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Pieter-Jan Van Haecke

Tomatometer-approved critic
Biography:

Pieter-Jan Van Haecke is a Belgian critic currently living in Japan. He solely focusing on Japanese cinema and provides in-depth reviews from a unique psychoanalytical perspective.

Publications:

Reviews

Movies TV Shows
Stigmatized Properties: Possession (2025) EDIT “From scares, unintended farce, to forced romance; another genre-mix that does not entirely click. ” – Psychocinematography Feb 27, 2026 Full Review Wolves, Pigs and Men (1964) EDIT “Wolves, Pigs and Men is an extremely powerful piece of cinema that still succeeds to dazzle the contemporary spectator and deeply affect him.” – Psychocinematography Feb 24, 2026 Full Review Message From Space (1978) EDIT “Any spectator who perseveres, swallowing all the visual discordances and false notes, will eventually finds pleasure in the action and effect-rich finale.” – Psychocinematography Feb 24, 2026 Full Review Kokuho (2025) 93% EDIT “Kokuho is a deeply moving experience.” – Psychocinematography Feb 18, 2026 Full Review She Taught Me Serendipity (2024) EDIT “She Taught Me Serendipity steers away from delivering a clear-cut romantic fantasy to confront the spectator with the messy consequences of utilizing signifiers in the game of love in a very moving way. ” – Psychocinematography Feb 18, 2026 Full Review Super Happy Forever (2024) 100% EDIT “Super Happy Forever is a compelling drama.” – Psychocinematography Feb 13, 2026 Full Review Broken Rage (2024) 87% EDIT “Broken Rage might start off a simple noirish crime drama, but Takashi Beat elegantly plays his audience by turning his crime drama into a farcical exposition of castration.” – Psychocinematography Feb 10, 2026 Full Review Hibotan Bakuto: Hanafuda Shobu (1969) EDIT “With Red Peony Gambler 3: Flower Cards Game, Tai Kato delivers an impressive visual experience that develops the themes of the series in a meaningful way. ” – Psychocinematography Feb 6, 2026 Full Review Rental Family (2025) 87% EDIT “Rental Family re-affirms Hikari’s talent for creating uplifting and touching filmic experiences.” – Psychocinematography Feb 2, 2026 Full Review Muromachi Outsiders (2025) EDIT “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.” – Psychocinematography Jan 29, 2026 Full Review Rainy Blue (2025) EDIT “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.” – Psychocinematography Jan 22, 2026 Full Review Blazing Fists (2025) EDIT “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.” – Psychocinematography Jan 22, 2026 Full Review Dollhouse (2025) EDIT “Yaguchi’s Dollhouse is as great as conventional J-horror can get.” – Psychocinematography Jan 16, 2026 Full Review Demon City (2025) 55% EDIT “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.” – Psychocinematography Jan 14, 2026 Full Review Under Ninja (2025) EDIT “Under Ninja offers what it sets out to offer in spades: entertainment.” – Psychocinematography Jan 14, 2026 Full Review Bullet Train Explosion (2025) 67% EDIT “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.” – Psychocinematography Jan 10, 2026 Full Review Faceless (2024) EDIT “Faceless is a great thriller that beautifully shows the destructive role the image can play within the societal field.” – Psychocinematography Jan 5, 2026 Full Review Lumberjack the Monster (2023) 60% EDIT “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. ” – Psychocinematography Dec 29, 2025 Full Review Godzilla Minus One (2023) 99% EDIT “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.” – Psychocinematography Dec 23, 2025 Full Review Exit 8 (2025) 97% EDIT “With Exit 8, Genki Kawamura delivers an engaging and visually arresting psychological horror narrative. ” – Psychocinematography Dec 18, 2025 Full Review Golden Kamuy (2024) 100% EDIT “With Golden Kamuy, Shigeaki Kubo reaffirms that he has the skill and talent to bring action-driven narratives to life in a satisfactorily way. ” – Psychocinematography Dec 18, 2025 Full Review Undead Lovers (2024) EDIT “Ai Mikami delivers a surprisingly layered performance as Rino Hasebe.” – Psychocinematography Dec 12, 2025 Full Review A Girl Named Ann (2024) EDIT “A Girl Named Ann offers the spectator one of most upsetting confrontations with the way the societal and familial Other can fail the subject.” – Psychocinematography Dec 8, 2025 Full Review Cloud (2024) 93% EDIT “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.” – Psychocinematography Dec 8, 2025 Full Review Renoir (2025) 87% EDIT “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.” – Psychocinematography Dec 3, 2025 Full Review
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