• Ogsuyeog Gwisin / The Ghost Station (2022)

    The Ghost Station, originally known as Ogsuyeog Gwisin, is a short and concise South-Korean horror film that entertains from start to finish as it pays tribute to Japanese horror movies from the late nineties and early years of the new millennium. If you are a fan of films such as The Ring, Dark Water and Marebito, then you are going to be enjoying The Ghost Station for sure. If you like this new film but aren't familiar with these Japanese horror films yet, then there are many outstanding feature films for you to discover and enjoy.

    To keep it simple, this movie tells the story of a nervous male security agent and an ambitious female journalist who are investigating a series of mysterious events related to an abandoned train station.

    This film convinces on numerous levels. Its length is concise, focused and precise without any passages dragging on for much too long or completely unnecessary scenes.

    The film's gloomy, mysterious and uneasy atmosphere is sustained from start to finish which leads to an excellent exposition, a tense rising action, an exciting climax, a breathtaking falling action and a memorable resolution.

    The realistic locations with a sinister touch add a realistic tone to the horror film which makes it chilling, creepy and tense.

    Instead of revolving around overtly brutal scenes or unimaginative jump scares, the film cleverly builds up a haunting atmosphere that gets almost unbearable by the end of the film.

    This movie however also focuses on character development as the two lead characters are authentic, courageous and sympathetic as they care about important values such as honesty, justice and truth. The side characters are also fleshed out wonderfully such as the traumatized lady bringing the terrible past to light and the journalist's manipulative, nihilistic and selfish boss.

    The acting performances are certainly above average throughout with promising newcomer Kim Na-yoon delivering the goods as pitiless villainess and seasoned actress Shin So-yul incarnating a traumatized woman with a haunting background story.

    The varied, dynamic and creative camera work throughout the movie transmits an claustrophobic, dark and eerie atmosphere.

    Lighting techniques are used very cleverly to enhance these strong emotions. The combination of lights and shades makes for a balanced mixture intertwining investigate scenes with horrifying highlights. The lighting techniques are at times foreboding but may also lead viewers down a wrong path on certain occasions. The technicians behind this film certainly deserve much approval and recognition.

    The varied sound effects blend in perfectly. They are perfectly balanced between calmer sections and louder moments. The former evoke a sinister atmosphere while the latter will bring viewers onto the edges of their seats.

    The somber soundtrack makes the bigger picture even more convincing. Rather than showing off or being unnecessarily experimental, the music employed in this feature film precisely enhances the atmospheres of the different scenes. Dark elements of foreshadowing employ an elegiac score while the film's intense moments feature a much more unnerving soundtrack.

    The fact that numerous surprisingly harsh critics claim that the plot isn't original is actually the whole purpose of this film since it pays tribute to the classics released two to three decades ago by now. Genre fans will certainly appreciate spotting references, easter eggs and allusions here and there as these elements also add to the replay value of this underrated gem. Instead of nervously innovating, this film brings the aforementioned classics back to life in a refreshing way that feels dynamic rather than nostalgic.

    As a seasoned fan of Asian horror cinema, I hold The Ghost Station in high regard as it includes every single element that make this genre stand out so positively while adding fresh new faces in form of excellent actors and actresses. The number of Asian horror films has steadily been decreasing in the past few years and I hope that movies such as The Ghost Station will inspire a return of this dearly appreciated cinematic universe.

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  • Perfect Days (2023)

    Perfect Days is a slice-of-life combining comedy and drama elements directed by renowned German filmmaking veteran Wim Wenders and starring a selection of extraordinary Japanese actresses and actors. Shot in only seventeen days in Tokyo, this movie shows us two weeks in the life of a middle-aged public toilet cleaner. This movie has been nominated for an Academy Award for Best International Feature Film and overall deserves its critical acclaim.

    This movie convinces on numerous levels. First of all, the locations in Tokyo are particularly fascinating as we get to explore a selection of modern, clean and artistic public toilets that should set new quality standards all around the world.

