I don't know if there's a market anymore for movies like this that won't "become a unicorn".
One that comes to mind is collateral.
There was an essay I can't find about how non-US, European audiences appreciate that kind of thing much more.
Mann's movies don't have endless thrills and they end on a slightly positive to neutral note, not like romances or action movies where the end is supremely positive. Instead, some problem has been averted, but nobody's saved the world. Any positive elements (couple living happily ever after, wounded cop surviving) are tempered by a strong sense of malaise that nothing's keeping the same thing from happening again tomorrow.
And also because I'm done with the stereotype spread by countless weekend tourists that Japan is perfect, everyone is nice and nothing bad ever happens. The representation of the casual racism gaijin experience without making it a political movie was masterful in my opinion. Also, the corruption, the dysfunctional police, the seedy hostess clubs and having the courage of making it a bilingual show.
Underrated and recommended.
Exactly this. That was my hope when I saw trailers for the show and it added so much more depth and realism, having the actors speak Japanese.
That was one of the things I liked about Pour Elle. It took the time to show you emotions on peoples faces and the spaces they were in.
Maybe I'm overthinking it. I saw the first one as a kid and spent a lot of time doing dogfights with my toy planes since. The nostalgia hit me quite hard and it genuinely felt like a nice sequel which retained the macho 80s spirit of the original. I've never felt that with other modern movies.
Low-CGI / practical effects is part of the Tom Cruise formula though. You go to his movies to see him do crazy things (with a requisite running scene). Kind of like OG Jackie Chan movies: you watch them for his stunts.
That was the marketing line. There's CGI in almost every shot there are aircraft on screen.