Nakanishi Ryota

「いやぁ、映画って本当にいいもんですね～」「民主主義というのはこういう面白い映画をみんなが自由に撮れて、みんなが自由に観ることのできる社会なんだ！」 金城武と坂本龍一が本当にいいですね。この二人に高評価だね。 It is evident that cinematic productions possess a remarkable quality that sets them apart as a unique art form. Democracy is defined as a society in which individuals possess the autonomy to engage in creative endeavors, such as the production of films, without restrictions. These films, in turn, are accessible to all members of the public, fostering a sense of engagement and shared experience. Takeshi Kaneshiro and Ryuichi Sakamoto are truly exceptional. These two individuals are worthy of commendation.

In summary, the film fully utilizes the visual freedom of a hybrid cartoon form that any mono-real action film is unable to challenge. The film in question is a surprisingly novel work, which renders the traditional Kongfu film obsolete in comparison to Demon Slayer. In my estimation, the most poignant narrative arc is that of the Soryu dojo episode, in which the antagonist is depicted. Moreover, the sentimentalism was radicalized to the point of extreme, and antagonists, especially in a conceptual sense, embody the present poisonous elements of Japan. Consequently, it possesses a certain degree of reality at the psychological level. In my estimation, the film's content is rather excessive; nevertheless, it can be regarded as a prime example of the current era's avant-garde cinema.

Jurassic World: Rebirth (2025) is a quality film and exemplary Hollywood reform in narrative that represents the cutting-edge stage of the development. The crux of the matter lies in their self-criticism of their own societal elitism. The objective of Zora is to disseminate the novel pharmaceutical agent without the imposition of a patent, thereby rendering it as open source for the global population. This objective underscores the central tenet of achieving universal appeal.

Despite the film's adherence to the liberal principle of inclusion, which is absent in the 1973 cinematic masterpiece The Exorcist, the film's message is still discernible. The reunification of the McNeal family at the conclusion of the film is particularly noteworthy, as both Chris and Reagan McNeal are perceived as authentic individuals. A close examination of the negative responses to this sequel reveals the impact of contemporary systematic advertising campaigns and the influence of click factories that produce masterpieces. The filmmakers erroneously amalgamated the practices of Voodoo and Christian exorcism, amateur exorcism, and the return of the Father to the scene in a manner reminiscent of Han Solo. Additionally, the devil's selection of whom to save, as determined by Pazuzu, is a clichéd element. The primary rationale for the failure of this film is the adherence to leftist political principles by the filmmakers, which are incongruent with their external beliefs. In summation, the most superlative sequel to The Exorcist (1973) is the third installment, which sustains the same atmosphere and profound impacts of demonic possession.

Slow Horses - a total of four seasons since 2022 - is a British spy thriller TV series based on the thirteen novels by British author Mick Herron, Slough House (novel series) distributed by Apple TV+. I recommend this TV series as two great masterpieces of spy fiction along with 007 (James Bond is a fictional character created by British author Ian Fleming in 1953). The former is about MI5, the latter about MI6. Both legendary intelligence agencies are also involved in Hong Kong affairs. The story is about an unofficial MI5 department headed by Jackson Lamb, the head of Slough House, who assists Diana Taverner, the Deputy Director General of MI5 and head of operations, and is called the "Second Desk" to deal with issues that are difficult to tackle in the official line of duty. Although 007 belongs to the Cold War era, Slow Horses belongs to the era of virtual feudalism, transnational actors, the so-called "intermestic" period. Theoretically, transnational actors are seen as substate or non-state actors, but the reality as known as international terrorism, most transnational actors are state actors in disguise. From a public perspective, Slough House is also such a non-state actor. My point here is that in season 4, the main antagonist, ex-CIA agent turned mercenary, Frank Harkness, pretends to be a drainage worker and enters the MI5 archivist's living unit to get information, he cites the exact same line, "a water leak," an excuse used by Matthew Trickett, 37, an immigration officer and director of another security firm called MTR Consultancy, which specializes in security, surveillance and private investigations, who served as a British Royal Marine between February 2007 and March 2013 when he broke into a living unit of one of the "political refugee" Hong Gongers in the UK. People still remember the 2024 Hong Kong Trade Office spy case. However, it turned out that these spies were privately exploited as debt collectors for mainlanders' personal disputes. Moreover, the harsher result is that even this level of scandal, corruption and shameful disaster is too embarrassing for the British side to make it into the TV episodes. Reality doesn't fit the fictional form, which must maintain a certain uniformity of tone, style, dignity, and material. In other words, this is where a line is rationally drawn between what should be made into fiction and the incompatible dynamic reality. If the British had made the whole context into the TV series, it could have exploded the whole tone and unification of the spy thriller, since Frank Harkness is a typical fictional antagonist on demand in this genre. This micro detail is at the heart of Slow Horses. And why is that? It makes the difference between Slow Horses and Hong Kong Snails. It also reveals that the spies of the Hong Kong side, especially Matthew Trickett, became cannon fodder, and to this day, no official has taken responsibility for this scandal. The HKSAR government's "zero accountability", or "legitimate corruption", is one of Hong Kong's major social problems in the eyes of its citizens. Therefore, these fake Hong Kong movies and inferior TV series are advertisements of the ruling class to cover up their wrongdoings and true nature with irresponsible illusions.

