Tag: International

BAXTER (1989)

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Directed By: Jerome Boivin

Written By: Jerome Boivin and Jacques Audiard 

Based On The Book “HELL HOUND” By: Ken Greenhall

Cinematography: Yves Angelo

Editor: Marie-Jose Chauvel

Cast: Lisa Delaware, Jean Mercure, Jacques Spiesser, Catherine Ferran, Jean-Paul Roussillon, Sabrina Leurgoin, Daniel Rialet, Evelyn Dipi

Told from a dogs perspective – the titular Baxter is moved from one owner to another, seemingly never being a good fit for anyone.

Have you ever watched a movie that is so good you have no desire to really ever watch it again yet you would still recommend it. Well, this is one of those movies for me. Kept me watching with fear and anticipation until the end. Leave it to the French.

I was hoping that the recently released film GOOD BOY, would be on the level of this film while I found that film disappointing this was better than I could’ve ever expected as it kind of feels like it’s own version of the film MAN BITES DOG, though not as disturbing, but disturbing in its own way. Though this film could be watched with films such as WHITE DOG and WHITE GOD. Why all these films have White in the title? You’ll have to watch them and see.

This movie is a very depressing indefinitely disturbing though it never shows any violence throughout more leaving it suggested until the third act. 

Throughout the film, you know where it is going but not how it will get there or what it will do when it does and you kind of hope that it might steer itself somewhere else as we get to know the next inheritors of the dog and can instantly spot their weaknesses and vulnerability. especially as he seems to more go after the innocent, lonely, weak and trusting. All those that used to be sacred in films of the past or even of the films time period in which it was made.

Fell through throughout was thankful it didn’t go some places that were expected. As one feels sorry for most of the characters 

they keep in mind as one get older films like this bother me. They aren’t exactly for me anymore, but they’re watching it. It definitely inspired a reaction and kept me watching which can be rare when it comes to certain films

The film disturbed me yet want to read. It’s original source material. A 1970s American horror. Novel. Not shocked that one of the Screenwriter was future award-winning filmmaker Jacques Audiard (DHEEPAN)

I thought the film would be more an ensemble episodic anthology movie, Sort of like the movie WEINER DOG with less quirky comedy. Which then again makes me wonder if Todd Solondz  was inspired by this movie even as this stays more in a certain community in the neighborhood.

The ending is disturbing and sad as it shows a kind of legacy that will continue in its own one. 

Writer-Director John Waters put this on his list of favorite films that will corrupt you when he had an all two brief movie review show of his own

Which ends up being true as by the end, you are scared and feel a bit guilty as a film is going to make you feel something with barely having a Music score to guide you. It’s not flashy stylistically it’s definitely challenging and seek to instigate as you are a fly on the wall throughout and is going to take you with it willingly or even if it has to drag you unwillingly 

Grade: A

SIRAT (2025)

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Directed By: Oliver Laxe 

Written By: Oliver Laxe and Santiago Fillol 

Cinematography: Mauro Herce 

Editor: Cristobal Fernandez 

Cast Sergi Lopez, Bruno Nunez Arjona, Stefania Gadda, Joshua Liam Henderson, Richard Bellamy, Tonin Janvier, Jade Oukid, Ahmed Abbou 

A father, accompanied by his son, goes looking for his missing daughter in North Africa.

Please watch this film before anyone can spoil any of it for you. 

There is so much one wants to say about this film

This film is more of an experience. All its own. Then something you just watch and rate. As it makes you Feel many things throughout. 

Perfectly titled, as it truly lives up to its appetite, which you truly only understand by the end

Imagine a movie centered around and filmed a club or on MTV spring break centering on the dance floor and dancers as well as the music only with a loose plot to interact with the dancing and Revels. Throughout broken up scenes and establishing shots of actual actors done for that you are here for you or spontaneous things happen or caught on camera. Like the movie CLIMAX 

Only here Based around the main characters of father and son looking for their missing daughters/sister, which keeps it from being an on the ground documentary so more staged docudrama.

That is what I thought this film would be until it finally bared down and focused after I would say the first 15 to 20 minutes

What we do end up getting is a film that is useful less stylized and more radical. That is a road movie based around ongoing road trip through back roads in the desert. As the film plays like a tempo with brakes between tracks.

