(3-Iron, Godzilla: Final Wars)
An existential romance of sorts, Kim Ki-duk's 3-Iron could have been frustratingly self-aware, yet manages to be curiously heartfelt. As a film, 3-Iron exists somewhere on the gamut between Kim Ki-duk’s exploitive The Isle, and his pensive Spring, Summer, Fall, Winter... and Spring. The mostly dialogue-free feature, which examines a romantic trice between an altruistic intruder and an abused wife, is agreeably unconventional without becoming too demanding. As 3-Iron progresses it slips gradually into the realms of magical realism, as the picture's protagonist, Tae-suk (Jae Hee), masters the enigmatic art of invisibility, or hiding just outside of the camera’s lens. This cinematic device could have been farcical, had it not been handled deftly by Kim Ki-duk. The director also appears realistically attuned to just how far he can push the possibilities of his speechless film; although requiring patience, 3-Iron is ultimately rewarding.

I considered offering an ostentatious, Lumière-esque, critique of Godzilla: Final Wars. Instead I’ve decided to say this: what could be better than aliens from Planet X, super mutant warriors (including extra super ‘one in a million’ mutant warriors), a big white giza and small Japanese men in rubber monster suits destroying whole cities? Not much. Unless of course the thought of Godzilla, Zilla (the one from the Hollywood film), Anguirus, Gigan (with super mechanised alien technology), Ebirah, Manda, Mothra, Super Sonic Rodan, Hedorah, King Seesar, Monster X (who transforms into Kaiser Ghidorah) and Minilla (mini Godzilla) leveling the entire planet doesn’t appeal. Which it should.—CS