• Asuran



    Resembles a Chang Cheh movie but somehow more brutal because there are more elements grounded in reality.

  • Resident Evil: The Final Chapter

    Resident Evil: The Final Chapter


    It's almost as if Anderson took up a challenge to pack as many set pieces as possible into a 106-minutes film. The fast cutting action brings an exhilarating pace in its countdown to the climax. This series is always about him reorganizing the particles of this fictional world. The final plot twist is his best effort against the constraint of serial storytelling in movies and real life factors (ex: actors available to play recurring characters.)

  • Tempting Devils

    Tempting Devils


    Being my first Brisseau (his final film, probably not the best place to start), I find its affinity to Eugene Green's recent films shot on low-budget digital. Both are trying to find enlightenment through their specific measures. In Brisseau's case, it's sex and spiritual detachment. Even by his notorious reputation, his film is gentler than I imagined, the gratuitous sex scenes actually bring positive energy.

    From what I've read on his works, the ending shot might be a great summation to his interest in mysticism.

  • Shadow



    Closer to Chang Cheh than Kurosawa. Thematically shallow, and at times limp drama, but Zhang always manages to create some poignant scenes out of convoluted plots. The princess and Yang Ping subplot doesn't make any sense, but somehow justified by some great actions.

  • Resident Evil: Retribution

    Resident Evil: Retribution


    Even though this is still heavily confined to the coherence of "evil Umbrella" narrative, the plot design is probably the best in the series. The virtual simulations allow Anderson to bring back old characters and creatures into new settings. It feels like a much needed rejuvenation to the dead-walking series.

  • Monster Hunter

    Monster Hunter


    I love how dialogue-free the first two act are, just pure action-driven spectacles. Who really need back stories or expositions!

    And Palico (or airu) with its very little screen time is way more enjoyable than that Marvel raccoon.

  • Gamak Ghar

    Gamak Ghar


    I'll have to watch Hou's A Time To Live, A Time To Die again to know why I don't like this one as much as I should have. But the first, and to some extent, the second part are really detailed Ozu-inspired passages.

  • Figure Minus Fact

    Figure Minus Fact


    Unrelated objects and images, once the connections begin to conjure up in my mind, there seems to be a story just below the surface.

    yeah, it must be the baby.

  • The Mermaid

    The Mermaid




    note: there's a visual gag/reference to Adam Cheng Siu-chow, I wonder if it's ever pointed out in subtitles.

  • Tape 39

    Tape 39


    Tape 39 can be seen as a prequel to Jangarh Film One in terms of timeline and context (how Jangarh's upbringing cultivated his art). While Film One is a more complete film which also directly interrogates the relationship between modern art institution and artist from tribal area, 39 looks at this issue by observing the landscapes.

  • Present.Perfect.



    Only until the third section of the film, when Zhu zeroes in on a select number of "anchors" from the second section, the film becomes an updated version of her previous work, Another Year. Her method may have changed, but the careful attention to the individuals remains in her observing eyes.

  • Humongous!



    One to keep an eye on. Not surprising that Aya Kawazoe studied under Shinya Tsukamoto (and Shinji Aoyama).