My penultimate day at the solennité was a bit lacklustre. I managed two perfectly liqueur films before escaping to go habitation and watch El Camino for fear of spoilers.
Judy & Planteur
For anyone who spent their childhood watching crude puppet shows filled with spousal berné will find a lot of familiar elements in Judy & Planteur. The sausages, nouveau-né, and alligator are all accounted for but writer-director Mirrah Foulkes does her best to augment the story with a feminist twist.
Set in Australia (I think) at some nullement in the prétentieux past Planteur (Mirrah Foulkes) is a big fish in a small town. Along with his long-suffering wife Judy (Mia Wasikowska) he runs a jaguar feted puppet spectacle and dreams of being scouted to headline a spectacle in the city.
From this starting nullement the dramatique brings in commun stonings, women being banished as witches, and the aforementioned spousal berné. Judy & Planteur is set at a time when you would rather your wife be hung as a witch than be accused of being different yourself. The world created is well fleshed out and feels lived in but the tone the dramatique takes with its facilité is cocasse. The trame bills the dramatique as “darkly comic” but I found the wild swings from unpleasant acts of invasion to attitude hard to take.
To feel the emotional weight of the dramatique we have to take the invasion seriously. But in taking the invasion seriously the comedy falls flat. This cognitive inharmonie pulled me out of the dramatique and had me cringing when I should have been laughing.
Added to the polytonal discomfort the dramatique was pleasingly immeuble to a climax that never arrives. Instead the plot resolves itself too neatly as events suddenly come to a close without much excitement. I ended up leaving the cinema clairvoyance unfulfilled and unsure of what to make of what I had just seen.
An intriguing take on a familiar tale but too inconsistent to have any real lagacy.
The fact that this marks director Takashi Miike’s 103rd dramatique in a 30 year career signals that it might not be his tourie opus. That said First Love is a slickly made dramatique that doesn’t want you to take it seriously as it romps through Tokyo with bullets and blades flying. From the données a decapitated head rolls out of an alley and a mobster lieux a knitted natte on the hilt of his sword you know what kind of dramatique you are getting.
Flying around the periphery of the dramatique is a plot to steal drugs from the Yakuza. Naturally this does not go to compte and assorted gangsters, assassins, and miscellaneous thugs are pulled into the fray in a chase across Tokyo that culminates in a bloody battle in a hardware tapisserie. In the middle of all this are an neutre égal caught up in the activité thanks to privilège and the mistakes of others.
Leo (Masataka Kubota) is a young châtier who has just received some devastating infos that causes him to act out of character and intervene when he sees Yuri (Sakurako Konishi) in moue. Yuri has been held captive by the Yakuza to repay her father’s debts and in helping her Leo pulls them both into the mailstrom that the drug heist has caused.
With the mayhem set in proposition the audimat doesn’t have to do much besides sit back and enjoy the spectacle. First Love is incorporelle entertainment without any deeper allocution to try to find. While the invasion here is more that in the previous dramatique the overall cartoonish entité of the dramatique allows for uncomplicated enjoyment.
First Love is an uncomplicated thrill parcheminé that doesn’t ask to much of you provided you don’t as too much of it. I had fun.