Blink Twice (2024) ☆☆1/2(2.5/4): Aren’t they having a fun?

Posted on March 26, 2026 by kaist455

There are a number of truly disturbing moments in Zoë Kravitz’s 2024 feature debut film “Blink Twice”, but I am not so sure about whether they work as well as intended. I understand that the movie attempts to explore toxic masculinity and female exploitation via its increasingly nasty thriller plot, but it stumbles more than once due to its superficial narrative and weak characterization, and I was left with mixed feelings even though I admire some good efforts shown from the screen.

Naomi Ackie, a promising young British actress who has been more notable thanks to her recent supporting roles in Bong Joon-ho’s “Mickey 17” (2025) and Eva Victor’s “Sorry, Baby” (2025), plays Frida, a young nail artist who also works as a cocktail waitress. For some unspecified reason, she has been quite obsessed with a famous billionaire teach mogul named Slater King (Channing Tatum), and we soon see how she and her best friend Jess (Alia Shawkat) try to approach to this wealthy dude at an exclusive gala via a bit of disguise.

To their surprise, not long after the accidental encounter between them and him, Slater willingly invites them to a little remote private island he has owned for years, and both Frida and Jess cannot possibly be more excited about this unbelievable big opportunity. Along with several other guests and Slater, they go to that island by a private jet of his, and they and the others begin to have some luxurious fun together at a big manor located in the middle of his island.

Of course, it does not take much time for Frida to notice odd things here and there as she and the others casually go through one supposedly fun day after another. For example, her sense of time becomes increasingly blurry as she and the others frequently drink or have some drug day by day, and she cannot often remember whatever happened after their dinner time. In addition, there is also something weird about those local employees working in the manor, and one of them disturbs Frida a bit as repeatedly saying something which seems to touch somewhere in her mind.

As Frida becomes more unnerved about whatever may be happening around her, Slater naturally begins to look all the more sinister than before. He remains charming and charismatic as before, but, as shown from the very beginning of the story, he recently had to resign from the CEO position of his influential technology company due to some public scandal involved with abuse. He subsequently made a public statement of apology, and he claimed that he is trying to be a better person through some personal therapy, but we cannot help but have more doubt on his fairly generous attitude to his guests – especially when he asks others whether they are really having a fun.

It is not much of a spoiler to tell you that everything on the island is not what they seem to be on the surface, and the screenplay by Kravitz and her co-writer E,T. Feigenbaum expectedly gets darker as its heroine comes to face the hidden sides of Slater’s island. All the more horrified than before, she tries to escape from this horrible situation of hers, but there is not much chance for help out there and the mood naturally becomes more tense as she desperately struggles more for any opportunity for escape.

However, the screenplay does not bring much depth to the story and characters from the very beginning. Not only its heroine but also many other main characters are more or less than plot elements to move from one narrative point to another, and that is the main reason why a sudden moment of revelation during the last act is not so impactful as intended. In addition, Slater’s male guests, who turn out to be much more unpleasant than expected, are just annoying cardboard stereotypes, and they merely exemplify how lousy men can be as drunken with their toxic masculinity.

Nevertheless, Ackie’s diligent efforts keep things rolling at least. While her character looks rather pathetic at first, Ackie’s strong acting holds our attention to the end, and it is a shame that her good performance is not supported that well by the movie itself. Anyway, she has already moved onto the next step of her advancing career as shown from the two aforementioned films, and I am glad for that.

On the opposite, Channing Tatum, who also participated in the production along with Kravitz, demonstrates more of his rather underrated acting range. While he can be very funny as shown from several notable comedy films such as Steven Soderbergh’s “Logan Lucky” (2017), Tatum also can be surprisingly serious as shown from Bennett Miller’s “Foxcatcher” (2014), and he deftly swings back and forth between charm and menace without any misstep during his several key scenes in the film.

In case of several notable main cast members of the movie, they are unfortunately under-utilized to my big disappointment. While Simon Rex, Christian Slater, Haley Joel Osment, and Kyle MacLachlan are simply required to fill their respective spots, Alia Shawkat, Adria Arjona, and Geena Davis are totally wasted due to their shallow supporting roles, and Davis is especially disappointing as being rather strained in her deliberate overacting.

In conclusion, “Blink Twice” tries to tackle several themes and subjects surely resonant with the #MeToo era, but its overall result often feels uneven and dissatisfying in my humble opinion. At least, considering some good elements including the admirable efforts from Ackie and Tatum, it is not a total dud, and I can only hope that Kravits will show more improvement in whatever she is going to direct next in the future.

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Rouge (1987) ☆☆☆(3/4): A ghost looking for her old love

Posted on March 26, 2026 by kaist455

Stanley Kwan’s 1987 film “Rouge”, whose 4K remastered version was released in South Korean theaters yesterday, is a haunting melodrama about a ghost looking for her old love in the past. As following the desperate situation of this sad ghost along with her two unexpected companions, the movie comes to us as a modest but touching tale about love, loss, and memory, and we are moved more as it eventually culminates to a powerful moment of acceptance and resignation.

At first, the movie seems to be about the star-crossed romance between one courtesan and a wealthy playboy in Hong Kong during the 1930s. When Chan Chen-pang (Leslie Cheung) meets her for the first time in her brothel, Fleur (Anita Mui) instantly draws his attention with her lovely singing, and she soon becomes more special to him than any other courtesan around him. As they spend more time with each other with the growing mutual affection between them, he seriously considers marrying her someday, and she encourages him to become more interested in becoming an actor.

