Yaguchi’s horror will please audiences new to the J-horror genre as well as long-time fans of the genre.
Under Ninja (2025) review
Great mindless fun, perfect to wash away the stress that has infiltrated one’s body during the week.
Demon City (2025) review
A fun, yet extremely forgettable experience.
Bullet Train Explosion (2025) review
A competent sequel that will please audiences and invites spectators to explore Sato’s classic.
Faceless (2024) review
A great thriller that beautifully shows the destructive role the image can play within the societal field.
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Lumberjack the Monster (2023) review
A great example of a filmic experience that is helmed by a director that is uninvested in the material and, consequently, merely does his bare minimum
The Godzilla Project: Godzilla Minus One (2023) review
A triumphant return of the most beloved Kaiju of all and a deeply emotional experience that re-assessing the themes of the original Godzilla in a refreshing way.
Exit 8 (2025) review
Genki Kawamura delivers an engaging and visually arresting psychological horror narrative that takes the concept of liminality to its anthropological origin.
Golden Kamuy (2024) review
Shigeaki Kubo reaffirms that he has the skill and talent to bring action-driven narratives to life in a satisfactorily way.
Undead lovers (2024) review
Matsui delivers a heartwarming romance narrative that, due to its fresh approach to certain tropes of the genre, rises above the common derivative romance drivel Japan usually produces.
A Girl named Ann (2024) review
One of most upsetting confrontations with the way the societal and familial Other can fail the subject.
Cloud (2024) review
Kurosawa delivers a biting critique of way capitalism and consumerism has transformed our subjectivity and the way we interact with others.
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