I Am Kirishima (2025)
“While the performance of each cast-member helps infusing a sense of honesty in the framing of Kirishima’s life-in-hiding, it is Katsuya Maiguma, who portrays Kirishima, that steals the show. ” –
Psychocinematography
Apr 22, 2025
Full Review
Hell Dogs (2022)
“With Hell Dogs, Harada delivers a derivative combination of themes and images that many other yakuza-films have explored and visualized much better.” –
Psychocinematography
Apr 10, 2025
Full Review
Good Luck (2025)
“Sano and Amano, by infusing the necessary touch of believability within their characters and their interactions, ensure that Adachi can develop his themes.” –
Psychocinematography
Apr 4, 2025
Full Review
V. MARIA (2025)
“V. Maria is a great experience that offers the spectator a glance at the past and the present of the V. Kei scene. ” –
Psychocinematography
Apr 2, 2025
Full Review
Mukoku (2017)
“By avoiding to deliver a slightly reworked version of a hero’s growth, Kumakiri does not only deliver a less predictable sports-narrative, but also proves that the sport-genre can be a frame to explore a myriad of darker psychological themes. ” –
Psychocinematography
Mar 24, 2025
Full Review
Zoku Abashiri Bangaichi (1965)
“With Another Abashiri Prison Story, Ishii delivers an enjoyable thriller – a straight-forward yakuza flick with many pleasant moments, but not the sequel the first narrative deserved.” –
Psychocinematography
Feb 24, 2025
Full Review
Hana-Dama: Phantom (2016)
“Hisayasu Sato’s Hana Dama Phantom is a narrative that, while offering many enjoyable sequences, fails to combine horror, comedy, and soft-erotica into a satisfying whole.” –
Psychocinematography
Feb 24, 2025
Full Review
The Taste of Tea (2003)
100%
“The Taste of Tea, a light-hearted and peaceful sketch of life in rural Japan, offers the spectator a satisfying kaleidoscopic exploration of the emotional fabric of life and the importance of familial bonds. ” –
Psychocinematography
Feb 3, 2025
Full Review
Small, Slow But Steady (2022)
100%
“By framing Keiko’s subjective trajectory in a solemn and restrained visual composition, Miyake ensures that emotional flow of the narrative, as brought to life by Kishii, touch the spectator deeply and profoundly. ” –
Psychocinematography
Jan 27, 2025
Full Review
Abashiri Prison (1965)
“With Abashiri Prision, Teruo Ishii delivers a very satisfying experience.” –
Psychocinematography
Jan 24, 2025
Full Review
A Man (2022)
100%
“While the narrative’s flow might feel a tad to slow for some at first, the measured nature by which the story unfolds gives Sakura Ando and Satoshi Tsumabuki the time and space to bring the emotional dimension of the narrative come to full blossom.” –
Psychocinematography
Jan 21, 2025
Full Review
In Her Room (2022)
“Chiriro Ito makes use of languid dynamism, long takes, static shots and slow zoom-in shots to give her composition an engaging but measured visual rhythm.” –
Psychocinematography
Jan 21, 2025
Full Review
Ginpeicho Cinema Blues (2022)
“Twilight Cinema Blues tries to be a trick of all trades, but is ultimately a master of none.” –
Psychocinematography
Dec 19, 2024
Full Review
Sin and Evil (2024)
“With Sin And Evil, Yuki Saito delivers an impressive and heartfelt first-feature debut.” –
Psychocinematography
Dec 19, 2024
Full Review
Desert of Namibia (2024)
“Yamanaka, by expertly exploiting imagery and sound, does not only bring the spectator into contact with the void that ails the contemporary subject, but lets him fleetingly experience it or re-discover its presence within himself.” –
Psychocinematography
Nov 16, 2024
Full Review
Shinobi No Mono 3: Resurrection (1963)
“Mori’s narrative offers plenty of action and succeeds in resolving the thematical exploration of destructive capitalistic pleasure in a satisfactorily yet maybe somewhat naive way.” –
Psychocinematography
Oct 24, 2024
Full Review
The Box Man (2024)
“Gakuryu Ishii delivers a composition – a concatenation of static shots and floaty dynamic moments – that keeps the spectator engaged throughout the narrative with ease.” –
Psychocinematography
Oct 8, 2024
Full Review
Bushido (2024)
“With Bushido, Kazuya Shiraishi proves that the frame of the samurai and the Edo society can still be utilized to deliver refreshing narratives.” –
Psychocinematography
Sep 30, 2024
Full Review
Shinobi no Mono (Ninja, a Band of Assassins) (Those That Are Unseen) (1962)
“Shinobi no Mono: Band of Assassins is a classic jidai-geki. Yamamoto expertly utilizes the game of disguises, traps, gadgets, concealed passages, hidden stairs, and trapdoors, to offer an allegorical tale of the post-war subject’s conundrum.” –
Psychocinematography
Sep 17, 2024
Full Review
Shinobi No Mono 2: Vengeance (1963)
“Shinobi no Mono 2: revenge is a great sequel. While the narrative might lack the layered complexity of the first, it offers a satisfying continuation of the thematic conflict...” –
Psychocinematography
Sep 17, 2024
Full Review
Band of Assassins (1962)
“Band of Assassins is a classic jidai-geki. Yamamoto expertly utilizes the game of disguises, traps, gadgets, concealed passages, hidden stairs and trapdoors...” –
Psychocinematography
Sep 3, 2024
Full Review
Baby Assassins: Nice Days (2024)
100%
“Not only does he create an experience that delivers what fans loved in the first two movies, but also rephrases the series’ overarching theme in a fresh and grittier way.” –
Psychocinematography
Aug 23, 2024
Full Review
Sayuri (2024)
“All Japanese directors who struggle to fluidly interweave different genre-elements within their J-horror narratives should give Koji Shiraishi's House of Sayuri a thorough watch.” –
Psychocinematography
Aug 23, 2024
Full Review
Shape of the Night (1964)
“Noboru Nakamura's The Shape of Night offers an incredibly emotionally moving exploration of the destructive finality of the desire of the hysteric. ” –
Psychocinematography
Aug 23, 2024
Full Review
Six Singing Women (2023)
“Six Singing Women is a great narrative, yet one that stumbles over its own thematic fixation. ” –
Psychocinematography
Aug 23, 2024
Full Review
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