Always: Sunset on Third Street (2005) [Film Review]

Always: Sunset on Third Street; or, The Virtue of Selflessness
     Think of it logically… You and I aren’t related in the slightest. We are completely strangers.
Continuing my obsession with Takashi Yamazaki, initiated by Godzilla Minus One, I decided to set aside some free time and check out the director’s previous cinematic endeavours. As a result, I am sharing my herein review of his 2005 movie Always: Sunset on Third Street.

Release Info

Directed by: Takashi Yamazaki Starring: Hidetaka Yoshioka, Shinichi Tsutsumi, Koyuki

Language: Japanese Original Title: オールウェイズ 三丁目の夕 Runtime: 133 min

Synopsis
Tokyo, 1958. Japan is on the brink of technological advancements as TV broadcasts are becoming a nationwide thing, and the construction of Tokyo Tower is about to be completed. We follow the lives of inhabitants who live in a fictional neighbourhood called “Sunset on Third Street”. Mutsuko (Maki Horikita) is a young employee who arrives from the countryside to work in a car repair factory. Little does she know, the factory she is supposed to work at is actually a small repair shop owned by Norifumi Suzuki (Shinichi Tsutsumi), a bad-tempered head of a lovable family. Their neighbour is a good-for-nothing writer Ryunosuke Chagawa (Hidetaka Yoshioka). He devoted his life to the craft of writing, but now he runs a shop selling toys and sweets. Suddenly, a local bar owner Hiromi (Koyuki) asks Chagawa to look after an abandoned boy Junnosuke (Kenta Soga).

A Tiny Bit of Hope
It should be explained at the beginning that Always: Sunset of Third Street is actually an adaptation of a popular manga series created by Ryohei Saigan in 1974, and it is still in publication today. There was also a short-lived anime show in 1990, but I couldn’t find any information about it, and the MAL profile has no fan discussion whatsoever.

Given the fact that Takashi Yamazaki operated on the basis of a pre-existing source material, it makes me wonder if the director was hired to do the job for the studio, or was he really passionate about the subject. Still, it goes without saying that (as in the majority of his other projects) he wrote the screenplay and supervised special effects.

The movie itself, in my opinion, feels like a heart-warming blanket for cinema enthusiasts who seek visual consolation after a day of hard work. This is exactly the type of uplifting, positive, and incredibly touching period piece that I needed at this point of my life. Some critics may claim that the film is too sentimental and utilises cheap tricks straight out of a TV drama, but I beg to disagree. Always: Sunset on Third Street presents a family-friendly tale about love and emotional connections set in the idiosyncratic period of the 1950s. This may have been a difficult period for Japan, but for some who lived back then, it is a sentimental time of old days long gone.

Apart from the story aspects, I have to praise the reserved cinematography by Kozo Shibasaki and top-notch production design that really captures that stylish post-war look of Japan. Evidently, some special effects had to be used for overview shots (and even comic gags, such as Mr Suzuki obliterating the entrance to his shop), but these are used sparingly and do not look dated. In addition, the music score composed by Naoki Sato is absolutely captivating.

With regard to performances, it is great to see Shinichi Tsutsumi in a non-serious comedic role as the father figure who discovers all the technological commodities like a TV set and a fridge. Hiroko Yakushimaru, Kazuki Koshimizu, and Maki Horikita are also wonderful as members of the Suzuki family. However, the real heart of the film is the outstanding performance of Hidetaka Yoshioka as Chagawa. His character’s tear-jerking story art is a must-see, and it is amplified by supporting parts done by Koyuki and Kazuki Koshimizu. Also, Tomokazu Miura has a small but heartbreaking part in the film, and the legendary Fumiyo Kohinata appears for one scene as well.

Recommendations
All things considered, I greatly enjoyed Always - Sunset on Third Street and I do not regret giving this movie a try. I have heard a lot about this film for a long time, but never actually knew what it is about. Well, now I really want to check out the remaining two parts of the movie trilogy, also done by Takashi Yamazaki. Certainly, this movie is for keeps. Like, please Criterion wake up and give this film a proper physical media treatment.Overall score: 10/10

«Enjoyed this post? Never miss out on future posts by following us»

Noroi: The Curse (2005) [Film Review]

Noroi: The Curse: or, Into the Twilight Zone

     I want the truth. No matter how terrifying. I want the truth. ~ Masafumi Kobayashi

When I think about the genre of mockumentaries, the first image that comes to my mind is that of Trailer Park Boys (2001-2018) doing crazy stuff while drinking lots of alcohol. Little did I know, director Koji Shiraishi utilised the exceptional style documentary/found footage convention to make some juicy J-Horror flicks. Without hesitation, I checked out the most praised Shiraishi’s movie, Noroi: The Curse from 2005.

