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I watched this for Sion Sono's birthday and I should treat myself on directors' birthdays more often, goddamn. Exte was easily my "most uncomfortable" watch of 2019. I've only watched one other film of Sono's, so I knew he was very good when it came to gore, but I didn't know what to expect from him when it came to ghosts and ghouls. Dear Christ, I will NEVER be getting hair extensions for the rest of my life. Before I go into it, do remember, this was 2007. The CGI and such are not going to be amazing and top of the line. Watch this as you'd have watched a film you were going to see in the cinema in 2007 for the best impression of this film. With a very unique plot - I for one, have never come across a horror film personally that has hair extensions as the main "evil" object. This has drawn me in for quite a while and it's not hard to see why this has become a very influential horror film. Starting off very serious and dark this film promises quite a lot at the start. This does fade after a little while and we become a bit more upbeat and a little more fun. I'm not faulting the film for this - it must be pretty hard to keep a film about hair extensions murdering people to a degree of seriousness - however, it really does pick up after a while. Once the spooky things start going down, we get uncomfortable scenes of body horror (I wouldn't really call them body gore, but either way) that made me feel a little queasy and very uneasy. I was rubbing at my eyes, picking my lips and trying my best not to pause the movie and leave it for a while and return to it. Sono creates such a stunning piece of art that is so uneasy and makes the viewer squirm. Although the plot doesn't seem to make much sense. There's two different plot lines going on at once - the investigation of the woman murdered and a secondary plot following Yuko - and I don't think that the investigation got much attention once it first switches to Yuko. Both plots do eventually overlap and come together, but I just don't think this was done as 100% as it could have been. Everything comes to a close well, but I did find myself wishing for JUST a little bit more from Sono to bring this up just one or two notches. (And that bloody song is gonna be stuck in my head all day...) The ending is pretty vague and more of a horror-comedy piece than a horror, but that's who Sion Sono is, so definitely a plus in this situation. This all said, I do very much love this film. It's spooky, it's unsettling, it has definitely made me a little uneasy at the idea of having hair extensions. The atmospheric creation of Sono is something that I truly appreciate. The 2000s of Japanese horror have a legacy for their moments of unease and Exte is no different. Truly unnerving, extremely uncomfortable and breath hitching, this film truly is one of the gold films of the 2000-2010 Japanese iconic ghost horrors. All of the cast were amazing (and I can't imagine some of these scenes were easy to record either), and it really helped develop the film further. Again, I will never be having hair extensions and secondly, I think I have a new found fear of hair in general. Some of these scenes were just too creepy. (My only qualm is... doesn't Yuko have to like legally adopt Mami... not just move her into her place?)
Two young brothers become the leaders of a gang of kids in their neighborhood. Ozu's charming film is a social satire that draws from the antics of childhood as well as the tragedy of maturity.
A bored trio of high school delinquents start a rock 'n' roll band together. They have no skill, money, or even a full set of drums, but are determined to jam out and impress their only friend.
Melvin Junko was a nerdy weakling until he fell into a vat of toxic waste, turning him into the first ever superhuman creature from New Jersey. This time, he takes on Tokyo.
A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of intergenerational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.
Okoma, a witty young woman working as a conductor in an old, rickety bus in Kōfu, Yamanashi (rural Japan), has a creative idea that could avert the dwindling number of passengers when her job and the bus company itself are at stake.
A mysterious video has been linked to a number of deaths, and when an inquisitive journalist finds the tape and views it herself, she sets in motion a chain of events that puts her own life in danger.
Brash, loudmouthed and opportunistic, Kikujiro is the unlikely companion for Masao who is determined to see the mother he has never met. The two begin a series of adventures which soon turns out to be a whimsical journey of laughter and tears with a wide array of surprises and unique characters along the way.
The erotic novelist Taeko is writing a morbid story of a family destroyed by incest, murder and abuse. Her assistant, Yuji, sets on a mission to uncover the reality of this story, but the reality might be too much to bear.
A newly married couple discovers disturbing, ghostly images in photographs they develop after a tragic accident. Fearing the manifestations may be connected, they investigate and learn that some mysteries are better left unsolved.
When the cast and crew of a paranormal TV reality program decide to shoot in the house of the original Saeki hauntings, a series of strange events unfold at the location.