a more recent work of kurosawa thats a lot more divisive and to an extend i get it. for most and even to people who love his films, a lot of his direction is left in ambiguity and on top of that before we vanish is the inverse of kurosawa's general tone throughout his career.
kurosawa's script still envokes a horrifying mundanity all the while a quiet and unnoticed take over of the world is happening right before our eyes but what we also see is discovery of love and compassion.
his actors remain the same like almost in every other kurosawa film for the majority of the film, gloomy, a lack of energy and very mundane but thats by design but that allong with so many other things create juxtaposition with the general story.to me, the film is about the fact that love can be anywhere no matter what state a place is in and if maybe other species out there have a better connection or understanding too love.
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a decent korean thriller but my biggest problem with the film is the ending. it puts hwayi back to the status quo of violence but that really isn't earned. if anything he conquers the people who have groomed him for his entire life, he saved the one person who shared his misery and then he just continue's what he did with his groomers.
it actively i would say, goes against the buildup of hwayi's arc but it would be oke if it there was any sense of him having nothing but violence his entire life but no its been new for him for like a week even if he knew about it. but it does have some decent action, a great cast but also woo jung kook as a minor character in mutliple scenes. i did enjoy it.
Kiyoshi kurosawa continues a lot of the same elements of his films like seance but also tokyo sonata.
While tokyo sonata may have been kurosawa's lens into ordinary and family life, loft is that but for couples.The common thing it has in line with seance is its themes of murder but also how the act itself falls in line with the people around it.
Ask yourself this if you've seen the film (which i asked myself while watching it) and that is, is anyone here actually happy or is there a bubbling resentment the couple have towards eachother? Space and ambience is the name of kurosawa's game and he plays it excellent well but that space, that ambience and that tension evoke as to what im saying.Resentment stumbles Into murder and that murder (as well as its editing) feels weird and almost contradicting in its timeline but maybe that is the ultimate contradiction, love and murder.
Gay pedophilia but lowkey avengers level hype when you can tell from the 3 seconds his face is on screen and from the low 480p that the one who crashed into a student was the goat woo jung-kook.
The performances by both choi min sik and lee jung-jae and cinematography aren great but there isn't that noteworthy here.
Sometimes it does suck to have seen so many films but i've seen these tropes of long undercover cop getting tired of his post a lot of many times and its just not engaging.
Actually decently well shot action sequences. Its kinda the most i've felt any impact from action scenes in a blockbuster in ages as i think travis knight chose really interesting camera movement and shots but its also very jarring because whenever its not in action mode its looks range from fine to dogshit.
I will say it is a decent blockbuster but thats all it really is and its script and comedy also has a mix of dogshit and decently well crafted setpieces.
I think the best thing is the costume design and some of its cgi like skeletor.
a solid enough noir with enough character to make it investing.
i will say, i really like the first two halfs of the film where you don't know really know whats at play and i do think the ending is really cool because honestly it would be really cliché if one of them actually got sentenced for actually commiting the crime but i just don't find the detective in the third that entertaining and i honestly hated him for fucking up this pretty solid little caper because ultimately the film doesn't really mean anything. it plays with some level of jealousy at play but it never feels like it actually plays within the narrative beyond the basic existence of it in the plot and by that i mean its there but never actually plays a somewhat great part in it. i will say by all accounts it did keep me geussing, i guess.
also it plays with the archetypes at the time but it still very much one of the first steps of breaking somewhat of the roles of men and woman from the patriarchy
"White people were here"
"How can you tell?"
"Cuck porn"
A compensationet if not childish film about the ripple effect of repressed homosexuality.
You'll find yourself on the opposite side of Liu san<b>-</b>lian but imo, the longer the film goes on the more we relate and understand her thinking patterns and internal and external homophobia. Her being homophobic is still her fault but you eventually develop an understanding and a feeling that change can be made and the realization that its not queer people who are the enemy but society and the government. The film reminds me a lot of another queer Chinese film, spring fever and how it shows the complications of being queer in China but also the ways it effects woman and in turn everyone involved.
this was probably a new and exciting thing but past the deep sense of loyalty thats been all so present throughout the film noir and crime genre's, i don't see anything that good.
oke well the performances are stellar and i do really like the cinematography. jean pierre melville definitely is a veteran of the film noir or at least he knows the genre very well but where as the other melville film i've seen, le cercle rouge is great in its screenplay as it is a solid action film.....le doulos feels much more like a retread i've seen many times again and its sense of "paranoia" is something thats not entirely the films fault but i really hate when a film has that one of its main themes and then its kinda shit at displaying any paranoia.
very interesting to see nolans usage of obsession throughout his career even if its very mediocre most of the time and not really explored well but at least here its simple and short enough.
"Godard can you not not be goated"
Godard:no
"Godard can you not not make the best movie ever each time?"
Godard:no
"Godard, can you not not humble your coked out unsuperior fan tarantino?"
Godard:no
"Godard, can you not not make tenet but good in both form and text??"
Godard:no#gowhiteman