Release Info

Directed by: Koji Shiraishi Starring: Jin Muraki, Tomoko Kuga, Satoru Jitsunashi

Language: Japanese Original Title: ノロイ Runtime: 115 min

Synopsis

Masafumi Kobayashi (Jin Muraki) is an enthusiast of paranormal phenomena. He researches the domain of the supernatural and frequently records his investigations on camera. Called by concerned neighbours, he tries to interview a certain Junko Ishii (Tomono Kuga) and her young son due to paranormal stuff which is supposedly going on in the house. Kobayashi is chased away together with his cameraman, but he keeps digging. He discovers that Ishii used to be a daughter of a respected exorcist from the now non-existing village Shimokage. It turns out that an ancient demon known as Kagutaba is on the loose, possessing souls of innocent victims. Kobayashi joins forces with a crazy psychic Hori (Satoru Jitsunashi) and actress Marika Matsumoto (herself) to solve the mystery.

Pigeons, Babies, and Folklore

I have to say that I found it hard to treat this film seriously at the very beginning. The opening credits literally throw a major spoiler at you, and Masafumi Kobayashi is such a one-dimensional character that it’s best to describe him as a lost member of the Ghostbusters team who chases after Scooby-Doo cases. Nevertheless, this is where my criticism ends.

After a shaky encounter with Junko Ishii, the movie really picks up in terms of quality and pacing. I found myself totally engrossed in a mysterious tale, really wanting to find out how all the things are connected. What is more, apart from the misadventures of Masafumi, the viewers are presented with clips from variety shows, newsflash, and family recordings. As a result, the documentary style does not downplay but actually enhances the aesthetic tone of this horror story. 

What is more, I have to praise Koji Shiraishi for not relying on jumpscares (*Ring PTSD flashbacks*), and instead trying to provide the scares in a more unique manner (video distortions, weird visions of the characters, etc.) The whole concept of Kagutaba and the demon’s backstory are excellent. A lot of this information is provided via exposition, but it really triggers the viewers’ imagination and provides a huge pay-off at the end. In addition, maybe it’s just me, but I think that the music score was inspired by Ennio Morricone’s theme for The Thing (1982).

With regard to performances, a lot of unknown faces appear in this movie, but you can still spot such recognisable actors as Yosuke Asari, Sarina Suzuki, and Dankan in very small parts. Marika Matsumoto, Satoru Jitsunashi, and Tomono Kuga really gave their best on the screen. Jin Muraki is okay as Masafumi. Noroi remains Muraki’s most recognisable picture as the actor did not do much acting work after this movie.

Recommendations

If you look for some proper thrills and not-to-shabby J-Horror, then Noroi: The Curse is the choice for you. Being encouraged by this mockumentary, I will try to check out other films by Koji Shiraishi.

Overall score: 8/10

«Enjoyed this post? Never miss out on future posts by following us»

150th Review: Turtles Are Surprisingly Fast Swimmers (2005)

Turtles Are Surprisingly Fast Swimmers; or, Believe in Yourself

      When I think of it, feeding my turtle and spy activities have similarities. I get excited about doing spy activities wherever I am. I just want to live as inconspicuously as possible.

Turtles Are Surprisingly Fast Swimmers what a mouthful of a title! Well, that’s Satoshi Miki and his quirky style for you. I have been meaning to check out more films of this director after seeing his wonderful Adrift in Tokyo (2007). Turtles Are Surprisingly Fast Swimmers was made just two years before that film, yet it is also a motivational story with a heart-warming message.
Release Info

Directed by: Satoshi Miki Starring: Juri Ueno, Ryo Iwamatsu, Eri Fuse

Language: Japanese Original Title: 亀は意外と速く泳ぐ Runtime: 90 min

 

Synopsis

Suzume Katamura (Juri Ueno) is just a simple housewife. Her husband is abroad doing business and she takes care of his turtle. She kills free time by meeting her best friend, Kujaku (Yui Aoi). Oddly enough, nobody ever seems to notice Suzume, almost as if she’s invisible. All of a sudden, Suzume accidentally notices an advertisement for spies. She meets with a man and woman who created the ad. They claim to be spies on the services of a foreign state. After interviewing Suzume, they employ her, giving 5 million yen for mission expenses, and begin her training…

 

What makes us ordinary?

Turtles Are Surprisingly Fast Swimmers really feels like a story by Haruki Murakami (but he would not have used comedy). Suzume is just a lonely housewife with a turtle, but after meeting a strange couple, she gets an extraordinary job which requires an ultra-high degree of ordinariness. This makes her think about what is the essence of being normal, in contrast to being not normal.

