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'Trunk,' a German thriller, kicks off 2024 with a riveting narrative that grips you from the start. The film's simple yet effective premise follows Malina, who wakes up in a trunk, struggling to escape and recall how she got there. Despite its minimalistic setting, the movie excels in creating a tense, claustrophobic atmosphere, thanks in large part to Sina Martens' compelling performance. She brings Malina's plight to life with such authenticity that you feel trapped alongside her.

The direction and cinematography is impressively executed, making the most of the confined space to build suspense.

'Trunk' had some typical genre flaws, but I'd say it stands out for its avoidance of clichés and maintains a raw edge, setting it apart from many mainstream thrillers.

Overall, 'Trunk' is a testament to the power of a well-crafted, simple idea, and Sina Martens' performance is a highlight. It's a thrilling, engaging experience that showcases the strength of German cinema.

Right from the get-go, this movie had me hooked. It kept all the cool Godzilla stuff I love, and also spun a really interesting story around the human characters. The film showed me a bunch of new stuff I hadn't seen before. Yeah, there might be bits and pieces for others to nitpick, but that's just splitting hairs. I didn't find anything to complain about or dislike the whole time I was watching. The action scenes were absolutely epic, and the special effects? Mind-blowing! So, I'm totally giving it a perfect score, and I don't hand those out just like that. For a Godzilla fan like me, this movie was just top-notch.

Hayao Miyazaki's latest film, "The Boy and The Heron," arrives as an almost monumental event, surprisingly announced as his last movie. Despite high expectations fueled by glowing reviews, the outcome was unexpectedly okay.

The film shines with stunning animation, showcasing Miyazaki's talent for creating vibrant, lively worlds and characters. However, its marketing as a children's movie is misleading due to some unsettling and mature themes, showcasing Miyazaki's skill in blending adult elements with fantasy.

The Japanese voice acting is impressive, though I haven't experienced the Western dub. But the film falters in other areas. Unlike Miyazaki's character-driven narratives like "Spirited Away" and "Howl's Moving Castle," "The Boy and The Heron" focuses too heavily on complex world-building, overshadowing the main character's emotional journey and leading to a confusing, unsatisfying ending. Additionally, the introduction of numerous characters feels disorganized and detracts from the story.

Despite these criticisms, I don't hate the movie. My deep appreciation for Miyazaki and Studio Ghibli films leads to high comparisons. While not Miyazaki's finest, "The Boy and The Heron" is still worth watching.