A fine, albeit unremarkable film. Some scenes displayed well the complications of love, and the inability to grasp and adequately express feelings, but overall I felt it lacked a certain tactfulness, and was no where near as lyrical or polished as it could have been. I also feel that Jung Ae-yeon's character really brought the film down, and that scenes with her were very aimless and bizarre. A similar premise was explored with much greater finesse a decade earlier in Hur Jin-ho's film Christmas in August.
Just stunning — utterly creative and remarkable in so many ways, from the narrative, to the set dressing, sound design, visual effects, and more. Barrow and Salisbury's score is of particular note. It's very present and atmospheric from the onset, but swells into this ethereal synthy haze during the climax, creating an exceptional nebulous soundscape.
The plot is a mix of wonderment and dismay, slowly becoming evermore glorious as it progresses into turmoil. It's a film that will benefit from…
- "Do you wish you had never found a heart?"
- "I don't know, but... It hurts."
This film has some truly bewitching exchanges. Some of the dialogue, and much of Bae Doona's monologue, is so terrifically concocted and expressed. Couple this with the composition — the delicate camera work and Koreeda's knack for timing, knowing precisely when to linger — and it creates a profoundly poignant and strangely mesmeric account on loneliness and companionship.
Even then, the score adds…
This is a terrible adaptation, pure and simple. It’s an utter bastardisation of the Death Note manga and its anime adaptation, and barely resembles what it is apparently based on. It’s as though the original work were a third or fourth reference, rather than the immediate source.
The major issues are in the plot and characterisation. The original version of Death Note is a psychological thriller and part police procedural, in which law enforcement attempt to track down a seemingly…