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Reviews
Tetsujin niju-hachigo (2005)
Love the robot design, hate what they did with it
I had been anticipating this movie since I saw the original ad campaign--a young boy encompassed by the shadow of an old-school robot. I was even more excited when I saw pictures of the actual robots. Throwback designs to a simpler time, when big, clumsy top-heavy machines ruled the earth. I guess in the back of my mind what I was hoping for was a modern-day version of Johnny Socko and his Giant Robot, a series I adored growing up.
Boy, was I let down.
What I got in Testujin instead was a spotty, marginal film with far too much emotion expressed with not enough attachment to the story. If there's one thing I hate in a movie it's the emotional young boy, screaming, banzai-ing, crying when he doesn't need to be--especially when there's not enough on the screen for you to share that with him. It can work, as it did in Miike Takashi's "Yôkai Daisensô," but unfortunately we don't have a winning formula here. Even Johnny Socko had a King Kong-ish connection with the Giant Robot as he flew through the sky in his hand, which unfortunately is missing from this movie. Giant Robot hinted at something human. You never get the feeling that Tetsujin is anything more than a big dumb empty metal shell that, save for a lucky punch, pretty much sucks at fighting.
Perhaps I'd have to really know the original manga to appreciate this, but far too many characters were crammed into this thing. On top of that, the robot battles were weak displays of slow-mo Rocky-like all-punch, no-defense boxing matches. Difference being, in Rocky the slow-motion was used for dramatic effect and here the robots are just oafish and lethargic. There's a scene where the enemy has apparently destroyed the good-guy Tetsujin and what does he do? Put the final nail in the coffin and completely destroy his adversary? Fly off to carry on his mission to destroy the world? No... he just stands there frozen in the same position waiting a good five, ten minutes for his opponent to regain his strength and continue the battle.
It all begs the question, for a robot (or robot mastermind) that has his sights set on world domination, why create a weapon with so many defensive liabilities? How do you expect to be master of the universe when you can't even get past Tokyo?
The movie starts out promising enough, as the evil Black Ox robot twists Tokyo tower into a Twizzler, but it's soon all downhill from there. Too much shoehorned back story, too many story lines with not enough story to cover them, too many illogical plot holes and highly lacking in characters with actual character.
Watch the first 15 minutes, then shut it off. You'll save yourself some wasted time.
Cha no aji (2004)
In its own class
Wow, I just got finished watching this fantastic flick and I gotta say, it's well worth seeking out. Because of the comic book nihilism of his first two films, Ishii perhaps has been unfairly lumped in with the Tarantino-wannabe crowd. But Cha no Aji is sure to show those critics another side of a very talented director.
While I'm a fan of all three films, I think this movie is Ishii's best to date. It's got his trademark eccentric characters and meandering plot lines, but here he takes his flights of creative fancy to new heights. In categorizing this film, if that is indeed possible, I am reminded of the whimsical let-it-fly-ish-ness of Juzo Itami's more playful works.
Cha no Aji brings you in to the world of an unusually quirky family, whose actions at first seem not of this world. Before you are able to ask yourself what the hell is going, you're drawn in, following several strange story lines, which are just as out there as they are touching and human. Before you know it, the characters become a part of you and you're finding a little bit of yourself within each one. Yes, even the seemingly senile grandpa. (Just wait, you'll see.) This movie hits on many levels. It's touching. Hilarious. Bizarre (at times almost in a Hausu kinda way). Pregnant with ideas. And most importantly... inspired!
To top it off, the soundtrack is provided by the most excellent soca-flavored dub band Little Tempo, who have an impressive discography and are well worth checking out if good honest dub is your thing.
What a movie!
Suwarôteiru (1996)
Overrated
I wasn't going to say anything, but seeing review after review posted here with "movie of the century" sentiments, I just had to provide a little balance to the discussion. I must admit, I was strongly compelled to check this movie out after seeing all the 10s posted in its favor. I've heard so many glowing words about the director. But with so many films on my to-see list, I am just now getting around to it about five years late. And know I could have easily waited another five had I known what I was getting into.
I've seen enough movies that I can usually tell within the first ten minutes if it's going to hold my attention or not. I nonetheless sit through them all (even something as dreadful as Dr. Dolittle 2) as I've been wrong in giving up on a movie too early (which was not to be the case with Dr. Dolittle 2).
"Swallowtail" had me squirming with boredom from the get-go, but for reasons stated above, I stuck with it... two and a half hours too long apparently. The casting is awful. The characters are goonish and annoying. The cinematography is wretched. The script. Oy vey. What a mess. And come on, original? Give me a break.
