Tag Archives: 10/10

Won’t You Be My Neighbor? (2018)

As a kid I did watch episodes of Mr. Roger Neighborhood, but it wasn’t a significant part of my childhood. I favored other shows I saw at the times like Power Rangers, Transformers, and Pokemon since they had cool things happening in them. Ironically I grew out of those series, and seeing this documentary made me realize Mr. Roger Neighborhood represents all the values I seek in great family entertainment. Showing through stock footage the show tackling issues like the Vietnam War, death, assassination, and other troubling subject matters that kids entertainment today commonly wouldn’t dare think about. Realizing that was just the surface of Fred Roger story made me appreciate Mr. Roger Neighborhood as a adult that I wouldn’t have as a kid.

Won’t You Be My Neighbor chronicles the life of Mr. Rogers, the tribulations he face during the making of the program, and the impact it had. If I wore a hat, it would be in salute of director Morgan Neville who managed to make a celebrate the life of Mr. Roger without mystifying him. The portrayal of Mr. Roger is earnest showing him as a man with strong values delivering what he felt were good messages to children. Further eye opening by the fact he was a Christian, yet never came across as someone who pushed his faith towards other.

Without altercations Neville lets the raw footage speak for itself, and set the tone appropriately. Much like Roger, Neville never strays from having viewers face the harsh reality without sugarcoating events. Seeping in honesty from beginning to end whether it’s Fred Roger interacting with children, or those interviewed speaking about him. All nicely conveying a picture of who he was without any cinematic flair.

The documentary is excellent in providing context, and setting up the era’s mindset of when Fred Roger decided to pursue television. To better illustrate Roger philosophy about television programs without demonizing television as a whole. Making it clear Roger saw it as a strong tool for teaching rather making consumers out of kids at a young age. Another instance of getting across the impact of Fred Roger series is when Neville intercuts a scene from the show with footage of White lifeguards pouring bleach into a pool where Black kids were swimming. In contrast to that, Neville splice in a now harmless clip from the show of Roger inviting Clemmons, a black officer, to wash his feet in a small pool. Nowadays that clip wouldn’t bat an eyebrow, but at the time it aired it made a bold statement.

When not exploring the impact, and subject matters touched on the series it provides a look into who Fred Roger was. Interviews provided from those he knew personally, and the rare appearance of someone who has been touched by his lessons are carefully selected for the movie. Each painting a positive image of Fred Roger in a modest manner. Some of the interviews touch on the difficult childhood Roger had, how it impacted him, and how he chose to deal with it. Further cementing his positive image in the eyes of fans. While those unfamiliar with his body of work will be drawn in the man’s life, and how used that in his career. In some surprise instance, you’ll get a laugh of some behind the scenes stories of Roger shenanigans, and at other times you could be equally touched by his kindness.

The documentary doesn’t shy from showing some of Roger’s less favorable aspects like his initial reluctance to accept homosexuality, and being unable to make the same connection with adults that he made with kids. An ongoing theme with Roger career is his commitment to share his values regardless what the outside world perceived of him. Failure is something he taught is okay to accept, and learn from it to better yourself. Chronicling his life he face the challenges, no matter how difficult, headfirst, and with commitment.

There’s a segment towards the end of the documentary that made me have a change of view. In short, it was hearing about how some people were happily proclaiming Fred Roger had died outside of the place where his funeral was held. Knowing such a thing happened after learning about Roger from others close to him, and stock footage of Roger himself was sad to take in. I fall into the trap of using hyperbole in some of my writing to describe my feelings despite my best intentions to avoid it. Reading, and talking to people make the claim “This is the kind of movie we need right now” I would usually react by rolling my eyes, and shrugging it off. This time I got to agree with this kind of statement.

The world is a different place from when Fred Roger started his program with the internet making it far easier to become more cynical, and jaded from the world around us. One example is perfectly given within the documentary with Fox News misconstruing his morals in order to blame someone for their life’s failure. In a chaotic world that easy to get lost in the negative shades of life. Someone who was everything he represented on camera, and away from it like Fred Roger is needed more than ever.

This documentary, regardless of your experience with Mr. Roger Neighborhood, is capable of pulling off touching moments. It’s a fantastic movie that celebrates a inspirational person life in the most earnest way possible. Usually when looking deeper into a person’s most of the time they are not the person we imagine them to be. Fred Roger is one of those individuals who the further you learn about him the more appreciation you’ll have towards him, and his body of work. If there’s anything to take away from Won’t You Be My Neighbor? is that there’s so many who value the lessons he taught, and are passing them on to other. That’s a legacy worth celebrating, and being happy about.

Rating: 10/10

Big Fish & Begonia (2018)









Ray woman here, kinda pointless.



So beautiful. If only I could frame gifs!



The movie is filled with great imagery like this.






Rating: 10/10

Cinema-Maniac: Mission: Impossible – Fallout (2018)










Wouldn’t a Mission: Impossible movie without Tom Cruise running




Just like in Avengers, Jeremy Renner is nowhere in sight




This fight here, simply awesome.






Rating: 10/10







Of course this one also has Tom Cruise obligatory running.