The characters, other than the lead, father and son, the so-called ravens are not the Hollywood version. These are more not only international, but older and middle aged as well as weathered characters who just seemed to go with the flow of life some disabled some just lost so I’m looking for the next party or to see where the wind takes them so they form a kind of loose knit family themselves. 

The film is kind of a thrill throughout as you never know where it’s going and where we are going with these characters. It becomes hypnotic . 

The film does manage to be shocking. As it doesn’t go where expected. Especially when you think you know how everything is gonna play out, which is one of the reasons one believes they got nominated for best foreign film, other than just its unpredictable mnature. Presented as a loss journey that is surprisingly emotional, though never allows itself to be sentimental as it is unflinching.

The film is a kind of unknown suicide mission of sorts that no one knows they are voluntarily going on though always seems to want to have hope even in the worst situations. A dance through hell

As the desert situations can be beautiful, but are also dangerous and deadly, so there’s always that threat looming which creates great tension as well as the father, never quite trusting the group at first, even as they seem to come through for him, though also them being quite cautious of him without him being with child certainly helps them to open themselves up more though the film does present us with plenty of worst case scenarios

The film does offer a sucker punch of a third act. As characters we grow to know and care about are threatened. Where we in the audience never truly expect to care so much. Are pushed to the edge. This isn’t a film about a journey but one of acceptance. 

This is a truly unforgettable film. That seems like it will be a party, but ends as a nightmare. 

Grade: A 

WILD ZERO (1999)

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Directed By: Tetsuro Takeuchi

Written by: Tetsuro Takeuchi and Satoshi Takagi

Cinematography: Motoki Kobayashi

Editor: Tomoe Kubota 

Cast: Guitar Wolf, Drum Wolf, Bass Wolf, Masashi Endo, Kwancharu Shitichai, Makoto Inamiya, Haruka Nakajo, Shiro Namiki, Yoshiyuki Morishita 

After a meteor strike aliens attack the earth and begin turning people into zombies. Rockers Guitar Wolf, Bass Wolf and Drum Wolf aswell as their rock and roll blood brother ace and his true love Tobio are caught in the middle of this madness

WILD ZERO starts weird, gets weirder, and somehow still has room to surprise you.

The film quickly introduces its colorful cast before throwing all of their storylines together. At its heart, it’s an ensemble movie, even if the legendary Guitar Wolf stand proudly at the center like the coolest people to ever ignore the apocalypse.

This thing is loud, unfiltered, ridiculous, and incredibly charming. The third act is absolutely bonkers, piling on zombies, aliens, explosions, romance, and pure punk-rock energy. It shouldn’t make sense, yet somehow it feels completely natural. Every time you think the movie has run out of ideas, it casually throws another one at you.

Having Guitar Wolf play themselves is inspired . Imagine the Ramones in ROCK N ROLL HIGH SCHOOL filtered through a Japanese zombie movie with a garage punk soundtrack. They don’t perform every five minutes, but every scene they’re in reminds you why they’re the coolest band in the room. While everyone else panics, they just keep moving forward like the end of the world is an inconvenience. 

One of the film’s biggest surprises is its love story. At the center is a romance between a cisgender man and a trans woman that feels remarkably thoughtful for a film released in 1999. It acknowledges fear and prejudice but ultimately lands on acceptance without ever feeling preachy. It simply lets the characters exist, and Guitar Wolf delivers one of the film’s most memorable speeches about love that perfectly sums up its philosophy.

The world itself is delightfully off-kilter. A club manager is so obsessed with revenge that he’ll chase the band to the ends of the Earth, usually while wearing hilariously tiny shorts. Another character looks like a punk-rock mercenary whose wardrobe somehow becomes more dangerous every time she appears. Nobody dresses normally, nobody acts normally, and that’s exactly the point.

Think of it as SCOTT PILGRIM VS. THE WORLD nearly a decade early, only traded indie rock for Japanese punk, replaced the exes with a bunch of slow moving classic zombies, and decided aliens might as well show up too.

It’s a movie overflowing with imagination, creativity, and infectious energy. I owned the DVD for years but somehow never got around to watching it until now on streaming. Strangely, I’m glad I waited. I probably would’ve enjoyed it back then, but I appreciate its sheer originality much more today.

I wouldn’t call it a personal favorite, but I absolutely understand why it’s become a cult classic. If you’re looking for something unpredictable, inventive, funny, and unlike almost anything else, WILD ZERO  is an easy recommendation.

Honestly, it feels like the CRANK movies were chasing this same “anything goes” energy years later. Few films embrace insanity with this much confidence and have this much fun doing it.

