Sana (2023) review

Takashi Shimizu cannot avoid his film from being held back from the fan-service it needs to deliver.

Suzuki=Bakudan (2025) review

A thrilling ride that brutally confronts the spectator with the effects of the over-emphasis of pleasure and consumption within social interactions on the subject

Awake (2020) review

Atsuhiro Yamada ensures, by delivering an effective visual and musical frame, that his poignant psychological portrait result into a thrilling finale and, ultimately, a heartwarming conclusion.

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

Cyclops (2018) review

Oba combines a composition that emphasizes the troubled subjectivity of the main character with a narrative that highlights the rot within the Other of the law

Onpaku (2022) review

While Fujii does not re-invent the J-horror genre with Onpaku, he does prove the horror-frameĀ  can still be exploited to deliver satisfying horror narratives.

Noise (2022) review

A highly satisfying experience that delivers suspense as well as good dose of touching emotionality.

Rageaholic (2022) review

“A great dystopian narrative that clearly gives expression the director’s fear of certain right-wing tendencies that linger within Japanese society.”