Small, Slow but Steady (2022): A Japanese boxing movie about a deaf girl during the pandemic, SSbS is low-key throughout. The title also very aptly describes the kind of film this is, and as with its lead character, it is a remarkable compliment. We follow Keiko, so generously portrayed by Yukino Kishii, who has some success in her early pro career, but isn’t sure about “the path”. It doesn’t help that, on the one hand, her impairment makes others treat her differently, while on the other she struggles to connect with people. The distance between characters is acutely felt, not (just) as a symptom of the pandemic days, so much as an unassailable social rift. Ultimately, this isn’t Rocky or some big statement about drive and success, it’s about how to find an identity and acceptance, from others, but foremost from oneself. 8
Kiss Kiss Bang Bang (2005): I had to do one for Val Kilmer. He co-stars with Robert Downey Jr. in this fun romp with heavy narration, rather typical of the era. An intentionally contrived plot and set-up make for some intrigue, with a lot of to and fro in an elaborate attempt to keep the mystery alive as long as possible. I don’t think I loved this when I first saw it and I still don’t love it now, but the movie is a smooth vehicle for its stars (to which we have to add Michelle Monaghan) and has enough humour to keep it fresh. 7
Perfect Blue (1997): After watching Black Swan, I thought again about how people say it was at least inspired by an anime from the 90s. This one. Something that Aronofsky did not admit to, but there are some obvious stylistic similarities. PB tells this complicated story about identity and success for a pop-singer turned aspiring actress, blurring reality and fiction with relative ease. I don’t think the movie really hits as hard as it wants to, in the style-over-substance kind of way, but it’s hard to not be at least a bit impressed by its ambition and execution. 7
Bill Burr: Drop Dead Years (2025): Although I’ve never been a huge Bill Burr fan, I found myself enjoying Drop Dead Years. Particularly the first part, which played as more focused and wryly relatable worked very well, with a focus on married life and, as per the title, the potentiality of dropping dead starting with a certain age. Once the show becomes more political, trying to walk some neutral ground, as one might have in 2024 when this was filmed, I think it loses its edge and just becomes “loud”. That said, on the balance of things, this is one of the better stand-ups I’ve seen recently and it is appropriate in its agitation for the inner turmoil we currently face on the day to day. 7
Carry-On (2024): Finally got around to watching this and was kind of sorry to have seen it out of season (Christmas). But then again, it’s the Die Hard kind of seasonal movie. An elaborate plan to get a carry-on bag on a plane gets the pulses of everyone involved racing and for more than an hour I was well tucked into this experience. The smooth cast, featuring Taron Egerton, Jason Bateman as well as a host of smaller parts run by equally capable actors (Danielle Deadwyler, looking at you) plays its part in keeping this “phone drama” exciting, until it starts to feel like things are forced to happen to “make the movie happen”. So that was a let-down, but all in all this is a serviceable fare. 6
tributary stu 