Grade: B+

ALPHA (2025)

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Written & Directed by: Julia Ducournau

Cinematography: Ruben Impens 

Editor: Jean-Christophe Bouzy 

Cast: Melissa Boros, Golshifteh Farahani, Tahar Rahim, Emma Mackey, Louai El Amrousy 

In a French city grappling with an unnamed viral epidemic, 13-year-old Alpha, the daughter of an immigrant doctor, confronts a challenging coming-of-age journey. Her mother, a frontline healthcare worker, is horrified when Alpha allows her classmate and love interest, Adrien, to tattoo her with a shared needle at a party. The resulting bleeding turns Alpha into a social pariah at school, igniting heightened fears of blood contamination among her peers. However, things take a dark turn when Uncle Amin, a person with a chronic substance use disorder, moves back into the family home. This unexpected reunion forces Alpha to share a room with him, further complicating her already strained life.

Alot of people came away from Alpha feeling underwhelmed, calling it just okay, or even a disappointment,but against all odds, I really liked it.

In some ways, it’s overdone. It leans heavily into melodrama, and at times it feels almost overwhelming on purpose, But somehow, that worked on me. I was mesmerized by it, by the mood, the discovery, and the way it slowly reveals itself. Even when I had a sense of where it was going, it kept me interested.

This won’t be for everyone. It’s slower, more emotional, and much more introspective than many might expect. Especially from writer-director Julia Ducournau. If you’re looking for the shock or body-horror intensity of RAW or TITANE may feel restrained by comparison. But that restraint is part of what makes it fascinating.

The visuals are still unmistakably hers, sharp, beautiful, occasionally surreal, but they never feel flashy just for the sake of it. They serve the emotion. The film’s central allegory, with its mysterious virus that slowly turns people into marble statues that bleed sand, is an obvious but powerful reflection on illness, grief, and specifically the AIDS crisis.

This isn’t really a genre film, so much as a drama dressed in genre clothing. It’s less interested in shocking you than in sitting with discomfort, fragility, and loss. It may not always know exactly what it wants to say, but it remains compelling as a study of its themes and characters.

And yes, maybe it goes a little too far with the melodrama, perhaps to compensate for a story that feels thinner than its ideas. But even then, it never lost me.

To show how far, she has gone from her usual. The film doesn’t even have actress Garance Marillier who is. Usually in all of her work so far 

It’s not my favorite film from Julia Ducournau, but it might be her most personal. And sometimes a film doesn’t need to be perfect to leave an impression. it just needs to feel singular. This film certainly does

Grade: A

I DON’T UNDERSTAND YOU (2025)

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Written & Directed By: David Joseph Craig & Brian Crano

Cinematography: Lowell A. Meyer 

Editor: Nancy Richardson 

Cast: Nick Kroll, Andrew Rannells, Amanda Seyfried, Morgan Spector, Eleonora Romandia, Nunzia Schiano, Vincenzo Gallo, Arcangelo Iannace 

An American couple, on the verge of adopting a baby, goes on an Italian vacation – an opportunity to reconnect before the new addition arrives. Everything is picture-perfect; the epitome of a European baby moon, when things begin to spiral out of control. On the way to a fabulous dinner, they get their rental car stuck in a ditch and are stranded in rural nowhere in a downpour. These two Americans, who are used to being catered to, are now in a foreign land without service, an Italian language comprehension of about zero, and clear relationship turmoil that could explode at any minute. Fear obviously takes over.

This is a film that at first seems like it will be your typical couple comedy. Which it stays throughout until it takes a dark turn and seems to stay on that road until the end.

Where usually I enjoy films like these. There is something a bit off. As it stays true to it’s title. As most of the trouble comes from miscommunication. That seems to escalate Into violence seemingly accidently.

It’ not the characters exactly as they seem to be normal and just reacting to their situations that seem to get out of hand. it’s the films attitude that tries to humanize the victims, but also makes them caricatures and easily either forgettable or challenges. There isn’t much to truly dwell on or feel sorry for.

While the characters aren’t hateful or malicious. They might be a bit extreme in some situations, but by the ending they cone off too easy. That leaves a bad taste in the audiences mouth. That just feels like a reminder of rich caucasian males getting away literally with murders. Not that they should be especially punished but it feels like there should be something they lose or some way in which they have to pay or lose something. As there is some evidence that they left behind that could come back to haunt them.

