Tiger Cage (1988) [Film Review]

Tiger Cage; or, Between a Rock and a Hard Place
     We bachelors really envy your true feelings. You're lucky, you're quitting tomorrow.
Tiger Cage is a trilogy of films made by Yuen Woo-ping between 1988 and 1991 which focus on the hard life of Hong Kong cops who solve criminal cases. The first movie in the series is a hard-edged thriller with an excellent cast and explosive action.

Release Info

Directed by: Yuen Woo-ping Starring: Jacky Cheung, Simon Yam, Donnie Yen, Carol Cheng

Language: Cantonese Original Title: 特警屠龍 Runtime: 92 min

Synopsis
Officer Hsiu (Leung Kar-Yan) together with his anti-narcotics team raid the smuggling den. The policeman is chasing a bad guy (Johnny Wang) during the raid. The mobster is presumably shot dead, but he actually survives and takes his revenge on Hsiu by killing him. Shirley (Carol Dodo Cheng) who was about to marry Hsiu finds it hard to get over the loss of her fiancé. She is consoled by Inspector Wong (Simon Yam). In the meantime, two officers, Fan Chun-yau (Jacky Cheung) and Terry (Donnie Yen) discover that their partner, Uncle Tat (Ng Man-Tat) actually cooperates with drug dealers. When they present the evidence to Inspector Wong, they unknowingly put themselves in danger…

Upholding the Law
Tiger Cage seems like a prelude to Yuen Woo-ping's other classic action film In the Line of Duty IV (1989). Indeed, action set pieces are exhilarating and Donnie Yen appears as the righteous cop. (Un)surprisingly his character is killed off early on in the picture, mostly due to the fact that Donnie was not then as popular as Jacky Cheung who is the real leading man.

Great cast and excellent fight sequences are indeed the main advantages of Tiger Cage. It is a pleasure to see Donnie Yen facing off against Michael Woods and Jacky Cheung battling the intimidating Simon Yam. Interestingly, Carol Cheng (during pre-Her Fatal Ways days) shines in the film, in spite of having small screen time. Also, Ng Man-Tat has a lot of stuff to do in the movie, contrary to being just a comic relief as in his many other roles from the 1990s.

The only disadvantage of Tiger Cage, I would say, is the film’s tendency to crank up that aspect of uncomfortability to the max in certain scenes. For instance, the death scene of the character played by the graceful Irene Wan is too harrowing and too out of the blue. In contrast, Uncle Tat is the story’s main punching bag, but he survives every ordeal.

A word of caution: if you expect to see traditional sequels, it is best to say out-front that Tiger Cage 2 and Tiger Cage 3 are completely unrelated to the original film, even though some of the cast members (Donnie Yen and Carol Cheng) return in new roles. The follow-ups present completely independent storylines.

Recommendations
That being said, I admit that Tiger Cage is a pleasant viewing. If you like the cops vs. bandits spectacles , then I recommend the film. In addition, the 1980s vibes and suave Simon Yam as well as Jacky Cheung on the edge are awesome bonuses. Gotta love classic Hong Kong productions.Overall score: 8/10

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Zokki (2021) [Film Review]

Zokki; or, Too Many Secrets
     Lately, I've been thinking. If a living creature loses what it keeps secret, maybe it can't go on living. Once we finish confessing all our secrets... Or rather... If we confessed all our secrets, would we die, I wonder? So Ryoko, take care of your secrets. Keep as many as you can.
If I were to tell you that there is a Naoto Takenaka, Takayuki Yamada, and Takumi Saitoh movie out there, you would probably wonder who managed to bring together such a mind-blowing cast of excellent actors. In this case, nothing could be further from the truth! The three gentlemen joined forces… as directors(!) and brought to the screen an adaptation of the manga series by Hiroyuki Ohashi called Zokki.

