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lt subscribe to posts atom posts all comments atom all comments sunday june 21 2026 the furious dir kenji tanigaki i ll cut straight to the chase it s not since ong bak that a film has so wowed me with its ha furious action i have seen reviews comparing this movie with the raid and the night comes for us the latter i remember seeing some of on netflix but after a point i just switched off because it seemed to me just full of sadism and mean spiritedness posing as entertainment the raid comparison is more appropriate especially since a major action sequence is when an army of thugs enters a multi story building our heroes are trapped in and they have to fight their way through but the raid itself was butt ugly shot on a handycam level camera with no thought for lighting and contrast if we say that the furious is defined by its action then to me it owes more to the classic hong kong martial arts crime movies than anything else while brutal the action is also extremely balletic beat poetry at its finest apologies mr ginsberg in the furious world duels are rare most fights are threesomes foursomes in general multi somes the bodies of combatants in flow are pressed together like a sandwich twisted into a pretzel piled up in a meat pyramid director tanigaki knows how to film his action sequences well eschewing the frequent modern tendency for rapid cutting he favors long takes in which we can appreciate the beauty of the choreography and the precision of the actors it makes the fights easy to follow as a dance of deadly movements the interesting thing is that in most fights there are no fodder extras stuntmen who fall down after just a couple of blows to show how powerful the heroes are no almost every battle here is hard won the best part of the film was the climactic 5 way showdown which for me equals and sacrilege maybe even surpasses the final fight between the peking opera brothers jackie chan sammo hung yuen biao and dick wei in project a without any spoilers it features an actor fighter who is part acrobat and part wrecking ball he is basically donkey kong in live action lead actors miao xie and joe taslim have great action chops and analogous to angela mao in enter the dragon there is a pivotal cameo at the start from chocolate star jeeja yanin vismitananda so yeah if watching brilliantly choreographed bruising ballets is your idea of a good time then the furious will make you happy indeed posted by suresh s no comments email this blogthis share to x share to facebook share to pinterest labels action chinese english martial arts movie review thai sunday june 14 2026 do bigha zamin dir bimal roy it was heartening to see the 700 seater regal cinema hall on a weekday evening full of young viewers lined up for a more than 70 years old film to make a confession i had never seen do bigha zamin dbz in its entirety before only selected clips on tv especially the cycle rickshaw race with its calamitous end said to be inspired by watching vittorio de sica s bicycle thieves dbz is a grounded drama about the downtrodden in society our protagonist shambhu mahto an unforgettable balraj sahni is a farmer forced to look for work in the city to earn enough to clear the mortgage on his farm after he refuses to sell the land to the rich zamindar murad for the construction of a mill shambhu lands in the sprawling chaos of kolkata with his stowaway son kanhaiya ratan kumar while his wife parvati nirupa roy is left in the village with his ailing father in the metropolis they meet a motley of characters some of whom like the fiery tongued slum landlady or the street smart boot polishing urchin lalu a young spirited jagdeep devoid of excessive buffoonery are sympathetic enough to help them out to put the money together before his repayment term ends shambhu works like a dog refusing himself even basic necessities as a good meal or rest after an accident with shambhu and his family s life roy depicts the hardship of poor folk in the country the struggle to make a living or hold on to their most meager possessions while still trying to maintain a shred of dignity and avoid taking the path of crime it is a sensitive and sympathetic tale helmed by someone that truly believed in the power of cinema for social change roy would later go on to make other striking social dramas like bandini and sujata even his gothic melodrama madhumati has a strong social backdrop of oppression by the privileged class the film s production design and cinematography are wholly married to the vision of social realism even the songs composed by salil chowdhary are an integral part of the narrative with no extravagant escapist dream sequences dbz ends as it should on a tragic and poignant note shambhu finds himself fenced out of his own land after it is auctioned by the debt court not allowed to even take a handful of dirt from the earth that he and his forefathers had tended for so many generations kudos to the film heritage foundation and janus criterion for undertaking the 4k restoration of this classic largely free of any heavy damage and showing painstakingly calibrated contrast that reveals the vision of its makers the restored version is a marvel posted by suresh s no comments email this blogthis share to x share to facebook share to pinterest labels drama hindi movie review sunday march 8 2026 assi aka eighty dir anubhav sinha assi is story wise probably the best film anubhav sinha has made thus far because as baradwaj rangan in his review says he constantly subverts our expectations about what the film is about when we think it will be a grandstanding courtroom drama where a woman lawyer snatches justice from a biased system for her assaulted client it goes in another more interesting direction it looks at the vicious spiral of violence and retaliatory violence and how in celebrating an act of vigilante justice the original victim is no longer a factor of course anubhav the storyteller is often tripped over by anubhav the writer of clunky portentous dialog and his need to virtue signal to no fault of these terrific actors mohd zeeshan ayub s sensitive husband and taapsee pannu s firebrand lawyer are less credible people than idealizations of the script where the film is saved is in the introduction of kumud mishra s character i won t spoil it with any further description but in both the writing and mishra s committed performance including an amazing body transformation that makes you see the actor in a different light a new dimension is added to what could have been a cliched pink 2 kind of story sinha as director also breaks the fourth wall with periodic reminders that a rape crime takes place at least every 20 min in this country adding up to the title s eighty in a day and that s counting only the reported ones all things considered assi s core is imo strong enough to make an impact the climax is beautifully written in terms of how it again restores focus on the person who was originally violated and only by systemically addressing the might is right thinking which governs our social conflicts be they gender religion or caste based can we truly aspire to be civilized posted by suresh s no comments email this blogthis share to x share to facebook share to pinterest labels drama hindi movie review wednesday march 4 2026 cruel gun story dir takumi furukawa cruel gun story cgs was a pretty good heist caper in the veteran nikkatsu studio s crime filmography joe shishido he of