Jayce
@jayceb.bsky.social
A blacksmith’s molten glow of a sunset (never seen its like outside of Jissoji’s Ultraseven) spears this not-quite wizard war into some of the most breathtaking otherworldly artifice I’ve ever seen on film. Really couldn’t have cared less what was actually going on, it’s sort’ve a mesmerization.
January 18, 2026 at 5:25 AM
A blacksmith’s molten glow of a sunset (never seen its like outside of Jissoji’s Ultraseven) spears this not-quite wizard war into some of the most breathtaking otherworldly artifice I’ve ever seen on film. Really couldn’t have cared less what was actually going on, it’s sort’ve a mesmerization.
Chor Yuen’s Swordsman and Enchantress (1978) is a little unbelievable. A wuxia mystery in a martial world of scandal and lies with, unquestionably, the pinnacle of Shaw Bros set design and Chor Yuen’s unmatched ability to make them immersive surrealities in his framing. THE prettiest Shaw joint.
January 18, 2026 at 5:25 AM
Chor Yuen’s Swordsman and Enchantress (1978) is a little unbelievable. A wuxia mystery in a martial world of scandal and lies with, unquestionably, the pinnacle of Shaw Bros set design and Chor Yuen’s unmatched ability to make them immersive surrealities in his framing. THE prettiest Shaw joint.
Lone Wolf Isazo (1968) /// Goyokin (1969)
January 18, 2026 at 3:37 AM
Lone Wolf Isazo (1968) /// Goyokin (1969)
The finest visual flair that jidaigeki yakuza slaughter has to offer, really stunning (and so artfully subdued) seasonal spectacle.
January 18, 2026 at 3:20 AM
The finest visual flair that jidaigeki yakuza slaughter has to offer, really stunning (and so artfully subdued) seasonal spectacle.
Kazuo Ikehiro’s Lone Wolf Isazo (1968) stylishly commits to what makes his Zatoichi entries unmistakeable classics of samurai sin. A fireside ghost story of an evil swordsman’s heart growing too heavy against unbelievably sexy autumn and winter photography.
January 18, 2026 at 3:20 AM
Kazuo Ikehiro’s Lone Wolf Isazo (1968) stylishly commits to what makes his Zatoichi entries unmistakeable classics of samurai sin. A fireside ghost story of an evil swordsman’s heart growing too heavy against unbelievably sexy autumn and winter photography.
Keita Amemiyaaaaaaaaaaaa 😮💨
January 17, 2026 at 2:56 AM
Keita Amemiyaaaaaaaaaaaa 😮💨
The suitmation and modelwork is REALLY fucking good, mind.
January 17, 2026 at 2:32 AM
The suitmation and modelwork is REALLY fucking good, mind.
Sprawling (and maybe even a little aimless?) effects sequences are loaded with every trick of practical wizardry in Amemiya’s arsenal, but intricate sets and puppetry will pivot almost violently into some of the most uncomfortably unearthly CG maximalism I’ve yet seen. Disharmonious synergy.
January 17, 2026 at 2:32 AM
Sprawling (and maybe even a little aimless?) effects sequences are loaded with every trick of practical wizardry in Amemiya’s arsenal, but intricate sets and puppetry will pivot almost violently into some of the most uncomfortably unearthly CG maximalism I’ve yet seen. Disharmonious synergy.
The first episode of Keita Amemiya’s Tekkōki Mikazuki is delightfully fucking weird. Shamelessly wholesale robbing Evangelion under the guise of George Akiyama or Mitsuteru Yokoyama, its true interest is the nearly overwhelming visual bridge between the Amemiya of the 90s and the Amemiya of Garo.
January 17, 2026 at 2:32 AM
The first episode of Keita Amemiya’s Tekkōki Mikazuki is delightfully fucking weird. Shamelessly wholesale robbing Evangelion under the guise of George Akiyama or Mitsuteru Yokoyama, its true interest is the nearly overwhelming visual bridge between the Amemiya of the 90s and the Amemiya of Garo.
Everyone knows Tetsuo: Iron Man but I kinda think Body Hammer and Bullet Man are. More evil?
January 16, 2026 at 10:02 PM
Everyone knows Tetsuo: Iron Man but I kinda think Body Hammer and Bullet Man are. More evil?