To our little surprise, the movie soon moves forward to 1987, and we come to gather that things did not go well for Fleur and her lover in the end. Her ghost suddenly appears in front of a plain newspaper employee named Yuen (Alex Man), and he is certainly flabbergasted by her odd request. She just wants to put an advertisement on the newspaper for locating her lover, but it does not take much for Yuen to realize that she is actually a ghost. 

While understandably quite frightened at first, Yuen eventually lets Fleur into his residence. When he subsequently notifies this to his girlfriend Shu-Hsien (Irene Wan), she is not so amused to say the least, but then she comes to find that Fleur is indeed a ghost, and she also comes to have some pity on Fleur just like her boyfriend.

According to Fleur, who came from the realm of the dead, her lover is probably reincarnated to become someone else but still remembers where they are going to meet, and that is the main purpose of that odd advertisement of hers. However, not so surprisingly, her lover does not come to that place in question no matter how long she waits along with Yuen and Shu-Hsien, who become all the more curious about what happened to Fleur and her lover – and where the hell he is now. 

Their search is often intercut with the flashback scenes showing more of the doomed romance between Fleur and her lover, and there are a number of lovely visual moments to remember thanks to cinematographer Bill Wong. Because I recently happened to watch Hou Hsiao-hsien’s “Flowers of Shanghai” (1998), which is incidentally about the brothels in Shanghai during the 19th century, many scenes of “Rouge” were compared with those similar scenes in “Flowers of Shanghai” in my mind, and I can assure you that “Rouge” often shines with its own sense of beauty.

Along with the desperate love between Fleur and her lover, these gorgeous moments make an interesting contrast with the modern background of Hong Kong in the 1980s and the seemingly less idealistic relationship between Yuen and Shu-Hsien. As observing how much her old neighborhood is changed in one way or another, Fleur comes to have more doubt and despair, but she does not give up her hope at all, and this makes both Yuen and Shu-Hsien reflect more on their relationship at present. While they admit to each other that they cannot possibly love each other as intensely as Fleur loved her lover, they also come to love and understand each other more than before, and there is a bittersweet moment when Fleur glimpses a bit of the sincere intimacy between them at one point later in the story.

I will not reveal anything on where our ghost heroine will arrive in the end, except telling you instead that the movie sets a rather ironic background for the end of her journey. Anita Mui, who was regarded as “Queen of Cantopop” before she died too early in 2003, is simply magnificent as her character eventually realizes the futility of her longtime yearning, and her strong performance here in the film will leave a lasting impression on your mind for a while.

Around Mui, several other cast members dutifully support her without overshadowing her at all. Leslie Cheung, who also died early not long before his co-star’s death, is well-cast as a handsome lad helplessly stuck with his beautiful lover in their doomed romance, and you may be amused a bit by one particular scene which may take you back to his unforgettable performance in Chen Kaige’s “Farewell My Concubine” (1993). Although their characters are more or less than the observers of Fleur’s story, Alex Man and Irene Wan have their own moments along the story, and we sense that their characters come to have some valuable lesson about love and relationship as helping their unlikely guest much more than expected.

Overall, “Rouge” is engaging in its earnest handling of story and characters, and its wistful qualities remind me of Somerset Maugham’s short story “Red”, which is also about a doomed young romance lost and then forgotten via that unbeatable passage of time. As we all know too well, we always have to accept what can never be regained as things keep changing, and the movie surely makes a poignant point of that.

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Strange Darling (2023) ☆☆1/2(2.5/4): A superficial Tarantino wannabe

Posted on March 23, 2026 by kaist455

JT Mollner’s 2023 film “Stranger Darling” has the familiar tone of those countless imitators of the works of Quentin Tarantino such as, yes, “Pulp Fiction” (1994). Many of them want to be funny and provocative while also trying to toy with character and narrative structure, but some of them are not so successful for only knowing how to play mere notes instead of music. Unfortunately, “Strange Darling” is one of such disappointing cases despite being slick and competent at times.

The opening part is clearly influenced a lot by those sleazy American exploitation flicks of the 1970s, which are incidentally one of the main sources of inspiration for Tarantino’s works. First, we get an ominous introduction claiming that it is based on some notorious real-life criminal case (Do you believe it, folks?). After that, we get the main title scene accompanied with a lyrical song played on the soundtrack, and then there comes a striking vehicle chase sequence which may take you back to the second half of “Grindhouse” (2007) directed by Tarantino.

The movie mainly follows a young woman chased by some guy who seems quite determined to catch her by any means necessary, but we soon come to realize that the movie has some surprises behind its back because of its non-linear narrative structure. Not long after the woman is on the verge of getting caught by her chaser, the movie moves back to when they met for the first time, and, what do you know, the situation between them turns out to be a bit more complicated than it seemed at first.

I will not go into details here for avoiding ruining any of your fun, but I can tell you instead on how the movie wants to be provocative via a series of uncomfortable moments between its two main characters. As they spend time together, the woman seems to have some naughty fun as flirting with the other main character’s interest and desire, and that eventually leads to a kinky sexual sequence where they push or pull each other as mainly driven by her unpredictable whim.

But who are this woman and her accidental sex partner? The screenplay by director/writer JT Mollner, who recently wrote the adapted screenplay for Francis Lawrence’s “The Long Walk” (2025) from the novel of the same name by Stephen King, merely presents its two main characters as broad archetypes without fleshing them out more along its convoluted narrative. Instead of becoming real characters to observe or enjoy, they come to us as thin figures more or less than superficial plot elements, and the same thing can be said about a certain old couple who get unfortunately themselves involved with these two main characters later in the story.

