Cinema-Maniac: A Bittersweet Life (2005)

You normally wouldn’t be able to tell from the movies I regularly write about, but I’m actually a big fan of slow pace, character driven movies. Movies on the level of Blade Runner (1982), and its sequel Blade Runner: 2049 (2017) are movies that I am more than happy to just eat up. A strong character will always stay with me, even if I forget certain details about the story being told. In the case of the Blade Runner franchise, it’s biggest draw to me is that it never forgets the people, and their struggle in its story set among the bigger scope of events in them. The character driven films that stick in my mind, and remain is something I can never predict. It’s just something that happens either during the viewing of something, or overtime a character becomes further to my liking. It’s the latter example that happened with A Bittersweet Life; during my viewing experience I was engrossed with the movie, and it’s beautiful mixture of multiple genres. Once the closing credits started rolling did it dawn on me weeks later how much I enjoyed how its protagonist was handle among other things.

Insert famous Godfather line “I’ll make an offer he can’t refuse” here

A Bittersweet Life follows high ranking mobster Sun-woo (Byung-Hun Lee) spying on his boss’s girlfriend while he’s away on a business trip. I know the synopsis doesn’t sound particularly interesting, but the less revealed about the specifics of where the movie goes the better the experience will be. This is a deliberately pace film; being film noir for the first hour before changing gear into a revenge, crime action film for the remainder of its run. It has the writing style of a art house movie in terms of progression, character growth, and exploring themes, but streamlined in a more simplistic manner. In its root, it tells a simple story that’s easy to understand. The most complex it gets story wise is how ambiguous, and generalize certain aspects of Sun-woo is, but never to the point where it just seems its vagueness is use to cover up weak writing.

What’s not cut, and dry is the lead character himself Sun-woo. Being character driven, Sun-woo is only taken out off screen when needed too. These Sun-woo-less scenes typically deliver exposition, but on some occasion reveal more about the kind of person Sun-woo is, and what people think about him. Very little shown about Sun-woo past from his perspective with most of what the viewer learning about Sun-woo coming from secondary sources. The few things that Sun-woo indirectly tells the audience about himself are generalize. For instinct, the first lines in the movie tells the viewer a young Sun-woo is crying because he a had a dream that can’t be true. Exactly how this works in the Korean mobsters underworld in its favor is part of its majesty. Much like the whole ordeal of dreams being unable to come true, most of Sun-woo feelings is shown externally hardly expressing himself with words. This especially applies in the first half portraying Sun-woo as a loyal, and obedient mobster to his boss. Using the simplicity of Sun-woo interaction to convey broad ideas.

Insert “What in the box?” reference from Seven here.

Sun-woo walks a thin line between being a one dimensional character, or a husk of a character to tackle broad themes. Thankfully, what prevents Sun-woo from being a bad character is it somewhat ambiguous nature. Due to its using broad ideas like dreams, beauty, and love for it themes it never dares to confirm anything for the viewer. However, because of how it structure in the first half the viewer is extensively shown Sun-woo reaction towards everything. It through this first half that establishes the dark reality that Sun-woo lives in, pent up frustration he must release, and starting to question the orders he’s given for the first time in life. Seeing what kind of world he lives in, and slowly revealing who Sun-woo truly is. 

This all eventually culminates in the second half of the film following the guidelines of what you would expect from a revenge, crime action film. You’ll get the eventual short bursts of violence, and bloodshed in the finale when Sun-woo finally seeks revenge. Surprisingly, it also shares a dark sense of humor. My personal favorite comedic bit involves Sun-woo meeting up two gun dealers for a deal, and end up with the two gun dealers arguing so much they end up crashing their car. When the ending finally comes nothing about what the story, or what it was all intended to be about becomes any clearer to the viewer. Allowing the viewer to figure out what the specifics from the pieces it scatter around, and best part of all it earned a up to interpretation ending with the groundwork it laid out. One thing that is unquestionable about its story is that it definitely lives up to its title.

Lee Byung-hun is a scene stealer in a reserve, and personal performance. It’s a physically subdue performance spending the first half being quiet. Resulting in many scenes where the camera will simply focus on Lee Byung-hun reaction to things around him. His mannerism is well fitted for his character giving a professional aura around him with some hidden secrets. Providing a sense of a lost soul, and someone with pent up frustration. Masterfully transitioning into the second half where Lee Byung-hun receives more physically demanding scenes. In particular, an action sequence that requires him to make a messy escape from an abandoned building surrounded by people wanting to kill him. Doing his action scenes, Lee Byung-hun makes the impossibility of a lone person taking on a dozen men look convincing. Even in the first half which has two fight scenes, Lee Byung-hun is so good one can be fooled into thinking he’s some kind of martial artist. He’s gives it his all in his performance, and it’s worth the price of admission alone.

