Reviews

All three stories are incredibly fantastical, with a unique creativity and weirdness that only Japan could produce. What's even more surprising is that three foreign directors managed to create such a distinctly Japanese film. The city and these stories are absolutely deserving of the exclamation mark in the movie's title!

I have to say, each story here took me completely by surprise. These hollow, dreamless people become “human chairs,” living only for others. The city’s sewers are always hiding secrets, and the accumulated problems eventually turn into beasts like Godzilla, attacking modern civilization. Even the earthquake becomes an opportunity for the city dwellers to step out of their homes, and they’re just one step away from truly connecting.

The visuals are absolutely perfect, and the action scenes are exhilarating. The movie flows seamlessly, especially with the brilliant camera transitions and editing, giving the entire film an elegant and mysterious vibe. As I followed Tintin and Snowy on their adventure, I was constantly excited and engaged. Most importantly, the film is incredibly funny.

The CGI is incredibly detailed, making me question if I was watching a live-action film at times! Is that a good thing? Will there ever come a day when CGI, like with the apes, completely replaces human actors?

The music is delightful, fresh with a hint of sadness. While there are some minor issues with the narrative and it doesn’t dive too deep, overall, the film offers a very comfortable, pleasant vibe.

The director admitted that he chose the musical format because he didn’t know how to express the psychological aspects of love. However, these lazy, gentle tunes end up feeling more natural and charming than any dialogue. "Love me less, but love me a long time"—this classic line is spoken by two boys sharing a kiss on the balcony, and it becomes the brightest moment of the film. From there, the entire atmosphere of the movie shifts to something much brighter.

Those who constantly try to live someone else's life may end up losing themselves. What would the world be like if everyone were playing someone else? Fortunately, Mahiro doesn’t end up becoming Truman Burbank.

Werner Herzog’s films aren’t perfect, but they’re incredibly radical. Not only do the boundaries between fiction and reality nearly vanish, but more layers of falsehood continue to accumulate. It’s like a dream sequence where the fight is fake, the knife doesn’t exist, and the dream itself is a lie. As viewers, how many layers of this can we see through? It’s reminiscent of how Wim Wenders couldn’t find Yasujirō Ozu in Tokyo decades ago; Werner Herzog, too, fell short in his own search…

We now live in an age where we don’t need to use pagers anymore, don’t have to stuff coins into the phone after every call, and don’t need to wait by the landline for a call; hearing your voice is now so easy. But do we still have the courage to pour our entire selves into a relationship ?

Instead of the movie’s happy ending where they reunite years later, I would have preferred if Chang Jia-han and Birdy Wang’s love had stayed in that summer of 1988, on the beach, ending right when they kissed each other. Youth fades, but love never dies.

This film proves that no matter how strong the ensemble cast is, the film still flops if the story doesn’t work. Margot Robbie is undoubtedly the highlight, but the few minutes before she appears feel stiff and lifeless. Personally, I really enjoyed the production design, so I’ll give it an extra star. The narration and flashbacks seem like an attempt to salvage the film, but unfortunately, they don’t do much to help.

Wes Anderson’s style is not easy to mimic. The cinematography, color palette, and soundtrack all resemble his work, and I caught myself thinking I was watching one of his films quite a number of times. However, the script lacks his brilliance, and the pacing feels a bit off.

This is an ordinary low-budget thriller romance, lacking any standout moments, and the plot is rather dull. The climax builds the viewer's anticipation for an unexpected twist, but it ultimately ends on a flat note.

The film’s pacing is incredibly slow, and although I was hoping for a surprise, it ultimately proved disappointing. By the end, there are still many unanswered questions, like the relationship between the protagonist and his boss, and the true significance of that phone call. Overall, as a thriller, I wouldn’t recommend this film.

Claire Denis has increasingly strived for aesthetic expression, but she fails to spark the necessary chemistry between her two very different leads within the historical context she establishes. Margaret Qualley delivers a bold, stunning performance, while Joe Alwyn comes off as stiff and unengaging. The rushed execution of the final act undermines the expected tense climax and even lets a supporting character steal the spotlight. While narrative may not be Denis’ primary focus, this romantic thriller feels more like a bizarre cocktail with too many elements mixed in, leaving the overall experience disappointing.

a great film

The action choreography is straightforward and effective, with well-shot gunfight scenes. But the film is plagued by flaws—plot points rarely make sense, and the dialogue is overlong and hollow. The sudden apocalyptic opening, in particular, lands with no buildup and is never given a reasonable explanation.

I can only say, I initially thought this was an action movie, so I’d give it two stars. If you add the religious elements, I’d reluctantly add a third. If you’re not a fan of Denzel Washington, don’t bother watching this film.

How did this new trilogy manage to produce three films with completely different styles, even with the same creative team? It’s truly puzzling.

Who wants to see two young people with heavy pasts fall in love and try to redeem each other in a brutal horror film? By the time the last half hour rolls around with the fight scenes everyone’s been waiting for, the audience is already fed up!