Reviews

Moving and tear-jerking, a love that is out of this world.

Story
A rather simple and typical story, childhood love, terminal illness—things we've seen a lot in Japanese films. But still, the story keeps you glued to the screen without a dull moment.

Acting/Cast
Although I think the lead actor isn't the best there is, the one who truly stands out is the lead actress, one of the most excellent and beautiful actresses in Japan. It's very likely that she is the one who made the film what it is, and she was irreplaceable.

Rewatch Value
There's something fantastical about this movie, very nostalgic. At the end of the 20th century and the first decade of the 21st century, Asian films were sort of a reconstruction of the 1980s in the USA films with a love larger than life that you could still believe in.

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"The friendship given me is like water that nurtures the heart and body"

Muay Thai Warrior aka Yamada: Samurai of Ayothaya was based on the true story of a ronin living in Siam (present day Thailand) who pledged himself to the king and ultimately became a governor. Movie Yamada wasn’t terribly interesting or a very good fighter, the screen only came alive when the Thai boxers showed up.

Yamada Nagamasa lives in the Japanese village of Ban Yipon in Ayutthaya. The village is populated with Japanese Christians who fled their homeland and numerous ronin of defeated lords who now work in the king’s Department of Japanese Volunteers. When Yamada discovers that the thieves terrorizing the area are actually Japanese, he’s tasked with tracking down the leader. He’s ambushed by masked assassins and nearly killed. Rescued by a handful of Muay Thai fighters, he’s taken to their village and treated by the monk Phra Khruu. The villagers accept him and he begins to integrate into their lives little by little. Eventually, Phra trains the foreigner in Muay Thai and Yamada proves himself an adept learner. Every pair of elbows and knees will be needed as Ayutthaya may soon be under attack from its lethal enemy. Yamada has the additional concern of Kuroda’s assassins out to end his life.

Ozeki Seigi was nice to look at, but his character and performance were underwhelming. He was also completely unbelievable as a fighter, especially in comparison to the real Thai fighters on screen. They were fast, accurate, fierce, and obviously powerful. Ozeki’s moves were slow and limp. Before you could say, “Wax on, wax off,” Yamada had integrated Thai martial arts with Japanese. Thankfully, professional fighter Buakaw Banchamek, showed up for some spectacular Muay Thai exhibitions.
Ozeki availed himself better with a sword, but then the CGI swords and blood removed any chance of immersing oneself into the fight scenes. I was far more invested in Ketsaro Thanawut’s Khaam. There was a heavy-handed attempt at building a romance between Yamada and Khaam’s sister Jumpaa/Champa which fell flat. And the friendship between Yamada and Khaam was terribly underdeveloped which was the biggest disappointment as they could have been a real highlight of the movie.

Aside from the aggressive training for the king’s bodyguard contest and to be ready for the real threat of the enemy attacking, this movie was blithely uneventful. There were few fight scenes, although the ones shown were for the most part entertaining. Yamada sat around playing his flute often when he wasn’t playing with the children, all to let you know he was a nice guy. Most of the dialogue focused on the right way to die and how important friendship was. The villagers did everything but sit around holding hands and singing Kum Ba Yah. When they weren’t fighting to the death to be royal bodyguards or watching cockfights that is. Overall, I enjoyed Muay Thai Fighter, mostly for the Muay Thai fights. The Thai fighters were a delight to watch. This was a slightly below average martial arts movie and one for fans of the genre to give a try, if you go into it with low expectations.

8 June 2024

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What is real on the Internet

With the rise of AI, the Internet is becoming more and more an artificial space distant from reality, yet the Internet shapes our reality in a way we are not even aware of. This movie gives a lot to think about on this topic. The truth we live is not a real truth but a story created by media, trolls, big corporations, hidden powers, … you name it.

Okey, so about this movie. It starts like I would expect with the victim of the false narrative searching for justice and finding an ally in the media to help him. But then it all turns around and becomes a story of deceiving tactics where no one is spared, not even we as viewers. At the end I felt like the victim of internet fraud but thankfully without real-life consequence. I think I received a valuable lesson about truth online. This movie is a fiction but it has a real message. So what is the lesson: Truth is hard to find. Watch the movie for yourself and try to find it!

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just as good as the drama, if not better

Just watched the Mystery Iunakare movie!! I honestly really loved it. A lot of twists and macguffins so I was a bit overwhelmed at times, but wow the story was so fun and engaging as usual if not better. a movie's running time really lets the story breathe, even tho there was a lot of plot points they went thru, which was obvious at times.

