Country: Japan
Genre: Drama
Year released: 2007
Running time: 1 Hour 55 Min.
Director: Yuki Iwata
Cast: Nana Eikura / Mitsuki Tanimura / Hoshi Ishida / Naojiro Hayashi
Review by: M. Douglas
Date of review: 07/24/08
Site: N/A

Synopsis

"Lemon No Koro" revolves around five normal seniors at a rural high school, and their experiences and emotions in the year leading to graduation. Band conductor Kayoko is a smart and strong-willed girl who plans to attend a Tokyo university after high school. She seems to have her life completely in order, but her changing relationships with baseball players Takumi and Tomizo throw things into confusion. Meanwhile, aspiring musician Megumi finds a soulmate in singer Kazuya.

Review

Based off the novel by author Miho Toshima, “Lemon no koro” (The Graduates) follows a group of high school seniors who must deal with not only the future of their educational careers, but also the future of their personal relationships. Directed by first time director Yuki Iwata, “Lemon no koro” is a bittersweet tale of loss and friendship.

“Lemon no koro” opens to the narration of two students against the backdrop of classroom scenery, with the students questioning each other about the origins of their school song. We soon find out that these two student are Kayoko Akimoto (Nana Eikura)—who is torn between leaving for a university in Tokyo or staying behind—and Kei Shirata (Mituski Tanimura)—a music enthusiast who wants to review music as a living. Both become entangled in relationships that they don’t seem to understand, yet they know their final decisions will affect them the rest of their lives.

“Lemon no koro” is a very heartwarming film about one’s last days in high school, and the ensuing confusing that encompasses what one will do after the graduation ceremony is over and it’s time to enter the adult world. The characters of Kayoko and Kei resonant this particular notion so well, it’s really enjoyable to watch. Stemming from being just classmates, to eventually forming a friendship, the two develop a bond as they both go through the hardships of being in relationships that are very fragile, more so than ever with the conclusion of high school arriving. These hardships happen to be boys; with Kayoko effectively showing the emotional strain of potentially leaving for Tokyo without ever truly confessing her love to her friend Takumi. On the other hand, we have the cheerful Kei who believes she has found her match in musician Kazuya, but can’t muster up the courage to show it. These two different, yet quite similar characters are what drive the film.

I do have to say though that the cinematography in this film is absolutely wonderful. The gentleness of the films story rally shines through its visuals. Since this film takes place primarily within the confines of a school, the immersive nature of the film is highly amplified through its minimalistic approach to scenery; packed hallways, empty classrooms, and school festivals all add to the presence of the film. As a first time director, Yuki Iwata shoots “Lemon no koro” with careful attention to show that the world the characters live in is not entirely different than our own. The films rather intimate moments between the characters are also nicely shot—from the simple act of walking down the street with someone Kei likes, to the way Kayoko addresses a friend on the train—each scene seemed to take notice of the little things that occur within these moments.

Given the fact that the film is near the two hour mark, I would have liked to have seen a little more development into how these relationships came to be. We are given substantial time for development, but never truly reach the apex of what could’ve been. I also found the abundant time given to the story of Kayoko a little unfair, given that Kei’s story is just as interesting, and in some respects, more entertaining throughout.

Overall, “Lemon no koro” is a beautifully shot film with great acting. The direction by Yuki Iwata is considerably well thought out and shows her ability to deliver a story than can be as engaging as it is basic, never letting the characters become entirely too reliant on one another. Perhaps more time given for character development would’ve made the film increasingly more memorable, but for it stands now, “Lemon no koro” is a film that delivers an exceptional story about the uncertainty of one’s future.

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Final Score

B-

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Trailer

Country: Japan
Genre: Action
Year released: 2007
Running time: 2 Hour 09 Min.
Director: Takashi Miike
Cast: Shun Oguri / Kuroki Meisa / Takayuki Yamada
Review by: M. Douglas
Date of review: 06/30/08
Site: HERE

Synopsis

Genji Takaya is a teenage troublemaker whose father, Hideo, is a high-ranking member of the yakuza. Genji is a new student at Suzuran Boys' High, a educational facility for juvenile delinquents nicknamed "The School for Crows," and he's determined to make a name for himself as someone who doesn't back down from a challenge in order to impress both his father and his new classmates.

