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  • Save the Green Planet!

    Save the Green Planet!

    South Korean cinema's crackhead formal response to Misery (1990). Joon-hwan shows an immense shamelessness towards his freedom with tonal and narrative craft, as per the tradition of Asian cinema, as it consistently switches back and forth between slapstick, visceral horror, nail biting suspense, and tragedy, often in the same scene, it only but results in one of the more demented works of art in the medium I've seen in a while.

    On a sidenote, I imagine many aren't big on the ending, though the film cleverly and subtly hints at it enough throughout that I find it hard to call it a copout.

  • After Hours

    After Hours

    This review may contain spoilers. I can handle the truth.

    It was all ready. From the sets to the costumes, Last Temptation of Christ was on its way to production, then all of the sudden, 4 weeks before shooting started, Paramount cancelled it. A cancellation that left Marty Scorsese in a state of frustration. Why did this happen to him?

    I bring up this anecdote because it functions within the same cosmic fuckery logic present in After Hours, the film he made as a result of that experience. Marty described…

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  • Ran

    Ran

    Ran, for all its formal majesty, at its central core, is an existentially haunting film about why having kids sucks balls and it ain't worth it.

  • Sympathy for Lady Vengeance

    Sympathy for Lady Vengeance

    Park Chan-wook is an effortless stylist, an unparalleled ability to form vivid images and make them seamlessly flow, an ability that saved the first half of this film from its tedium, but once it arrived to the delicious second half, a blackly comic scenario of the law being put into people's own hands, such tedium dissipated. A lesser effort from Chan-wook, though that says a great many about his talent.