This was the other film by Ryusuke Hamaguchi that was released in the same year as Drive My Car to similar critical acclaim. It’s anthology of three stories, all written by the director himself and all featuring a very feminine perspective. They’re very talky stories about romantic entanglements, unusually so for a male director, and it’s true that they are exceptional in drawing the viewer in and holding your attention. Still the situations are sometimes very contrived and it’s distinctly inferior to Drive My Car. It’s not bad, but not really what I like either.

This really counts as a remake since there was already a 1947 version adapted from the same book and they seem quite similar. You can tell from the subject matter how this is a good fit for Guillermo del Toro and it does a fantastic job of immersing the viewer in the world of carnivals. The film gets less interesting once the protagonist leaves the carnival with the main plot being rote and predictable. It’s lifted straight from the novel of course but it’s old fashioned and traditional that it would have been better to come up with a more modern twist.

I haven’t played Cyberpunk 2077 yet because my current computer probably isn’t powerful enough to run it. But I actually own the pencil and paper Cyberpunk 2020 role-playing game so it’s kind of crazy to think that I’m watching an anime adaptation of it thirty years after I had this book in high school. This adaptation has a rather straightforward storyline and I can’t say I like the protagonist’s motivation being about getting a girl. Still it nails the dystopian, life is cheap and meaningless theme of the cyberpunk genre perfectly and the hectic visuals capture this vibe well.

We’d previously watched The Disciple by director Chaitanya Tamhane but I’d actually encountered his name before that. This older film was hard to find and so it took me until now to watch it. I’m very glad I persevered and kept it on my to watch list because this is one of the best films I’ve seen recently. Not only is this a revealingly honest depiction of the court system in India, it also provides a window into the lives of the people of different social classes who are embroiled in this case. I am simply in awe of the richness of the themes touched upon here and how it has so many moving parts and so many characters, yet everything fits together perfectly.

I had no interest in watching this until I read the now famous interpretation that Maverick died in the opening scenes and the rest of the film essentially depicts his heaven. Sure enough this is such an apt interpretation that it’s impossible to view this film in any other way, particularly near the end when it abandons any semblance of realism. Yet this is produced so slickly, plumbs the nostalgia well so effectively and is overall so unabashedly positive that it’s infectiously likeable and entertaining. I think it’s a dumb film and I don’t want to like it, but damn if this doesn’t manage to win me over anyway.

This was Ingmar Bergman’s first English-language film, or at least many parts of it are in English anyway, and he also called it the first love story film he ever made. Unlike the rest of the director’s filmography, this one has very low ratings and it left me frustrated with its abrupt ending and deliberate ambiguity. Nonetheless it is a very visceral depiction of raw passion and it’s loaded with references to religious imagery to grant it some deeper meaning. It may not be Bergman’s best work but I think it deserves a better reputation than what it currently has.

I loved Knives Out so much I wanted to watch this in the cinemas the moment it came out. Unfortunately this turned out to be streaming only so it took me until now to get around to it. This is a sequel only in that it features Benoit Blanc as the investigator of a murder mystery but it keeps the same style and the large ensemble cast and that’s good enough for me. Sequels are generally not as good as the film that spawned and this is the case here as well. It’s too heavy-handed on the whole Glass Onion metaphor and the murderer’s plan is indeed really dumb even if that is the entire point. Still this is probably still the best whodunit since the first film and I enjoyed every moment of it.