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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School in the Crosshairs (1981) [Film Review]

School in the Crosshairs; or, All of Us Are Aliens
     Stars...you can see so many stars in this universe.
Welcome to the concluding part of my journey through Nobuhiko Obayashi’s Kadokawa productions, which were recently released by Third Window Films. I realise that School in the Crosshairs is chronologically the first movie which Obayashi made for the idol-centered studio, but I saved this review for the last course because it is my least favourite one of the bunch. Without further ado, let’s jump into the discussion.

Release Info

Directed by: Nobuhiko Obayashi Starring: Hiroko Yakushimaru, Masami Hasegawa, Toru Minegishi

Language: Japanese Original Title: ねらわれた学園 Runtime: 90 min

Synopsis
Yuka Mitamura (Hiroko Yakushimaru) is a middle school student who suddenly discovers that has psychic powers. Nevertheless, another girl called Takamizawa (Masami Hasegawa), obviously being under the influence of a mysterious intergalactic being, also displays psychic abilities, and uses them to impose a military regimen at school. Yuka stands in defence of oppressed students, and humanity on the whole. She has to face off against a villainous creature from Venus known as Kyogoku (Toru Minegishi).

The Psychic Club
Allow me to clarify right off the bat that I consider School in the Crosshairs to be my least favourite Obayashi movie made for Kadokawa, but it does not mean I dislike it. Given the circumstances, the budget, the idol cast, and the source material (a novel by Taku Mayumura), the director gave his best effort to make a fantasy movie, which touches upon some very important themes.

The problem with School in the Crosshairs is that the pacing is erratic and the themes in question are not entirely fleshed out. The alien invasion, which subsequently results in a radical change of school life, echoes Obayashi’s own childhood during World War II, when he was constantly indoctrinated by imperialist propaganda about the might of the Japanese Empire. Interestingly, Mitamura and her colleagues’ personal struggles at school can serve as a metaphor for the so-called “juken jikoku” phenomenon; that is, “exam hell” in Japan.

Needless to say, Obayashi deeply criticises in his story the herd mentality and favours independent action. This culminates in the bombastic finale filled with outstanding visual extravaganza, in the course of which Mitamura single-handedly fights off against an alien invader who turned her friends into mindless drones. The heroine manifests her objection against not only brainwashing, but also the modern conditioning of students to blindly follow authority and the educational system.

Consequently, I appreciate the messages which Obayashi tried to convey in this motion picture, but these are unfortunately hidden under layers of composite shots and rotoscope animation, which to date make an impression on the Western enthusiasts of Japanese Cinema, but also steal away that antiwar sentiment which Obayashi was so keen on putting in his movies since House (1977).

With regard to performances, School in the Crosshairs marks the first (and the last) time when Obayashi worked with the idol gem of Kadokawa studio: Hiroko Yakushimaru (before her big breakthrough with Sailor Suit and Machine Gun). Hiroko does a great job as the female lead, and I dare to say that she would have been a better fit to play the heroine in The Island Closest to Heaven than Tomoyo Harada. (Interestingly, Harada played Yakushimaru's part in FujiTV's drama adaptation of School in the Crosshairs). Ryoichi Takayanagi’s appearance as the love interest is a given because this is in a Kadokawa movie after all, and the actor is just there, nothing more, nothing less. However, my words of praise go to Masami Hasegawa for playing the villainous student, and the always-wonderful Toru Minegishi for appearing as the boss villain.

Recommendations
All things considered, if you want to experience a bizarre mash-up of teenage romance and fantasy, then I recommend School in the Crosshairs. The Third Window release has such bonus features as an original theatrical trailer, selected audio commentary by Aaron Gerrow, and translation notes by Owen Baron.

Overall score: 7/10

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The Island Closest to Heaven (1984) [Film Review]

The Island Closest to Heaven; or, Let’s Go to the Beach
     See this river? If you follow it all the way out, it leads you to the sea. If you keep going, way to the south, all the way to the other side of the world, there’s a small island made of pure white coral. That is the island closest to where God is in heaven.
I continue my journey through Obayashi’s Kadokawa productions, this time with The Island Closest to Heaven from 1984, yet another Tomoyo Harada vehicle, based on an autobiographical book authored by Morimura Katsura.

