Hiroki's film is a mixture of thoughtful and iconoclastic formal techniques and tired anime clichés. A watered down Secretary at the high school level.
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DFF '16: Psycho Raman (Anurag Kashyap)
A different take on the true crime serial killer film with a handful of interesting ideas both thematically and narratively despite the film's overall flaws conveying those ideas.
Read MoreFilm Review: After the Storm (Hirokazu Kore-eda)
Kore-eda tries his hand at the detective genre. Already his latest, a spiritual successor to Still Walking, attains must-see status.
Read MoreFilm Review: Mifune: The Last Samurai (Steven Okazaki)
An in-depth look at Toshiro Mifune's craft and personal life, this documentary is also a brisk crash course on a specific time and section of Japanese film history.
Read MoreSDAFF 2016: Over the Fence (Nobuhiro Yamashita)
Most likely Yamashita's most reserved picture yet. He uses his stellar cast to portray a group of lost souls, the film itself matching their in-the-moment approach to living.
Read MoreSDAFF 2016: The World of Us (Yoon Ga-eun)
The World of Us takes a close, unsentimental look at the intricacies of the social world of children as it charts the formation and dissolution of a friendship.
Read MoreSDAFF 2016: White Lies, Black Lies (Lou Yi-an)
This mystery thriller from Taiwan is a sordid tale of love, murder, and questionable journalistic practices.
Read MoreFilm Review: Anti-Porno (Sion Sono)
Sono's latest is his F for Fake, an assault on the intellect that dares you to look away and forces you to mentally keep up.
Read MoreSDAFF 2016: Maverick (Cheng Wen-tang)
This Taiwanese crime thriller is another exercise in rookie cop vs. corrupt politicians.
Read MoreFilm Review: Wet Woman in the Wind (Akihiko Shiota, 2016)
From Nikkatsu's reboot of the roman porno genre comes this fun, self-aware battle of the sexes that indulges in the formula as much as it transcends it.
Read MoreFilm Review: Train to Busan (Yeon Sang-ho)
Yeon Sang-ho's live action debut is most assuredly a modern zombie classic with strong social and emotional concerns.
Read MoreDFF '16: Headshot (Mo Brothers)
Iko Uwais finally gets to deliver another nuanced, powerful performance in this brutal Mo Brothers' martial arts film.
Read MoreFilm Review: Harmonium (Koji Fukada)
Koji Fukada's latest is one of the year's best films. It's hypnotic nature and heartbreaking story will get under your skin and stay there.
Read MoreSDAFF 2016: Cheerful Wind (Hou Hsiao-Hsien, 1981)
As part of their focus on Taiwanese cinema, the San Diego Asian Film Festival showcases an early oddity from a master filmmaker.
Read MoreFilm Review: The Age of Shadows (Kim Jee-woon)
The first South Korean co-production from Warner Bros., The Age of Shadows is easily Kim Jee-Woon's best Korean film since A Bittersweet Life.
Read MoreFilm Review: Nerve (Ariel Schulman/Henry Joost, 2016)
A genre-blending morality tale, Nerve is destined to be under-seen, underrated, and possibly misunderstood despite being successful on so many levels.
Read MoreFilm Review: The Tunnel (Kim Seong-hun, 2016)
The Tunnel marks Kim Seong-hun's standing as a modern master of the Korean populist entertainment film, highly crafted and socially minded.
Read MoreFilm Review: The Handmaiden (Park Chan-wook, 2016)
Park Chan-wook's latest is a return to his home tongue (mostly) but remains a continuation of obsessions present throughout his whole career. It's a slick and classy story of a confidence game with the usual romance and added perversity.
Read MoreEverything You Wanted to See in a Hollywood Picture But the Censors were too Afraid to Show You
Join Oswald Creery on his journey through the golden age of pornography.
Read MoreJapan Cuts 2016: Being Good (Mipo O)
Mipo O has grown exponentially as a filmmaker with her latest film, a triptych of hurt and redemption. An incredible portrait of the potential of hope and choosing to break from unwritten rules of socially acceptable disengagement.
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