Pretty smooth Cruise



This opera sequence is pretty cool



Rebecca Ferguson seen here kicking ass




This movie is filled with cool moments, like this chase scene




Rating: 10/10

Cinema-Maniac: The Shape of Water (2017)










We shall eat your children tonight Creature of the Black Lagoon



Rating: 10/10

Cinema-Maniac: A Bittersweet Life (2005)

You normally wouldn’t be able to tell from the movies I regularly write about, but I’m actually a big fan of slow pace, character driven movies. Movies on the level of Blade Runner (1982), and its sequel Blade Runner: 2049 (2017) are movies that I am more than happy to just eat up. A strong character will always stay with me, even if I forget certain details about the story being told. In the case of the Blade Runner franchise, it’s biggest draw to me is that it never forgets the people, and their struggle in its story set among the bigger scope of events in them. The character driven films that stick in my mind, and remain is something I can never predict. It’s just something that happens either during the viewing of something, or overtime a character becomes further to my liking. It’s the latter example that happened with A Bittersweet Life; during my viewing experience I was engrossed with the movie, and it’s beautiful mixture of multiple genres. Once the closing credits started rolling did it dawn on me weeks later how much I enjoyed how its protagonist was handle among other things.

Insert famous Godfather line “I’ll make an offer he can’t refuse” here

A Bittersweet Life follows high ranking mobster Sun-woo (Byung-Hun Lee) spying on his boss’s girlfriend while he’s away on a business trip. I know the synopsis doesn’t sound particularly interesting, but the less revealed about the specifics of where the movie goes the better the experience will be. This is a deliberately pace film; being film noir for the first hour before changing gear into a revenge, crime action film for the remainder of its run. It has the writing style of a art house movie in terms of progression, character growth, and exploring themes, but streamlined in a more simplistic manner. In its root, it tells a simple story that’s easy to understand. The most complex it gets story wise is how ambiguous, and generalize certain aspects of Sun-woo is, but never to the point where it just seems its vagueness is use to cover up weak writing.

What’s not cut, and dry is the lead character himself Sun-woo. Being character driven, Sun-woo is only taken out off screen when needed too. These Sun-woo-less scenes typically deliver exposition, but on some occasion reveal more about the kind of person Sun-woo is, and what people think about him. Very little shown about Sun-woo past from his perspective with most of what the viewer learning about Sun-woo coming from secondary sources. The few things that Sun-woo indirectly tells the audience about himself are generalize. For instinct, the first lines in the movie tells the viewer a young Sun-woo is crying because he a had a dream that can’t be true. Exactly how this works in the Korean mobsters underworld in its favor is part of its majesty. Much like the whole ordeal of dreams being unable to come true, most of Sun-woo feelings is shown externally hardly expressing himself with words. This especially applies in the first half portraying Sun-woo as a loyal, and obedient mobster to his boss. Using the simplicity of Sun-woo interaction to convey broad ideas.

Insert “What in the box?” reference from Seven here.

Sun-woo walks a thin line between being a one dimensional character, or a husk of a character to tackle broad themes. Thankfully, what prevents Sun-woo from being a bad character is it somewhat ambiguous nature. Due to its using broad ideas like dreams, beauty, and love for it themes it never dares to confirm anything for the viewer. However, because of how it structure in the first half the viewer is extensively shown Sun-woo reaction towards everything. It through this first half that establishes the dark reality that Sun-woo lives in, pent up frustration he must release, and starting to question the orders he’s given for the first time in life. Seeing what kind of world he lives in, and slowly revealing who Sun-woo truly is. 

This all eventually culminates in the second half of the film following the guidelines of what you would expect from a revenge, crime action film. You’ll get the eventual short bursts of violence, and bloodshed in the finale when Sun-woo finally seeks revenge. Surprisingly, it also shares a dark sense of humor. My personal favorite comedic bit involves Sun-woo meeting up two gun dealers for a deal, and end up with the two gun dealers arguing so much they end up crashing their car. When the ending finally comes nothing about what the story, or what it was all intended to be about becomes any clearer to the viewer. Allowing the viewer to figure out what the specifics from the pieces it scatter around, and best part of all it earned a up to interpretation ending with the groundwork it laid out. One thing that is unquestionable about its story is that it definitely lives up to its title.

Lee Byung-hun is a scene stealer in a reserve, and personal performance. It’s a physically subdue performance spending the first half being quiet. Resulting in many scenes where the camera will simply focus on Lee Byung-hun reaction to things around him. His mannerism is well fitted for his character giving a professional aura around him with some hidden secrets. Providing a sense of a lost soul, and someone with pent up frustration. Masterfully transitioning into the second half where Lee Byung-hun receives more physically demanding scenes. In particular, an action sequence that requires him to make a messy escape from an abandoned building surrounded by people wanting to kill him. Doing his action scenes, Lee Byung-hun makes the impossibility of a lone person taking on a dozen men look convincing. Even in the first half which has two fight scenes, Lee Byung-hun is so good one can be fooled into thinking he’s some kind of martial artist. He’s gives it his all in his performance, and it’s worth the price of admission alone.

Lee Byung-hun being a badass

Supporting cast gets overshadow by Lee Byung-hun impressive performance, but they also get to shine whenever on screen. Shin Min-ah gives the most vulnerable performance in the cast. Unlike her male co stars, she doesn’t play a character within the criminal world. Allowing her to be more lively compare to her co-stars, and allowing her to build her performance around being ordinary. Kim Yeoung-cheol who plays the crime boss is excellently cold in his portrayal. Coming across as ruthless, and understanding simultaneously. It’s certainly his more control angered scenes that allows him to display his influence over Lee Byung-hun. There’s also Hwang Jung-min who does well playing the arrogant, and ruthless son of a rival family. Holding nothing back in his portrayal.