Release Info

Directed by: Nobuhiko Obayashi Starring: Tomoyo Harada, Ryoichi Takayanagi, Toru Minegishi

Language: Japanese Original Title: 天国にいちばん近い島 Runtime: 102 min

Synopsis
When Mari Katsuragi (Tomoyo Harada) was a little girl, her father told her about an island far to the south where it is always sunny and warm. It was the island closest to heaven, and the father promised Mari that they would visit it together. After the father’s passing, Mari declares to her mother that she is going to search for the island on her own. She goes to New Caledonia where she meets a whole bunch of idiosyncratic natives and Japanese immigrants who will make an impact on her life.

Safe Space
I would say that The Island Closest to Heaven is the first unusual filmmaking endeavour for Obayashi because it does not have an avant-garde storyline or fantasy/horror elements. The film is primarily an introspective, soul-searching journey of the main heroine who makes her first steps into adulthood.

I would not call this a Bildungsroman in and of itself, but rather a slice-of-life evaluation of the Japanese immigrant experience within the French territory of New Caledonia. Indeed, Obayashi populates the story with many people deriving from different backgrounds and age groups. Mari finds herself particularly torn in between two men, a young “local” Taro (Ryoichi Takayanagi) and an elderly tour guide Yuichi (Toru Minegishi). She goes through teenage love in the first relationship, but Yuichi’s heartbroken past (which Mari glues back in the finale) teaches her that there is still much more to experience in life.

The juxtaposition between the indigenous people and the Japanese immigrants done by Obayashi is also interesting. Mari, in the course of her journey experiences disappointment after disappointment, failure after failure. The Japanese settlers to whom Taro belongs reject Mari because they perceive her as an outsider: “You shouldn’t fall in love with a tourist. You’ll end up being lonely,” Taro is warned. However, the natives unconditionally rush to the rescue and save Mari suffering from fever. This marks her rite of passage into an adult woman.

In addition, Mari’s relationship with a Japanese widow who visited New Caledonia to pay respects to her deceased husband is also intriguing. One would expect the widow to behave in a restrained and conservative manner, but her character (as expected from Obayashi) is suffused with sentimentality, and she advises Mari that “Life is not long. You need to be unreasonable sometimes.” This stands in stark contrast with the behaviour of Mari’s travel colleague Fukuko (Maiko Ogo) who carelessly consumes alcohol and hunts in the hotel poolside for prospective French boyfriends.

With regard to performances, Tomoyo Harada provides a decent performance as the female lead, but I preferred her more assertive modus operandi as depicted in The Girl Who Leapt Through Time. Ryoichi Takayanagi does a better job this time round as the love interest, but his delivery of lines is still off. Toru Minegishi is outstanding in the supporting part and a true highlight of the motion picture.

Recommendations
All things considered, this is one of the Obayashi films to which I fondly come back just to revisit the tranquil ambience. Thanks to the wonderful cinematography helmed by Yoshitaka Sakamoto and the peaceful, orchestral music score composed by Tomoyuki Asakawa, The Island Closest to Heaven feels like a classic Hollywood picture from the 1930s but suffused with vibrant colours and breathtaking locations. The Third Window release of the film contains such bonus features as an original theatrical trailer, an audio commentary by Samm Deighan, and a video essay called “Obayashi - Femininity in Transition” by Robert Edwards. My only complaint is that the theme of the essay would have been more fitting for the potential discussion of The Girl Who Leapt Through Time.Overall score: 8/10

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His Motorbike, Her Island (1986) [Film Review]

His Motorbike, Her Island; or, Crazy Thunder Road 2: Love Warrior
     She was there from one summer to the next. She became my story.
I press on with my mini-marathon through Obayashi’s Kadokawa endeavours. This time, I am focusing on his 1986 bosozoku-centered picture called His Motorbike, Her Island, based on a romance novel by Yoshio Kataoka, with Riki Takeuchi and Kiwako Harada in the leading roles.

