Meticulous and hypnotic, this film explores the cruelty of obsession, control, and the complexities of love within a perfectionist’s identity. Daniel Day-Lewis delivers as always, with Vicky Krieps providing the perfect counterbalance. So much is conveyed through sound design—the closeness, the emptiness, and the relentless rhythm of obsession. There’s texture here, an attention to subtlety that makes every detail feel deliberate, layered with an underlying darkness or madness that lingers.
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The Sword of Doom 1966
This review may contain spoilers. I can handle the truth.
Incredible performances from a fantastic cast, embracing a bold and unconventional narrative perspective. This is not an easy film to watch—its protagonist is an irredeemable bastard whose descent into madness is as compelling as it is unsettling. The film’s strong concept is somewhat undercut by clunky, underdeveloped plot points, uneven character development, and pacing issues. The abrupt and ambiguous ending feels more clumsy than profound.
That said, the film boasts some of the most epic long-form sword fights ever put to screen. The cinematography also highlights moments of striking beauty, including the haunting presence of the young Yūko Hamada, contrasting sharply with the film’s brutal violence.
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