Though the film seems to want us to root for them Abd let them drive off and be happy. As the film gives them something that humanized them and makes us identify with them in the form of having them await the birth of a baby they are adopting. After bei g brined before they are hoping this time. They will finally get a chance to be parents. That is the only sympathetic part of the story. We truly have for them.

The movie constantoy up’a the stakes but nothing lingers. So that it feels like it’s making a cake and it comes out as a tart. As the film reminds the audience of so many sitcoms only with better production values. As at least Nick Kroll and Andrew Rennells work well off of one another that makes their pairing feel effortless and like they are inorigng in the situation that makes them and their relationship come across as natural and real. If only the rest if the film came off that way. 

In the end, It just never feels like it has any real stakes. It breezes through like a wind storm (not a hurricane as the material isn’t that strong or wacky) and throws plenty against the wall to see what sticks.

Grade: C

REFLECTIONS IN A DEAD DIAMOND (2025)

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Written & Directed By: Helene Cattet & Bruno Forzani

Cinematography: Maunuel Dacosse

Editor: Bernard Beets

Cast: Fabio Testi, Yannick Reiner, Koen De Bouw, Maria De Mediros, Celine Camara, Thi-Mai Nguyen, Kezia Quental, Herve Sogne 

A retired spy suspects his former adversaries have resurfaced when his intriguing neighbor vanishes.

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A new film by the directing team of Helene Cattet & Bruno Forzani is always going to be a strange yet original affair. This might actually be the film. That is the best entry for newcomers to discover the filmmakers work. As strangely this is their closest to mainstream film, that is still odd & avant-garde, but beautifully and miraculously filmed.

When it comes to this directing and writing team, you always know you’re gonna be taken on a rollercoaster. Yet never quite sure which direction it will take, but there will be plenty of unforgettable sights and sounds. though you can never say it will be boring and it will always be quite memorable

 The  film is more about the visuals than anything else, story or plot wise. As this film feels more of a theme that has a weakness for distractions and fetishes

It is espionage themed and very violent, though has more humor than the filmmakers usual films. It plays almost like a parody of spy films specifically from the 1960s, but with a little modern day, technology and charm, but definitely a throwback vintage style. 

The film is visually delicious and beautiful throughout. Though it has feel a bit like artistic exploitation.

As the film has its fair share of strong, beautiful women only to be slaughtered. While all the male characters are seen as heroic, no matter their behavior. 

This film is strange that as it goes along, you start to get into its rhythms. Where you question what is going on half the time but except what you are given.

The film almost feels like music video directing, only better. As you were given more of a visual feast in a thorough story that is like patchwork. As it’s more set in the 1960s espionage style and design, but could be modern. Where the production and costume design are pristine. As this is very different from the previous films made by the directing duo as this is more lighthearted and fun, but ultimately by the end, still a bit sad

Grade: A 

YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY (1972)

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Directed By: Sergio Martino

Written By: Sauro Scavolini, Ernesto Scavolini and Adriano Balzoni

Story By: Sauro Scavolini and Luciano Martino

Based On the story “THE BLACK CAT” By: Edgar Allan Poe 

Cinematography: Giancarlo Ferrando 

Editor: Attilio Vincioni

Cast: Edwige French, Anita Strinberg, Luigi Pistilli, Angela La Vorgna, Ivan Rassimov, Daniela Giordano, Ermelinda De Felice, Enrica Bonaccorti 

A string of murders are committed near the estate of a degenerate author, whose abusive relationship with his wife is further complicated by the arrival of his manipulative niece.

Always a fan of longer movie titles as they come across poetic and almost like the log line or heart of the film. Then again it could just be the translation of the title in English from Italy. When actually it’s based on a line from the film’s director Sergio Martino’s earlier and much better film THE STRANGE VICE OF MRS. VARDH 

This twisted erotic thriller that has giallo implications. Only other than the beautiful lead Anita Strinberg everything else comes across not glamorous and even ugly. Not as stylish as it seems to try to be. Though the film can be sexy at times and has at least one memorable seductive sex scene. The females amongst the cast are the only beauty this film ends up having other then maybe production design. 

One can see why the leading man played by Luigi Pistilli is mad throughout. He’s A suspect in a few murders of female companions and lusting after Edwige French’s character. Who is supposed to be his niece. She is not only ravishing but She seems to have sex with every other character except for him at least for most of the film

No, as the film and lead are so abusive and misogynistic it’s hard to see where exactly the movie is going or care about most of the characters.