Release Info

Directed by: Nobuhiko Obayashi Starring: Riki Takeuchi, Kiwako Harada

Language: Japanese Original Title: 彼のオートバイ、彼女の島 Runtime: 90 min

Synopsis
Koh Hashimoto (Riki Takeuchi) is a young, rebellious student who after a failed romance goes on a bike ride through a rural town on an island, and meets a carefree girl Miyoko Shiraishi (Kiwako Harada). Gradually, a relationship forms between the two, but Miyoko gets increasingly drawn to the bike…

Speed Our Destination
The bosozoku subculture was truly at its peak in Japan of the 1980s, making forays into such domains as literature, manga, anime, television, and of course cinema. Undoubtedly, Sogo Ishii’s Crazy Thunder Road (1980), which was already discussed on this blog, serves as the best example of a film that depicted this phenomenon, but also took it to another level in aesthetic terms. It comes as no surprise that Nobuhiko Obayashi dipped his toes into the popular genre as well.

Although His Motorbike, Her Island is not as wacky as Crazy Thunder Road, I dare to say that Obayashi’s film functions very much like its companion piece. What makes His Motorbike, Her Island stand out from a whole slew of numerous bosozoku flicks is the fact that Obayashi for the first time in his career tells an essentially failed romance story. Koh is a social outcast, whereas Miyoko is just a rural girl. One would expect a passionate romance to catch on fire between the two, but it is only a dream, an illusion Miyoko at one point says to Koh: “In Shinshu… When I saw you on top of that Kawasaki, I was so jealous… I envied that Kawasaki. I wanted to ride it myself. And I wanted to be loved as much as that Kawasaki.”

Obayashi explores the unlikely romance through monochromatic shots as well as vividly colourful ones, blurring the lines between a dream, a memory, and reality. What makes the story more interesting is that it is told through the perspective of now adult Koh, which is an indication that he eventually matured, and we, the viewers, relive the glory days together with him. Nevertheless, the conclusion of the tale is unnerving to say the least. Allow me to refrain from giving away any major spoilers, but let me just say that Obayashi presents us with a seemingly bittersweet ending, but at its core, it is deeply heartbreaking.

With regard to performances, if you had not known that piece trivia, His Motorbike, Her Island is the debut appearance of the legendary actor Riki Takeuchi. Indeed, he has a dominating presence as the male lead, but one should also appreciate the youthful gentleness and vulnerability which he displays in this picture. Kiwako Harada is without a doubt memorable as Miyoko, but I would not call her the most assertive Obayashi heroine out there. Truth be told, her character is independent but lost at the same time. My praise also goes to Noriko Watanabe and Tomokazu Miura for appearing in the supporting parts.

Recommendations
I really do not want to use the word “esoteric”. I guess ethereal would be more suitable for His Motorbike, Her Island. Indeed, I appreciate the film for its ethereal ambience and the wonderful riding sequences through urban cityscapes as well as rural landscapes. It is yet another beautifully crafted picture by Nobuhiko Obayashi. The Third Window release of the film contains such bonus features as an archival interview with Nobuhiko Obayashi, an audio commentary by Tom Mes, and an original theatrical trailer.
Overall score: 7/10

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The Girl Who Leapt Through Time (1983) [Film Review]

The Girl Who Leapt Through Time: or, Lavender Day
     The fruit of love is at the bottom of the sea. The sky's sigh has turned into stars. It takes millions of years for people to meet.
It’s Obayashi time on this blog again. I finally manage to sit down and revisit four films of the late master, which were recently released in a limited boxset by Third Window Films. Allow me to start my revisitation with Toki o Kakeru Shōjo, or, using the English title, The Girl Who Leapt Through Time from 1983 with Tomoyo Harada in the leading role.

Release Info

Directed by: Nobuhiko Obayashi Starring: Tomoyo Harada, Toshinori Omi, Ryoichi Takayanagi

Language: Japanese Original Title: 時をかける少女 Runtime: 104 min

Synopsis
Meet Kazuko Yoshiyama (Tomoyo Harada). She is an ordinary girl and an average student at a local high school. She is a good friend of Goro Horikawa (Toshinori Omi), whom she has known since childhood, and also of Kazuo Fukamachi (Ryoichi Takayanagi). After a sudden accident while cleaning the science lab, Kazuko discovers that she has the power to travel in time. Little does know that her extraordinary ability is linked to the boy she falls for, Fukamachi.