Release Info

Directed by: Naoto Takenaka, Takayuki Yamada, Takumi Saitoh Starring: Riho Yoshioka, Ryuhei Matsuda, Joe Kujo

Language: Japanese Original Title: ゾッキ Runtime: 113 min

Synopsis (issued by the distributor)
There’s an old man who feels the need to impart his knowledge to a grown-up granddaughter; a quiet loner seeking self-discovery on his bike and the fisherman he encounters who invites him to a special meal; a school friendship that turns awkward because of an infatuation with an older sibling; a boy and his father who have very different ideas about how to enjoy themselves; and a friendship between two neighbours that revolves around a series of notes. Scripted by Yutaka Kuramochi, Zokki is less an anthology than a series of snapshots of a strange and quirky world.

Made in Japan
In my opinion, Zokki fits very much into the same narrative stylistics as Survive Style 5+ (2004) and Fish Story (2009). What I mean is that the viewers are presented with a series of vignettes, which gradually cross over into their respective contexts and ultimately constitute one whole. I would not say that Zokki is a wild comedy, but if you have seen Satoshi Miki's flicks, then you will recognise the flavour of distinct quirkiness that could have been manufactured only in Japan.

Although there are five stories featured, the three main ones caught my attention: The first story feels as if it had been penned by Haruki Murakami himself. A guy who clearly has issues with intimate stuff embarks on a bike journey. The second story revolves around two high school students who befriend each other and, consequently, one of them develops an unhealthy obsession. The third one is that of a complex relationship between a father and a son with a touch of horror. To be honest, I think the movie would have been better had the third tale been trimmed a little because it feels prolonged and, in a way, lacks resolution. Still, I very much enjoyed the first two segments, especially the part about high-schoolers.

With regard to performances, unfortunately we are not getting to see Naoto Takenaka, Takayuki Yamada, and Takeru Saitoh in action, but watch out for the leading parts done by Riho Yoshioka, Ryuhei Matsuda, and Joe Kujo. There are also wonderful cameo appearances from Jun Kunimura, Shinnosuke Mitsushima, Yurina Yanagi, Masanobu Ando, and Mai Kiryuu.

Recommendations
If you are in need of yet another set of happy-go-lucky short stories sprinkled with Japanese sensibility, then I recommend Zokki. The movie comes out on Blu-ray from Third Window on the 25th of April. This edition is going to contain such bonus features as interviews with all three directors, a look at behind the scenes, and a theatrical trailer.Overall score: 7/10

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Melancholic (2018) [Film Review]

Melancholic; or, The Bathhouse Job
     Let me ask you this. A Tokyo University graduate has to work at a big company and become happy?
The bathhouse setting appears frequently in Japanese movies. From Departures (2008) to Attamara Sento (2016), the significance of communal bath in Japanese culture is always emphasised. It is not only a place where one can take care of personal hygiene but also can experience physical proximity which, in theory, should influence emotional intimacy. Director Seiji Tanaka turns the symbolism of a bathhouse on its head in his outstanding debut feature called Melancholic (2018).

Release Info

Directed by: Seiji Tanaka Starring: Yoji Minagawa, Yoshitomo Isozaki, Mebuki Yoshida

Language: Japanese Original Title: メランコリック Runtime: 113 min

Synopsis
Kazuhiko Nabeoka (Yoji Minagawa) is a Tokyo University graduate who spends his days at home with parents. One day, he meets a high school colleague, Yuri (Mebuki Yoshida), at a local bathhouse. The girl, eager to see Kazuhiko more often, encourages him to apply for a job at the bathhouse. After an interview with the owner, Azuma (Makoto Hada), Kazuhiko gets the cleaning job together with another newcomer, Matsumoto (Yoshitomo Isozaki). Much to his surprise, Kazuhiko discovers that the bathhouse is used by the yakuza to execute people…

Stand By Me
The title of the film indeed reflects the personality of the main character. Kazuhiko is yet another by-product of the modern educational system, a person who does not know what to do in life. Consequently, director Seiji Tanaka turns Melancholic into a crazy coming-of-age tale in which a young man orientates himself towards a certain activity, yet this “activity” is actually cleaning the bathhouse from corpses.

The professional misadventures of Kazuhiko are yet another ingenious aspect of Melancholic. The dark comedy works extremely well and mixes effortlessly with the classic yakuza-centered thriller vibes. I really do not want to get into any spoilers, so let me say in the simplest terms possible that the film has major plot twists and really goes off the rails in the finale. Interestingly, even secondary characters receive strong character development in the third act!

