I think it goes without saying that Lost in Translation is easily Sofia Coppola’s best film as a director, but looking back upon why it gets the reputation as such is easy: for at only two films it still remains her most fully realized work to date. That’s not to say personal bias from great connection has also allowed itself to become a factor but there’s something about how Sofia Coppola presents this story that only calls upon great connection from my own end because the first memories I had of watching Lost in Translation are not fairly distant regarding where I’ve headed in life at this moment. I’ve started out a fairly lonely person without any sense of connection in the world and even though I’ve taken comfort in social media it brings back a specific melancholy that hit me when I watch Lost in Translation.
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If the title alone was surprisingly not the most condescending thing about Love Actually, then I would have been shocked based on that alone because the course of events that take place in this supposedly charming romantic comedy all live under an illusion. Richard Curtis’s Love Actually managed to earn a reputation as a delightful Christmas treat in some circles and yet, the opening already suggests the general idea that it wants to get across and yet its picture of such idea is where the film falls on its knees. Love is all around, that is said idea, but Love Actually only inspires a hate-filled rage out of me.
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I’ve heard many comments who share my indifferent feelings toward the original film that cite Ju-on: The Grudge 2 as an improvement upon its underwhelming predecessor and while I can find myself agreeing with that part, unfortunately I can’t really say much overall because I also found this sequel to suffer many of the same problems which had plagued the original. Takashi Shimizu seems to have shown some improvement with his substance at least from what a year’s worth of passing since the original film can tell but maybe it was at a level to which he wanted it bring everything out so early. Seeing what Takashi Shimizu has brought here, however, did make me interested in giving the American remakes a revisit, if something managed to come out of watching the original Grudge films. Continue reading →