If I Could Turn Back Time
Let me say right off the bat that The Girl Who Leapt Through Time is often unfairly labelled among Western viewers as Obayashi’s take on the Groundhog Day (1993) formula. In my opinion, this is more of a consequence of Yasutaka Tsutsui’s original novel's premise rather than of misinterpretation of the movie adaptation. Indeed, many Obayashi’s films made in the 1980s were based on some kind of external source material, be it a book or a manga series, but regardless of the story constraints, the auteur director always managed to leave his personal imprint on the subject matter, and The Girl Who Leapt Through Time is no exception from this.

To be specific, rather than reliving the same day over and over again, Kazuko finds herself unwittingly jumping between various points of her life. She literally “cuts through time” as the alternative English title suggests. Personally, I regard this approach as quite refreshing because Obayashi does not make “time travel” as the main MacGuffin or the axis that drives the action forward. Kazuko’s ability serves as the lead-in for discovering her love for Fukamachi. Therefore, the movie is first and foremost a teenage romantic drama suffused with sentimentality and otherworldly strangeness (keep an eye out for The Wizard of Oz easter eggs in the film).

If I were to choose another Obayashi film that is stylistically similar to The Girl Who Leapt Through Time, it would have to be The Visitor in the Eye (1977) because the cinematography as well as the thoughtful usage of music goes hand in hand in both pictures. However, in the case of The Girl Who Leapt Through Time, Obayashi manages to employ his full on visual bizarness in the final act. The stop-motion spectacle as Kazuko travels through time and space is a true invasion of the spectator’s senses, in a positive way of course.

With regard to performances, if I am not mistaken, this is the first instance when Obayashi collaborated with the idol actress Tomoyo Harada (She went on to appear later in The Island Closest to Heaven, Kenya Boy, and Samurai Kids). In my opinion, out of all her appearances in Obayashi’s films, Harada gives her best performance in The Girl Who Leapt Through Time. She gives off the vibe of an innocent girl with pure intentions who is not too egotistical or absent-minded. I have to say that she had a great onscreen chemistry with Obayashi’s regular, Toshinori Omi.

The same, unfortunately, cannot be said fot Ryoichi Takayanagi who plays the main love interest. His delivery of lines is wooden and off-putting to say the least. Still, it did not discourage Kadokawa from utilising the young actor in Obayashi’s other productions cooked up for the studio. In terms of supporting parts, it is great to see Ittoku Kishibe and Wakaba Irie.

Recommendations
If you are looking for a peaceful and unpredictable coming-of-age drama, then I recommend The Girl Who Leapt Through Time. The Third Window limited release of the film comes with such bonus features as an archival interview with Nobuhiko Obayashi, a featurette devoted to Tomoyo Harada, a music video, and an original theatrical trailer. Out of the many adaptations of the original novel, this is the best one.
Overall score: 8/10

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Suffering of Ninko (2016) [Film Review]

Suffering of Ninko; or, Carnal Visions
     Sexual indulgence is sinful for monk.
The decade of the 2010s has undeniably shown to us that the future of Japanese Cinema belongs to young, extremely skilled, and experimental filmmakers. Apart from One Cut of the Dead (2017), Violence Voyager (2018), and Beyond the Infinite Two Minutes (2021), Norihiro Niwatsukino’s debut feature, Suffering of Ninko (2016), is yet another example of how fresh approach and low budget can result in a decent motion picture.

Release Info

Directed by: Norihiro Niwatsukino Starring: Masato Tsujioka, Miho Wakabayashi, Yukino Arimoto

Language: Japanese Original Title: 仁光の受難 Runtime: 110 min

Synopsis
Ninko (Masato Tsujioka) is a Buddhist monk who diligently follows all the principles and practises asceticism. However, there is one problem. Ninko is incredibly handsome which, in consequence, draws the attention of women and men around him. Ninko desperately tries not to succumb to bodily desires, but horrible visions of demonic lust continue to haunt him. Ninko leaves his temple and embarks on a journey. In the mountains, he arrives at a village that is plagued by a demon spirit who kills men…

At World’s End
On the basis of the synopsis, one could think that Suffering of Ninko is nothing more than an adult feature filled with NSFW content. This is not true at all. Norihiro Niwatsukino provides a great addition to the genre of Japanese ghost stories by telling the audience a tale about a virtuous monk trying to preserve his purity.

