Psychokinesis (2018) is a noble and entertaining directorial effort with its various ups and downs.
All the superhero films I am used to watching are from the United States, which are controlled by the two giant brands, Marvel and DC. These films can get a bit stale over time with not much to say beyond the surface of the film. Now, this is not the first film Yeon Sang-ho having watched, Train To Busan (2016). I am even looking forward to his next directorial effort, Peninsula (2020). As you can tell, I went into Psychokinesis (2018) with some form of expectations seeing what this director can do with all his skills in his arsenal.
The film revolves around a bank security guard who gains telekinetic powers by drinking out of a water fountain that was struck by a meteor. He uses his powers to make money at first but then tries to help his estranged daughter when a company wants to take their family business down. Psychokinesis (2018) is a good movie with an interesting plot involving superpowers and class warfare. The film is not perfect by any means but it has a lot of heart in it. The film’s second act lacks structured pacing to it, and some of the characters feel as if they are just there with no motives. Although it is not great there are a lot of characteristics that make it worth finishing like its wonderful cinematography and fight choreography. Once again, the film shows that Yeon Sang-ho understands completely how to handle the camera and set up the atmosphere of the film. The problem of this film mostly lies within the writing of the film but overall it is not the worst or best movie-watching experience I have had.
Watch Psychokinesis (2018) on Netflix. We also reviewed this film on The Nerd Corps so go and check out what we had to say about it! Follow along with the rest of this challenge on Letterboxd or the google doc that has the rest of the films on this challenge.
Satoshi Kon crafts a masterpiece of a film that will not just be remembered in anime but as a piece of cinematic art.
Way back when before the pandemic hit on The Nerd Corps, we covered Millennium Actress (2001) from writer/director, Satoshi Kon. If you listened to the episode you know that I did not find that film anywhere close to being great. I thought it was convoluted and very disorganized in its story structure. Since then I had not watched another film from Kon and I was scared to possibly write this man off after just watching this one film (which you should never do).
Well, Perfect Blue (1997) is incredible from start to finish and never stops gripping at you. The film is constructed through the eyes of our protagonist, Mima Kirigoe, as she retires from her Japanese idol group and pursues her career in acting. We see the good and bad sides of this career as she encounters people obsessed with her and willing to cause her harm. Some of those causing her harm are those exact people within the film industry who are supposed to help her. The nuances of the film are so carefully crafted to create a picture that is so within the style of Kon’s framework.
The film deals with various themes such as obsession, voyeurism, and the harassment of young women within a male-dominated industry. Satoshi Kon perfects the blend of fantasy and reality within the film. Along with excellent writing and direction, the film features an incredible score, exquisite sound design, and profoundly beautiful animation that brings these characters to life. I am sure that this will end up in my top ten at the end of this challenge and in my top five anime films of all time.
Perfect Blue is available to stream on Hoopla through your public library or can be rented on all major movie watching platforms. Follow along with the rest of this challenge on Letterboxd or the google doc that has the rest of the films on this challenge.
Park Chan-wook conclude his Vengeance Trilogy with one of the most underrated pieces of cinema ever created.
The final film in Park Chan-wook’s Vengeance Trilogy is another fantastic inclusion in the masterclass of work that he has created. Lady Vengeance (2005) follows a similar pattern to Oldboy (2003) as it follows a woman released from prison for a murder she did not commit. Lee Geum-ja played by Lee Young-ae seeks revenge from the real murderer and this gets bloody fast. Now, even if the story sounds similar to Oldboy (2003), Chan-wook turns the table on you and creates another riveting and nuanced installment in his trilogy. The film not only follows by the beat of its drum but it also manages to include some of the most beautiful imagery I’ve seen yet.
Park Chan-wook is a director of many skills and this movie shows how rough his work can be but also including such tender nuances like the importance of a Mother being there for her daughter, sharing trauma to move past it together, and truly not being able to move on from trauma even if it is “fixed.” The world of this film is grim with a prison system that is so corrupt and unorganized that it allows for sexual assault and power structures to emerge inside. There’s a scene that truly empowers the idea of “teamwork makes the dream work.” I am so happy that I watched these three incredible films, and cannot wait to finish the rest of his filmography. One thing is certain, Park Chan-wook is my favorite Korean director and I am one hundred percent confident of that.
Watch Lady Vengeance (2005) on Shudder. Follow along with the rest of this challenge on Letterboxd or the google doc that has the rest of the films on this challenge.