Orangevine
This is not a drama to watch for the realistic portrayal of neurodiversity. But mental conditions are just a top of the iceberg of things this drama treats with unbelievable levity. Law of physics, common sense, realistic human motivations - everything goes out of the window in this brash drama.
What's amazing, though, is that the cases remain elaborate and complicated throughout the whole show. They may be solved with the fakest of fake science or based on the most bizarre reasons for murder, but the writers' determination is admirable.
Kubota Masataka and Hayashi Kento are also there making one wishful for a movie where this kind of cast could really shine.
The ending deserves a special mention as the solution of the main conflict was hilarious from the genre view point. Just imagine Sherlock delivering Akagi's lines to feel the full force of it.
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First and foremost, ST should not be taken seriously. This is not so obvious from the first half of the movie. After all, a lot of diagnoses fly around and we haven't yet seen enough to decide if Fujiwara Tatsuya' character have a real agorophobia or a Hollywood one. Eccentric scientist haven't yet revealed the extent of their 'fake science' knowledge and the plot seems coherent.
Then the pile of small details like the obviously fake wig of Shida Mirai or the way expertise in chemistry gives one super smell becomes too hard to ignore, and as the movie comes to its close the viewer is left with no doubts that ST is actually a trashy mystery movie.
That knowledge, though, is not in conflict with another truth: ST is very fun. Okada Masaki who is arguably the most handsome actor of his generation, plays a hapless inspector who tries to convince unreasonable forensic experts to help him solve the case using the sole method of looking at them with his puppy eyes.
His puppy eyes game, though, is so strong it works on the most unreasonable of the bunch - the expert played by Fujiwara Tatsuya. It's hard to find someone more suitable to play powerful but anxious detective with sinister aura than Fujiwara. He suffuses his character with much needed vulnerability and cuteness. Together with Okada Masaki, they are perfect as unlikely detective duo.
Kubota Masataka adds considerable charisma to his character who doesn't even have lines and shows off his action skills. Kubota's road to blockbuster action movies was long but the destination well deserved.
Finally, Hayashi Kento plays the big bad boss who always wants to fire or reassign everyone. He looks like middle-schooler (or a fed-up chihuahua) but he is too well of an actor not to put his all in the role.
All of this combined with fast-paced if outrageous plot makes for a fun watch.
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This drama is almost unparalleled in Japan. So popular it went on for three seasons, it boasts the brilliant script, the high quality production, and the acclaimed guest stars for each episode. It wouldn't be a big stretch to say that so much effort is rarely put in procedurals. Most importantly, the real human emotions run high every episode giving the show a dramatic edge and universal appeal more genre works usually lack. Great tension, pacing, and consistently witty dialogues keep the viewer engaged.
At the centre of the drama, though, is Amami Yuki. She perfected her presence and charisma during her time as a Takarazuka performer, and she is simply majestic here as the strong female character J-dramas deserve. Her chemistry with other interrogators played by the veteran actors is through the roof.
There are two reasons why this drama in not on top of the Mydramalist Rating.
Firstly, there are no ikemen in the main cast. Admittedly, it's a stupid reason but rare comic relief scenes with Hayami Mokomichi do not an idol drama make (and heart wants what it wants). I'd recommend you to give it a chance nonetheless as the cast is unbelievably entertaining.
The second reason is the case-of-the-week structure of the show. A lot of action happens inside confines of an interrogation room so there is no space for elaborate overcomplicated sensationalistic cases. The final arc of the show has appropriate sinister foreshadowing but would hardly shock anyone.
All in all, it's a brilliant Japanese production with the second season being even better than the first.
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Border consistently ranks at the top of 'the best detective J-dramas' ratings, yet, it is often claimed to be boring and unoriginal. This discrepancy is easily explained.
On the one hand, the Border scriptwriter Kaneshiro Kazuki is known for his solid well though out mystery plots. In the small world of detective J-dramas solid plot is nothing to sneeze at.
The main character is also quite unusual for a procedural; he is young run-of-the-mill policeman who is disillusioned with the mission of the force, the higher ups, and himself. He is decidedly not a hero. His newfound ability finally gives him an edge in the fight against injustice but it also inconveniences him and makes him an outcast. In other words, for those inclined, the many small misfortunes of the main character are a great source of dark amusement especially since Oguri Shun infuses the character with his trademark charm.
