pretty quickly. That results in some minor pacing issues and a somewhat rushed ending, but the heart of the film remains intact, and the overall impression was positive. It's nice to see two more contemporary worlds collide, which makes me believe the director is still relatively young. The performances were solid, the cinematography polished, and the romance was heartfelt. There's not enough here to make a strong and lasting impact, but it's a sweet, cute, and endearing film nonetheless.Read all
Talk to Me was a bit overrated, but the Philippou brothers redeem themselves with Bring Her Back. The horror bits in particular are way more effective, and there are some properly gruesome and memorable scenes here. If the drama had been a tad more consistent, this could've been one of the best horror films in years. The performances are solid, the setup is interesting, and everything related to Oliver's character is fantastic. Hawkins' character, on the other hand, was somewhat annoying, and her backstory didn't add much. A shorter runtime and slightly more pointed dramatic angle would've done this film a lot of good, but that doesn't erase all the lovely gruesomeness on display. Horror fans rejoice!Read all
Vincent Gallo, the movie. I'm not entirely sure if this is part of the mumblecore scene, even so, I advise you to watch this one with subtitles, regardless of how well you speak English. Gallo's character is a quiet introvert, and while he has some dialogue, most of the information comes from his body language. The cinematography is a mixed bag (I like the idea, the execution needs some work), the performances are solid but an acquired taste, and the score could've been better. I didn't have any issues with the intimate scene at the end, but some might find it too blunt. Not a bad portrait of a broken man, but it didn't really hold up over time either.Read all
This series is made for someone like Keita Amemiya. Crazy fantasy with fantastical creatures, high octane action, and some typical Japanese folklore mixed in. The budget was limited, but Amemiya is used to that, and he is skilled enough to work around those limitations. The result is pure entertainment. That said, the segments on the train are the highlight of the film, but they come relatively early. The later scenes are still fun, but not quite as weird or polished. The drama could've been toned down a little, and the runtime is a bit long for silly fodder like this, but I still had a good time with this Garo film. It does help to be familiar with the franchise, but it's not a necessity.Read all
An Indian film where the Bollywood elements were toned down a bit. There's still a plethora of genres and some big, sudden mood swings to deal with, but overall, it felt more like a coherent piece of cinema. There are some strong scenes here, but 150+ minutes is still a bit too much. The cinematography was slick, and the soundtrack had some proper highlights. The drama was overdone though, and the middle part could've used some trimming. The ending is better, the film never takes itself too seriously, and there were some memorable bits scattered throughout. Proper Bollywood cinema.Read all
Normally, I'm not the biggest fan of time loop films, as they all follow a very similar structure, but Araki's Penalty Loop throws everything upside down. The first loop is perfection, after that, everything starts getting more and more unhinged. It's an interesting take on a familiar niche, and one that is executed with the proper flair. Strong performances and meticulous styling choices turned this into a very cool and refreshing thriller.