Reviews

Being an Iwai Shunji-produced and co-written film, I was quick to pick up BANDAGE, hoping for something original and enjoyable. I'm not sure how involved Iwai was with the film (I'm guessing not too much, though there are undoubtedly Iwai inspirations scattered throughout the film), but it mostly delivered on my hopes.

Casting Akanishi Jin as one of the leads was a smart move by director Kobayashi Takeshi. He brings massive fan support to the movie, not to mention experience in the Japanese music industry. Playing the lead singer of a rock band, Akanishi undoubtedly draws from personal experience (he's a very popular member of the Johnny's boy band KAT-TUN– actually, former member now; he decided to go solo using this film as a base) as he plays the carefree yet troubled character of Natsu. His band, LANDS, is quickly gaining mass popularity but encounters problems– the band members just don't completely gel. A genius musician, Yukiya (Kora Kengo), and a brilliant composer, Arumi (Shibamoto Yuki), form the heart of the band with Natsu supposedly still remaining just because of his indie fan base. It also helps that he can sing.

Asako (Kitano Kii) is a high school girl who loves LANDS. One day, her friend invites her to one of their concerts and they miraculously stumble upon backstage passes. The girls soon find themselves at the band's after-concert drinking party and Asako strikes up a relationship with Natsu. He's soon bringing her to rehearsals and calling her up to solve band problems. The rest of the band obviously sees this as a hindrance, though they can't convince Natsu of that. He really likes her, in his own strange and laid-back way.

Akanishi Jin plays a damn good rocker. Although his character is quite one-dimensional, Akanishi embodies the rocker spirit, entertaining and involving us in the film. Johnny's Entertainment boys are typically unimpressive actors whose roles are often restrained or stiff. It's surprising that Akanishi plays such a dark and adult character (yes, he really kissed a girl–a real kiss!). Akanishi's rock star is seemingly drunk throughout the film (this is his personality) as he rambles and babbles along. It's all very entertaining, no doubt. Kitano Kii, who also previously starred in the Iwai-produced Halfway (2009), is a pleasure to watch as well. It's nice to see a young actress so in- control of her characters, I'm always impressed with her. The casting for each character is very good. I especially liked the inclusion of Ito Ayumi (who emerged out of Iwai's Swallowtail Butterfly (1996)), as the beautiful and smart manager of LANDS.

The cinematography is on-and-off, employing the Iwai-inspired hand-held style which is both effective and annoying. This style of camera-work can either bring extreme originality or make the film appear amateurish. For example, in a few scenes the camera is far too unstable, mostly noticeable towards the beginning, making for an uncomfortable viewing experience (thankfully, these scenes are low in quantity). In other scenes, the camera works well, particularly when filming during performances or when the intimacy that the hand-held camera can bring is needed. I found myself enjoying the cinematography more as the film progressed. Cinematographer Onomichi Koji seems to be Iwai's new go-to cameraman after the death of his friend Shinoda Noboru, as he is using him here and in his next directorial feature, the English-language Vampire (2011).

Since BANDAGE is a film about music, the songs must be good–and they are. Akanishi's voice is well-suited to the neo-rock/alternative sound and is pleasing overall. The songs are all original compositions by Kobayashi, who usually produces soundtracks for Iwai's films (unless he does it himself). The tracks are great, which helps raise the enjoyment scale of the movie. There is a particular scene in the film that gave me goosebumps: Yuichi is playing around with a recording of one of LANDS's songs in darkness, hair in his face. He alters the voice to be robotic-sounding and plays the guitar with a violin bow. It's a powerful and dark moment in the film in which we discover the extent of Yukiya's talent and his deep loneliness.

BANDAGE is ultimately a film about self-discovery. It is effective in portraying the life of an indie band in 1990′s Japan, when the rise and fall of these bands was commonplace due to TV talent shows. With a strong cast, great music, and effective camera-work for the genre, BANDAGE manages to entertain while being an interesting commentary on the music industry at the time. Recommended!

I first watched Tokyo Story in a classroom some time ago and witnessed something curious. I have never seen a group of people so choked up over a film, ever. The most curious thing about it though is that most could not place what exactly made them so emotional. There are moments in Tokyo Story in which you are hit with a wall of emotions, surprised and overwhelmed that this simple little film could evoke such feelings. It's something about the characters, the honesty, the way everything hits home despite the cultural and time-period barriers.