Lee Byung-hun being a badass

Supporting cast gets overshadow by Lee Byung-hun impressive performance, but they also get to shine whenever on screen. Shin Min-ah gives the most vulnerable performance in the cast. Unlike her male co stars, she doesn’t play a character within the criminal world. Allowing her to be more lively compare to her co-stars, and allowing her to build her performance around being ordinary. Kim Yeoung-cheol who plays the crime boss is excellently cold in his portrayal. Coming across as ruthless, and understanding simultaneously. It’s certainly his more control angered scenes that allows him to display his influence over Lee Byung-hun. There’s also Hwang Jung-min who does well playing the arrogant, and ruthless son of a rival family. Holding nothing back in his portrayal.

Lastly, Kim Jee-woon who directed, and wrote the movie did an outstanding job. He treats every tool at his disposal to tell his story equally. Be it his carefully chosen music featuring Spanish-inspired guitar pieces, techno, pseudo classical violin pieces, and jazzy/salsa influenced guitar riffs that perfectly coincide with the ever changing moods. The cinematography that is intimate during it dramatic portions, sweeping during it action sequences to see masterful action choreography very clearly, and simply moody & dreamlike with its lighting to create a noir atmosphere. The editing is seamless, especially during the fantastic action sequences were it all flows naturally. Finally, his best trait in this movie is his restraint to go too much into any genre convention, and his trust on the audience to embrace his deliberate storytelling.

A Bittersweet Life combines elements of film noir, art house cinema, action, black comedy, and gangster film into one beautiful package. Offering enough of each genre it blends together to satisfy both casual viewers, and movie enthusiasts of all kind. It’s the type of movie that is engrossing in several different way, and exceeding expectations in area you wouldn’t expect from it. Pulling of what art house cinema is best at, but with the streamlined execution of a mainstream movie that can appeal to anyone when accomplished this perfectly. 

Rating: 10/10

Some Quick Thoughts On: Yagami Family Affairs (1990) OVA

If you have seen anime long enough you’re bound to find those bizzare titles that make you question everything logical. First one that usually comes to my mind is how that did I get to a point where I watched a anime that tackles incest, terrorism, essentialism, and with penguins involve in a anime series called Mawaru Penguindrum (2011). I don’t know, but it what an interesting experience. That’s the kind thing you gotta expect, especially when you go out of your way to check out obscure anime on a whim. Most of the time, I simply don’t bat an eye at an anime I watch. However, this is one of those certain anime titles that make me question what in the world I’m watching, and it’s a thought that never leaves my mind.

This isn’t even the strangest thing she does in the OVA.

I’m going to write about one such anime called Yagami Family Affairs. The OVA is based on a manga called Yagami-kun Katei no Jijo which ran from March 1986 to May 1990. I was unable to look up any sales figure to see gauge how popular it was at the time, but apparently it was popular enough to get an 11 episode, live action tv adaptation which I can’t find any information on either. So, without any interesting facts about it to share lets move forward. I should give out a warning that yes, I’m going to partially spoil this OVA, but in the long run the overarching story really doesn’t matter much. If you so desire to watch a incest comedy OVA animated by Production IG (I’m not kidding, they actually did it) completely blind stop reading here. If you don’t care about minor spoilers, I shall continue to ramble on.

Yagami Family Affairs premise is on the ever so classic setup of a teenage boy named Yuji Yagami who loves his mother, and in a incestual kind of way. I would say Japan in particular has some kind of fascination with this type of taboo subject matter, but at the same time Game of Thrones made incest mainstream in the US, there’s also a US book from author V.C. Andrews called Flowers In the Attic which has a incestual plotline selling over 40 millions books world wide, and even my favorite horror movie, the original 1974 The Texas Chainsaw Massacre US movie couldn’t escape having incest on some level in its story. So simply saying Japan has a fascination with it is a bit misleading when I also live in a place that is just as fascinated by it as Japan. However, from what I’ve encounter, incest is typically a sign that whatever piece of media you’re going to consume is likely going to turn out bad since it’s hardly used in quality works.

