Showing posts with label 2002. Show all posts
Showing posts with label 2002. Show all posts

The Sea Is Watching (2002) [Film Review]

The Sea Is Watching; or, The Measure of Love
     Misfortune added to misfortune only doubles the misery.
The Sea Is Watching is yet another Akira Kurosawa’s project that did not see its realisation before the director’s death. As a result, it was made as a tribute to Kurosawa after his passing. I have been meaning to watch the movie together with After the Rain (1999), but somehow something kept coming up and I kept forgetting about it. Thankfully, I finally managed to check it out and I share my thoughts on the film.
Release Info
Directed by: Kei Kumai Starring: Nagiko Tono, Hidetaka Yoshioka, Masatoshi Nagase
Language: Japanese Original Title海は見ていた Runtime: 119 min
Synopsis
Japan, 19th century. Oshin (Nagiko Tono) works as a prostitute. She lives in a house inhabited by other ladies for company. One day, a samurai named Fusanosuke (Hidetaka Yoshioka) arrives in a house looking for safety after injuring a man in a fight. Oshin shelters Fusanosuke and falls in love with him. Unfortunately, the samurai breaks her heart by marrying somebody else. Then, Oshin meets a wanderer Ryosuke (Masatoshi Nagase).
Distant Stillness
Maybe it’s an insane wall of expectations from myself, but I think that The Sea Is Watching is an inferior film when compared to After the Rain. Indeed, both have the spirit and charm of Akira Kurosawa, yet the story of The Sea Is Watching feels so out of place from the director’s dramatic repertoire. All in all, the centre focus of the script is a prostitute with romantic feelings.
Come to think of it, if I hadn't known anything about the film, I would have assumed it was crafted by Nobuhiko Obayashi because of the female-oriented plot, traditional Japan setting, rich colour palette, and a touch of violence. That being said, we know Kurosawa is the one who wrote the script and director Kei Kumai did the directorial chores, and he pulled off the job in a satisfactory way.
While watching the film, I really sympathised with the difficult plight of Oshin, but at the same time, I thought her profession is overly romanticised in the film. Oshin’s professional friends are wholeheartedly supportive of the main heroine while dealing with their own share of toxic relationships. To be honest, all of the them function like remixed variations of Cinderella waiting to be saved and there is no Cruella de Vil in sight to stir things up for Oshin.
Still again, Kurosawa’s story is very poignant and it highlights the unpredictability as well as the sad uncertainty of life. You invest yourself emotionally into another person only to discover that this person does not understand you at all.
With regard to performances, Nagiko Tono played Oshin beautifully and it makes me all the more surprised that this actress did not have greater gigs in historical dramas. Super young Hidetaka Yoshioka convincingly portrays a scared samurai, whereas Masatashi Nagase does a great job as a disillusioned and pitiful loner. A word of mention also goes to Misa Shimizu who portrayed Kikuno.
Recommendations
I won’t write “if you like Kurosawa, then…” Just watch The Sea Is Watching and judge for yourselves if you sense the cinematic master’s vibe. It’s a well made slice-of-life tale, but After the Rain resonated better with me.
Overall score: 6/10
«Enjoyed this post? Never miss out on future posts by following us»

Godzilla X Mechagodzilla (2002) [Tokusatsu Review]

