Finding Yourself
Aristocrats tells the story of two women from different social classes, family backgrounds, and outlook on life who embark on a journey of self-discovery and finding their place in the world, amidst the constraints of familial expectations, gender discrimination, class system and traditional values that are deeply ingrained in Japanese society, particularly amongst the upper class or, in the context of the film, the aristocrats.Based on the novel Ano Ko wa Kizoku by award-winning author and essayist Mariko Yamauchi, which was serialised in the monthly magazine Syosetsu Subaru in 2015 and published as a book in 2016. Yukiko Sode, who is a notable indie-film director, wrote the screenplay adaptation and directed the film. Yasuyuki Sasaki serves as cinematographer while Takuma Watanabe composed the original score. Aristocrats had its world premiere at the 33rd Tokyo International Film Festival in 2021.
What I Appreciated
The character-driven and female-centric narrative is told from the perspectives of the two women, Haibara Hanako and Tokioka Miki, structured in a converging parallel plot format. Certain flashback sequences are involved but, for the most part, a linear storytelling approach is adopted which preserves the overall cohesion and coherence of the multiple POVs. A number of themes concerning conservative social constructs, narrow mindsets and stereotypes are manifested while the concepts of marriage, friendship and love are also explored to a certain extent.
Running at just over 2 hours, this film covers quite an extensive scope but gives the impression of taking its time to allow the various elements to breathe and gradually sink in. Nothing ever feels rushed or abrupt as the tempo of the storytelling remains delicately poised all throughout. This aspect is complemented by the equally subtle cinematography technique that renders a series of exquisitely framed moments. A more subdued colour grading is employed with a slight textured effect that filters the warmer colour palettes. The gently imbued orchestral accompaniment that induces an introspective mood provides the finishing touches to the end product - a motion picture that showcases visual aesthetics and technical artistry.
Where the production truly shines lies in the exceptional cast performances, particularly that of the main leads. Kadowaki Mugi and Mizuhara Kiko are hugely impressive in their respective portrayals of Haibara Hanako and Tokioka Miki. Understatedly emotive and compellingly nuanced, these two fine actresses certainly possess the gravitas to utterly enliven the entire film with their commanding screen presence. My only qualm is that I wished both had more scenes together.
Final Thoughts
Aristocrats, at its core, represents an in-depth character study of the internal struggles of two young women against the backdrop of a deeply traditional society amidst the hustle-and-bustle of cosmopolitan Tokyo. It is bittersweet yet inspiring and the story eventually ends on a high note which provides a fitting closure where both leads finally discover their true worth and find their place in the world. This has been a truly evocative viewing experience.
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Sweet n´Slow...
This was such a slow paced, but sweet lesson about love, and the obstacles involved in wanting to change the past... Did I, who am used to watching dramas where it takes like 16 hours for people to get together just call a movie slow paced, yes I did... I really did...However slow as it may be it does come with an interesting lesson in connecting the past with the present without to many effects of interesting distractions.
The main coupe is mature, sweet and calm inspire of this very odd situation and time complication they seem to be in. there are a few interesting twist too but nothing really exiting to watch on screen but the story is good so I am sure the novel it was adapted from is better then the movie.
To be clear, the acting was good, the characters were lovable, and the story interesting it just lacks that extra spark and pace one would expect from a movie... So it was good but maybe not so entertaining...
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Homage to film making
Whoever liked the movie 13 Assassins from 2010 or the original from 1963 will also like this one even if it’s something completely different. But not only in respect to the Samurai theme, to me it works as a kind of homage to cinema and film making in general.The enthusiastic teen protagonists pay a detailed attention to those Samurai action scenes and I think it covers the best broom-sword-wanna-be-fight in cinematic history 😉
That time machine thingy is a bit weird, but if one can see it as critique to the recent short-clip-tiktok-crap, why not…just it seems men have long hair again in the future 😊
Enjoyable summer vibe movie, good and fun actors all over. I liked how the rivals come together finally for their cinematic work for the higher goal. And yep, some small romance there also, while not being the main focus.
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The Futuristic Vampire Gang Thriller, Which Failed To Deliver An Impactful Bite…
At the heightened craze of vampires flicks and blazing gun thrillers, notorious 1990s " pink film" co-screenwriter and director Takahisa Zeze decided to cash in both genres with ‘ Moonchild’ (2003); a 2 hour trope-worthy film filled with an intriguing premise and characters , as well an array of questionable acting performances and narrative execution.
