Much more calm in nature, having miyamoto one more fight as he can never outrun his legacy.
While i think its not entirely focused on, it is interesting to look at this trilogy from that perspective. Mushashi miyamoto, legendary swordman going from man to samurai but by that creating something far worse. A man who's trying to run and fight off his preceived notion in the second film will never truly be able to wash it away.
This one is also much more interested in musashi outside of the battlefield which creates for a nice contrast to what the film is trying to convey. Common life that has to go against a legacy of battle.
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musashi miyamoto has so much aura. if he saw this he would be like "oh thats me? pure aura"
somewhere between melancholy with its colors and texture while allowing miyamoto's arc to breath from beginning to end. while i think the fight choreography can look fake at times since you don't really feel the impact of every slash, the fight scenes do have some nice blocking.
i don't know, i just love samurai films.(watch my filmography: https://boxd.it/2A45h )
i don't know why but it was very annoying to watch since it just keeps going while being actively a bore and also be stylized sometimes with its editing.
next to forgotten, wall to wall is another kang ha-neul lead film where he is one of the better things about it. i will say it is trying to say something a bit more interesting then forgotten but those things go one ear in and one ear out.
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I wish the parts of lo's character was never introduced because he is by a landslide the weakest element of the film and the way the film gives flashbacks halts the film to an excruciating degree.
Besides that tho, crouching tiger, hidden dragon is ang lee flexing his muscle and making some great action and characters. While I'd get the idea of him being a weird pick for something like 2003s hulk, it makes sense when looking deeper.
I like it but i also think a lot of the middle chunk is just to much of them wandering around and just doing nothing.
It sure is cool it has no dialogue and i think its good, i really like it and we need more films like this but it also just feels like a 7/10 dream.
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a film that yearns in quietness while our central relationship is intimate and very personal as both are isolated at their respective homes.
together, they are happy.tsai ming-liang's days is another strong entry in his already fantastic filmographty. while its not my favorite, i think his minimalistic style and dialogue works for such a film where isolation and intimacy are such strong themes.
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love the blocking in this film. just the way its all orchestrated, from the actors positions to the lighting and even as something so simple as the usage of a mirror fills me with joy.
the film itself and the things in it are far less joyous but still.
tarkovsky is able to balance the nihilistic tone of the war time with also a sense not knowing where to belong when all you've know for your entire life has been swept away.one time i've heard something, idk where but either way, "to make the gravity of billions or millions of lives feel at stake, you have to make it personall" which funny enough was about superhero films but i'd argue the same applies to war films.
films like all quiet on the western front by edward berger and 1917 as newer examples, fail miserably because they are more interesting in the visceral action and their gimmicks then actual telling anything meaningfull. ivan's childhood keeps it between a boy and a few men which allows for the bond between them to flourish but also see how maturity isn't what ivan is but more so terrified and war made.(watch my filmography: https://boxd.it/2A45h )
very sweet and innocent in specific area's but also very cookie cutter in others.
strangely amazingly shot with the seriousness of any other film as its metallic places and rooms of its home become all the same when santa arrives.
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kinda just another mechogodzilla film. to be honest this era, the millennial era is probably my least favorite era of godzilla because it tries so much but is so vanilla in so many ways. i hope the last film of this era is something special since its one of the longest films in the franchise.
a forgettable entry at its best which is still fun in terms of a godzilla film but then again, i could watch an entertaining godzilla film thats also just...good.
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Not my favorite haneke but it still remains a delight.
I like how it portrays information and the idea of knowing being a vital doom for someone. Its not as effective and I think a lot of the shock isn't as well used as in something like Benny's video, its still decent.
What im liking so far about micheal haneke so far is his portrayal of violence and while yes he is a provocative director i think just the sudden burst of violence and blood with all the silence that comes with it is right up my alley.(Watch my filmography: https://boxd.it/2A45h )
Lukas dhont needs to get a grip.
I have watched his debute, girl and it felt exploitative to get a quick few tears and close isn't really different.
While this is a bit more authentic considering this is more so a film about bullying then anything else, it never escapes being exploitative of not only sexuality but also its characters.Like girl, everyone here is slightly one dimensional outside of the typical ways these people act in terms of age but that alone doesn't equal nuance.
There is much more to this subject, like parents and their ability to enable homophobia but the film isn't interested in that, i don't think it even wants to actively say that two main characters were gay.
It never is interesting the sexuality and preferences of a young teen.Lukas dhont is honestly such a miserable writer and he's not really complex in his misery. He is one note.
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A family rotted inside out but still full of passion and love, its misguided by cultural structures and the capitalistic tendencies tied to it.
I think in a lot of area's kiyoshi kurosawa's lack of anything resembling a score helps as the music is all but everything inside the house.
I mean it does have some music pieces in there but mostly it remains consistent with kiyoshi's filmography.
It flows well like a piano piece all the while everything in it is crumbling yet can be saved by the remaining passion and it does.Its familiarities with my experiences is why its my favorite kiyoshi film. While cure is one of the greatest horror films in its manipulation, dread and staging of violence....to me tokyo sonata remains more scary due to the nature of family structures and the resistence when someone breaks it. Its a familiar concept but kiyoshi does it oh so well and i see my family and me in this.
My family can be saved but the qeustion is if they take that path.(Watch my filmography: https://boxd.it/2A45h )