For all its faults, I'll take Miike's "Dead or Alive: Final" any day over "Swallowtail" if I'm looking for cross-cultural future shock. Hell, give me "Suburbia." At least the music's good.
And that's not even to slight Chara, because I am a fan of hers. But watching the vocal chords pop out of her neck as she strains to sing a half-ass rock version of Frank Sinatra's "My Way" is entirely too painful.
I recently had a discussion with a friend about Kurosawa Kiyoshi. I was telling her how much I loved his movies to which she replied how boring they were. At the same time, she was telling me how much she loved "Swallowtail" and director Iwai Shunji. At this point, having just finished the movie, I have lost all confidence in her ability to judge a movie. Granted, I am not giving up on the latter director after one movie, but you won't see me rushing out to follow up on the body of his work. Sure, lots more things happen on the screen in "Swallowtail" than a movie like Kurosawa's "Bright Future," but "BF" says more and makes me think more with tons less filler. Now that's power.
Runaway Train (1985)
What? wha? WHAT?
Well, I was actually just here to see if anyone wrote about a particular scene. But the more I read, the more I had to say what? This movie is Tarkovsky-like? Just like a Kurosawa? Up there with Blade Runner? Let me just say one thing: ARE YOU PEOPLE OUT OF YOUR MINDS??? Yes, yes, I know this director worked with Tarkovsky. But working with Tarkovsky does not entitle this melodramatic pile of donkey butt to the rights of being Tarkovsky-like. Has anyone here making those comments seen a Tarkovsky? If you like Runaway Train, you are not sitting quietly through a Tarkovsky, I can guarantee you that. Most Tarkovsky fans can't even make that claim! And I know that Akira Kurosawa had his thumb in the fingerbowl of this story, but come on now. Are you really going to try to put this movie next to a Kurosawa, even at his worst? Not a chance. Blade Runner? Runaway Train is closer to a prettier version (scenery and cinematography-wise) of Speed. No, make that Speed 2. These movies are closer in kin. Check dialogue, acting, plot, action sequences. Sorry, folks. I saw the lovefest going on for this midnight stinker, saw the bad comparisons drawn, and I got outraged. Had to voice my opinion. Peace.
American Job (1996)
Is it real or fantasy?
I, like another reviewer, caught this on IFC, was caught off-guard, and got enmeshed in this, the American Worker's world. Who can't relate to this guy? Who hasn't had one of those crap jobs--and this movie seems to give a nice crap-job cross-sectional--that makes you just want to walk off and forget it was there and that you were ever a part of it? You mean to tell me you've never had to scrub a toilet or fry a basket of fries? You've never endured the realness of the American Experience? That is what this movie is about (for those with questions as to the movie's point). This movie is about what it means to many people to be an American. A counterpoint to bootstrap mythology. Whether you find it ugly or beautiful may attest to the quality of your character. Or at the very least, to the quality of cinema you are used to.
When I caught it, I missed the first five-or-so minutes so I didn't know exactly what I was watching. Was it cinema verite' or simply narrative? There were a few clues pointing to the later--as was the cast listing at the end--but some of it was so real it was as if I had been there before. Like I was the guy that left the job before him. Characters this great are born, not written. All of them were great, up and down the chain of command.
This was one of those movies that stayed with me well after the first viewing, kinda like a less-severe Gummo or Dancing Outlaw. If that type of cinema is your cup of tea--if you are a fan of Godard, Solondz (whom I thought the lead character was at first), LaButte, Korine, or Wenders--I highly recommend this movie to you. You won't be disappointed. If you are stuck on the old model of cinema, stuck on the boom boom boom and the t'n'a, stuck on the antiquated arc with the feelgood ending, you best run from this movie and instead rent a copy of Forest Gump or Bad Boys II.
Good stuff: 9/10
Minbô no onna (1992)
Too realistic for his own good
As other reviewers have pointed out, Itami was stabbed by Yakuza after the release of this film. The reason: They felt it too realistic. I suppose they feared that if the public were to find out their "secret" methods of intimidation were just a bunch of hot air, so to speak, it would soften their scare.
And so when you watch this brilliant and dynamic piece of filmmaking, remember that for as outlandish as the characters and situations may come across on screen--as "over-the-top" as it may seem--there was enough realism in the portrayal of the Yakuza mindset to ruffle a lot of feathers.
Think about the fact that there are hundreds of Yakuza movies out there and that this one was the one to stir up outright violence. It's like a Japanese "Colors"; maybe not the most realistic film, but rather a representation that captures a certain animal instinct in some people--like bottled react juice.
Itami continued to provide strong roles for women in this film. And while I agree that this film is not as "wacky" as some of his others, it has just the right combination of farce and graveness to make it a gem.
Great movie, great director. 9/10