Godzilla X Mechagodzilla; or, Kiryu to the Rescue
     Why Godzilla? I wish they'd bring Mom back to life, not a monster.
After the successful release of Shusuke Kaneko’s Godzilla, Mothra King Ghidorah: Giant Monsters All-Out Attack (2001), the producer Shogo Tomiyama continued the trend of rebooting the Godzilla universe with each new entry of the Millennium series. However, Toho decided to bring back one of the classic monsters yet again to please the fanbase. As a result, director Masaaki Tezuka was brought back on board together with screenwriter Wataru Mimura and music composer Michiru Oshima. Their task was to provide a new 2000s reimagining of Mechagodzilla. Indeed, the creative team completed the task by turning the robotic kaiju into a peacemaker who fights the Big G on equal terms.
Release Info
Directed by: Masaaki Tezuka Starring: Yumiko Shaku, Shin Takuma, Kana Onodera
Language: Japanese Original Title: ゴジラ×メカゴジラ Runtime: 88 min
Synopsis
45 years after the destruction of the original Gojira, a new member of the species emerges from the sea depths and wreaks havoc across Japan. The JSDF troops are sent to fight the new Godzilla. Due to a tragic accident during the fight, Lieutenant Akane Yashiro (Yumiko Shaku) is demoted. In the meantime, the government decides to use top-of-the-line technology and remains of the original Gojira to create an advanced Mechagodzilla cyborg, which is nicknamed Kiryu. Akane in order to regain her honour in the JSDF relentlessly trains and becomes the pilot of Kiryu. When Godzilla strikes again, Kiryu is dispatched to stop the King of the Monsters once and for all…
No I in Team
Allow me to explain that this particular text is actually a re-review of the film because I did write about it on the blog 7 years ago, but I was not a well-versed writer back then with the capacity to express my thoughts efficiently. Therefore, I thought it would be fun, as in the case of Godzilla vs. Mothra (1992), to revisit Godzilla X Mechagodzilla and provide fresh opinion on one of my favourite entries of the franchise.
The first major advantage which makes the film work is the fact that Godzilla X Mechagodzilla is not a stand-alone adventure like the previous three Millennium movies, but it harkens back to the classic era of Toho Tokusatsu flicks, creating a fictional universe out of Gojira (1954), Mothra (1961), and The War of Gargantuas (1966). It is actually explained in the film by the Prime Minister character, played by Kumi Mizuno, that Japan used to defend itself from many other Kaiju monsters after the destruction of Gojira. This, in and of itself, functions as a better love letter to the franchise than the mountain of throwbacks included in Godzilla: Final Wars (2004).
In addition, I appreciate the brisk pacing of the film done mainly due to skillful editing by Shinichi Fushima and Shinichi Natori. The movie’s runtime is 88 minutes, relatively short for a Godzilla flick, but the crosscutting of action, pathos, and human interest stuff never feels boring. Huge part in setting the right tone of the picture has the music score by the legendary Michiru Oshima. I already wrote tons of praise for this composer in my article series The Sounds of Awe and Terror: Revisiting the Music of Godzilla, so let me just say that Oshima nails it to the cross when it comes to scoring battle sequences or small, poignant moments between human characters. Indeed, she reinvented the sound of the Godzilla franchise.
When it comes to creature design and special effects, these are icing on the cake. I love the evil Godzilla appearance, which makes the King look more animalistic, like a wolf. Kiryu, on the other hand, is just outstanding. He is definitely my favourite incarnation of Mechagodzilla out there. The blending of practical and CGI effects coupled with great cinematography by Masahiro Kishimoto also enhances the viewing experience, especially during the fight scenes.
My only problem with the film after many years is the uneven screenplay. Screenwriter Wataru Mimura yet again delivers light, swashbuckling, science-fiction adventure, but the romantic subplot and the trauma of the main character barely work in the film. Lieutenant Yamane is cold and inaccessible, which makes it hard to believe that a nerdy scientist and a single-father Yuhara (Shin Takuma) falls for her. What is more, the plot involving Sara (Kana Onodera), the scientist’s daughter, also seems underdeveloped. The child suffers from the loss of her mother, and (from what I understand) desires to cherish all life, including that of Kiryu and Godzilla, but she has zero problem when Yamane reboots Kiryu to fight the King in the epic finale… Either something was lost in translation, or there were Sara-Yamane scenes shot that ended up on the cutting room floor and will never see the light of day.
With regard to performances, Yumiko Shaku does well as the main lead, but her character lacks development, unfortunately. Shin Takuma and Kana Onodera are sweet as the father and daughter, but there are not enough scenes between them. In addition, director Masaaki Tezuka riddled Godzilla X Mechagodzilla with episodic roles and cameos. We can spot the franchise veterans, such as Kumi Mizuno and Akira Nakao, but also baseball player Hideki “Gojira” Matsuki, actor Takehiro Murata (known from Godzilla 2000: Millennium) appearing as a bystander, and actress Misato Tanaka (known from Godzilla vs. Megaguirus) appearing as a nurse who is saved by Kiryu.
Recommendations
All things considered, Godzilla X Mechagodzilla is a fun, entertaining film, which is a true highlight of the Millennium series. I remember watching it for the first time on TV in the mid-2000s and being hooked instantly. Later on, I taped a rerun of the film, and eventually got the 2004 DVD release from Sony Pictures Home Entertainment. The movie was also issued on Blu-Ray in 2014.
Overall score: 9/10
«Enjoyed this post? Never miss out on future posts by following us»

WXIII: Patlabour The Movie 3 (2002) [Anime Review]