Lastly, Kim Jee-woon who directed, and wrote the movie did an outstanding job. He treats every tool at his disposal to tell his story equally. Be it his carefully chosen music featuring Spanish-inspired guitar pieces, techno, pseudo classical violin pieces, and jazzy/salsa influenced guitar riffs that perfectly coincide with the ever changing moods. The cinematography that is intimate during it dramatic portions, sweeping during it action sequences to see masterful action choreography very clearly, and simply moody & dreamlike with its lighting to create a noir atmosphere. The editing is seamless, especially during the fantastic action sequences were it all flows naturally. Finally, his best trait in this movie is his restraint to go too much into any genre convention, and his trust on the audience to embrace his deliberate storytelling.

A Bittersweet Life combines elements of film noir, art house cinema, action, black comedy, and gangster film into one beautiful package. Offering enough of each genre it blends together to satisfy both casual viewers, and movie enthusiasts of all kind. It’s the type of movie that is engrossing in several different way, and exceeding expectations in area you wouldn’t expect from it. Pulling of what art house cinema is best at, but with the streamlined execution of a mainstream movie that can appeal to anyone when accomplished this perfectly. 

Rating: 10/10

Cinema-Maniac: Nightcrawler (2014)

Several films typically portray news media in a unfavorable manner. Easily due to the shifts most people witness growing up possibly realizing the true intentions of such mainstream journalism, and the inner workings of news media. Many movies that tackle news media simply discuss, or briefly mention how evil, and soulless it is, but very few of them can match the lasting powers that something like Network (1976) has accomplished. However, I also feel Nightcrawler accomplishes the same in depicting the current era of journalism much like Network did for its era. In short, Nightcrawler is classic filmmaking, and fantastically done commentary on its subject matters.

Like a true lunatics, wears sunglasses at nighttime.

Nightcrawler follows Los Angeles denizen Louis Bloom (Jake Gyllenhaal) stumbling into a new career as a cameraman, and begins his nocturnal forays across the city in search of shocking and grisly crimes. Being entirely character driven the film hardly leaves Louis Bloom out of the picture in its tightly crafted, and masterful woven narrative. Louis Blood is a charming, sociopathic, and manipulative character written in such a darkly comedic manner one can’t help, but be engrossed by him. Part of his masterful characterization is starting up as underdog in a field he has no experience in, and even less knowledge on. His stick it to the man attitude is brilliantly used to help masked an already trouble character true’s intention. Possibly fooling the viewer into hoping this trouble man will succeed in his new career against the bigger corporation that are his competition. Only to witness more of Louis Bloom sociopath personality in his desire to always be on top.

Louis Bloom writing is similar to a fictional character from a sports story, like Rocky Balboa, and having them go the distance despite all odds. Using a similar method here, but to a vastly different effect that works just the same. Chronicling Louis Bloom hard work in detail from him rigorously learning police codes, waiting hours for a good scoop from police scanner, and learning the streets for the fastest possibles route to get to his scoop. Much like Louis Bloom mentions it several times himself he’s a very hard worker, dedicated, and always set high goals for himself which is shown in great. There’s no shortage of antagonistic forces applying pressure to Louis creating more obstacles for him to overcome. Culminating in the creation of a sympathetic character you’ll find in Louis Bloom despite taking more morally questionable action to stay on top.

Here in nature, we see Louis Bloom in his natural habitat, waiting to attack his prey.

Louis Bloom doesn’t so much descend into madness, but rather his true intentions come to the forefront the further he reaches success, and obsessively wants to maintain it. The writing does an excellent job displaying Louis Bloom troubling nature. Just about every interaction Louis has in the film displays his cunning nature in manipulation; especially with his assistant Rick (Riz Ahmed) whom always get talked back into doing Louis work despite it being against it morally. Another subtle trait of Bloom true’s sociopath self is his politeness. Always presenting himself in a calm, and collected manner with a polite tone to everyone. Once he gets taste of being success his politeness takes a different nature when applying that to threaten people. Giving layers to an already well defined character.

When it comes to Louis Bloom, the film passes no judgement on him, and instead uses his position in the story provide commentary on society. Through, and through Nightcrawler ultimately tells a story about how a man seeking a job, and who eventually through hard work makes a successful business for himself. Seeing the method he used, and the moral lines he crossed to reach his goals never once pushes the blame on Louis Bloom. Rather, it is used for viewers for reflect how society itself lend a hand in creating such a person. By using the background of sensational journalism it kills two birds with one stone; illustrate exactly how society created a man like Louis Bloom & the consequences that come for rewarding such behavior, and displaying the shady side of sensationalist journalism. Commentating on these things with a easy to understand character with plenty more around him to dissect. Nightcrawler doesn’t become a complex story to follow, nor are it themes difficult to decipher, but much in the same vein as Louis Bloom, it’s a lot more intelligent than you might think.

First time director Dan Gilroy (who also wrote the script) shows a surprisingly amount of understanding in crafting his movie. Every choice he made in the film can fool the average viewer into thinking he’s an experience director. From his masterful usage of James Newton Howard music to display Louis Bloom triumphant state of mind when perfectly capturing a hot scoop. Gilroy style is one that is in control showing the right amount of restraint between displaying the sympathetic, and sociopath side of his story. He presents the cold truth, and harsh realities around him as well as portray Louis Bloom worshiping sensationalist media without ever telling the audience how to feel. One standout sequence in the film details how a news station usage the morbid footage Louis Bloom filmed of a terrible aftermath of a horrific crime, and showing viewers firsthand look how the news station uses such footage to manipulate its audience. It’s a brilliant scene in terms of writing, and especially direction giving it a an eerie horror like mood to it. Depicting the night life of Nightcrawlers as one full of wonders, and equal disgust in the length news media will go for ratings. Precise, and calculated Dan Gilroy in his directorial debut managed to helm a film all with an understanding of a veteran director.

