City Hunter (1987) [Anime Review]

City Hunter; or, Mokkori Mania
     There’s a chance you will celebrate your next birthday in hell.
Inspired by the Netflix live-action adaptation of City Hunter that came out this year, I decided to finally check out the glorified anime series from the 1980s that ran for four seasons and was followed by theatrical OVAs. My motivation for picking up the anime consisted mainly of action-packed vibes of the previously discussed movie, but also of the opinions of my dear MDL friend, SumiTheCat.

Release Info

Developed by: Toshio Nakatani, Masuo Ueda Voice actors: Akira Kamiya, Kazue Ikura

Language: Japanese Original Title: シティーハンター No of eps.: 51 (season 1)

Synopsis
Ryo Saeba is a sweeper for hire. He basically rushes to action as a detective, bodyguard, or enforcer for hire whenever the police are helpless. Oftentimes, he aids beautiful women simply because… he likes beautiful women. People in need get in contact with Saeba by leaving the XYZ mark on a blackboard at Shinjuku Station. Initially, Saeba operates the business with a friend and former cop Makimura, but when he gets killed by mobsters, his sister Kaori takes over as City Hunter’s partner.

Get Wild
I have to say that as a person struggling with anhedonia, it’s really hard for me these days to find an anime that would satisfy me and hold my disastrous attention span, but City Hunter does the job! I was quite surprised how brisk and freewheeling it felt. Obviously, the manga and the first season of the anime are from the 1980s, so they are products of their times, and it was quite easy to replicate the sense of Bubble Era, City Pop-charged mania of lavish lifestyle that consumed Japan back then.

With regard to the storytelling perspective, I invite you to check out the anime in its original, uncensored form. Yeah, it has a lot of adult jokes (it goes without saying that Ryo Saeba is a perverted man), but these are kept within the safe-for-work confines and not as direct or brutal as in, for instance, the Golden Boy anime.

Jokes aside, I’m a big fan of crime dramas (even to such an extent that once I used to watch Columbo and Detective Conan religiously) and City Hunter very much delivers on that front as well. Of course, the show is not about murder mysteries, but I like the premise of Saeba doing “bare minimum” detecting to uncover the baddies and serve them the comeuppance they deserve.

When it comes to the animation style, I love the bright colours this anime uses. They are vivid, but subtle, not flashy. As a result, the nightly world of City Hunter looks all the more inviting. The action stuff is of course wonderful, and it makes you wonder that the only rival worthy of Saeba’s skill would be Golgo 13.

The music itself is also worth mentioning. It’s not very City Pop (unfortunately), but the incidental bits are quite jazzy and catchy. However, I absolutely adore the opening theme Cool City and the closing theme Get Wild. It’s awesome that the Netflix crew used Get Wild for the closing credits of their adaptation.

Recommendations
All things considered, I am writing this review right after finishing the first season of the anime, but I really want to continue on watching and check out the whole animated domain of City Hunter. Maybe perhaps I will reach out for manga at some point in the future, but this is highly unlikely. Yeah, I definitely recommend this anime if you are looking for something light and fun.Overall score: 8/10

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City Hunter (2024) [Film Review]

City Hunter; or, Mr Private Eye
     I’ll take you on your case. Let’s go avenge your brother.
I’m back with new, belated update. This time, I take a look at another 2024 April release. To be specific, I really wanted to check out a Netflix live-action adaptation of the popular City Hunter franchise.

Release Info

Directed by: Yuichi Sato Starring: Ryohei Suzuki, Misato Morita, Asuka Hanamura, Fumino Kimura

Language: Japanese Original Title: シティーハンター Runtime: 102 min

Synopsis
Tokyo, 2024. Private detective Ryo Saeba (Ryohei Suzuki) is an excellent marksman, and also a pervert when it comes to relations with women. He is working on a case of a missing girl together with his friend Hideyuki Makimura (Masanobu Ando), who is an ex-cop. After the murder of Makimura, Saeba joins forces with his partner's sister, Kaori (Misato Morita) to discover the mystery behind a deadly drug known as Angel Dust.