Moving on, the 3 episode OVA initially makes such a baffling premise for a comedy somewhat watchable for two minutes before derailing itself immediately. The biggest problem is everyone non-chuntantly accepts that Yuji Yagami has a sexual drive for his mother, even his father, and mother seems to be cool with it laughing it off later on in episode 1. I mean, just how am I supposed to make fun of that. There’s a moment in the first episode where several male students talk about how their mothers looks, and how their mothers are unattractive compare to Yuji’s mother. These um, mother fuckers/friends are envious, and rightfully tease Yuji for having a crush on his mother. I mean, how am I supposed to take a scene where a group of teenage boys compare how attractive their mothers are to a particular student. Just, so questionable on so many level. Yuji also ends up sleeping with his mother during episode 1, and no they don’t have sex. Get your mind out of the gutter!

Hmm, I honestly don’t know how to respond to that.

If you think I’m simply overexaggerating Yuji’s affection for his mother, well in episode 2 Yuji teams up with one of his teacher who also has a crush on his mother. Both call a truce because, you know, Yuji’s father is married to her, and both Yuji, and his teacher decide to resume their competition once they get her divorced. There is just so much wrong to untangle from that last sentence, and even more so from Yuji stupidity since how in the world do you forget your own mother is married to you know, your father! Oh man, Yuji Yagami, you’re really stupid. In episode 3, he teams up with a woman named Mitsuko Nanase (image below), whom I gotta admit I do find pretty hot.

Yes, it’s an excuse to post picture of an anime character I like in this OVA for shallow reasons.

More importantly though, Yuji teams up Mtsuko to help her capture the heart of his father. While people are deep in thought wondering what the meaning to life is, here I am wondering what in the world compel the creators of this project to come up with these kind situations. Everything that Yuji does in the service of him potentially hooking up with his mother, and no, no amount of light hearted music is going make cheer Yuji on for that.

The anime OVA exaggerates the humor, and the characters reaction in order to get a laugh out of the viewer. I did laugh somewhat at some of the jokes when they weren’t related to Yuji wanting to bang his mother, or around sex. It eventually gets repetitive when the jokes basically center around Yuji wanting to bang his mother, and the crazy lengths he’ll go just pound his own mother. One of the jokes is Yuji mother getting the measurement of her son’s penis in secret. Yep, that a thing that happened here. There’s also the moment where Yuji imagined his mother naked, and also briefly think about how many times he showered with his mother. If these things don’t have you laughing then maybe the moment Yuji confesses to a girl he likes that he’s in love with his mother, and the girl he likes also seems to be cool with it. The scene doesn’t end there either, he brags about kissing his mother everyday to this girl he likes. I’m in awe in the anime ability to just constantly keep me watching because of how questionable everything it does is.

This moment actually made me laugh.

By this point in this post, if you’re expecting anything resembling normal human behavior from the characters in this OVA just don’t. This is a comedy where Yuji gets hit by a car, and motorcycle at some point, and just brushes them off like he got hit by a spitball. Further adding to the insanity is that it actually has an overarching story with a central message about unrequited love. Granted, the setup is perfect for that because mother/son incest is just plain wrong. However, the overly lighthearted nature, Yuji attempt to want to fuck his mother by any length, and his strong sexual desire towards her makes the whole unrequited love lesson not work at all. It ends with Yuji setting a goal for himself to get over his mother complex, and the viewer doesn’t get to see that in progress. With everything I’ve seen in the OVA I would honestly not like think about what happens afterwards.

Also in episode 2, Yuji comically blows up his classroom with a rocket launcher when they him to make it a threesome with his mother. Seconds later, a character says Yuji can’t take a joke. Yeah, because Yuji who gets constantly teased for having a mother complex would laugh at people telling him to make sex with his mother into a threesome. I should probably do the same kind of teasing with one my friends, and see how he reacts to it. On second thought, probably shouldn’t considering what one of them did, and that will probably be a story for another time. The anime is filled to the brim with odd moments like this that one joke is at least bound to make you laugh.

Context: Son sees teacher cock blocking him for his mother. Obviously you assault him with a tank.

Only other thing to mention is the studio responsible for making this is none other than Production IG. Yes, the same Production IG responsible for Eden of East, Ghost In the Shell, and Psycho-Pass. The animation is actually decent for the comedy; movements are exaggerated, characters are very expressive, and typically filled energy. It’s weird complementing this OVA when I just spend the last couple of paragraphs questioning it story. I have no clue if the entire studio was blackmailed into making this, or the even crazier idea if the studio thought this project would sell well. Going down in anime history as one of its greatest unanswered mystery.