Of course, director Satoshi Miki would not be himself if he had not sprinkled the story with a full array of weird supporting characters. Apart from the spy couple, Suzume also encounters an over-the-top plumber, a retired marksman, bored-to-death cops, and a ramen chef who always makes mediocre ramen. Through these characters, Satoshi Miki questions the notions of individuality and personal uniqueness. Only after understanding ourselves can we reach our full potential and do great things, just like Suzume.

 

With regard to performances, Juri Ueno is basically the queen of weird stuff! (*Swing Girls (2004), Nodame Cantabile (2006) flashbacks*.) She makes everything instantly more awesome just with her appearance. The three actors: Ryo Iwamatsu, Eri Fuse, and Yutaka Matsushige, who also appeared in Adrift in Tokyo (2007), were also extremely hilarious as the spies. Azuki Panda-chan scene nails it!

Recommendations

If you liked Adrift in Tokyo, then go ahead and watch Turtles Are Surprisingly Fast Swimmers. It is a positive, happy-go-lucky film which definitely deserves more love nowadays. As for Satoshi Miki himself, it is a crime that his films are not quite popular internationally. The man is a master of quirky (and touching) comedies focusing on serious themes. I think that I should buy myself some sunglasses and a turtle.

Overall score: 8/10

Initial D: The Movie (2005) [Film Review]

Initial D: The Movie; or, It needs Eurobeat!

     You're a really good driver, Takumi. I always get carsick on long rides, but I didn't even need to take my pills today. I had a great time today.

After months of continuous resentment, I finally gave in and watched a live action adaptation of one of my favourite anime shows. The opinions about this film are very polarised, but I approached the matter with an open mind and a lot of optimism. After all, what can go wrong with a movie about racing, right? Let’s just say that Initial D: The Movie left me quite disappointed.

Release Info

Directed by: Andrew Lau, Alan Mak Starring: Jay Chou, Anne Suzuki, Edison Chen, Anthony Wong

Language: Cantonese Original Title: 頭文字 D Runtime: 110 min

 

Plot

The story focuses on Takumi Fujiwara (Jay Chou) a young driver who is helping out his father, Bunta (Anthony Wong), in delivering Tofu down the mountain pass of Akina. Fujiwara has been driving this route for 5 years in Toyota “Hachi-Roku” AE-86 and unknowingly became an expert at downhill racing. He is challenged by fearless, both amateur and professional, drivers who wish to defeat the legend of Mount Akina. The problem is that Takumi never loses in his old 86.

 

Running in the 2000s

Well, after checking this movie out, I can’t blame Initial D fans for their unfavourable opinions about this movie. To be honest, it felt like a fan-film that tried to condense as much references to the anime as possible, while at the same rejecting many of the hallmarks that made it so fun and popular.

 

Most importantly, unfamiliar viewers should know that the original Initial D tells the ultimate underdog story. There is that kid, the son of a legendary racer, who does not even know that he became a racing genius. Heck, he does not even care about racing. Only due to many challenges and adventures along the way, Takumi realises that he wants to go pro and, as a result, proceeds to rage his dream. This 80-episode long series depicts a wonderful coming-of-age journey with a touching message of never giving up, even against all odds.

Initial D: The Movie, on the other hand, struggles to present the same storyline, but shoves it in a very idiotic manner. First of all, the racing culture is depicted not as the environment of young drivers in pursuit of larger-than-life greatness, but rather as a gathering of thugs. Secondly, many supporting characters are either altered or missing (the most painful absence is that of Keisuke Takahashi). Thirdly, there are obvious name changes, unfunny toilet jokes (lots of puking), and… no Eurobeat.

 

Why this movie doesn’t work is partially due to the fact that it tries so hard to cram the first three stages (seasons) of the anime into a 2-hour time span. At the same time, it doesn’t do proper justice to its source material. The most vivid example is the character of Bunta Fujiwara in the movie. From a caring father in the anime, he was turned into a repulsive alcoholic and child abuser. Outrageous is also the filmmakers’ overconfidence in the success of this film. Not getting into any spoilers, there is an open ending which suggests a sequel (that never got made).

 

Don’t even get me started on the lack of Eurobeat, the music score of every self-respecting driver. That’s another reason behind the failure of this picture. Instead of recreating the thrill of gutter run, unexpected overtake, and epic drift, pumped up by the cool vibrations of Dave Rodgers, Mega NRG Man, and Leslie Parrish, the filmmakers went for the hip-hop vibes, because nothing feels better to them than that gangsta atmosphere of ghetto racing (Fast and Furious flashbacks). Guess what: this movie could have been saved in the edit by adding so much needed Eurobeat. Refer below to a fan video of one of the race scenes:

That being said about the disadvantages, I have to be fair and point out some of the good stuff. What was done well? Two things: the usage of classic cars from the anime (Toyota AE-86, Nissan Skyline R32, Mazda RX-7, Mitsubishi Lancer Evolution IV) and the way how the racing scenes were shot. These were done in a very natural style with a camera attached to a vehicle that followed the racing cars. Very little usage of CGI, only a couple of shots, is commendable. In addition, I appreciated the scene in which, just for a moment, 86 turned into an animated version of itself.

