Reviews

Un zeste d'histoire, une pincée d'action musclée et jouissif, une touche d'humour...

Ma critique concernera le film 1 et 2. Je sais, mais ce sont les vacances et je suis en mode "lazy".
Les actualités parlent de vague de chaleur, mais ici dans le nord, la pluie domine ces derniers jours notre belle campagne. Ce qui nous permet de rester bien au chaud et de regarder des films à tout hasard trouvé dans mon disque dur. A tout hasard? Pas vraiment, Ado1 lisait déjà le manga et n'a donc pas hésité à nous clamer " ah oui, trop bien ce manga" et hop nous voilà parti pour les deux premiers films de cette saga ma foi plutôt rondement bien menée.

Posons l'Histoire. Avec un grand H. Oui, car l"intrigue se passe durant la période des Royaumes combattants en Chine. Inspirée de la vie du général Li Xin et de l'empereur Qin Shi Huang , l'histoire nous raconte le rêve de Li Shin (prononciation japonaise) de devenir le plus grand général de tous les temps. Il est évident que l'intrigue sera "romancé" afin de nous vendre un film à l'action musclé. Bien loin d'un documentaire, cela a tout de même le mérite de nous donner ensuite (ou pas) d'en savoir un peu plus sur cette période de l'Histoire. Après tout, Qin Shi Huang deviendra l'empereur unificateur de la Chine et aura à son compte la standardisation de l'écriture, la monnaie, les poids, les mesures, les soldats en terre cuite et celui qui aura commencé la fondation de la Grande Muraille de Chine...Quant à Li Xin, il est décrit comme un général brave et courageux et ayant apporté une grande aide à l'empereur durant les batailles des royaumes combattants.

La réalisation, sans atteindre l'excellence de la sage "Kenshin" est dynamique avec des couleurs chaudes oscillants entre des tons sombres et ocres. Nous sommes plongés dans l'intrigue sans fioriture . Rapidité ne veut pas dire bâclé, le scénario prend le temps de nous faire apprécier les relations entre nos protagonistes. La simplicité de l'intrigue nous permet de suivre avec intérêt l'avancé de la guerre et les enjeux de l'état de Qin.
L'action est fluide et les combats dynamique. La petite touche d'humour typiquement japonaise parsemant les films déride, le film n'a pas vocation à se prendre au sérieux et c'est tant mieux. Le sentiment de se trouver devant un manga ou un animé est très plaisant, bien que parfois "absurde", nous n'en voulons pas au réalisateur puisque c'est un parti pris.
Le jeu d'acteur est plus qu'honorable et on apprécie grandement les personnages que cela soit principaux ou secondaires. Une petite mention au général Ouki qui provoque un sentiment entre respect et effroi. Son sourire carnassier et la lenteur voulue d'une voix lancinante engendre une impression de perversion (à la limite du psychopathe) très vite démentie par des actions qui piquent notre curiosité.

C'est donc avec une grande impatience que nous attendons le film numéro 3 qui ne saurait tarder, puisque prévu pour juillet 2023!

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A perfect companion to Oppenheimer

The Man Who Stole the Sun treads the finest of lines in trying to balance its subject matter and tone, but Kazuhiko Hasegawa's controversial movie about nuclear terrorism is a darkly comedic and thrilling satire on a subject once considered unsatiriseable annihilating any form of genre borders in the process. Holding particular resonance for Japanese audiences, as while the country does use nuclear power, it has long held against amassing a nuclear arsenal due to the devastating effects that ended World War II. The movie doesn't stop dead for any form of long-winded nationalistic or philosophical speeches and instead insists on a conceivable reality with seemingly no motivation.

One of only two movies directed by Kazuhiko Hasegawa, which in turn feels like a crime in itself, Hasegawa rewards the viewer with some utterly sublime direction and excellent framing, with plenty of thrilling action set pieces to command his viewer's attention at all times (the car chase feels like it was ripped right out of a Ringo Lam movie). It balances the unorthodox nature and tone of the movie exceptionally well, juxtaposing the shifts with unnatural ease. Complimented by funky and often ill-fitting music by Takayuki Inoue to glorious success.