Midnight Lighting
To be honest, my knowledge of City Hunter is limited only to the 1993 Hong Kong adaptation with Jackie Chan in the leading role, so please don’t hit me. I have no idea how it’s possible, but the City Hunter craze never caught me. I’m familiar with the premise of the show, but I don’t even think that the original anime and OVAs from Sunrise were broadcast in my country. The Korean and French adaptations from 2011 and 2019 respectively are also beyond me. As a result, I approach the 2024 film with the non-fan mindset.

The Netflix production directed by Yuichi Sato certainly caught my attention due to its stylish production design and over-the-top action set pieces. It is clear that this movie was made by the fans for the fans, so even though I am missing out on some vital easter eggs and plotlines from the manga, I still appreciate the fast pacing and interesting storyline.

Although the movie is set in present day, you can clearly feel the vibe of the 1980s. What is more, I love the neon lighting of many scenes and great attention to detail (city skyline is oftentimes prevalent throughout the movie). In addition, the end credits are a real design treat.

In my opinion, Ryohei Suzuki totally rocks as Ryo Saeba. I really like his overconfident on-screen behaviour, so it’s much easier for me to buy his interpretation of the character than Jackie Chan’s. However, the NSFW jokes crop up a bit too often, in my opinion. Because of these, at times, I had a feeling that I was watching yet another Naked Gun movie.

Additional praise goes to Misato Morita as Saeba’s sidekick, Kaori Makimura. Personally, I think she steals a lot of the scenes, especially the ones that involve drama and moments of vulnerability between the characters. I think that Morita had better material to work on than in the case of The Naked Director, and I certainly look forward to seeing her in more movies and dramas. That being said, Takaya Sakoda really scared me as the main villain. Indeed, he gave a menacing performance and at first, I thought I was looking at deaged Ken Mitsuishi from Ouroboros drama. There is certainly a similarity in the crazed look of both actors. I also liked seeing Asuka Hanamura and Fumino Kimura in supporting roles.

Recommendations
To sum up, I greatly enjoyed City Hunter from Netflix and I’m definitely open for a potential sequel. In the meantime, the movie encouraged me to check out the Sunrise anime, but I still have no desire to watch Korean and French productions.Overall score: 7/10

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Always: Sunset on Third Street 3 (2012) [Film Review]

Always: Sunset on Third Street 3; or, In the Shadow of the Olympics
     Today’s the first day of your new family. But remember… You will always be a part of your family, too.
It took ma a while, but here it is: my review of the third and final instalment of the Always series directed and written by Takashi Yamazaki. Is it a satisfactory conclusion of the trilogy? Let’s jump into the discussion.

Release Info

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

Language: Japanese Original Title: ALWAYS 三丁目の夕日'64 Runtime: 144 min

Synopsis
Tokyo, 1964. The city gears up for the famous Olympics that reintroduced Japan to international consciousness. The citizens of the third street also prepare to celebrate the sports event, but they also struggle with their personal affairs. Chagawa (Hidetaka Yoshioka) has to compete against a young writer who takes over his reading audience, whereas Roku (Maki Horikita) falls for a surgeon from the local hospital.

Always 64
Honestly, Always: Sunset on Third Street 3 did not sit well with me. When compared to the previous two entries, the third movie is riddled with pacing issues, episodic structure, and some odd storytelling decisions.

First of all, the beginning lets you think that the Olympics are going to function as a major overarching theme in the film, but that’s not the case (these are important only in two scenes). Secondly, humour bits are thrown all the time to lighten up the mood, but these feel forced, even to such an extent that the same music cue signals their appearance. Finally, as a viewer who fell in love with the characters, I do not agree with their send off. Again, I avoid the spoilers territory, but the third film primarily focuses on the conflicts of Roku and Chagawa. While the first character was given a bitter-sweet ending, Chagawa was given closure against his warm, deeply kind character. To me, it’s unforgivable.

With regard to production aspects, there are the same as in the case of the previous Always movies. Takashi Yamazaki really has an eye for visual, and likes to freestyle with special effects to achieve a comedic effect. The music score Naoki Sato feels repetitive in the third film, but it hits you in the feels nonetheless.

