The Katsumata-gumi, based in Nishinomiya, becomes outraged by the Serizawa-gumi's brazen expansion of their operations within their territory and prepares for all-out war. Despite being falsely accused due to Serizawa’s (Kawano Taro) devious schemes, Ōtani Ryūzō (Ryu Daisuke), head of the Ōtani-gumi, heads out to set things straight—only to fall to a hail of bullets from an enraged Katsumata-gumi member. Mikasa Yūji (Musashi Ken), still imprisoned, is left in shock and helpless upon hearing the news of his boss’s death. As the Kansai underworld is slowly swallowed whole by the serpent that is Serizawa, what fate awaits each of these men of ninkyō?
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.
‘The Bear’ Season 2 has all the right ingredients for both comedy and drama.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.
In this short film, writer/director Nikita Hattangady focuses on Jai, a starving artist rooted in the latter category. Though unhoused, he works hard.
Tara Thorne’s film is equal parts emotional and comedic, illustrating the beauty and the pain of long term relationships.
