I don’t know what to say about “Audition”. For a film that’s rapidly become a standard viewing for the horror genre, I’m just dumbfounded. Why hasn’t the mainstream noticed Takashe Miike yet? I mean fully noticed. This man is a genius. He’s not just some director giving us gore, gore for no damn reason (*cough*EliRoth*cough*) but a man who provides the gore as a way of expressing his story. “Audition” is one of those films. It’s a reflection of Miike’s sick mind, a man who twists his audience in so much directions, that you leave feeling violated and stunned. With “Audition” I was offended, I was shocked, and I was stunned.
Tag Archives: Foreign
H (2002)
It’s difficult to create an original and exciting murder mystery these days, especially since there have been so many murder mysteries that have promised an explosion and really just ended up a dud. Sadly, “H” is really no different. While it’s not a horrible piece of filmmaking, it’s sadly just standard. Mismatched pair of officers, both with their own sordid pasts, an elusive killer, a genius serial killer taunting the officers, gruesome murders alluding to abortion, body part and blood splattered clues left behind, red herrings, plot twists, and barely any exposition, all for a surprise ending. I’ve seen it all before, and “H” never rises to the occasion to challenge that formula and create its own niche upon which to break free from, so it remains a typical cop drama with a great ending.
Pulse (Kairo) (2001)
Yes, it’s happening. Very soon, the US will release its own version of “Pulse” and I have surprisingly high hopes. It looks like a very scary movie, so I decided to watch the original film, since originals are always better, and I finally did. “Kairo” is without a doubt one of the most bleak horror films I’ve seen in years, it’s a film that never really casts an optimistic brow, and it’s a horror film that reaches down to the core of human emotions and brings out the horrific implications of what we can do to ourselves that can spell the end of the world as we know it.
Steamboy (Suchîmubôi) (2004)
Yes, I’ll be the first to admit it, and I’m not the only one to say it, but “Akira” stands as one of my favorite anime films of all time. Bar none. When it comes to my favorite “Vampire Hunter D” holds the top spot, but if you want quality, you just have to go to “Akira”. Rarely has a film been able to hold up against time. Katsuhiro Otomo’s film experienced many alterations that kept it from becoming a true classic, and I’m willing to get past all that because “Steamboy” ends up being a quality piece of filmmaking from Otomo. Though it’s not a masterpiece, it’s still a very good watch that deserves the benefit of the doubt in the end.
Dear Frankie (2004)
What would you do to protect your child? Now, before you view what the mom in “Dear Frankie” does, keep asking yourself. What would you do to protect your child? What lengths are you willing to go to to see that they’re not emotionally shattered, or ruined by reality? The answer is always the same. While not original, and bound to give you a cavity afterwards, “Dear Frankie” is a simple and dreamy family flick about a single mom named Lizzie who lives with her young deaf son Frankie in their flat.
Comparing “Shall We Dansu" and "Shall We Dance?": The Superior and the Inferior
I admit I’ve never seen either films, but I watched both one after the other leaving bias’ aside and judged them as separate entities while comparing them to see which one was better. Contradictory, sure, but shut up. Either way, both films are different in terms of their content. While “Shall we Dansu?” is a risqué film in Japan seeing as how human affection isn’t as casual or normal as anywhere else it, “Shall we Dance?” Is normal to the point of being bland. In the country where we watch people having sex on-screen, watching two people dance is nothing worth scoffing at. But in many films in Japan, characters fall in love without ever really kissing, so “Shall we Dansu?” ended up becoming the more original, and layered film.
Nausicaä of the Valley of the Wind (1984)
One of the first solo directing efforts for the master, Miyazaki, “Nausicaä” is a classic environmental monster fantasy epic concerning the usual Miyazaki themes. Of course the words “typical” and “Miyazaki” could never be used in the same sentence, and Nausicaä is a sheer precursor for future projects Miyazaki would embark upon. Your courageous martyr/heroine, the valiant humble hero, the mystifying figure, the wiser hero, and a government empire seeking to destroy the land. But it’s the way Miyazaki composes these arch-types that make his films worth watching without a doubt.