Reviews

Perfect Blue perfectly blends psychologically disturbed fantasy with grounded reality. Mima Kirigoe. A pop-idol. An actress. An X-rated model. Public image and its personifying echoes circulate around the world, adhering to the desires of endearing fans alike. But when their inspirational idol haphazardly shifts career, from pop sensation to dramatic actress, the psychosis of the modern consumer society ultimately changes with her. Saddened, angered and crazed. Mima’s abrupt persona altering career move may have developed maddened stalkers, including her fantastically imagined past self haunting the newly suppressed version. The late Satoshi Kon was known for seamlessly blending fantasy with reality. Depicting an opaque blurred line between delusions and actualities. None more so, than in his exaggerated psychologically disturbed work in Perfect Blue. For many the art form of Japanese...

Just seen this on All Hallows' Eve. It's a bit old, but gold! I definitely have to rewatch this, because you just got to pay attention to 'know' what is happening and follow the story. I think you'd better understand/follow the story and that it will make more sense when you watch it a second time. The whole movie experience was pretty much like every time you think you got it all figured out, you learn something new and turn out to be all wrong. I loved all those twists and turns and the is-it-real-or-not feeling like, is it really REALLY happening? Is it really acting for her job as a actress, or is it all just a trick of the mind...

As a biographical disability drama, writer-director Kirk Jones' I SWEAR joins the pantheon of cinematic gems that celebrate triumph over adversity. Films like MY LEFT FOOT, SHINE, THE THEORY OF EVERYTHING, and A BEAUTIFUL MIND may follow a familiar narrative\*\*, but in a cynical and darkening time, they continue to offer something vital: hope.\*\* I SWEAR tells the true story of John Davidson (the younger played by Scott Ellis Watson, the older by Robert Aramayo), growing up in Galashiels, Scotland, in a middle-class family. While attending the local primary school, John shows early promise as a goalkeeper for a youth football club, drawing the attention of talent scouts. But inexplicably, he begins exhibiting uncontrollable tics—violent, sudden body movements and shocking outbursts of profanity—all entirely involuntary. Worse still, a lack of understanding surrounding his condition...

They say you shouldn’t judge a book by its cover, because you just might be surprised by what’s inside. The same, of course, can be said for people, and that’s especially true when it comes to individuals with the rare and unusual condition known as Tourette Syndrome. And that’s precisely the point driven home by this excellent new fact-based comedy-drama from writer-director Kirk Jones. For those unfamiliar with Tourette, it’s a condition in which those affected exhibit potentially offensive and/or violent behavior unexpectedly in the midst of what seems like otherwise-“normal” activity. Quite literally, someone might appear to be carrying on a normal conversation one moment only to spontaneously and uncontrollably break into highly vocal outbursts of antisocial, misogynist and/or racially prejudicial language. Such incidents are also sometimes accompanied by physical tics that can lead...

I suppose there are bound to be some questions about whether or not this is acting or mimicry, but there’s no denying that the performance here from Robert Aramayo is truly engaging to watch. John Davidson is a confident and friendly young man from Galashiels in the Scottish Borders who might have a promising goalkeeping career looming until, at the age of 14, he develops an involuntary tic. This is swiftly followed by uncontrollable swearing and spontaneously violent gestures. His parents, whose marriage is already straining, and his teachers think he’s playing up and his school friends quickly turn into teasers and bullies. At this point, we head on a decade or so to meet a man who now knows he has Tourette Syndrome and who still lives a fairly medically and physically constrained life with his mum (a powerfully understated effort from Shirley Henderson). A trip to the supermarket with...

This is like a Charles Dickens tale, told in awesome animation!

Dreamworks at its best!!!! 😍😭❤️

FULL SPOILER-FREE REVIEW @ https://movieswetextedabout.com/the-wild-robot-review-balancing-technology-and-nature-in-a-powerful-story-of-emotional-growth/ "The Wild Robot offers much more than just immersive visuals, inspirational music, and diverse moments of pure entertainment - it's a deeply reflective story that tackles complex, relevant themes with a delicate balance of heart and humor. Through the robotic protagonist's journey of self-discovery, Chris Sanders explores the intersection of technology and nature, touching on topics like identity, empathy, and community, among others. This thematic depth, combined with astonishing animation and an exceptional voice cast, makes Roz's adventure not only one of the most remarkable movies of the year but also an impactful study of coexistence, adaptation, and what it truly means to live in harmony with the world around us." Rating: A

"Roz" is pre-programmed to help. Whatever it is that needs doing, it is there to make it happen - even when it is wrecked on an island populated by animals whose main desire in life is to eat each other. At least the arrival of the "monster" manages to galvanise them into one brief moment of hostile unanimity and so when they are not trying to cannibalise it, they are shunning it's efforts to be friends. After spending a year learning their various languages, there follows a calamitous escapade with a nest, a chase with an hungry fox ("Fink") and the creation of the most unlikely of family units charged with rearing a particularly timid little gosling whom they name "Brightbill". The scene is now set for some entertaining adventures as "Roz" has to teach her new-found charge how to eat, to swim and then ultimately to fly away so as to avoid the harsh winter. Each of those tasks comes...