Only one main character approaches any sympathy the only other decent characters are supporting or die way too soon

No, the film is abuse and violence as foreplay as the main couple have a dysfunctional, almost S&M relationship not that the fetish factor makes it dysfunctional as that can be normal. Their relationship has just too many problems throughout.

The lead characters, horrible teeth don’t exactly help sell them as likable or even handsome maybe in a rugged British or masculine manly way that was more in vogue at the time, but once the story does come back into focus and spells it out a little more and you feel the same

The film isn’t stylish enough to really impress or make an audience take notice. The soundtrack isn’t really that impressive either as it becomes more annoying at times as it goes along and even at a little over 90 minutes, this film could’ve been shorter, but that would take away from the films atmosphere that keeps trying to build

The inclusion of an African-American character only to be fetishized and brutalized quickly, but that is how the film treats most of the female characters, including random ones only one of them ever truly takes command to make sure she doesn’t stay that way well the other one tries

The ending makes up for it, but it takes so long to get to it to showcase and explain why certain actions needed to be taken and the relationships between certain characters

Ms. French is no slouch, but not as grand. Even as a moral conniver. If one has seen enough of these movies for all the twists and surprises the filmmakers try to give. You can figure out the ending pretty easily. As it reminds you of a TALES FROM THE CRYPT  episode that guy was on for too long and isn’t as fun though perfectly fits.

Though that is also where the film truly gets interesting while offering an Edgar Allan Poe type ending. Which upon research is what the film is based on. 

Grade: C 

SISU: ROAD TO REVENGE (2025)

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Written & Directed By: Jalmari Helander

Cinematography: Mika Orasmaa

Editor: Juho Virolainen

Cast: Jorma Tommila, Stephen Lang, Richard Brake, Tommi Korpela, Kaspar Velberg, Paaru Oja, Eriki Laur, Maksim Demidov

Returning to the house where his family was brutally murdered during the war, “the man who refuses to die” dismantles it, loads it on a truck, and is determined to rebuild it somewhere safe in their honor. When the Red Army commander who killed his family comes back hellbent on finishing the job, a relentless, eye-popping cross-country chase ensues – a fight to the death.

This sequel film definitely lives up to its title. As the film was unexpected, as I didn’t think that the character had more hardships to go through and yet here it is. It’s pretty much more of the same only it seems to get to the action almost immediately after a brief set up of where we are and what the main character is trying to do.

Like most sequels, this is bigger as at each level he the main character. Sisu is facing more challenges. so that each level is broken up into a chapter and then each chapter it seems he’s facing the same enemy, but only harder and tougher like at first he’s just facing soldiers then in the next level he’s facing tanks and then in the next level, he’s facing planes and so on. So that we can see how each level gets more difficult and challenging. Though mostly it seems lkkenthe stunt men do most of the work. As this is a film meant for them the most. 

There’s very little dialogue as our hero. Sisu is mute throughout, which might be meant to remind the audience of THE MAN WITH NO NAME trilogy. As it does have the theme of revenge, but it’s not a western. It’s more an action war film.

 This sequel was not needed, but it still has impressive, action and strangely more American actors playing Russians this time around. which I figure offers more name recognition and to broaden the appeal of the film and widen its audience as the first one is more of a cult, action film, and they obviously wanna make this into a franchise. 

that would fit the tone of director, Jamari Helander, previous action filled films, such as RARE EXPORTS and BIG GAME 

If looking for balls to the wall, action film with some gore, this film is right up your alley as it does serve the kind of hard-core action you rarely see on the big screen anymore. This film was definitely meant to be seen in a movie theater or on the biggest screen as possible.

Grade: C 

L’ARGENT (1983)

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Written & Directed By: Robert Bresson

Based on the story “FAUX BILLET” By: Leo Tolstoy

Cinematography: Pasqualino Desantis and Emmanuel Machuel

Editor: Jean-Francois Naudon 

Cast: Christian Patey, Vincent Risterucci, Caroline Lang, Sylvie Vanden Elsen, Michael Briguet, Marc Ernest Fourneau, Jean-Frederic Ducasse 

A counterfeit bill that starts off as a schoolboy prank leads to incarceration and violence.