Review

Even though Japanese director Takashi Miike has dabbled in the Yakuza genre many times before, he returns to the genre once again with the 2007 film “Crows Zero”, this time exploring the environment of inner school feuding. The film is based off the manga “Crows” by Hiroshi Takahashi.

“Crows Zero” begins with transfer student Genji Takaya (Shun Oguri) entering Suzuran High—an all boys school where male testosterone dominates over academics. But Genji is not attending the school because he wants to learn, he’s attending because he wants to beat the best. The son of a Yakuza leader, Genji was promised by his father that if he could take control of Suzuran High, then he would be next in line to run the family crime business. In order to do this though, Genji must defeat the current leader of Suzuran—the ferocious Tamao Serizawa and his gang. The optimistic Genji begins to form his own squadron of fighters to take on Serizawa, fighting all the way to the top, one class at a time.

Stemming from director Takashi Miike, “Crows Zero” is a film that continues a long standing tradition that Miike has always upheld—delivering gut wrenching scenes that truly are memorable to the viewer, whether intentionally or not. And while substantially less violent than a majority of previous films, “Crows Zero” still provides a rather hyper-stylistic portrayal of hand-to-hand fighting. Each fighting sequence is so vividly realized, it goes to show that Miike went through painstaking lengths to resemble the look of the manga as closely as possible. This look transfers over to the cinematography, enhanced specifically for the films bone crushing fighting segments. Slow motion glares, frantic duels, and vicious gang combat litter the landscape of “Crows Zero”, absorbing the viewer into a world where it’s never too safe to turn your back. Couple this with the addition of an awesome heavy metal soundtrack, and you have yourself a hardcore excursion in the high school feuding underworld.

As for the characters, they were all visually distinctive from one another. And I have to say it was great to see Shun Oguri play essentially a character so charismatically enveloped in fighting for supremacy, that it was a great juxtaposition from his numerous other roles, specifically his television ones. It’s good to see him step out and try different characters, and he surprisingly does well in his portrayal of Genji. But the rest of the cast in excellent as well, and each play their roles respectively to their manga counterparts. The only character I could see that somewhat hindered the film was Ruka Aizawa (played by Kuroki Meisa). Her character seemed to basically appear to promote her musical talent, and was only inserted into the film to advance a rather superficial relationship with Genji that doesn’t seem to go anywhere. With that aside, she did play her role exceptionally well and her part fortunately doesn’t call for a substantial amount of screen time.

In the end though, Crows Zero” is a surprisingly entertaining film. While at times abundantly violent, it balances out with a solid plot that is engaging primarily due to its interesting cast of characters. The true star though is versatile director Takashi Miike. He once again showcases his ability to deliver a film that retains many of the elements of his previous films, and still make it accessible to the most general of audiences. With that in mind, “Crows Zero” is his most commercially accessible film yet, and that’s saying something considering he long list of “controversial” films.

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Final Score

B

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Trailer

The reason for the lack of reviews lately is due to me being really busy. Good news is, I should have a new review up by the end of the week (as well as resuming my regular reviewing schedule)! Thanks for your patience!

Country: Japan
Genre: Drama
Year released: 1985
Running time: 1 Hour 55 Min.
Director: Shinji Somai
Cast: Yuichi Mikami / Youki Kodoh / Tomokazu Miura
Review by: M. Douglas
Date of review: 06/03/08
Site: N/A

Synopsis

A class of Japanese teens experience their first feelings with the opposite sex while a typhoon storm is rising.

Review

Released in 1985, “Typhoon Club” was one of the many film’s during the 1980’s that dealt coming-of-age and adolescent behavior. In this particular film, director Shinji Somai takes the viewer along to witness a class of Japanese teens as they experience their emotional attractions to their one another amidst a raging typhoon.

“Typhoon Club” follows a young group of adolescent teens as they are trapped within their school while a typhoon commences. We follow Kyoichi Mikami (Yuichi Mikami), a young man who is contemplating whether death proceeded before birth, Rie Takami (Youki Kudoh), a young student who wishes she can visit Tokyo, and their teacher Umemiya (Tomokazu Miura), a man who can’t seem to commit himself to anything. This cast of characters find themselves locked within the confines of their school and home during a raging typhoon, debating what life truly offers.