The movie is set in an alternative timeline where in the year 2014, Japan begins to suffer from economic collapse. As a consequence, myriads of Japanese citizens emigrate to mainland China in order to escape economic ruin.
Set against the backdrop of the fictional ‘ melting pot’ Chinese town of Mallepa, the main narrative focuses upon a trio of orphaned boys. Sho ( Kanata Hongō- ‘ The Prince Of Tennis’, ‘ Nana 2’ and ‘ Himitsu no Hanazono’) is the head of the group, whilst his younger brother Shinji and Toshi are fellow members.
Shinji ends up landing the group in hot water when he steals a briefcase filled with money from a notorious hood gang. Fortunately, Shinji, Sho and Toshi are protected by the mysterious vagrant and later-revealed vampire Kei ( L'Arc-en-Ciel and Vamps’ vocalist Hyde- ‘ Last Quarter of the Moon’).
A time-skip several years into the future reveals Sho to be in his early twenties ( idol-actor and screenwriter Gackt- ‘ Tonde Saitama’, ‘ Sengoku Basara’ and ‘ Time Spiral’). Acting as the leader for his own small gang consisting of Toshi ( Yamamoto Taro- ‘ Battle Royale’, ‘ Secret Love’) and Kei.
However Sho ends up running into trouble along the way when he becomes acquainted with Song ( Wang Leehom - ‘ Love In Disguise’, ‘ Forever Young’) and his sister Yi-Che ( Zeny Kwok).
Whilst Sho ends up struggling between his growing feelings for Yi-Che, rising tensions between old friends and betrayals, Kei begins to struggle against trying to resist his bloodlust and vampiric urges also …
Co-written by director Takahisa Zeze, main actor Gackt and Kishu Izuchi, ‘ Moon Child’ attempted to combine the adrenal-infused thrill of shootout movies, sci-fi futuristic worlds, vampiric-horror flicks and pining romance tales in a movie which attempting to appease to everyone, often failed to deliver a cohesive narrative along the way.
Undeniably there are intriguing elements surrounding ‘ Moon Child’ behind the over-the-top makeup and idol clothing aesthetics of Gackt and Hyde onscreen.
Patchy elements surrounding Kei’s creator vampiric Luka ( Kishu Izuchi) were intriguing, the subtext and evident messaging towards an emerging Pan -Asian society ( particularly enforcing a timeless allegory towards the rise, virtues and flaws of fusion cultures, immigration and poverty in other countries) and the reiteration on the horrors of violence are prominent in parts of ‘ Moon Child’.
On the other hand ‘ Moon Child’ and its array of gun-wielding chic gangsters occupying the periphery of the storyline were often absent of cause, sentience and personal drive.
Sho’s seemingly " burning" feelings for main love interest and doe-eyed Yi-Che were tepid to say the least. Aside from some hinted causes of physical attraction, it seemed ironic that Gackt’s onscreen chemistry with costar Hyde was arguably more passionate than his character’s ” soulmate" and costar Zeny Kwok’s onscreen persona. (Often leading to a somewhat unintentional homoerotic subtext behind Kei and Sho’s interactions. Ironically, this relationship probably would’ve been more dynamic than the established lukewarm chemistry between Yi-Che and Sho.)
As suggested, Song is one of the main antagonistic forces in the series. However rather than being a merciless force to be reckoned with or possessing an ineffable charismatic charm for audiences to make him memorable, Song possessed only one quality; to act as a threat and then fizzle out as quickly as he’d appeared onscreen.
Of course Song isn’t the main focus of the narrative. However considering his role in later events of the storyline as well as the notable absence of foreshadowing or drawing attention for viewers towards his onscreen presence, Song was a notably generic antagonist due to his anti-climactic exit by the latter-half of the movie.
The acting performances of the series are admittedly a mixed-bag. It’s wrong to make out these performances were "dire" or entirely "egregious " in the long-run, but it could often become a grating experience for viewers to witness inconsistent line deliverances and acting performances onscreen.