This is the main reason why most of the blatant dialogues in the film feel quite artificial instead of truly provoking or unnerving us. When its heroine talks about how women are often in danger of getting murdered when they just try to have some carnal fun, she feels more like dictating Mollner’s writing instead of really talking to her sex partner, and we are not so surprised at all when his screenplay subsequently attempts a bit of genre subversion.

It goes without saying that the movie also wants to be an edgy commentary on the misogynistic aspects of those countless “women in danger” flicks out there, but I am not so sure about it is as successful as intended. In its rather unpleasant genre subversion later in the story, the film ironically embodies the very misogynistic stuffs it is supposed to criticize, and this disagreeable contradiction is particularly exemplified by several minor female characters in the story, all of whom are no more than cardboard figures to be manipulated in one way or another.

Anyway, the movie does not look cheap or crummy at all because Mollner and his crew members occasionally show considerable technical efforts to be recognized. As clearly stated at the very beginning of the movie, the movie was shot on 35mm film stock by co-producer Giovanni Ribisi, who incidentally makes a cinematographic debut here in this film. While being mainly known as a character actor who has played a number of odd and unconventional roles (Remember that hilariously deranged dude in Seth MacFarlane’s “Ted” (2012)?), Ribisi demonstrates a very unexpected side of his talent, and he and Mollner did a fairy good job of utilizing the grainy texture of 35mm film stock for establishing the distinctive mood of their movie on the screen.

The main cast members of the film try to fill their respective roles as much as possible. Willa Fitzgerald and Kyle Gallner are believable as their characters go up and down along the increasingly unreliable storyline, and it is a shame that their considerable commitment on the screen is not utilized that well on the whole. In case of several other main cast members, they are mostly wasted, and I was especially dissatisfied with watching Ed Begley Jr. and Barbara Hershey being hopelessly stuck in their totally thankless parts.

In conclusion, “Strange Darling”, which is Mollner’s second feature film after “Outlaws and Angels” (2016), is not a total waste of time thanks to its admirable technical aspects, but it still feels like a hollow and passable Tarantino wannabe. No, I am not against imitating those Tarantino movies at all, but I must point out that we have seen truly bad imitators besides some fairly good ones during last 30 years, and “Stranger Darling” belongs to a spot somewhere between these two groups.

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Project Hail Mary (2026) ☆☆☆1/2(3.5/4): Now it’s up to him – and his alien friend

Posted on March 22, 2026 by kaist455

“Project Hail Mary” is an entertaining science fiction packed with enough wit, style, and drama to engage us during its rather long running time (156 minutes). While it is not as ambitious as Christopher Nolan’s “Interstellar” (2014), it still works quite well as a funny and thrilling space adventure story dexterously peppered with humor, intelligence, and some poignancy, and the result is indubitably one of the early highlights of this year.

The movie begins with its plain hero suddenly regaining his consciousness inside a big spaceship heading to somewhere in universe. He is Dr. Ryland Grace (Ryan Gosling), and he has no idea about how he ended up being inside the spaceship because he is suffering from a bit of retrograde amnesia at present. To make matters worse, the two other astronauts in the spaceship happen to be dead, so there is no one to tell him what is going on around him right now.

As getting more accustomed to this sudden situation of his, Dr. Grace gradually gathers where the spaceship is going. The spaceship is already far away from the solar system, and now it is approaching to a star called Tau Centi. Dr. Grace is naturally baffled, but, as he remembers more of what happened to him in the past, he gets to know more about this space mission of him and those two currently deceased astronauts.

Via a series of flashback parts, we see how he got himself involved with the space mission from the very beginning. Around 10 years ago, a strange incident was observed from the Sun, and that led to the discovery of a bunch of odd cosmic entities clearly sucking energy from the Sun. If this trend is continued without any interruption, it will be disastrous for the Earth and all the living organisms on it, and many experts around the world gathered for solving this catastrophic problem as soon as possible.

Although he was merely working as an elementary schoolteacher at that time, Dr. Grace once proposed a rather unconventional hypothesis on the lifeforms in the outer space, and that is why he was approached by the leader of that global expert groups, who is incidentally played by Sandra Hüller. He was initially skeptical about whether he could be any help at all, but, what do you know, he actually gave not only a breakthrough but also a possible solution developed from that.

When the spaceship eventually arrives in Tau Centi, there comes another big surprise for Dr. Grace. I will not go into details here for not spoiling any entertainment for you, but, because the trailer already showed that, I can tell you that Dr. Grace encounters an alien who eventually becomes his unlikely friend and colleague as they work together on the search for any possible chance to solve the common problem of their respective races.

Of course, things do not go that well for them at times, and the screenplay by Drew Goddard, which is based on the science fiction novel of the same name by Andy Weir (He also wrote “The Martian”, which was adapted into Ridley Scott’s 2015 film), engages us more as Dr. Grace and his alien friend work on their common mission in one way or another. Although there are several barriers between them including the language one, they eventually find a way to communicate fairly well with each other, and there is a little amusing moment when Dr. Grace tries to find the right human voice for the translation of what his alien friend says.

The story eventually culminates to when Dr. Grace and his alien friend come across a possible chance for getting their mission accomplished, and the movie naturally delivers a number of stunning visual moments worthwhile to watch from big movie theater screen. Thanks to a group of the first-rate crew members of the film including cinematographer Greig Fraser, who won an Oscar for Denis Villeneuve’s “Dune” (2021), the movie is quite impressive for its vast and wondrous presentation of the space, and you may also enjoy small and big details as the camera fluidly moves along with Dr. Grace here and there inside the spaceship.