The bleak atmosphere and hypnotic pace underline the existential despair of the main character so the viewer never stops wondering where is the limit of the main character's power and what happens when it is reached. After all, we all know that there is only so many ways a detective drama can end.
It is also worth noting that the drama is a serious one despite the 'seeing the dead' aspect. That differentiates it quite a lot from western fluffy shows with gimmics.
On the other hand, bleak atmosphere and hypnotic pace for those who don't enjoy these things easily translates to boring storytelling and navel-gazing. The secondary characters are not that fun and some of them are further bogged down by mediocre performances. There is no romantic tension or engaging banter (aside from scenes with Furuta Arata's character). The main character's rage against injustice is too easily seen as a typical seinen riot against unfair world that doesn't give one what they feel entitled to.
Unlike Unnatural, Dele or Keiji Yugami, Border is not a mystery drama for everyone. But it is quite different from many other J-dramas and it is the closest to the true noir (the unsexy kind) you can find. I'd especially recommend it to the detective lovers who got tired with 'closed room' Agatha Christie shenanigans in J-dramas and who can tolerate the lack of fanservice for the sake of dry plot developments.
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Who knew that studying in the police academy in the law-abiding Japan is so fraught with danger? Once the audience accepts that graduating this academy requires enormous grit, determination, and luck, though, the drama flows very well.
Kimura Takuya plays hard to please jerk-of-an-instructor that probably everyone encountered at least once in their lives. These kind of teachers (most of time) are not unfair monsters the students believe them to be; they are just strict and, perhaps, pedantic. As the viewers follow the perilous lives of several cadets, the mystery of whether Kimura's character is evil or benevolent slowly unfolds.
What deserves undeniable praise in this drama is the pacing. The tension is always high and poor cadets are never safe. The high quality production befits the star level of the cast. Many characters have brief stays in the drama, yet, leave long impressions.
Hayashi Kento deserves the most accolades among the cast. His performance brings to mind Elija Wood's cannibal from the Sin City; the level of creepiness is unbelievable. Nishihata Daigo and Tomita Miu also put impressive performances.
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Whether one considers Fujiwara Tatsuya a king of overacting or an acting titan, one must admit that he is recognised inside the industry as a definitive performer of the villain roles. After all, he meets all the requirements: his presence always looms large despite his small stature and his low voice is perfect both for enticing others to the dark side and for instilling fear in the hearts of his enemies. Violet prose aside, it takes little effort to imagine Fujiwara petting a white persian cat while torturing the most recent Bond incarnation.
The villain of this movie, in particular, seems to be tailored for Fujiwara. The character is handsome, smug, intelligent, and violent. The viewer is ready to cheer his downfall yet can't help but wonder if something else is going on with this murderer.
Other characters including the male lead played by Ito Hideaki are similarly charismatic. Moreover, the Korean origins of the material lend unexpected passion to the characters and tension to the conflicts. Japan is a country with a very low crime rate so the idea that upon learning that law enforcement failed to capture the criminal (which is already outrageous) the victims' relatives will take justice in their own hands is quite bizarre. So it's rarely encountered in J-dramas. In this movie, not only the themes of revenge, corruption, and helplessness are touched upon, the characters act in a more dramatic manner than the expected norm.
This passion makes for entertaining confrontations. I'd argue they are the main attraction of the movie. Indeed, while the plot is suitably unpredictable (and has several nice touches for mystery connoisseurs), it is not ground-breaking. Moreover, the story is a bit dated and has the expected dose of sexism and heavy-handed moralizations.
While Fujiwara did receive the best actor nomination at the Japanese Academy Awards for his role in this movie, the movie itself is best enjoyed not as a serious drama but as a classic dark mystery that features charismatic characters thrown into passionate conflicts and nice sleek cinematography. The scene of the final confrontation, in particular, seems to be heavy on the fanservice.
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Aibou is a legendary show in Japan. Compare it with German Tatort, a show made to be enjoyed during leisure time while you are full with food and slightly drowsy. This kind of shows run for decades because they have winning formulas uniquely suited to their time slot.
