Log: week 39 / 2024

I watched the remake a couple of years ago, and even though they made some small changes to the plot, I quickly remembered the rough outline. Miss Bala is a relatively simple crime/action/thriller flick, the kind that doesn't need a remake. The original is pretty solid though, but it's not a film that stands out.

A fun and unique anime about a girl who ends up spending her summer with a cat who behaves and talks like a human being. And nobody seems to mind (because he's a ghost cat after all). If you're willing to accept the film's reality, this is a quirky and loveable fantasy animation, though without that final touch to make it truly spectacular.

One of those films about a boring summer that will one day feel nostalgic for the four protagonists, even though none of them is enjoying their afternoon activity. It's not the most notable drama, Japan makes a lot of these films every year, but Yamashita finds the right moments to make it memorable.

Gakuryu Ishii is back with one of his most puzzling films to date, an adaptation of Kobo Abe's novel by the same name. It feels like a culmination of his other work. The Box Man is not the most narrative film, though there is a relatively simple plot running underneath. It's not the main focus of the film though. Ishii cares more about the philosophical aspects and the mood. The presentation and performances are on point, but it's the unique experience that makes this worth your time.

Not Shinohara's best film. The premise is interesting enough, and I think a film like this could've worked better in the hands of someone like Hanada. The way it turned out now, it's a little too cheesy and sentimental to make a big impact. The film is also quite long considering the light subject matter.

I'm not surprised this film does well with cinephiles. It looks a lot older than it is (it's chasing that 30s feel) and it leans on some very old-fashioned comedy. The whole shtick is that a conman and a bratty kid have to spend time together, even though they can't stand each other (at first, that is). Hah hah.

A fun little oddity. The story is crackpot and it's not a film that takes itself too seriously, but it's all very kooky and well-paced. Don't expect mad production values or crazy special effects, the alien looks like a literal teddy bear animated in the most rudimentary way, but that just adds to the charm.

Chinese streamers have been mostly targeting historical fantasy/action work so far, I wish they'd try a bit more sci-fi if only to get the hang of things. A film like Restart the Earth shows enough promise, but it lacks the routine that makes these cheaper Chinese films better than they're supposed to be.

The one film that Peter Lorre directed. Lorre is one of Germany's classic cult actors, but he also found himself behind the camera once. Not that he did a terrific job, it's always a bit of a gamble when an actor decides to turn director, but this wasn't the worst of the classics I've seen.

A decent drama, the kind that fits Koji Yakusho perfectly. The quality is there, but the film prefers to stick to conventions and doesn't try all that hard to differentiate itself. I would've rated it a little lower, if not for Akira Emoto's lovely character and fitting performance. He's the real attraction here.

Bone dry. This one was written by Bergman before he started his directorial career, so fans of Bergman can rejoice. Though directed by Sjöberg, the barren and depressing direction often reminded me of Bergman's films. In my case, that's not exactly a positive. I struggled hard to get through Torment.

Not the most original of films, but if you're craving a bit of space madness, Slingshot delivers. It's core genre fare, a film built on familiarity and clichés, but the execution is nice, and since there aren't that many films like this around, I was pretty glad to catch it. It didn't disappoint either.

I'm not the biggest fan of Japanese films about bands and singer-songwriters, but if there's one director out there who can do justice to the subject, it's Shunji Iwai. Kyrie is about more than just the ups and downs of a start-up singer, even so, the genre tropes are all there. The performances are superb though, and Iwai's direction is both breezy and profound. There are some stellar scenes to be experienced, and some signature Iwai moments that still pack a punch. Kyrie isn't the most original take on the genre, but it's one of the most proficient and spectacular Japan has ever produced.

A fine documentary that does justice to both of its leads. There's some narrative trickery that may feel a little overdone, but it also gives the documentary a little extra stretch, so it doesn't become too one-dimensional. A slightly shorter runtime would've been welcome though, as some parts do lag.

A drama with some interesting characters and worthwhile themes. What it lacked was a tighter presentation, so that the film could've had a bit more impact. It reminded me of a more commercial take on Midnight Maiden War, a film I found superior in every way. Still, there are some memorable scenes here.