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Psychocinematography

Psychocinematography is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Pieter-Jan Van Haecke.

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Rating Title | Year Author Quote
Rental Family (2025) Pieter-Jan Van Haecke Rental Family re-affirms Hikari’s talent for creating uplifting and touching filmic experiences.
Posted Feb 02, 2026  Edit critic review
Muromachi Outsiders (2025) Pieter-Jan Van Haecke With Samurai Fury, Yu Irie delivers a samurai narrative that, while not able to match the masterpieces of the genre, offers everything fans have come to expect from the genre.
Posted Jan 29, 2026  Edit critic review
Rainy Blue (2025) Pieter-Jan Van Haecke With Rainy Blue, Asuna Yanagi does not simply deliver a heartwarming coming-of-age narrative, but also a work that has the potential to inspire young people.
Posted Jan 22, 2026  Edit critic review
Blazing Fists (2025) Pieter-Jan Van Haecke While the use of voice-over in film can be quite controversial – a sign of weak writing that complicates visual storytelling, it works extremely well in Blazing Fists.
Posted Jan 22, 2026  Edit critic review
Dollhouse (2025) Pieter-Jan Van Haecke Yaguchi’s Dollhouse is as great as conventional J-horror can get.
Posted Jan 16, 2026  Edit critic review
Demon City (2025) Pieter-Jan Van Haecke With Demon City, Seiji Tanaka delivers a good action experience. He delivers many pleasing moments of action and violent brutality for the spectator to savour, yet struggles to craft an emotionally potent backbone.
Posted Jan 14, 2026  Edit critic review
Under Ninja (2025) Pieter-Jan Van Haecke Under Ninja offers what it sets out to offer in spades: entertainment.
Posted Jan 14, 2026  Edit critic review
Bullet Train Explosion (2025) Pieter-Jan Van Haecke Bullet Train Explosion is a competent sequel that will please audiences. Higuchi utilizes all the necessary ingredients to deliver a cinematic experience that puts the spectator on the edge of his seat and succeeds in touching him emotionally.
Posted Jan 10, 2026  Edit critic review
Faceless (2024) Pieter-Jan Van Haecke Faceless is a great thriller that beautifully shows the destructive role the image can play within the societal field.
Posted Jan 05, 2026  Edit critic review
Lumberjack the Monster (2023) Pieter-Jan Van Haecke Lumberjack The Monster is a great example of a filmic experience that is helmed by a director that is uninvested in the narrative material of the story and, consequently, merely does his bare minimum.
Posted Dec 29, 2025  Edit critic review
Godzilla Minus One (2023) Pieter-Jan Van Haecke Godzilla Minus One is not only a triumphant return of the most beloved Kaiju of all, but also a deeply emotional experience that re-assessing the themes of the original Godzilla in a refreshing way.
Posted Dec 23, 2025  Edit critic review
Exit 8 (2025) Pieter-Jan Van Haecke With Exit 8, Genki Kawamura delivers an engaging and visually arresting psychological horror narrative.
Posted Dec 18, 2025  Edit critic review
Golden Kamuy (2024) Pieter-Jan Van Haecke With Golden Kamuy, Shigeaki Kubo reaffirms that he has the skill and talent to bring action-driven narratives to life in a satisfactorily way.
Posted Dec 18, 2025  Edit critic review
Undead Lovers (2024) Pieter-Jan Van Haecke Ai Mikami delivers a surprisingly layered performance as Rino Hasebe.
Posted Dec 12, 2025  Edit critic review
A Girl Named Ann (2024) Pieter-Jan Van Haecke A Girl Named Ann offers the spectator one of most upsetting confrontations with the way the societal and familial Other can fail the subject.
Posted Dec 08, 2025  Edit critic review
Cloud (2024) Pieter-Jan Van Haecke With his thriller Cloud, Kurosawa delivers a biting critique of way capitalism and consumerism has transformed our subjectivity and the way we interact with others.
