The LEGO Movie 2: The Second Part
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Critics Consensus: Asako I & II's high-concept premise is anchored by thought-provoking themes and confident, compelling work from director Ryusuke Hamaguchi.
Critic Consensus: Asako I & II's high-concept premise is anchored by thought-provoking themes and confident, compelling work from director Ryusuke Hamaguchi.
All Critics (24) | Top Critics (6) | Fresh (16) | Rotten (8)
There are moments of real beauty in the film, which is an unassuming and contemplative excursion into how we love, and why. But like the fireworks that greet Asako and Baku's first kiss, its pop is a modest one.
Asako I & II ultimately works as a mellow date movie with some big insights about relationships-accessible and artful, a combination that should be more common, honestly.
Hamaguchi extols his source for a compelling representation of love as a mystic experience. However, what gets transferred to the screen becomes more like banal indecision.
This is an amusing essay in amorous delusion.
An oddly old-fashioned depiction of troubled romance whose mildly unusual premise ultimately leads nowhere very interesting.
It's refreshing to see a high-concept movie that doesn't assume every love story has to reach a tidy conclusion, and implies that some happy endings are best left open-ended.
Comes so close to perfection, with a hilarious and insightful script, but the execution is just a little fumbled.
This strange, deliberately naïve film plunges a high-concept romance into a banal, lifeless world.
Asako I & II perpetually teases at becoming a more insightful meditation on romance and relationships, only for the script to undercut any mounting drama time and again.
Asako I & II, the follow-up to Hamaguchi's study in the group dynamics of four thirty-something female friends, Happy Hour... works in every bit as much feeling and active intelligence as its predecessor.
For all its obvious contrivances, the ingenuity behind its strange dramatic devices makes [Asako I & II] easily as the most authentic emotional experience in cinemas this year.
This film shows us that no decision is unimportant in the grand scheme of things, and if we cannot leave the past behind, we are liable to make the future even worse.
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