Category: Reviews

Old Myths, Old Men | Twilight of the Warriors: Walled In (2024) Review

February 20, 2025

There’s a Wikipedia page for the topic “epic film,” which gets into some of the back-and-forth in film scholarship about whether the term applies exclusively to historical-style movies or to those in other genres as well. If the latter, then 2001 is (as designed) a “sci-fi epic,” and The Lord of the Rings is a fantasy epic, though that’s somewhat obvious. What about the less obvious genres, like comedy? I can only think of It’s a Mad, Mad, Mad, Mad World. And then there’s action, which might be even trickier. This is our punchy genre, often driven by a single hero rather than an ensemble, and inside a contained scenario instead of sprawled out across time and space. I’d actually make the argument for The Night Comes for Us, for its multiple perspectives, its backstory, and the scale of the fights. Consider, too, Twilight of the Warriors: Walled In, running at a touch over two hours and setting its action inside the real-world megastructure Kowloon Walled City. … More Old Myths, Old Men | Twilight of the Warriors: Walled In (2024) Review

Gun Haver | A Janitor (2021) Review

February 17, 2025

The onset of Ben Affleck sequel The Accountant 2 is occasion to reflect: what is this thing we do? Whether it’s Jason Statham is The Beekeeper or Tom Hiddleston is The Night Manager or Charles Bronson (and Jason Statham) is The Mechanic, these titles are, like, almost a metaphor? It’s more like an unspoken understanding, between the dads who make these movies and the dads who watch them, that this is gonna be about a reserved, quiet guy who’s secretly a badass. Sheds the accountant facade (glasses?) and springs into action, possibly to give a couple of taunting bad guys what-for. “Hey, old man!” they taunt. We can probably add A Janitor to this pantheon, but with asterisks. At one point, the girl character says to/of our titular janitor, “You’re not an ordinary man,” which is true to the form, but then it’s like, I don’t know why he’s a janitor? … More Gun Haver | A Janitor (2021) Review

Remember, No Guns | Bad City (2022) Review

February 2, 2025

The year is 2022, and we’ve had decades of action movie innovation. The bare minimum has to be: “What hasn’t been done yet?” which must be how you get “megaphone as melee weapon.” In Bad City, a white-haired badass squares off against a group of thugs disguised as a baseball team, and after shouting at them through the megaphone at point-blank range, beats them with it to the peculiar rhythms of director Kensuke Sonomura’s light-speed fight choreography. After clobbering several bad guys, he tries to use the megaphone again as intended and finds it’s broken. Already, this is a marked improvement on Sonomura’s previous film, the bewildering Hydra. Inexplicably presented, that movie would’ve benefited from a simpler script guided by cliché, and so it was, initially, a relief that Bad City acquits itself with a police investigation, corrupt politicians, and evidence stored on a USB stick. … More Remember, No Guns | Bad City (2022) Review

Homemade Gyoza Party | Baby Assassins: 2 Babies (2023) Review

January 23, 2025

I’m so excited that Baby Assassins ballooned into a media franchise, encompassing a trilogy of films, a TV series, a making-of documentary, and a making-of mockumentary, most of which came together in the last two years. Mahiro actress Saori Izawa has been working for a long time, as her action reels on YouTube plainly demonstrate – up to and including slicing a delivery pizza in half with a katana – mostly behind the scenes, even doubling Rina Sawayama in John Wick: Chapter 4. Our dear new franchise, then, is basically her proverbial (if not literal) John Wick moment, and honestly, I wouldn’t be surprised to see her featured more prominently in another American movie soon. It’s weird that American action cinema is currently in a renaissance, but for Japan, movies like Baby Assassins are the exception – kind of. … More Homemade Gyoza Party | Baby Assassins: 2 Babies (2023) Review

A Killing at the Maid Café | Baby Assassins (2021) Review

January 22, 2025

In action movies, there’s always that moment in the final battle when the bloody-faced hero looks up at their opponent, and the line is something like, “I’m not giving up” or “Is that all you got?” In Baby Assassins, it’s more like, “She didn’t tell me about this strong guy.” That’s it. Just another snippet of an internal monologue that’s sometimes spoken aloud. At the start of the movie, this character Mahiro is introduced as a socially awkward teen doing something painfully relatable: bombing a job interview. Only, she cuts it short by shooting the hiring manager in the head (ideally, that’s less relatable). What follows is a frenetic fight scene choreographed by the modern master Kensuke Sonomura, where assailants lifting Mahiro into the air doesn’t stop her from repeatedly stabbing their shoulders and arms. Spoiler alert: this is most of the movie’s action until the final battle. … More A Killing at the Maid Café | Baby Assassins (2021) Review