Mahavir Singh Phogat teaches his two daughters to become international wrestlers for India! It is a simple and impressive story. And they finally defeat Great Britain in the wrestling match. I think this is India's 'Ip Man'! This kind of nationalism is healthy and beneficial to all audiences without background considerations. The length of the movie is also right. The growth of the protagonists takes 160 minutes. And the emotional reactions to their tragic mistakes are well described in detail by the talented actors. Audiences can fully immerse themselves in this movie. Many Asian audiences have a prejudice against Indian movies that their movies are just dances and songs for two hours or more, but there is a perfect construction of story with minimalist use of songs and music. This quality is higher than any Japanese movie today! Indian filmmakers should maintain this high quality of movie content! It can compete with Hollywood movies. At the end of the movie, it is full of enlightenment, the most important thing in life is not 'thing' but human relationship with emotion. If you're faithful to the goodness and emotions of your family, you'll find the best solution to your problem. Even if you fail in this way, your family relationship will only improve as a result of your effort and sincerity. That is what this movie tells you! Thank you very much!

This movie is not an art movie at all, but it is a well-made Hong Kong action movie with karate and typical human relationships around it. And we can enjoy it without any political position of the director in Hong Kong's political environment. Chapman To is obviously influenced by Sugata-Sanshirou (Dir. Akira Kurosawa, Japan, 1943) and Clint Eastwood's Million Dollar Baby (US, 2004), but only in some essentials. For example, the 30-year-old girl is trained by an older trainer who is sympathetic to her drastic life situation; the official karate sequence in which the antagonist looks like the opponent of Hilary Swank's boxer in the final fight. The plot is simple enough that Mari Hirakawa who is a half Japanese Hong Kong girl does not get along with her father, karate master on his disagreement on Mari and her boyfriend's affair. After, her father's death, Mari unexpectedly inherits the karate school, dojo with ex-student of his father, Yakuza, Chan Keung, who also succeeds the half of it. The conflict is clear enough. Main conflict is not focused on who inherits the whole dojo. On the contrary, it is the development of Mari through her conflicts with Chan Keung at her half inherited dojo, after her breakup with her boyfriend, uncontrollable Mari gets beaten by karate kids there. This is the beginning of a mutual relationship between the protagonist Mari and Chan Keung, who teaches her and his students karate. There is only one strong antagonist at the karate match where only one audience is present. The result turns out to be a victory over Mari's opponent. The karate match is typical Hong Kong film's performance on action sequence that its extent of violence exceeds Hollywood standard, and it is adequate to make the audience feel the pain of the protagonist. This kind of alienation is effective! What I prefer is the training montage sequence of Mari. You can see her jogging on the streets of Hong Kong Island, Wan Zai and Causeway Bay. It is also unusual to show Mari jogging in the middle of the streets in the early morning. Stephy Tang used a few stunts for her actions, almost all performances are done by herself. It adds acting values to a certain extent. The ending is quite sudden and vague, the dream sequence in which abstract light on the dark space shows Chan Keung leaving the dojo to Mari, and Mari also gets defeated by the opponent on the ring. It is an open ending, which is typical for art movies. Without it, I appreciated everything and enjoyed the development of Mari. Mixture of genre film and art film characteristics are harmful to the box office. Anyway, I prefer this movie, The Empty Hands, among all Hong Kong movies this year! 10 out of 10!

