Miike’s narrative delivers everything a fan of the previous narratives desires and even succeeds in inviting newcomers to delve into Reiji’s past exploits.
“A enlightening chat with Norman England, the author of “Behind The Kaiju Curtain” (2021)”
“A pleasant and truly satisfying ride for the whole family.”
Find out which films we selected for our top ten Japanese films of the last decade (and also discover Onderhond’s second opinion).
Miike’s horror-narrative provides all the thrills, and tropes for that matter, fans of J-horror have come to expect from the genre.
“We decided to sit down with him and interview him about the current state of the Japanese industry, how he became a film-critic, his style of reviewing and more.”
“A clear case of a film translation gone wrong. People are, in fact, far better off playing the game.”
“One of the most pleasing musical experiences of recent years and one fine encouragement to people to find and do what they love.3
In short, Japanese cinema provided something for everyone – and through many of these cinematographical products a window on contemporary Japanese society was offered. Of course not all movies made this year are a must-see. So with our top 10, we aim to give a personal advice on which movies one should see.
“As limbs get scattered and blood flows, one comes to realize that there might be only one Japanese director who can compose these massacres with such stylish precision.”
“The very tangible framing of (…) [the] disturbing irrationality [of abuse] and the denial of justice this irrationality introduces is Sakamaki’s greatest triumph.”
“Miike might have saved ‘Ware No Tate’ from a complete disaster, his visual talent cannot hide the fundamental flaw of the narrative.”