Kiyoshi Kurosawa
The latest edition of Film Inquiry’s horror movie-centered column, Horrific Inquiry, takes a look at the 2001 Japanese film Kairo, or Pulse.
Regardless of its narrative, Kurosawa’s focus on Yoko — and Maeda’s marvelous performance — keep the movie afloat.
In this New York Film Festival report, Kevin Lee reviews I Was At Home, But, The Whistlers and To The Ends of the Earth.
Before We Vanish is always working in two dimensions at the same time: it’s gross and funny, incisive as a work of modern commentary and blunt as a dozen hammers.
In Gus Edgar’s final rundown of the films of the Berlinale, he reviews Die Tomorrow, Ága, Human, Space, Time and Human, In The Aisles and more.
Film is one of the best artistic mediums because it’s always growing; it speaks every language, and every place in the world has their iteration as to what’s scary, twisted, weird or just downright bizarre. Different countries offer different interpretations of horror, from China where vampires hop to Korean Shaman. They don’t wave crosses, nor do they compel the power of Christ upon anyone, but just don’t fall in love with Isabelle Adjani.
When the title card appears in Daguerrotype, it announces the film as “Le secret de le chambre noire”. That title reflects the film’s goals as a dark, foreboding ghost mystery, and it probably does so better than the title “Daguerrotype” does. But what I like about the title Daguerrotype (misspelled though it might be), is that it refers to the most interesting part of the film:
Every time you look for new horror movies the same ten titles show up. The Shining, Jaws, The Exorcist, The Haunting, Psycho, Nightmare on Elm Street, Alien, Halloween, The Ring, and Night of the Living Dead. Not to say that these aren’t great films, they’re on the best lists for a reason; they’re classics!