With regard to performances, in my opinion, Yoji Minagawa did very well in the leading role, but the real star of the picture is Yoshitomo Isozaki as Matsumoto. He portrays his characters in an incredibly comic yet tragic manner. Additional shout out goes to the rest of the cast: Mebuki Yoshida as Kazuhiko’s quirky girlfriend, Makoto Hada as the stressed-out bathhouse owner, Yasuyuki Hamada as the mysterious Koreda, Masanobu Yata as the scary yakuza mobster, and (last but least) Stefanie Arianne as Angela, the mobster’s gaijin girl.

All things considered, I think it’s safe to conclude that the main theme of Melancholic is that of the everlasting generational conflict within Japanese society. Similarly to Masato Harada’s Kamikaze Taxi (1995) and SABU’s Postman Blues (1997), Melancholic also presents the viewers with a group of a young people who want to change their lives for the better, but the grumpy old-timers, who love the status quo, prevent them from doing so.

Recommendations
In spite of winning numerous awards at film festivals, including Best Director at Tokyo Film Festivals and Audience Award at Nippon Connection, I wish this movie could get greater exposure in the West. Thankfully, Third Window Films released Melancholic in dual format (Blu-Ray and DVD). Their region B edition includes a look at behind the scenes, Q&A with director and cast, Melancholic short film, and trailer. Overall score: 8/10

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The Journalist (2022) [Drama Review]

The Journalist; or, Checks and Balances
     After seeing how Ms Matsuda strives to give a voice to the voiceless no matter how difficult it may be, I became interested in becoming a journalist.
The Journalist a.k.a. Shinbun Kisha is a 2022 Netflix JDrama directed by Michihito Fujii and based on the director’s previous movie of the same title. The original story was inspired by a nonfiction book by Isoko Mochizuki, which centered on the Moritomo Gakuen scandal. I am always a sucker for political thrillers, so let’s see how this particular drama manages to penetrate through the red tape of corporate greed and media censorship.

Release Info

Directed by: Michihito Fujii Starring: Ryoko Yonekura, Go Ayano, Ryusei Yokohama

Langauge: Japanese Original Title: 新聞記者 No. of eps.: 6

Synopsis
Tokyo, 2019. The government prepares for the upcoming Olympic games. Anna Matsuda (Ryoko Yonekura) is a nonconformist reporter working for the Touto News network. Driven by personal tragedy, she is determined to expose corrupt officials and their shady deals. Matsuda investigates the case concerning a certain Eishin Academy. In the course of her work, the journalist discovers how IRS agents were framed by the government which desperately wants to protect the Prime Minister.

A Few Good Men
When I heard about the drama for the first time on social media, I mistakenly thought that it was going to be released in 2023, so I was pleasantly surprised when the show premiered in January, 2022. I am always up for a drama with the wonderful Ryoko Yonekura in the lead, but this role marks a departure from her iconic performances in Doctor X, Legal V, and The Negotiator.

What I mean is that The Journalist is not an over-the-top entertainment with epic moments and scenes played for laughs. This is a realistic story about a real tragedy. In the present-day political climate, when we see ultra nationalists and oligarchs accumulating power, it is important to stress the independence of free media and the right of ordinary voters to know the truth.

The first episode of the drama is very dire, to be honest. The viewers are presented with a lot of information, names, and characters. It is really hard to get into the thick of the intrigue, but it gets easier in episode 2. Ryoko Yonekura plays a fallen character. Anna Matsuda is by no means heroic or infallible. In fact, I would not even say that she is the main protagonist. The newspaper reporter relentlessly tracks down the people involved in the scandal and the narrative unfolds through their perspectives.

Hidetaka Yoshioka is freaking amazing as Mr Suzuki throughout the first three episodes, then the focus shifts to Shinbou Terajima as Mrs Suzuki, Go Ayano as Shinichi Murakami, and Ryusei Yokohama as Ryo Kinoshita. It is all about the determination of these few good people (their guilt and struggles) that makes this drama an interesting watch.

