Favorite films

Don’t forget to select your favorite films!

Recent activity

  • Day of Wrath

  • Flesh for Frankenstein

  • Shin Kamen Rider

  • Shin Ultraman

Recent reviews

  • P. P. Rider

    P. P. Rider

    These gestures are simultaneously a movement outward, testing the contours of an impossibly complex and ever-shifting world, and a movement inward, probing their own unknowable emotions, minds, spirits. Sōmai’s characters are jumping out of their skins. They are possessed—in the sense of a soul exceeding the body, spilling out from it. As in Bresson, Rivette, Ozu, Godard, and Rossellini’s, this is a cinema where spirit and the material world are inextricably bound up in one another, in which movement speaks and words have an autonomous, illogical weight.

    My piece on Sōmai for the Brooklyn Rail :

  • Luminous Woman

    Luminous Woman

    “Somai-san was a very private guy, very quiet. He didn't really share a lot of thoughts with me. As you can see, I'm a very bright and upper type of character, whereas the character is very much the opposite of that. So he always called me “the fool.”

    Myself and Mutoh-san and an assistant director stayed together at the assistant director's house. The assistant director was always responsible for making sure we got onto set on time and everything. When we came in, the director coined us the san baka torio: three stupid trio.”

    My interview with Monday Michiru:

Popular reviews

  • The Worst Person in the World

    The Worst Person in the World

    Amélie for millennials, though I'm sure Jeunet's bonbon, swarming with wasps and green and red mold, has aged better than this will. Some of the most cynical product I've seen in years. It's like the NYT Op-Ed page mated with an in-flight entertainment system. Irredeemable, witless, ugly trash (yes, even taking into account some pretty sharp performances).

  • Pacifiction


    Not a single cut, not a single framing of substance or pleasure for nearly three hours. Just image after image, nothing between them. What does it mean when this no longer matters in the supposedly rarefied realm of arthouse cinema? And what else can we expect from an absolute, unalloyed program of coverage shooting – except sharper editing, less racism, less transmisogyny, some narrative invention or sensuality, some care or attention anywhere except on planing down all surfaces, all humanity,…