Tokyo Story takes a deep look at familial relations in postwar Japan. Simply, it boils down to this: two aging parents (played by Ryu Chishu and Higashiyama Chieko) live far away from their children, who are in a quickly modernizing Tokyo. The children in Tokyo are quite selfish and focused on their own busy lives in the hustle-and-bustle of the city. The key character in this film, though, is Noriko (Hara Setsuko), the widow of one of the parents' sons who died in the war. Noriko turns out to be more active with her husband's parents than their own children are.

The parents decide to make their first, and possibly final, trip to Tokyo in order to see their children and view the spectacle of the city. The only person that can make significant time for them, however, is Noriko; the children are busy with work and even send their parents away to a spa! In one heartfelt scene, the mother, Tomi, spends the night at Noriko's in which she begs her to re-marry and apologizes for the burden that her son has caused. During this time, the father, Shukichi, is out drinking with old friends and admits to them that he is disappointed with his children, agreeing with his friends who feel the same way.

Ozu Yasujiro is considered to be one of the world's greatest filmmakers and Tokyo Story is considered his masterpiece. There is no reason to deny this. Ozu's camera is often a topic of discussion–it usually sets itself at the level of people sitting on the floor (tatami), which allows the viewer to feel like they are sitting right with the characters. It is usually always a calm camera, and very rarely pans. His films are also often slowly paced and meditative, choosing to avoid showing important events which later are revealed through dialogue. Ozu's direction of children has always been brilliant, they are never a weak point in his films and he often bases his stories on child characters (though not here).

Tokyo Story contains all of the elements that make Ozu's films popular with film students and cinephiles today. His calm, observant camera; his real-life, non-embellished characters; his attention to detail and the emotional emphasis on certain objects; his perfectly timed music; among other things, contribute ultimately to the warmth and effectiveness of the film. Ozu's passion for filmmaking knew no bounds.

Tokyo Story will not appeal to everybody, especially today. The typical moviegoer will either dismiss the film because it is "old" or "black and white," or find it boring. To the cautious and attentive viewers who allow themselves to connect with the characters and feel the story, Tokyo Story is a rewarding experience. Tokyo Story, along with Ozu's other films, is a good example of film as an art. Aimed at telling a story and depicting true life on camera, it is much less of the "entertainment" experience that people have come to expect from the movies today. There are no explosions, violence, chase scenes, or over- the-top characters here. This is Ozu. This is one of the greatest films ever made.

Who doesn't love food?

Itami Juzo's Tampopo is a heartwarming film about people who love, and are often obsessed with, food. The main narrative follows two truck drivers, Gun (Yamazaki Tsutomu) and Goro (Watanabe Ken) who stumble upon a run down, unpopular ramen noodle shop. The shop's owner, Tampopo (Miyamoto Nobuko), is running it all by herself and isn't too experienced in the "art" of making good ramen. After a brawl, Gun and Goro take it upon themselves to improve Tampopo's cooking and redefine her shop. The film not only focuses on this narrative, but is interspersed with brilliantly transitioned scenes of people's interaction with food: a white-suited yakuza (Yakusho Koji) and his mistress perform erotic acts with food, a group of homeless turn out to be master chefs, a young corporate subordinate upstages all of his superiors with his knowledge of French cuisine at an expensive dinner, an old lady sneaks around in a supermarket just to feel the food, among others.

Never missing a step, Yamazaki Tsutomu fully embodies the character of Gun. His tough assertiveness, along with the willingness to fight and instigate others, gives him many of the characteristics that John Wayne's famous cowboy persona's had. In fact, the entire cast is filled with likable, charismatic characters. Tampopo is spunky, determined, and easy to root for–we want her to succeed in her quest for ramen- making perfection. Yakusho Koji is also a welcome presence with his depiction of the erotic possibilities of food; in one scene he cracks an egg and the yolk is passed around between his mouth and his beautiful mistress's. It is ultimately the way in which these characters are portrayed on screen that gives them such a likable presence. Food is universally loved–showing characters and their intense passion for food strikes a chord with everybody. It also makes you hungry.