The performances are all excellent, with Kenji Sawada playing the everyman gone rogue with an endless amount of animosity slowly succumbing to the effects of radiation poisoning making him more and more unpredictable as the movie goes on. But it's the award-winning performance from the stoic and hardened Bunta Sugawara that really captivates me as he normally does in his roles, single-minded and exceptionally driven.

Overall, The Man Who Stole the Sun, even at two and a half hours long, never feels overly long or bloated. The film absolutely refuses to limit itself, and that's why it's so entertaining and impressive.

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A recently rediscovered gem

Junya Satō's Golgo 13 is a much more human and melancholy adaptation of the source material, it loses the seemingly superhuman aspects of his anime counterpart. Making gorgeous use of a pre-revolution Iran, a decidedly off-the-wall idea even for the time and one that gives it a unique flavour, sees a perfectly cast Ken Takakura in the title role radiate with an ice-cold countenance matched only by his deadly skills and irresistibility to women. Oozing with menace and masculine suave, Golgo 13 trudges across desert landscapes, a man on a mission, decidedly anti-heroic but brilliantly realised encountering kaleidoscopic villains along the way. Excellently shot and choreographed action, striking editing and a classic slice of Toei-style orchestration for its soundtrack give Junya Satō's Golgo 13 a decidedly Spaghetti Western tinge. I can't thank Eureka Entertainment enough for finally giving this movie the attention it so justly deserves.

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speechless (WATCH WITH HEADPHONES ON AND ALONE PLS)

I don’t even know what to say. I watched it already preparing myself for what was to come but oh lord, it exceeded the limit I thought it would have. See the first 40 minutes I was like why the heck is this guy assaulting him. I still don’t know why but lord these both dudes were going through it. In the end I like how despite all he did to him and he gave him a chance to leave and live his life he still followed him and literal saved his life. I don’t get what the last sex scene was about but I think it ties down with like a “tit for tat” He saved his life and kept him “alive” so now it was the other guys turn to take possession of his “life”. Removing all the fucked up things and the p0rn this is a movie about two fucked up guys who happen to have saved each other from death in a very questionable way.
I know for a fact I am never watching this again, but at least now I can say I’ve watched it. To be honest it’s just a WOW to me. I’m really at a loss of words. Lord.

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Similar to The Babadook

If you enjoyed The Babadook you will enjoy this. This is basically the Korean version with some differences. The mother seems to be dealing with severe mental health issues similar to the mother in The Babadook. Hye and Min seem to be going through some hardships due to Min losing his job for plagiarism which they talk about a lot. in the film, but it also seems like Hye might of been dealing with mental health issues well before her husband got into legal trouble at work. I think Hye might be schizophrenic or she was experiencing a severe mental breakdown by the time they moved to their new house. I think their real problem was when they adopted Woo, especially with how the film ended. She was probably already possed or she is probably a demon child. The end leaves you guessing if she was actually responsible for Hye going crazy. She was adopted afterall and Hye started acting differently when Hye and Min adopted her specifically Hye.

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I don’t even know what to say

I really don’t know what to say about this movie. it’s one of those movies you don’t really expect to come out that way. I really hated his character. He would hurt him over and over again but Imagase kept coming back. it just goes to show that he really was in love with him. 8 years and he worked his way to have him love him one way or another. The ending is kind of heart wrenching to me because he did break up with his girlfriend because he couldn’t deny his feelings for Imagase but, he let him go in the end. I don’t really understand. I like to think of it as Otomo does love Imagase but he had to deny it because of fear. I just know they both still love each other and I like to think of it as if when they both have their stuff figured out (especially Otomo) they’ll find each other again. The ending scene kind of shows, Imagase is having sex with that guy but he breaks down because he’s devastated about it, whilst Otomo is seen cleaning the cigarette platter. I just sense that they both don’t want to let go and will find each other. For example even until the end, Otomo holds on to the platter even if he doesn’t smoke and Imagase doesn’t live with him anymore. In my mind, they will love happily ever after together.

I loved the movie.

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Honey, this guy doesn't use doors!