For Aibou the formula includes the charismatic main character, his hot unruly partner, comic relief supporting characters, and elaborate cases that run the gamut from the classic closed room whodunits Agatha Christie style to the more innovative stories. Don't expect to guess the murderer, though, you would definitely fail. The show has not been running this long for no reason, after all.
This particular season is more known in the international fandom because the hot unruly partner is played by devastatingly gorgeous Narimiya Hiroki who is, I dare say, 'pimped out' here to the maximum. There is not a single episode where he doesn't wear a tight waistcoat over half-unbuttoned shirt with rolled-up sleeves. And if an occasion requires going outside, you may be rest assured that he would be sporting some new expensive coat in the military style. The contrast with the other characters make it all too obvious what Narimiya's role in this show really is.
This drama may be old-fashioned but it is quite solid and would make for a great dinner companion if it were available with dubbing.
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There is a lot to love in Keiji Yugami. The direction, the pacing, and the cinematography are of high quality worthy of the high budget production. Expect stylish shots and ultra-modern Tokyo with classy color-grading. The first episode, in particular, beautifully captures the unique world of Japanese subway.
The cases are fresh and not too obvious even if the viewer may occasionally doubt the easiness with which suspects confess. Most importantly, there are lots of female characters and they are rarely victims. This alone adds a lot of variety to the show. The main plot line is not impressive, though, but passable. After all, there is only so many ways a buddy cop show can end.
The main attraction of the show is undoubtedly the detective duo. Played by the two veteran actors Asano Tadanobu and Kamiki Ryunosuke (who gets his veteran title for debuting in the industry when he was two years old), the main characters have great chemistry together. The roles of greedy hypocritical 'upstanding' guys is Kamiki's forte and he doesn't get overshadowed by Asano's charisma and natural acting.
While this drama is not outstanding the way Unnatural or Dele were, it is still damn good and one would be hard-pressed to find a buddy cop J-drama of equal quality.
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The most fascinating thing about this drama is that one could almost see a drama it was aiming to be. On paper, everything seems to be built for success. There is female main character who is devoid of empathy, yet, drawn towards violent crimes. Her self-righteous 'hard-boiled' colleague mistrusts her while the sensitive police consultant and profiler, on the contrary, offers her his support and understanding. As the protagonist dispassionately digs deep into the human motivations behind the act of murder the viewers are offered a philosophical discussion on whether or not there is really any kind of divide between those who kill and those who do not.
Unfortunately, the drama does not work.
One could only guess at the motivations of the main character and her colleague as the performances of their respective actors are just too bad. Another actress could have given the main character a sympathetic side and could have made it easier to forgive how the mental condition is used as a cheap gimmick and a 'moe' point. Those who watched Dexter or South Korean Stranger would be baffled by this portrayal. The supportive cast is decent but has almost no screen time.
The story itself stretches suspension of disbelief beyond its limits. Starting from the first episode the audience is supposed to take for granted some outrageously unrealistic things. Coupled with the conflicts that are either stated but never shown or lost due to the abysmal performances, this makes the drama unwatchable.
Personally, I found two grains of brilliance in the wreckage of this show. Firstly, Hayashi Kento gives his all to play the sensitive police consultant. There are at least two scenes that his acting manages to make poignant despite all of the other stuff working against it. Secondly, the question about the difference between murderers and those who do not kill is very worthy of exploration (and apparently, Dostoevsky thought so too as he had written two renowned novels about it). Hayashi Kento is a perfect actor for the tortured character who ponders this question.
Watching this drama makes one to wistfully wish for a show worthy of Kento's performance and the philosophical question raised.
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The production budget of this show is of almost obscene levels. There is no single clandestine meeting that doesn't occur on the skyscraper rooftop that offers a magnificent (and nicely color-graded) view of the night time Tokyo. If all of the rooftops are otherwise occupied the characters opt for car parks full of gleaming sports cars or 'dirty' alley ways that have never looked so upscale before.
Those who were expecting Mozu to be serious drama might start to suspect that something is a bit off once they are hit with a full force of blockbuster grade production values. Indeed, Mozu seems like a serious political thriller with a devastating human tragedy at its core but this impression is most certainly wrong.