WXIII: Patlabor The Movie 3; or, The Mystery of the Amphibian Monster
     Mr. Kusumi, isn't it better for us to contact Special Vehicle Unit 2? They have a whole bunch of Labor experts.
WXIII: Patlabor The Movie 3 is the final theatrical instalment in the Patlabor trilogy initiated by Mamoru Oshii in 1989. This movie was directed by Takuji Endo and written by Miki Tori on the basis of a part of the manga. It serves as a side story that chronologically takes place in between the first and the second film.
Release Info
Directed by: Takuji Endo Voice actors: Hiroaki Hirata, Katsuhiko Watabiki, Ryusuke Obayashi, Miina Tominaga
Language: Japanese Runtime: 100 min 
Original Title: WXIII 機動警察パトレイバー Weisuteddo Sātīn Kidō Keisatsu Patoreibā
 
Synopsis
Shinchiro Hata and Takeshi Kusumi are police detectives working on the case involving mysterious attacks on Labours near Tokyo Bay. As the officers begin to dig deeper, with the assistance of MPD’s Special Vehicles 2 Unit, they discover that the attacks are connected with some sort of a biological weapon devised for military purposes…
 
More Mechas, Please!
WXIII: Patlabor The Movie 3 was released 9 years after Mamoru Oshii’s closure of Patlabor’s cinematic timeline and the film certainly seems detached from its source material. First of all, the protagonists of the franchise, members of the Special Vehicles Section 2, are barely present in this story. When Hata asks Kusumi if they should consult SV2 with regard to their investigation, the question is never answered. When the detectives accidentally encounter Izumi and Shinohara a few scenes later, they just leave immediately. As a result, it feels that the film refuses to be a true Patlabor story. It forcefully acknowledges the presence of SV2 only in the third act, as if underlining the fact that it is a spin-off tale happening in the Patlabor universe.
 
Such a drastic measure results in a movie split between two pathways, without any identity whatsoever. On the one hand, it’s a well-made Sci-Fi/Kaiju thriller. On the other hand, it is a Patlabor follow-up that feels ashamed of being just that. If the makers had made some clear decisions during the pre-production process, the movie would have greatly benefited from that.
 
In terms of advantages, the whole premise of an unknown monster wreaking havoc in Tokyo Bay is very effective. There are certain action sequences which definitely grabbed my attention. The animation itself is very nice and it certainly manages to mimic that unique Oshii style of hopeless stillness. In addition, the music score by Kenji Kawai is top notch as always, even though the movie does not have any distinct theme.
 
That being said, I would love to see SV2 cracking the monster case rather than two random detectives on the run. The switch of the leading characters is so unsettling that I felt at one point as if I was watching Lethal Weapon vs. The Thing crossover. Yet, to give this storyline justice, it would be best to call it Patlabor vs. Biollante, because the main monster, its origins, and the way it was handled, seems very much inspired by the Kaiju classic from 1989, Godzilla vs. Biollante.
 
Recommendations
All things considered, WXIII: Patlabor The Movie 3 is a good story which would have been better if it functioned outside of the Patlabor realm. If you are a huge fan of the series, then check it out as a trivia. Just do not let your expectations go through the roof. I am hoping that someday Patlabor will return to its glory days and we will get to see the SV2 team and Alphonse once more.
Overall score: 6/10

Aankhen (2002) [Film Review]