Speaking about performances, Hidetaka Yoshioka and Shinichi Tsutsumi rock as always. True stars of the third film are Maki Horikita and Kenta Suga who really stand out with their interpretations of the characters.

Recommendations
All things considered, Always: Sunset on Third Street 3 was a bit of a disappointment for me, but I knew I had to see it because of Takashi Yamazaki. I recommend it only for the hardcore viewers who greatly enjoyed the previous two movies. I don’t think there’s any creative potential for the fourth movie at this point, but I wouldn’t mind seeing the new adventures of the third street inhabitants.Overall score: 6/10

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Always: Sunset on Third Street 2 (2007) [Film Review]

Always: Sunset on Third Street 2; or, All Folks Here
     Those of us who survived should be as happy as possible.
As promised, I return to the world of Always: Sunset on Third Street with my review of the second part of the live-action trilogy made by director Takashi Yamazaki. Again, as I explained last week, please accept my apologies for the delay. Without further ado, let’s dive in.

Release Info

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

Language: Japanese Original Title: ALWAYS 続・三丁目の夕日 Runtime: 146 min

Synopsis
We reunite with the heroes of the first movie two years later. Mr Suzuki’s (Shinichi Tsutsumi) auto repair business thrives, whereas Chagawa (Hidetaka Yoshioka) does his best to raise Junnosuke (Kenta Suga). However, Junnosuke’s biological father (Fumiyo Kohinata) is unwilling to let go, so he pesters Chagawa about giving up the child, pointing out the writer’s poor living conditions. In order to prove that he can provide for Junnosuke, Chagawa decides to take part in the literary contest to win the prestigious Akutagawa Prize. At the same time, Chagawa struggles to meet with Hiromi (Koyuki) and disclose his feelings for her.

The Power of Word
Allow me to say that if you enjoyed the original Always: Sunset on Third Street, then you get the same package with the sequel, in which all the conflicts and touching moments are repeated. This sequel is not a bad film by any means, but it really feels like a washed down version of the first movie.

Nevertheless, Takashi Yamazaki threw some wonderful additions into the mix. For example, we get the traditional opening zoom out from a radio in Suzuki’s house only to reveal that Tokyo is being invaded by the King of the Monsters himself! This is the section of the film over which Godzilla fans relentlessly glow over in the internet, and it is indeed a real treat to watch. It is almost as if back in 2007 Yamazaki made this as a trump card for Toho, trying to say, “Here I am guys. Give me a chance to direct a Godzilla flick!”

Of course, glory of the intro does not constitute an entire movie. I liked Chagawa’s struggle to raise Junnosuke, but we have seen that already. The Suzuki family houses a newcomer in form of a distant cousin, and she feels like a fish out of the water exactly like Mutsuko in the first film. Mutsuko’s romance in the sequel also feels a bit forced. Sill, a breath of fresh air was Mr Suzuki’s nostalgia for the war buddies, a subplot taken straight from Nobuhiko Obayashi flicks.

With regard to performances, evidently, Hidetaka Yoshioka and Shinichi Tsutsumi are the showstealers, but Koyuki, Tomokazu Miura, and Fumiyo Kohinata have a lot more to do this time round.

Recommendations
All things considered, Always: Sunset on Third Street is a decent continuation, but it does on build upon the first movie. Instead, it kind of resets the characters and starts over to achieve the same happy ending outcome. Still, I don’t regret watching it.Overall score: 7/10

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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

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Mad Cats (2023) [Film Review]

Mad Cats; or, Demon Warriors
     This has nothing to do with me! I just got dragged into it!
Welcome to another December review, in which I am taking a look at another upcoming Third Window release, which is Mad Cats (2023), an indie action flick cooked up by director Reiki Tsuno.

Release Info

Directed by: Reiki Tsuno Starring: Sho Mineo, Yuya Matsuura, Ayane

Language: Japanese, English Original Title: MAD CATS Runtime: 88 min

Synopsis
Taka (Sho Mineo) is a young guy who leads a “worthless” existence. One day, he receives a tape on which a female voice tells him that his brother (So Yamanaka), an archeologist, is held captive at a place where they once found a cat. Taka rushes to that place only to discover that there is an ancient artefact from Egypt, which is the forbidden catnip. Demonic cats who turned into humans are chasing after Taka. In the quest to save his brother, he is joined by a street beggar Takezo (Yuya Matsuura) and a mysterious woman (Ayane).