There are times in our lives when nearly all of us exceed the limits of our capabilities (and often quite unexpectedly at that). But that can be a tremendous blessing, especially when we’re confronted by circumstances where such aptitudes are called for. So it is for Roz (Lupita Nyong’o), a robot who inadvertently ends up stranded on a remote island when the vessel transporting her crashes without warning. Roz isn’t alone, though; she finds herself surrounded by a diverse array of forest animals who, curious though they might be, don’t quite know what to make of the mysterious metallic stranger. Meanwhile, the somewhat bewildered new arrival is out of her anticipated element, too, expecting to be in the company of humans for whom she’s been programmed to function as a domestic servant. However, the fundamental disconnect between these parties gradually dissipates as they each get to know...

Typical Kurasawa creative framing in the beginning of the movie. The scene of dancers shot through bead curtains swinging in time to the music was brilliant. His choice of Miki Odagiri for muse is brilliant. Her laugh is infectious. The last act stuck me as rather static. It's perhaps from cultural mores about the dead I don't understand (like the taboo of not ever sticking your chopsticks into the rice bowl!). Kurasawa waxes philosophical on life and government here, and indeed, nothing has changed in 70 years.

I watched the English follow-up version (Living) before watching this original, and wished I had reversed my order. I liked Living much more than this original, but since both were written by the same Japanese scriptwriter, my preference might be cultural rather than due to quality issues, not to mention the scriptwriter had come up with improvements through the intervening years. The club and bar scenes near the beginning seem to go on much longer than in the remake, or at least it felt like it! And the same for the later scenes with the young woman. Then again, that wouldn’t be surprising since this older version is 40 minutes longer. Still, the differences in the details based on the separate cultures are interesting to note, and I recommend both versions, though I would start with the older one as I mentioned above.

Takashi Shimura is "Watanabe", an elderly civil service lifer who is told that he has terminal stomach cancer. After years of a disciplined, rather pedestrian existence he now feels a need to emancipate himself and start to live a little. The story is told through two threads: one looks at the end of the old gent's life from his own perspective; the second takes a retrospective view from the wake as his family and colleagues gather to remember him. Kurusawa is clearly making a point with this delicate, poignant film - perhaps life needs to be appreciated and enjoyed - not necessarily in a jovial, happy fashion, but by achievement. In this case "Watanabe" sets about using his position to help locals get a park, but he also starts an empowering relationship (platonic) with a younger girl, who is quite keen on her food, it has to be said. As his colleagues at the wake suffer from excesses...

This is my favorite movie from Miyazaki. The visuals are great. The characters are great. The voice acting (English version) is great. The animation is great. Music is great. The story is good. Everything about this movie is so cool and it's just really fun to watch.

When a village is tormented by a wild boar, it falls to the young "Ashitaka" to sort it out. Turns out though, that it isn't an ordinary beast - and in the fight the man is afflicted with a curse that requires his journey to the great tree god to put right. His travels lead him to the unscrupulous "Lady Eboshi" who has developed a smelting process that enables her to make guns - giving her not only advantage against the other local clans, but also helping her on her quest to kill the gods and the wolves lead by the Princess Mononoke whom they have raised from infancy. The story is great, the colourful and detailed animation moves the fable along well and excitingly with plenty of solid characterisation and action a-plenty. As ever with Miyazaki, there is a moral to the story - and the last twenty minutes exemplify that beautifully. The English language dubbed version has a good cast...

Hayao Miyazaki's arts have always something to remember us that we are naturally harmonized with mother earth and existences. There is still a bond, if one is hurt another, it means the one suffer itself as well.

Probably the best movie from Miyazaki. A mixture of old Japanese traditions with the story about the conflict between the industrial human being and the preservation of the Nature.

"Danny" (Edward Furlong) isn't making much progress at school so his teacher "Sweeney" (Avery Brooks) gives him a project. He is to document the life of his elder brother "Derek" (Edward Norton) whom he adores. "Derek" was a neo-Nazi - and an active one at that who has only recently been released from prison for killing two men who tried to steal his car, but after spending time behind bars he has begun to question his hitherto unshakeable belief in the supremancy of white people and so once free determines to escape the toxic and somewhat hypocritical grip of "Cam" (Stacy Keach). It's "Danny" who narrates this story as his family marry their more contemporaneous timelines with examples of the brutality his brother raged against those of colour - and pretty much any colour - who lived in Los Angeles. At home, though professing love for his family, he rules with a rod of iron and is...

You could use this as a skinhead recruitment film because it failed so miserably in the message it was trying to push, and it failed miserably because they were too concerned about pushing the message that they forgot how they were framing the film. So a bunch of skinheads win a turf war basketball game, to stop the gang violence around the basketball courts, and then one of the Black people on the losing side tries to steal the car of one of the skinheads. And then the skinhead goes to jail for killing him. Then we have a flashback where the skinhead argues that Affirmative Action policies that put race before merit are racist because they put race before merit... to presumably illistrate how evil he is. Then his brother reads "Mein Kampf" for a book report and has to write a history paper titled American History X to teach him not to read books that should be banned... like the...

There's really no point to the movie. Just a lot of violence. That's pretty much it.