Aankhen- Because fiction is far stranger than the truth…
What do Amitabh Bachchan, three blind men, and a bank have in common? Brace yourselves for the weirdest heist movie straight from Bollywood!
Release Info
Directed by: Vipul Amrutlal Shah Starring: Amitabh Bachchan, Akshay Kumar, Arjun Rampal, Paresh Rawal, Sushmita Sen
Language: Hindi English Title: Eyes Movie Industry: Bollywood Runtime: 165 min
Plot
The movie opens with an enjoyable dance stunt and the title song. At least, the movie underlines the fact that it’s a Bollywood flick, although you might actually forget about it as the story goes on.
Our main hero is a fine gentleman called Vijay Singh Rajput (played by the always awesome Amitabh Bachchan) who is the manager of a highly respectable and profitable bank. However, honourable Mr Rajput suffers from… schizophrenia(!), which often makes him lose his temper in heated situations and resort to physical violence. That is the case with one of the bank clerks who after stealing 100 rupees is beaten almost to death by Rajput. Needless to say, Rajput is fired from his beloved job by the bank management and thus he decides to carry out the most painful revenge on his superiors. That is, he plans to perform “the weirdest bank robbery ever made.”
In view of this, an alleged schizophrenic (the guy’s a maniac for sure, yet I wouldn’t call him schizophrenic, but rather a guy with some serious self-control issues) devises a plan which even Dom Cobb would find batshit crazy, namely, rob a bank with the help of three blind folks. Reason? Such guys would never be suspected of committing the crime. Genius!
In order to carry out his devious plan, Rajput puts out a fake announcement about a workshop for blind men, and also blackmails a foxy teacher, Neva (Sushmita Sen), by kidnapping her younger brother, to help him train the team…
Premise & Focus
The longer the movie goes on, the crazier it gets, but not entirely in a negative way. The main premise is clearly put forward at the beginning and the “how they’re gonna do it?” question is the driving force which keeps us watching this Italian Job on steroids.
Interestingly, the focus of the film shifts relatively quickly from the character of Rajput to the blind men. Arjun (Arjun Rampal), an endless optimist whose tendency to care can only be compared to Jesus; Ilyass (Paresh Rawal), a noisy street-bum who can never be serious when required to; and Vishwas (Akshay Kumar), a guy who with the loss of his eyesight gained “the sixth sense” and can sense people around. Yes indeed, this trio seems even crazier than Rajput, but watching them work together is pure entertainment itself. Strangely enough, they seem to be the characters whom we are supposed to cheer on and relate to. We get to know their tragic back stories, observe how they get along, and eventually how they get as a team. Nevertheless, the viewers are somewhat fooled from the beginning by perceiving Rajput as the ultimate hero of this twisted story. Why is that the case?
Characters
First of all, Rajput is the very first character we see on screen and the issue is that with every consecutive scene, Rajput is presented as more and more negative and inconsistent as an action hero. By logic, he should be the one we ought to have pity on. Despite his anger, he was a devoted worker who got cheated out of his years of hardship. In consequence, it should seem that Rajput wants to commit a crime purely for providing sufficient moral justice, in order to make the management feel fooled and ashamed. However, the bank booty becomes Rajput’s obsession and after the heist, he is determined to go at lengths so as to keep the stolen jewellery.
The blind team, on the other hand, are the total contradiction of Rajput. Instead of being just in the background, they are the ones who are put in the spotlight of this twisted story. Apart from comic relief from Ilyass and some “thriller-like” innuendos from Vishwas, we are also served a romantic subplot between sensitive Arjun and harassed Neva. Unfortunately, this stereotypical love affair does more harm than good to the picture, because it goes totally nowhere…
In fact, after the amazing final heist scene (because there are a couple of these in the film) the whole picture seems to go nowhere. The last 40 minutes completely ruin the still-unstable mood of the picture with its unbelievable plot twists and unevenly paced action.
Bollywood flick or not?
At the beginning, I made a statement that you might lose the feeling of the film being a Bollywood production. The problem is that it tries as hard as possible to be a Hollywood-like movie. We have the evil bank, some high-class interiors, and a few English catchphrases like “All the best” or “Truth is stranger than fiction.” In addition to that, the setting is also a crucial factor. The movie was shot mainly indoors, but you get impression that there is something wrong with all of the outdoor scenes. Why is that? Well, perhaps it is the fact that the film was shot not in India, but in Cape Town, South Africa! This isn’t Mumbai, this isn’t New Delhi, this is just Cape Town pretending to be an Indian city! Maybe it’s just my own exaggeration, but I clearly felt that all the streets packed with Indian extras looked pretty strange and after reading the movie info, I finally knew that the “fake location” was to be blamed.
Moreover, we are served with only three dance scenes in the movie. These were very well made, but also felt quite forced and out of place. However, perhaps the genre of heist movies isn’t the best sort of material to put Bollywood music in.
Recommendations
All in all, the makers of this weird delusion couldn’t decide whether it should be entirely a heist movie, an action-drama movie, or a thriller and as a result we are served with a mixture of the three. Yet again, the movie isn’t entirely bad and it has some positive sides. For instance, the heist scenes are awesome, the chemistry between the partners in crime is also great, believable, and somewhat moving. I deliberately left out some major plot twists from this review so you could fully enjoy the fun as well as the insanity of this “weirdest heist movie ever made.”
However, don’t expect anything in “Ocean’s Eleven style". If you don’t have anything exceptional to watch on Saturday evening, this film is worth giving a shot only for one time, just to experience some proper action but also a chain of illogical inconsistencies which will surely make you laugh a bit.
Overall score: 6/10