From the World of You-Know-Who | Ballerina (2023) Review

March 30, 2024

I was ready, as soon as I’d seen the trailer last year, to see a review for Ballerina here as part of an ongoing conversation (with myself). In 2020, I’d written about Furie, a female-led Vietnamese action movie addled by flashbacks. Later, it was The Villainess, a Korean action movie with at least two set pieces now canonical to the genre, but which didn’t fully believe in its female lead. It’s now 2024, and in the time since, I’ve actually avoided a lot of the female-led action movies that seem to be a natural byproduct of the genre’s current renaissance (if everyone’s making action movies, some of them are gonna star women). I mean, ten years earlier, I would’ve given a limb to see “Mary Elizabeth Winstead the action star” in something like Kate, but alas. It could be option paralysis, because there are a lot of these movies, but I also wonder if the many, varied disappointments over the years have burrowed into my subconscious, impacting whatever impulse it is that I hit play instead of browsing on. Furie and The Villainess especially seemed to follow the formula nearly perfectly, nearly, and Ballerina is very much the next example in that sequence. … More From the World of You-Know-Who | Ballerina (2023) Review

Flower Power Tower | Mechanical Violator Hakaider (1995) Review

January 15, 2024

Over the years, I’ve attempted to watch Mechanical Violator Hakaider three or four times, and only on the third or fourth attempt did I make it to the credits – not intact. I’d fallen asleep every time, so it was just a matter of picking up where I’d left off or deciding it had been too long and starting over. And I’d think, “How is this happening?” One of the strands running through this (strand-type) blog is the film’s director Keita Amemiya, whose career serves the hyper-specific, me-shaped niche of “non-kaiju tokusatsu and also R-rated violence,” with the bonus of an appreciation for action heroines (usually played by one actress, Yuko Moriyama). Hakaider could be the result of the slightest deviation from that formula, but I think its sleep-inducing powers speak to fundamental problems, and ironically may speak to Amemiya’s craft. … More Flower Power Tower | Mechanical Violator Hakaider (1995) Review

What-If Question | Past Lives (2023) Review

December 10, 2023

A critic shouldn’t be saying things like this, but I do want to establish or reestablish that a negative movie review isn’t necessarily me saying a movie is “bad.” Past Lives is very well acted, and it’s beautiful – notably shot on film – but my experience with it was minimal, and the subsequent evaluation remains confused. I don’t know what the writer/director was going for, though the later discovery that it’s semi-autobiographical surely explains a lot. The film opens on the climactic scene, in a New York bar at 4:00 a.m., as an Asian woman sits between an Asian guy and a white guy, with disembodied voices trying to guess at the nature of their relationship. We then rewind to 24 years earlier, when children Na-young and Hae-sung are friends in Korea, with the former moving to Toronto. Fast-forward 12 years, and they reconnect over social media but remain in different time zones. … More What-If Question | Past Lives (2023) Review

The Iron Horse has Lasers | Godzilla vs. Destoroyah (1995) Review

November 8, 2023

After a surprising bump in quality with Godzilla vs. SpaceGodzilla, we’re back in business to close out the Heisei era with this, one of several series finales – like Futurama. The Showa era ended with Terror of Mechagodzilla, a return to the darker tone of the original movie, and the disjointed Millennium era had the explosive Final Wars, a special project for the 50th anniversary. Well, is Godzilla vs. Destoroyah, too, a special project? Did the filmmakers take a step back from what they’d been doing and say, “Let’s go out with a bang”? The film’s title might help us out here, bearing the typical “vs.” instead of something like The Final Chapter or maybe The End of Godzilla. No, it’s just another day, another monster. Consequently, this is a pretty low-key send-off, though at the very least, unlike Terror and Final Wars, it is a send-off. … More The Iron Horse has Lasers | Godzilla vs. Destoroyah (1995) Review

Atomic Superwoman | Godzilla vs. SpaceGodzilla (1994) Review

November 7, 2023

The previous installment, Godzilla vs. Mechagodzilla II, was one movie too many. I’d actually forgotten it existed before embarking on this review journey more than a year ago. After watching Godzilla and Mothra, I was dreading it, while conversely looking forward to SpaceGodzilla, and so the two came to represent a binary in my mind. On one hand, you have a competent but generic Heisei Godzilla movie, one which introduces absolutely nothing new, and on the other hand, you have the movie where the tip of Godzilla’s tail is coming off. What better visual metaphor for a series that’s run its course? Godzilla vs. SpaceGodzilla is exactly what I want from a long-running film franchise: “We’ve run out of ideas, so let’s make crap up.” It wouldn’t be competent but unhinged, and it wouldn’t be generic but, indeed, unhinged. … More Atomic Superwoman | Godzilla vs. SpaceGodzilla (1994) Review