Japan
Merry Christmas, Mr. Lawrence is a beautiful film, and despite its grim subject matter, there is an underlying sense of warmth to it.
Labyrinth of Cinema tells an empathetic and energetic story about the power of cinema to change the world — one that we would all do well to take in.
Sion Sono’s English-language debut stars Nicholas Cage as a criminal forced to track down the granddaughter of an Old West-meets-Mad Max warlord.
For a franchise that has been around for 40 years, Mobile Suit Gundam: Hathaway emerges as one of the best films in the Gundam universe.
It’s films like Angel’s Egg that make the critic feel like a charlatan, aimlessly looking for patterns in the entrails.
Not everyone will be won over by the weirdness of Annette, but for those who are, they will absolutely love it.
In Kids Return, the warmth of Kitano’s brand of brotherhood glows on the palate long after the acidity of his cynicism has subsided.
Thirty years on, the poignant, thoughtful Only Yesterday stands out as a mature, sophisticated gem among Studio Ghibli’s catalog.
Looking at the legacy of Gorō Miyazaki’s best film, From Up On Poppy Hill, which was written by his father, the legendary Hayao Miyazaki.
Tomu Uchida’s Bloody Spear at Mount Fuji is a masterpiece, offering a complex rewriting of Japanese national mythology.
The new Criterion release allows the viewer to appreciate everything Kobayashi’s towering masterwork has to offer at an even greater level.
In Demon Slayer: Mugen Train, can Tanjiro & Co. find the the demon responsible for strange disappearances on the Mugen train?
The potential with this was promising, and yet they couldn’t quite make it work.
The latest edition of Film Inquiry’s horror movie-centered column, Horrific Inquiry, takes a look at the 2001 Japanese film Kairo, or Pulse.
In its styles, structures, and personal relationships, Listen to the Universe does the rare feat of turning a competition against itself.
