Kyowakai headquarters chief Yuto Tamura (Yamaguchi Yoshiyuki) seeks to settle accounts for his underling Tora, injured by the Toryukai. But the Toryukai enlists Diet member Kadowaka (Kato Kei) as mediator—only for his greed to be instantly exposed by underboss Renji Himuro (Motomiya Yasukaze), who seizes on Kadowaka’s weakness. Suddenly, masked assailants strike both Himuro and Tamura. Tamura corners one of them, but a terrified young girl (Yakuwana Tsumi) distracts him, letting the attackers slip away. Meanwhile, rogue member Shigeru Fujita (Yokoyama Ryo)—who defied both Tora and Toryukai boss Higashino—arrives in Kobe, intent on revenge against Tamura. To rein him in, the Sakota-gumi dispatches underboss aide Hayashi (Namioka Kazuki). As Tamura hunts the mysterious assailants alone, the image of the girl lingers, pulling him back to where it all began…
Love, Simon (2018) based on the book “Simon vs The Homo Sapiens Agenda” (by Becky Albertalli) is a teen LGBTQ+ rom-com with themes of longing to find others with similar struggles, and ultimately is a story of acceptance of identity from those around you, and most importantly, from yourself.
Sorry to Bother You ultimately speaks to the unfair advantages that the country’s power structures award to those with the resources to control others, as Lift’s easy access to the media allows his opinion to be the only one that matters in the eyes of the unsuspecting and easily impressed public. Moreover, it reveals the extent to which the American Dream has any true validity. It postulates how the promise of success and fulfillment as promoted by the American Dream more often than not leads to the undoing of the individual. Interestingly, in its revealing of the American Dream as merely a facade, Sorry to Bother You wisely questions whether or not anything can really be done to undo a system that has been accepted and in action for centuries.
Ever since the mid-’90s, the Mortal Kombat game franchise has seen multiple attempts to make it on the big screen, or at least adapted into other media.
The external threat invaded the domestic environment at the most valuable moment: grieving.
The major flaw of the series is that it’s hosted on Netflix and barely makes malicious comments about it despite being focused on the lives of people directly affected by the Capitalist mentality of the OTT corporation.
This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.