As for the challenge of pacing, ‘ Moon Child’ could often misstep its execution- cramming multiple genres, storylines, constant time-skips and shifts even into a 120 minute film could often feel somewhat overblown. Whilst the narrative was able to attain a certain entertaining edge from
subverting it’s tedious opening to a pacy and adrenal-infused storyline, Zeze rarely placed emphasis upon the art of " less is more".
As a consequence rather than reducing the movie’s length or themes in order to subtly focus upon a limited yet insightful scope of plot and characters, ‘ Moon Child’ became entrapped in its own self-made Gordian knot of cutout cliches, archetypes and incoherent plot logic from beginning to end.
The cinematography of ‘ Moon Child’ under Zeze’s directing reigns is admittedly an odd accumulation of amateurish shaky angles and shots during epic fight sequences, as well as some surprisingly stunning and impactful symbols placing emphasis upon the old cliche of cyclical narrative symbolism.
‘ Moon Child’ is a classic reflection of the culture of throwaway 2000s productions. Whilst Zeze’s move could be entertaining in parts with a particularly bittersweet ending , ‘ Moon Child’ often felt as though it bit off more than it could chew at times. Choppy execution, inconsistent pacing alongside a potentially intriguing premise with a multitude of loose and messy plot ends rarely helped viewers to feel connected or involved with ‘ Moon Child’’s world building. The acting rarely possessed solid deliverance throughout and in between over dramatic line deliverances and dialogue, the generic array of characters rarely left an everlasting impression for audiences either. Overall whilst ‘ Moon Child’ isn’t a bad watch, the movie is easily overshadowed by its lacking definitive qualities also.
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Relentless video game
I'm a RUYI'S ROYAL LOVE IN THE PALACE fan and so Zhou Xun brought me here. I predicted she's be a bait and switch -- and she was -- but it was nice to see another RUYI actor in the lead.To me this film felt like a video game staged for the big screen. The quest was a video game quest, the actions the stuff of video game players. It didn't feel like real people at all -- which great diminishes a work like this. The story was so busy with plot the characters were nearly irrelevant.
I fear this film is for younger generations who cannot stay awake if two characters speak quietly in a room. That said it is an impressive spectacle. But I had to pause it several times and go take a mental break. If you have a mild headache this piece will turn it into a migraine with 20 minutes.
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Gintama 2: Rules Are Made to Be Broken
1 people found this review helpful
This review may contain spoilers
This was once again... well, something. Definitely something. I guess the whole Gintama concept is an acquired taste but I have to admit that the humor isn't for me. I only watched Yoshizawa Ryo's scenes and everything else I whooshed through at 3x speed. It was simply too cringey.But Yoshizawa Ryo's Okita Sougo was... wow. He was amazing here. And his fight with the traitors was just about perfect, especially once Kagura joined in. The way they fought side by side and around each other like they were used to it, so perfectly in sync. That was so cool!
I must say I didn't recognize Miura Haruma - *heart-clench again* - as Ito. True, I've only seen one drama of his so far but I really didn't recognize him. He looked so different, wow.
To sum it up, movie #2 was miles better than #1, mainly because of the much bigger involvement of the Shinsengumi in general and of Sougo in particular. Still, I'm not sure I'll ever re-watch it, bar Ryo's scenes, of course. Those are really worth re-watching!
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THE RIGHT WAY TO WATCH BDSM AND FALL IN LOVE WITH IT
This was an INCREDIBLE watch! Sweet, and it depicted a WELL RESEARCHED intro into BDSM.The 'Sub' acted so damn well, never strayed into exaggeration, never felt like it was forced or insincere at any single point, and the 'Dom' was an absolute delight to watch as well. The story was sweet, simple, yet engaging, the kinks were displayed in an extremely erotic yet tasteful manner, and I just thoroughly enjoyed every second of it.
LOVED IT.
Also, 50 shades who? THIS is what people should see to get a better understanding of BDSM.
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Finding the right recipe
Perseverance, belief and hope, with a little bit of help from the Fox spirit and a whole lot of experimenting along the way. There are many insights to be gleaned from Mio’s Cookbook - not only on life during the Edo period of Japan or the culinary delights of the era, but also on the profound depths of friendship between two individuals even when faced with the uncertainty of tragedy, as well as the vicissitudes of life.Mio and Noe were the best of childhood friends until the great floods of Osaka in 1802 took everything away from them, and separated them from each other. Unbeknownst to them, they survived the calamity only to experience the harsh realities of fending for themselves without the love and care of their families who had perished in the disaster. The narrative focuses on their respective journeys of self discovery a decade later in Edo, where both Mio and Noe would eventually cross paths.
