Sean Gilman

Sean Gilman
Tomatometer-approved critic
Sean Gilman lives in Tacoma and is a critic and editor at Seattle Screen Scene and reviews primarily East Asian films for the Mubi Notebook and The Chinese Cinema. Find Sean @TheEndofCinema

Movie Reviews Only

T-Meter Title | Year
100% My Prince Edward (2020) Despite all the twists and turns in Tang's loyalties, there is a seething rage at (her) inability (and.. unwillingness) to define her own path in life that is keenly palpable. - In Review Online EDIT
Read More | Posted Sep 15, 2020
82% Hill of Freedom (Jayuui Eondeok) (2020) As sweet and warm as anything Hong has yet made, but with a dark cloud of instability under its fragile reality. - The Chinese Cinema EDIT
Read More | Posted Jun 17, 2020
94% Yourself and Yours (2020) Pure romance, a woman going to bizarre and baffling lengths to get the man she wants, as much The Lady Eve or A Woman is a Woman as That Obscure Object of Desire. - The Chinese Cinema EDIT
Read More | Posted Jun 17, 2020
88% Woman on the Beach (2020) It internalizes all the structural games that ... will come to so typify his work. A high point in his career ... melding satire and sincerity, emotion and farce. - The Chinese Cinema EDIT
Read More | Posted Jun 17, 2020
100% Xianggang zhizao (Made in Hong Kong) (1997) Its ultra-cheap production and effortless blending of genre film tropes with art house sensibilities mark[s] it as a successor to the classics of the Hong Kong New Wave... - MUBI EDIT
Read More | Posted Mar 10, 2020
100% I Wish I Knew (Hai shang chuan qi) (2020) Weaving a beautiful, dreamlike path through history, I Wish I Knew is less documentary as essay film than documentary as prose poem, its meandering reinforced by Lim Giong's delicate, melancholy score and Zhao Tao's presence... - MUBI EDIT
Read More | Posted Jan 23, 2020
89% The Fate of Lee Khan (Ying chun ge zhi Fengbo) (2019) Lee Khan doesn't have the reputation of those other three King Hu films, or of Come Drink with Me, his 1966 film that was the first breakout hit of the wuxia boom in Hong Kong cinema, but it probably should. - MUBI EDIT
Read More | Posted Apr 5, 2019
60% Detective Dee: The Four Heavenly Kings (Di Renjie zhi Sidatianwang) (2018) Four Heavenly Kings is more coherent than Demons Strike Back, and better in just about every way than Dunjia, and its effects are as imaginative as anything in cinema today... - MUBI EDIT
Read More | Posted Jul 27, 2018
93% Police Story (Ging chaat goo si) (Police Force) (1985) Just as good as the fights though are Police Story's comic set pieces, especially one totally unrelated to any kind of plot development, which finds Chan alone in the precinct office as everyone else goes to lunch. - MUBI EDIT
Read More | Posted Mar 8, 2018
No Score Yet A Better Tomorrow 2018 (2018) Ding Sheng's remake of John Woo's 1986 classic encapsulates much that's wrong with contemporary mainstream cinema, both in China & abroad. - MUBI EDIT
Read More | Posted Feb 13, 2018
100% Legend of the Mountain (2001) These are less horror films in the Western sense of stories designed to scare or shock the audience, but rather more eerie expressions of a numinous world, cutting to the heart of the mysteries at the center of existence that give rise to religious belief - MUBI EDIT
Read More | Posted Feb 5, 2018
2.5/5 45% Sky On Fire (Chongtian huo) (2016) From any random filmmaker, this movie would be barely worth mentioning. It's fine, it's mostly painless, it would immediately depart from the memory. But from Ringo Lam, it's a crushing disappointment. - MUBI EDIT
Read More | Posted Jan 9, 2018
4/5 58% Journey to the West: The Demons Strike Back (2017) This tension between tradition and subversion results in a curiously unstable film; easy enough to watch in the moment, but unnaturally slippery in meaning. - MUBI EDIT
Read More | Posted Dec 19, 2017