Posted Dec 08, 2025  Edit critic review
Renoir (2025) Pieter-Jan Van Haecke With Renoir, Chie Hayakawa delivers an incredible moving experience that succeeds in exploring the difficulty for the subject to deal with death and the loss it introduces.
Posted Dec 03, 2025  Edit critic review
Happyend (2024) Pieter-Jan Van Haecke HappyEnd is an incredible tour-de-force that hits home.
Posted Nov 22, 2025  Edit critic review
My Sunshine (2024) Pieter-Jan Van Haecke Okuyama charms the spectator with a visual fabric that elegantly emphasize the beauty in wintery landscapes as well as the warmth of human interactions.
Posted Nov 19, 2025  Edit critic review
The Gesuidouz (2024) Pieter-Jan Van Haecke The Gesuidouz offers the spectator a barrage of quirky twists and light-hearted absurdities.
Posted Nov 13, 2025  Edit critic review
Teki Cometh (2024) Pieter-Jan Van Haecke Teki Cometh offers the spectator a vivid and mesmerising experience.
Posted Nov 13, 2025  Edit critic review
Evil Does Not Exist (2023) Pieter-Jan Van Haecke With Ryusuke Hamaguchi, Evil Does Not Exist offers a highly meditative exploration of the position of violence within the natural real and the human symbolic.
Posted Nov 07, 2025  Edit critic review
The Valiant Red Peony Part 2 (1968) Pieter-Jan Van Haecke Norifumi Suzuki delivers with Red Peony Gambler: Gambler’s Obligation another Ninkyo classic.
Posted Nov 04, 2025  Edit critic review
The Young Strangers (2024) Pieter-Jan Van Haecke Uchiyama delivers a masterpiece that does not merely grab the spectator by his throat, but confronts him with the fundamental importance of the signifier in a heartrending way.
Posted Oct 28, 2025  Edit critic review
The Harbor Lights (2025) Pieter-Jan Van Haecke The subdued rhythm of the narrative is not only effective in making the many evocative images come to their full right, but also in confronting the spectator with the expressed emotions in a more direct way.
Posted Oct 28, 2025  Edit critic review
The Invisible Half (2025) Pieter-Jan Van Haecke With The Invisible Half, Nishiyama promptly establishes himself as a new promising talent in the field of Japanese horror.
Posted Oct 27, 2025  Edit critic review
Baka's Identity (2025) Pieter-Jan Van Haecke Baka’s Identity offers the spectator a saddening but entertaining portrait of what the Japanese Other does not want anyone to see.
Posted Oct 22, 2025  Edit critic review
Ghost Killer (2024) Pieter-Jan Van Haecke Ghost Killer does little to re-invent the genre, but delivers everything one’s desires in such narratives in spades – a crowd-pleaser, indeed.
Posted Oct 15, 2025  Edit critic review
A Bad Summer (2025) Pieter-Jan Van Haecke A Bad Summer offers a compelling exploration of poverty within the Japanese societal field as well as the the structural possibility of exploiting the welfare system for one’s own gain.
Posted Oct 15, 2025  Edit critic review
Strangers in Kyoto (2025) Pieter-Jan Van Haecke Strangers in Kyoto offers a light-hearted exploration of uncomfortable truths that marks our interactions with others/the Other.
Posted Oct 15, 2025  Edit critic review
New Group (2025) Pieter-Jan Van Haecke With New Group, Yuta Shimotsu delivers a narrative that, in all probability, will be called the first true J-horror classic of the current decade.
Posted Oct 09, 2025  Edit critic review
The Man Who Failed to Die (2025) Pieter-Jan Van Haecke The Man Who Failed To Die is a wonderful narrative with a lot of heart. Seiji Tanaka refuses to colour within the lines of comedy, creating an eclectic collage of different genre-elements.
Posted Oct 07, 2025  Edit critic review
How Dare You? (2025) Pieter-Jan Van Haecke With her narrative, Mipo O delivers one of the most convincing arguments to parents to create space for the subjectivity of their child and to take their signifiers.