Mozu, first and foremost, is a hard-boiled spy thriller. The action, the atmosphere, the charismatic heroes, and the sensational reveals are the main attractions of this show.
The over complicated plot is actually a red-herring. The viewer has no chance to untangle most of the mysteries because that is not the point. After all, we all know that Soviet spies, I mean, North Korean spies are behind everything anyway. We are just not sure exactly how but that's why second seasons exist.
Once you realize that the show is not supposed to be taken too seriously, there is no end to entertainment on offer.
Firstly, while everything is stylish as it should be in a good noir, the characters are what's really in style. They are all charismatic and have great chemistry with each other. One needs exactly 5 minutes to understand why Nishijima Hidetoshi who plays the protagonist is considered a sex-symbol in Japan. His image of dependable stoic man goes right in hand with his character, a detective driven to the brink by the corrupt world he lives in. Low voice, black suite, and cool one-liners are the nice finishing touches to the portrayal of the character you wouldn't mind rooting for as he fights Russian spies and Takeshi Kitano alike (in the sequels, obviously).
Other characters are charismatic in their own way. The show that casts Yoshido Kotaro as a petty villain most certainly does not pull its punches. Ikematsu Sosuke, in particular, shows off his great range.
Another great fun of the show is plot reveals and suspense. The viewers are kept on the edge of their seat almost every episode with the litany of "they can't imply that, right? There is no way!" on their lips. While the overall plot is hopelessly tangled, some points of it are accessible and make for a lot of entertainment while the viewer tries to guess the "ultimate truth".
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On paper, Unnatural is a case-of-the-week procedural about forensic pathologists but in reality it is masterfully crafted multi-layered show that it uniquely Japanese and has almost nothing in common with western shows like Bones. I believe that Unnatural could only ever be made in Japan, the same way Sherlock and Signal are unique products of the Great Britain and South Korea respectively.
One of the things J-dramas excel at is a workplace drama. These dramas focus on the life of everyday workers as they fight to achieve their goals and through that struggle find true belonging. There also must be a candid depiction of the work process for the additional educational value. One would think that the drama about forensic pathologists is very much in line with this genre. But it is not. Because in Japan pathologists (and any other workers that deal with dead bodies) are considered to be 'unclean'. This is also the reason the autopsies are almost never performed in Japan (because so few people agree to work in the unclean field).
On the other hand, Japan has a long tradition of dedicating dramas to social issues. And Unnatural bravely challenges the public perception of the profession and addresses the prejudices head on.
Thus, Unnatural is a 'punk' workplace drama with strong social message and a mystery plot. This is why it is made of so many different but complimentary ingredients that were handpicked by the show creator - the script writer Nogi Akiko. In fact it was her first original script; she wrote it after garnering success for her workplace dramas with strong female characters pursuing socially important missions (Nigeru wa Haji, Library Wars, Soratobu Kouhoushitsu).
Unnatural also features a female lead who is competent, emotionally distant, and has a considerable strength of character. She is a kind of hero that is very very rarely female. Moreover, she has a female colleague with whom she geeks over science and jokes about zombies.
And it is hard not to geek over science while watching this show because the autopsies are performed at the state-of-art laboratories using cutting edge technologies. It is no Mr Brain or Galileo with their fake science that breaks suspension of disbelief.
Apart from inspiring message, touching human drama, exploration of social issues (like various types of discrimination, bullying, and exploitation), cheeky humour, and science, Unnatural has plenty of other entertainment to offer.
Firstly, the cases are very unique and unpredictable. The characters are not actual law enforcers which allows for some grey morale leeway. There is also a love triangle (with the caveat that one must be well-versed in Japanese romance tropes to spot it) and unbelievable ensemble chemistry as in every given pair of characters has engaging interactions. There is no drop-dead-gorgeous people in the cast (except for Ichihara Satomi) or larger than life charismatic characters but, over all, the ensemble is so well balanced you can't pick a single uninteresting supportive character.
It should also be mentioned that Kubota Masataka was so unexpectedly cute in this show and his character so sympathetic that he was instantly casted in Radiation House (in a similar role) and in the upcoming 'asadora', a marker of a true mainstream recognition.