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Now will admit at first I thought this was going to be a kind of anthology like TWENTY BUCKS (1993) where a counterfeit bill is passed amongst many different people and we see the different experiences an adventures that come with this bill and passing it along if you haven’t seen that film I highly recommend it 

Here I would say that the first third of that of this film plays like that were a fraudulent counterfeit bill is past amongst many other others, though here it seems that after passing through a few people and us seeing their various adventures with the bill it seems to the fate of one particular character throughout 

As because of this bill in a few others that come into his possession that he has no idea our counterfeit it starts a down slide for him of losing his job going to jail his wife, leaving him all because of things that he can’t control and fats of chance

Where he does run into characters who also have experience with this bill, though he doesn’t know that they have as we see some characters further adventures because of the bill, not necessarily with the bill so they all seem to circle back, and it seems throughout while most of the characters are kind of crooked, not surely evil just morally challenged him as the most honest out of them seems to be punished the most

Most of the actors throughout this film are not professionally trained actors, which helps give the film a realism. What also makes the film so memorable is not that so much. It’s a moral film, but it’s a third act which just seems cruel and tragic. 

That goes for realism and reminds us that the world isn’t fair nor is it a fairytale where there are happy endings for everyone.

This is why me of those films that might seem rough but managed convey so much with so little. The map of the human soul and how society can be so cruel to some. When individuals try to cut corners or push the blame onto someone else rather then admit to their own mistakes.

This film is a French film, classic for a reason. It is definitely hard hitting, especially when you don’t expect it to. It has assertive charm and polished to it, but it also stays melancholy and matter fact throughout. Most of the cast are non-professional actors which helps it all feel more real and was Director Robert Bresson’s style. This was also his last film and truly feels like a loss by the end and only adds to the sting of the ending. 

it also seems to move briskly, smooth and gets straight to the point. Though it still leaves you devastated. 

Grade: A-

100 YEN LOVE (2014)

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Directed By: Masaharu Take

Written By: Shin Adachi

Cinematography: Hiromitsu Nishimura

Editor: Chieko Suzaki

Cast: Sakura Ando, Hirofumi Arai, Yozaburo Ito, Miyoko Inagawa, Saori, Yuki Okita, Kaito Yoshimura, Shohei Uno 

32-year-old Ichiko lives at home with her parents, passing the days in self-indulgent grunginess. Ichiko’s recently divorced younger sister Fumiko has moved back home with her young son. One day, after a particularly heated argument, Ichiko charges out of the house for good. With few employment options to support herself, Ichiko works the night shift at a 100 yen shop (dollar store). On her way home each day she passes a boxing gym where she watches Yuji Kano silently practice, developing a crush on him. The pair starts seeing each other and things change for Ichiko… At last, the bell rings and longtime loser Ichiko’s rematch with life begins!

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This is a coming-of-age tale that comes later in life for our lead character. Who simply has not only dropped out of college, but seems to have dropped out of life as all she seems to do is smoke play video games eat badly and take up space rather than actually do anything that helps anyone else or might even help herself.

Once she is thrown out, she has to grow up and little by little she does at first it seems like it’s gonna go easily, but along the way it gets tougher and things never quite work out the way you expect

The film also shows how hard it is to be a woman in society at times. as even a scene of sexual assault in the aftermath isn’t sensationalized it’s dealt with matter fact, but more low-key than anything. This is also a movie about motivation. We watch this characters and it can be infectious for the audience also as a kind of feel good film that is a bit more realistic, and therefore identify.

Throughout the film, she’s disrespected by her coworkers, even by her boyfriend, but as she gains more confidence in herself and learns to take care of herself, she also gains more respect .

The film Isn’t sentimental.

Not going to lie. This is a slow burn of a movie so if you’re looking for something more fast paced and more of a conventional comedy you’ve come to the wrong place. As this film more goes along with kind of a dead pan vibe whereas at times. It’s more comedic and other times it plays more dramatic and even at times it’s even over the top. No it does manage to keep surprising you for the better and more realistic. Though it is awkward throughout. 

That what keeps you going is to watch the main characters journey and her adventures. 

As you wanna see her conqueror and duo, especially as we have witnessed so many loads, she has had to go through just to re-bottom and finally start fighting for herself.

as this is essentially more of a hangout movie and that moves a little more often than those films do and deals with more locations.

This Japanese movie even ended up being remade in China to a much bigger box office. I haven’t seen the remake but just from the trailer. It looks a little more conventional and motivational than this film, which comes across more as an independent comedy drama.

Grade: B-