With regard to the supporting parts, it was great to see such veteran actors as Shiro Sano, Yusuke Santamaria, Tetsushi Tanaka, and Go Riju as the baddies. In my opinion, Yusuke Santamaria stole the show with his villainous performance. Although working mainly as a comedian, he proves once again (after Cold Case drama) how great a dramatic actor he can actually be. In addition, it was great to spot Satoshi Miki’s regulars: Ryo Iwamatsu and Eri Fuse in small roles.

Recommendations
All in all, The Journalist is an enjoyable slow burner. It manages to capture the greatness of several newspaper-oriented thrillers like Zodiac (2007) or Spotlight (2016), but the resolution in the final episode is a bit underwhelming. Personally, I believe that there is no potential to make a second season unless the writing team has some good ideas about developing the real estate/Eishin Academy intrigue further. I recommend The Journalist primarily because of the aforementioned performances and outstanding cinematography. Overall score: 7/10

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Onoda - 10,000 Nights in the Jungle (2021) [Film Review]

Onoda: 10,000 Nights in the Jungle; or, Lonely Warrior
     They’d said, “We’ll come back for you.”
I have been aware of the real life story concerning Hiroo Onoda for quite some time, but I have never known all the details. If you have not heard about it, the phenomenon of the so-called Japanese holdouts refers to soldiers who were either uninformed or refused to believe that World War II had ended. Arthur Harari’s Onoda: 10,000 Nights in the Jungle tells the story of a man who kept on fighting until 1974 on a remote island.

Release Info

Directed by: Arthur Harari Starring: Yuya Endo, Yuya Matsuura, Kanji Tsuda, Tetsuya Chiba, Issey Ogata

Language: Japanese Original Title: ONODA 一万夜を越えて Runtime: 166 min

Synopsis
Young Hiroo Ononda (Yuya Endo) is an intelligence officer training at a special facility under the guidance of Major Taniguchi (Issey Ogata). In 1944, he was sent to Luband Island in the Philippines with a mission of limiting the impact of enemy attacks. Nevertheless, the Allied Forces liberated the island in 1945. While the rest of Japanese troops either died or surrendered, Onoda and three other soldiers continued to carry out their guerilla activities, waiting for the arrival of Imperial forces.

Left Behind
In my opinion, Onoda: 10,000 Nights in the Jungle is a gripping adventure drama which provides an insight into the life of a soldier who is perceived by many as the paragon of discipline and devotion to homeland. Still, it has to be acknowledged that the movie was not based on Onoda’s official autobiography but rather other historical accounts, such as Bernard Cendron and Gérard Chenu's Onoda, seul en guerre dans la jungle; hence, it is difficult to label the film as a biographical motion picture. The director himself was heavily influenced by the novels of Joseph Conrad and Robert Louis Stevenson (source: press book).

Nevertheless, the movie closely follows the major events from Onoda’s stay on the island. It is fascinating to see how he rejects the tell-tale signs that the war is over and proceeds to blindly believe that Japan will team up with China in order to “liberate” the Asian continent. This is a story of false presuppositions and delusions, but also of incredible sacrifice, especially in view of the fact that Onoda was not alone at the beginning of his crusade.

Although the movie lasts nearly three hours, you do not feel bored at all. I think it’s best to say that Onoda: 10,000 Nights in the Jungle is divided into two parts: the first one focuses primarily on young Onoda (Yuya Endo) and young Kinshichi Kozuka (Yuya Matsuura) trying to survive during the 1950s. In 1969, we see aged characters (played by Kanji Tsuda and Tetsuya Chiba respectively) as they try to stay in hiding, away from the local villagers. I appreciated this unconventional measure of double performance, but I believe that the movie would have worked better if there were two actors playing the characters consistently from beginning to the end.

That being said, I appreciate the onscreen performances as well as the supporting parts done by veteran actors like Issey Ogata and Kyusaku Shimada. Beautiful on-location cinematography by Tom Harari also cannot go unnoticed.

