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Suswatibasu (1701 KP) rated Creepy (Kuripi: Itsuwari no rinjin) (2016) in Movies
Nov 29, 2017 (Updated Nov 29, 2017)
The title spells it out to a tee
This absolutely stomach-wrenching film from the masters of Japanese cinema, literally blows your socks off. It is understatedly creepy, no dramatic background music and a deeply horrifying body count. For fans of psychological thrillers such as @Sympathy for Lady Vengeance (2014) and @Oldboy (2013) (Korean version) this is another expertly crafted movie that leaves you in knots.
It begins with a detective interviewing a psychopathic suspect, who then manages to escape the police interview room and hold a woman hostage. In the process, the detective is badly injured and as a result leaves the force to pursue an academic career in criminal psychology. Shaken by his time as a detective, he and his wife move to a leafy suburb of Japan with incredibly unsocial neighbours. Soon after moving, he is approached by a former colleague asking for help in a particular case, in which three members of a family mysteriously disappeared six years ago, leaving only a daughter behind. The case was never solved as the daughter's constantly changing statements were seen as inadmissible evidence. And soon after he realises that the case is much closer to home than expected.
Sharp storytelling despite a few plot holes which is left to your imagination. Totally recommended for followers of Eastern cinema.
It begins with a detective interviewing a psychopathic suspect, who then manages to escape the police interview room and hold a woman hostage. In the process, the detective is badly injured and as a result leaves the force to pursue an academic career in criminal psychology. Shaken by his time as a detective, he and his wife move to a leafy suburb of Japan with incredibly unsocial neighbours. Soon after moving, he is approached by a former colleague asking for help in a particular case, in which three members of a family mysteriously disappeared six years ago, leaving only a daughter behind. The case was never solved as the daughter's constantly changing statements were seen as inadmissible evidence. And soon after he realises that the case is much closer to home than expected.
Sharp storytelling despite a few plot holes which is left to your imagination. Totally recommended for followers of Eastern cinema.
Awix (3310 KP) rated Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001) in Movies
Feb 17, 2018 (Updated Feb 17, 2018)
Four's a crowd
Twenty-sixth Godzilla movie (also eleventh Mothra movie, eighth Ghidorah movie and third Baragon movie, in case anyone's counting) recruits director Shusuke Kaneko, helmsman of the brilliant 90s Gamera trilogy; results are (perhaps inevitably) disappointing. A new incarnation of Godzilla threatens Japan, but a young tabloid TV journalist encounters a mysterious old man in an equestrian safety helmet who tells her of three legendary Guardian Monsters who will defend the country against this menace (Baragon is also a Guardian Monster but not famous enough to get his name in the title).
Some interesting innovations: first film to address (even obliquely) issues of Japanese culpability for events of the Second World War, first film where King Ghidorah is a good guy, first film with a scene set in Godzilla's intestinal tract. However, the end result is let down by a fatally uncertain tone - seemingly serious scenes of death and carnage are intercut with knockabout cheesy humour and in-jokes (in the English dub at least). The retro feel of the movie, hearkening back to the 60s films of the series, is not unwelcome, but its take on the formula is just plain weird. Most importantly it lacks the mythic grandeur of the Kaneko Gamera trilogy. Still better than the films which immediately preceded it, though.
Some interesting innovations: first film to address (even obliquely) issues of Japanese culpability for events of the Second World War, first film where King Ghidorah is a good guy, first film with a scene set in Godzilla's intestinal tract. However, the end result is let down by a fatally uncertain tone - seemingly serious scenes of death and carnage are intercut with knockabout cheesy humour and in-jokes (in the English dub at least). The retro feel of the movie, hearkening back to the 60s films of the series, is not unwelcome, but its take on the formula is just plain weird. Most importantly it lacks the mythic grandeur of the Kaneko Gamera trilogy. Still better than the films which immediately preceded it, though.
Awix (3310 KP) rated At the Earth's Core (1976) in Movies
Nov 10, 2018 (Updated Nov 10, 2018)
Second in Amicus's series of Burroughs-inspired pulp adventures with Doug McClure. Adventurers seeking to drill through the mountains from England to Wales take a wrong turn and end up in a terrifying wasteland dominated by sub-human beasts; it takes them a while to figure out their mistake. It turns out the Earth's core is ruled by evil giant pterodactyls with hypnotic powers - having taken a fancy to the local princess (Munro), the beefier of the visitors (McClure) resolves to sort the situation out.
One of the final examples of the kind of cheap and cheerful genre movie that the success of Star Wars the following year was to transform utterly. This one is notable for some of the worst man-in-a-suit monster effects ever seen outside Japan, the closest thing to a bad performance ever given by Peter Cushing, and an oddly inconsistent tone - much of it is rather juvenile, but some of the violence is a bit heavy for what often feels like a knockabout kid's film (the Earth's core is a wholly abstinent place - there isn't even the suggestion of funny business between McClure and Munro). The Iron Mole model is actually not bad, and the prog rock soundtrack certainly makes it distinctive. Kind of fun, in the end. Contains the line 'You can't mesmerise me, I'm British!'