Among the many things “Typhoon Club” strives for, it does one thing exceptionally well; it provides an interesting backdrop for the film to build upon. Having a majority of the film take place within the interior of the school provides an almost nostalgic feeling to one’s own school days. It is here where the characters throughout the film learn to somewhat adjust to their newfound relationship with the opposite (as well as same) sex. It’s very intriguing, as a viewer, to get almost an intimate look into the lives of these people, and to see how they interact with one another is exceptionally well played out. All the actors were convincing in their roles as the eager, yet naïve students (and in one case, a teacher) who are stumbling to understand what life is to bring in the future. And the cinematography was absolutely wonderful at times, capturing the scope of the daily lives of the characters quite well.

With that aside, I really wished the film could’ve been significantly improved in the area of character development. We are introduced to a varied cast throughout the course of the film but never fully get to know them as individuals. The viewer receives glimpses of what the characters have to offer in terms of their background, but never to the extent of promoting their role in the film. We never fully see the student’s blossom from a class of students—who happen to be locked up in a school—to being starkly distinguishable from one another.

Another hindrance was the rather lethargic pace of the film, and “Typhoon Club” suffers from this aspect. The continuity of the film hurts the overall story as well—most of the situations that arise in the film make absolutely no sense whatsoever. I believe this stems from the general lack of development within the community of characters showcased throughout the film. We learn so little as viewers about these characters that we don’t fully comprehend why they perform certain actions throughout the film and why they interact with certain characters the way they do.

Overall, “Typhoon Club” is a very confusing film to say the least. The elements I listed above are indications that this film was obviously not well executed. Given better continuity and pacing, this film could’ve been a classic example of how to rightfully create a teenage angst film—the basic premise almost commands it—but sadly it doesn’t follow through. Similar to the American John Hughes classic 1985 film “The Breakfast Club”, but without all the superb character development seen in said film, “Typhoon Club” is a film that sadly loses its intended focus.

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Final Score

C

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Trailer

N/A

Country: Japan
Genre: Drama
Year released: 2007
Running time: 2 Hour 09 Min.
Director: Natsuki Imai
Cast: Yui Aragaki / Haruma Miura
Review by: M. Douglas
Date of review: 05/30/08
Site: HERE

Synopsis

Love forces two youngsters to grow up in a hurry in this bittersweet coming-of-age romance from first-time feature director Natsuki Imai. Mika (Yui Aragaki) is a pretty but shy teenage girl who loses her cell phone and finds it a few days later, only to begin receiving calls from a secret admirer.

Review

“Sky of Love” (Koizora) was directed by Natsuki Imai, who also directed numerous Japanese television drama series before breaking off into the cinematic world. With “Sky of Love”, she carries on the tradition of delivering the familiar “relationship in turmoil” route so often seen in her television outings.

“Sky of Love” opens with a high school girl by the name of Mika (Yui Aragaki) who mysteriously notices her phone missing when she is at school. Franticly searching for it, she discovers it in the school library where it suddenly rings. Answering it, she is introduced to a mysterious character who won’t reveal his name. The mysterious caller begins to call her everyday to chat about her personal life, eventually leading to Mika growing fond of her secret admirer. Upon the stranger eventually revealing himself, to her surprise, it’s Hiro (Haruma Miura), one of her fellow classmates; the two begin a relationship that will span more than just love.

Going into “Sky of Love”, I wasn’t expecting it to be a film with such strong tendencies regarding youth and love. I knew the film was derived from a true story, but assuming it would be just another love story was ignorant on my behalf. There are numerous tragic predicaments within “Sky of Love” that truly attempted the emotional impact needed to sway the audience, which goes without saying, but unfortunately the situations are not executed well enough to maintain a sense of urgency or sensitivity from the viewer. For example, there is a suspected “rape” of one of the main characters within the film...yet the viewer is left without much remorse due to the sudden recovery of the victim. As the viewer, it’s hard to digest such distasteful acts performed on screen when the immediate aftermath doesn’t seem to take hold and resolve the issue rationally. We are basically given sloppy resolutions to otherwise grave problems, which hurts the overall premise of the film.

