Reviews

Twenty years of Antoine’s life is told across five films, and this is the final chapter. Back in The 400 Blows, his mother told him that love is the most important thing in life, and that idea has shaped Antoine's journey ever since. Except for the first film, the series keeps a light, everyday tone throughout, and it’s absolutely wonderful.

It turns out that everything wasn’t a dream or an illusion—it was the raw, brutal truth. The transition from animation to live-action scenes is incredibly powerful, amplifying the shock and emotional impact.

The film tells the story of the 1982 massacre, which is both terrifying and beautifully surreal, like a tunnel leading to a distant past. The ending is the most shocking part. As Folman said, "We cannot change the world with a film. We don't say anything. We just present the truth, and the film speaks for itself."

Watching this extended edition two years later, I’m still pumped. I just love this crazy genius, Quentin Tarantino.

I thought this was a new version, but then I realized it was just a re-cut of Kill Bill 1 and Kill Bill 2. Still, it was a fun watch. Quentin Tarantino has always said he’ll retire after making 10 films, so I’m curious to see which movie will be his final one.

I didn’t expect to see Penny's actress, from The Big Bang Theory, in a role like this. It’s clear she’s trying hard to transform, but this killer character just doesn’t fit her image. Plus, the plot is full of holes.

Family life is truly terrifying. In the beginning, the protagonists all look exhausted, worn out, and bored. But as soon as they become killers, their energy and mental state skyrockets. Then, they still have to pretend that family makes them better and happier people. Hilarious.

A successful woman needs the right man and a loyal backup, juggling between the two.

It’s like an exquisite installation art—a blend of an audiobook and a pop-up card.

Is it possible to believe in a world where you can see without using your eyes, where a storyteller doesn’t need artificial drama to hold the audiences' attention? This is a hypnotic game—believe it, and it exists.

In the movie, the beautiful boy hates alcoholics. In real life, the handsome actor died from alcohol and drugs. Sometimes, fate can be pretty ironic.

Young Brad Renfro is stunning. He reminds me of a young Sophie. It’s such a shame he passed away at 25.

It's hard to accept that a suspense film uses psychoanalysis as the key to solving everything. If therapists were really that powerful, we wouldn’t need detectives. Who needs reasoning or analysis, right? That said, Bergman is absolutely stunning, especially when she’s not wearing glasses.

The Dadaism-inspired dream sequences are brilliantly done, and the psychoanalysis aspect is presented in a clear and logical way.

This is definitely not one of Orson Welles’ best films. First off, the plot doesn’t hold up. A federal agent secretly releases a Nazi war criminal based on some flimsy clues and then asks him to help track down another criminal? It’s hard to buy into that. And as for the story, it drags on until the end, which is almost unbearably slow.

Orson Welles's most commercially successful film, yet ironically, it's also one of his more mediocre works. His signature style feels toned down here. That said, the way he handles light and shadow, along with the innovative use of the clock tower space, creates a tense and gripping confrontation and murder sequence that really pushes the film to its climax.

Stage Fright isn’t as famous as some of Hitchcock’s other classics and didn’t receive much praise when it came out. A lot of people back then thought directors shouldn’t mislead the audience and that stories should unfold logically and step by step. But honestly, that idea feels outdated now. Modern suspense films thrive on twists and turns, and audiences love it. Hitchcock was way ahead of his time—he played on the audience’s trust in what they see, making us believe the male protagonist’s story at the start was true. Because of this, we miss all the clues and only realize the truth when it hits us.

Although Marlene Dietrich was the second female lead, her performance is the standout of the film. It's hard to believe she was nearly 50 at the time. The elegant and noble character suited her perfectly. On the other hand, Jane Wyman, the Oscar-winning lead actress, gave a mediocre performance that left me feeling a bit uncomfortable and even annoyed.

It is said that this is a film that Coppola watched three times at the film festival, and it is a story about a group of gangsters. Director Hou Hsiao-Hsien often said that his work focuses on marginalized people. If your mother saw the three protagonists in Goodbye South, Goodbye, she would definitely say that these people were scum—always up to no good. This is what his movie presented.

Gangsters and intellectuals share one thing: they both believe they’ve unraveled the workings of society, only to find themselves deeper in the pit of violence. They are gangsters, but also chefs, dancers, and cousins; they have jobs, families, and roots in the countryside, yet they’re swallowed up by the city, living on the edge of survival.