Log: week 37 / 2025

Japanese comedy can be downright bonkers, and this collection of sketches/short films takes full advantage of that. There's a pretty basic narrative frame that tries to tie things together, but ultimately, you're watching a handful of returning ideas in a constant bid to outweird the rest.

It's a good thing they kept this short, because if this had been feature-length, it would've been a lot harder to get through. The setup is relatively basic, the drama isn't all that special, and the comedy is mostly implied. It's a light-hearted film not to be taken too seriously, don't expect any loud laughs.

I once watched a remake I quite liked, but never took the effort to watch the originals. Shame on me, I guess, because this was quite the experience. I probably should've started with the first one, but this isn't what you call complex entertainment. If you like your violence stylized and gritty, you're in the right place.

Oshii's latest is an extension of an anime series he directed. It's a school club film that is light and breezy, so don't expect greatness, but even though it's very different from what he's usually making, you can still recognize his hand in some of the scenes (the flashbacks in particular are vintage Oshii).

An early prison drama about a young woman who comes out worse than she came in. The film looks and feels like a typical noir, but the story is more focused on drama than crime. The biggest problem with that is the horrendous performances, which make it extremely hard to care for any of it.

A fun and quirky film by Shun Nakahara. I haven't seen much from him, but like Shinji Somai, he appears to be a director who deserves a deep dive. With an excellent cast, some unexpected narrative twists, and a polished presentation, Nakahara kept me glued to the screen for the entire runtime.

I like Ethan Coen's recent change of direction. Without his brother around, he seems to be leaning more into the kitsch and camp of his characters and plotlines, which makes for far more entertaining movies. Nothing here is to be taken seriously, and that makes it a lot easier to stomach.

Bong Joon Ho's first feature film is pretty amusing. It's not the craziest or most eyecatching film he has made, but it's tonally consistent, regularly funny, and properly paced. Most Korean films of that era are the opposite, and not in a good way, so it's nice to see Ho built his legacy on a solid foundation.

A decent enough drama, but I couldn't find anything that really set it apart from all the others. The characters were a tad dull, the presentation was polished but lacked identity, and the plot turned out to be a little too predictable, especially for a 2+ hour film. None of it was outright bad or disappointing, but it was just too basic.

Another fun and varied installment in the Love, Death + Robots anthology series. If you love animation and you like to see directors do their thing, no holds barred, then these anthologies should be right up your alley. The no-show of Alberto Mielgo is a bit of a bummer, and some shorts miss the mark completely, but there's still more than enough to look forward to.

Wajda is no doubt one of Poland's most lauded directors, but so far I haven't really gelled with his work. It's either very political or war-inspired, and it has a strong Eastern European vibe, but maybe I just need to watch some of his more recent films to get a better impression of his style.

With Eminem on board as a producer, this was clearly trying to replicate some of the success of 8 Mile. And the film does a pretty decent job, though the contrast between the rap battles and university life is a bit too exaggerated at times. Because of that, the drama ends up being too cheesy.

You can think of this as a live-action Ninja Scroll. It looks a bit older than its actual age, and the rock-inspired score doesn't help, but the film offers a bonkers mix of action and fantasy, which should appeal to everyone who likes a bit of maximalist excess. Just don't expect anything too stylish.

A rather straightforward silent film from Josef von Sternberg. It's a basic narrative with lofty overacting, a continuous score, and lots of intertitles to explain what is happening. It's not the kind of silent cinema I prefer, but I'm not surprised this is what Sternberg was making before there were talkies.

Too cheap and amateurish to be enjoyable. If you love Lloyd Kaufman's work, then this might be something for you. I simply couldn't get past the horrible performances and poor special effects. And while the film is certainly weird enough, it didn't seem all that interesting or original, regardless.

Ducournau's latest is probably her densest and most challenging film to date. It's a mix of themes, niches, and influences that fight for dominance, without any one of them ever gaining the upper hand. It's an audiovisual rollercoaster, but also a very personal and humane film. It's fantastical but engaged, emotional but also distant. It's a film that deserves to be watched on the big screen and stands well among her other films. It's not quite up there with Titane, but it's another unique and interesting film that has no trouble standing out from the crowd.

Part of the In The Line of Duty series (in the West), from what I can see, the sequel to Yes Madam in Hong Kong. They sure had a way of messing up franchises and releases back in the day. It doesn't really matter though, this is a solid Hong Kong action film that will be a treat for everyone who loves 80s Jackie Chan films.