![]() The destruction that Godzilla creates is played for tragedy and horror rather than something to be reveled in. The film takes a clinical approach to the Godzilla mythos, showing a grounded look at how exactly the Japanese government would handle an unprecedented disaster. Directed by Shinji Higuchi and Hideki Anno of Neon Genesis Evangelion fame, the duo takes Godzilla back to his roots as an allegory for humanity's worst mistakes coming back to haunt them, being directly inspired by the Fukushima nuclear disaster. While these films have their place in the ever-growing franchise, Shin Godzilla occupies a niché position, being the polar opposite of these films in terms of tone, intent, and style. From the larger-than-life live-action films from Legendary Pictures to a trilogy of computer-animated films with a futuristic, sci-fi angle distributed through Netflix, the King of the Monsters is back. ![]() Godzilla has undergone a cultural resurgence in the last few years. Dogtooth is not for everyone, but it's an unforgettable and unique film. The comedy of the film comes from the children having no understanding of societal norms and common knowledge, but things quickly go from being funny to being uncomfortable and disturbing. ![]() He's coerced his wife ( Michelle Valley) into taking part in his "experiment" of keeping his children cut off from the outside world until they lose a "dogtooth" (their Canine tooth). The father treats his children ( Angeliki Papoulia, Mary Tsoni, Christos Passalis) like they're amoebas in a petri dish rather than living, autonomous beings. The film focuses on a family that lives under the iron fist of their father ( Christos Stergioglou). Made on the relatively minuscule budget of €250,000 (roughly $345,000, in USD and adjusted for inflation) Dogtooth is a disturbing, darkly comic look at one of the most twisted family dynamics ever put to film. The Raid duology is thrilling as it is thoughtful.īefore Yorgos Lanthimos was collecting awards by the dozens with his film The Favorutie (2018), his breakthrough film came in the form of the psychological drama Dogtooth. The Raid 2, taking place right where the first film leaves off, scales all these elements up with creative fight sequences, a new cast of well-written and rounded characters, and a deeper look into the criminal underworld. The film is held up by the amazing fight choreography of the Indonesian martial art, Pencak silat, as well as rock-solid performances and an unfolding plot. The first Raid film is fairly straightforward: it features Rama and a team of officers trying to take down a merciless kingpin who turned a high-rise apartment building into his personal castle. The Raid films follow the exploits of rookie Brimob cop Rama ( Iko Uwais) as he braves the criminal underbelly of Jakarta. The Raid duology functions less as separate entities and more like two halves of a single, action-packed epic. It may be cheating to include two films as one entry, but Gareth Evans' Indonesian martial arts classics are a packaged deal: you simply can't have one without the other.
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