My Favorite Movies

This film has always sat in the backseat to Kurosawa's samurai epics but that doesn't mean that it is in any way inferior and, if anything, is much more powerful in its human message. Kurosawa takes a subject that could have been cornball-ridden drivel in the hands of a lesser director and makes movie magic: it's powerful with its subtlety, sad with its exuberance, and warm with its sometimes cold and depressing message. Go see this now and, if you have already, go see it again. An existential masterpiece.

A well-acted, touching, and beautiful meditation on death, loss, and rebirth really showcases the director Koreeda's excellent use of the still shots to tell the story. My prediction is that Koreeda, in time, will become to be acknowledged as the modern master director in the vein of Orson Welles or his fellow countryman Yasujiro Ozu. His track record, to date, shows that he has the talent to reach such heights.

"Nothing exceeds like excess"

This phrase is, in a nutshell, the essence of Ichi the Killer (and to a certain degree, its director Takashi Miike), an ultraviolent manga/anime adaptation. As a yakuza/crime flick, it's nothing special: yakuza boss gets killed which causes a spiral into the mayhem which ensues. Although the story takes a backseat (heck, it probably sits in the trunk) to the violence, there lies a message that Miike had intended: the film is meant to have the audience think about how it consumes violence. Strangely ironic that it's this violence that has gained the film its reputation in the west.

Live adaptation of the manga which is wildly popular all over Asia. Fairly true to the basic storypoints of the manga but strangely lacking in its more human qualities. This, in of itself, is not a bad thing but it seems that filmmakers were trying a little too hard to be true to the source without carving out the film's own niche. Fun for fans and Japan pop otaku but will probably end being an empty experience for all others.

This movie is the one which the term "bullet ballet" came from. Ultra-violence with a side of style makes an unforgettable film experience.

This film has a verrrry slow start but, ultimately, puts all wannabes like Hostel, Saw ,and The Hills Have Eyes to shame in its overall message and visceral punch.

Unique noir film plays with your mind (as well as the protagonist's) by telling itself in a non-linear manner. Has more twists and turns than San Francisco's Lombard Street, an excellent cast, and very clear direction. It's no wonder Hollywood's been knocking on Christopher Nolan's (Batman Begins, The Prestige) door.

Beautifully shot. A very personal film for me since I was living in Tokyo during its filming. I didn't take many pictures or videos while I was there so this film will always be like a document of that era of my life.

Beautiful, haunting, and lonely just like a Haruki Murakami-penned film should be.

A classic must-see film. Period.

A must-see for fans of music and futurists.

Stylish, atmospheric, and thrilling. Has a few flaws in its story but pure eye candy for the horror fan who likes a little art direction in the mix.

A scathing psychosexual commentary on the state of affairs in modern Tokyo. The film paints the place as being void of emotion, its citizens alienated from each other as well as themselves. Graphic but not gratuitous, novelist Murakami explores themes very common in his novels (69, Almost Transparent Blue, In the Miso Soup) with his brave and succinct and unflinchingly critical narrative style.

It's almost an incredible thing to say that one of the best nunsploitation films ever made is from a country in which less than 5% of its population is Catholics and Christians combined. Starring the gorgeous Yumi Takigawa, who later went on to roles in other genre favorites such as Graveyard of Honor and New Female Prisoner #701: Scorpion, and beautifully shot by Suzuki and gang, SotHB has all you need: self-flagellation, a topless whipfight, several blasphemous lesbo ero-ero scenes, and torture by long-stemmed roses (!).

This movie not only stands as an excellent portrait of a woman trying to make a life of her own while working in the 'mizu shobai'/bar hostess industry but also the situations in which women in Japan have to struggle through: independence, power, duty, and love. Great direction and performances all around, the lead Hideko Takamine herself the portrait of Japanese feminine beauty and grace, especially stands out. Recommended to anybody with an interest in understanding Japanese culture, especially that related to women.