Tag: Tokyo

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Spaghetti Code Love
(Supagetikodo Rabu,
スパゲティコード
・ラブ)

Director – Takeshi Maruyama – 2021 – Japan – 96m

***1/2

The intersecting lives of several young Tokyoites suggests they don’t know how to communicate with one another – plays UK cinemas in the Japan Foundation Touring Film Programme 2022 between Friday, 4th February and Thursday, 31st March

A young woman hangs out in an amusement arcade. Suddenly she’s aware of a young boy. Running, shouting, “why me”. He needs something. She steps into the breach and – for a moment, at least – provides it by holding him tight, a surrogate mother, an understanding human connection.

How far this understanding goes, it’s impossible to say. We never find out the source of the boy’s malaise, we never learn anything more about the woman who holds him in the arcade. However they have connected on some level – physically and emotionally. And that’s what this film seems to be about.

It’s basically a series of character study vignettes in which the characters occasionally cross paths which could well have been written or conceived as a half dozen of so short films. They connect with or become alienated from one another. It’s set in Tokyo with a title suggestive of complex networks and computer language with the catch-all ‘love’ tacked on the end.… Read the rest

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Detective Chinatown 3
(Tang Ren
Jie Tan An 3,
唐人街探案3)

Director – Chen Sicheng – 2021 – China – Cert. 15 – 136m

****

The Chinese franchise’s super-sleuth and bumbling sidekick join forces with their Japanese and Thai counterparts in Japan – out in cinemas on Tuesday, January 25th and 26th only

No sooner have the brilliant crime-solving sleuth Qin Feng (Liu Haoran) and his likeable if barely competent sidekick Tang Ren (Wang Baoqiang) flown in to Tokyo and met their contact there, the sharp and colourful Hiroshi Noda (Satoshi Tsumabuki), than they find themselves embroiled in one of the most seriously bonkers action sequences in the movies in recent years when members of (at least) two gangs suddenly attack in the airport to the inspired accompaniment of the pop song ‘Welcome To Tokyo’ (which gets rolled out again for a cheerful, cast of thousands, song and dance routine accompanying the end credits). Extensive mayhem ensures. A man rolls down a long flight of steps in an oil drum. Two groups of smartly uniformed and skirted women do battle (one group in red, one in blue – stewardesses from rival airlines, perhaps?). Workmen in hard hats and overalls descend from scaffolding to join the melee.

Knowing this will be an impossible act to follow, the film then throws in a pursuer Jack Jaa (Thai martial arts sensation Tony Jaa from Ong-bak, Prachya Pinkaew, 2003) on the Tokyo subway before having the trio flee him on go-karts while he comes unstoppably and hilariously after them by stealing a child’s bicycle with tiny wheels.… Read the rest

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Still The Water
(Futatsume
No Mado,
2つ目の窓)

Director – Naomi Kawase – 2014 – Japan / France – Cert. 15 – 119m

*****

Two childhood sweethearts living on an island beset by storms must come to terms with the mortality and fallibility of their mothers – on BFI Player (rental) and MUBI.

The ocean roars and then, just as suddenly, is quiet. The wind howls through the trees, then sunlight is glimpsed through tranquil branches. Welcome to the sleepy yet storm-battered island of Amami Oshima, part of the Southern Japanese Archipelago, a place of paradox and contradiction seen through the eyes of two teenaged friends and their families.

Kyoko (Jun Yoshinaga aka Junko Abe – Samurai Marathon, Bernard Rose, 2019) loves swimming in the sea. Her friend Kaito (Nijiro Murakami – Isle Of Dogs, Wes Anderson, 2018, Destruction Babies, Tetsuya Mariko, 2016) is less keen – he’d rather be in the safety of a swimming pool. She uses him and his bicycle to get around the island if and when he’s nearby. She is rather keen on him and would happily have sex. He can’t explain why, but is less enthusiastic about the idea.

Once we move on to their parents, there are fascinating observations regarding motherhood – especially in the light of adoption / unwanted pregnancy outing True Mothers (Naomi Kawase, 2020) – and, to a lesser extent, fatherhood.… Read the rest

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A Snake Of June
(Rokugatsu
No Hebi,
六月の蛇)

Director – Shinya Tsukamoto – 2002 – Japan – Cert. 18 – 77m

*****

Unlike any terrorised female narrative you’ve ever seen, at once bizarre and hugely rewarding – currently streaming on BFI Player as part of the BFI Japan 2021 programme

This review originally appeared in What’s On In London, June 2003.

In an unnamed (but suspiciously Tokyo-like) Japanese city where it’s constantly raining, a mysterious phone caller blackmails repressed housewife Rinko (Asuka Kurosawa). If that sounds clichéd, set your prejudices aside because Shinya Tsukamoto’s unique, new film is unlike any terrorised female narrative you’ve ever seen. The motives of the caller (director Tsukamoto himself) are scarcely what you might expect.

From the moment Rinko opens a postal package labelled “Your Husband’s Secrets” to find photographs of herself masturbating (which she flicks into life like a series of animated stills) via her subsequent following orders involving short skirts and vibrators through to the extraordinary finale, the piece walks a difficult path between humiliating and liberating women.

With the year’s most arresting opening – a stripping model reduced to orgasmic ecstasy in serial, rapid-fire static images to the flashing of a stills camera – it’s likely to engross some viewers while offending others.… Read the rest

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Fast & Furious 9

Director – Justin Lin – 2021 – US – Cert. 12a – 145m

***

The hero’s embittered younger brother must be prevented from assembling a device with which he can conquer the world – in cinemas from Thursday, June 24th

Latest instalment of the long running franchise features stalwart characters Dom Toretto (Vin Diesel) and Letty (Michelle Rodriguez) who at the start are living off-grid as Dom is attempting to be a good father to his small son Brian. Cue a surprisingly gripping scene where their isolated residence receives visitors and it becomes apparent that Brian has been trained to hide himself in a specially constructed trunk on such occasions while the two adults, guns at the ready, prepare for what might be coming. (Strangely, this scene has an emotional resonance rare in the rest of the film; it’s one of the best things in it.)

