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Izo-I loved it,a zen buddest splatter film. I mean Miike is a great director that alot of people appiciate (besides the people here and at Varied Celluloid.)think of him as just a man who makes movies that are weird but this shows that he can make it unusually intellectual. lets hope Tom Mes updates his Agitator book with more of his stuff. -Ian Rummage


Although I also loved "Nobody Knows" and "Ghost in the Shell 2: Innocence", I'm casting my vote for Satoshi Kon's "Tokyo Godfathers". I think it suffered, unfairly, in comparison to "Perfect Blue" and "Millennium Actress". It was an excellent film, easily as good as Kon's other work.


CASSHERN- How this stunning film can end up on anyone's "Worst" list boggles my mind. Yes, it's "overwhelming", but it's not just CGI flash (but on that note, it looks much better than most 100 million dollar Hollywood blockbusters). It's a potent anti-war movie, and it sends a message we need right now, and does it more powerfully than most proper war movies. I think the people who had such a negative reaction to this film ought to give it one more shot. I really don't think it deserves the bashing it's getting.


Understated, beautiful, & disquieting, and by far the best Japanese film of 2004. Kore-eda's post-Ozu meditation on family and isolation makes me remember why I fell in love with Japanese cinema in the first place (something that has become harder to rekindle in recent years). A masterful creation by a great director who, sadly, is often overshadowed by more prolific & pandering filmmakers. (Mitch Cullin)


However much the more highbrow viewers than I hated Casshern, for me it was easily the finest Japanese film of the many I saw last year, with a deep emotional resonance that is not dimmed by repeated viewings. A truly heartfelt film.


I'm voting for Iden & Tity because I don't think enough people saw this movie. It's like Sideways but without the booze. This is a strong film that seems to be grounded in reality and its character strives for integrity when you least expect it. Great first-time directing from Tomorowo Taguchi, the man with a drill for a penis


As far as I'm concerned, the best movies of the year have come from Hong Kong and China. From Hong Kong there's One Nite in Mongkok from director Derek Yee, a story about the futility of hope and the inevitable violence that stems from human actions. Though an excellent movie, Running Karma came out in 2003, not 2004. From China there's Kekexili from young director Lu Chuan, about a journalist who joins an ill-equipped mountain patrol group as they pursue poachers in China's deadly but beautiful mountainous region known as Kekexili. Lu Chuan's eye for real human emotions and documentary style approach to filmmaking elevate Kekexili above most, if not all, films of the year.


Sure, no one bothers to explain a giant metallic lightning bolt. And yeah, maybe Kiriya wanted to cram everything he ever thought of into a film...but it's literally got something for everyone. I know guys who just replay Casshern's fight scenes, and then people who enjoy rewatching the whole movie because they enjoy piecing the story together.


For me, it was a toss up between "Casshern" and "Hana and Alice" for the best film from Japan. Despite its flaws, "Casshern" was a trumpet blast of imagination. I can't wait for Kiriya's next film. "Hana and Alice" was a return to form for Shunji Iwai after a long lay off. Why a lot of the reviewers on this website don't like his films I'll never understand. It's probably because his films don't have any gratuitous nudity and violence (aka Miike).


It sounds pretentious I know - but perhaps that is fitting with this film - but for me Casshern was really the only film that felt like it mattered this year - enormously grand and ambitious and by the end extremely powerful.


But that doesn't mean there weren't a bunch of other films that I really liked - films that tended to be gentle and comical - Zebraman, Hana and Alice, Kamakazee Girls, Survive Style 5+, Josee, The Tiger and The Fish were all small personal films that really hit a chord with me. Two films that seem to be getting lots of votes but that I didn't care for are Izo - rarely have I felt so put off by a film - perhaps there is some deep message behind the continuous violence but as a viewing experience it was headache inducing. Then there is Nobody Knows - saying anything bad about this film feels nearly criminal - but once I "got it" the film felt like it would never end and the children became more and more annoying so that by the end I could have cared less about the "tragedy" - an extremely manipulative film full of adorable urchins that bored me to tears. I feel like the Grinch! (Brian Naas)


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