Daimajin was the first in three movies about the mercurial mountain god which were filmed roughly around the same time. As someone who enjoys a good Kaiju movie I found this one to be entertaining. Unlike other Kaiju who either came into town to stir up trouble or fight other Kaiju, this stone warrior had his own code. An evil lord found out the hard way that you do not want to attract Daimajin's attention for wrong doing!

The movie begins with the villagers ruled by the Hanabusa clan participating in their ritual to the local mountain god. The treacherous samurai Samanosuke uses the opportunity to stage a coup. Everyone in the ruling family is killed except for the young son, Tadafumi and his sister Kozasa, who are spirited away by the loyal retainer, Kogenta. Kogenta seeks help from the priestess, Shinobu who takes them to the forbidden mountain and hides them in the cave next to the Majin statue.

Ten years later finds the people pressed into forced labor building Samanosuke's great gate. Villagers are starving and dying under his cruel rule. Now eighteen, Tadafumi decides it's time to return and kill Samanosuke if it will help the people. Kogenta goes ahead to the camp in order to contact people loyal to the Hanabusa family in the hopes of gaining more support for a rebellion but is taken prisoner and tortured instead. Tadafumi attempts to rescue him and is captured, too. The son of one of Hanabusa's loyal subjects runs to the priestess to ask the Majin for help. He finds the princess but the two of them are captured by Samanosuke's men on the mountain. When the samurais attempt to destroy the Majin statue the mountain destroys them. Kogenta and Tadafumi are scheduled to be executed at dawn causing Kozasa to beg the mountain god for help even if he requires her life in exchange. Daimajin awakens and unleashes his terrible fury on the evil doers.

This film played out as more of a samurai movie for most of the running time. Daimajin waited until after the 60-minute mark to make his appearance. Fortunately, the acting was pretty good, especially for this genre and the story was compelling. Daimajin made for a fierce and frightening avenger, especially when it seemed he would rampage on the victims of Samanosuke's ruthlessness after he finished dispatching the bad guys. Because he wasn't over 300 feet tall, his presence could be seen in relation to the people in a more immediate way. In a bit of karmic irony, Samanosuke died in a manner similar to the crucifixion execution he was using on the heroes, and in the manner his vassals used to try and destroy the statue, which of course released Daimajin. Bad guy should have listened to the old priestess, she tried to warn him!

The mountain scenery was beautiful and blended well with the miniatures and special effects when the samurai transgressed on the sacred ground. A few of Samanosuke's buildings came across as flimsy, but the better for Daimajin to tear down as he stomped his way to vengeance. When Samanosuke closed the door to the building he hoped to hide in, it was humorous, because doors had no effect on the giant stone warrior, nor did fire, bullets, or giant chains. The only thing that had an effect on him were the tears of a pure-hearted woman.

As a long time Kaiju fan, I have been pleasantly surprised by the quality of this series of movies. I accidentally watched the last one first, but as they are not tied together it didn't affect understanding the story. The acting, sets, and storytelling have been strong for the genre. Most 1960's Kaiju movies would not have stood up to waiting an hour for the monster to appear. The giant stone warrior in this film was just a bonus to the already entertaining story. By this time Toho was marketing Godzilla to a younger audience. With the deaths and torture scenes, Daimajin could appeal to adults as well. If you enjoy old Kaiju and samurai movies, this is one to give a try.

7/23/23

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An Intense Movie About Moral Gray Zones

Dog Bite Dog is a movie wherein we see a hitman kill 9 people including:

1 Barrister who was his original paid mark
1 Civilian at a restaurant
1 of the other main character's police partners
1 innocent cabdriver simply to steal his cab
3 cops in an alleyway shootout
2 tugboat operators whom he killed simply to steal their tugboat

Watching him butcher 9 people, I would hate him in one moment, and then see him with his love interest and suddenly want him to live so that he could redeem himself by loving her. There was so much tenderness in a scene of him putting boxer shorts on her to hide her naked ass. He wanted to give her some dignity after being raped by the man whom the hitman had just realized was her father. It was likely the first time the hitman had ever shown affection for another human being. Or received care from someone else, as when she clobbered the cop, Wai, at the landfill to save him.