 

With regard to performances, many actors seem miscast. Jay Chou tries his best as Takumi, but comes off as tired and bland. Anthony Wong does not do well as Bunta either, but that’s due to a bad script writing. Wong is a great actor and he would probably make a great Bunta if given a proper chance. Chapman To is embarrassing as the playboy amalgam of Itsuki and Iketani. The only actors who understood their parts were Anne Suzuki and Edison Chen as Natsuki Mogi and Ryousuke Takahashi, respectively. Especially Edison Chen did so well that he should reprise his role in a new movie adaptation.

 

Recommendations

If you are an Initial D fan, give this film a pass. It left such a bitter taste in my mouth, that I had to aid myself with a couple of Super Eurobeat albums and Carx Drift Racing. If you need to check it out nonetheless, keep an eye on the racing action, because this is a redeemable aspect of this motion picture. As we all know: Initial D is love, Initial D is life. This movie is related to Initial D by name only.

Overall score: 5/10 (generous points for the cars and racings)

Seoul Raiders (2005) [Film Review]

Seoul Raiders; or, Trust Nobody in Korea

     I'm under the international spy section of the Japanese National Security Dept. But I just changed jobs, and became... head of Interpol Asian Division. In other words, I'm just... super cool.

As I am still on the lookout for the release of Europe Raiders, I decided to wait patiently and, in the meantime, review Tokyo Raider’s sequel, simply known as Seoul Raiders. Made 5 years later after the original movie and with just Tony Leung Chiu-Wai reprising his role as the jack-of-all-trades Lam.

Release Info

Directed by: Jingle Ma Starring: Tony Leung Chiu-Wai, Shu Qi, Richie Jen

Language: Cantonese Original Title: 韓城攻略 Runtime: 98 min

 

Synopsis

Lam (Tony Leung) retrieves a pair of plates which are used to make American dollars. He hands them over to the US Embassy representative, Owen (Richie Jen), but the man double-crosses Lam and escapes with the plates. Lam is sent by the Hong Kong Police to South Korea in order to track down Owen. The spy recruits a group of beautiful Korean assistants and teams up with JJ (Shu Qi), a small time crook who is also after the plates. The team finds out that Owen intends to sell the plates to a crime syndicate boss known as Polar Bear.

 

Kingdom of the Silvery Plates

First of all, I will start by saying that amidst the sea of fake and quasi-sequels, Seoul Raiders is an actual continuation which references the original film (K.O. and TTTTT :D). However, its primary disadvantage is the lack of the two strong leads: Ekin Cheng and Kelly Chen who, together with Tony Leung, had such great chemistry on screen.

 

Nevertheless, once you get over the absence of Ekin and Kelly, the movie becomes quite fun. Right from the opening sequence, there are nicely choreographed action set pieces, ridiculous jokes, and a standard upbeat music (this time composed by Tommy Wai instead of Peter Kam). In addition, the main setting for the unfolding events is now Seoul and the movie uses some of its interesting live locations.

 

With regard to performances, Tony Leung obviously relishes playing the over-the-top spy and his Errol Flynn-like enthusiasm in every scene is infectious. To be honest, I’m not riding the fan-train of Shu Qi, but I give it to her that she did great with her part and even made me laugh a few times. Richie Jen is quite likeable and convincing in the role of a rogue embassy worker, even though he gets beaten up throughout most of the film. Additional praise goes to Meme Tian for looking badass cool as the syndicate’s “interpreter”.

 

I should point out that there are two plot twists, unlike in the previous film which had plenty(!), yet these do not disrupt the overall reception of the picture. Jingle Ma at least in this case made the storyline simpler and easier to follow. However, I still view Tokyo Raiders slightly superior to its successor. Seoul Raiders might have improved in terms of pacing and coherency, but it ultimately lacks the style and charming playfulness of the original movie.

 

Recommendations

Seoul Raiders may be perceived as an inferior sequel, but it is undoubtedly a fun to watch and a good choice for a free evening. It only gets better with repetitive viewing, because you know what to expect and just wait for the action and laughs. It’s more than watchable and quite entertaining, even if it does not touch the bar set by the first film.  Now, I only have Europe Raiders left to review. If I manage to track down a copy, I will most certainly share with you my thoughts on the film.

Overall score: 7/10