The visit is friendly – it’s Roman (Tyrese Gibson), Tej (Chris ‘Ludacris’ Bridges), Ramsey (Nathalie Emmanuel, exploiting her English accent to the full) and Dom’s sister Mia (Jordana Brewster), members of the crew with whom the adults have shared adventures in previous The Fast And The Furious instalments, and they lay out what’s to follow which involves further characters from previous instalments: the shady intelligence operative Mr.… Read the rest

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The Invisible Man
Vs
The Human Fly
(Tomei Ningen
To Hae Otoko,
透明人間と蝿男)

Director – Mitsuo Murayama – 1957 – Japan – Cert. 12 – 96m

**1/2

The lesser of Daiei’s two Invisible Man movies. Mitsuo Murayama, working from a script by Hajime Takaiwa, delivers not so much a sequel but, much like the different entries in Universal’s Invisible Man series, a different story with a different set of characters built around the concept. Without Eiji Tsuburaya’s guiding hand, the invisibility effects are less memorable but do what they need to. A striking theramin score by Tokujiro Okubo adds an unearthly atmosphere.

This time, the Invisible Man is not a criminal but on the side of the law. It’s a murder mystery with a bizarre twist… [read more]

On a Blu-ray double bill with The Invisible Man Appears (1949). Full review at All The Anime.

Trailer (double bill):

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The Invisible Man
Appears
(Tomei Ningen
Arawaru,
透明人間現る)

Director – Nobuo Adachi – 1949 – Japan – Cert. PG – 82m

****

With a title that seems to proclaim, “look at me, I’ve arrived”, Daiei’s The Invisible Man Appears (1949) is a Japanese manifesto, a statement that they can match American movies. Eiji Tsuburaya‘s effects are as good as anything in Universal’s The Invisible Man (1933) and were almost certainly produced at a fraction of the cost.

Although the concept originates with H.G.Wells’ 1897 novel, images from the Universal version starring Claude Rains are lodged in the popular consciousness. Thinking of The Invisible Man, I immediately recall a hat being removed then bandages being unwrapped from covering a man’s head to reveal… nothing… a shirt collar with no neck inside. The Invisible Man Appears recreates such effects convincingly… [read more]

On a Blu-ray double bill with The Invisible Man Vs The Human Fly (1957). Full review at All The Anime.

Trailer:

Trailer (double bill):

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The H Man
(Bijo
To Ekitai-ningen,
美女と液体人間)

*****

Director – Ishiro Honda – 1958 – Japan – Cert. X – 86m

The H Man (lit. Beauty And The Liquid People) was scripted by Takashi Kimura, who, as Jasper Sharp notes in the accompanying booklet, wrote monster movies for Honda where the monsters were liquid, gas (The Human Vapor, 1960) and mutant man-mushrooms (Matango, 1963). All these can be read as the elements constituting the clouds – or mushroom clouds – of nuclear bombs dropped on Japan or tested near it.

Yet after opening with nuclear explosion stock footage, the film swiftly morphs into a police procedural in which various characters mysteriously disappear… [read more]

Over at All The Anime, I review Eureka!’s Ishiro Honda Blu-ray double bill of The H Man and Battle In Outer Space.

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Battle
In Outer Space
(Uchu Daisenso,
宇宙大戦争,
lit. The Great Space War)

*****

Director – Ishiro Honda – 1959 – Japan – Cert. U – 90m

Battle In Outer Space is one of those films that paints on a bigger canvas and sacrifices character development in favour of big-screen visual spectacle, brought to life with state-of-the-art special effects. According to Kalat, the film owes much to the bigger Hollywood 1950s SF feature film films made in colour. These include not only films by former Puppetoon animation creator George Pal such as The War Of The Worlds (1953) and Conquest Of Space (1955) but also This Island Earth (1955) and Forbidden Planet (1956).

Honda’s film wades straight in to alien war scenarios… [read more]

Over at All The Anime, I review Eureka!’s Ishiro Honda Blu-ray double bill of The H Man and Battle In Outer Space.

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Ishiro Honda
Double Feature
The H Man
(Bijo
To Ekitai-ningen,
美女と液体人間)
and
Battle
In Outer Space
(Uchu Daisenso,
宇宙大戦争)

The H Man

*****

Director – Ishiro Honda – 1958 – Japan – Cert. X – 86m

Battle in Outer Space

*****

Director – Ishiro Honda – 1959 – Japan – Cert. U – 90m

Alongside the standalone release of Mothra (1961) comes a double bill of two more Toho science fiction movies directed by Ishiro Honda with special effects by Eiji Tsuburaya: , The H Man (1958) and Battle In Outer Space (1959). The Toho studio is associated more with monster movies than any other genre, notably Godzilla (1954) and Mothra. The superior entries in this cycle tend to be the ones they directed, including the initial 1954 film which ticked all the right boxes to prove a massive success.

When no-one at Toho was quite sure what had made Godzilla work, the pair collaborated on a number of different SF films before everything came together on Mothra. The H Man is a monster film dressed up in gangster trappings while Battle in Outer Space is an epic with space stations, flying saucers, rocket ships, an alien moon base and alien mind control… [read more]

Over at All The Anime, I review Eureka!’s Ishiro Honda double bill Blu-ray.