Mio’s Cookbook is the fourth adaptation, the first in a feature-length film format, of the award-winning period book series Mi Otsukushi Cookbook by Kaoru Takada that was serialised in 10 volumes from 2009 to 2014. Based on the screenplay by Itaru Era, Kana Matsui, and Haruki Kadokawa who also directed the film in what would be his last project. The music score was composed by Masataka Matsutoya while the theme song Chiritenao is sung by Aoi Teshima. Principal photography took place at the Nikko Edomura theme park in Nikko City, Tochigi Prefecture and Toho Studio in Tokyo.
What I Loved
This film will go into my all-time favourite list as one of the best produced period productions that I have seen. So much care and effort have been taken in bringing to life the vivid details of the Edo period; not only in terms of the quality and extravagance of the set designs, artistic direction and costumes but also through the beauty of the expertly choreographed traditional dance sequences. These scenes are gorgeously presented by the exceptional cinematography all throughout with well-rendered cinematic colour grading and the kind of classical colour palette that suits the historical genre very appropriately indeed.
The original score is a technical aspect upon which I simply have to lavish praise. Incorporating elements of traditional music performed live with authentic instruments have enhanced the production levels even further and certainly during the performance sequences.
I appreciated the heartwarming story of friendships forged while overcoming adversity and, in the case of Mio, amidst culinary experimentation in her progression towards becoming an established chef. At its core, the narrative isn’t overly complicated and is structured in a somewhat nuanced and delicate storytelling style. I like the “less is more” approach that emphasises the dimensions of the dialogue, expressions of the mood and atmospherics of the moment rather than over-reliance on excessive or exaggerated dramatics. Apart from the characterizations and direction, the acting generally fits with the overall ambience of the film. Some viewers may feel that the pace is too slowburn for their liking but personally, I enjoyed the subtlety of the plot progression and character development.
I have no major complaints with the casting and general performances of the main leads. I think Matsumoto Honoka and Nao are perfect as Mio and Noe respectively. In addition to their commendable individual interpretations of the roles, the palpable chemistry between them convincingly drives the narrative right to its conclusive and poignant ending. If anything, I would love for a sequel that features both actresses once more, in the near future because there is so much potential to their characters that warrant a continuation of their friendship as they navigate the next phase of their lives.
Final Thoughts
Despite the premise and the timeline setting, I would consider Mio’s Cookbook as a reasonably pleasant, heartfelt and inspiring viewing experience that is imbued with moderate complexity of emotions and manageable slice-of-life aspects. It will definitely tug at the heartstrings but in a positive way and rest assured, I believe the conclusion will put a smile on viewers’ faces, just as it did for me.
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This review may contain spoilers
Sara-WHAT A Waste of My TINE!
Unfortunately, that genuinely felt like a waste of my money and time. It was basically a review class on the original series with a few clips from Still 2gether and an added graduation scene. Quite underwhelming and so disappointing, but really thinking about it, I’m ultimately not really surprised. This is from the company that gave us trauma over a high five. Still no real kiss, and of course, always a tease. So I guess true to form?Really not much else to say. We’re really not working with much. If they only went the extra mile and actually made it more realistic, it really would have been a fantastic ending. But as expected, they’re still obviously straight actors intimidated with acting “real” gay. So sad.
P.S. if you want a BL movie experience that’s not disingenuous to its original series/fans, please, please check out Gameboys: The Movie (and Gameboys the series as well). That’s a BL movie done right. :))
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Edward Yang played with my emotions
This movie has so many layers to it, from family, relationships to society. Not to forget this is Edward Yang's debut movie, I am just amazed by the vision he had.Every single character in this movie has so much depth to them. So, the movie is about two friends who haven't seen each other for thirteen years reuniting again but the magic is that the whole film doesn't just revolve around these two characters, it revolves around all that is surrounding them, and the character themselves. Throughout the movie, you will slowly witness how these characters have so much to say, and the reflection of their actions is seen.
The color tones of this movie set a whole new mood for this story, really brilliant, and also the camera angles are so interesting. Even, the soundtrack is so soothing. I love every single frame of this movie.
