Welcome to a companion piece to my Valentine’s Day special post Too Hot to Handle- My Fave Tokusatsu Villainesses. Obviously, this time I am going to talk about my favourite Tokusatsu heroines. These gals relentlessly save the day from various otherworldly threats, yet they manage to keep their cool and stay beautiful. Without further ado, let’s dive into the rundown.
7. Hiroyo Hakase
Similarly to my previous list, at spot number seven we have yet another character from Hikonin Sentai Akibaranger. The quirky scientist, who is actually an owner of a cafe for Super Sentai fans, assembles the Akibaranger team and gives them the MMZ-01 changer devices. Her name actually means “beautiful doctor” lol! Well, Hiroyo is indeed a cutie, and I love all the gag moments centering around her. In addition, the lab coat makes her simply irresistible. I have also enjoyed the romantic banter between Hiroyo and AkibaRed, but it is a shame that their “clash” did not amount to a full-blown relationship. My respect goes to actress Maaya Uchida for portraying this wacky character. She should have done more Tokusatsu shows! Still, you can enjoy her craft as a voice actress and as a musician.
6. Anna Otonashi
Now, we are entering the Godzilla realm. I must say that Godzilla: Final Wars (2004) is one of my least favourite entries in the franchise, but I enjoyed the appearance of Maki Mizuno as newscaster Anna Otonashi. Although many Kaiju fans love Rei Kikukawa in this motion picture, I will always be in team Mizuno, mainly because I can’t help but think of this actress as a more mature version of Michiko Kichise :) Well, I hope that Maki will return to the Godzilla franchise in some capacity someday. In the meantime, we can all admire her in TV commercials.
5. TimePink / Yuri
Let’s not fool yourselves. Yuri is the REAL leader of the Timerangers team in the Mirai Sentai Timeranger series. She is tough, determined, and resourceful. Mika Katsumura nails it to the cross as an Intercity Police officer from the 30th century who bosses around her colleagues. If I can remember correctly, in one episode the writers made fun of her cold attitude by turning her into a possessed hottie. All in all, I was cheering for the love subplot between her and Tatsuya/TimeRed.
4. OhYellow / Juri Nijou
Arguably, the only member of OhRangers who looked like an adult, at least in my opinion. What else is there to say. OhYellow is a true looker and I think she resembles, in terms of appearance, the Amazoness from Spiderman (1978) show. Additionally, I like her special weapon, which is actually a double baton. You can see OhYellow using it in this compilation clip. It is a shame that actress Ayumi Hodaka only portrayed this character in all of Tokusatsu.
3. YellowRacer / Natsumi Shinohara
At spot number three, we have YellowRacer from Gekisou Sentai Carranger. Even though this down-to-earth mechanic does not get much spotlight in the show, she manages to shine in these few episodes devoted to her. Fixing a car in a flash? No Problem. Saving a child without the ability to transform? No Problem. Charging in a jeep at baddies and transforming while driving. N o p r o b l e m. Natsumi Shinohara is freaking awesome and such an underrated ranger. My words of appreciation and support go to actress Yuka Motohashi who is currently battling cancer. You can check out her official blog in Japanese if you are interested.
2. Miki Saegusa
The silver medal goes to the heroine of the Heisei Era of Godzilla movies. Throughout six movies, we see how Miki formed an emotional bond with the King of the Monsters as well as his baby son. Many fans criticise the character for behaving in a contradictory manner in each movie, but I think the only people at fault in this regard are the writers. The bottomline is that Miki Seagusa served as one of the many continuity links between all the Heisei movies. The journey of the Big G is also her journey. When she sobs during the finale of Godzilla vs. Destoroyah, you can’t help but cry with her. Big shout out to Megumi Odaka who played Miki. If you want to get to know more info about her experiences behind the scenes, then please refer to this awesome G-Fest interview.
1. Dayo
Obviously the crown goes to the only heroine who managed to steal Godzilla’s heart. I appreciate the character of Dayo as much as the actress who portrayed her. Whenever I think about the conceptual “Godzilla’s Heroine”, the first person who comes to my mind is none other than Kumi Mizuno. She appeared in four Godzilla flicks, but also in a ton of other Toho-produced Tokusatsu classics, such as The Three Treasures, Matango, Frankenstein Conquers the World, and The War of Gargantuas. In other words, Kumi Mizuno is the Queen of Tokusatsu!
All things considered, this was the list of my favourite Tokusatsu heroines. I realise that I have a lot of catching up to do in the genre, so perhaps I will update the rundown in five years or so. Feel free to share your own personal faves in the comments. Thank you for reading. PS Yes, the title of this post is a reference to a song by Modern Talking.