Itami's use of scene transitions is brilliant in its unobtrusiveness. Scenes suddenly shift without the viewer even noticing–it's seamless perfection. For example, there is a scene in which Tampopo is exercising outside under Gun's supervision when a group of businessmen in suits walks past. The camera decides to follow the businessmen to their destination, a French restaurant, to watch them order their food, then follows the waiter out into the main seating area where it stops to observe a group of women receiving a lesson on proper Western dining etiquette (eating without slurping…although a Western man in the restaurant is slurping his noodles loudly, much to the chagrin of the teacher). As the businessmen's waiter passes through, the camera follows him back to the business party. You can't help but enjoy the way this all works–the transitions make for a creative and ultimately successful approach to telling a story with multiple plot lines and random happenings.

Itami created a masterpiece here, one that should be seen and loved by everyone. There are not many films that display the kind of warm splendor that Tampopo emanates. You cannot avoid smiling throughout the movie. The characters become deeply involving and one cannot help but feel connected with them. This is the ultimate film for food lovers. Try to avoid the pangs hunger while watching. I couldn't.

"Men and women are all humans. It's only hard when we categorize ourselves … Maybe we don't need to define ourselves as man or woman. Maybe the determination of our sex at conception is as arbitrary as whether the zoo was open or not. What we do know is that in the beginning all humans start out being women."

Kakera: A Piece of our Life is an emotionally-charged independent film about the budding relationship between two women. Haru (Mitsushima Hikari, of Love Exposure fame) is a quiet, odd-ball college student dealing with a boyfriend who is with another woman and only uses Haru for sex. Riko (Nakamura Eriko) is an enthusiastic, excitable prostheticist who prefers women "because they are soft and cuddly," as she states in one scene. They meet quite randomly–in a coffee shop; Haru is drinking her mocha and ends up with a cute chocolate mustache. Riko is immediately smitten.

I must begin with the performances. Both actresses are absolutely phenomenal. Mitsushima Hikari is great, as usual, playing an off-beat yet quiet character. This is a departure for her, as she is usually the loud one. As director Ando Momoko has stated, Mitsushima was willing to do anything she asked, even excitedly growing out her facial and underarm hair. Mitsushima's character, Haru, is portrayed as the opposite of attractive–shown going the bathroom, wearing strange clothes, with facial and armpit hair, etc. This obviously upset her fan club, as the heads of it attended the first screening and, according to Ando, came up to her furious about how Mitsushima was portrayed (she used to be of the pure, cute, cuddly, idol-type). I give major props to Mitsushima for courageously committing to her characters and her acting career.

Nakamura Eriko is impressive as well. I had previously seen her in the film Shikyu no Kioku (2007), where she played a quiet, cute young college student in a small role. She, like Mitsushima, reversed her typical character-type in Kakera, playing the tough, loud, enthusiastic Riko. I don't know if I've ever seen a performance quite like Nakamura's; she makes you feel her happiness, her excitement along with her. There is also a haunting, brilliant short performance by Katase Rino as a depressed, lonely older woman in need of a prosthetic breast.

Kakera is Ando Momoko's first film, and she is definitely a young talent to watch out for. The daughter of Okuda Eiji and sister of Ando Sakura, cinema is definitely a family affair–though she prefers to do things her own way. Her camera is varied, delivering many important still shots, slow tracking shots, extreme close ups of faces, and an intimate styling when needed. It ends up as a refreshing experience. The visuals are deliberately dull and monotone, with certain colors popping out for special effect. James Iha of Smashing Pumpkins contributes to the score and delivers fitting, quiet, atmospheric, and progressive music that highlights the light, bouncy, and uplifting yet sometimes sad, though never dark, quality of the film.

There are both some extremely powerful and totally irrelevant scenes included in the film. One scene in particular is striking in its use of background imagery to deliver an emotionally tied message. Haru had decided to tell her boyfriend that they were over, but after delivering the message falls over and lands face-first on the floor. She rolls over and says "I'm done," then lays there and allows the guy to have his way with her as she hums mindlessly to herself. Meanwhile, a war documentary is playing in the background, guns firing and bombs exploding. This emphasizes the turmoil and chaos both in Haru's mind and in the scene as a whole. Another scene, where a thrown bottle transforms into a two-headed pigeon, is completely irrelevant and removes the viewer from the reality of the film–especially with the cheap CG used.

Kakera is a deeply engrossing and thought-provoking film that seeks to show that gender doesn't matter when it comes to love, it's about finding yourself and looking at the person inside. Haru and Riko's relationship is a normal one, they experience things that any "normal" couple would experience. Just as Riko fills up prosthetic pieces, she also fills up Haru's heart and helps her move through her rocky relationship with her boyfriend; however, they are not immune to typical relationship woes. The actresses had fun making this movie–you can tell because they infect you as well, causing wide smiles to magically appear on your face.

