Mark Schilling Movie Reviews & Previews - Rotten Tomatoes

Mark Schilling

Mark Schilling
Mark Schilling's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Screen International, Japan Times

Movie Reviews Only

Rating T-Meter Title | Year Review
3/5 No Score Yet The Lowlife (Saitei.) (2017) A glossing over of the industry's coercive underside? Perhaps, but this portrayal reflects a truth: These women are the reason the business exists.‐ Japan Times
Read More | Posted Nov 22, 2017
3.5/5 No Score Yet Yocho 'Foreboding' (2017) Stiff, purposeful movements, dead eyes and contemptuous grins will send chills down your spine, but they never shade over to the cartoonish.‐ Japan Times
Read More | Posted Nov 15, 2017
3/5 No Score Yet Hyouka: Forbidden Secrets (Hyôka) (2017) Hyouka is also that rare kind of film that presents the uncomfortable truth that not only is youth fleeting but also that the young are quickly forgotten by those who come after them.‐ Japan Times
Read More | Posted Nov 8, 2017
3/5 No Score Yet Goodbye, Grandpa! (Ojiichan shinjattatte) (2017) Goodbye, Grandpa! is nonetheless perceptive about how death impacts the family of the deceased title grandpa, from grandkids who barely remember him to adult children nursing old grudges.‐ Japan Times
Read More | Posted Nov 1, 2017
2.5/5 No Score Yet Mixed Doubles (2017) Mixed Doubles is the cinematic equivalent of the makunouchi bento - a traditional boxed lunch whose ingredients are varied enough to please everyone. ‐ Japan Times
Read More | Posted Oct 26, 2017
3/5 No Score Yet Dawn Wind in My Poncho (2017) Its journey may not be yours, but it happens to be funny and sad in ways familiar to anyone who was once a hormone-crazed teenage boy given sobering raps across the knuckles by reality.‐ Japan Times
Read More | Posted Oct 24, 2017
3.5/5 No Score Yet Outrage Coda (2017) If the action isn't especially fresh - Kitano fans will spot references to his earlier films - his talent for spare-but-impactful visuals and mean-but-funny twists is still intact. ‐ Japan Times
Read More | Posted Oct 19, 2017
2/5 No Score Yet Ernesto (1979) Earnest, plodding and frankly propagandistic - it was made with the cooperation of the Cuban government - Ernesto may seem a strange project choice for a Japanese filmmaker.‐ Japan Times
Read More | Posted Oct 5, 2017
4/5 No Score Yet Poolsideman (Pûrusaidoman) (2017) Poolsideman is patience-testing, entertaining and disturbing.‐ Japan Times
Read More | Posted Sep 27, 2017
3/5 No Score Yet Tornado Girl (2017) More than a retrograde sex comedy, however, "Okuda" is a tough-love coming-of-age movie, with Koroki's fall from the heights of infatuation the key to his later growth. And Akari is no one's victim.‐ Japan Times
Read More | Posted Sep 20, 2017
3.5/5 80% Before We Vanish (Sanpo suru shinryakusha) (2017) Kurosawa delivers his signature chills, along with moments of unexpectedly strong emotion.‐ Japan Times
Read More | Posted Sep 13, 2017
5/5 92% The Third Murder (Sandome no satsujin) (2017) The Third Murder offers the satisfactions of a well-constructed suspense story, with twists that come from the characters of its principals, not plot contrivances. ‐ Japan Times
Read More | Posted Sep 6, 2017
3.5/5 No Score Yet Dear Etranger (Osanago warera ni umare) (2017) Realism in Japanese family dramas, even the better ones, does not often get this real‐ Japan Times
Read More | Posted Aug 30, 2017
3.5/5 55% Fireworks, Should We See It from the Side or the Bottom? (2017) Fireworks, Should We See It from the Side or the Bottom? stands out due to the names attached, including mega-producer Genki Kawamura.‐ Japan Times
Read More | Posted Aug 24, 2017
3/5 No Score Yet Sekigahara (2017) [Sekigahara] achieves more often than not.‐ Japan Times
Read More | Posted Aug 24, 2017
2.5/5 No Score Yet Meatball Machine (2005) What could have been shocking or funny in smaller doses becomes head-bangingly repetitious.‐ Japan Times
Read More | Posted Aug 23, 2017
3.5/5 100% Out Of My Hand (2015) The movie is a rarity for not only its director and setting, but its informed, incisive examination of Liberian life and the immigrant experience in today's America.‐ Japan Times
Read More | Posted Aug 2, 2017