I’ll make you an offer you can’t refuse Nina.

Jake Gyllenhaal is obviously the man of the hour with a tour de force performance. Gyllenhaal’s weight loss in the film help further emphasizes his definitive facial features, and seems to leave his eyes empty of emotion beyond greed. Contributing to the character’s slimy personality. Nailing his polite mannerism in scenes where he meant to come off professional, and shows subtle violent nature within him when speaking to people privately. His fast talk is just charming as it is perceived to be coming from a complete lunatics. From his smirks whenever he gets what he wants to his eye bulging look that makes him appear ready to snap at any moment. All the while keeping his portrayal of Louis Bloom in check, and actually making him a sympathetic character despite being morally against him. When viewing Nightcrawler, Gyllenhaal simply disappears into the role. Jake Gyllenhaal performance makes is worth the price of admission alone.

Riz Ahmed who plays the hapless assistant Rick serving as a good contrast to Gyllenhaal. Keeping his emotions in tack to empathize with his cause. He’s closest the film has to a moral compass. Ahmed expresses fear in the way he speaks during scenes he shares with Gyllenhaal helps portray what kind of hold he has over people while his nervous nature to be firm constantly shown. On the other hand, the film also has Rene Russo who plays news station director Nina Romina. Her chemistry with Gyllenhaal is perfect in every scene they share. She’s commanding, easily approachable, and most important of all underlying evil in her portrayal. Able to slowly show the inner destruction of someone who eventually seeks ratings over ethical journalism. Bill Paxton also delivers to in the film as a enjoyable, and unlikable foil whenever he’s onscreen. Simply being charismatic in his slimeball nature while keeping himself in check.

Nightcrawler is my ideal type of movie; everything just works seamlessly with one another perfectly into a masterful viewing experience. Keeping me glue to the screen, and never looses me in it. Everything about Nightcrawler seems seamless from the natural writing that engrosses the viewer, the great performances, and the very careful direction that elevate the film to where it needs to be. Being both an entertaining movie through Jake Gyllenhaal captivating performance, and a fantastic character study ensures Nightcrawler can be the type of movie that can be enjoyed by anyone.

Rating: 10/10

Cinema-Maniac: Kamikaze Taxi (1995)

Today’s film is three things; an arthouse film, a leisurely pace film at nearly three hours long, and very mindful of the heavy theme it touches on. On paper, arthouse is typically something I ignore as some will typically sacrifice narrative worth for alluring visuals. Depending on the film the abstract accompany by pleasant visuals can add to something, and other times just feel like a complete waste of time. The lack of any middle ground in terms of quality, from my experience, prevents me from checking more arthouse films. However, Kamikaze Taxi is an exception in both areas; it’s exactly what I expected out of a arthouse film, but exceeded everything I thought it could possibly be. I am willing to go as far as to say this film might just be an underappreciated classic.

“No need to fear. We’re just going to kill you.”

KamiKaze Taxi follows a revenge-seeking man, and his foolish friends plan to rob a yakuza gang. Despite that simple synopsis, the film covers much broader subjects beside vengeance. It touches on violence in many perspective from the conceived honorable sacrifice of a Kamikaze to the senseless nature of war. You might even be surprise for a film that has plenty to say about violence there’s hardly any of it to be found within the actual film. Instead, you’re treated to a cast of fleshed out characters with some level of depths to them. Tackling heavier subject matters, especially for the Japanese audience, on a nuance level.

The film begins in a pseudo-documentary style, commenting on the presence of Japanese with foreign upbringing, and how they are not looked upon as “true Japanese”. Further illustrating this is the first sequence where young Yakuza Tatsuo Minami (Kazuya Takahashi) is introduced to Senator Domon whom comments he hopes Tatsuo is a full blooded Japanese from his Korean sounding name. It’s not just a one off comment that makes up Senator Domon character, but several scenes throughout the film where he freely share his racist remarks, even on live television. Later receiving characterization on his likes for Jazz music, and perceiving himself as a true Kamikaze with his boastful nationalistic pride. All the major characters in the film receive this level of characterization.

Slow moving as it might be in its pacing it uses that to have secondary character to provide humanizing moments amidst the aftermath of a violent sequence. One such example of this occurred early on in the movie; Tatsuo job is to set up Senator Domon with women to sleep with, and after a bad night (which occurs offscreen) he has a lengthy conversation with the women involved. Being unable to view them the same way his Yakuza brothers do, and it’s many moments like these that elevate Kamikaze Taxi into something special. What short bursts of violence it contains become layer with meaning for the participants, and for the viewer weaves an engaging narrative sharing a intimate understanding on it complex issues.

“Bite on this while I kill you gently”

Kamikaze Taxi starts with Tatsuo Minami story of desiring vengeance is just the beginning of the movie before transitioning into the meditative phase of a road movie an hour in. It is right here where an already good movie with a great foundation becomes even better. On the other corner we have the other major character of Kantake (Koji Yakusho). The unlikely bond, and connection Tatsuo, and Kantake form elevates the preceding events of simple ideas, but broad introductions, and give them depth here. Themes such as what is truly consider Japanese, the long term effects of violence on a person, what defines a Kamikaze or Yakuza, moving from past prejudice, and other subjects fully develop.

