Reiko, a prize-winning writer, moves to a quiet isolated house to finish up her new novel. One night she sees the man next door transporting an object wrapped in cloth. She finds out he is ...
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A detective investigates a series of murders. A possible serial killer might be on a rampage, since they all are in the same vicinity and by the same method, but as the evidence points ... See full summary »
A psychic housewife and her husband become burdened with a kidnapped girl who escaped her assailant. Junko will not let her husband call the hospital or the police for purely selfish ... See full summary »
Two young guys work in a plant that manufactures oshibori (those moist hand-towels found in some Japanese restaurants). Their weird bond is based on uncontrollable rage--something neither ... See full summary »
A seasoned detective is called in to rescue a politician held hostage by a lunatic. In a brief moment of uncertainty, he misses the chance for action. Leaving his job and family without ... See full summary »
Akiko travels to Vladivostok Russia to meet Matsunaga who she first met in Tokyo and is unable to forget. Even though Akiko meets Matsunaga again, Matsunaga does not remember her. Matsunaga... See full summary »
Reiko, a prize-winning writer, moves to a quiet isolated house to finish up her new novel. One night she sees the man next door transporting an object wrapped in cloth. She finds out he is an archaeologist researching an ancient mummy that was recently found.
No living director anywhere can build creeping, gnawing, raw nerve anticipatory tension like Kurosawa. Aside from that? Well, it's a mixed bag. His new film, English title "Loft", twists slowly on your skin early on, digging deeper and deeper. And then it sort of just stops. The shallow breathed fear that he creates, having you flinch at every movement in delicious tension (What's that! Oh, it's a TV. Wait! What's THAT! Oh, just a shadow) is unique. His mastery of composition in the frame, of scene, setting, character movement, sound, are unparalleled. And in this he sets himself up. There would have to be one hell of a harrowing finale to bring it all to a satisfying conclusion. As it is, "Loft" creeps up on you, hypnotizing you in fear; and then it just waits a while, and creeps back away. Not to say that the (lengthy) conclusion is poor, in any other movie it would be great. He twists several cliché horror staples in unique ways, and even finds some delirious humor. But it just doesn't work well enough. You almost feel the plot stumble and come close to falling. Kurosawa's brilliance with horror is that he does not scare you with sudden movements, grotesque images and stunts. He creates dread, primal and powerful. His horror slowly leans over your shoulder until it stares you in the eye. Unfortunately, in "Loft", the audience wins the staring contest.
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