An ambitious Japanese toy salesman leaves home to pursue his dreams of riches and fame in Los Angeles. However, he struggles with the continuous harsh rejections, lost in despair. Soon after, he meets a beautiful rich American woman. His new life with her is destined to be happy, but to lead him to not just shocking, but surreal twists instead.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
This current year, as well as the past several, has seen a slowly building increase in something the horror genre has required for quite a while in this critic's opinion...originality. I've stated before that I am very hard to please when it comes to this vein of the film industry's offerings, always leaning more towards that which sends chills through my very being in lieu of buckets of blood and gore.
This HBO mini-series asks why a young white man turned to violence and finds no easy answers. But why do we only ask questions about certain kinds of killers?
I highly recommend Dark Waters. It’s a highly engrossing picture, which lends itself to cautionary storytelling. The dark information continually grows, inspiring change and accountability altogether. Overall, Haynes’ picture will not be known for its inclusiveness--but it will be known for being a fantastic, engrossing film.
The Mandolorian has a more nuanced and commentative take on masculinity that refrains from praising the toxic traits associated with the social category, while also showing a more positive and transformative representation of masculine characters.
Even without the messaging, Mercy does not hold up as a movie. It's sloppily done and the mystery doesn’t tie together at the end.