Above all, the movie also finds a surprising amount of sincerity from the relationship drama between Dr. Grace and his alien friend. Their interactions are rather strained at times due to many differences between them, but we come to sense more of how much both of them care about each other, and we certainly come to root for them more around the climactic part of the story.

I must point out that Goddard’s screenplay stumbles a bit during the finale where it tries a bit too many things for tidying up the story within around 20 minutes, but we remain engaged as before thanks to another good performance from Ryan Gosling, who also participated in the production of the film along with Weir and directors Phil Lord and Christopher Miller. Besides ably holding the center of the film as required with his likable presence, he is convincing in a number of key scenes unfolded across the space, and he and James Ortiz, who is the voice and lead puppeteer of Dr. Grace’s alien friend, flawlessly click with each other throughout the film.

On the whole, “Project Hail Mary” is definitely not something you cannot miss if you love good space movies. Since Alfonso Cuarón’s “Gravity” (2013) came out, we have had a fair share of wonderful space movies during last 13 years, and “Project Hail Mary” deserves to be placed around the top of the field. Although it is not exactly ground-breaking compared to “Gravity” or “Interstellar”, Miller and Lord, who gave us “The Lego Movie” (2014) and “Spider-Man: Into the Spider-Verse” (2018), surprise us again, and that is more than enough for recommendation in my inconsequential opinion.

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The Fire Inside (2024) ☆☆☆(3/4): Her years of struggle

Posted on March 21, 2026 by kaist455

“The Fire Inside” is a solid sports drama film which turns out to be a little more thoughtful than I thought. Unlike many other sports films, it does not simply illustrate the journey toward an expected moment of triumph, and it also focuses on how its heroine struggles to move on after that triumphant moment. Mainly thanks to the strong performances from its two main performers, the movie is steadily engaging despite its few shortcomings, and you will come to root for its heroine more in the end.

The story revolves around the early boxing career of Claressa “T-Rex” Shields (Ryan Destiny), a female professional boxer who has been known well for her notable wins at the 2012 and 2016 Summer Olympics. The opening scene shows how young Shields, who was a little girl living in one of the poor neighborhoods in Flint, Michigan, came to start learning boxing under her coach Jason Crutchfield (Brian Tyree Henry), and then we see how much she becomes more skilled and confident during next several years.

And we also observe more of how Shields depends more on her coach – and how much she wants to get out of her poor and harsh environment. Her single mother is not particularly interested in supporting Shield’s hope and ambition, and then Shield finds herself kicked out of their house due to a minor clash between her and her mother. When she calls for help, Crutchfield possibly cannot say no, and she eventually becomes a part of his little family.

Thanks to Crutchfield’s good coaching, Shields keeps advancing in her boxing careers, and then there comes an opportunity to compete at the upcoming 2012 Summer Olympics in London. When she can finally go to the tryout competition to be held in Shanghai, China, she is naturally excited, but there comes an unexpected obstacle: Crutchfield cannot go just because 1) he is an unqualified coach and 2) he cannot afford to go there.

And that is just the first one of many obstacles Shields has to overcome with some help and assistance from her coach. When she is eventually selected for competing at the 2012 Summer Olympics, Crutchfield decides to go to London along with her, though he is still not her official coach at the competition. Nevertheless, she appreciates how much he cares about her and her boxing career, and that leads to a surprise win to distinguish herself much more than before.

After this narrative point, the screenplay by co-producer Barry Jenkins, who has been mainly known for his Oscar-winning film “Moonlight” (2016), shifts onto a more thoughtful mode. Shields and Crutchfield hope that things will get much better for her, but they soon face another big obstacle in front of them. Just because of gender bias, there are not many sponsors willing to promote her and her career out there, and Shields naturally becomes more frustrated and conflicted as she remains stuck in her poor neighborhood in Flint.

The mood eventually becomes a bit more melodramatic when Shields’ relationship with Crutchfield gets more strained later, but the movie mostly remains calm and restrained even at that point. Although a key scene between Shields and her mother later in the story feels rather contrived at first, it is handled well with low-key sensitivity at least, and that is the main reason why it turns out to be more touching than expected. While the finale is a bit too anti-climactic, it still works as staying focused on the relationship between Shields and Crutchfield, and we are reminded that her journey is not over yet even at this point.

As the center of the film, Ryan Destiny demonstrates that she is a promising newcomer with a lot of potential, and she did a splendid job of imbuing her character with enough human qualities to interest and then engage us. This is only the third feature film in her burgeoning movie acting career, but she is simply compelling to watch, and I can only hope that we will see more of her considerable talent during next several years.

On the opposite, Brian Tyree Henry, who has given us a series of stellar performances during last several years, is dependable as usual. Yes, his coach character looks a bit too typical on the surface, but Henry brings real human details to his character without showing off them at all, and the result is another fine performance to be added to his steadily advancing career.

In case of several other main cast members, they are just required to fill their respective spots as much as possible, and some of them acquit themselves well despite that. As Shields’ rather uncaring mother, Oluniké Adeliyi manages to overcome her thankless role later in the film, and De’Adre Aziza has a couple of good scenes as Crutchfield’s patient wife.

In conclusion, “The Fire Inside” works thanks to not only the commendable efforts from its two main performers but also the competent direction of director Rachel Morrison, an Oscar-nominated cinematographer who incidentally made a feature film debut here. According to IMDB, she has already moved onto her next film to come, and, considering the solid overall result of her first feature film, I guess I can have some expectation on that.