Hell Here
I have to say that I went in to check out Reiki Tsuno’s Mad Cats completely blind, having read completely nothing about the movie beforehand, and this approach was beneficial to me. Mad Cats feels like an homage not only to the pulpy style of Quentin Tarantino, but also to many horror/thriller flicks from the 1980s like The Terminator (1984) or Fright Night (1985).

In fact, I did notice the stylistic parallels between Mad Cats and Adam Wingard’s The Guest (2015) which also was constantly referring to the kick-ass cinema of the 1980s. Awesome soundtrack composed by Yuki Hotta (with the generous usage of Birthday Girl songs) and really eye-catching cinematography by Shintaro Teramoto are the definite assets of the movie.

That being said, the story itself may not be everybody’s cup of tea. Undoubtedly, Mad Cats has the necessary dosage of comedy, action, and typical sense of creative wackiness you would expect from an indie production, but at times, the film may feel dragged out and repetitive with some of its sequences.

This may also come off as nitpicking, but I do believe that sound mix might have been improved. Maybe it was only my case because I was watching the film with headphones, but a lot of sound effects seemed louder than the regular voice track. Still again, this is not a big issue that distracts you from the viewing experience.

With regard to performances, the main actors do a fine job. Sho Mineo is great as the goofy everyman, Ayane is definitely a force of nature as the female warrior, whereas Yuya Matsuura is having a field day as a street bum who accidentally gets entangled in an otherworldly battle. After seeing the actor in Onoda - 10,000 Nights in the Jungle (2021), and Lonely Glory (2022), I really look forward to his future projects.

Recommendations
All things considered, Mad Cats is an interesting indie production with a big heart, but there are certain loose ends which may be noticeable for demanding viewers. Personally, I do not regret seeing it. The movie is going to be made available on region-free Blu-Ray from Third Window Films on the 29th of January, 2024. The release is going to include such bonus features as an interview with director Reiki Tsuno, director feature commentary, behind the scenes materials, and theatrical trailer.Overall score: 6/10

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River (2023) [Film Review]

River; or, The Edge of Afternoon
     What will you wish for?
The year 2023 is coming to an end soon, but I managed to find some time to talk about yet another time-travel themed Japanese production. Yes, if you remember my review of Beyond the Infinite Two Minutes from 2021, then please do know that the creative team behind that movie created a companion piece known as River.

Release Info

Directed by: Junta Yamaguchi Starring: Riko Fujitani, Yuki Torigoe, Manami Honjo

Language: Japanese Original Title: リバー、流れないでよ Runtime: 86 min

Synopsis
Kibune is a small town situated in the northern mountains of Kyoto. There is a local inn situated next to a river. Mikoto (Riko Fujitani), who works at the inn, stands by the river and wishes that time could stop. All of a sudden, everybody at the inn experiences a 2-minute long time loop. Time passes only between 13:56 and 13:58 and then keeps resetting itself. Workers and guests join forces to uncover the mystery behind this phenomenon. In the process, they face their personal struggles.

Let’s move time!
I guess at this point it is safe to say that director Junta Yamaguchi and writer Makoto Ueda just can’t fail when it comes to crafting intimate, heartwarming stories about ordinary individuals who find themselves in extraordinary circumstances, and have to figure out their way of the uncanny mess of a situation.

As you already know, I greatly enjoyed Beyond the Infinite Two Minutes, but in my opinion, River really tops Yamaguchi’s previous directorial endeavour not only because of its obvious wackiness, but also because of palpable warmth with a touch of romance and slice-of-life shenanigans.

One could easily scoff River as a straightforward Groundhog Day knock off, but think of the film as something in between Wood Job! (2014), The Edge of Tomorrow (2014), and Back to the Future (1985). The real charm of River comes not just from the meticulous screenplay, but great cinematography, absolutely outstanding locations, and onscreen chemistry.