Then, god, there was a scene of her wiping his arm while he was pumping gas right after his former fight club boss had humiliated him. It was her way of showing that she understood he’d been emotionally hurt and wanted to comfort him. His expression was that of someone who is moved, while also confused by that new feeling. He wasn’t used to feeling such things with another human being.

He wasn’t used to feeling anything nice at all. This was a person who’d grown up scavenging for discarded food at a landfill in Cambodia. As for landfills, it fascinating that he chose another landfill in Hong Kong to seek refuge after almost getting caught by the cops. He didn’t go to some nice park to unwind. Nope, he chose a landfill! That is what spoke of familiarity and home to this guy. I also noted that when the hitman fought with Wai at the landfill he was biting Wai’s shoulder. The director was portraying him as a wild dog biting and chewing on human flesh. Later on, the cops nicknamed him, yep, Wild Dog.

Indeed, he was one of the Dogs in the title, “Dog Bites Dog.” The cop, Wai, was the other dog. Sure, Wai wasn’t as murderous as the hitman at first, but the signs were there that he was on his way to becoming so. Dang, he was breaking laws everywhere right from the start. He was constantly beating the shit out of witnesses. He gave drugs to informants in exchange for info. Presumably, Wai got those drugs from the police evidence room where cops keep drugs they take off drug dealers. Or he bought the drugs from dealers on the street. Either way, he got them illegally.

Overall, Wai was portrayed as violent, unruly and unethical. But he still had a father, his partner and colleagues he cared for, and they all humanized him. By the end he has lost all of them – and is now as alone in the world as the hitman was at the start of the movie. Accordingly, Wai also loses all morality, so much so that he even stabs a pregnant woman to death. He has now become inhuman. That is to say, he is now the Wild Dog.

The hitman, meanwhile, has become human via love for his wife and the impending birth of his child. He now has the family that Wai lost – and lost because the hitman killed all of them except dad, who killed himself. One can justify Wai’s angry lust for revenge. What’s amazing is that even though Wai was justified in wanting to kill the hitman, I wanted the hitman to continue his life as fruit picker with his new wife and baby. It’s a testament to the movie’s brilliance at portraying moral gray zones that I could sympathize with a hitman I’d witnessed killing 9 people.

And this was not some glamorized hitman in a sleek, black Armani suit as we usually see. Or a hitman pulling superhero level judo movies like “Leon the Professional” (ie, the movie where a pedo hitman loves a 12 yr old Natalie Portman). This hitman is filthy and monosyllabic while stuffing food into his gullet like a starved dog, and biting his opponent like a dog. Nothing glamorous about him. Yet, son of a bitch, the director made me care about him anyway!,

It was a risky move for the writers to ask us to sympathize with such a character. And that was what they were knowingly doing by creating his tender, loving relationship with the girl. The writer/director created this moral gray zone by depicting the hitman holding the girl's hand, helping her walk after she'd injured her foot,, feeding her and just being all around attentive. In short, he is in love. It’s not only his first romantic love, but his first experience with any kind of love at all. We know that he never had the love of a family because he had grown up with a scumbag fight club owner. We know this, in turn, because he called the scumbag “dad” and, moreover, the scumbag said that he’d picked the hitman up off the street as a kid like a “stray dog.”

The scumbag and other dead-eyed boy fighters were all the hitman had ever known in his empty, brutal world where the only goal was to fill his belly and sleep somewhere warm. So his first experience with love – an abstract, emotional need rather than a physical need – had to have hit him with the awesome power of a thousand storms. But love ain’t enough to save him when the cop Wai is on the trail.

The hitman gained a family right as Wai lost his family, such that it was now Wait’s turn to live in a violent, soulless world working at a fight club. He even got one of the number tattoos on his neck that designated orphaned males after Pol Pot's Cambodian holocaust, and thus he blended in with the real men of the Cambodian Lost Generation. In other words, he had traded places with the hitman both literally and figuratively. He had nothing to live for except revenge.. And he was going to get revenge, even if he had to die for it. Which, of course, he did at the end

Now, about the ending. The girl dies at 9 months pregnant, so the hitman cuts the baby out of her stomach, then dies himself with the baby in his arms. That would’ve been perfection….. if, that is, the writer/director had indicated that someone was nearby to save the baby. As it stood, that newborn was alone under the hot sun at an empty temple grounds while all the adults are dead and, as such, would also be dead within hours. I wish they had written a bit with a car driving by and noticing the dead bodies, whereupon the driver would go to save the infant.