Totonou continues to be adorable as always.... the underwear scene had me dying! it was a really dark story at times, but his basic kindness, feminism and sheer comedy really added to the fun. I loved how be comes ultra prepared for every trip, even scenarios such as falling into rivers on trips... And guess what happens ?

this was a really stacked cast. there was a lil bit of overacting, especially on the part of the lady who played Shiori, but it made sense for her character tbf. but wow Machi, Eita, Shibasaki-san... nice to see y'all here.

I was also like, the music slaps but it also sounds familiar... Turns it out was by Ken Hirai, who made the made the amazing OST for Todome, his work always slap.

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Of historical interest -- and also very moving. I cried.

The way "Twenty-four Eyes" is filmed, is period-typical for a movie, especially one that is not about action but tries to explore characters. I watched more than a few western films from the fourties and fifties, so I was already familiar with the style of acting and filming, as well as the sound quality (especially voices and singing have a special "ring" to them, which is hard to describe.) For people who are not used to this, the movie might feel strangely slow and static.

With 2 hours and 36 minutes, the film is quite long, even for modern standards. There are three parts:
First, we meet the twelve children and her teacher in the first grade. For both the children and the teacher their roles at school are new and unfamiliar -- and while it might seem as if not much is happening, the freedom and serenity of this first hour is a good contrast to the following parts. After a time skip of five years, teacher and children meet again in the children's sixth grade, the last obligatory school grade back then -- we'll see how both the children's families and the growing nationalism (with it, the looming war) will shape their futures. And, lastly, vignettes of the following years of war and death, and how it impacts even that small Japanese island. There's also some time dedicated to the aftermath -- children, now young adults with their own kids, and the teacher reunite, look back to their shared past and then into the future.

I think for anyone who wants to watch this in the 21st century, it is important to be aware that the year that the film was shown
in cinemas -- 1954 -- is only nine years after the end of World War Two. So, these children (young adults in the later parts) could have been themselves, their children, their brothers, sisters, husbands and wives. I can imagine that the film was cathartic for the audience back then; it definitely must have had a stronger emotional impact than it could ever have for me.

Besides the emotional journey, and the reminder of how nationalism and senseless wars (and all wars are senseless) will destroy lives, for me the film also gave me a chance to see Japan as it was 70 to 90 years ago. We get to see two rural schools and a glimpse of teaching and learning; we see the houses in the fishing village; we hear people's thoughts on poverty, proper manners, women, family. I loved seeing how the style of clothing changed from 1928 to 1946.
(The film had the advantage that everything was very recent, so sets are probably authentic buildings and streets, and the people who made it could just remember how it was. No extra research needed.)

There are quite a few scenes that were very poignant, such as the teacher's despair that nationalist teachings had overtaken everything at school, or the scene after the war ended when her eldest son is not able to grasp that everything he believed was now supposed to be wrong.

One thing that I was a bit disappointing was that the songs's texts (the children sing quite often) were not translated in the subtitles. I think these were mostly Japanese folk and children's songs, and the texts probably underlined the emotions of the scenes -- but the international audience won't know them. It's not the fault of the film, but disappointeing nevertheless.

Overall, if you have the chance to watch it, do so!

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Apprezzabile

Prima di scoprire che esisteva anche una trasposizione cinematografica mi è capitato di vedere la versione anime (una decina di episodi in tutto). Il film ne ricalca fedelmente la trama, qualche scena - eliminabile - eliminata per questioni di tempo.
Se devo dare un giudizio alla trama, gradevole la storia tra i protagonisti, mentre invece il fantasy che fa da background andava curato meglio, non si evince un chiaro senso logico, succedono delle cose ma resta un po' tutto buttato lì, senza grandi spiegazioni. Bravi e belli gli attori protagonisti, rispetto ai personaggi interpretati ho apprezzato molto la figura di kiyoka, mentre in Miyo ho riscontrato lo stesso, pesante difetto che presenta anche nella serie animata: troppo remissiva, il suo approccio risulta chiaro anche se non si prosta ogni cinque minuti scusandosi per ogni minima stupidata. Diciamo che il tratto è stato un po' esasperato, senza una reale necessità, anche perchè l'unico effetto ottenuto è quello di renderla un po' fastidiosa nei suoi piagnistei continui. Detto questo, ho apprezzato il film nella misura in cui avevo già ben chiara la vicenda. Va però detto che se non avessi visto prima l'anime, il solo trailer del film avrebbe generato aspettative davvero troppo elevate.