I'll leave you with a little quote of wisdom from the film: "Favorite foods are better eaten a little at a time." Remember it.

"The Summer when youthful passion sweltered in the air."

Ain't No Tomorrows opens with this line, though it would be more accurate as "The Summer when youthful and somewhat annoying characters suffered in the sweltering air." Hiruma (Emoto Tokio), a high school senior whose only goal in life is to get laid as fast as possible, attempts to blackmail the sickly Tomono (Miwako), who is in a serious relationship with their teacher (Taguchi Tomorowo), into having sex with him. Repeatedly failing, he turns to Ando (Kusano Ini), a fat boy, in order to take out his sexual urges by squeezing his man boobs. Little does he know that Ando is lusted after by Akie (Misaki Ayame), the school beauty, who seems to like him for "who he is."

Hiruma and Ando's friend, Mine (Yuya Endo), one day stumbles upon Chizu (Ando Sakura), who is passed out in the grass with period blood running down her leg. She has no idea about her own body and appears to not be knowledgeable about sex, so Mine "helps her out." This pairing turns out to be the best in the film, though it is the least represented on screen. In fact, the scene in which they meet is the best scene in the movie.

Ando Sakura delivers the most notable performance of the film with very little screen time. There is an undeniable draw that her character exudes–you'll find yourself wishing that the whole movie was about her character. She also bares it all, not afraid to hide what exists underneath her clothes, unlike most Japanese actresses who can actually act. To have an actress that's unafraid to do anything in the Japanese film industry, that's something special. Endo Yuya as Mine, paired with Ando's Chizu, delivers a likable yet unlikable performance, making their scenes together some of the best of the film.

The rest of the cast is somewhat annoying, especially the character of Hiruma, whose endless quest for sex will end up driving you crazy. He is always either yelling profanities, grabbing Ando's man boobs, reading from erotic novels, or masturbating. The teacher, Yoshida, is quite pathetic, allowing himself to be made fun of by students and is even beat up by Hiruma, though he eventually rounds out. Ando is extremely awkward, especially when spending time with Akie, who has a liking for his obesity. All in all, no horrible performances, but weak characters that seem to have little ambition in their lives.

Cinematography is of fairly normal Japanese fair, with many close ups, a slightly shaking and constantly moving camera, and an intimate style. The camera never feels obtrusive and always captured the scene well. Music is basically nonexistent, except for the ending credits. Director Tanada Yuki keeps the film short–only 79 minutes–which worked quite well; the film ended just as I was about to check the time.

Although much of what the characters in Ain't No Tomorrows do is baffling and pathetic, it effectively illustrates the darker side of growing up: experiencing the things that your parents never really talked to you about. What separates this film from the TV-sponsored, idol-fair teenage dramas is Tanada's commitment to the diversity of her characters, regardless of the fact that some of them are extremely unlikeable. She presents the film in a manner rarely seen in youth films, using non-pretty faces and utilizing actors that are far apart from the popular, mainstream idols.

Based on a manga by Saso Akira that I have not read, the film caters to a high school or older audience, marked by the frequent addition of profanity, nudity, and scenes of (mostly attempted) sex. It is an unexpectedly dark film, with infrequent scenes of comedy that may make you chuckle, but not laugh. Ain't No Tomorrows is not the most likable film out there, but it is not completely dissatisfying. It is a film that succeeds in establishing itself as unique and apart from the typical teenage drama, but feels like a surface film–one that should not be thought too deeply about.

Nakajima Ryo, who burst onto the scene with the original and refreshing This World of Ours (2007), which was immensely popular on the film festival circuit, is a promising young director that I assumed would be bold with his film-making. Being a fan of his freshman feature, I naturally was quick to pick up his sophomore effort. Rise Up disappoints in every way possible. While This World of Ours was fresh, original, and powerful, Rise Up is a complete departure, resulting in a film that is overly cliché and suffers from the pitfalls of mainstream conformity. I predicted the entire movie within the first 10 minutes and the film turned into a comedy for me as every prediction came true.

Wataru (Hayashi Kento) is standing at the top of a huge hill, enjoying the beautiful scenery before jumping off and paragliding down as his friend, Hiroya (Taiga), films him. Before touching down, a girl, Rui (Yamashita Rio), walks in Wataru's path, causing him to crash land in an unexpected way. Hiroya is angry and continuously yells at Rui, but Wataru quickly realizes that she is blind and accepts the situation.

