Reviews

While watching the film, several questions emerged in my mind: Why did the director choose a cow? How could a person love a cow to such an intense or even crazy extent? What was Boloaris's role? What difference would it make if the director removed the scenes featuring Boloaris? Why did Eslam say, “Move it, animal”? Why didn’t the director end the film right after Hasan’s suicide rather than with the marriage of a woman? It wasn’t until the end that I began to interpret the film and address my questions—the aloofness of society. When Hasan was tied up and dragged through the street like a cow, some villagers laughed; later, the villagers focused all their attention on a wedding, as if they had forgotten how they contributed to Hasan’s tragedy. It seems to me that they don’t truly care about what happens, as long as they find something interesting or entertaining to pass the time in their isolated and monotonous lives.

This is a sweet, small-scale comedy that focuses more on friendship than sexuality. While the premise centers on a coming-out story, the heart of the film lies in how the protagonist’s friends handle the news—with humor, warmth, and awkward honesty. It may be idealized, but it’s also deeply comforting.

"From the World of John Wick: Ballerina" is one of the year’s most exhilarating action spectacles. Ana de Armas blends elegance with lethal precision, bringing a deadly grace to every fight. The choreography is fluid, the set pieces are mesmerizing, and the sound design turns every gunshot and punch into a visceral, full-body experience.

The film is flawless, with every shot perfectly executed. The suspense is superbly handled, and the combination of refinement and humor makes it a clay animation classic!

The loyal dog and his cheese-loving, tech-savvy owner never fail to make me smile—Gromit’s embarrassed glances are priceless. While it sticks to the familiar crime and suspense theme, it doesn’t quite capture the playful charm of the shorts, like the classic Wallace & Gromit: The Wrong Trousers.

Told from a distinctly female perspective, the film is a quiet reflection on how to "become oneself". It reminded me of "The Worst Person in the World"—both films explore self-discovery through fragmented narratives and episodic introspection. In each attempt to find herself, the protagonist discovers another piece of who she already is.

Many viewers draw comparisons between "Full Alert" and Ringo Lam’s earlier film "The Victim," as both are considered cinematic reflections on the psychological anxiety surrounding Hong Kong’s transitional era. These films serve as snapshots of the psychological state of this city's dwellers.

Beneath its wild, high-octane exterior, the film slips in questions about justice, morality, and human nature. Right and wrong aren’t clearly defined, and the story challenges us to find meaning in the gray areas. In moments of chaos, it asks: what would you choose? For all its pulp sensibilities, the film isn’t without thought-provoking moments.

The film’s biggest flaw lies in how loosely its stories are connected. The structure feels fragmented, and the final segment seems hastily assembled, as if tacked on to pad the runtime rather than due to narrative need.

A virtual relationship is just a flashy illusion. What truly matters in love isn’t compromise or manipulation, but honesty and vulnerability. Somewhere out there, someone else is hoping for the same kind of simple, devoted love. All it takes is the courage to open your heart, and happiness might just follow.

The film largely delivers on its promise. The first half is particularly strong, with gritty cinematography that channels the stark visual style of “No Country for Old Men.” Unfortunately, the narrative loses steam in the second half, becoming formulaic and ending on a note that feels more superficial than profound.

The cinematography is absolutely stunning. Long takes transition effortlessly between reality and memory, weaving poetry and visuals in truly awe-inspiring ways. With elegant, profound dialogue and fleeting characters, the film creates a deeply moving, soul-stirring experience

If poetry can evoke vivid imagery, then visuals can create poetry as well. Theo Angelopoulos is a master of poetic expression through film. The beauty of this epic work is beyond words.

Tetsuya Nakashima’s “Happy-Go-Lucky” plays like a midsummer dream spun from saturated colors and buoyant rhythms, yet beneath its whimsical surface lies a quietly devastating fable about emotional wounds. What starts as a children’s adventure gradually reveals itself as a reflection of adult trauma, using fairy-tale storytelling to explore the fractured layers of memory.

This is definitely one of my favorite movies this year. Sure, it has a few plot holes, but it’s packed with creativity, humor, and a genuinely touching look at kinship. That final moment when everyone yells, "I’m a dog too", really hits home.

This is the most hard-hitting and realistic of Ringo Lam’s “on Fire” series. It lays bare how gangs exploit students in a society torn apart by wealth disparity. The police are rigid, the school turns a blind eye, and parents remain oblivious—together forming a trifecta of negligence that culminates in a devastating tragedy of youth.

Animated films often captivate audiences with their extraordinary creativity and a charming, playful visual style. This movie is no exception: a rich story, humorous characters, vibrant visuals, and heartfelt moments leave you wanting more.

The director seemed to be aiming for a hardcore film, but the result feels underwhelming. The security measures in the military quarantine zone are laughably weak. While the opening chase sequence is tense, the rest of the film falls flat.

The film is riddled with plot holes. Aside from the stunning opening, the endless contradictions make it hard to stay engaged. By the end, I was just sticking around to see how it all wrapped up.

Though touching, it leaves a complicated feeling when you consider how the daughter is treated. Doesn’t this just break her heart? The son inherits the estate, the daughter inherits cancer, the grandson gets a trust fund, and the daughter ends up with nothing.