    Up next, the movie convinces with its realism and almost feels like a documentary which makes it easy to empathize with its characters.

    Speaking of its characters, they are quite eclectic, memorable and unique. Lead character Hirayama is a humble, quiet and simple man who enjoys the little details in his everyday life such as music from the sixties and seventies that he is listening to on his old cassettes, the colours, growth and shapes of trees in urban parks or the occasional drink at his favourite bar whose middle-aged owner is an extraordinary singer. His colleague Takashi is the exact opposite of the protagonist. He is rather young, often nervous and disorganized and doesn't value his job as he often comes late, leaves early and ultimately quits altogether from one day to the next. His crush Aya is a beautiful young woman with extraordinary style but behind the façade is a fragile lady who has trouble establishing lasting relationships. Hirayama's new colleague Sato on the other side is disciplined, organized and socially awkward. His niece Niko has a troublesome relationship with her strict mother, runs away from home and craves for life lessons from her calm and composed uncle. Speaking of her mother Keiko, we notice that she has a successful career and wealthy lifestyle but is lacking empathy and has trouble getting along with others. Every single side character is fleshed out very decently in this movie from the wise-cracking bookstore owner over the lonesome divorced mama and her nostalgic ex-husband who is dying of cancer to the young man with Down syndrome who has an obsession with Takashi's ears.

    The movie doesn't follow a precise story line and might be interpreted in many different ways. In my opinion, this movie is about enjoying the little things in life and being content with your decisions regardless of the judgement of others. Hirayama faces a lot of comments, expectations and opinions. His colleague doesn't understand at all why he is taking his job so seriously. His sister looks down upon him because he is a public toilet cleaner. The ex-husband of the mama wants him to take care of the lady after his own demise. Hirayama shows much affection, empathy and sympathy towards all these characters which shows his emotional, fragile and soft side but he is overall content with his the beauty, simplicity and routine of his own life. These conflicting emotions are shown in the memorable closing scene that is worth being discussed among cineasts.

    The more one tends to analyze, revisit and think of this movie, the better Perfect Days becomes. It's a wonderful film to revisit if you are craving for a composed, emotional and thoughtful movie without any action sequences, special effects and thrills. This film is greater than its parts and its down-stripped approach certainly makes it stand out.

    A few elements one could criticize are the film's considerable length, its slow pace and the lack of a gripping story. Still, these are no accidental mistakes but deliberate decisions taken by an experienced filmmaker. It's simply a matter of perspective whether you interpret such elements as flaws or strengths or decide to keep a neutral attitude about them.

    In my personal case, I have come to appreciate the peaceful, inspiring and beautiful nature of Perfect Days and would strongly recommend it to my friends and also purchase this movie to revisit it anytime I need to take a creative break from my everyday life.

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  • Shokei Yuugi / The Execution Game (1979)

    Shokei yuugi, internationally known as The Execution Game, is the third and last part in a movie series about pitiless contract killer Narumi Shouhei. This is also the greatest effort in the entertaining trilogy. The story is more personal than ever before this time around as Narumi Shouhei gets trapped by a group of vicious gangsters who torture him and force him to orchestrate a hit on one of his colleagues.

    This movie convinces on numerous levels. First and foremost, the movie's character development is absolutely outstanding. Lead character Narumi Shouhei has become somewhat disillusioned by his profession. He seeks a stable romantic relationship, is haunted by bouts of isolation and behaves in a more conscious, philosophical and responsible way. His target is Okajima Yoshikatsu, a veteran among hitmen who wants to retire from the dangerous job, leave his past behind and start a new life abroad. The protagonist's mysterious lover is Kano Noako who works for a group of ruthless criminals to seduce men and put them into dangerous or even deadly situations. She starts regretting her actions, desires to organize changes in her life and wants to break free. The relations between these three key characters are fascinating throughout the film.