The three meet again soon after, initiating a "job" of sorts in which the two boys lead Rui around town as if they are her "seeing-eye dogs." They soon find that she is difficult to handle, though Wataru seems to develop a liking to her. It is soon discovered that the two boys work for Rui's brother (Aoki Munetaka) at an amusement park as mascot animals, initiating a few comedic scenes. Life continues and friendship develops until certain memories come to light and expose a tragic incident that occurred in the past. (This is all in the official trailer, along with more).

Rise Up is billed as a touching, sentimental romantic drama but fails to present the events that take place in an effective manner, causing the viewer to feel disconnected from the characters. During some scenes, I was puzzled as to how things happened the way they did. Some events are just too convenient or random–a token example of a director unable to find a good flow for his movie. The story is definitely tragic and is intended to be touching, but the movie is too short to effectively immerse the viewer in the characters' world. What Rise Up does do is present the Japanese population as completely helpful and kind, as every person that Rui encounters (except for one man, who, in a rush, knocks her over) while she is out on her own never fails to assist her in the best way possible. I view this as a hopeful message to society, as real life is definitely far from the way the story presents it.

Acting is sub-par at best, even from Hayashi Kento (though he shows signs of promise and has definitely delivered acceptable performances in the past–his face stands up well to the intimate camera-work). The characters themselves are one-dimensional, performing as expected and never straying from the generic path established in the beginning. The two friends–Wataru and Hiroya–are opposites; Wataru is kind, understanding, and quiet, while Hiroya is loud and argumentative, though good at heart. These two are perfect friends, playing off one another well. As a side note– I assume that a major draw to most potential viewers is the possible romantic aspect between Wataru and Rui, but it is not as involved as you may expect. You have been warned.

Though Rise Up is drastically different from This World of Ours in subject matter, it somewhat retains the stylistic camera-work of Nakajima's first film (in which he was the cinematographer; however, he chose to use a separate cinematographer for Rise Up). The camera is intimate, though less in-your-face and not filmed in the hand-held style, and I did find it to be visually pleasing. The soundtrack is all over the place, with some tracks honestly sounding like music you would hear in a commercial or a hotel lobby. These are contrasted with some uplifting tracks and the inclusion of the classical piano masterpiece, Clair de Lune, three separate times.

Rise Up is a disappointing effort by Nakajima Ryo to make a mainstream, commercially accessible film, unlike his previous, drastically different This World of Ours. Though it includes some beautiful and visually pleasing shots, the film as a whole exudes amateurism, which worked for This World of Ours, but fails in this context. It's not overlong and is paced fairly well, but the flow of events is improvised in some cases and doesn't completely work as a whole. This is a tragic drama that attempts to be sentimental, and it is–but it falls short of making a lasting impression on the viewer because of its unbelievable story and awkward flow. I hope your next film is an improvement, Mr. Nakajima.

In short: Violent Cop is a great film. Kitano plays a cold, Dirty Harry style cop well. The film is very well-paced and uses its screen time well. Violent Cop is Kitano's first film as a director and it does not disappoint. Watch it for an enjoyable hour and forty minutes, with a climax that will leave you with your mouth agape.

Violent Cop (その男、凶暴につき) is a film about Azuma (Kitano), who is a cold detective that doesn't care how he treats others. There is no basic plot, just one scene after another of violence, Kitano style. Normally I wouldn't give praise to a film like this, but it is so well- done that it deserves it. Camera-work is superb, acting is equally good, and the music, though minimal, comes in at just the right times. Kitano, who had this film handed over to him after Fukasaku Kinji left it, establishes himself as a top-notch director with Violent Cop. There are many familiar faces that will appear in later Kitano films, such as Terajima Susumu.

Azuma slaps a guy in a bathroom repeatedly 23 times. He beats up a kid. He stops a knife with his hand and chases a criminal for a lengthy period of time, eventually running him over with a car. He also takes care of his mentally deficient sister and visits an art gallery. He shows no emotion, except anger when he interrogates a guy that slept with his sister. Azuma is an interesting character that is played brilliantly by Kitano. Watch Violent Cop to discover Kitano's roots and to enjoy a good dirty cop/yakuza-style film. Recommended.