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Love and Leashes; or, In the Realm of Domination I told you I don't think you're a pervert. Or maybe you are. Aren't we all somewhat perverted? Well, that escalated quickly. As I have previously stated in my review of The Naked Director (2019-2021), I am not really into kinky stuff, so I initially avoided the hype for Love and Leashes, a 2022 South Korean rom-com based on a webtoon called Moral Sense. However, after reading positive reviews on MyDramaList, I decided to give the film a chance. Here are my thoughts on it.
Release Info
Directed by: Park Hyun JinStarring: Seo Hyun, Lee Jun Young, Lee El, Kim Bo Ra
Language: KoreanOriginal Title: 모럴센스 Runtime: 117 min
Synopsis Jung Ji Woo (Seo Hyun) is an efficient and straight-to-the-point worker at a company which promotes toys. Jung Ji Hoo (Lee Jun Young) also works at the same company and he has recently been transferred to Ji Woo’s department. Considering the fact that the two have similar names, it comes as no surprise that Jung Ji Woo accidentally opens a package addressed for Ji Hoo. Consequently, the woman discovers her colleague's personal secret. Namely, he is into BDSM…
Office Secrets On the basis of the title alone, it is easy to imagine that the film is another studio-made flick filled with NSFW content similar in style to, for instance, Love Clinic (2015). In my opinion, Love and Leashes is worth checking out simply because it does not purely focus on the erotic aspect. The BDSM topic is not introduced to provide relief for porn viewers, but it serves as a metaphor of love relations at a workplace. Is it even possible to fall for a colleague? Is it curiosity or attraction? What about the excitement which comes with the infuatuation?
The erotic scenes are present because they reflect the mental state of the main characters. I noticed that lighting in the movie plays an important part. Daily interactions between Ji Woo and Ji Hoo are accompanied by a variety of vibrant colours (see the hilarious package faux-pas or storage room interaction). However, when they engage in a BDSM role play (either in a hotel room or at an office), they are immediately framed within warm colours.
Obviously, the two leads are ridiculous eye candies. Lee Jun Young is so darn adorable, even when he does not pretend to be a puppy, whereas Seo Hyun is enchanting as an office worker who tries to fill in the mistress’ heels. Unfortunately, the supporting parts are a bit bland and forgettable.
Truth be told, the sexual content in Love and Leashes is very mild. The movie’s focus is romance, and I appreciate it for that, but the final act felt too clichéd. It seemed almost as if the writers ran out of ideas, so they remixed the ending of Working Girl (1988) with Melanie Griffith and Harrison Ford, just to wrap up the story.
Recommendations All in all, I recommend Love and Leashes if you are a fan of the leading actors or if you just want some light entertainment. Nevertheless, the movie has zero rewatch value, at least for me. It is a nicely done one-time comedy.
Overall score: 7/10
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Allow me to begin this post with a bit of a ramble. Back in 2006, when I was still a teenager in junior high school, I saved up my pocket money and bought a brand new, 2-disc DVD edition of Batman Begins. I vividly remember that at the beginning of the movie there was a commercial with rock instrumental music saying “Piracy. It’s a crime”. I can’t say for sure, but I believe this was a clip made specifically for Warner Bros’ releases in the late 2000s. Relatively quickly, before the age of memes, a Youtube parody of the video cropped up with re-edited footage saying “Piracy. It’s 'not' a crime”. Well, I guess the relationship between a consumer and pirated visual arts is a tricky one, certainly not as straightforward as shoplifting or pickpocketing. It is easy for me to understand that for young people living in the 2000s, especially outside the US and the UK, torrents and thematic blogs with download links were the only sources to get movies and TV shows they wanted simply because there was no other alternative to get desired titles which were either out of print or completely unavailable in a specific region. However, the situation has changed drastically with the advent of streaming services. We live in the times of immediacy and globalisation, when it is increasingly easier to seek out films we want and watch them legally. This very much applies to the realm of Asian Cinema as well. On the basis of my own experiences, I would like to share with newbies, who are at the beginning of their adventure with Asian movies and dramas, this small-ish guide about hunting for stuff the legal way.
Streaming Services
Since
2020, it has become apparent that Netflix orientates itself towards
Asian dramas and movies. There is a growing conviction among drama fans
that the idea of Netflix increasingly engaging in distribution of
JDramas and KDramas is not a good thing because this will, in the long
run, annihilate independent groups of fansubbers. Personally, I beg to
differ. It is for the best that dramas are becoming more available to
international audiences in a legal way. Still again, there is so much to
choose from in terms of Asian TV shows that Netflix won’t be able
release everything single-handedly, so I believe there will still be
room for fansubbers and their hard work. The
bottomline is that Netflix, Amazon Prime Video, Hulu, and many other
sites offer to watch films the legal way, in a good quality, and in a
multitude of languages. Please refer to this awesome MyDramaList chart
to check out more streaming services where you can find Asian dramas.
