I made the faulty assumption that Suwa had gone soft on this latest entry, making a movie about little girls, and didn't look forward to it as much as the earlier films. But this is pure magic. The kids were cast perfectly, and he doesn't slack in his usual, thorough approach. I think Suwa is in that small circle of the world's best contemporary directors, and his first 5 films should be cherished by all.

I have no idea what I just watched, but it was damn cool. Nice to see that he got his feature made after the previous two shorts.

Shit.

Suwa hits another home run WAY out of the park. It's almost unreal just how much better his work is than almost everything that's being produced today, even if the visuals have to take a hit with the digital video, still nearing perfection.

A four-hour murder mystery featuring all my favorite J-actresses, directed by the master himself? This is going to be epic.

Pretty dark for a Bourne film.

Never thought I'd find myself saying this, but maybe a film can just be too good, like we have here. Suwa takes the thesis so far to and past its limits, and others stop at the first sign of trouble. We need more bold directors like him. Having a longer running time can help in this respect though.

Sometimes I wonder if this strange little metafilm is my favorite from Dr. Hong, not the ones with clarity like Woman on Beach or Night and Day.

The only real interview I could find: http://www.sancho-asia.com/articles/nobuhiro-suwa

The satanic, all-pervasive conspiracy. This movie is balls crazy.

I went ahead and watched this before poring through all the middle films. It's the perfect artist's statement: Ray having to shake off all of India's centuries-long social codes to be the unique voice that he is. It's just about the best sort of personal, narrative filmmaking you can get.

"Dear Roland Emmerich You make bad films, but they're the best bad films in Hollywood. No one knows just how to milk a situation for all its worth like you, and there's something about your films, like a lack of all concern for any realism that I love and I don't want you to take it away. Keep making your movies. You're like a cult hero to me." - John.

http://www.youtube.com/watch?v=QeKKBQxdHBU

https://vimeo.com/20378993

Looks like Nolan's setting up for a Nightwing trilogy... Catwoman spin-off?

About as perfect as it could be.

I'll be chewing on this for months. I read some interviews with KK, before watching this. I've seen Bright Future, but wanted some idea as to what sort of films I'd be watching. All said, he's stone cold realist, and knows what he's doing. Clearly, one of the best "nab-the-killer", serial murder movies, and done in that rare way that makes you question everything: yourself, the film, and those around you.

Most of the early Aoyama films have been pretty much snoozefests. He was just reaching for the type of expression he mastered in Desert Moon and Eureka, it seems. Helpless and Chinpira are worth a second look, but I've been unimpressed with the rest before 2000. Skip.

The country wouldn't be in the shape its in if new intellectuals like Will Hunting were let in, and not faced w/ mountains of debt and uncertainty just to get an education. Need some new blood, that's the problem.

This exceeded my expectations for Stone, and while I can't say I was too impressed with the younger actors, Travolta, Del Toro, and Hayek were a joy to watch. What a pleasure it must be to collaborate with such seasoned actors. And a nice little cameo w/ Ollie's son too.

Even though a Spanish production, definitely a criminal whitewashing of history. There is no way that nearly everyone in the Egyptian temple looked like that even during the Roman era. Still though, glad it got made due to the subject matter.

Interesting concept, but too predictable.

Pretty much floored here. Still wondering why this isn't considered one of the great European art films of its day, along with L'Avventura. And stranger, can't think of a single line of criticism or theory that mentions Robbe-Grillet having directed anything, only for writing LY@M. The man's been erased as a director.

A fun two hours, but still, I don't remember the 2000 movies being this melodramatic.

That could have been the worst thing I've seen this year. Not sure how they managed it.

I don't think any other film so perfectly articulates how I feel about our middle class these days.

Despite some dramatic leaps, which I could get over anyway, I think this is an unsung masterpiece. Bresson achieved purity of form, and Chabrol purity of storytelling. He doesn't fall into the trap of not developing his characters though, as most plot-based writers do. He knows human beings like the back of his hand. And not to mention the strong feminist message. No other films shows how the whole structure . . .

Feminine Mystique meets Hero with a Thousand Faces. Completely unoriginal and snore-worthy.

I was rooting for Robespierre.

The masterpiece. I'm trembling after this one.