A24 batted a thousand, but Neon is hot on their heels. Also: Edgar Wright rights his past wrongs with substance and superhero movies finally become good thanks to Amazonian golden bondage play. For All the Daddy's Love in the World.
Kei Ishikawa discusses directing his first feature film.
The director of Bad Rap discusses documentary film making and the concerns of modern entertainers.
CDFF returns for its second year, providing aid to the drought conditions for Asian film in the Denver area.
Japanese director Ryuhei Kitamura has made two English language B-movies to date, both showing an A-level craft and will certainly become eventual cult classics.
Huayi Brothers give another reason why we should keep an eye on them as they continue to make their mark in Hollywood.
Sono's latest is his F for Fake, an assault on the intellect that dares you to look away and forces you to mentally keep up.
The 2nd horror issue of Cinema Adrift is out. Recommended only for the faint of heart.
Director Masaharu Take answers questions about his two films that came from Fuminori Nakamura’s novel The Gun.
Not even half a loaf of the great films of 2020. Arguably not even the heel of the loaf.
Michael Myers and Mary Poppins returned, entertainment famine and brain cell death in the wake of the Infinity War despite record breaking war bonds sold, and the caps lock was turned on when writing on the whiteboard. Let’s all be frank about the good movies from 2018.
A24 batted a thousand, but Neon is hot on their heels. Also: Edgar Wright rights his past wrongs with substance and superhero movies finally become good thanks to Amazonian golden bondage play. For All the Daddy's Love in the World.
EDITOR'S CHOICE: Kawase's film is profound and emotional, relating the unspoken quality of art to human connection.
Compiled from thousands of hours of CCTV, reality tries to fend off melodrama in Xu Bing's foray into feature film making.
Tom Mes' overview of Meiko Kaji's career is more than an overblown Arrow Video booklet even if it doesn't spend very much time in her post-Snowblood career.
EDITOR'S CHOICE: Lee Sang-il returns to the work of Villain author Shuichi Yoshida for a bleak look at the impossibility of connection and the failings of both trust and suspicion.
The remake of the 2012 Korean thriller surpasses the original by forgoing action for subtext.
EDITOR'S CHOICE: Sabu's latest film is a tender yet cerebral exploration of memory and loss.
A hardcore band not in it for the money, able to ruffle feathers with a bass, drums, and a Powerpoint presentation.
A cold, distant, and confidently anti-climactic mystery thriller from a first time director.
Naoko Ogigami (thankfully) returns with a film that continues her trademark quiet quirk but is a new chapter for the director because of its social significance.
The director of Bad Rap discusses documentary film making and the concerns of modern entertainers.
CDFF returns for its second year, providing aid to the drought conditions for Asian film in the Denver area.
VOLUME 5 OUT NOW
Cinema Adrift
Film reviews, Blu-ray/DVD reviews, defenses of films, and a slight bias towards Japanese film. Cinema Adrift aims to cover a diverse set of films and is always looking for contributors.
Jason's Favorites of 2015:
1. 0.5mm
2. Tomorrowland
3. Aaaaaaah!
4. My Ordinary Love Story
5. The Assassin
6. Mountains May Depart
7. Entertainment
8. The Look of Silence
9. Unfriended
10. Magic Mike XXL
11. Hill of Freedom
12. Inside Out
13. The World of Kanako
Mara's Favorites of 2015:
1. The Assassin
2. Entertainment
3. Youth
4. Carol
5. Anomalisa
6. Cemetery of Splendour
7. Jafar Panahi's Taxi
8. Trumbo
9. Time Out of Mind
10. The Forbidden Room
11. The World of Kanako
12. Tangerine
13. Crimson Peak
Recommended Docs:
-The Look of Silence
-Listen to Me Marlon
-Do I Sound Gay?
Michael Myers and Mary Poppins returned, entertainment famine and brain cell death in the wake of the Infinity War despite record breaking war bonds sold, and the caps lock was turned on when writing on the whiteboard. Let’s all be frank about the good movies from 2018.