Miraculous - le film
SimilarArmageddon (1998), Batman Begins (2005), Batman Forever (1995), Batman Returns (1992), Ben-Hur (1959), Beverly Hills Cop III (1994), Constantine (2005), Enchanted (2007), Fantasia (1940), Harry Potter and the Goblet of Fire (2005), I've Always Liked You (2016), Kill Bill: Vol. 1 (2003), Kill Bill: Vol. 2 (2004), Mary Poppins (1964), Moulin Rouge! (2001), Nausicaä of the Valley of the Wind (1984), Paris Can Wait (2016), Princess Mononoke (1997), Shall We Dance? (2004), Strange Days (1995), The Matrix Reloaded (2003), The Matrix Revolutions (2003), The Science of Sleep (2006), True Romance (1993), Wallace & Gromit: The Curse of the Were-Rabbit (2005), You Only Live Twice (1967), Zatoichi (2003),
Watch after1917 (2019),
Barbie (2023) Oppenheimer (2023) Shang-Chi and the Legend of the Ten Rings (2021), Spider-Man: Across the Spider-Verse (2023), Spider-Man: No Way Home (2021), The Flash (2023), The Suicide Squad (2021),
StarringAyane Sakura, Hisako Kanemoto, Junko Minagawa, Kotono Mitsuishi, Marina Inoue, Mariya Ise, Megumi Hayashibara, Sayaka Ohara, Shizuka Itoh, Shoko Nakagawa,
Studiodentsu, King Records, Studio Deen, Toei Animation, Toei Company,
When I was around thirteen, two classmates, Christina and Taylor (their real names, it’s not like they’re going to read this), played a prank on me that resulted in my eating dog food. In retrospect, it could have been worse: nobody else saw it happen, and for whatever reason they kept it to themselves. But when I think about my teenage years (and I try not to much at this point in my life, other than at a superficial pop culture level), my mind often goes to that moment. Continue Reading →
真ゲッターロボ~世界最後の日
Armageddon was never just a movie. Beginning with its much-coveted Fourth of July Weekend opening, to its (now typically) Bayhem-infused Super Bowl commercial, through its screening of fifty minutes at Cannes and bizarre feud with Roland Emmerich’s Godzilla (literalized in the film) over which movie would be the biggest of summer 1998, Armageddon positioned itself as nothing less than a pop-cultural event. It was the most expensive movie Disney had ever produced, starred Bruce Willis in his prime, backed him with a suddenly white-hot Ben Affleck, and was directed by blockbuster wunderkind Michael Bay. Add to all that the escalating success of 1997’s Lost World, Men in Black, and Titanic, and there was the sense that this would be a movie for the ages. Which it was. Kind of. Continue Reading →
劇場版 呪術廻戦 0
SimilarHellboy (2004),
StarringKotono Mitsuishi, Marina Inoue, Shizuka Itoh,
Jujutsu Kaisen 0 is a darn-good adaptation of manga artist and author Gege Akutami's equally-darn-good dark fantasy shonen battle manga. Its protagonist is compelling, his peers likable, the villain hateful but not without shading. The action is excellent. Alisa Okezahama, Yoshimasa Terui, and Hiroaki Tsutsumi's score rules. The storytelling is overstretched in places, and narrative jumping during the climax gets frustrating, but 0 works far more than it doesn't. Continue Reading →
PSYCHO-PASS サイコパス
For acclaimed actress turned first-time writer-director Rebecca Hall, her debut feature Passing is more than her first furtive steps into another facet of her expanding career. It's a deeply personal odyssey, one rooted in her own questions about her racial identity: Hall, whose grandmother is part-Black and whose mother has Black, Native American, and Dutch ancestry, has presented as white for much of her career. With this, her adaptation of the 1929 novella of the same name by Nella Larson, Hall gets to explore those myriad facets of herself, as well as the broader implications the phenomenon of 'passing' has for all of us in our respective negotiations with our identity. Continue Reading →
シン・エヴァンゲリオン劇場版:||
SimilarResident Evil: Apocalypse (2004),
StarringKotono Mitsuishi, Mariya Ise, Megumi Hayashibara, Sayaka Ohara,
Let me start by saying this: Evangelion 3.0+1.0: Thrice Upon a Time is the best film I have seen in 2021 so far. It's a gorgeously animated conclusion to one of 20th and 21st-century science fiction's great works. It executes both its quiet, still moments and its grand setpieces with care and precision. The voice cast (who have been playing these roles for decades, going back to the original 1995 television series Neon Genesis Evangelion) and the animation team give the cast an excellently detailed life and liveliness. 3.0+1.0's editing—particularly during its extended, tone-jumping climax—is downright sublime. The imagery? To paraphrase Sam Peckinpah, I will not be forgetting what I've seen in Evangelion 3.0+1.0 any time soon. I do not think I could. From a ruined piece of pre-Impact infrastructure twirling in a patch of broken gravity to one of the titular gargantuan combat androids going to work on a swarm of bizarre, disturbing opponents, it's indelible. Whether familiar or bizarre, beautiful or horrifying, 3.0+1.0's imagery is, without fail, flabbergasting. Continue Reading →