What I did enjoy though were the characters. I believe this is perhaps actress Yui Aragaki’s best role yet, and it shows her growth as an actress (as well as transition) between TV to film. Her portrayal as the young and naïve Mika truly shows through extremely well and she seemed exceptionally relaxed in her role. As for Haruma Miura’s portrayal of Hiro, it was surprisingly nice to him play a convincing role as well. To see the merits of Hiro—a young man who truly cares for his family and girlfriend—seemingly divert into something else entirely throughout the course of the film was great, and Haruma played this transformation quite well. Nice acting overall, especially in a film that doesn’t follow your standard love story tirade (for its first half at least).

Another element I enjoyed from the film was the cinematography. The use of very distinctive colors within the film gave it a very warm and gentle visual atmosphere. In a way, this gave the film a very tender feeling pertaining to some of the films rather abrupt and sad moments, which could’ve have easily overrode the strong premise of the film. Great cinematography in general, and it was one of the films strong points.

Overall, “Sky of Love” is a film in which it attempts to try something different with a rather tired genre. After my initial viewing, I noticed there were just too many instances in which I felt could’ve been improved immensely in order to effectively convey the emotional devotion needed by the viewer to appreciate the characters. Originality was something I could see “Sky of Love” striving for, but when you have a great premise that soon deteriates into yet another tragic love story that just seems to “follow the motions”, it’s disheartening. Perhaps with a better script, “Sky of Love” could have been something great. As for where it currently stands, it’s just another love story added to the pile.

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Final Score

C+

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Trailer

Country: Japan
Genre: Drama
Year released: 2006
Running time: 1 Hour 46 Min.
Director: Naoto Kumzawa
Cast: Hayato Ichihara / Juri Ueno / Yu Aoi
Review by: M. Douglas
Date of review: 05/24/08
Site: HERE

Synopsis

Tomoya Kishida is a film student with dreams of one day becoming an important director. While at school, he meets pretty Aoi Sato, and the two become fast friends. However, while he lacks the nerve to tell her, before long Tomoya has fallen in love with Aoi. While they remain best friends, after graduating, Tomoya gets a job as an assistant on a film set, while Aoi heads off to visit California.

Review

Directed by Naoto Kumazawa, "Rainbow Song" follows two film students who meet and unexpectedly fall in love, only to never confess it. The film was co-written and produced by none other than director Shunji Iwai, who is quite famous for his many films, and "Rainbow Song” being very similar to his previous cinematic projects in dealing with young adults.

"Rainbow Song" follows two college students by the name of Tomoya Kishida (Hayato Ichihara) and Aoi Sato (Juri Ueno). They unexpectedly meet under strange circumstances—Tomoya has a habit of stalking the girls he likes, who in this case, just happens to be Aoi's co-worker. He asks Aoi to ask her peer if she was interested in him, in which Aoi reports back to him with a resounding "no". Under this awkward situation, the two begin to form an unnoticeable bond between one another, with Aoi slowly beginning to fall in love with Tomoya. Tomoya is seemingly unaware of her attraction towards him…that is until something tragic occurs.

Going into viewing "Rainbow Song", I wasn’t expecting to see the standard love story that is played out in many other Japanese films. I knew with Shunji Iwai on board as producer, his hand in the creation process would create something special. I was surprised to see that I was partially correct. "Rainbow Song" does indeed deliver a story that is quite different than what the genre entails, which I thoroughly enjoyed. The overall relationship between Tomoya and Aoi is effectively portrayed and very believable, with their most intimates moments captured excellently. I believe this should be a very important element in any love story, and "Rainbow Song" accomplishes this very well.

As for the acting, Hayato Ichihara as Tomoya and Juri Ueno as Aoi is just superb. These young actors are excellent in the portrayal of their cinematic counterparts. They deliver the believability and charisma that is highly warranted in a film such as this. We also have Aoi’s younger sister, Kana, played by the exceptionally talented Yu Aoi. If you’ve seen Yu Aoi in other films, you should already realize how great of an actress she is, even more so after her portrayal in this film as Aoi’s blind sister. Overall, great performances by all.