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La suprématie des dividendes, x 4 en 2033

Voilà quelques années que je ne regarde plus d'animes de manière régulière. Je suis donc devenu "Normal". Ne m'intéressant plus aux "dessins animés" infantiles, initiatiques ou fan service dont le nombre et la popularité ont en parallèle explosé ces 10 dernières années. Est-ce la lassitude de revoir 100 fois la quête d'un ados dans un isékaï, se faisant des amies de ses anciens rivaux, ou tout simplement mon gain en maturité (LOL, je regarde des dramas), comme semble le suggérer Anime Supremacy ? Qui sait ? C'est donc avec un peu d'espoir et beaucoup de crainte que j'ai abordé le visionnage du film. Imaginant 2 h 00 de clichés sur les métiers de l'animation, mais espérant surtout des délires scénaristiques bien potaches, de la passion, à grand coup d'effets spéciaux, de clins d'œil, de souvenir de tous ces animes qui ont jalonné ma longue vie, tout en me redonnant l'envie de m'y replonger. Un peu comme le chef-d'œuvre du genre qu'a été le drama (et donc le manga dont il est adapté) Aoi Honoo ! Alors ce film adapté d'une novel (ça commence mal vu le thème) sera-t-il une nouvelle fois rallumer la flamme en moi, ou est-il un autre pétard mouillé, à la Natsusora.

T'as rien compris, c'est une critique du système !
Diront les bien-pensants. Mais malheureusement, vous n'attendrez pas longtemps à comprendre que cet Anime Supremacy manque terriblement de fantaisie. Ce qui explique certainement une distribution à l'étranger homéopathique pour une histoire relatant le média le plus populaire au monde dixit Forbs et Capital. Et c'est bien là le problème. Ce film est une ode à l'animation japonaise, vu par une industrie du spectacle qui ne fera que très peu transmettre la passion. Les récentes annonces, Cool Japan, du ministre de l'Économie, prévoyant de multiplier par 4 le rendement mondial de l'animation japonaise d'ici à 5 ans, n'ont rien pour rassurer les amateurs de Tokyo Animation et du Studio Ghibli. D'ailleurs Hayao Miyazaki donne régulièrement le ton. Fustigeant la piètre qualité de l'animation actuelle. Tout, dans ce film, fait l'éloge de l'anti-Ghibli. Les courbes de statistique épisode après épisode obligeant à revoir le scénario, les personnages et jusqu' la fin de la série pour coller au standard marketing.

Les Animes pour les Nuls
Alors bien sûr, notre héroïne-réalisatrice se bat pour que le côté artistique prenne le pas sur le merchandising. Mais qu'est-ce que c'est maladroit. On pourrait déjà lui expliquer durant la production que c'est grâce à cet argent gagné que l'on peut continuer à transmettre l'art au spectateur trop paresseux pour dénicher lui-même les pépites sans promotion. Même si Miyazaki, le dernier dinosaure, dira qu'il doit qu'à se sortir les doigts du cul, ce spectateur. Pas comme ça, mais l'idée est là. Les flashbacks, la soumission à son responsable marketing, son statut de femme, jeune, qui ne vient pas du milieu et son abnégation pour réussir, abandonnant jusqu'à son seul plaisir quotidien, un éclair au chocolat, tout ça pour réussir dans le métier. Ces montagnes de clichés shojo/shonen s'enchainant comme si on était encore en 1980. Alors que le film relate bien l'animation de 2022. Et en même temps, la réalisatrice débutante apprend le métier, comme si elle n'avait fait ni école de marketing, ni école d'art. Une ingénue de 30 ans, de surcroit tyran pour ses collègues sous ses ordres.

Mon nombril et rien d'autre
Comme on pouvait si attendre, la mise en abyme est là. Voulant produire un anime, elle devient elle-même l'héroïne d'une quête initiatique fasse à un rival surdoué, beau et médiatique qui deviendra son mentor. J'ai encore du mal à comprendre à qui ce film est destiné. Au grand publique, dit les normaux, qui pourrait éventuellement découvrir le monde de la création. Aux enfants alors ? Le doublage, la colorimétrie…, Il vaut mieux se retourner vers les deux dramas cités en introduction alors. Ce n'est pas destiné non plus au otaks? Certes, y a du Seiyu/Idol, et du studio IG pour les vrais-faux animes présentés. Mais qu'est-ce que c'est classique. Montrer qu'il faut produire des copier-coller de ce que le public a déjà apprécié pour vendre, bof. Alors, ... les acteurs sont sympas. Emoto Tasuku et Nakamura Tomoya sont ténébreux ou mignons, jouent bien et sont par de trop rares moments drôles dans le film. Yoshioka Riho me déçoit, un peu, car son côté gaffeuse qui aurait pu rendre vraiment le film délirant n'a pas le pouvoir comique attendu. Et enfin, Ono Karin qui a le rôle le plus attachant à mon sens, n'est pas assez présente à l'écran. J'aurais tellement voulu que l'anime, pardon, le film soit basé sur son personnage et la relation avec Kudo Asuka. Cela aurait pu faire une excellente comédie romantique dans le monde du manga.