Posted Oct 03, 2025  Edit critic review
Flames of a Flower (2025) Pieter-Jan Van Haecke Flames of The Flower offers a compelling exploration of the divergent ways subjects deal with trauma and the Other that fails to respond adequately.
Posted Oct 02, 2025  Edit critic review
The Killer Goldfish (2024) Pieter-Jan Van Haecke Killer Goldfish is an absurd brutal supernatural fantasy that has the potential to become a cult-favourite.
Posted Sep 30, 2025  Edit critic review
Dear Stranger (2025) Pieter-Jan Van Haecke With Dear Stranger, Tetsuya Mariko re-affirms himself as a master of raw emotion.
Posted Sep 24, 2025  Edit critic review
Truth or Lies (2025) Pieter-Jan Van Haecke Truth or Lies hits all the right emotional notes – the comical ones, the dramatic one, and the heartwarming notes as well.
Posted Sep 16, 2025  Edit critic review
Dawn Chorus (2025) Pieter-Jan Van Haecke Dawn Chorus is a beautiful meditative narrative about the struggles of becoming subject.
Posted Sep 16, 2025  Edit critic review
Chime (2024) Pieter-Jan Van Haecke With Chime, Kiyoshi Kurosawa proves that he still is a master of horror. He creates an atmosphere that unsettles the spectator with ease and offers, with refined precision.
Posted Sep 10, 2025  Edit critic review
Anime Supremacy! (2022) Pieter-Jan Van Haecke Anime Supremacy offers the spectator a light-hearted glance at the inner-workings of the anime-machine.
Posted Sep 05, 2025  Edit critic review
After the Fever (2023) Pieter-Jan Van Haecke It is an exhausting experience, yet an experience that, if one succeeds to make it to the end, convincingly shows that the idea of romantic harmony is but an unrealizable fantasy.
Posted Sep 02, 2025  Edit critic review
Red Peony Gambler (1968) Pieter-Jan Van Haecke What makes Kosaku Yamashita’s Red Peony Gambler a classic ninkyo narrative and a must-see for any cinephile is nothing other than Junko Fuji’s performance.
Posted Sep 02, 2025  Edit critic review
Revolver Lily (2023) Pieter-Jan Van Haecke Revolver Lily is a very enjoyable action-thriller that succeeds in satisfying the spectator thirsting for exciting action-pieces.
Posted Aug 28, 2025  Edit critic review
Sympathy for the Underdog (1971) Pieter-Jan Van Haecke Sympathy For The Underdog is not merely a yakuza classic, but a masterpiece of Japanese cinema.
Posted Aug 25, 2025  Edit critic review
There Was a Father (1942) Pieter-Jan Van Haecke There Was A Father is a quintessential Ozu narrative that, despite its age, still succeeds in engaging the spectator.
Posted Aug 20, 2025  Edit critic review
I Fell in Love with a Z-Grade Director in Brooklyn (2025) Pieter-Jan Van Haecke Ugana’s film does not only have a lot of heart, but also offers a touching celebration of desire and the joys of Z-grade filmmaking.
Posted Aug 19, 2025  Edit critic review
Blank Canvas: My So-Called Artist's Journey (2025) Pieter-Jan Van Haecke The touching quality of the film is function of the fruitful interaction between the well-crafted structure of signifiers and the effective performances of the cast.
Posted Aug 18, 2025  Edit critic review
Kingdom: Return of the Great General (2024) Pieter-Jan Van Haecke The first clash in the film, the impressive show-down between Kyokai against Hoken, does not merely whet the spectator’s appetite, but also sets the bar for all further fights.
Posted Aug 15, 2025  Edit critic review
Honeko Akabane's Bodyguards (2024) Pieter-Jan Van Haecke It delivers an engaging narrative with some satisfying twists, many funny moments, and pleasing action-sequences.
Posted Aug 05, 2025  Edit critic review
Garo: Taiga (2025) Pieter-Jan Van Haecke With Garo: Taiga, Keita Amemiya does not only please fans and newcomers alike, but proves the continued appeal of the tokusatsu superhero genre.
Posted Aug 01, 2025  Edit critic review
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