One of Kamikaze Taxi noteworthy scene requires the characters to reflect on their life choices through a seminar of sort. Encompassing the comedic, and the dark nature of its characters into a single sequence. Scenes like these are a dime of dozen in Kamikaze Taxi allowing even minor characters to influence the larger narrative in the end.

Not bound to just tackling contemporary issues specifically pertaining to Japanese culture it also delves into more universal themes. The already mention viewpoints of violence, pride, love, freedom, and ultimately forgiveness. Much like its characters, the story leisurely makes several stop during its journey. Either to build the bond between its lead through something simple like navigating a map of Japan, or taking a breather from the harrowing situation with a drink. Characters aren’t afraid to discuss the harsher aspects of life the closer they get to their journey’s destination, even contemplating simply escaping from their dangerous endeavors. Through their many exchanges, understanding these characters along with developing the fictional backdrop tackling real issues become easier to grasp.

What better way to end a fun party than telling everyone about my tragic past.

The journey this film will take you on isn’t all smooth. For an ambitious film with a desire to tackle a number of themes it is riddle with some issues. One of these being the complete disappearance of the pseudo-documentary framing device from the narrative. It’s disappearance isn’t harmful to the movie since it setups all the working pieces that later pay off once they get fleshed out. What is potentially harmful to the viewing experience is the circling around of established information. Kantake in the movie expresses his issues finding work in a country because of his ethnicity, but the documentary portion of the movie already set that up in its opening minutes. In context, Kantake explaining his situation makes sense, but within the narrative it’s just reiterating information with nothing adding on to it. They also eventually disappear from the movie making it have narrative inconsistency in its execution.

Perhaps the biggest hurdle for viewer in this movie is the way it ponders. There’s a lengthy sequence at some hotel where the characters are enjoying downtime from their journey. What occurs is a series of goofy antics before getting into the characters reflecting on their choices that led them to this moments. These halts in the movie can take several minutes before offering anything that could progress the story. Naturally being all over the place when it shifts gear into being a meditative road movie. These issues might detract from the experience for some viewers, and to a greater extent hurt the viewing experience since the film delve into many subjects.

By the end of the film, it’s obvious by how much I gushed about the writing I simply was in awe from such a thought provoking piece of cinema. Rarely does a film for me ever reaches the narrative heights Kamikaze Taxi accomplishes in virtually all aspects. I was never bored watching Kamikaze Taxi thanks to its engaging characters whom I grew to like a lot on their journey. Spending so much time leisurely developing, and fleshing out everything it tackle created an rich experience not offered to me in many films. Its shortcomings aren’t things I’ll excuse, but they are weaknesses I can forgive for everything I feel it excels in creating.

In its natural habitat, the third wheel.

Director Masato Harada helms the film with ease. Visually arresting with it neon nights city, flute center score, and a dreamlike mood that make it an absorbing viewing. The Peruvian flute like music in particular grew on me over time giving the film a unique soundtrack that I can’t recall other Yakuza movie ever having. With the exception of a few scenes requiring over acting, Masato Harada is able to keep the film realism in tact. Providing the film a grounded touch that it needed, especially during the more solemn scenes when characters are opening up about themselves. Rarely ever using music to influence the audience what they should think during an important character building scene. He also isn’t afraid to inject a bit of humor to prevent the film from becoming overly moody. One sequence where his direction is a bit of a misfired is when Koji Yakusho, and Taketoshi Naito (Senator Domon) only scene together involves an over the top outside inference in their encounter. It’s pretty odd witnessing something over the top happen in the movie when everything else is somewhat grounded.

Standout actor here is obviously Koji Yakusho as Kantake who provides the film most grounded performance. Carefully able to hide the inner turmoil of his character without making him come across as emotionless towards those around him. Without question, his shining moment of acting is when during an long take he reveals his tragic past to the other actors. It’s a scene that is perfectly solemn, and delivered with the right amount of emotion. Overshadowing his co-star Kazuya Takahashi who plays Tatsuo. Takashi isn’t bad in his role either; displaying his character insecurity to fully be a Yakuza with such a sensitive side to him. As the film progresses, Kazuya portrayal of Tatsuo slowly matures into a deep thinking young man by the end. Embodying the puzzling mindset of Tatsuo perfectly. When together, Koji Yakusho, and Kazuya Takahashi are simply wonderful together.

Those wounds are nothing compare to what I went through in Battle Royale.

Taketoshi Naito who plays the racist, and at times misogynistic Senator Domon does a great job in his performance. By choosing to not over act his character feels more humanize, and detestable for it. Benefiting the film by giving it a more realistic depiction of this film’s version of a villain without actually being one. Mickey Curtis who makes sporadic appearances in the film is a treat to watch. His laid back attitude as a Yakuza underling rightfully gets across his character experience. When needed too, he definitely display his tougher side. Finally, Reiko Kataoka who just like Koji Yakusho later becomes a mainstain in the story. She also deliver a great performance on the level of Koji Yakusho, and Kazuya Takahashi. These onscreen chemistry is simply perfect able to make you believe they have created a great bond together despite the small amount of time they spent together.

Kamikaze Taxi is my kind of art film; slow moving, but visually alluring, loosely meditative narrative, and handling of several subject matter gracefully. It’s a film that was a more than pleasant discovery during my viewing, and giving me far more than I could have ever expected from it. I expected, from the trailer, a lengthy Yakuza epic with violence throughout, but instead what I got is a far more ambition, humanizing film that not provides frank criticism on Japan’s culture, but also a film that never bored me, and serves as a personal reminder the profound power arthouse cinema can have.

