Reviews

The theme of corporations merging with the government feels strikingly relevant to reality.

A true cult classic: absurd and entertaining, with sharp political metaphors, a solid plot, dedicated performances, and wild imagination. It only falls a bit flat in the final half hour.

Putting Rocky back to square one at the start is cliched but it works. The first half, where the family returns to their old life, is touching, but the second half feels rushed, ending on a real anticlimax.

This is the weakest entry in the series—formulaic story, one note villain, clunky plot, and that final street fight just falls flat. Can you even call it a Rocky film without a classic boxing finale?

Not every story needs to be an epic. Some narratives become classics, while others just feel long-winded and tedious.

At its core, it’s a road-trip movie, but Bernardo Bertolucci’s cinematography is so natural and sensual that it feels like a wet summer dream.

Based on Barry Gifford’s five-page novella Wild at Heart, the film stretches it into a two-hour journey while keeping the original dialogue intact. Even though it won the Palme d’Or at the 43rd Cannes Film Festival, 300 out of 350 people walked out at its first screening. it performed modestly at the box office and received mixed reviews. However, I believe this movie is well worth recommending.

The focus of this film is on visual impact rather than the depth of the script. I feel that even the director's weakest work is more interesting than many fine films by mediocre directors in an auteur film.

The success of the film is largely attributed to the chemistry and charm of the three lead actors, Chow Yun-Fat, Cherie Chung, and Leslie Cheung. They stay cool under gunfire and explosions and have each other’s backs in the most dangerous moments, making their bond truly moving. By swapping the usual “bros turn on each other” trope for a fairytale ending, the film leaves me feeling refreshingly lighthearted.

This film is a perfect example of Hong Kong’s iconic romantic cop-and-robber action genre! The sight of Chow YunFat and Cherie Chung dancing in wheelchairs is an unforgettable moment in HK cinema.

This film is definitely worth more than just one watch. Watch it once, and it’ll stay with you, haunting your mind long after.

No matter how happy the ending may seem, the journey makes it clear that love is selfish, possessive, and mutually harmful.

Martin Scorsese is a mega cinephile, and this remake is his homage to both the original and Alfred Hitchcock. The feeling of "knowing what’s going to happen but not being able to look away" runs throughout the entire film. Robert De Niro’s performance is jaw-dropping. If there’s a flaw, it’s that the film is too obsessed with tribute.

This is truly a terrifying film, but not because of the story; it’s the utterly botched execution. I guess I really don’t click with Martin Scorsese here. And as for the plot, a criminal and rapist justifying himself under the noble banner of revenge? That’s absurd.

Lars von Trier is a cinematic revolutionary. His films boldly deconstruct storytelling. On paper, Europa might seem like a standard noir style spy romance, but through his avant garde lens, its portrayal of collapsing idealism is utterly captivating. Films like this propel film industry forward.

Lars von Trier subverts Hollywood genre filmmaking with a relatively traditional narrative approach. For example, having a woman choose ideology over love overturning spy-thriller conventions; blowing up the train yet having the gates jam at the last second turns disaster-movie clichés on their head.

The film is filled with traces of Monty Python, as well as Terry Gilliam’s signature quirky style—religion, mysticism, redemption, you name it. And there’s a poster for Brazil at the beginning—what a hilarious nod.

This film has a bizarre vibe that makes everything feel insane. It’s fantasy, yet not entirely so; it's about mental illness, but somehow feels normal; it’s supposed to be healing, yet the final scene with the two naked men is baffling. The plot is indeed weak, and without Robin Williams' performance, it would be hard to keep watching.

This is a heavy, emotionally charged story about showing strength even when everything is falling apart. The protagonist struggles to open up, yet he clings to the final days with his mother, finding solace in their shared time. It’s a reminder that love, however imperfect, can still be a form of grace.

It turns out that the “late-night taxi” theme was captured by Jim Jarmusch many years ago. People may never fully understand each other, but there’s always a moment of connection.