Personally, apart from Netflix, I also use local VOD sites in my country
(for which I pay per-film-only by text message or wire transfer, which
is safe and easy). See if there are such sites in your region as well.
Even on YouTube, if you look hard enough, you can find legal channels offering free movies!
Physical Media
Even though many experts proclaim the downfall of physical media, there are still boutique, hard-working labels out there, which strive to deliver quality content on DVD, Blu-ray, and 4K. If you look for Asian titles (either popular or independent) on actual discs, then I invite you to skim through the offers of Criterion, Arrow Video, and Third Window Films. In addition, the boutique labels often manage their own VOD selections or streaming services, and even offer discounts on their titles, so pay attention to their announcements on social media. What is more, (another cliché incoming) rental stores still exist (in small capacity) across the globe. Such blast-from-the-past businesses are often run by people or families with passion for movies. If you have such an esteemed business in your neighbourhood, then pay them a visit. I guarantee, most rental shops will have Asian movies on offer.
TV
Yes,
as clichéd as it may sound, Television is still a place where you can
look for Asian movies. I am not telling you to watch the usual crap on
TV and scour for movie commercials. You just need to look for the films
either via traditional TV guides or digital programme offers. Standard
cable TV or even free antenna TV, which is broadcast digitally, make it
easier for you to find stuff nowadays. I myself frequently look through
the guide of three channels in my country because I know these are the
go-to places for Asian flicks (the names of the channels won’t probably
tell you much, but here they are anyways: TVP Kultura, Filmbox Arthouse,
TV4).
Film Festivals
Either online or in real life, film festivals are the best option to familiarise yourself with hard to get Asian productions. On a yearly basis, there are at least three festivals in my country which screen Asian films. International events are also a good choice because they offer screenings free of charge, or even allow you to watch stuff online. However, there is a region-lock imposed on the selection, so you would have to help yourself with VPN. The internet speed may become unsatisfactory, but this is the only solution. In my opinion, region blocking on film festivals is pointless and only discourages viewers who want to legally watch a movie. Big movie pirates will eventually get to the stuff they need, one way or another, and download the screeners. To date, it boggles my mind that people casually share on Twitter screenshots from Drive My Car screener, which was obviously recorded by illegal means (article source with photos).
Social Media
Another good idea is to follow movie-oriented profiles, distributors, and even fansubbers on social media. Sometimes there will be some free screening events online, and you will get to know about them through these sources. Recently, I got to know that you can see free dramas directly on NHK site. Speaking of fansubbers, I know that not every drama is available on Netflix or Amazon, as I mentioned previously, but please do not use illegal drama streaming sites because they rob fansubbers from their hard work. If you want drama subtitles, then get them directly from the fansubber. Just getting the file from there and saying simple thank you shows that you support their hard work. Do not go for sites with “kiss” or “on” in the title because these not only steal the drama content, but also steal translations, something one person struggled to make for hours or days in front of a computer screen.
Conclusion
That’s it from me. I hope you will find some of these tips useful. I realise it is sometimes hard (some connoisseurs are really into rare stuff), but there are actual means to check out motion pictures and TV shows fair and square. Additionally, if you pay to watch a film either on a disc or via VOD, you really support the studios and filmmakers who make these films. Please consider that while watching Squid Game, Parasite, Hana-bi or whichever Asian production you like. Thank you for reading.
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Cube (2021); or, Running Scared I see a sin in your eyes. My first encounter with the Cube franchise was not a positive one. Back in the early 2000s, while watching preview trailers on a rented VHS tape, I stumbled upon a teaser for Cube 2: Hypercube (2002). This advertising clip was so atrociously bad that it made me dislike the series before even seeing it. However, I caught the original Cube (1997) on TV years later and actually enjoyed it. It was simple, innovative, gripping, and had memorable characters. Therefore, I am all the more surprised that the Japanese decided to remake this horror classic almost 25 years later…
Release Info
Directed by: Yasuhiko ShimizuStarring: Masaki Suda, Anne Watanabe, Masaki Okada
Language: JapaneseOriginal Title: CUBE Runtime: 108 min
Synopsis Six strangers wake up in a cube-shaped room. They do not know how they got there or what is their purpose of being in the cube. Each wall of the room (including ceiling and floor) has doors, which lead to same cube-designed areas. The strangers try to get out of the endless, claustrophobic maze while avoiding deadly traps awaiting them en route.