3.5/5 78% Tokyo Ghoul (Tôkyô gûru) (2017) First-time director Hagiwara resists the sort of wretched excess found in the Parasyte films (particularly the histrionic second part), while keeping the action taut and the tension high.‐ Japan Times
Read More | Posted Jul 26, 2017
4.5/5 No Score Yet Side Job (2017) Side Job provides a narrative that stays true to the complex and not-always-edifying reality of life in the disaster zone. And that makes it the best film I've seen on the topic -- and I've seen dozens.‐ Japan Times
Read More | Posted Jul 23, 2017
2/5 No Score Yet Gintama (2017) Oguri spends much screen time with finger inserted in nostril prospecting for nose gold, one of several gross running gags.‐ Japan Times
Read More | Posted Jul 13, 2017
4/5 No Score Yet Alley Cat (Arî kyatto) (2017) A buddy movie is comic by definition and Alley Cat has fun with its central pair, beginning with their mutual fondness for felines. But even the lighter gags have a dark edge.‐ Japan Times
Read More | Posted Jul 13, 2017
3/5 No Score Yet Marriage (Kekkon) (2017) For all its object lessons on the pitfalls of matrimony, Marriage is ultimately less cynical than elegiac, with its lush score recalling Douglas Sirk's postwar melodramas about doomed romance.‐ Japan Times
Read More | Posted Jun 30, 2017
2/5 No Score Yet Innocent Curse (Kodomo tsukai) (2017) Perhaps it's time for Shimizu to reboot yet again and release his inner J. M. Barrie. Better a scary Peter Pan than this dire Pied Piper.‐ Japan Times
Read More | Posted Jun 22, 2017
2.5/5 No Score Yet Mukoku (2017) Mukoku has the feel of a last hurrah for the supokon genre, but the jidaigeki will never die as long as there is a Japan.‐ Japan Times
Read More | Posted Jun 19, 2017
2.5/5 No Score Yet To Each His Own (2017) To Each His Ownis a serious treatment of this theme that flirts with fantasy in its first half but shades to heart-warming melodrama in its second.‐ Japan Times
Read More | Posted Jun 8, 2017
3.5/5 58% Radiance (Hikari) (2017) What is that message? Acceptance trumps bitter resentment; love beats lonely isolation. Some may call this simplistic, but in Masaya's world even a sliver of light or glimpse of a face are precious. And basics matter more.‐ Japan Times
Read More | Posted May 31, 2017
3.5/5 No Score Yet A Beautiful Star (Utsukushii hoshi) (2017) All this and more is open to interpretation -- A Beautiful Star delivers no obvious message -- but the Osugis' story eloquently illustrates our alienation from nature, society, each other and our essential selves.‐ Japan Times
Read More | Posted May 25, 2017
3/5 No Score Yet Poetry Angel (Poetorî enjeru) (2016) Takeda's portrayal of An is fresh, appealing and, for a reason I can't reveal, incredibly brave. Where others stumble and fall, she stumbles -- and soars. A poetry angel indeed.‐ Japan Times
Read More | Posted May 18, 2017
2.5/5 No Score Yet Tokyo Night Sky Is Always the Densest Shade of Blue (Yozora wa itsudemo saikô mitsudo no aoiro da) (2017) The realism -- with stand-ins for Japan's working poor, elderly and migrants illustrating various social ills -- and the poetic love story, with coincidence piled on incredible coincidence, make for an ungainly fit. ‐ Japan Times
Read More | Posted May 11, 2017
3.5/5 No Score Yet Teiichi: Battle of Supreme High (Teiichi no kuni) (2017) The film smartly satirizes the Japanese political world in particular, as well as political animals everywhere.‐ Japan Times
Read More | Posted May 4, 2017
2/5 82% Blade of the Immortal (Mugen no jûnin) (2017) The film suffers from the elephantiasis endemic to big-budget manga adaptations. Fans want to see their favorite characters and stories, producers oblige, and the result is a two-hour-plus running time packed with self-indulgent bloat.‐ Japan Times
Read More | Posted Apr 28, 2017
3/5 No Score Yet Love and Goodbye and Hawaii (Koi to sayonara to Hawai) (2017) Ayano and Tamura are at first so low-key that the impatient may fidget -- or dread the prospect of endless indie shoegazing. But as the story complicates, the two leads start to show colors to their characters beyond the pastel.‐ Japan Times
Read More | Posted Apr 20, 2017
2/5 No Score Yet Laughing Lucky Cats (Warau Manekineko the Movie) (2017) As I waited to learn Akako and Hitomi's fate, I found myself wanting more laughs, less noise, more fully rounded characters and fewer folks who come and go with the speed of our battling duo's quips.‐ Japan Times