The 8th episode, Star Wars The Last Jedi (2017), is about Luke Skywalker and actor Mark Hamill. Unlike the former, this episode is not a simple manipulation of the plot of episodes of the oldest trilogy during 1977-1983, and it is quite sadistic for fans, but from it is also full of twists and surprises. Rey and others are not as charismatic as Luke and Leia. Also, Snoke is said to have been created and modeled after actor Ed Harris. The Asian-looking Rose is something familiar to contemporary audiences. Adding racial diversity to this trilogy. One of the typical twists in this episode is the death of Snoke, and the Darth Vador-like Kylo unexpectedly takes the initiative. As Rey and Kylo work together to fight Snoke and his entourage, the audience physiologically hopes that Kylo will come to the light side. However, it is only an episodic collaboration between them. This episode shows a failed master/teacher confronting his past failures and his worst student who is beyond his abilities. This is the most emotional content of the movie. When Luke's shadow is confronted with the full force of the First Order forces in front of the sealed gate of the last bastion of the Republic, the catastrophic moment arrives. The heroic figures of Luke and Mark Hamill are quite impressive and memorable among all the characters of this episode. I love this episode more than the previous one. It is not a simple duplication of the plot of the oldest trilogy. Mark Hamill and Luke proved that a filmmaker only needs their iconic work throughout their entire career. Mark Hamill is experiencing the second peak of his film career since the oldest Star Wars trilogy (1977-83). It is a remarkable thing that Disney made the newest trilogy. Everyone remembers Luke Skywalker as a living legend.

Revolutionizing the traditional disaster movie: Lacking impressive visuals, well-written characters, or involving drama, Geostorm aims for epic disaster-movie spectacle. The review 'Lacking impressive visuals, well-written characters, or involving drama, Geostorm aims for epic disaster-movie spectacle but ends up simply being a disaster of a movie.' is a lie and an anti-China campaign! This sci-fi disaster movie is a disaster for the poorly made genre movies of today's industry! Geostorm is really a photogenic one for real cinemas! Traditional disaster movies depict natural disasters and people around them. And the antagonist is nature. However, this movie not only depicts the cutting-edge weapon that is space satellites that can control geographical phenomena. This is the most effective weapon than nuclear weapons, which cannot be used in real war. In this movie, the real disaster and the real evil come from the human side. Ed Harris played the antagonist, a political extremist who conspires to use the satellites "the Dutch Boy" as a weapon to bring about Armageddon against mankind. The intelligent conspiracy to bring about the killing of people is covered up in the manner of an apparent accident. This intelligence is very real in the real political context of this era. The employment relationship between Jake and Max is also typical of the era. The younger Max hires and fires the older Jake, even though Jake is his relative... The personal development of this movie is in the recovery of Jake and Max's mutual relationship and cooperation to shut down and clean up the virus infected geography control satellite 'Dutch Boy'. I'm personally impressed by the Mong Kok, Hong Kong sequence, which is a familiar place for me. In this movie, Hong Kong proudly represented the goodness and international character of China. This kind of joint operation is helpful for Hong Kong film industry and its market! Thank you all for this real blockbuster masterpiece, which is something new for us!

In this movie, Blade Runner 2049 (2017), the filmmakers have created a completely imagined and realistic future world! The rhythm of the action is slower than average Hollywood genre films. However, it tends to fully express and create the sense of a virtual future world in detail! For example, when Rick Deckard finally meets his daughter, the filmmaker used only minimal shots with long duration to fully create the emotional imagination among the characters. This is psychologically realistic! Replicants that can create replicants seem to be a threat to the survival of the human race. And you can also see the completely corporatized country in this movie, where the country is run by a giant capitalist who owns replicant factories. They are looking for the perfect model of a replicant, which was Rachel in the first movie, who can create a new generation through her own function. I really enjoyed the detailed world of the replicants. The slow pacing is a special example of sci-fi blockbusters, and it works. Personally, I felt deeply humanistic values in Joi, who is a virtual girlfriend of the protagonist K. Replicants embody a pure capitalistic view of life, and replicants are also slaves without human rights. They can be destroyed at any time. She is the ideal of capitalism and its future goal. The virtual girl is more human than the replicants and humanity itself. Good work! It's the best of 2017! I love it! Personally,