Finally, Unnatural has an enormous luxury of using Lemon by Yonezu Kenshi as its main theme which is a track that's been on top of the charts for two(!) years in a row.
Now let's list what one may not enjoy about this show. Unnatural deals with death and while it is not a dark show one would be hard-pressed not to cry at some scenes. There are also scenes where the characters extricate various fluids form dead bodies that are not graphic but are still mildly revolting. The show is dialogue heavy and the dialogues are medical jargon heavy so one needs to pay attention to get the plot and the jokes. One episode focuses on gender discrimination and has arguably unsatisfying resolution.
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Dele was conceived as part of the project that aims to bring Japanese novels to small screen. So the production team had a budget, a non-demanding time slot (night), and no expectation for commercial success. Kaneshiro Kazuki (the Border screenwriter) suggested to his friend, the writer Takayoshi Honda, to pen a short mystery novel that they would adapt as a drama. Before the story was written, the cast for the main characters had already been decided. As it happened several years before the premiere in 2018, it explains how they managed to snatch hugely popular now Suda Masaki.
I suspect that Suda and Yamada Takayuki both agreed to the project because of its "independent" production that featured alongside those two titans of Japanese acting many other members of creative elite. The best detective writers (the episodes were written by different authors while Takayoshi Honda was the main writer), the director, the operator, etc. were involved in the making of this drama out of sheer will to do something great just for its own sake and probably as a favour to the main project team.
Thus, everything in this drama is top-notch; there is no single non-artsy shot. Even the acorn used as a projectile in the first episode was admitted by the production team to be "ikeman acorn". The interior design of the office reminds you that "hipster" is not actually an insult. But even those tasteful decorations are constantly being elevated by the skillful lighting and unexpected shot angles. The pacing and the direction are on par with the visual. Concise storytelling, tight plot, appropriate ost - everything is done by true professionals.
It's as if the professionalism of the production team further underscores the professionalism of the main characters as if to remind you that watching masters do their job is a pleasure unto itself.
Getting back to the cast, this night slot drama that gets negligently small ratings boasts not only two of the best Japanese actors but also the likes of Shibasaki Kou and Hashimoto Ai acting as mere guest stars. Those tired with familiar faces in the dramas could also enjoy the many guest stars who are actually indie musicians and other rarely seen faces. Again, I suspect, other members of creative elite were starring as favours for friends.
The novel and the script were written with the cast already in mind so the main characters were tailored for their actors. But being who they are, Suda and Yamada managed to make their characters even better. The aloof Key in another hands would quickly deteriorate to Garu Sue but Yamada's understated acting gave the character the much needed subtlety and vulnerability. Suda infused his character with his trademark "pureness" and spirit while also performing the "wilding" scenes with violent outburst with appropriate rawness and energy.
Suda and Yamada also have great friendship chemistry and their scenes together are the best.
The story itself is a subversive mystery drama, the one that Japan does the best. A modern conflict (information security), unusual cases with unpredictable flow (even if you can guess the outcome some of the time), an engaging solutions, and the focus on the human heart amidst it all makes this drama a close relative of another great show - Unnatural. The subversiveness also comes from the fact that the main investigators aren't actually there to punish "bad guys" or to save "victims". They are just two clerks in the firm that takes responsibility to delete the designated files from the deceased's devices. This setup allows for more grey morale than J-dramas usually permit. It is perks of night slot again.
At the same time, the story is not too heavy or overly dramatic making us believe that such a firm could very well exist and not just in some manga world. Dry humour and fast pace also make for a great entertainment. Episodes are very different from each other being written by the different writers. The ep. 1, 5 and 8 are the main arc done by Takayoshi Honda while ep. 6 would be recognisable to the fans of The Border. Episode 3 is supposedly the main hit with the Japanese public.
All in all, I would recommend to watch Dele as one would enjoy a cup of coffee in a 'hip' cafe you somehow ended up in. Be surprised by well thought-out interior that is actually designed to make you comfortable and relaxed, marvel at the glinting cutting edge machinery that produces actually quite decent coffee, and think about art and its place in our life.
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