Japan
With a simple premise but endless complexity, Monster sees Hirokazu Kore-eda’s compassion and empathy presented at such a masterful level.
While Perfect Days is minimalistic and quiet, almost to a fault, Les Indésirables is a bombastic cinematic experience.
Both P.P. Rider and Typhoon Club showcase many aspects of Somai’s signature style, Lee Jutton takes a look at both.
Few filmmakers can say they’ve made a movie as fun, free, and ultimately bittersweet as Tokyo Pop.
The Sea Prince and the Fire Child is a classic waiting to be discovered.
In this report from NYAFF, Lee Jutton takes a look at Mountain Onion, Nomad and Mountain Woman!
The NY Asian Film Festival provides movie lovers in the tri-state area with a great opportunity to see films across a wide range of genres.
Street Fighter reminds us that even a bad movie can be loads of fun and make you feel like a little kid again.
Although it fits squarely into his oeuvre following another plucky heroine coming of age in Japan, it has some very meaningful inspiration.
A fitting precursor to his later masterworks, Passion is guaranteed to whet one’s appetite for Ryûsuke Hamaguchi’s next movie, whenever that may be.
The most positive praise that can be bestowed on The Super Mario Bros Movie is that it’s not as bad as 1993’s Super Mario Bros.
While Still the Water feels pleasant, its existential questions are frustratingly left untraversed by its subtlety.
Away from the hype, Akira fares very, very well, remaining the Rosetta stone for so much sci-fi, body horror, and cyberpunk today.
Overall it may fall short, but In the Realm of the Senses is a beautiful-looking film with a calming yet haunting score that touches on some urgent themes.
Onoda’s story, as exceptional as it may be, embodies the plight of every soldier sent to fight and die.