puffed cheeks fame from branded to kill heads the gang meant to carry out the heist but joe is not calling all the shots a big fish gangster is bankrolling the caper and has assigned a motley of crew mates to joe who may not all be trustworthy as south east asian film expert tony rayns says in his video essay included on the blu ray from radiance films cgs shares a kinship with stanley kubrick s the killing in which also a gang plots to steal the receipts of a horse racing derby in other film references there is a chase through sewers a la carol reed s the third man as can be expected the heist does not go as planned the gang face unexpected stumbling blocks including a guard that refuses to leave the bulletproof money van and there are double and triple crosses galore cgs is based on a story by haruhiko oyabu who also wrote the sources behind several seijun suzuki movies the overall mix is delirious and while there are logical fallacies and contrivances of melodrama it does not prevent the film from being entertaining shishido as the tough talking leader holds our attention and his cheeks don t look as ridiculous as they did in branded to kill i noticed that the environment around the characters had predominantly english signage rayns explains that the film is set in and around an american military base shishido s contact even obtains a sniper scope rifle from a gi and is indicative of the corruption culture prevalent in the period a few words on the radiance blu ray video quality is solid but not spectacular the master appears dated with middling detail and limited contrast grayscale it might be the same that was sourced for the criterion collection s dvd release as part of their eclipse box set on nikkatsu noir initially the audio seemed to have some distortion but that feeling went away afterwards and the brassy score punches hard extras include two video essays one being the aforementioned tony rayns piece and one by jackie scanlon on the nikkatsu noir period a commentary by expert jasper sharp and a short interview with an older joe shishido who looks a lot more handsome after having removed the cheek implants posted by suresh s no comments email this blogthis share to x share to facebook share to pinterest labels heist japanese movie review noir thursday january 8 2026 die katze aka the cat dir dominik graf dominik graf s 1988 thriller the cat begins with the visual of a man and woman having sex to the strains of good times by the animals then craftily segues to a couple of blokes in a car singing along with the radio all these people will play a part in a planned heist the woman is unhappily married to the bank manager and a willing accomplice in the plan the two blokes are henchmen that will carry out a robbery and later hold the manager and employees hostage for a hefty ransom the man played by german star gotz george is the cold blooded brains behind the operation what follows is a multi layered scheme in which the man arranges for the henchmen to ask for the ransom to be carried by the manager s wife gudrun landgrebe from his hotel room window opposite the bank and access to police radio communications the man can clearly predict the police operations and accordingly issue counter instructions later in a thrilling interlude he himself navigates fire escapes and narrow ledges and even slinks under trucks to sabotage them gotz reportedly performed his own stunts but his mistress complicates his scheme by demanding that he kill her husband in return for her cooperation as can be gleaned from the above summary the cat is a tense noir thriller and brilliantly done at that because of the gray shades in all of the characters the film is able to constantly play with audience sympathies the calculative intensity of gotz s character the frustration that builds among the henchmen when events start to overwhelm the tactical games with the police these make for a boiling mix this visual texture of the film reflects this element it unfolds over the course of a sunny humid day and the characters are frequently bathed in sweat there is constant cross cutting between the events inside the bank gotz s hotel suite and the police control room the overall effect is of a constantly tightening grip i had not previously heard of the film and was able to experience it thanks to radiance films excellent blu ray a few words about it the high definition transfer beautifully represents the evocative cinematography martin schafer who did camera duties for wim wenders on his road trilogy paris texas and the american friend the stereo track comes across strongly in the action scenes and in the soundtrack there are a number of meaty extras including a lengthy conversation with graf in which he details his early career the robert aldrich influence how this project began the contributions of star gotz george etc and shorter ones with writer christopher fromm and producer georg feil there is also the usual limited edition booklet posted by suresh s no comments email this blogthis share to x share to facebook share to pinterest labels german movie review noir thriller monday december 29 2025 sirai aka prison dir suresh rajakumari in sirai aka prison kathiravan vikram prabhu is a policeman involved with the escort of prisoners in transit these escort cops must often rely on public transport and during the entire journey they are responsible for keeping the prisoner confined and the public safe at the beginning kathir is shown to open fire in a public place to stop an escaping convict he is placed under enquiry in the meantime he takes on another escort job of an under trial muslim boy called abdul rauf a stunning lk akshay kumar who reminds me of a young basil joseph kathir s two teammates in the mission treat it more like an outing where they can drink and make merry when they are caught in a public scuffle after one such carouse abdul is unsupervised in the bus it gets worse even the rifle meant for guarding the prisoner is left behind with him the cops chase after and catch up with the bus only to find both abdul and the rifle missing it is at this cliffhanger moment that the intermission comes sirai s second half deals with kathir and his team meeting again with abdul and learning the circumstances that led to his incarceration it is not a novel story 70 s and 80 s mainstream indian cinema was rife with narratives where an upright cop finds sympathy for a law offender and they ultimately team up against the actual bad guys but within this archetype sirai imbues its characters and situations with sufficient substance for them to engage the audience abdul s situation comes about as a consequence of the communal divide in his village and the opposition to his transgressive romance with the hindu girl kalai anishma anilkumar supporting characters like abdul s mother remya suresh and kathir s wife ananta thambiraja show a welcome fire instead of being the stereotype doormats i also loved that the sirai did not feel obliged to have a climactic showdown reinforcing the cop s badasserie this is a refreshing change from the ultra macho my beard dick biggest leanings of today s masses oriented cinema of course all is not great here the second half of sirai leans hard into sentimentality sometimes to the point of obvious manipulation with repetitive scenes of characters being oppressed or bursting into tears also the visual grammar becomes unnecessarily jerky insisting on cross cutting flashbacks where a few lines ...