In short: Giving off a low budget, film school feel, Undo is a dark, strange, and unique short film. While containing some quite beautiful shots, Undo is mostly unpleasant to watch and the dialogue is a bit awkward. For Iwai fans, Undo is a nice glimpse into his experimental side, but is far from his best film.

Undo is about a young couple, Yukio (Toyokawa Etsushi) and Moemi (Yamaguchi Tomoko) living in a small apartment (which just doesn't seem normal). The beginning of the film is fairly normal; Yukio brings home turtles as pets because they cannot have dogs or cats, Moemi has her braces removed, they take their turtles for walks (yes, there is a bit of animal cruelty in this film). The situation at the apartment becomes strange when Moemi starts tying and knotting things up, books, apples, the turtles, everything. She is diagnosed with Obsessive Knot-Tying Syndrome and only becomes worse. The film descends into madness as Yukio has to deal with the increasingly worsening Moemi. Various odd scenes follow.

Filmed much like Picnic (1996) and Swallowtail Butterfly (1996), Undo is mostly dark and shadowy, with grainy, fuzzy, and washed out colors. Specific shots are stunning, and music is minimal and ineffective. Acting is good–the girl is particularly interesting as she plays a strange woman who becomes obsessed with knotting things up. Overall, the characters (all 3) were not normal and struck me as odd. Undo is a disturbing film that seeks to show love in a very unconventional way. I probably won't view it again, but watch it if you are interested in experimental film making or a fan of Iwai Shunji.

In short: Sion Sono's Be Sure To Share is a touching and inspiring film about familial bonds and how important the little moments spent with loved ones are. Superbly directed and acted, Be Sure To Share is, in my opinion, Sono's best film. It is poetic and beautiful, utilizing basic and classical cinematography in order to convey the thoughts and emotions of the characters. If Ozu were still alive today, he would have made this film.

Be Sure To Share opens by showing parts of events explored more thoroughly later in the film, establishing the basic premise: a husband/father/teacher (played by Okuda Eiji) is hospitalized with stomach cancer. His wife and son visit him every day. Shiro, the son, struggles with his father's illness as he has always seen him as a healthy, commanding presence. As his father was his teacher and soccer coach in school, Shiro was never able to connect with him until he became hospitalized. This newfound emotional connection between father and son translates into promises such as "let's go fishing together after I get better". The situation is further complicated when Shiro discovers that he may also have stomach cancer, and that it could possibly be worse than his father's. The ensuing emotional struggle causes Shiro to question what love is and how important the little moments spent with loved ones truly are. He often questions his longtime girlfriend, Yoko (played by Ito Ayumi), if she would stay with him if he had terminal cancer.

Coming off his four hour epic, Love Exposure, Sion Sono has made a drastic transition with Be Sure To Share. Whereas Love Exposure was wild, extravagant, and appealing to cult fans, Be Sure To Share is quiet, poetic, and personal. Well known in Japan as a first class poet, Sono demonstrates his ability incredibly well with this film. Repetition is emphasized to provide emotional connection to specific areas and characters, such as with a certain street corner or with the bus driver's warm greeting every day as the wife travels to visit her husband in the hospital. Be Sure To Share includes some stunningly beautiful countryside imagery interspersed with city and hospital scenes. Music is minimal, but the same track is repeated during emotional scenes to provide the viewer with a further connective force and add emotional depth. Overall, the music is calming and fits well with the pace of the film.

Acting is impressive throughout Be Sure To Share. The lead, Akira (from the popular music group Exile), is impressive in his first real movie role. He is able to show a vast range of emotions; there are often close-ups of his face in which facial expression conveys to the viewer the conflicting thoughts going through his head. There was the potential of overacting in his role, but he contained the character well. Both the father and mother of Shiro also acted well, along with Ito Ayumi as Yoko. In my opinion, the film was the perfect length and used its screen time well. Sono is really good at this, as even the four hour long Love Exposure felt well-paced despite its length. Cinematography was also top-notch, utilizing a mostly still camera in unique angles or slow pans. The camera work was useful in identifying important places that became a theme of nostalgia throughout the film.