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Unstoppable (2024) ☆☆☆(3/4): Predictable but indomitable

Posted on March 20, 2026 by kaist455

I exactly knew what I was going to get from “Unstoppable”, which is currently available on Amazon Prime Video. This is your average underdog sports drama film, and you will not be surprised that much by its predictable narrative arc if you are a seasoned moviegoer like me. Nevertheless, its earnest efforts somehow won my heart in the end, and I will not deny at all that I got really engaged in its predictable but undeniably uplifting climactic part.

Jharrel Jerome, who has been one of the most promising actors working in Hollywood since his breakthrough supporting turn in Barry Jenkins’ Oscar-winning film “Moonlight” (2016), plays Anthony Robles, who drew a lot of attention as a wrestler with considerable disability during his high school and college years. Robles was born without one leg, but he went all the way as dedicating himself a lot to wrestling, and the movie is about how he overcame one obstacle after another before eventually having a big triumphant moment for his life and career (Is this a spoiler?).

The first half of the movie focuses on when Robles is about to make an important decision for himself. After distinguishing himself a lot at the national high school championship, he expects to be approached by several major state universities including the University of Iowa, which has been famous for its renowned wrestling team. However, it turns out that the University of Iowa and many other universities are not particularly interested in recruiting him, and it looks like his only option is Drexel University in Philadelphia, Pennsylvania, which is actually quite willing to provide him a full scholarship.

In the end, Robles decides to enroll in Arizona State University (ASU) just because he wants to stay closer to his family living in Mesa, Arizona. Thanks to his caring high school coach, he has a meeting with the wrestling team coach of ASU, who gives Robles some tough advice while recognizing Robles’ talent and dedication. As he warned Robles in advance, the following tryout session is pretty grueling to say the least, but this only motivates Robles more than before, and he eventually earns some respect from not only the coach but also many of his fellow candidate players.

Of course, there come a series of obstacles popping up here and there around Robles. In case of his mother, her recent spouse turns out to be much less reliable than expected, and this affects her as well as her children including Robles, who surely cares a lot about his mother just like his several younger siblings. While his mother comes upon one trouble after another mainly due to her lousy spouse, he keeps trying to focus on his games as before, but then there come some other troubles including the unexpected budget cut on his wrestling team.

The movie sometimes becomes a bit too melodramatic in my humble opinion, but the screenplay by Eric Champnella, Alex Harris, and John Hindman, which is based on the memoir of the same name which Robles wrote with Austin Murphy, keeps things rolling along its many ups and downs. While it is touching to see Robles’ mother eventually shows more resilience and resourcefulness than expected, we are also moved by when Robles’ teammates show him some solidarity at one point later in the story.

In case of all those wrestling match scenes in the film, they are competently handled under the solid direction of director William Goldenberg, an Oscar-winning editor who incidentally made a feature film debut here. He and his editor Brett M. Reed did a good job of generating enough intensity and excitement to engage us, and we come to care more about Robles’ strenuous quest for triumph even though we all know where he will arrive in the end.

The movie also depends a lot on Jerome’s admirable commitment on the screen. While his appearance on the screen is certainly assisted a lot by special effects from the beginning to the end, he ably embodies his character’s indomitable spirit and determination, and he is also quite convincing as willingly throwing himself into many intense physical moments during the wrestling match scenes in the film.

Jerome is also supported well by several notable main cast members. While Michael Peña and Don Cheadle have each own moment to shine as the two important coaches of Robles, Bobby Cannavale brings some extra intensity as the crummy spouse of Robles’ mother, and Mykelti Williamson is also effective in his small but crucial supporting part. In case of Jennifer Lopez, she may be a little too glamorous as Robles’ mother at first, but her undeniable star quality, which was already proven in Lorene Scafaria’s “Hustlers” (2019), is utilized well during one particular key scene between her and Jerome. This moment feels rather clichéd at first, but Jerome and Lopez bring real poignancy to it, and the result is more powerful than expected.

In conclusion, “Unstoppable” does not go beyond the conventions of its genre, but it still works inside its genre conventions. As I said at the beginning of this review, there is nothing particularly new or fresh here, but it follows its playbook well on the whole despite some blatant touches such as the reference to John G. Avildsen’s Oscar-winning sport film “Rocky” (1976), so I will not grumble at least for now.

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Crooklyn (1994) ☆☆☆(3/4): A childhood in Brooklyn in the 1970s

Posted on March 20, 2026 by kaist455

Spike Lee’s 1994 film “Crooklyn” is a little but charming family drama which is often interesting for its semi-autobiographic elements. Written by Lee and his two siblings Joie Susannah Lee and Cinqué Lee, the movie certainly feels quite personal in many of its intimate human moments, and we observe these lovely moments with some amusement and interest as appreciating more of the tender and sensitive sides of Lee’s storytelling skill.

Although the movie does not specify much of its period background, it does not take much time for us to see that the story is set in the Bedford–Stuyvesant neighborhood of Brooklyn, New York City around the early 1970s. During the opening scene, the movie gives us a series of cheerful moments showing kids playing here and there in the neighborhood, and the lightweight spirit of this scene will probably make you reflect a bit on how things became worse there during the next several decades due to poverty, crime, and drug.

Well, things can often be bad for a young black girl named Troy (Zelda Harris ) and her four boisterous brothers due to their rather poor domestic environment, but their parents try their best for their children. While Woody (Delroy Lindo) is a musician struggling for any chance for career breakthrough, Carolyn (Alfre Woodard) works as a schoolteacher, and it is apparent to us from the beginning that she is the one taking care of almost everything in their house including paying all those bills. In fact, she often finds herself over-exhausted throughout the story, and there are a couple of intense moments when she reaches to a sort of breaking point.