If that infant survived, it would have been the perfect ending for this movie. Because it would have symbolized how there was no hope for the current generation, while there was glorious hope for their offspring. We already knew that the hitman believed this, because it’s why he cut his baby out in the first place. He NEEDED to see that his child was alive before he, himself, died. Cutting that baby out was so unexpected and original! I’ve never seen this in a movie before.

I also LOVED the way the hitman held the infant up to the sky, as if offering his gratitude to the heavens for its birth. The shot of him holding the baby against a sky shooting sunbeams imparted a message of hope. Then, man-oh-man, the very final shot of the infant’s fist rising up toward the sun outdid that with an even more powerful message of hope. Well, it COULD have been full of hope if only the viewer had just one teensy indication that someone was going to save that infant

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Deservedly well respected Hong Kong classic, with extra meaning for fans of Thai series

This is the film which means so much to Jim in Moonlight Chicken and by inference to screenwriter/director P'Aof. So not just a great recommendation for a beautiful film but also a way to more fully understand his character's inner life and the significance of the song he used for the opening theme.

Comrades doesn't disappoint. It's set in crowded urban environments but much of it is tightly focused, concentrating on two characters at a time. A conversation in a narrow hall at a party, in a car, the McDonald's queue. Its story isn't complex and, like Moonlight Chicken, has few events external to the key relationships. I first wrote that there's more pain in Comrades but that's not true. Moonlight surrounds all of its pain with so much love while Comrades is far lonelier. Its main characters become close because they're all they have in this city.

The film is calm, gentle, and quietly poignant. It takes its time and it's well worth some of ours.

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Korean gl cc. 2017.

A RANT
A high school story, not really a romance, about three girls and secrets and the consequences of betrayal. The story is well written, the actresses are excellent, the cinematography, all in the cold grays and pale blues filmes with a shaky handheld camera which conveys urgency and doom! There is no music whatsoever!

I loved it until the last 5 minutes ruined the whole film for me! Teens are impressionable but here it was taken too far for my liking! The girl is ostracized by the whole school because of a scandal, she bravely comes back and accepts to give an interview which goes haywire. So she cannot deal with a stupid little secret being revealed when the first time around it was even worse?

Why oh why oh why do they keep doing this? Why do we need to have things end tragically like this? Because real life is like that I guess but can't we just have a little bit of optimism in entertainment industry? Because queer stories are not the society norm so they should have the appropriate ending as a warning to those who veer of the right path?

Oh, give me a break!!!!!

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The pain.....

I don't know how to start writing the review bcoz this movie is so saddening and horrifying to watch .sorry to say but we can never understand the pain the victims and families have to go through and this movie describe that pain so well..we all will feel the pain...l like Korea and everything about Korea like kpop and series/movie ,place,but I think that the law that applied in this drama is really bad...if the perpetrator is intoxicated then the punishment will less...it should not be like that...then every person having bad thought or trying to something wrong will drink alcohol first then proceed with his bad plans...i really don't know about other laws but this law should be change....bcoz the criminal will be only get punishment and sent to jail where he can eat and sleep well and if the chances are there he will become friends with more criminal and atlast he will be release...whereas the victims and families have to face the people and society......in this drama the friend as well as neighbours was very helpful and understanding...but in real everybody is not like that ..I m not saying everybody is bad but in society there are different types who will support,respect, sympathetic or even disgust and blame the victims...... that's why in my opinion the criminal must b really punished well ....the pain that we can never understand..... the pain and feeling will always with the victims...the families and victims have to stay strong and face the world together.And I m not satisfied with the ending .....means I m happy for the girl and his family but I did not want criminal to get only to get 12 years of punishment........even if it is shown real according to law I hope thet the punishment can be should be longer in the movies which will ease my anger and hatred for him ...

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"20th Century Girl" is a heartwarming Korean movie that effortlessly blends romance, youthfulness, and melodrama. This delightful film beautifully captures the journey of a young girl navigating her way through love, friendships, and self-discovery.