There is a particular scene towards the end of the film that is striking in its poetic brilliance. If you haven't seen the film I won't spoil it for you, but if you have you know which scene I'm talking about. It is shocking, but at the same time fitting and beautiful. By fulfilling his promise, Shiro fills the hole in his heart–a connection between him and his father. Nostalgia is a theme visited a number a times throughout Be Sure To Share–both establishing Shiro's distance from his father by flashbacks of school times and through discussion with friends. When Shiro, Yoko, and Keita visit their old school, memories come pouring back–mostly memories of Shiro's father, who had been their coach and mentor.

Be Sure To Share is a very reserved film, one that depicts real life. From Shiro's morning runs to work to the quiet moments spent with his girlfriend, the film seeks to show that moments like these are not wasteful or meaningless. When Shiro realizes that he may have a worse illness than his father, these small moments become larger and even more meaningful as he struggles with acceptance, regret, and the promises that he desires to keep. Be Sure To Share is surprisingly not over dramatic as it deals with suffering, regret, and ultimate acceptance. It is a realistic film that explores emotions and succeeds at being emotionally investing because of the structure of the story. Die-hard fans of Sono's previous works may not enjoy this film as much as those, but that does not diminish the fact that Be Sure To Share is his most accomplished film so far. Watch it.

http://jkfilmjapan.wordpress.com/2010/05/25/review-be-sure-to-share/

In short: Fish Story will take you on a wild, improbable ride that will leave you smiling once the credits begin. It is a film that rewards multiple viewings as it will leave you thinking and desiring to watch it again almost immediately. Great acting and an incredibly well put together set of events leads to a movie that definitely should be seen. My favorite film of 2009 so far.

If you haven't seen Fish Story yet, you may want to stop reading this review after this paragraph. There aren't spoilers in my review, but it is one of those movies that is best viewed with no preconceived ideas about the plot. Watch the film and enjoy the twists and turns that the story takes. It is a ride that most will undoubtedly enjoy.

Fish Story is about a punk band named Gekirin that recorded a single called "Fish Story" in 1975, a year before the Sex Pistols popularized punk music. Despite knowing that their music won't sell, Gekirin and their supportive producer decide to record this song knowing that one day it will impact the life of at least one person. The film jumps around different time periods ranging from 1975 to 2012, where a meteor is on a collision course for Earth. Going through the movie, the viewer is shown different stories without knowing what is going on or how they factor in to the main narrative.

Each part of the film is captivating, despite the fact that we don't really know what is going on in the film as a whole. Every new story reveals a piece to the puzzle and when they all come together at the end you'll feel like jumping up, running outside, and telling everyone that they NEED to watch Fish Story. Then you'll want to watch it again. This movie has one of the most satisfying endings that I have ever experienced.

I love the cast in this film. Acting was solid, but no award-winning performances. I particularly enjoyed Omori Nao, who played the producer that discovered Gekirin as well as a music shop owner whose store is open despite the pending destruction of Earth. I also thought Kora Kengo, playing Gekirin's singer, and Moriyama Mirai, playing a guy trained since birth to be a "champion of justice" (his action sequences were really cool) stood out. Based on a novel by Isaka Kotaro and adapted by Hayashi Tamio, Fish Story has a great script. Also, the cinematography is good (though certainly not groundbreaking) as well as the directing. Music is great, especially the song "Fish Story" which was written specially for the film.

I can't really name many faults with this film other than it was a little bit draggy in some spots. Also, some may not enjoy the girl's (Tabe Mikako) overenthusiastic acting but I found that it fit her character. The film was just under two hours, but I felt that length was not a problem.

Fish Story jumps around to different genre's (thriller, martial arts action, comedy, music documentary, etc) which I think keeps the movie incredibly engaging, constantly changing up the pace. During my second viewing, I couldn't help but think that I would enjoy watching a film that just took any one of the multiple stories presented and made it feature-length. All of them are that interesting. Having each individual story in the span of a single film, though, is what helps make Fish Story a magical experience. From beginning to end, you will be engaged and entertained. I advise everyone to see Fish Story.

--John Kincaid @ jkfilmjapan.wordpress.com/

Okay, I was pleasantly surprised by this drama. After finishing the first episode (my trial run) I wasn't too impressed, but I am glad that I continued because Love Shuffle took me on an incredibly entertaining ride. With an ensemble cast of well-known entertainers, Love Shuffle was well-acted, well-executed, and super fun to watch. I especially enjoyed the chemistry between all of the cast members, specifically that between Tamaki Hiroshi and Karina. It also didn't hurt that Yoshitaka Yuriko was a part of the cast (playing a very different character)! The story line was pretty much all over the place, but I actually enjoyed it. Every episode was fresh and new, exploring the relationships (or lack of) between the various characters.