Nevertheless, she and her husband have taken care of their children fairly well on the whole. While Woody is more or less like a jolly big brother for their children, Carolyn alternates between loving care and some tough love, and she also loves her husband dearly even though she often finds herself quite frustrated with him usually paying more attention to his career than earning enough for paying the bills.      

Meanwhile, we see more of how Troy and her four brothers spend their ongoing summer days in one way or another. While her four brothers often hang out with other local boys, she mostly spends time with other local girls, and there is a little amusing moment when the boys clash with the girls a bit due to a little mean prank committed by the former. In their house, they usually get together for watching TV in the evening, and that is certainly not approved much by their parents.

Although the movie does not make any direct point, these and many other little comic moments in the story indirectly remind us more of how the American society has become quite harsh and dangerous for black people and their kids during last 40 years. For example, when Troy attempts a bit of shoplifting at a local bodega at one point, we cannot help but become a bit nervous, but she only gets mildly reprimanded when she soon gets caught by the bodega owner. If you are familiar with the killing of Latasha Harlins in 1991 and many other similar tragic cases out there, you will certainly observe this rather humorous moment with some bitterness.

And there is also a subplot involved with a rather disagreeable white neighbor living right next to Troy and her family. Although this dude often clashes with not only the kids but also their parents, this conflict fortunately does not lead to any serious outcome in the end. There are some arguments between Troy’s parents and him, but, to my little relief, he does not commit any physical violence at least. If you watched recent Oscar-nominated Netflix documentary “The Perfect Neighbor” (2025), you know how such a situation like this can become a lot worse in our time.   

Later in the story, the movie stumbles a bit when Troy comes to spend several days in the house of her affluent relatives living outside New York City. Just for emphasizing her sense of disorientation caused by their luxurious environment, Lee uses a deliberate visual distortion which may make you check your TV or projector right from the beginning. I understand his intention to some degree, but this often distracted me more than once during my viewing, and that is where my level of interest was decreased.

Nevertheless, the good performances from the main cast members of the film kept holding my attention. As Alfre Woodard and Delroy Lindo diligently hold the ground as required, Zelda Harris and several other young performers are natural in their interactions, and we instantly accept them as siblings who have closely been living together for years. Woodard, who has seldom disappointed us for more than 40 years, is particularly good as subtly suggesting her character’s frequent exhaustion and frustration, and Lindo, who recently got some belated recognition at last as shown from his Best Supporting Actor Oscar nomination for Ryan Coogler’s “Sinners” (2025), is also wonderful as ably handling his own little but crucial moments around the end of the story.        

 Overall, “Crooklyn” is not on a par with Lee’s best works such as, yes, “Do the Right Thing” (1989), and it is still worthwhile to watch for its funny and touching individual moments. Although I have no idea on how much the movie actually overlaps with Lee and his other siblings’ childhood, I think I came to learn a bit about their early years, and that was a pretty interesting experience in my humble opinion.

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El Sur (1983) ☆☆☆1/2(3.5/4): Remembering her father

Posted on March 15, 2026 by kaist455

Víctor Erice’s 1983 film “El Sur”, whose 4k remastered version was recently released in South Korean theaters, is a simple but undeniably powerful coming-of-age drama to admire and savor. While it is relatively more forthright in terms of storytelling compared to Erice’s previous film “The Spirit of the Beehives” (1972), the movie is also filled with delicate mood and touches to be cherished from the beginning to the end, and the result is often poignant as we come to sense more of its heroine’s attempt to have more understanding on the adamantly elusive sides of her dear father.

 After the opening scene where the young heroine of the story comes to learn about the tragic end of her father, the movie, which is set in Spain during the 1950s, moves backward to 7 years ago, and its narrator, who is the older heroine recollecting about all those memories between her and her father during that period, gives us some background information on her family. As left-wing intellectuals, both of her parents were scarred in one way or another by the Spanish Civil War during the 1930s, but they eventually settled in a northern area of Spain as your average middle-class family not long after their daughter was born, and their daughter, Estrella (Sonsoles Aranguren), grew up happily under their loving care and attention.

However, Estrella began to notice something odd about her father despite being only 8 years old, and the movie freely flows from one personal memory of hers from another. Whenever he comes back from his medical job, her father usually spends a lot of time in his little private place in the attic of the family house, and her mother emphasizes to Estrella that she should not disrupt whatever he is doing inside that place. While this surely baffles her a lot, Estrella still looks up to her father as watching him a bit of dowsing for local farmers via a supposedly special talent of his, and he gladly shows her a bit of how he can do that with a little pendulum belonging to him.

When her father’s mother and nanny visit for her First Communion, Estrella comes to learn a bit more about her father’s past. He and his family lived in a southern region of Spain around the time of the Spanish Civil War (The title of the movie means “the South” in Spanish, by the way), and he and his father, who incidentally passed away some time ago, were not so close to each other due to the difference in their respective political views. In the end, Estella’s father left his hometown once for all, and he still does not want to go back there even though he is clearly pleased to see his mother and nanny again after so many years.   

As becoming all the more curious about her father’s past, Estrella comes to learn that there is actually something more behind his back. It seems that her father has some old feelings toward someone in his past, and it does not take much time for Estrella to sense that this figure in question remains as an inconvenient fact beneath her parents’ married life, though she does not dare to ask any question to either of her parents.