    An honourable mention goes out to the nameless side character who runs a watch repair shop. She is fascinated by Narumi Shouhei's sophisticated watch and his cool manners but when she finally has the courage to ask him out on a date, the lonesome hitman who would have initiated such an invitation himself in the past now decides to turn her down because he realizes that his identity, lifestyle and past might put her at risk. These gradual interactions between the young lady and the seasoned hitman throughout the movie show the protagonist's development best.

    Another element that has changed in comparison to the two predecessors are the locations. While the previous films take place in busy downtown areas with hostess bars, this movie shows Narumi Shouhei living in a quiet suburb of Tokyo, walking relaxedly to the watch repair shop and taking his lover on a beautiful drive to the coast. These settings show the protagonist's calm, isolated and yearning character traits.

    The film's opening is another noteworthy element that stands out right from the start. While the two predecessors always show Narumi Shouhei in complete control of even the most complicated and dangerous situations, things take a different turn here. The contract killer is seduced and set up by a mysterious woman he barely knows, he is then brutally tortured by a group of ruthless criminals and when he finally manages to free himself, the criminals capture him again and explain that his temporary escape was actually a test planned by the organization. It's fascinating to watch the protagonist deal with this unexpected loss of control and its consequences.

    The movie's ending is equally memorable as the protagonist's character development in this moody conclusion of the trilogy comes full circle. Without giving you too many details, the protagonist offers one of the antagonists a choice rather than imposing his views by force. This more mature, responsible and thoughtful procedure underlines that the character who has been going through changes throughout the film has now found his new identity. It's only fitting that the trilogy concludes this way as the protagonist decidedly moves on with his life.

    Needless to say that despite all these intriguing new elements, The Execution Game still remains an outstanding action-thriller. The protagonist gets seduced, tortured and exploited. Up next, he investigates, infiltrates and executes his orders with deadly precision. Narumi Shouhei finally turns against his oppressors in a manner that combines violence with intellect. This swiftly-paced gangster movie has stood the test of time and should still keep viewers on the edges of their seats after all these years.

    To conclude, the third and final film of the Game Trilogy reminds me a little bit of the third and final film of The Godfather trilogy. In both cases, the atmosphere is moody, the lead character is going through changes and philosophical elements become as important as the business side of organized crime. Many critics find the third and final film of The Godfather trilogy the worst but it has always been my personal favourite. For very similar reasons, The Execution Game is also my favourite entry in this trilogy as it deserves to be revisited time and again. If you are only looking for a brutal gangster film, then the two predecessors might please you much more but if you like action-thrillers with emotional, intellectual and philosophical depth, then this wonderful conclusion to the trilogy delivers in spades and still deserves recognition and respect in this day and age.

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  • Satsujin Yuugi / The Killing Game (1978)

    Satsujin yugi, internationally known as The Killing Game, is the second film in the trilogy about ruthless hitman Narumi Shouhei. In this particular movie, Narumi Shouhei has pulled off a spectacular hit on a mobster and has gone into hiding for five years. His return to Tokyo is quite miserable as his apartment has fallen into disrepair, he has significant financial struggles and he is bothered by an old friend who has developed a creepy obsession with him. To make matters worse, Narumi Shouhei encounters two women he spared during his legendary hit. The lover of his target has become the owner of a hostess bar, now dates another brutal mobster and hasn't learnt anything from her mistakes from the past. The daughter of his victim has become an employee of the hostess bar who is forced to drink alcohol, consume drugs and offer sexual pleasure to her misogynistic customers. Narumi Shouhei is soon haunted by his past as two pitiless mobsters hire him to murder one another. Narumi Shouhei must play a most dangerous game yet again to walk the thin line between both employers and keep the ladies and his friend save in Tokyo's pitiless underworld.

    This second entry in the trilogy is an improvement over the first film. The mixture of past events and present repercussions is pulled off with emotional depth and clever details. The protagonist's character gets some additional development as his present struggles show the human being behind the brutal hitman. The way women are portrayed in Tokyo's underworld is gripping as their issues are shown in a cold, depressing and realistic way. New topics such as friendship, loyalty and pity are being dealt with throughout the film.