Now, "Rainbow Song" does seem to have some rather small faults. The character of Kana was very underdeveloped. I really wanted to see more of her and her relationship with her sister Aoi. She does appear to play a significant role in the films latter half, but more screen time beforehand would have been a great asset to promote their relationship as somewhat close in nature. There was also was a particular segment in the film which I felt was very awkward and didn’t really complement the overall story (I’m sure you’ll notice it when you view the film). Even so, these are just some minor faults I could see in an otherwise great film.

One last aspect I wanted to point was the cinematography. Similar to the approach Shunji Iwai takes in his film, director Naoto Kumazawa shoots "Rainbow Song" with a rather soft focus, which perfectly captures and presents a “dreamlike” quality to the film. Also, the rather intimate scenes are greatly enhance by this technique and really engages the viewer to the general atmosphere the film is striving for.

Overall, "Rainbow Song" is a film that I thoroughly enjoyed. It’s a carefully crafted experience that will please fans of Juri Ueno, Hayato Ichihara, and Yu Aoi, who all give great performances. It doesn’t deliver the generic love story all so often witnessed in other films of the same nature, and strives to offer the viewer something entirely different."Rainbow Song" succeeds in this regard and is a film I highly recommend if you enjoy love stories, it's definitely worth checking out.

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Final Score

B-

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Trailer

Country: Japan
Genre: Drama
Year released: 2006
Running time: 1 Hour 32 Min.
Director: Ryo Nakajima
Cast: Satoshi Okustu / Yoshiko Taniguchi / Arisa Hata
Review by: M. Douglas
Date of review: 05/13/08
Site: HERE

Synopsis

One-time hikikomori Nakajima Ryo emerges from his self-imposed exile to offer a searing look at the suffocating pressures facing Japanese youth in the early years of the 21st Century. An episodic tale of bullying, adult hypocrisy, self-harm, suicide, and attempted homicide, Ryo's cathartic cinematic scream takes viewers on an emotionally intense journey into the lives of those who endure the injustices of contemporary society while drowning in a sea of adolescent nihilism.

Review

Before I get into my review of “This World of Ours”, I thought it would be interesting to point out a very some very interesting facts pertaining to the director. I believe it is significant to the film as well as my overall review. Director Ryo Nakajima wrote the script for this film at only 19 years of age, and filmed it when he was 23. Previous to his experience in film-making, he was what the Japanese call a “hikkimori”—a reclusive individual who have chosen to withdraw from social life—and spent numerous years in a self-imposed isolated state. Upon arriving at the end of his emotional handicap, Ryo believed it was his duty to share his thoughts deriving from his experience as well as his opinion regarding Japanese society—from his perspective—and thus “This World of Ours” was born.

When a film such as “This World of Ours” opens with distorted footage of the destructive aftermath of 9/11, you know you’re in store for something more than your mere standard film. “This World of Ours” follows three characters with interconnected paths—we first have Ryo (Satoshi Okustu), a school bully who learns the error of his ways when he becomes the victim himself; next is Hiroki (Yoshiko Taniguchi), a college student who is learning the harsh realities of either accepting to follow the routine path to adulthood or the not; and finally we have Ami (Arisa Hata), another high school student who must use other people to do her bidden due to her insecurities. Each of their paths will eventually intersect to lead down a singular path of destructive behavior.

“This World of Ours” is a very interesting and adventurous film to say the least. The strong theme of “youth” as an integral part of society, and how they fit into the entire societal structure is vividly examined—and at times a little exaggerated—but still very much a microscopic critique of Japanese society. The three individuals within the film are all deviants from how their society deems what is “normal” behavior; Ryo doesn’t believe school is important, Hiroki is questioning continuing going to school to get a good job, and Ami is insecure about her own exterior looks. These three ideologies represent the fraction of individuals within their society that function through these ideals, whether they believe in their notions or not.

Perhaps this examination relates to elements that director Ryo Nakajima personally endured through his “hikkimori” phase. I could easily see elements within the film that could mirror his disability, and to see the conformist philosophy that is quite heavily instilled in contemporary Japan, it’s highly likely that he trying to defer the argument that one must conform or else slip away. The analyzing of these variants bring forth a sort of a sane rationalization of the decisions these character make within the film, perhaps to the point of being brutally honest. I respect this element of the film immensely, and it truly showcases the importance that Nakajima put forth in addressing his characters as people who are slowly trying to obtain their individuality in a society that dismisses it.