Rating: 10/10

Cinema-Maniac: The Man from Nowhere (2010) Review

In the action genre it’s difficult to find a universal meaning for what classifies a great action movie. For some it could simply mean the film in question has plenty of violence to satisfy adrenaline junkie. While for others it could simply mean the story took it time to make the preceding events meaningful if it comes of the cost of little violence being shown. If there is a middle ground in the genre it’s often not dictated by it main character, but rather the writer. Anyone who writes action films must understand their main character thoughts, and physical limitations (if any) before the presence of a threat ever appears. If not accounted for this crucial building block can misguide the writer. For example, if the writer is attempting to do the everyman hero archetype correctly than viewer exposure to seeing them perform superhuman feat, and surviving multiple impossible scenarios will serve against the everyman hero archetype. There’s also the argument that the action genre already peaked unable ever surpass the classic films whose influence is still present in the genre today. I on the other hand would say since the 80s the genre has been improving in certain areas, especially when it comes to crafting characters, and stories that never loses the viewer attention even when no violence seems presence. Jeong-beom Lee’s film, The Man from Nowhere/Ajeossi, understands the genre, but thanks to smart choices in the script, and execution of a familiar template creates a film that embodies the best aspect it genre at it most meaningful.

Go make me a sandwich you emo!

The Man from Nowhere follows a quiet pawnshop keeper with a violent past taking on a drug trafficking ring in hope of saving the child who is his only friend. Our leading character is Tae-sik (Bin Won), who on the surface is the every man action hero archetype who seems distant from people. In the action genre, the mysterious loner who some innocent person (usually a child or navie young woman) befriends by being persistent isn’t new in films. What matter most when it comes to familiar ideas, and plot devices is the usage of them. In The Man From Nowhere it gets virtually everything right about good writing from the very first scene. Setting up story elements that will later be expanded into greater significance as it progress. It sets up important story pieces for about half an hour establishing its central relationship with simple key scenes, and setting up intrigue in Tae-sik without directly revealing anything about him. You know from the premise Tae-sik cold attitude towards his neighbor child isn’t without reason. How writer, and director Jeong-beom Lee uses this plot device correctly was not reserving, displaying Tae-sik emotional attachment solely for its climax. By doing this, Jeong-beom Lee film benefits from this decision since it allows Tae-sik to be further developed as a character, and let the film not be reliant on showing the cold hearted protagonist become emotional for its central storyline.

It’s first thirty minutes are significant to how well the story is structure. Starting off like a character drama before switching gear in its second act to be an action thriller. For example, one moment in the film shows Tae-sik paying his respect to a woman whom nothing is revealed about. As the film eventually reveals Tae-sik connection to this woman the pieces fall into place for his attachment towards his neighbor daughter Jeong So-mi (Sae-ron Kim). It becomes a meaningful revelation since before Tae-sik past is revealed he is shown to care for Jeong So-mi. Another example of a well executed plot device is from a simple phone call. It’s between two criminals where a simple exchange is in placed to move the story forward. What detail is given, but not placed directly at the viewer attention is a snippet of dialogue. In context, it does more than move the story forward as a couple lines is given more significant later in the film. One of the best part of the story is how plot devices are more meaningful by the way they were used, and when to use them at the right time. The only serious issue to be found with the writing in its first act is in a scene where Jeong So-mi talks to Tae-Sik in a alley. It’s basically the equivalent of Jeong So-mi breaking the fourth wall to tell the audience to feel bad for her since she has a terrible life. It doesn’t help that the way it filmed explicitly shows Jeong So-mi character turning around, and describing how she is use to being neglected. It’s a heavy handed moment despite being well acted by Sae-ron Kim.

Freeze…get it guys cause it cold, and raining?

Once the story kicks in it never lets up, nor does it undermine the importance of focusing on characters. As it story expands into something larger Tae-sik becomes more developed as the film progresses. Another positive of the film is never forgetting about its characters preventing itself from oversimplifying the conflict. While it is easy to know whom to cheer for in the film, the execution of it the story makes it clear that a good guy, or a villain is not just a label certain characters carry. Succeeding in giving characters small traits that attempt to make them more human than just an obstruction of its main character goal. The film weakest character are easily the policemen whom serve to reveal information on the current situation, and discovers details on the protagonist of the film. What Jeong-beom Lee accomplishes through his writing, and choices is delivery an action film that places equal importance on providing a good story as well offering familiarity within the genre. Action junkies, and casual viewers will probably know the beats of this specific premise, but it’s much more than a well written film. It’s a step forward for the genre that often recycles ideas by giving it more depths than what was expected of it in the past. Displaying a willingness to take the genre to greater heights in a different way.

Actor Bin Won takes the lead as the quiet, hardened pawnshop keeper. Striking a balance between the everyman, and the cold character he display on the surface. One contributing factor to his performance is being able to balance the material he’s given with ease. Won does not deliver his dialogue emotionlessly when he speaks. Knowing through his delivery how to properly express himself in the context of certain scenes. When it comes to scenes where Bin Won has to display other range of emotion it feels consistent for the character. Bin Won does not overact in any facet of his character so he is never too robotic sounding, nor too emotional when it demands him. Another advantage to Bin Won performance is seeing him performing the action sequences himself. There’s a stunt in the film where Bin Won is an executing a leap from the second storey of a building, leaping through the window followed by a roll on the ground to break his fall, and all done in one swift take. Moments like these further emphasizes not only Bin Won ability as an actor to commit to a role, but further makes his character more involving knowing the actor himself is performing these scenes blurring the line between actor, and character. 