Read More | Posted Apr 12, 2017
3.5/5 No Score Yet Matsumoto Tribe (2017) The film has a train-wreck fascination -- and delivers a strong final catharsis without falling into feel-good cliches.‐ Japan Times
Read More | Posted Apr 6, 2017
4/5 No Score Yet Nekoatsume House (2017) Kurakata has made a sure-footed leap forward with this film, perhaps inspired by his feline subjects.‐ Japan Times
Read More | Posted Mar 30, 2017
3.5/5 No Score Yet Policeman and Me (P to JK) (2017) The film is accordingly tilted more toward light romantic comedy than serious drama about age-inappropriate love, though Kota, its cop hero played by pop idol/actor Kazuya Kamenashi, is the soul of sincerity.‐ Japan Times
Read More | Posted Mar 22, 2017
3/5 No Score Yet Slavemen (Sureibumen) (2017) Iguchi, who also wrote the script, takes the story beyond simplistic revenge fantasy in ways silly, convoluted and mind-bending.‐ Japan Times
Read More | Posted Mar 15, 2017
3/5 No Score Yet Bring On the Melody (Haruchika: Haruta & Chika) (2017) A rousing, gleefully over-the-top climax makes up for the film's longueurs.‐ Japan Times
Read More | Posted Mar 8, 2017
3.5/5 100% Snow Woman (Yuki onna) (2016) As genre entertainment, Snow Woman is too diffuse, allusive and, most damning of all, gentle-spirited. But on its own terms, as a statement about the strangeness of the world and the unknowability of others, it is quietly, mysteriously eloquent.‐ Japan Times
Read More | Posted Mar 1, 2017
3.5/5 100% Close Knit (Karera ga honki de amu toki wa) (2017) The whole film rises or falls on Ikuta's performance as Rinko -- and he is superb.‐ Japan Times
Read More | Posted Feb 22, 2017
3/5 No Score Yet One Week Friends (Isshûkan Friends) (2017) One Week Friends... is less about whether the guy finally gets the girl than the importance of memory and the pathos of its fragility, and the wonderfulness of friendship, however brief.‐ Japan Times
Read More | Posted Feb 16, 2017
3/5 No Score Yet The 100th Love With You (Kimi to 100-kaime no koi) (2017) It does also clearly express a truth that even physicists can get behind: In cosmic terms, we're all here for one spin of the turntable. So enjoy the ride -- warps, skips and all.‐ Japan Times
Read More | Posted Feb 1, 2017
2.5/5 No Score Yet Honnouji Hotel (Honnouji hoteru) (2017) My main problem with the film, though, was less its conservative celebration of the samurai ethic, self-destruction included, than its view of female intelligence as exemplified by its Miss Average heroine.‐ Japan Times
Read More | Posted Jan 25, 2017
No Score Yet Hamon: Yakuza Boogie (Hamon: Futari no yakubyô-gami) (2017) Sasaki brings not only the requisite swagger and brio to the role, but also impeccable comic timing and intricately realized characterization.‐ Japan Times
Read More | Posted Jan 20, 2017
3/5 No Score Yet A Drop from Tomato (2017) A heart-warming drama by actor-director Hideo Sakaki.‐ Japan Times
Read More | Posted Jan 11, 2017
3.5/5 No Score Yet Our Meal for Tomorrow (Bokura no gohan wa ashita de matteru) (2017) Our Meal for Tomorrow is another offbeat romantic drama that also audaciously bends gender roles, but in the personalities of its two principals, not in its casting.‐ Japan Times
Read More | Posted Jan 4, 2017
2.5/5 No Score Yet 14 That Night (14 no yoru) (2016) Newcomer Naoki Inukai is an appealing mix of boyish sincerity, sexual insecurity and barely suppressed rage against life's injustices. But nearly everyone around him is a cartoon of one sort or another.‐ Japan Times
Read More | Posted Dec 30, 2016
3.5/5 No Score Yet The Mole Song: Hong Kong Capriccio (Mogura no uta: sennyû sôsakan Reiji 2) (2017) It's tough being a mole in Tokyo, Hong Kong or anywhere. Dig it.‐ Japan Times
Read More | Posted Dec 14, 2016
2.5/5 No Score Yet The Old Capital (Koto) (2016) The Old Capital may well be heart-warming and confidence-boosting to the domestic audience, but as a non-native who has wandered Kyoto's back streets, I couldn't help feeling ever-so-politely excluded.‐ Japan Times
Read More | Posted Dec 7, 2016
3/5 100% Haruko Azumi Is Missing (Japanese Girls Never Die)(Azumi Haruko wa yukue fumei) (2016) As Haruka, Yu Aoi provides a stabilizing force for a film in constant danger of succumbing to its own giddiness.‐ Japan Times
Read More | Posted Nov 30, 2016