Even after she grows up a bit more to become a teenager, Estrella, who is now played by Icíar Bollaín, often feels frustrated about the remaining gap between her and her father, who is quite caring as before but is also still not so willing to talk about his past. At one point later in the story, there comes a moment when he and his daughter can have a more honest conversation, but then he steps back at the last minute, and he eventually becomes more elusive to his daughter to her sad disappointment.

The movie, which is based on the novella of the same name by Adelaida García Morales, is actually the first half of what Erice envisioned at first. Although Erice was reportedly not very satisfied with the result, the movie is still often captivating for its sensitive handling of mood, story, and character, and it is interesting to observe that how much it is connected with “The Spirit of the Beehives” in many aspects. Although it is relatively less magical and ambiguous than “The Spirit of the Beehives”, the movie distinguishes itself a lot with its somberly poetic atmosphere just like that film, and cinematographer José Luis Alcaine provides a number of lovely visual moments which will instantly remind you of that striking chiaroscuro of the paintings of Johannes Vermeer.

As the unadorned emotional center of the film, young performers Sonsoles Aranguren and Icíar Bollaín are flawlessly connected along the story. While Aranguren carries the first two acts with her fetching presence, Bollaín is equally effective in several key scenes of hers during the last part of the film, and they are also supported well by several adult performers including Lola Cardona, Rafaela Aparicio, and Omero Antonutti, who fills his rather elusive character with enough human quality to observe and interpret.    

On the whole, “El Sur” is inherently imperfect, but it is still worthwhile to watch for many good reasons besides being one of the only three feature films in Erice’s long but sparse filmmaking career. Compared to the greatness of “The Spirit of the Beehive” or “Close Your Eyes” (2023), it feels like a minor work at times, but there is a clear thematic connection between the movie and a group of subsequent films ranging from Kasi Lemmons’ “Eve’s Bayou” (1997) to Charlotte Wells’ “Aftersun” (2022), and I am sure that its status will grow more in the future as getting more discovered and then recognized.

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Ghost Elephants (2025) ☆☆☆1/2(3.5/4): Searching for mystic elephants

Posted on March 15, 2026 by kaist455

Needless to say, Werner Herzog is one of the most interesting filmmakers of our time. Besides making a number of unforgettable feature films ranging from “Aguirre, the Wrath of God” (1972) to “Bad Lieutenant: Port of Call New Orleans” (2009), this legendary German filmmaker also gave us a bunch of equally fascinating documentary films such as “Little Dieter Needs to Fly” (1997) and “Encounters at the End of the World” (2007), and he certainly does not disappoint us at all in his latest documentary film “Ghost Elephants”, which is currently available on Disney+ in South Korea.

The main human focus of the documentary is Steve Boyes, a South African naturalist in the search for any opportunity to prove the existence of an undiscovered species of African elephant on the highland plateau of Angola. According to several testimonies from those elephant trackers in the past, this African elephant species in question may be considerably bigger than the biggest one ever to be hunted on the record, but these “Ghost Elephants” are not so easy to be spotted as supposedly living somewhere in their vast and remote habitat, and that was certainly a big challenge for Boyes from the very beginning.

Ironically, the meticulous records on the biggest African Elephant ever to be hunted provides considerable help to Boyes. We see Boyes beholding the dead body of “Henry” exhibited at the Smithsonian Institution in Washington D.C., and then we have a close look on Henry’s big tusks and skeleton thanks to the generous corporation from the staff members of the institution. Because Henry was hunted at a spot not so far from what is assumed to be the main habitat of Ghost Elephants, it is possible that Henry can actually be genetically related to Ghost Elephants, and all Boyes needs to do is getting any suitable biological sample to be examined along with the ones from Henry.

And then the documentary observes how Boyes prepares for his latest search. First, he hires a trio of San tribe trackers in Namibia, who surely interest Herzog a lot for their interesting human qualities. Instead of watching them from the distance, Herzog regards their cultural background with thoughtful curiosity and respect, and they willingly show some of their old but valuable knowledge in front of the camera. In case of a certain kind of deadly poison which they have usually used for hunting animals, it is actually from the larvae of a certain insect species, and it is fascinating to watch how they carefully prepare the poison from those tiny insect larvae dug up from the ground.

Without hurrying itself at all, the documentary sometimes takes time as Herzog reflects more on Boyes’ search and the terrible old history associated with it. After all, Henry was just one of those countless elephants killed by those greedy and heartless European colonist hunters during the 19-20th century, and, considering how African Elephant remains to be an endangered species even at this point due to the frequent poaching in Africa, the confirmation on the existence of Ghost Elephants may lead to more harm on the nature despite expanding our knowledge on it (Believe or not, more than 100 new animal species were discovered and then reported by Boyes and his search team as they searched for Ghost Elephants here and there in the highland plateau of Angola).

And there is also some serious personal question for Boyes. While quite excited by the growing possibility of attaining his longtime goal at last, he also confronts that big question on what may be next for his life and career after that point. As he frankly admits, Ghost Elephants are more or less than his own Moby Dick, and Herzog surely understands well Boyes’ rather obsessive dedication. After all, many of his notable films and documentaries such as “Fitzcarraldo” (1982) and “Grizzly Man” (2005) are about the guys relentlessly driven by their seemingly unattainable goals, and Boyes is just relatively less extreme compared to many of these rather nutty dudes.