Little girl. You begging doesn’t work like this right?

Actress Sae-ron Kim does well in the role of playing the film naive, persistent child Jung So-Mi who befriends the quiet pawnshop keeper. She makes her character sympathetic, and in the few scenes she shares with Bin Won they play off each convincingly. Never once does she come across as pouty, or annoying the film. It’s remarkable that in her young age in the film, she actually has an understanding of how to deliver her material properly. Kim Hyo-seo plays Hyo-Jeong (So-Mi’s mother) is in few scenes, but contributes to the film nonetheless. Her few moments in the film shows the actress playing a struggling mother. Despite the length of time she’s actually makes good use of her time. Then there’s Kim Hee-Won, and Kim Sung-Oh both of whom do a good job in their roles. Usually in action movies whenever an actor is given a villainous character they go all out. However, both Hee-Won, and Sung-Oh performances are grounded making their characters more human. By portraying them as criminals it helps take them more seriously if they simply went out to be comically evil.

The supporting cast in general places good effort into the film no matter the size of their role. Actor Thanayong Wongtrakul is probably the last actor worth mentioning in the film. Wongtrakul plays Ramrowan who’s basically the adversary of the film protagonist. Like his other co-stars whom play criminals, Wongtrakul performances is also grounded making his character more memorable than it would have been otherwise. The film score is composed by Hyun-jung Shim. His score does include the bombastic sound one might expect from the action genre, but the noteworthy tracks are the ones that evoke feeling of a different genres, or uses unorthodox instruments to compose an epic sounding soundtrack despite its modern setting. Two outstanding tracks from the film are Chain of Mystery that evokes feeling of uneasiness perfect for a horror film, and the tracked named after the film itself. Thankfully, director Jeong-beom Lee knows when to implement the soundtrack to emphasizes a scene to make it more impactful, and when not to use too.

Maybe it wasn’t a good idea to just chill here until one guy arrived.

From a technical standpoint Jeong-beom Lee film has the polish look of a blockbuster. Tae-yoon Lee cinematography is simply beautiful to look at, even during the film’s darker moments. Lee isn’t afraid to show the few instances of darker material thus giving the conflict a greater sense of weight. Thankfully, Jeong-beom Lee also knew to use shots of dark material sparingly so the effect wouldn’t diminish over time. When the film finally gets to the action scenes they are well worth the wait. Despite the gap between action scenes, and length between them all of the set pieces aces good filmmaking techniques. Not only does Lee use long takes of his actor performing the action sequences, but make sure to never lose the audience. The film first fight scene last less than a minute, but the performance, and the way it shot doesn’t diminish it’s a good action scene. Bin Won convincingly performs the fight in the speed it was required to pull it off. The film’s climax is easily the film’s most memorable sequence. Not only contextually is it the most satisfying set piece since the film builds up to this moment, but the actual action scene by itself is well choreographed. It doesn’t exaggerate Bin Won ability within the scene, and does a good job in giving multiple performers within in the scene something to do. So you won’t see an actor in the background simply seeing the hero killing someone making it also feel grounded. There’s also some practical blood splatter effect in the film for added effect in its brutality. When the film gets to the knife fight between the hero, and his adversary it’s more believable than one might expect. The blades of the knives barely clash with each other with the fight sequence playing more on overpowering the other opponent. It also doesn’t last too long to take away from the serious tone of the scene.

The Man from Nowhere excels in execution, and delivery of its own material creating a must see film. There are films I shower with endless praise, and there’s also films I personally would recommend reader to check out, even if it means they might trust my viewpoints on films less if we disagree. This is a film I would personally recommend to anyone reading this. While it does the carry the label of an action film, and contains familiar story beats the execution makes the film more meaningful than the simple label of being an action film. It might not succeed in making you emotionally invested, but an action film like this that places equal importance on good characters, and story as well as providing of what expected of it within the genre are commendable traits. Standing as a good example of pushing the action genre forward in a positive direction, and offering more than what audiences demanded of such films from the past. It’s a masterpiece in the genre, and is one of the most satisfying (and crowd pleasing) film the genre has produced.


Cinema-Maniac: Time Lapse (2014) Review

Time traveling movies have the largest amount of room for error in their writings. Creating paradox, plot holes, and inconsistency. This all applies to all forms of stories, but the ones where time traveling is involved are at greater risk coming across these issues than any other type of stories. However, the less amount of errors you have in a time traveling story the better the overall result can be. Time Lapse is one of those instances where a simple approach to a complex concept makes a good film.

Time Lapse follows three friends discovering a mysterious machine that takes pictures 24 hours into the future and conspire to use it for personal gain, until disturbing and dangerous images begin to develop. One aspect about Time Lapse that most films about time manipulation do incorrectly is over complicate the mechanics behind time travel. In this film, upon the main character’s discovery of this camera the rules are laid out, and are easy to understand. Our characters attempt to understand how this camera, and test it out to confirm it functions.

