“While Makabe’s narrative does not offer anything truly new or groundbreaking, what it does brings to the table is served with excellence.”
“A truly enjoyable comical experience.”
A classic that, as a critique of capitalism and materialism, has not lost any of its relevance.
“A pleasant lighthearted narrative that expresses a (vain?) hope for a more thoughtful form of Japanese politics.”
“A highly entertaining and cleverly constructed sci-fi film that not only underlines the power of romantic desire, but also reveals how tricky knowing the future can be.”
“A great narrative that succeeds in exploring the very way that imaginary injuries and resentments erode family bonds, by causing a subjective blindness for the suffering of the other.”
A great experiment of the absurd, but its full potential to satisfy the spectator is hindered by its somewhat lackluster composition.
“Yamada’s latest offers not only a powerful homage to the late great Kiyoshi Atsumi but also a moving nostalgic ride along many of the iconic scenes of the series.”
A very pleasant narrative that vividly underlines the importance of social bonds for the integration of a subject within the social field as well as the fundamental role the O/other plays in the process of becoming a desiring subject.
“A jack of all trades but a master of none.”
Nishimura succeeds in delivering a visually pleasing and crazy love-letter to the culinary art of ramen.
While Not Quite Dead Yet is about the importance of communication and about assuming a desire as subject, Hamasaki’s narrative delivers its message in manner that is, when all is said and done, not alive enough.
Sion Sono does not only offer an eloquent celebration of the beauty of the crazy little thing called desire, but also delivers a truly powerful encouragement for the contemporary subject to unshackle himself from the societal or psychological imposed restrictions and fight for his/her desire.
Yamada still delivers that what makes Tora-san so enjoyable for audiences: his problematic truth; that the little freedom he has in relation to the Other condemns him to an existence of being, over and over again, duped by that very Other
“A piece of Japanese cinema history that no cinephile should miss.”