Fuck you guys. I enjoyed myself.

All of our dreams are right here.

Take that, fuckers!

One cannot help being moved by the sad melancholy Oshima presents here, a kind rarely seen in his work. This a sad, moving portrait of an old man who loved his mother very much. Oshima is still very adamant in his political views but his process has become far more relaxed, as he comes to accept the world he came to inherited from his mother, one that has changed but still somehow remains the same in many ways.

Say "I'm a dog. Bow-wow. I'm not human. Bow-wow. So you must overlook me, bow-wow." Saying so, walk on all fours. Nothing to be ashamed of, as you live a dog's life after all.

Ευχαριστώ.

Refn has succeeded in making a film that combines the best that action and art has to offer. Quite a lot is said through tics and glances, but never too much or too little.

A hymn to life and the human soul. How can one criticize a film where everything happens?

Lynch suggests something incredibly distressing here and it's an incredibly difficult pill to swallow. The reality we create for ourselves is ultimately a lie, robins and all. True horror lies in the places we are too ignorant to look.

A remarkable dedication to character prevents this film from falling into the trappings that so many directors fall victim to. It's rare to come across something this disturbing and yet so truly heartbreaking.

This film doesn't rely on whether or not you believe but rather that you believe that when logic fails, true horror takes shape.

Sometimes the things that appear to make the least sense actually make the most sense.

“We are victims of men who believe they are right, just as you and Yonoi believed absolutely that you were right. And the truth is, of course, that no one is right.”

This film dared to look at something many Americans don't want to think about or even acknowledge and attempted to present it to a mainstream audience. I don't find it shocking that it was attacked upon release.

Welcome to Hell. Please enjoy your stay.

A remarkable achievement. Take note of how much is accomplished without dialogue.

A nightmare of horrific proportions, and yet it retains a moral underside, something all too rare in films today.

At this time, I believe this to be the best film I've seen from Oshima. It begins seemingly like a drama but turns into a powerful message on the clash between pre and post war Japan.

If you can find a way to watch it, be sure to do so, it is worth tracking down.

The metaphors Cronenburg uses are pitch perfect. The film is frightening in it's predictions and sound in it's structure. Brilliant.

I sat and listened and saw everything Jarman wanted me to. All the images we need to see are right in front of us, drifting in a sea of blue.

Am I also fated to be washed away by the river of time, my identity erased from the face of the earth? The answer is a disheartening yes. Kagemusha raises the very powerful and disturbing notion that we will all be whisked away by the river that is time and our identities forgotten.

A nightmare in which waking up "is not possible".

One of the rare films about war that is driven by character development not by battle sequences. Here is a film that is ripe for rediscovery.

Before The Seventh Continent, there was Out of the Blue.

One sided to a fault and ineffective at promoting a real social issue. Khoo can't even represent the families as realistic. It's forty minutes of Siti being berated by villains of satirical proportions.

The day this film gets a proper DVD release will be a happy one indeed.

This is a lovely film. It is simple yet effective and it contains more heart than almost all American comedies today.

The ending gave me the chills. A poignant reminder how truly "Young" we Americans really are.

Chilling and effective.