Dormarth112

Highly recommended for anyone craving a high-octane popcorn thriller with a powerful message! I had an absolute blast watching this at the Glasgow Film Festival. The experience was elevated by a Q&A session with the passionate actors and director, whose love for filmmaking was truly inspiring. It reminded me of Crank and similar films, delivering high-octane thrills and great comedy, thanks to the fantastic editing.

While I have some minor complaints about certain effects and the slow start of the third act, I'm thrilled to see an indie film with such incredible pacing and style. This is definitely a movie I'll be rewatching with friends! It offers a refreshing perspective on African cinema, as our leading actors romp through the vibrant streets of Dakar.

Feels like a Tim and Eric sketch but with no self awareness. You are bombarded with so much misinformation that you start getting a headache and get confused about what this is even meant to be about.

There are so many bogus claims in this, there is no "black pyramid" hidden beneath Alaska that can communicate with aliens. The "Pyramid in Bosnia" were claims that have been largely debunked as a way to promote the area as a tourist attraction. The Bosnian pyramids are a ruse by Semir Osmanagic, who hoped to bring tourists to Bosnia, and to sell books and get rich. No serious archeologist is interested in what are obviously natural geological formations.

Had a laugh watching this and should only be viewed as a joke.

This film is a delightful paradox-a cynical yet deeply sincere love letter to independent filmmaking and cinemas in Japan. Whether you enjoy it depends on your ability to meld with its unique vibes and humour. Semi-biographical in nature, the low-budget filmmakers Kah-Wai Lim and Hirobumi Watanabe have collaborated to create this excellent dramedy.

Watching the behind-the-scenes footage, I was shocked to learn that much of the film was improvised, with many scenes only having a rough outline. This improvisation must have been particularly challenging, given that many of the cast members are non-actors. What fascinates me most is the film's portrayal of post-COVID Japan. The various cinemas featured are brimming with character and love. Kah-Wai Lim aimed to reflect the pandemic's impact on the people of Japan and the theaters that were no longer accessible.

In the film, we see these independent cinemas struggling to fill seats in a world dominated by theatre chains and streaming services. It's becoming increasingly difficult for these beloved venues to survive. Kah-Wai Lim followed this movie with "This Magic Moment" (2023), a documentary that visits many independent cinemas in Japan. The struggles of independent filmmaking are also highlighted, such as writer's block or the need to create vanity projects for wealthy financiers, leading to some comedic moments. However, these moments don't captivate me as much as the genuine self-reflection on the industry.

I'm eager to explore more of their filmography and will be recommending this gem to my friends to spread the word. Many of the actual theater owners featured in the film play themselves, and the movie concludes with interviews with them. I watched this thanks to the Third Window Films release on Blu-ray. They consistently deliver amazing releases in the UK, and I always recommend them.