Anyway, Boyes eventually enters the highland plateau of Angola along with his hired trackers, Herzog, and his small crew members, and the documentary closely observes their following journey with some amusing reflection on nature and people from Herzog. At one point, the documentary suddenly focuses on a female spider carrying a lot of its spawns on its back, but, mainly thanks to Herzog’s distinctive narration, this seemingly trivial moment becomes a bit more interesting than it seemed at first.

For not ruining any of your entertainment, I do not dare to tell you anything about how Boyes’ latest search will end. However, I can tell you at least that 1) it is not as bleak as the finale of “Aguirre, the Wrath of God” and 2) the following moments of academic research intrigued me to some degree due to my inconsequential academic background (Yes, I have a doctoral degree in biological science, though, as spending too much time on watching and then reviewing movies, I was a disastrously lazy graduate student who was a real pain in the ass for my long-suffering adviser professor).

In conclusion, “Ghost Elephants” is another compelling documentary from Herzog, and many of its reflective moments will linger on your mind for a long time. Although he is going to be 84 several months later, Herzog remains active as usual (He is currently working on his new feature film starring Kate and Rooney Mara, by the way), and the documentary surely demonstrates that he can still keep going at least for now. Yes, he may leave us forever at any moment, but he will never bore us to the end at least, right?

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Chime (2024) ☆☆☆(3/4): A typically disturbing short film by Kiyoshi Kurosawa

Posted on March 14, 2026 by kaist455

Kiyoshi Kurosawa’s 2024 short film “Chime”, which was released in South Korean theaters in last week, as baffling and disturbing as you can expect from him. Just like many of his works such as “Cure” (1997) and “Creepy” (2016), it catches us off guard with a sudden shocking disruption of mundane reality, and then we find ourselves constantly confounded and then chilled about what is exactly going on.

At the beginning, we are introduced to Takuji Matsuoka (Mutsuo Yoshioka), a cooking teacher working in Tokyo. When he is teaching a group of students as usual, one of them, a young man named Ichiro (Seiichi Kohinata), begins to look rather disturbed for no apparent reason. This lad later asks Matsuoka whether Matsuoka can also hear a sound of chime from somewhere, but, just because he cannot hear anything at all, Matsuoka simply ignores him without much care.

However, this turns out to be the mere prelude to an incident much more disturbing. When Matsuoka is doing another cooking class some time later, Ichiro looks all the more disturbed than before. He believes that sound of chime is sort of message sent to his brain under some mysterious mind control, and he eventually commits a shocking act of violence, which certainly horrifies Matsuoka and his other students a lot. 

After this point, we observe how Matsuoka’s reality is gradually smeared with the insidious sense of madness. For some unknown reason, that horrible incident ignites something inside him, and we sense more of how much he has been frustrated and dissatisfied with his current status of life. We see him spending some domestic time with his wife and their only son, but there is not much interaction among them. We also see him trying to get hired as the new chef of some prestigious French restaurant, but it is apparent to us that he is not going to be hired at any chance.

In the end, Matsuoka reaches to his own breaking point just like that disturbed student of his did at that time. I will not go into details here, but I can tell you at least that Kurosawa will not disappoint you at all if you admire his works as much as I have. As he sets the stage for what will happen sooner or later on the screen, we become more unsettled step by step, and we are all the more chilled by the clinical attitude of the cinematography by Koichi Furuya, who did a commendable job of imbuing the screen with the gray moodiness reminiscent of the texture of stainless steel kitchen utensils.

Later in the film, things get all the weirder around Matsuoka, and we naturally come to have more doubt on his increasingly unhinged viewpoint. He constantly feels cornered more and more for not only what he committed but also several other reasons, and he cannot feel safe or comfortable at all even when he is inside his residence. His wife and son become all the more distant from him than before, and the mood becomes a bit more tense when he seems to consider doing something drastic before opening the door of his son’s room at one point later in the story.

Even during the very last scene of the film, Kurosawa does not resort to any easy answer or resolution for his hero, and the film continues to confound us more. He and Furuya deliberately shot this scene on 16mm film, and the resulting grainy texture makes a striking atmosphere contrast with the rest of the film. While this can be interpreted as another shock to the system for its hero, the film remains adamantly ambiguous about whatever he is going to do next after its very last shot, and I was amused a bit to learn later that Kurosawa regards this as a sort of optimistic ending. In the interview clip shown right after the end of the film, he says that Matsuoka eventually becomes much less anxious than before, and that is certainly a lot more optimistic than what I imagined after watching the last shot of the film.

Kurosawa draws effective performances from his cast members. While Mutsuo Yoshioka, who previously played minor roles in some of Kurosawa’s works such as “Cloud” (2024), is subtly disturbing as his character’s reality is slowly imploded with more madness along the story, several other cast members including Hana Amano and Ikkei Watanabe are also solid in their respective supporting parts, and Seiichi Kohinata contributes a lot to the overall tone of the film during his brief but striking appearance.

In conclusion, “Chime” is another typical work from its director, but it will surely satisfy any of his fans and admirers within its short running time (45 minutes). As watching him talking a lot about his work during the following interview clip, I came to appreciate his considerable filmmaking skill more than before, and I also became more interested in watching “Serpent’s Path” (2024), which is another work from him in 2024 and is incidentally the remake of his own 1998 film of the same name.   

By the way, after having a very productive year with “Chime”, “Cloud”, and “Serpent’s Path” in 2024, Kurosawa already moved onto making his next film, which is currently going through the post-production period and will be released in Japan around this year. According to him, it is a period drama film filled with samurais, and he will probably surprise us again as he did many times before. After all, how can we possibly expect less than that from him?

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