Sometimes over-the-top, sometimes mellow, and sometimes sad, this drama impressed me. Love Shuffle was not only a fun time, it gave perspective on how chance encounters can shape lives. Imagine, one malfunctioning elevator ride can bring four complete strangers (who live on the same floor!) together and ultimately form tight bonds. Definitely recommended.

Shiroi Haru had great overall acting, but poor directing. Abe Hiroshi is an outstanding drama actor, my favorite performance in a drama of 2009. The supporting cast was good as well, complementing Abe Hiroshi perfectly. Yoshitaka Yuriko is one of my favorite young actresses (I have to admit, I was first drawn to Shiroi Haru because of her) and she was so charismatic in her role. The story was heartwarming, and so was Ohashi Nozomi (better known as the girl who sings the Ponyo song!), who played a girl mysteriously drawn to Abe Hiroshi's character. At times a bit too weepy when it didn't need to be, the story line remained strong throughout the drama.

Something that irked me about the drama was its sub-par cinematography (which is to be expected in a drama, but there are exceptions). Too many awkwardly angled views of Abe Hiroshi's face, and some strangely lit shots. I don't remember the music as being spectacular, but it complemented the drama quite well. This drama deserves to be watched.

In short: A deep, thought-provoking, beautifully filmed, and well acted piece of Japanese cinema. Bae Doona is magnificent as an inflatable doll that develops a soul and falls in love. Hirokazu Koreeda wows once again with his deliberate film making, effectively commenting on social problems dealing with urban life. Despite the fact that it is a bit slow and a bit long, Air Doll is definitely one of the better films that I've seen recently.

I was finally able to watch this film (on DVD) and was impressed, more so than I thought I would be. To me, Air Doll includes aspects that make it attractive to both film festivals and commercial audiences. With the quirky and interesting premise of a sex doll that comes to life, Air Doll (which is lightly based on a manga) establishes itself as a film which seeks to appeal to modern audiences, specifically Japanese. This doll, "named" Nozomi (played by Korean actress Bae Doona), sneaks out of her owners house every day to go to work at a local video store. There, she falls in love with her coworker, Junichi (played by Arata), and learns about life--both the good and the bad.

What separates Air Doll from some of Koreeda's previous work is his choice of Mark Lee as cinematographer. He films the city of Tokyo beautifully, with long, gorgeous tracking shots. This is a departure from Koreeda's usual style, of which films like Nobody Knows and Still Walking are good examples (both being pretty un-commercial). I enjoyed the cameo's by some well-established actors, including Odagiri Joe as the doll maker, Susumu Terajima as a police officer, and Kimiko Yo as an aging woman obsessed with looking young, although they were definitely not noteworthy performances. I also enjoyed the music, which moved along with the pace of the film and effectively added emotional weight to select scenes.

Where I thought the film faltered was in length. It was too long, which is not a completely horrible fault in many cases, but towards the end I felt as if Koreeda had already established his point and needed to wrap it up. Length is a characteristic problem in many contemporary Japanese films. I feel as if this works for some (Love Exposure !?), but not for most. Another fault that I'd like to mention was the odd, Jdrama-like breaks in the scene where Nozomi is being repeatedly drained of air, then blown back up by Junichi in bed. The same shot was shown three times from different angles, which I found unnecessary and out of place. But that's just me being picky.

Air Doll attempts to illustrate to the viewer the loneliness that exists in an urban environment such as Tokyo. He does this perfectly with the inclusion of small side stories; a nerdy otaku, a lonely old man, an aging woman obsessed with beauty, a bulimic woman suffering from depression, and other lonely people. These characters only briefly appear on the screen, giving the impression of the fleeting encounters with strangers in a big city urban environment. Bae Doona's character of the doll, Nozomi, is the highlight of the movie. She plays the character perfectly, often condensing many emotions into one and displaying all of the quirkiness of a doll that has recently discovered life. It is interesting and perfect that Koreeda cast a Korean in the roll of the doll, as it further alienates the character from the rest of the cast as well as the audience. It is also interesting to note the fact that Bae Doona was very naked during the film (being a sex doll and all), a feat that not many Japanese actresses would even dare to do. She has been nominated for--and won many--awards for best actress.

--John Kincaid @ jkfilmjapan.wordpress.com/