La bataille finale
Ici, vous risquez de profondément vous ennuyer. Honnêtement, il y a tromperie sur la marchandise avec ce titre, très accrocheur. Pas de folie scénaristique, comique ou de mise en scène. J'aurais réellement voulu que l'héroïne parle à ses créations, par exemple, même en rêve. Du Marie Poppins, plutôt que ses incrustations de commentaires SNS, déjà vu mille fois ailleurs. Comme un mauvais shōnen ou magical girl, tous les rivaux deviennent amis ou mentors et chacun se surpassent pour le bien de l'entreprise. Dommage. Il y avait de quoi faire un délire sous forme de comédie musicale ou autre. Ici, nous avons simplement un film marketé pour le grand public qui donne l'illusion d'être tolérant avec les Otakus. Une bonne conscience rachetée avec 50% de condescendance en plus en cadeau.

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Historical Accountancy

I'm pleasantly surprised by this movie. I won't go as far to say that it's perfect, but for being two hours long, there wasn't one dull moment.

The trope of being thrust into unfamiliar situations is usually one well done, and when the lead experiences it here, he rises to the occasion as one would expect, doing it better than I expected. With his rag tag group of friends and advisors, and adversaries unexpected, from all directions, it's up to our hero to gain the support of those he meets and turn their accounts around.

I especially loved the setting around accountancy and finances. Watching them come up with various solutions, and seeing how they handled the financial records was fascinating.

The principal takeaway though was the sense of family the lead created with all those around him. Not just with immediate family, the lead's persistence and positivity won over people left and right, making for a surprising and enjoyable watch.

Although it is foremost a comedy, I found it to be so much more as I watched on. This is the kind of title that can be watched on a lazy afternoon, and I assure it will keep you engrossed.

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The story of a man and his school meals.

This is the saying "good food, good mood" in cinematic form. I've always thought there's a correlation between the enjoyment of food and the environment we choose to consume it in, and I liked seeing that as a movie.

The story revolves around junior high teacher Amarida Yukio and his love for school lunches. We watch him navigate his enjoyment of school lunches, his relationship with the others in the school and the feeling of enjoying food in general. He also has a rival in the form of his student, Kaminou Gou, to see who can come up with the more creative way to eat lunch with the dishes they are presented with.

I laughed, I cringed, I was moved by something I had no backstory about, even though they did (two seasons and a movie prior), and somewhere between the childish rivalry to see who can enjoy food more and the pure instict to just enjoy good food, I saw the development of a wonderful mentor/mentee relationship.

Eat well, in your favourite environment and then give this movie a try :)

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"Things can only turn out the way they are going to turn out"

The Whole Family Works was a short working poor slice of life film focused on how difficult and soul crushing it can be to find a way out of poverty. Nine children know that when they finish elementary school their only option is to work at the factory or other menial jobs to bring in money to support the family.

Ishimura’s family of nine lived day to day with the three oldest boys supplementing the family’s income with meager paying jobs. Though Ishimura’s income had been in steady decline, he sipped sake and smoked while his wife lamented not having enough money to purchase tofu. The eldest child, Kiichi, realized at 22-years-old, that his future was slipping rapidly through his fingers. His dead-end factory job would never pay enough to help his parents as they aged or support a wife and family of his own. He was determined to go to school to train as an electrician to improve his chances of gaining better employment. What does filial piety mean and how much does one have to sacrifice for it? Kiichi weighed his responsibility to his parents and to himself. As he said, he had no great ambitions, “I just want enough to eat.” Ishimura was sympathetic to Kiichi’s concerns, also knowing that if he agreed to let Kiichi leave, the others would want the same freedom. As the one who handled the finances his wife was adamant that Kiichi stay. She had already been “borrowing” from one younger son’s savings and struggled every day to feed the large family.

The numerous brothers could make the film hard to follow. They weren’t always identified well at the beginning. Also, the years have not been kind to the film and it was badly faded and blurred, making it often difficult to tell which son was on screen. As a Naruse film, I have no doubt it looked splendid back in 1939, but many scenes were challenging to make out, especially the night scenes.

The family was in a perilous predicament despite the children being raised right. The kids were good students and hard workers and respectful to their parents. Yet they also had dreams of their own and didn’t want to be trapped in hard labor jobs forever. The parents understood the harsh reality that dreams were more easily achieved with money. Something the family didn’t have. Even if Kiichi succeeded in his potential goals, that success was years away, while food and shelter were needed in the present. Director Naruse Mikio didn’t give away the future, only tinged the unknown with gleeful hope and realistic concern.

7 June 2024

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