The ending of this movie is when it hit me, why the movie was titled "That Day, on the Beach", What really matters is that, who walked away from THAT DAY ON THE BEACH. Life is all about moving on, nothing is constant. Edward Yang played with my emotions. I don't know why...I felt the emotions.
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Unmasking the truth
A run down nursing centre that used to be a psychiatric hospital. Medical staff and patients being held hostage at gunpoint by a robber in a creepy clown mask. A young doctor still traumatised by the death of his fiancée and unborn child happens to be on shift duty. It’s all happening on one fateful night. But is there more than meets the eye?This mystery thriller is an adaptation of the 2014 novel with the same name by prolific author and former medical doctor, Mikito Chinen. He has written many medical-themed books and Masked Ward is part of his Ward mystery series. He co-wrote the screenplay along with the director, Kimura Hisashi (TRICK series), Koyama Shota (Dragon Zakura) and Itaru Era. Yutaka Yamada (Imawa no Kuni no Alice, Kingdom) serves as composer while the 36th single from Japanese 6-member rock band UVERworld (Avalanche), AS ONE, is used as the theme song.
What I Generally Liked
The plot is rather layered and filled with unexpected plot twists that unfolds amidst a slowburn tempo fraught with a certain degree of suspense. The conclusion ties all the loose ends neatly and provides a satisfying closure to the entire story and each of its main characters.
The characters are decently written, particularly the main leads, Hayami Shugo and Kawasaki Hitomi. The film takes its time to explore their complex backstories which establishes their respective multifaceted characterizations. This process enables an emotional connection with viewers to buy-in their motivations in the story, as it certainly did with me. That said, I would have appreciated the supporting characters being more fleshed out, which unfortunately does not happen.
Personally I thought Kentaro Sakaguchi (Okaeri Mone) put in a fine performance in his portrayal of Hayami Shugo. He manages to convincingly embody the gradual evolution of the character throughout the film. Nagano Mei (Hakozume: Tatakau! Koban Joshi) showcases an intriguing depiction of Kawasaki Hitomi where she succeeds in conveying the duality of the character’s persona.
What Fell Short
From a technical perspective, the production doesn’t really impress. I would have liked to have seen more finesse in the cinematography to elevate the suspense and intrigue of pivotal scenes. Likewise the BGM which had so much room for improvement. On the other hand, the set design of the hospital setting does appear adequately presented.
The film lacks the eerie or sinister vibes to its atmospherics that would have heightened the sense of trepidation and tension that the narrative is trying to convey to viewers. A truly untapped potential there that points to a missed opportunity.
The logic behind some of the characters’ actions is questionable as well as the possibility of plot holes in the storyline. Without delving or spoiling the mystery too much, let’s just say that the hostage taker in this film is a lot nicer than most in real life.
Final Thoughts
I think the storytelling turned out to be a lot less powerful and provocative than it was intended to be, attributed mainly to the shortcomings or lack of quality execution in certain aspects of the production. As a one time watch, it was an interesting viewing experience but ultimately it could’ve been so much better.
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"You Should Say Something Wise"....Ma Yuan - "Shut Up"
I would recommend you NOT watch this movie.If I had known this was a Jackie Chan movie, I would have skipped it completely.
He is not funny, he is lousy in martial arts, and he is a pain in the butt, according to his co-stars.
Even so, I guess that I am gong to have to buy this movie as well; I buy each and every one of his movies because they are so bad!
When I have friends over, I always show one of his movies to show how BAD his acting and kung fu really is!
(Someone has to show people how bad Jackie and his movies really are!)
The cinematography was terrible; the music was terrible and the actors, main and support, are all terrible.
Especially, Yamaguchi (Ikeuchi Hiroyuki); the actors playing Yuko (Zhang Lan Xin) and Huang Yi Feng (Na Wei) probably had to get rabies shots after the one scene was filmed with him...Terrible!
Also, do not watch this movie is you have a bad heart; you could DIE from not laughing while watching this movie!
RE-WATCH: only to show your friends how bad of an actor Jackie Chan is!
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This review may contain spoilers
I love D/s and FemDom in particular and since these stories are very rare outside the rather sleazy p*rn vids out there, I was very excited to see this. The movie portrayed the relationship between Ji Woo and Ji Hoo with humor, sweetness and sincerity and the actors oozed charm. The cinematography in the D/s scenes was great, especially in the bathtub and the mirror scenes, it was aesthetics pure, wow!Still, there were things that didn't click with me.
