A well-crafted genre mix with unexpected twists and turns, telling a bittersweet tale of heroic self-sacrifice and the courage to accept help when you can’t go it alone.
What could've easily been a bleak social commentary on cerebral palsy wound up being an empowering journey toward independence and personal growth via new experiences, surmounting an overprotective upbringing and an unappreciative mangaka partner.
A few WTF moments could've been cut, but overall this is a charming, occasionally funny and deep take on boys undergoing puberty in the mid‑to‑late 80s. Those were my thoughts; however, about 68 minutes in, the film veers into strange and uncomfortable, cringe‑inducing territory that undermines much of its earlier success.
I found no purpose in the film, which should've told the true story. As the situation goes from bad to worse, instrumental characters behave more unethically and unnaturally. Akira’s initially impressive maturity yields to childish irresponsibility that dooms his siblings, and their mother’s reckless disappearing act, which is bound to lead to imprisonment, defies logic. Shoddily fictionalising the incident and altering its details drains it of depth, clarity, and magnitude.
A film about an epic battle between good and evil that's anything but epic. It's endless setup and buildup with unnecessary twists, delivering no real payoff. Visually, it's striking, but beyond that, there’s nothing exceptional. The playful gag where a woman in leggings is getting served ice cream at least brought a chuckle.
This moving courtroom drama delivers an insightful look at the prejudice and mistreatment faced by individuals with mental disorders, while tracing a defense attorney’s moral evolution as they represent their client against a witness with Asperger’s.
Unfolds like an increasingly disorienting nightmare, but not especially frightening, and the relentless somber tone offers no relief. Though the twist ending technically explains why, the mother-daughter relationship tediously circles without progress; even In-cheol—arguably the film’s most compelling character—struggles to fully engage. I like the idea of infidelities past and present colliding in supernatural bloodshed, but the film just didn’t resonate with me.
Meticulous cinematography, an ambient score, and solid performances deliver ideal uncanny psychological horror—until a silly second half sacrifices internal logic for moral allegory, leaving glaring plot holes.
This remake strikes the perfect balance of familiarity and originality, delivering fresh thrills for old and new fans alike. A couple minor logic lapses exist, however, when Detectives Kimura and Yoshino each confront Kusakabe without backup.
I approached 𝘎𝘩𝘰𝘴𝘵 𝘒𝘪𝘭𝘭𝘦𝘳 expecting a straight-up assassin thriller, but reunited director Sonomura Kensuke, screenwriter Sakamoto Yugo, and actress Takaishi Akari deliver a fairly smart supernatural action film instead. Sharp fight choreography and good chemistry between the two leads elevate a simple yet moral story. It isn’t groundbreaking, but it kept me entertained enough—a pleasant surprise for someone in the minority who didn’t care for 𝘉𝘢𝘣𝘺 𝘈𝘴𝘴𝘢𝘴𝘴𝘪𝘯𝘴.
A bottle film about two rival actresses sharing an apartment sounded intriguing and rich with possibilities. Due to online sources, I expected a dark comedy, but it's more like a bleak satirical social commentary, ending on a surprisingly sad note. It wasn't for me, but I can see it appealing to others. Like 𝗱𝗮𝗿𝗮𝗺𝗷𝘄𝗶, I preferred the start with passive-aggressive thoughts.
Sena, after being told her sexuality and father‑daughter relationship are “abnormal,” kills her father, believing the act will cleanse her, but then, feeling betrayed, commits suicide. Retreating into her subconscious, fragmented personalities force her to confront her identity, find the resolve to live, and learn self‑acceptance. The film’s intent to probe what “normal” means and its impact on mental health is compelling, but its execution is clumsy, overly convoluted, and ultimately delivers a muddled message.
Switched up from the first film, this sequel centers on the passengers and crew, relegating railway security and authorities to supporting roles. The bombers’ identities remain hidden among red herrings until timely reveals with shocking motives and twists to boot—proof that Japan once again tackles sensitive subjects few would dare, though their backstories could've been more detailed. Many of my previous gripes are resolved here, especially the nuanced portrayal of the passengers as complex individuals rather than stereotypes.
Honest work may not promise a luxurious life, but crime never pays. 𝘉𝘶𝘭𝘭𝘦𝘵 𝘛𝘳𝘢𝘪𝘯 is a decent film, but it could've been better.
In a thriller like this, one would expect the passengers to drive the tension, immersing us in their peril through emotional attachment. Instead, the movie ambitiously devotes much of its screen time to the crew, railway security, authorities, and the bombers.
This narrative gamble held promise but falls short: these sequences feel routine, and the bombers’ backstories, motivations, and relationship are underdeveloped and awkwardly introduced. Tetsuo’s estrangement from his wife and son, which might have served as an affecting thread, surfaces only when the plot demands it.
The passengers are relegated to stereotypes—even the distressed woman in labor is a mere plot device. Treating them as a statistic, not people, saps suspense.
𝘉𝘶𝘭𝘭𝘦𝘵 𝘛𝘳𝘢𝘪𝘯 𝘌𝘹𝘱𝘭𝘰𝘴𝘪𝘰𝘯 (2025) may remedy these flaws.
12 Suicidal Teens procrastinate over a series of pointless misunderstandings, culminating in a predictable ending. Poor execution undermines its well-meaning premise.
A bottle film about two rival actresses sharing an apartment sounded intriguing and rich with possibilities. Due to online sources, I expected a dark comedy, but it's more like a bleak satirical social commentary, ending on a surprisingly sad note. It wasn't for me, but I can see it appealing to others. Like 𝗱𝗮𝗿𝗮𝗺𝗷𝘄𝗶, I preferred the start with passive-aggressive thoughts.
In a thriller like this, one would expect the passengers to drive the tension, immersing us in their peril through emotional attachment. Instead, the movie ambitiously devotes much of its screen time to the crew, railway security, authorities, and the bombers.
This narrative gamble held promise but falls short: these sequences feel routine, and the bombers’ backstories, motivations, and relationship are underdeveloped and awkwardly introduced. Tetsuo’s estrangement from his wife and son, which might have served as an affecting thread, surfaces only when the plot demands it.
The passengers are relegated to stereotypes—even the distressed woman in labor is a mere plot device. Treating them as a statistic, not people, saps suspense.
𝘉𝘶𝘭𝘭𝘦𝘵 𝘛𝘳𝘢𝘪𝘯 𝘌𝘹𝘱𝘭𝘰𝘴𝘪𝘰𝘯 (2025) may remedy these flaws.