Autumn 2022 – 2nd week in Review

Hey people and welcome to Wrong Every Time again.Listen, I know that I mentioned last time that I will watch seasonal anime, and this will still happen, but today I have to admit that I only wear movie review gifts.But hey, some of these films are anime!It still matters, right?We have a bit of Takahat, we have several apocrypha adventures of Naruto and we have a customary dispersion of live production, this time in this double function of the films “What would happen if fate was an asshole”.Soon I will demand that my roommates scanned the required amounts of pilars and Mercuurian witches, but in the meantime, please, enjoy this peaceful offer of random film thoughts.Let’s get to the point!

The first this week was the above -mentioned double function, in which horror films of catching up in selected victims occurred.The first was Survivor Sole, in which Anita Skinner appears as Denise, a television producer.After an incredible survival of the fatal air disaster without scratching, Denise tries to return to his daily life, just to haunt her a number of quiet strangers and some sinister strength that seems to be aimed at gathering the soul that once escaped.His understanding.

Although the obvious first point of the connection is the final destiny, it seems that IT Follows also has a large debt. Most of the film threats take the form of strange, dumb characters who are walking slowly behind Denise, try to stand in front of her car or simply loom in the distance, piercing normality with a strange outfit and inhuman affect. This is an extremely effective trick, and the fascinating scarsyle of the film are additionally reinforced with an excellent script and strong main performances. Salvivor Sole initially approaches the atmospheric model of a film such as “We will scare Jessica to death” or “Dead & Buried”, creating an overwhelming sense of slow being settled by some unimaginable prey, before he gets generously in the final act, which is hard from murder and chaos. In general, a perfect piece of horror, which should be particularly interesting for all fans of his conceptual heirs.

Speaking of this, our next view was the most important narrative successor of Sole Survivor, the final destiny.I always assumed that the agreement of this franchise was grotesque shows of senseless violence and as a result I missed it from afar, but ensuring my roommate that it was different, led to immediate control.As always, I was glad that my assumptions turned out to be wrong: the final destiny is both an addictive horror and a transparent time capsule for a specific moment in the history of horror.

The film focuses on the group of high students who, due to the strange and violent premonition of one of the students, barely avoid participating in a mortal journey by plane.Of course, fate hates the loose end, so on our unfortunate survivors various incredible deaths begin to fall, and the whole world of nature seems to be sprunging to kill them.

Released only four years after the original scream, and in the same year as Krzyk 3, the final destiny seems to be the post-curve of the film as soon as you can imagine.Instead of spending most of the time watching characters who slowly realize that they are in the horror movie, the cast of the final destination realized in the game around the second murder and spent the rest of the film, trying to reconcile fate by cautious preparation or manipulation of the death list.As a result, there is no frustration like “why the hell someone would kill himself in this way”, which often accompanies smaller slashers;Fate must work hard to kill these kids, and watching how they try to outdo the Horror Convention is a real pleasure.

Like Scream, the Final Destination spends most of his time with a grain of salt.Instead of feeling cruel or grotesque, the killings that writers come up with, are approaching complete cheerfulness, because fate constructs the more and more complicated Rube Goldberg’s death machines to finish our unfortunate heroes.You can practically feel how the Cameon team blinks to the audience, when our view tilts ominously over a razor to shave, then a pointed toe, and then a stupid, set on the water on the radio, only to make the victim sent in a much more incredible way than any of themof them.A driveing, airy and joyful joke, the final goal should be used as a light afternoon watch for anyone who loves to shout at the victims of the slaughterhouses.

Then we checked Free Guy, the recent article by Ryan Reynolds about a certain character independent in a persistent online game, which suddenly achieves human consciousness.This is a solid concept, and the film has a lot of reasonable jokes, but the final result was unfortunately more like Fortnite: The Movie than the full story.

Sequences of Reynolds attempt to detach his own personality from the prejudices of the creators: very good.Scenes in which his character pulls a real light sword for fighting, along with real streamers saying “It’s a fucking light sword!”To the camera: philosophically tearing.”Free Guy” is not a terrible film at first glance, but his awards often seem to be intended more for animals from an American database than for history lovers, offering only easy rush “Hey, I recognize it!”I laughed a bit, but God help me if it really is a direction in which culture develops.

Then I showed one of my last undead Ghibli productions, warm and wonderful My Neighbors The Yamadas Isao Takhata.The film is not like anything else in the Ghibli catalog, both in terms of form and content;It is depicted as a series of slightly sketched comic drawings and gives up any formal narrative in favor of the vignette series in the life of the title heroes.Thanks to a wide range of gags, adventures and quiet personal moments, we meet and love this silly but reliably supporting family.

Takahata never really follows the same model twice, but the closest companion of the plot Yamadas would do it.Be only yesterday, but stylistically ahead of his further promotions in Princess Kaguya.But like almost all the films of Takhahata, Yamadas is warm, capricious and quiet nostalgic, finding the beauty of fantasy drama not sophisticated words, but in simple and universal moments, such as Father Yamada, who returns home a bit too drunk and slowly sinks into comfortableSilence while he and his wife are watching TV.

The film presents the sequence of the sequences of equally specific but related meetings, presenting the flaws and triumphs of your family without any moral judgment. It is a stunning work of subtle humanism, paying attention to small moments that shape and embodiment our community ties and indicating the versatility and meaning of these moments by incorporating the right historical haiku. The figure hiding in the fog could have been dressed in another outfit in the 17th century, but this feeling of decreasing meaning in the changing era is common; Thanks to such connections, Takuhat finds not only humanity, but a real majesty in the procession of Yamadas. Thanks to the careful and beautifully devoted descriptions of these lives, Takahat subtly develops theses that scroll through all his work: that there is nothing more magical than the nice moments that we share that everything beautiful is also fleeting and that the specific conditions of our life It shapes us as much as we shape them.

Takhhat’s films are invariably amazing, but I think I could appreciate Takhata’s philosophy even more than his wonderful movies.His work embodies the vision of animation as a carrier of greater human intimacy and mutual understanding;Instead of imagining what does not currently exist, he focuses on what defines human life with greater sharpness than live action.To unity with reality without embellishments.He is a student of Ozu just like Otsuka, a real follower of the humanistic cinema, which we often underestimate as a “piece of life” and a visionary who has few similarities in his medium or in another way.I feel so happy that the quirks associated with the production of anime allowed him such extraordinary creative freedom;Anime is richer with every movie he gave us.

Then we continued our journey through the extended Naruto catalog, displaying the second film of the Legend of the Stone of Gelel series.Like the first film, he turned out to be a solid fun watch, because Naruto, Sakura and Shikamaru replied new threats in the vaguely defined foreign kingdom.Although the film lacked conceit as addictive as the concept of “Film in the film” of his predecessor, his effective script, however, offered many of the same benefits as the previous one: Ninja battles not hindered by the unequal writing of Kishimoto and the tendency to play in favorites, i.e. shikamaru andSakura had to kick his ass almost the same as our boyfriend himself.

In fact, Sakura deserved a clear visual attraction of the film,

stunning sequence

Animated by Shinji Hashimoto, who dealt with the most important films, from Tokyo godparents to Princess Kaguya.One of the great advantages of these long -lasting shonen is that they insist less on keeping one coherent visual aesthetics at all times, which means that the top -shelf animators can basically appear in the sequence, briefly convert the show in their own style, and thenThey go on.That is why it is a bit sad to realize that this model is abandoned in favor of seasonal and imposing home schedules of program production, such as My Hero and Demon Slayer;Consistency is great and everything, but I feel that appreciating the strengths and individual features of the animators is one of the things that make anime unique.