Characters in the present are given a picture of themselves 24 hours into future doing various things, and the characters in the present timeline have to match the photo in 24 hours so their past self can receive the same photo. The characters never travel between timelines meaning there’s less chances to create a paradox. If something goes wrong the characters, at no point, can they travel back in time, and undo an event. At most, they can simply warn their present self in a photo from the future. Another nice bonus to the camera is how it’s used to foreshadow events in the future visually. With this simple element the writers are allowed to focus more on the characters than spending several scenes discussing the mechanics of the camera. This also gives the writers opportunities to set up seemingly unimportant elements of the film, and bring them up later to be used later on.

Characters are few in number, and written in a way they can carry the film on their own. Throughout the run time the film never loses focus on the main characters. Finn (Matt O’Leary) is an aspiring painter who can’t seem to get the final product from his mind onto a canvas. Jasper (George Finn) is a slacker who attempts to make money through illegal gambling like betting on races. Finally, Callie (Danielle Panabaker) the supportive girlfriend of Finn. These three characters are always together creating an intimate tone within the story. Not only that, but their interactions with each others conveys these are long time friends. Instead of telling us about these characters relationship with each other it shows it to the viewers. Through the course of the movie greed will take over each of the character taking a toll on them in different form. These three characters are dynamic making the events that prevent the story from heading into a linear path.

These character gradual changes add twists to the story while never over complicating the overall storyline. Character relationship are explored in the film. From Finn and Callie relationship that seems rocky to Finn and Jasper that argue over how this camera should be used. It’s all driven by the characters. Best aspect about the small cast is how clear everything is about them. They aren’t complex characters, but their simplicity work extremely well in the confined in the story presented. The film does sprinkle discussions about the consequences of playing against time, but the concept isn’t fully explored compare to the character relationship that becomes rocky over time.

As much as I am praising the film there’s evidence of the low-budget indicating how events fold out in the film. Despite giving the film my highest rating possible these issues prevent Time Lapse from feeling like a great experience. For starter, one of the film’s central conflict revolves around illegal gambling, and a bookie who doesn’t like the idea Jasper (one of our three main characters) is winning so much money. This conflict could have easily been remedied if Jasper simply went into legal gambling like buying lottery tickets. This huge over sight is done to provide conflict to the story in the form of Ivan giving a life threatening presence, and actual consequences of their usage of this camera besides their friendship. A more organic conflict arising from Jasper large winnings was possible, but wasn’t taken for the sake of the story.

Another is the lack of location within the film. Everything basically takes small in one small area. In order to compensate for the lack of location the filmmakers opted for a more personal story involving its characters. Unfortunately, the camera never leaves the gates of this one area so visually you’ll be seeing the same rooms, and the same set without it ever changing. It’s all shot well thanks to cinematographer Jonathan Wenstrup polish, tightly confined, and clear look for the film. One aspect that wasn’t a hindrance, but could use an explanation is one moment in the film. Jasper takes a picture from his phone of the photograph from the camera which manages to show the same thing. What this says is basically a photo taken by any other devices other than this huge, futuristic camera can also capture a photo that show events that will transpire 24 hours into the future. The film never goes into the creation of this camera, but even if it did it likely would have sounded preposterous given the huge size of the actual camera.

The one aspect that makes this whole film come together is the acting. Matt O’Leary takes charge as Finn. He’s charismatic, and a capable leading man. His acting shops proves his immense likability being funny, dramatic, and struggling internally sometime all within one scene. Matt O’Leary has a good grip of his character that he becomes Finn without questioning it. George Finn plays Jasper with a good portrayal of his slacker turned into psycho. What best about this performance is George Finn doesn’t go over the top when showing the darker aspect of his character. He simply hints at it throughout with simple gesture making for a calm psycho. Danielle Panabaker plays Callie making her likable. Unlike George Finn character, Panabaker isn’t given enough scenes to gradually show her transform into a different character. However, Danielle Panabaker is able to hide her character ulterior motive without viewers catching on. Together all three actor keep viewers engaged during a slow build of the story. Their chemistry with each other is natural in every scene they take part in. Selling quickly the idea these are long time friends.

The supporting casts are a nice addition from Jason Spisak as the bookie, and David Figlioli as his bodyguard. None of them look intimidating, but are their performances work. The remaining cast member to mentioned have brief appearances in the film. They won’t make much of an impression since their screen time is very brief. Time Lapse soundtrack doesn’t contain much music making the noteworthy track, “Spider” by the band The Autumn Owls easy to spot. All the music will go unnoticed since it’s not a strong presence in the film. The music isn’t huge on a tracklist, but it’s effective nonetheless.

If you’re still pondering over the rating (even you read the previous paragraphs) here’s a bit more insight. The choices made by the filmmakers are equal to those done by veteran filmmakers. You have a great premise, and plenty of ideas with it to tell engaging story. However, there’s a giant plot hole that should prevent the story from being told the way it is. Do you compromise an original vision, or rework to way in a new way? In this film, nothing feels like it was compromised because it was engaging to forgive it giant plot hole, and become immersed in the story. Every choice from the casting, the look, and even the execution was expertly handled by director Bradley King in his first feature-length film. Not only that, but also compliments to both Bradley King, and BP Cooper for their written film. They do not have experience on under their belt, and do display potential talent in crafting a film. Whether or not these two will continue to make films remains unanswered, but they with their showcase with film is any indication they might be capable of creating a classic film.

Time Lapse is an enjoyable, simple film that’s better written than you might expect. The choices made are similar to veteran filmmakers in crafting a good film. It won’t have the wow factor of any time travel classic due to some sacrifices in the writing, nor the technical prowess to stand out, but it’s nice a little gem in the low-budget sci-fi department.