I think Shinya Tsukamoto kinda dominates this category lmao
January 16, 2026 at 9:31 PM
I think Shinya Tsukamoto kinda dominates this category lmao
Literally either cried or dissociated through Tuesday to yesterday, but the movies were good.
January 16, 2026 at 2:40 PM
Literally either cried or dissociated through Tuesday to yesterday, but the movies were good.
Tokyo Story (1953) /// Dim Sum: A Little Bit of Heart (1985)
January 16, 2026 at 1:49 AM
Tokyo Story (1953) /// Dim Sum: A Little Bit of Heart (1985)
The naturalistic and untrained acting, a soft step grace through quiet aftermaths and expositions, time skips that pass too smoothly to feel like they’re passing at all. Comfort and familiarity pausing, just for a moment, to reflect on how quickly the mundane and routine can become fond memory.
January 16, 2026 at 1:47 AM
The naturalistic and untrained acting, a soft step grace through quiet aftermaths and expositions, time skips that pass too smoothly to feel like they’re passing at all. Comfort and familiarity pausing, just for a moment, to reflect on how quickly the mundane and routine can become fond memory.
Wayne Wang’s Dim Sum: A Little Bit of Heart (1985) borrows a chapter or three from Ozu’s book for a remarkably delicate, and beautifully bilingual, slice o’ life. A gorgeous slow cinema slant in its melancholy still frames of repose, but truly one of the sweetest things I’ve watched in a while.
January 16, 2026 at 1:47 AM
Wayne Wang’s Dim Sum: A Little Bit of Heart (1985) borrows a chapter or three from Ozu’s book for a remarkably delicate, and beautifully bilingual, slice o’ life. A gorgeous slow cinema slant in its melancholy still frames of repose, but truly one of the sweetest things I’ve watched in a while.
Yes I’ve seen the Dr Who’s Terminus, thank you!!
January 15, 2026 at 1:58 PM
Yes I’ve seen the Dr Who’s Terminus, thank you!!
I’ve been having a terrible week and ended up having one of the worst meltdowns I’ve had in a very long time last night and now I’m at work all over again pretending I’m okay and feel normal and it’s all just so
January 15, 2026 at 1:40 PM
I’ve been having a terrible week and ended up having one of the worst meltdowns I’ve had in a very long time last night and now I’m at work all over again pretending I’m okay and feel normal and it’s all just so
Yessirrrrrrrrrrrrrrrrrrrr!!
January 15, 2026 at 12:44 AM
Yessirrrrrrrrrrrrrrrrrrrr!!
Tokyo Drifteeerrrrrrrrrrrrr!!
January 15, 2026 at 12:44 AM
Tokyo Drifteeerrrrrrrrrrrrr!!
I love the more that Showa monsters visibly decayed the more perfectly monstrous, even in the most child-friendly ways, they became? This is all exactly as gross as these guys should look.
January 14, 2026 at 6:23 PM
I love the more that Showa monsters visibly decayed the more perfectly monstrous, even in the most child-friendly ways, they became? This is all exactly as gross as these guys should look.
There’s a daydreamed grandeur in this visual grammar that wants to be born, the moments of naturalistic sprawl outside the claustrophobic inns and tavern brawls and waterfall soundstages (just like with Dragon Inn’s wastelands). A clear classic and the roots of something far grander and greater.
January 14, 2026 at 4:04 AM
There’s a daydreamed grandeur in this visual grammar that wants to be born, the moments of naturalistic sprawl outside the claustrophobic inns and tavern brawls and waterfall soundstages (just like with Dragon Inn’s wastelands). A clear classic and the roots of something far grander and greater.
King Hu’s Come Drink With Me (1966) further increases my awe towards his later mountain epics, but it’s easy to see why this and Dragon Inn are such core texts of cinematic wuxia. I really loved Cheng Pei-pei in this, and the storytelling energetically bounces against the limitations of Shaw sets.
January 14, 2026 at 4:04 AM
King Hu’s Come Drink With Me (1966) further increases my awe towards his later mountain epics, but it’s easy to see why this and Dragon Inn are such core texts of cinematic wuxia. I really loved Cheng Pei-pei in this, and the storytelling energetically bounces against the limitations of Shaw sets.