Doggie play is a big turn-off for me. If it's your thing, then more power to you, but personally, I find one partner acting like an animal very creepy for obvious reasons. Another thing was that they pretty much brushed off the thing with Ji Hoo's ex which promised good angst but it went nowhere in the end. I get it, it was a movie with no space for big explorations outside the main topic but... well.
And then, the climax. I disliked that it was about the office thing. Because in this case, Ji Woo and Ji Hoo were in the wrong. They - together with everyone else there who had done things they shouldn't have at work - deserved to be sacked ¯\_(ツ)_/¯
Overall, it was a fun movie that definitely broke the mold a little. South Korea's been very good with their Alpha!FLs and Beta!MLs lately. I love it!
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This review may contain spoilers
It's all about your expectations!
So what was I expecting ?At most, I thought the movie would give us an extremely condensed version of the series with a few new stuff sprinkled at the end. Something like: "They married, adopted three kids, got two dogs, kept in contact with all their friends and lived happily ever after." Then I would shed tears of love and joy and all would be right with the world.
Were my expectations realistic? When I think about it, not really. I wouldn't love this series half as much if they hadn't taken the time to introduce a ton of lovable characters, a lot of ups and downs with some tasty slow burn... all things I love. All things that are not possible to translate in a 2 hour movie, however much I would like the think it is...
So were my expectations met ? Partly.
STORY
Do you like voiceovers? Have you always wanted to know what happened in Tine's and Sarawat's cute little heads as all those scenes we know and love happened (or at least the most important ones)? Do you like both of their voices so much that you dream of having them read you a story while you watch the scenes unfold?
Well look no further: this is the movie for you! Tine first, then Sarawat take you on this brief journey across the most important moments of the series (with some brief allusions to Still 2gether). This retelling is sandwiched between a few scenes of never before seen stuff in the not too far future. The new stuff is short and sweet but it's there.
So there you have it! If you knew the series before, the only interest is the actual voiceover to have some more context in the inner workings of our two adorable goofballs and the new stuff. As a fan, I'll say that it was mostly fun, but nothing more. If you've never seen the series before, THIS FILM IS NOT FOR YOU and I cannot stress this enough.
ACTING
The film consisting mostly of a shorter edit of the series, nothing new there. If you liked the acting then, it's still there with some voiceover on top.
As far as the new scenes go, we see the whole cast (at least I think so) but it's very brief. For all that we see them, they seem happy to be there and that's really all they need to be at this point.
As for the two leads... Bright is an excellent actor in my opinion and he really gives a great send off to Sarawat. Win is there... and that's it. It's still him, but it's my opinion that he was done with Tine far before this film came about. He is not a good enough actor (yet) to hide that he is required to be here but not much else. I found his smiles extremely forced.
MUSIC
Still good. Still familiar. Still there.
REWATCH VALUE
None? It was funny enough to hear the voiceover once and I managed to keep myself entertained until the end of the movie, but if I rewatch it, it'll be for the new stuff. FAST FORWARD BABY!
OVERALL
Set your expectations for this one guys ! We were never gonna get something as good as the series. They told us it would just be a little new stuff and a lot of what we've already seen. That's what they gave us. They even tried to make it feel new with the voiceover instead of just savagely cannibalising the series to make it fit a movie. Let's be happy with that and move on.
We already had 2gether and Still 2gether and now we have this little nice send-off to wrap it all up with a bow. Of course I was a little disappointed, but I'll live. I still love this series and I'll rewatch it many times. But it's time to say goodbye to Sarawat and Tine because Bright and Win won't forever wait for us to move on...
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This review may contain spoilers
Not sure what the point was.
I loved the series, so of course I loved the movie, even though it was a recap. There is very little new footage, and, frankly, I was a little disappointed there wasn't an engagement. I really thought that was what was going to happen. No real rewatch value as there's nothing new to see except they graduate. Not even a new kiss.But other than revenue, what was the point? I mean, they didn't get engaged, we don't learn anything new about them as a couple except they get a dog and feel they'll be together forever. No real scenes added. We did get to see a moment of TopTap and others and a couple of friends had a baby, but none of that merited calling it a movie, imo.
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