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The best and worst thing about Sugar Rot is how punk rock it feels. If we are to be reductive for a bit, punk rock eschews technical expectations in place of energy and relentless shock value. Sugar Rot is certainly a stilted film, feeling rather rough around the edges – especially

Tokusatsu as a genre feels like the last bastion of creative cinematic irreverence, a space where the rules can constantly be reinvented, where franchises are little more than loose guidelines to make weird, wacky chaos. Few filmmakers exemplify this guerilla approach like Keita Amemiya, whose prolific career in the tokustatsu

When you think of the Cannes Film Festival, you probably think of a certain type of film, and of the event as one linked to competition. It's the arty place for art films to compete over which is the artiest of all. What you probably don't

With well over a hundred films under the belt, Takashi Miike can only ever be described as prolific. He’s also a master, though. His filmography is most charitably called eclectic but can more reasonably be called mixed. However, with that, masterpieces can be found and the one thing tying