One of the final examples of the kind of cheap and cheerful genre movie that the success of Star Wars the following year was to transform utterly. This one is notable for some of the worst man-in-a-suit monster effects ever seen outside Japan, the closest thing to a bad performance ever given by Peter Cushing, and an oddly inconsistent tone - much of it is rather juvenile, but some of the violence is a bit heavy for what often feels like a knockabout kid's film (the Earth's core is a wholly abstinent place - there isn't even the suggestion of funny business between McClure and Munro). The Iron Mole model is actually not bad, and the prog rock soundtrack certainly makes it distinctive. Kind of fun, in the end. Contains the line 'You can't mesmerise me, I'm British!'
Bong Mines Entertainment (15 KP) rated Runnin' - Single by SHōTA LōDI in Music
Jun 18, 2019
SHōTA LōDI (pronounced Show-Ta Low-Dee) is an LA-based singer-songwriter from Tokyo, Japan. Not too long ago, he released a music video for his “Runnin’” single.
“‘Runnin’ is an upbeat tale about the never-ending rat race to be at the top of the charts. The lyrics are inspired by the trials and errors that take place in the music business on the road to success. Since the release of this record, Adidas has reached out to use the song in their ads. The music video was shot over 5 days in NYC and has been well received by agents and labels since the release.” – SHōTA LōDI
‘Runnin’’ contains a relatable narrative, harmonious vocals, and feel-good instrumentation flavored with neo-soul, hip-hop, and indie-pop elements.
An accomplished clarinetist and pianist, SHōTA LōDI is a self-taught singer-songwriter and guitarist. He can sing fluently in Japanese and English and his unique sound has already landed him a record deal with Warner Asia.
2019 is going to be a busy year for him because of Warner’s overseas support and labels in the U.S. calling his phone. Also, the launching of his clothing brand will keep him active and the release of his upcoming Freshman album, entitled, “High School Dropout”.
https://www.bongminesentertainment.com/shota-lodi-runnin/
“‘Runnin’ is an upbeat tale about the never-ending rat race to be at the top of the charts. The lyrics are inspired by the trials and errors that take place in the music business on the road to success. Since the release of this record, Adidas has reached out to use the song in their ads. The music video was shot over 5 days in NYC and has been well received by agents and labels since the release.” – SHōTA LōDI
‘Runnin’’ contains a relatable narrative, harmonious vocals, and feel-good instrumentation flavored with neo-soul, hip-hop, and indie-pop elements.
An accomplished clarinetist and pianist, SHōTA LōDI is a self-taught singer-songwriter and guitarist. He can sing fluently in Japanese and English and his unique sound has already landed him a record deal with Warner Asia.
2019 is going to be a busy year for him because of Warner’s overseas support and labels in the U.S. calling his phone. Also, the launching of his clothing brand will keep him active and the release of his upcoming Freshman album, entitled, “High School Dropout”.
https://www.bongminesentertainment.com/shota-lodi-runnin/
David McK (3369 KP) rated Predator: If It Bleeds in Books
Jan 30, 2019
Towards the end of 2017/at the start of 2018 I picked up both this and [b: Aliens: Bug Hunt|31416104|Aliens Bug Hunt|Jonathan Maberry|https://images.gr-assets.com/books/1474300660s/31416104.jpg|52265710], as I'd always had a soft spot for both those films.
Both as sci-fi anthologies; both are based around their respective properties.
I read the latter first, and (truth be told) wasn't overly impressed: while there were some good stories amongst those included, none really stood out all that much.
As a result, I put off reading this until I worked my way through some 'proper' novels, and only came back to this relatively recently.
Thankfully, of the two anthologies, I found this to be the better (despite a somewhat ropey start). I think that may be due to the central conceit of the Predators: as (effectively) alien Big Game hunters, that allows these stories to be set at any point throughout human history, not 'tied down' to the future as the Alien stories are.
That's a concept put into full use in this, with stories that run the gamut from the traditional sci-fi setting of the future, to the American Civil War, to the Wild West, to feudal Japan, to present-day Third World countries and to pretty much every point in-between!
Both as sci-fi anthologies; both are based around their respective properties.
I read the latter first, and (truth be told) wasn't overly impressed: while there were some good stories amongst those included, none really stood out all that much.
As a result, I put off reading this until I worked my way through some 'proper' novels, and only came back to this relatively recently.
Thankfully, of the two anthologies, I found this to be the better (despite a somewhat ropey start). I think that may be due to the central conceit of the Predators: as (effectively) alien Big Game hunters, that allows these stories to be set at any point throughout human history, not 'tied down' to the future as the Alien stories are.
That's a concept put into full use in this, with stories that run the gamut from the traditional sci-fi setting of the future, to the American Civil War, to the Wild West, to feudal Japan, to present-day Third World countries and to pretty much every point in-between!
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