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Ai amu a hîrô (2015)
Zombies Done Right!
After watching dozens of zombie flicks, you tend to notice that they hordes of undead are similarly conceptualized. That isn't to say the movies are necessarily bad, but without adding anything new to the genre, I normally don't anticipate zombie movies being very good.
While Shinsuke Sato may not appear to add revolutionary depth to the zombie trope, I was thoroughly engaged by the amount of twists and turns they put into the enemy design (literally). The contorting, writhing movements of the zombies in this film definitely add to the fear of their aggression.
The CGI didn't fail either, adding a visceral and grotesque motif to the monsters through darkened veins, swiveling eyes, and surrealistic abilities. Overall, it adds to the gory thrill-ride this movie takes you on and even supplements these conceptions with a well-wrought story and engaging characters.
Speaking of, all the characters felt fresh. The characters that make up the protagonist group are all fleshed out nicely. Their personalities match their actions and their personal growth over some of the problems the movie presents makes their character development all the more satisfying.
The only downside would be that I wanted more. Not necessarily in a sequel, but there are some portions of the film that had me pining for answers. I wish that some of the longer battles would be toned down in length so that I could explore the narrative developments of the characters, but that's a small qualm with this movie overall.
If you are looking for a riveting story with an interesting take on the zombie trope, I would suggest watching I Am a Hero. The effects are great, characters are written well, and the overall idea behind the film is a great one.
Annihilation (2018)
Engaging Visuals with Poor Execution.
I didn't read the book prior and I had no knowledge of the film even being made. Without any presuppositions about the movie at all, I found myself pretty encapsulated at the start. It was an interesting premise with unique visuals, which was enhanced by Portman's acting.
Unfortunately, the glaring plot-holes started to become more noticeable when they stepped into the shimmer. Things surrounding the military, research crews, and other science fiction take a lot of prior knowledge to set the scene appropriately. Apparently the writers didn't think much of that through and it becomes overwhelmingly salient as the film drones on.
The more I continued to watch, the more I became bored with the premise. It almost came off as pseudo-intellectual. Painting a picture of profundity through continually confusing the viewer with empty plot points, but showing some shiny imagery to encapsulate them once more.
The unique visuals of the film are only the thing that carries it, but there becomes a point when even that can't band-aid the outrageous holes within the story, characters, and writing style. Near the end, I was almost laughing from how brazenly silly the narrative turned out to be.
As far as science-fiction goes, Annihilation has a couple of interesting developments that are best left on paper. In execution, it becomes a mess of quasi-intellectual, abstruse nonsense and fails to deliver anything new, engaging, or spectacular to the genre.
Tôkyô vanpaia hoteru (2017)
All the Flair of Sono Without the Structure.
While the directing of Sono normally begets disturbing visuals and grotesque violence, most of his works still have an abstract narrative that leaves a lasting impression on the viewer. Upon initially seeing this series on Amazon, I thought I would be getting myself into something similar to his previous works. However, his impression on Tokyo Vampire Hotel isn't as prevalent as I would have liked.
Throughout the show, you can definitely see his signature charm pouring through with the visuals. The choreographed battle sequences are peppered into the series eloquently, even if they drag on a bit longer than you might have expected. This isn't entirely contrary to Sono's previous titles (see: Why Don't You Play in Hell) where violence drones on for several minutes, but the creativity from that movie are sorely missed here.
It also felt as though Tokyo Vampire Hotel had a couple filler episodes. This was odd for a short series; almost as if Sono was pressured to create something that stretched beyond his initial vision. The desultory structure of this show is prevalent, but don't let that dissuade you from watching it as I was still thoroughly impressed with the ending that does a great job in tying the confusing story together.
Overall, I think it deserves to be watched. The plot is just as rare as any other Sono work, even if it's a bit against the grain of his previous film-making forays. The characters are interestingly designed and the dialogue suits them perfectly; the choreography had some really clever moments; and the soundtrack is really memorable.