“This World of Ours” is a film that is not only exceptionally well thought out, but also effectively addresses the disillusionment that accompanies an individual’s willingness to conform to society. The acting is superb as well, and it truly complements the direction by Ryo Nakajima. For a first time director, this debut is in every sense of the word mesmerizing, and if this is what Nakajima has to offer to the world of Japanese cinema, I’m truly anticipating his future releases. A definite recommendation.

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Final Score

A-

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Trailer

Country: Japan
Genre: Drama
Year released: 1999
Running time: 1 Hour 40 Min.
Director: Akihiko Shiota
Cast: Tsugumi / Kenji Mizuhashi
Review by: M. Douglas
Date of review: 04/14/08
Site: HERE

Synopsis

When shy, love-sick Takuya delivers a friend's love note to Satsuki, the pretty and popular fencing partner he secretly adores, the young man is astonished to discover that the girl he thought was unobtainable is just as smitten with him. But as the two teens drift into first love, Satsuki inadvertently plumbs the depths of Takuya's affection.

Review

The first film from director Akihiko Shiota (Harmful Insect, Canary, and Dororo), “Moonlight Whispers” tells the rather bizarre tale of two young teenagers who must confront their differences as well as confront themselves. The film is based on the manga of the same name by author Masahiko Kikumi.

“Moonlight Whispers” follows teenagers Takuya Hidaka (Kenji Mizuhashi) and Satsuki Kitahara (Tsugumi)—both members of their school’s kendo club. Satsuki is the club’s most respected member and is admired by many, including that of the somewhat shy Takuya, who harbors tremendous feelings for Satsuki. What we soon discover is that Takuya and Satsuki feel the same way for one another. When Takuya confesses his love for Satsuki, they begin to date and quite happily grow closer as time passes. Things unexpectedly change when Satsuki discovers that Takuya has been collecting her underwear, secretly taking photos of her, and recording her most intimate moments on tape. Horrified, Satsuki decides to break the relationship off, only to have Takuya beg her into staying together, even going as far as declaring himself as Satsuki’s “dog”—pledging his total submission and obedience to her will. When Satsuki begins to date another classmate, she does so only to hurt Takuya, but she surprisingly discovers that she is ultimately only giving into Takuya’s urges. What Satsuki soon discovers is that she finds “pleasure” in inflicting emotional pain upon Takuya…thus beginning a rather strange relationship between the two former lovers.

“Moonlight Whispers” is a very difficult film to digest simply due to the various complex subject matters it addresses—voyeurism, stalking, and emotional deviance all play a significant role in our observation of the two characters within the film, Takuya and Satsuki. Within the first five minutes of “Moonlight Whispers”, we’re abruptly introduced to the rather “disturbing” fetishes that Takuya has acquired for his lusting of Satuski. When Takuya unexpectedly receives Satsuki as his girlfriend—a wish most desired by him and finally fulfilled—we begin to notice a drastic change in his behavior. He begins to realize that his previously emotional distancing from Satsuki is something he actually prefers rather than being her boyfriend. The same with Satsuki—her transformation stemming from a kind and gentle person into an individual who enjoys inflicting mental anguish upon Takuya is vividly explored. What once starts out as an innocent relationship, “Moonlight Whispers” soon twists into a destructive yet poignant tale of two people who are on a journey of self discovery.

What is most prominently focused upon in “Moonlight Whispers” is the inner turmoil that Takuya and Satsuki endure—more prominently in Satsuki—regarding their increasingly awkward relationship. This is so realistically envisioned by director Akihiko Shiota that at times it’s absolutely heart wrenching to watch. For example, when Satsuki emotionally proclaims to Taukya “I just wanted to live a normal life and have a normal relationship”, it’s extremely riveting to the viewer not only for the emotional punch it provides, but also because of the heartfelt performances that the two film leads deliver. These moments are certainly heighten due to director Shiota’s rather “voyeuristic” approach to filming “Moonlight Whispers”, perfectly capturing the intimacy and obscure nature of the films overall atmosphere.

To say that “Moonlight Whispers” is a brutally honest film would be a gross understatement. Director Akihiko Shiota doesn’t provide any easy answers to the complicated questions raised within the film, not even to the characters. It’s this element that makes it such a beautifully complex film, delivering a powerful cinematic experience. Utterly devastating and ultimately adventurous, “Moonlight Whispers” is a film that is definitely worthy of your attention.

