Sakura Ando is the best and nobody can tell me otherwise. Those who enjoyed her in Shoplifters, please also consider 0.5mm (2014).
Esom is an absolute dream, but I kind of wish the film ended about ten minutes before it actually did. There's one point very near the end where it fades to black; if the credits had begun to roll then, it would have been brilliant. Rather, it ends on a somewhat unnecessary tone.
Director Jeon Go-woon explained that she wrote Miso to be the antithesis of her own experiences, whereby, after moving to Seoul, she found herself having to frequently…
- "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…