Cube Your Enthusiasm The 2021 remake directed by Yasuhiko Shimizu and produced by Vincenzo Natali (the director of the original film) faithfully repeats the basic points of the 1997 source material, but it also manages to muster up a few innovations on its own. Let’s take a look at production design, for instance. Evidently, this is a studio flick (Shochiku), so the crew actually had a budget to work with. The cubical rooms do not have the industrial, “used” look as in the original. Instead, they seem brighter, cleaner, and more spacious. The lighting of the sets is also pleasant for eyes.
In terms of the story's overall execution, Cube feels like a play on Japanese stereotypes. Whereas the original had clear anti-authority sentiment, the remake presents us with a critique of generational conflict, social politeness, honne/tatemae modes in daily interactions, and group mentality vs. individualism. Watching the 1997 and 2021 remake back to back reminded me about a passage from Haruki Murakami’s Underground: The Tokyo Gas Attack and the Japanese Psyche, in which a survivor of the 1995 subway events states that Americans would have certainly behaved differently from Japanese passengers during a terrorist attack and, consequently, there would have been less victims.
This is very much the vibe you get from Cube (2021). The characters behave in an erratic manner when it comes to action, and they seem to be afraid more of each other rather than of the actual maze… In the original, the protagonists hated each other’s guts but at least they consciously worked on getting out. In the remake, the hints as to how the cube operates are thrown into the characters' faces. They discover solutions to challenges they face by pure chance.
With regard to performances, Masaki Suda does well as the leading man, but he gets outshined most of the time but the supporting parts of Takumi Saitoh and Kotaro Yoshida. Hikaru Tashiro is unfortunately bland as the child who forms a bond with Suda’s character. Anne Watanbe looks adorable in prison rags, but her character is one-dimensional and just when you think this is an issue, the film surprises you with a plot twist (no spoilers). As for Masaki Okada, I am glad that his fame gets recognised internationally nowadays, but this movie does a disservice to him. He just goes full Jack Torrance towards the finale. You should never go full Jack Torrance.
Recommendations All things considered, I do not regret watching the Cube remake. Undoubtedly, it is inferior to the original, but it is worth checking out just for the production design and top-notch sound editing, which really enhances the viewing experience. It is an okay horror flick for one viewing only.
Overall score: 7/10
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Supermarket Woman; or, Ideal Shop You know, it’s the customers that make a supermarket. The egg incident taught me how scary that can be. Take a look. Thousands of people living here… all wanting the best they can get for their hard-earned money. Supermarket Woman is a penultimate movie directed by Juzo Itami before his untimely death. It took me quite a while to track it down, but finally, I got to see it. Similarly to his previous works, Supermarket Woman (starring his real-life wife Nobuko Miyamato in the leading role) is a funny, light, feel-good comedy.
Language: JapaneseOriginal Title: スーパーの女 Runtime: 127 min
Synopsis Kobayashi Goro (Masahiko Tsugawa) is the General Manager of a small “Honest Goro” supermarket which is co-owned by his brothers. All of a sudden, the business is threatened by competition in the form of “Bargain Galore” supermarket which gains fame for its price-cutting techniques. While spying in the hostile shop, Goro bumps into a colleague from grade school, Hanako Inoue (Nobuko Miyamoto). Hanako, being an experienced housewife, knows exactly how supermarkets are cheating their clients and what kind of treatment an average client expects. Goro, evidently impressed by Hanako’s knowledge, immediately hires her as the head of the Customer Service Department. An energetic woman starts to change the stale shop environment, turning “Honest Goro” into the best supermarket in Japan.
Shopping Specialist Juzo Itami’s films always focus on some social topic: for example, Marusa no Onna (1987) was about taxes, and Minbo (1992) highlighted the issue of yakuza. Supermarket Woman, as the title suggests, is about the supermarkets, but not the big chain ones, those smaller in size where you can buy primarily food.
This film is definitely at the top together with Tampopo (1985) and The Funeral (1984). Contrary to these pictures, it does not contain dark humour. Rather than that, it is a heart-warming story about two friends joining forces and trying to serve their customers as efficiently as possible. Evidently, it is a fictional tale, but I like to think that in such a country as Japan, the supermarket workers are always trying their best.
Also, the unfavourable side of business is exposed as well. We get to see how the sellers cheat on meat, vegetables, and promotion. Without a doubt, these dubious practices are a common occurrence in the world of today and each customer should be cautious while doing shopping.
With regard to performances, Nobuko Miyamoto and Masahiko Tsugawa (who already appeared together in Itami’s A Taxing Woman movies) shine together on the screen as two friends who rely on each other. In addition, there are some great supporting parts done by Akiko Matsumoto and Yuji Miyake.
Recommendations If you are a fan of Juzo Itami’s films, then definitely check out Supermarket Woman. It will uplift your mood after a hard day and also provide some food for thought (about supermarkets). All in all, Juzo Itami and Nobuko Miyamoto never fail to provide great entertainment.
Overall score: 8/10
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