• The Karate Kid

    The Karate Kid

    So this kind of trash gets made while Avildsen stays out of work. Terrible job by people with the utmost contempt for the film they are making.

  • La Chinoise

    La Chinoise


    "It is necessary to confront vague ideas with clear images": applies perfectly to Godard's career at that point.

    Following a series of films which looked critically at Godard's first works, specially in 2 OR 3 THINGS I KNOW ABOUT HER, I can finally see a fully mature director here. There's an honesty and forthrightness to his mise en scène that were missing before and seemingly found only in the last shot of MADE IN U.S.A. (itself affected by ultimate boredom,…

  • The Grudge 2

    The Grudge 2


    Considering this is the fifth retelling of a very simplistic story from the director's first film (with its premise originated from a short), it is incredible how he can still bring something new to the poor material, taking a step further in every aspect, making this probably the best and most complex of the series. A big surprise since the first American remake refused to do much more than simply recycling scenes from the originals. With this one Shimizu makes…

  • The Complex

    The Complex


    Right in the opening, a family is unpacking their stuff in a new house, and the camera follows the daughter (the protagonist) through the rooms. At the beginning of the shots we see her, but when she starts moving and makes contact to her family, they interact directly with the camera, it turns objective shots into subjective ones during all the scene. As the movie progresses, these (spatial) relations between characters remain completely artificial, sometimes using more subtle means, with…

  • Ninja: Shadow of a Tear

    Ninja: Shadow of a Tear


    It redeems an almost miserable year for the genre, this is masterful action filmmaking.

    The lack of gore and heavy visual stylization of the first movie, now with more subtle and fluid editing/cinematography choices, brings new weight to the fight scenes, focusing much more on choreography, on creating a dialogue with Adkins' incredible physicality, instead of limiting it by stylistic excess. This also proves again that Florentine works best with more limited narratives, creating all drama/conflict through his precise framing…