    This movie however also brings back all elements that made the predecessor stand out. The action scenes are brutal, entertaining and extended. Cool dialogues can be found from start to finish. The protagonist's raw side still shines through on many occasions. The realistic settings bring Tokyo of the late seventies to life in an authentic manner. The moody yet playful jazzy soundtrack blends in wonderfully.

    Few things could be criticized about this strong action-thriller and gangster movie. The film might rehash a few too many elements from its predecessor to stand on its own. The plot is only of an average quality and overall predictable for genre experts.

    Despite those minor flaws, Satsujin yugi or The Killing Game is an improvement in the noteworthy gangster film trilogy. This movie convinces with a balance between past and present events, profound character development, intriguing female side characters who are fleshed out decently and several new themes such as friendship, loyalty and pity while still offering intense action scenes, cool dialogues, a rough protagonist, realistic settings and an enjoyable soundtrack.

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  • Mottomo Kiken na Yuugi / The Most Dangerous Game (1978)

    Mottomo kiken na yuugi, internationally known as The Most Dangerous Game, is the first film in a trilogy about hitman Narumi Shouhei. This character is a rough anti-hero who is addicted to gambling, has debts of several million yen, is constantly drinking alcohol and smoking cigarettes and often sleeps until the late afternoon. He gets hired by the chief executive officer of an important company that is starting to work on a national air defense project. One of the company's most important managers has been kidnapped and the chief executive officer believes that another company is responsible for the crime. Narumi Shouhei's task is to free the kidnapped manager and eliminate the leaders of the other company and their hired guns.

    This movie might not sit well with contemporary conservative audiences. Narumi Shouhei is drunk half of the movie, smokes one cigarette after another, insults employers and villains alike, is only focused on monetary rewards and is particularly rough with his opponents as the body count rises rather drastically as the film progresses. In one scene, Narumi Shouhei tries to get the attention of a ruthless manager and decides to break into his apartment, interrogate and torture his girlfriend Sasaka Kyoko and then proceeds to rape her while the upset manager is listening on the phone. Interestingly enough, Sasaka Kyoko ends up feeling attached to the brutal rapist as she takes care of him and worries about his fate. Such script elements ask for much tolerance, suspension of disbelief and open-mindedness to put it mildly.

    Another significant element that needs to be pointed out is the lighting technique used throughout the film. If you prefer a realistic movie, then you will have several shaky scenes filmed with handheld cameras as you won't see what's exactly going on in some scenes portraying nightly infiltrations and chaotic fighting sequences. If you are looking for an artistically appealing movie with calm and clear shots, that element will significantly decrease your enjoyment of that feature.

    One must confess that the rude anti-hero stands out with his pitiless behaviour and won't leave any viewer neutral or bored. There is even a certain dark humour to some of his gestures that blends in refreshingly in an otherwise brutal film. Other positive elements include the short, precise and cool dialogues, the intriguing settings including an abandoned asylum and the brutal extended fighting scenes that still keep viewers on the edges of their seats in this day and age. Let's not forget about the moody jazz soundtrack that blends in surprisingly well, even for audiences who usually don't care about jazz music at all like myself.

    At the end of the day, Mottomo kiken na yuugi or The Most Dangerous Game is certainly a product of its time that might not have aged very well for more conservative audiences but might appeal to cineasts intrigued by Japanese gangster movies of the seventies. On the movie's strong side, you will get a charismatic anti-hero, a healthy dose of black humour, cool dialogues, atmospheric locations, bloody fight scenes and a jazzy soundtrack. On the negative side, some scenes are extremely tough to digest, the shaky camera work might induce headaches and the lighting technique used throughout the film is below average to be generous. I have recently been watching this film with a good friend and we have both been greatly entertained but we also think that the other two entries in the trilogy offer an overall more elevated quality.

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