Jaime’s Film Diary: March 15, 2020

As expected, I’ve been keeping my Letterboxd up to date – so here’s yet another update for here in regards to what I have been watching as of late.

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Seven Samurai – Review


Akira Kurosawa’s Seven Samurai is one of those films that always feels like a breath of fresh air every time I watch it, a little over three hours long but it justifies all of that. In fact, it always feels like quite a breeze upon every viewing. Akira Kurosawa is a master at storytelling, it is continuously engaging and it has left an impact upon cinema like no other, but those are the very least of what Seven Samurai has mastered. It’s looked by some as art, but at a similar degree, it can also be seen as fun. Yet even then, there’s so much more to Seven Samurai that establishes everything it sets out for. Continue reading →


The Magnificent Seven (2016) – Review


Antoine Fuqua remakes another remake with The Magnificent Seven, his latest offering thus far. Being a remake of a remake, there’s always room to turn something into one’s own vision and that’s part of what I was hoping for in this new take on the story inspired from Akira Kurosawa’s Seven Samurai, but something about it also feels empty. What happened to the excitement of watching a group of seven fight for good? Sure, there’s fun to be had within certain moments of the film but perhaps they only work because of how the film presents itself out to be as a result of those involved rather than offering much to stand on its own. Quite surprisingly, that is actually not what bothered me most about this re-imagining of the classic tale. Continue reading →

Harakiri – Review


I love samurai films. They were among the first foreign films which I have watched, but namely I would focus on those of Akira Kurosawa, particularly Seven Samurai, which was an influential part of my own life for it brought onto myself a new means of appreciating cinema in all regard. As I were to venture into more samurai cinema, I decided to look into more that were not from Kurosawa and that was how I stumbled across Masaki Kobayashi’s Harakiri for a change. When I finished up, something hit me about Harakiri in a way that I wouldn’t have expected from samurai films. In some strange manner, Harakiri was almost a rather philosophical experience. As it continues to reside inside my own thought, my own love for it grows much stronger, for it truly is a masterful accomplishment on many grounds. Continue reading →