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  • Capernaum



    I have to admit that some of the scenes in "Capernaum", a Lebanese film about a neglected boy who sued his parents for "giving him life" while serving a sentence for commiting a crime, is so painful and so excruciating that it is hard for me to sit through. The film exploits the misfortunes of people, and it vividly shows us so many social aspects that may not be too outlandish to us (i.e. poverty, child abuse, migrant workers, underage…

  • Suspiria



    "Suspiria" is downright disorienting, and it can be translated for both good and bad. Good, because I guess it is an effective way to give us a bitter aftertaste we long to have from horror movies. Bad, because plotwise it feels rather jumpy and uneven, making us (or just me?) feel confused about what has actually happenned.

    You know, sometimes you get into some restaurants and order a fancy cuisine and then you ate it and it tastes great, but you actually don't know what you actually have eaten. "Suspiria", for me, feels the same way.

Popular reviews

  • Edge of Tomorrow

    Edge of Tomorrow


    Watching EDGE OF TOMORROW is like you're playing an RTS game with unlimited lives. It's an expanded, war version of GROUNDHOG DAYS, except that some of the formulas do not work that well. The more you get into the movie, the more you find there's something wrong--and you can't stop to re-think what you've just had because this movie keeps you moving (or accelerating) forward. That's why it's exhausting; it wants everything to end fast, with all possible (but ineffective) ways it has. Which is bad, because the premise is nicely introduced and, well, everything's fine in the beginning.

  • Shoplifters



    Those of you familiar with the works of Japanese filmmaker Hirokazu Koreeda must have known that he is a master of family drama. With an amazing filmography that includes "Still Walking", "Nobody Knows", and "Like Father, Like Son", his latest work "Shoplifters" feels like a culmination of his long journey of exploring family dynamics in contemporary Japan (read: poverty, social norms, loss), and surely a deserving winner of the prestigious Palme d'Or in Cannes Film Festival earlier this year.