Recommendations
I suggest you watch the film back-to-back with Kazuo Hara’s unforgettable documentary The Emperor's Naked Army Marches On (1987) in order to get a full picture of what was going on in the Philippines towards the end of the war. Onoda: 10,000 Nights in the Jungle is going to be released in UK cinemas by Third Windows Films on the 15th of April. VOD/Blu-ray edition will follow appropriately on the 16th of May. The disc is going to include interviews with actor Kanji Tsuda, director Arthur Harari, DOP Tom Harari, and assistant director Benjamin Papin.

Overall score: 8/10

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Mama wa Idol (1987) [Drama Review]

Mama wa Idol; or, Woman of the House
     It’s tough being a mother!
Well, I guess we could say that Miho Nakayama went meta way before John Malkovich or Nicolas Cage! From the times when she was primarily an idol rather than an established actress, comes a heartwarming drama in which Miho plays a fictionalised version of herself, a popular TBS star and singer who tries to divide her time between career in showbiz and… being a mom! Let’s take a closer look at Mama wa Idol.

Release Info

Developed by: Yoshimoto Masahiro Starring: Miho Nakayama, Kunihiko Mitamura, Kumiko Goto

Language: Japanese Original Title: ママはアイドル! No. of eps.: 10 + SP

Synopsis
Mr Shuichi Mizusawa (Kunihiko Mitamura) is a school teacher and a widower who single-handedly looks after his three children. One day, when the children come back home, they discover Miho Nakayama cooking in the kitchen. Miho greets them and explains that from this moment on she is going to act as their mother. This situation infuriates the daughter, Akira Mizusawa (Kumiko Goto), who refuses to accept Miho as a new family member. What is more, Shuichi and Miho actually married in secret and try to hide this fact from the public spotlight so as not to burden the children with paparazzi and unnecessary scandal. Will the secret remain under wraps? Is Akira going to warm up to Miho?

Being Miporin
Watching the first episode was definitely a weird experience. It made me wonder how much crack the screenwriters smoked to come up with an idea of a 17-year-old(!) idol marrying her former homeroom teacher and becoming a mom to kids who are barely younger than her. This may be too much to sink in for certain viewers, but the drama is by no means NSFW. On the contrary, it's a feel-good Miho Nakayama vehicle similar in spirit to an old Disney family comedy called Man of the House (1995).

Once you get over the initial shock triggered by the premise, the show becomes very enjoyable. There are lots of funny as well as touching moments when Miho desperately tries to be a mother while hiding her idol identity in front of the Mizusawa’s pesky neighbour, Ms Tokita (hilariously played by Jun Fubuki). In addition, the drama also provides an insight into the everyday challenges of an idol such as rehearsals, photo sessions, location shooting, and concerts. A lot of real TBS crewmembers and even other idols (Risa Tachibana, Aiko Morishita, Naoko Amihama) have either guest or cameo appearances as well.

Nevertheless, the real heart of the show is the complicated relationship between Miho and Akira. The daughter has her own romantic life which serves as a nice subplot throughout the series. In my opinion, the best episode of the drama is the ninth one, where Akira actually tries to become an idol herself and Miho is cheering for her.

Needless to say, the finale of episode 10 is extremely touching and idealistic. It really makes you wonder if an idol is capable of having a family and being active as a star. The obvious answer is that it’s not possible. Consequently, the SP episode very much underlines this message in its own finale.

Apart from the brilliant performances of Miho Nakayama and Kumiko Goto, I have also enjoyed seeing Kunihiko Mitamura as the dad and Masatoshi Nagase as one of the sons. Apart from Jun Fubuki, also Shigeru Muroi has a hilarious supporting part as Miho’s co-worker. Last but not least, I have to stress that I totally dig the main theme Hade!, which is sung by Miho in the opening credits.

 Recommendations
All things considered, Mama wa Idol is a neat, good ol’ JDrama which strikes the right chord. It comes as no surprise that it had influenced Hoshikuzu Paradise (1991) anime and Papadol! movie from 2006. Definitely worth checking out, if not for Miho herself, then at least 80s vibes of bubble era Japan.
Overall score: 8/10

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