A shame, as the latter, seeing that "obscurer" films on the theatrical screen, is becoming more rewarding to do.

The Salt Path is thankfully getting a lot of screens here in Britain, not just a sense as being British production but that its appealing to an adult I was glad to be part of, but Tornado's sadly with limited screens.

Closer to my usually tastes, and also good, is Tornado (2025), which just took my interest because director-writer John Maclean is the first person to consider, set in 18th century Scotland, that you could have a historical samurai film on the British Isles, and he accomplished it fully.

The trailer is not great, and not normally the sort of film I go to. I have to respect a drama, contrary to that trailer, which wasn't a misery fest, but was about learning to overcome the worst of times, something I had to admire alongside the performances.

I'm glad, from how the film was distributed, Ryan Coogler had creative control and is reaping benefits from this film's critical and financial success, as he and those who worked on this film deserve their laurels.

Horror films over two hours are inherently fascinating and rare chimeras for me as a fan of the genre, and here there were so many incredible nuisances and touches I've nothing but admiration for, let alone its music and the hair raising uses of it.

Like the best of cinema, it feels like it is swing in other genres with confidence, and the score somehow goes from Motorhead to Marty Robbins and make every choice perfectly work.

Considering this came from trying Kimchi Jjigae at a Korean restaurant and wanting to try to cook it myself when I enjoyed what I tried, it was a success. Its something to improve upon for more flavor and slightly spicier without ruining the taste the restaurant (or my version here) had.

I was so glad when Arrow Video released Khrustalyov, My Car! back in the day, and its a shame they never got around to the other Alexei German films that were released before this in his career. Would be nice for anyone to restore and release them in English friendly form.

It feels like a blockbuster, unless a Spielberg made it, we would never get in any other circumstance. This had video game tie-ins etc. back in the day, but it feels so to the heart even in its more sillier moments, it has to be admired.

Sentimental, very nineties at points with skateboarding in Neverland, but also charming. Robin Williams is the anchor keeping it together, seeing Captain Hook in an existential crisis is a nice sick humored touched, and Spielberg sincerely believes in the tale, which helps the film so much.

If Jean-Pierre Léaud's male lead is a womanizing parasite, the film itself slowly starts to lean further into sympathy with the two women in his life, culminating in a brava performance in one scene by Françoise Lebrun which ends this film perfectly. Glad this elusive film got a UK release.

The really out-there choice, which I realize has huge flaws but needs a re-release, is that I will defend Tetsuo; The Bullet Man, the third of that series, as underrated.

Its paradoxically an abrasive work but also the start of Tsukamoto's sense of humanity, which is one of the many reasons I love the film.

Vital got a decent Blu-Ray re-release here in Britain last year, so that film has thankfully had more attention to it. Tokyo Fist is definitely intense and uncomfortable, though its the moment too where the women in his stories take center stage and the emotional weight was amplified.

Vital is a great film, but if I'm to play this game with Tsukamoto, its Tokyo Fist (1995) for me that's my favorite. Even with all the great films he has been making to this day, its the highlight.