Indeed, there are scenes of nakedness but these are thoughtfully framed within the folk tale convention. Namely, the live-action adventures of Ninko are cross-cut with parchment drawings and animations which, combined with the narrator’s voice, create an atmosphere of intimacy, as if we are reading an old, forgotten myth.

The production design is spot on. We get to see numerous naturalistic settings which seem as if taken straight from the world of Zatoichi. With regard to performances, Masato Tsujioka does a great job as the main lead, especially in the scenes where Ninko is shocked and terrified. Hideta Iwahashi is also interesting as a bloodthirsty samurai, but he does not have a lot of screen time. Miho Wakabayashi is just chilling as the demoness Yama-onna.Qyoko Kudo really elevates the film with her narration.

Recommendations
If you want to see something niche, bizarre, yet visually-intriguing, then I recommend Suffering of Ninko. Third Window Films released the film in dual format on DVD and Blu-Ray. Their edition contains a trailer, interview with director Norihiro Niwatsukino and a short film called Strawberry Jam.Overall score: 7/10

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Fish Story (2009) [Film Review]

Fish Story; or, An Exaggerated Tale
     How can solitude be a fish? This song will save the day.
Yoshihiro Nakamura’s Fish Story, based on the novel by Kotaro Isaka, is yet another example of a Japanese feel-good movie which is totally too cool for school. I nearly forgot how awesome this movie is, but I had a chance to revisit it because of a Third Window release. Let’s explore on a voyage through time, nostalgia, and determination.

Release Info

Directed by: Yoshihiro Nakamura Starring: Atsushi Ito, Mikako Tabe, Seiko Iwaido

Language: Japanese Original Title: フィッシュストーリー Runtime: 112 min

Synopsis
It’s the year 2012. A comet is about to enter the Earth’s atmosphere and inevitably annihilate the entire world. Three strangers meet up in a music store and they listen to a song called “Fish Story”. The store owner explains that the record is an obscure release made by a forgotten punk rock band Gekirin. In a series of flashbacks, we explore the origins of the song and how, throughout decades, it made an impact on certain individuals. According to a prophecy, the song is responsible for creating “a champion of justice” who will save mankind.

A Song of Salvation
In my opinion, Fish Story is a perfect embodiment of the concept of delayed gratification. During the first two acts of the film, you just can’t help but feel confused as a viewer. Multiple plotlines and characters are thrown at you. We travel back in time from 2012 up to 1953 and get to see such quirky characters as a literary translator, a music producer, a singer, a waiter, and many others who were, in one way or another, influenced by the titular “Fish Story”.

When all of the vignettes suddenly start converging together into one coherent whole, you can’t help but marvel at the insanity and ingenuity of the storyline. At the end of the day, it takes so little, yet so much, to provide people with motivation necessary enough to get things done in a good way.

Of course, I can’t forget about the marvellous soundtrack provided by Kazuyoshi Saito. The theme song is an outstanding banger and a core element of the film. Oh, and that clever reference to the first season of Super Sentai, Himitsu Sentai Gorenger (1975), was pure icing on the cake.

With regard to performances, there are so many great actors in Fish Story, but I have particularly enjoyed seeing Atsushi Ito, Mikako Tabe, and Noriko Eguchi. I also adore the hilarious part of a false prophet played by Kenjiro Ishimaru. Interestingly, there are also cameo appearances from Jmovie veterans: Reiko Kusamura and Koichi Ueda.

Recommendations
If you are on the lookout for a joyful flick filled with positive energy, then give Fish Story a chance. The Blu-Ray release comes with a variety of bonus features, including making-of featurette, trailer, deleted scenes, Q&A with director and the cast, Gekirin various live shows, and Gekirin CD launch Q&A at HMV.Overall score: 9/10

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