The only downside is that it is an Amazon original, which makes it difficult for some to actually watch it. If you can find a way to view this, definitely give it a go. I'm sure you won't be disappointed!
Mom and Dad (2017)
Interesting, but Ultimately Confusing.
When I first watched the trailer, I thought this would be a pretty brainless movie. Given the premise, I thought I'd enjoy a couple of violent shenanigans and feel content with simply that. Unfortunately, Mom and Dad fail to deliver any ending, which leaves even the most uncomplicated movie a confusing mess.
The strong start really leaves you excited for the rest of the movie, showcasing this strange parent uprising pretty damn well for the first few minutes of the movie. This ultimately falls short when the scope of this apocalypse is condensed into one single family.
Admittedly, that would have been a fine idea - but at the end of the movie, I felt like I wanted more. With such an original concept, you'd imagine that they'd have more scenes that portrayed this apocalypse outside the breadth of the single family. Unfortunately, they failed to deliver anything substantial.
Even when the setting was shifted to the one family, I felt more engaged pointing out the plot holes than I did actually enjoying the film. Even though this movie is supposed to be nothing more than a murderous blur, I didn't really feel invested with the movie as it went along.
In other words, it became predictable as it went along.
The only thing that gave me hope was the ending. I was really excited to see how they would wrap this one up. They even hinted at things throughout the plot, like the television static and the unusual ringing. But this was to no avail.
At the end of the movie, I felt disappointed. I came in wanting some mindless, original savagery. What I got was a somewhat intriguing killing spree affixed to an incredibly underwhelming plot, which left much more to be desired.
Jisatsu sâkuru (2001)
Imbrued. Both in Plot and in Meaning.
As I scroll through reviews, it seems like Suicide Club is either pointless tripe or touted genius. In my opinion, the movie is what you make of it.
Expected from the title, some horror fans will delight in the overt use of violent visuals. It sets this example within the first couple minutes of the film, showing an overwhelming amount of blood filling a Japanese train station; the byproduct of fifty-four young girls clasping hands and jumping in front of an oncoming train. For people with a strong stomach and a keen interest in bloody portraits, Suicide Club definitely doesn't fail in that department. But while I was enjoying this part of the film, I noticed that the further the plot developed, the more questions I began asking. Unfortunately, most were left unanswered (as the movie is quite ambiguous that way) and turned into theories, but I believe this is where the genius of the film comes into play.
Sion Sono is making a point about Japanese society, especially as it pertains to suicidal ideation and pop culture. There are points throughout the film where the plot becomes lucid, expounding upon the ideas that went into the film from the director himself but cutting itself off just short of the point. Suicide Club isn't in the business of feeding you answers because it seeks to motivate you. It desperately pines after your thoughts, theories, and questions. It forces you to reply to those yourself without being coddled by the story. In this regard, this is why Suicide Club is something that I would consider a masterpiece. Everyone will come out of the movie with their own ideas about what it all connects to. This is partially why the reviews are love-hate since many believe there is no meaning - and that's fine too.
If you are seeking a movie that will sate your need for gore, you've found the right one. Just be wary about the depth of this movie, as I think you might be disappointed afterward if you are not actively participating. In other words, you may not find this movie quite worth your time if you're not willing to put in the effort to understand it. The plot continues to thicken as the movie carries on, creating an ending that never delivers the full-circle satisfaction of most movies nowadays. Characters appear constantly without anything explaining their existence plainly - and with progression for those characters just as obscure, you're likely to feel a bit let down with this title if you're looking for a little mindless fun.
Regardless, I think Suicide Club is a great watch. The carnage that ensues throughout the film is engaging and different, making every scene feel like pins and needles until the death arrives. The plot is thick with references, nuance, and metaphors; which might excite anyone looking to trade theories on the meaning of the film. The character progression leaves a lot to be desired, but the vagueness of these people is almost needed to amplify the underlying point the film is trying to motivate you to figure out. Honestly, I stepped out of Suicide Club with a great ton of enjoyment. As this will become my first foray into the wonders of Japanese horror, I'm glad this was the movie that christened that.