The Rabbitte Perspective

To Heroism and Beyond... Escapism. This is a construct which avid anime-lovers and manga-readers strive to look for in Japanese animated shows and feature-length films that not only bestow palpable grandeur, but instil story-lines which audiences can personally relate with. For sure, ever since the West have come to acknowledge anime as a genre that imbues outlandish and distinctive imagination, as well as a platform that has come to influence many of cinemas most acclaimed directors and auteurs, there have been a select few anime's that can grant us this paradigm; a freedom that makes us forget about our own struggles and illuminates a premise that not only effortlessly transfixes our gaze towards the world and scenarios that we're perceiving, but makes us become engrossed by the intricacies and attainability of the characters displayed. This is certainly the case for a select few Shōnen-centric properties that transcend its own distinct qualities by permeating ideas an

Beauty and the Beast While it's well known that he hasn't shied away from the cinematic spotlight in making big-budget hits of Hellboy and Pacific Rim, it's arguable to state that Guillermo Del Toro does seemingly fit within the confines of a contemporary auteur. From the exotic and lavishly outlook that's depicted within Pan's Labyrinth  to the ever omnipotent horrific aspects that are elaborately and imaginatively emphasised in Crimson Peak , there's no other director quite like Del Toro who ambitiously, yet successfully, creates premises that are fine tuned with distinctive detail and seamlessly amalgamates the realism with the fantastical. His efforts in fusing dreams, nightmares and realism is subtly effective; forever pulling your gaze into these worlds and making you feel safe from whatever problems you may have. It's the illusive manner in which he makes horrific elements satisfying to look at that makes the said director's films that muc

A Paradox In Itself?  In a time when teaser/theatrical trailers and release schedules are more heavily reported and dissected than ever before by both film enthusiasts and journalists alike, it's a rarity to perceive within the cinematic industry a recognised franchise that goes beyond the speculative think-pieces and distributes a feature in secret. The closet example where a specific franchise does go under the radar, away from all the deep-rooted analysis of others, is the Cloverfield series of films since the features that comprise the said franchise are shrouded with mystery and intrigue. From the original 2008 production of Cloverfield that initially had a viral marketing campaign synonymous with what  The Blair Witch Project  had, to 10 Cloverfield Lane , the second instalment, which wasn't even announced as being part of the aforesaid franchise months before the films release into theatres, it's clear to see that this anthological series of films pioneer a di

...Oh Hi Great Film! While much of the contemporary cinema landscape is monopolised by formulaic superhero flicks and rehashes of already recognised franchises of old, occasionally, a film sprouts from the masses of hard film-making efforts and earns itself a devoted following that ever-so-slowly becomes recognised by the masses. This is, of course, referring to a cult film; a feature which may not have had initial success or acknowledgement at the box-office, but through audience appreciation, develops an adhered patronage which see's audience become devoted fans through repeated viewings, quoting of dialogue and participation through festivals. Indeed, for whatever reason, these otherwise distinct features end-up endearing themselves to a small but rabid fan-base, an ultra-committed branch of cinephiles who don't question the outlandishly weird context or formalities. Strange, obsessive and irreverent, cult films are very much like a weird underground discovery, it fee