Speaking about the last aspect, the performances of the leads are just as great as in the case of Beyond the Infinite Two Minutes. Riko Fujitani effortlessly carries the narrative as the main heroine, but the whole ensemble cast is absolutely amazing. Big shout out goes to J-Drama veteran Yoshimasa Kondo who appears in the film as a writer suffering from creative block.

To be honest, the only thing that did not entirely click with me was the ending. I do not want to get into any spoilers, but (similarly as in Beyond the Infinite Two Minutes) we get a resolution of the story straight from the realm of science fiction. Personally, I would have appreciated it if the finale was more personal rather than otherwordly.

Recommendations
All things considered, River is an outstanding movie indeed, and it could not be a better choice for Christmas time, at least for me. If you enjoyed One Cut of the Dead and Beyond the Infinite Two Minutes, then you will most certainly love this movie as well. The movie is going to be available on region-free Blu-Ray and DVD from Third Window Films on the 12th of February, 2024. The releases are going to include such special features as a theatrical trailer, an interview with director Junta Yamaguchi, and a one-hour long ‘making of’ documentary.Overall score: 10/10

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Okay! Madam (2020) [Film Review]

Okay! Madam; or, National Lampoon’s Airborne Vacation
     We have to go on this trip!
It has been a while, but I am getting back into Korean movies again. I am not sure if this is a long term thing or a passing mood, but I decided to check out some Korean comedies. My obvious first pick became Lee Chul Ha’s Okay! Madam from 2020. I admit that the movie would have totally missed my radar had it not been for a recommendation post made by my friend @penel over at MyDramaList.

Release Info

Directed by: Lee Chul Ha Starring: Uhm Jung Hwa, Park Sung Woong, Jung Soo Bin

Language: Korean Original Title: 오케이 마담 Runtime: 100 min

Synopsis
Mi Young (Uhm Jung Hwa) and Suk Hwan (Park Sung Woong) are a middle-class family. She runs a shop at a traditional market, and he is a technology wizard who fixes computers. All of a sudden, it turns out that they win a trip to Hawaii. The couple together with their daughter (Jung Soo Bin) board an exclusive plane. Nevertheless, family happiness is quickly disrupted when a group of terrorists takes over the plane. The assailants are looking for a former spy from North Korea who is allegedly on board. Mi Young and Suk Hwan step into action to save their daughter and the rest of the hostages.

High Anxiety
When I saw @penel’s feed post for the first time, I thought to myself, “Oh cool, it's a plane movie!” It was only later when I realised that Okay! Madam is also a comedy. Indeed, it is very hard to make a successful comedy set on board of an aircraft. However, there are a few noticeable examples, such as Airplane! (1980) and Happy Flight (2008).

Okay! Madam is a very light-hearted and briskly paced fun entertainment. It even manages to conjure up a few plot twists along the way. Consequently, I am very grateful I checked out the film without paying attention to the plot synopsis or watching a spoiler-charged theatrical trailer. I suggest you do this as well in order to get full enjoyment out of the movie.

I realise that some demanding viewers may be put off by the film’s low production value. Evidently, it was made on a tight budget, which can be seen in many CGI shots of a plane in distress, whereas all the interior shots were shot in studio conditions. Still again, the greatest advantage of the movie is the script and great performances of the leads.

Speaking about performances, Uhm Jung Hwa is having such a field day in this movie! I mainly know the actress from her dramatic endeavours, but in Okay! Madam she clearly demonstrates her comic abilities. Park Sung Woong is also funny as the geeky husband. Lee Sang Yoon makes a standard appearance as your ordinary Mr Tough Guy, but he does well with his role. The rest of the supporting appearances are fine, but do not particularly stand out.

Recommendations
Even though the film is a Korean production, it makes me wonder if the title is actually a witty reference to Corey Yuen's action-packed Yes, Madam! (1985) which jettisoned Michelle Yeon into stardom. All in all, I greatly enjoyed Okay! Madam. The movie is available on numerous streaming platforms, including Amazon Prime. Overall score: 8/10

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