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Final Score

A

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Trailer

N/A

Country: Japan
Genre: Horror
Year released: 2006
Running time: 1 Hour 46 Min.
Director: Shinya Tsukamoto
Cast: Ryuhei Matsuda / Hitomi
Review by: M. Douglas
Date of review: 04/08/08
Site: HERE

Synopsis

Japanese detective Keiko Kirishima discovers that two suicide cases were in fact murders after the evidence reveals that both victims were attacked in their dreams. This supernatural thriller follows Keiko as she tries to enlist the help of the NIGHTMARE DETECTIVE her only hope against a paranormal serial killer.

Review

Director Shinya Tsukamoto has always been one to deliver a rather “surrealistic” experience regarding his films. With the likes of “Tetsuo: The Iron Man”, “A Snake of June”, and “Vital” under his belt, it’s not surprising to see him write and direct such a film as the 2006 “Nightmare Detective”. Staying true to his roots, Tsukamoto has delivered yet another interesting film that is more than meets the eye.

Following a string of eerily similar suicides, detective Keiko Kirishima (Hitomi) and a group of investigators are trying to decipher what could be causing the victims to commit suicide; each reportedly taking their lives unwillingly. Upon further investigation, they uncover a link between their victims—each of made a phone call to an unknown person by the name “0” (Shinya Tsukamoto) before they killed themselves. Believing that “0” is somehow manipulating the victims into ending their own lives, Keiko seeks out a suspected “dream interpreter” who can read thoughts as well as see into an individuals dreams. Enter Kagenuma (Ryuhei Matsuda), a young man who is the only that can stop the criminal known as “0” from striking again.

Opening with a rather humorous but strangely odd scene involving a young man by the name of Kagenuma and an older man whose dream involves his unborn daughter, “Nightmare Detective” is a rather intriguing film not only for it surrealistic depiction of the blur between our dreams and reality, but also for its nihilistic nature throughout the film. At first, “Nightmare Detective” might seem like yet another average horror film—to the untrained eye—but after viewing it, one can see the tremendous venture into the ideology that encompasses nihilistic behavior. The unfortunate will to annihilate oneself is prevalent throughout the film, with traces even showcased in the films more prominent characters. Whether this examines the somewhat uncontrollable urge that each human being faces at least once in their life—to subsequently, end their own life—is left up to the viewer to ponder, but “Nightmare Detective” does explore these ideals.

The surreal nature of the film, which “Nightmare Detective” establishes quite well, is something that can be accredited to Tsukamoto. Director Tsukamoto has been known to pay keen attention to how he addresses the cinematography of his films, and “Nightmare Detective” is no different. Visually attentive is an understatement when you consider that Tsukamoto has taken careful steps to assure that the viewer neither knows if they are witnessing a dream or reality unfolding on screen. This line is blurred so effectively though, it potentially hurts the film towards its latter half. This can be attributed to sporadic events that cultivate during the climax of the film that involve flashback scenes, dream sequences, and reality intervention that lessen the effectiveness of the films established buildup. Fortunately, this doesn’t hurt the film in its entirety and it’s a minor setback to the films excellent first half.

And considering the nature of the film, the actors all played their parts well. Ryuhei Matsuda as Kagenuma is simply perfect considering that he has pulled off various “moody” roles in the past, and in “Nightmare Detective” he delivers yet again. What was a surprise for me though was the part of Keiko Kirishima played by singer Hitomi. I thought she did quite well for her debut acting performance, and she becomes absorbed into her character. And last but no least, we have the part of the mysterious murderer “0” played by Shinya Tsukamoto himself. The rather bizarre mannerisms displayed by Tsukamoto shows that he is just as good on screen as an actor as off screen as a director.

Overall, “Nightmare Detective” is a film that should lean more over to the psychological crowd rather than the horror crowd. While in essence it is a horror film, it’s more subtle in conveying the elements of horror than most films of the genre. With a sequel already in the works, one can see the potential of “Nightmare Detective” becoming the next big Japanese film franchise, and judging from this film, I wouldn’t mind that notion one bit.

