You won't be disappointed!

Although it has its amusing moments, in eneral the plot does not convince.

Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

This is a movie that requires a certain mood. It is dark, morbid, reluctant to show more than you need, very silent at times, very slow developing, it has enough predictability not to give you goosebumps... and that sums it up. what made me give it an average vote wasn't necessarily the movie, but the trailer. the movie was bearable, quite beautiful. about the trailer... then well, it could have been worse than that, with that pop song going through the middle made it look like a pastiche. I hate it how a bad trailer can set the mood wrong for such a serious movie. I know better when to criticize and when to shut up, but this had to be spilled.the dialogue isn't complicated. it has a few memorable lines, but they are all contextually related, like the one that says I'll throw everything but you. it seeps with silence, hatred, regret and misunderstanding.

It's not worth two hours time to deliberately make a bad movie, a bad self-parodying movie at that, to show the audience that even in the context of pointless nonsense, the director can still frame a shot well, or set a mood of dread filled (dreadful?) anticipation. I'm just not a big enough fanboy to try and make excuses for a film like this.Is this film funny? Yes. And here's how it's funny: in one scene, after the presence of the J-Horror Goth Chick Ghost has been established, the director strings together a sequence of shots where the lovely Miki Nakatani spots said JHGCG's feet in another room and inhales with a shudder as she runs into a corner. Miki isn't doing a good job of running away. She begins to creep anxiously closer to the ghoul again and upon visual confirmation inhales with a shudder and runs into a different corner, and then creeps anxiously closer, shudder, corner, creeping, shudder, corner, creeping, shudder, a calm acceptance, CUT TO A NEW SCENE. Ha ha ha!If you see this film think of it like taking a night class in Kurosawa technique. You'll learn something.

Normally I like Asian horror movies. That said, "Loft" was just a complete mess. While the preposition sounds interesting (writer with blockade in a big house out in the nothing with a somewhat weird anthropologist as a neighbour whose job is to conserve a mummy), mostly everything else is either confusing or pointless.The movie takes a whopping six minutes including credits to introduce the main role, her problems and the "solution" that is her publisher selling her a house out in the country. I was quite baffled how fast this movie went through with these things. And for me that was the main problem of the movie: It is just confusing for most of the time. Rather often I took half of a scene to understand what time this scene is taking place in, where I am and what's going on. On the other hand the movie takes surprisingly much time to show scenes that don't make any sense afterwards. What is left is a huge mess of incoherently slapped together scenes without not much more than the basic premise holding them together.

No living director anywhere can build creeping, gnawing, raw nerve anticipatory tension like Kurosawa. Aside from that? Well, it's a mixed bag. His new film, English title "Loft", twists slowly on your skin early on, digging deeper and deeper. And then it sort of just stops. The shallow breathed fear that he creates, having you flinch at every movement in delicious tension (What's that! Oh, it's a TV. Wait! What's THAT! Oh, just a shadow) is unique. His mastery of composition in the frame, of scene, setting, character movement, sound, are unparalleled. And in this he sets himself up. There would have to be one hell of a harrowing finale to bring it all to a satisfying conclusion. As it is, "Loft" creeps up on you, hypnotizing you in fear; and then it just waits a while, and creeps back away. Not to say that the (lengthy) conclusion is poor, in any other movie it would be great. He twists several cliché horror staples in unique ways, and even finds some delirious humor. But it just doesn't work well enough. You almost feel the plot stumble and come close to falling. Kurosawa's brilliance with horror is that he does not scare you with sudden movements, grotesque images and stunts. He creates dread, primal and powerful. His horror slowly leans over your shoulder until it stares you in the eye. Unfortunately, in "Loft", the audience wins the staring contest.