Takashi Miike’s Ichi the Killer understands violence and vengeance as self-perpetuating cycles.
If Kitano does go forward with the rumored third volume, hopefully he’ll conceive of some fresh angle on this increasingly dry material.
Amir Nedari’s Cut excavates what remains, in the filmmaker’s eyes, of the bloated, bruised, and waterlogged corpse of cinephilia.
Marebito is, for Takashi Shimizu, a step up from Ju-On, but it still doesn’t hold a candle to any of the man’s many influences, including Suspiria.
Once you realize F is for fake, the film itself reveals its own theoretical phoniness.
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