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Final Score

A-

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Trailer

Country: Japan
Genre: Drama
Year released: 2007
Running time: 1 Hour 54 Min.
Director: Akiko Oku
Cast: Yui Aragaki / Ryuhei Matsuda / Rinko Kikuchi
Review by: M. Douglas
Date of review: 03/27 /08
Site: HERE

Synopsis

Beautiful college student Yui moves into her own apartment for the first time, beginning a new life of independence. Still green when it comes to life and love, she soon develops a crush on her moody upstairs neighbor Takashi. It turns out that Yui's apartment is actually the former abode of Takashi's ex-girlfriend Atsuko whom Yui also befriends by chance. And thus begins an unexpected journey of romance and friendship for these three very different people.

Review

Based on the novel, “Tokyo Serendipity” is the first time outing for director Akiko Oku. The film stars actress Yui Aragaki—who’s famous primarily for her Japanese drama roles—with supporting roles from actor Ryuhei Matsuda and actress Rinko Kikuchi. “Tokyo Serendipity” follows three lives that intermingle in the sprawling urban oasis known as Tokyo.

“Tokyo Serendipity” begins with young adult Yui Aoki (Yui Aragaki) moving out of her current home. Just recently she was living with her older sister, but her life suddenly changed when her sister abruptly married and decided to move out with her new husband. This of course leaves Yui out in the cold—she now must find a new place she can afford as well as adjust to the routine of living alone for the first time in her life. Upon finding a place, she meets another tenant residing in her apartment complex by the name of Takashi (Ryuhei Matsuda) who she later finds out works at a forest development company. He is at first apprehensive in becoming friends with Yui, but the two form a bond when she is commissioned to work as his assistant due to a school project. Back at Yui’s old place, there now lives an architect by the name of Atsuko (Rinko Kikuchi), who Yui discovers when she has to return there to collect a forgotten item she left while moving. The two form a bond as well, but what Yui soon discovers is that Takashi and Atsuko might be related in some way…

Upon reading the synopsis of “Tokyo Serendipity”, one does get the idea that this film might be yet another subtle coming-of-age story dealing with love and loss. It is—for the most part. While chronicling Yui through her newfound endeavors as an independent person, she also discovers what it means to appreciate the little things in life. Her development as a character is showcased throughout the film particularly when she provides the necessary guidance that being a true friend encompasses. In a sense, the devastation that the absence of her sister caused only made Yui more aware of what friendship actually entails—the ability to let an individual you call a “friend” know what he/she is doing wrong—to help them correct their errors. Her relationship with Takashi and Atsuko only flourish due to Yui’s willingness to sacrifice herself to bring about her friends happiness. In the end, Yui might not have received what she particularly wanted, but she knows the impact she made in someone else’s life far outreaches her own.

And for a first time director, “Tokyo Serendipity” is a very subtle film that moves along quite slowly from the start, but picks up steam along the way. Although the film primarily focuses on the character of Yui, the relationship between Takashi and Atsuko is given time to develop and we see as the viewer their drawbacks and fears that surround their relationship. Actress Yui Aragaki is very well grounded in the role of Yui, and considering she hasn’t been in that many film roles, it’s nice to see her comfortable and able to effectively express the emotional boundaries the come with living independently for the first time. A majority of her TV roles primarily showcase her “cuteness”, but here she is established as an actress that can be more than just a pretty face. All the supporting roles were great as well, and the cast were all surprisingly suited for a film of this nature.

Unfortunately, one of the downsides I found in watching “Tokyo Serendipity” was that it spent an abundant time on the minor aspects of the story rather than concentrate on the three main characters. These are very interesting characters, but they are not giving enough time to open up to the viewer. We are given hints here and there regarding the main story arc, but we are then showcased slightly unnecessary scenes which could have been easily replaced to cultivate the plot further. Also, I really wanted to see more of how Yui handled living by herself, which I believe would have explored the films theme of independence more. It’s these aspects that I believe brings “Tokyo Serendipity” down a notch and stops the film from reaching its true potential.

Overall, considering this is the first film from director Akiko Oku, It’s a pretty strong debut. I enjoyed the cast, music, and cinematography, but “Tokyo Serendipity” is a film for people who enjoy the subtleness of life—just don't go into it looking for any profound statements.

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Final Score

B-

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Trailer