The storyline of "20th Century Girl" is refreshingly relatable, making it easy for viewers of all ages to connect with the characters and their emotions. The portrayal of youthful energy and innocence is brilliantly executed, leaving you reminiscing about your own teenage years.

The romance aspect of the film is genuinely heart-melting. You'll find yourself rooting for our main lead as she experiences the rollercoaster of feelings associated with first love. The chemistry between the actors is palpable, making their interactions on-screen feel authentic and charming.

In addition to the romantic plotline, "20th Century Girl" delves into deeper issues such as self-identity, dreams, and personal growth. The movie adeptly tackles these themes, offering valuable life lessons without feeling overly preachy or heavy-handed.

Visually, the film is stunning, capturing the vibrant essence of youthfulness through its colorful cinematography. Each frame feels like a work of art, keeping you visually engaged from beginning to end.

Overall, "20th Century Girl" is a must-watch for any fan of romance, youth-focused stories, and melodrama. It's a heartfelt journey that will leave you smiling, reflecting, and feeling inspired.

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Beware the mountain!

The Wrath of Daimajin was the third in a series of films starring the giant mountain god who restored balance. The film focused on four children attempting a rescue of their family members who had been coerced into working for an evil samurai. This was a far darker film than I anticipated given the nature of Kaiju films starring children in the 1960's.

When the evil Arakawa kidnaps loggers from a small village, logger Sanpei escapes over the Majin mountain arriving home mortally wounded. He's able to tell the villagers that the rest of the men are being used as forced labor in Arakawa's sulphur mine in aptly named Hell's Valley. The village's lord isn't immediately concerned and fears snow may fall soon and doesn't send any help. Four boys decide to take matters into their own hands and runaway to rescue their loved ones. The only way to Hell's Valley is over the Majin mountain. Brothers Tsurukichi and his little brother Sugi, friends Kinta, and Daisaku bravely face the mountain everyone avoids due to the capricious mountain god who inhabits it. When they come upon the stone statue of the deity, they give proper homage before setting forth. The boys not only face natural dangers, but also three samurai ordered to hunt down Sanpei. Regardless of their young age, the samurai repeatedly attempt to kill the boys when they are discovered. Far from a romp in the woods, the boys pay a terrible cost for their adventure.

Meanwhile at the sulphur mine, the evil samurai shows why he's evil when he throws a thwarted escapee into the boiling sulphur lake. The brothers' father keeps hope alive that he will see his sons again. The villagers decide to go after the boys when they realize they are gone. When the parents arrive at the stone statue, it begins to bleed, and finally the titular character breaks forth when his hawk avatar is killed. At this point, the stomping begins as the mountain god stirs up a blinding snow storm to herald his arrival.

As I mentioned, this film was much darker than I had anticipated, going to a place most movies with children protagonists never would. Two likeable characters were killed and another attempted suicide to appease the god. There was a bloody hawk attack and a dangerous rafting trip on a swift river.

The fake snow actually looked good when Daimajin finally arrived. Kaiju usually show up by the 39:00-minute mark, this god couldn't be bothered until 65 minutes into the movie. The miniatures and fake scenery blended well with the real scenery. The shots of forests, mountain streams and lakes were quite lovely as the boys made their way across the scenic landscapes which belied the deadly forces at work. Arakawa's hideout near the mine was smaller than the large buildings Godzilla used to trounce through, but the more manageable size actually accented the stone warrior's terrifying force against the evil doers trapped in Hell's Valley.

The four child actors were a pleasant surprise, with natural but compelling performances. The adults all acquitted themselves well, too. The writing ultimately did exactly what we needed, Daimajin ruthlessly destroyed the evil forces, who were well deserving of his punishment. Whether the sacrifices of innocents gave a deeper emotional level to the film or were unnecessary will be up to the individual viewer to decide.

Wrath of Daimajin won't go down as one of the great monster movies but it was oddly satisfying. The god with a heart of stone didn't arrive in time to save important characters, or keep anyone from being injured but when he finally decided to restore balance he did so with a vengeance.

7/22/23

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