Would I recommend Yagami Family Affairs? Yes to be honest because it’s such a bizarre comedy with no semblance of logic you have to witness for yourself. It especially makes for a good viewing in a group where you can share the odd experience together. It’s such a questionable piece of animation that I couldn’t help, but finish it. If the premise isn’t something to your liking it’s understandable because incest is also something that makes me want throw up my soul, and enter into another worldly realm. For those who are okay with watching anything, no matter how questionable, I recommend checking this out, and revel in complete lunacy that is Yagami Family Affairs.

If I were to rate this anime I would give a 1 out of 10.

Cinema-Maniac: Massacre Gun (1967)

Massacre Gun follows Kuroda (Jô Shishido) a mob hitman who turns on his employers after being forced to execute his lover. Telling a lightweight story with little to grasp onto. This film is barebones in covering the essentials for competent storytelling; partial characterization, half baked exploration into the themes of brotherhood & the Yakuza code of honor, and proper escalation of story events. At it core it should be a crime thriller, but moves at a leisurely pace it becomes soothing to watch. Unfortunately, it is also attempting to tell a story about Kuroda friendship falling apart because of the ways of the Yakuza. Kuroda, and his best friend both being bound to violently resolve their war through their violent encounters, even if it against their personal intentions. This lays the groundwork for possible in depth characters who remain about the same when they are introduced sadly. Resulting in a storyline that should carry weight to it, but does not due to how little it does to create sympathy for anyone involve. A shame too since the film provide plentiful instances where expansion on character are hinted at. They are simple characters, and remain that way just like the film’s story.

Getting cool shots even if in context it doesn’t make sense.

Familiarity is also an issue with the film, but only if you’re familiar with Yakuza movies. If you’re not, than the film is a good introduction into Nikkatsu’s Yakuza films. Covering the familiar of loyalty, blood brotherhood, unrequited love, not following the same wrong path, loosing oneself, and yep that’s about it. Character archetypes are here make the cast of characters; from the age old veteran wanting who is bound to his boss, the best friend in a rival gang beholden to loyalty over friendship, the partner thinking of calling it quits, and the upcoming youngest member desiring his chance to join the Yakuza. Those familiar with Nikkatsu’s Yakuza films will know what to expect, and Massacre Gun is more than comfortable with itself on that front. For newcomers into this kind of films it’ll serve a good introduction to get familiarize with the basics of Yakuza films in a more grounded state.

The only aspect of the writing that shines is the character of Saburo (Jiro Okazaki). He’s given a history, a dream, and conflict that gets expanded on as the film progresses. It initially starts a story about him being unable to become a boxer, and grows into Saburo finding himself again in life. Unlike the main storyline, Saburo has more to him that the film is more than happy to flesh out leading to him being the most engaging part of the movie. Unfortunately, his part is superfluous in the overarching narrative with his biggest contribution in the movie is having to be rescued twice in order to escalate events. Being a missed opportunity to add something more to the simplistic, and lightweight film.

Another cool shot, but why the burning ships in the background I got no clue.

One aspect that is unquestionable about the film is that it has class to it. Without question, this has to be the classiest presented Yakuza movie I’ve seen unrivaled by any other. Helmed by director Yasuharu Hasebe he surprisingly shows no sign of inexperience despite it being his second directorial effort in his career. Giving the film the qualities of a cinematic experience that enhances what could have a basic film. Through his eye for visuals he is able to create a beautiful looking movie from the first frame. Do except the questionable visuals choices at times; like one where there are burning ships in the background for no reason, but thankfully odd visuals touches like that are sparse in the film.

What isn’t sparse is his careful attention to framing. Several sequences in the movie he’s able to perfectly show turmoil without dialogue. An example of this is during a wide shot scene when Jiro Okazaki is depressed, sitting down at a bar looking down at his bandage hand, and hearing jazz music being played. The elegant usage of lighting in crisp black and white, and atmosphere further empathizes the mood meant to be convey in this scene. Subtle touches like these to convey characters make the sillier moments, like a bomb being strapped to a dead body, be easily overlooked. Another highlight of the film is a sequence where a major character seemingly escapes a hit, and tricking the viewer that he has made a getaway only to realize that he’s trapped up against a wall surrounded by men with gun. Yes, it takes an absurd amounts of bullets before the man is down, but it’s a great sequence that gives cinematic quality to simplistic writing.

When the film numerous actors aren’t wearing suits to class things up the soundtrack composed of Jazz keep things classy. With numerous musical interludes, and (somewhat) erotic dancing splice during the movie makes it come across as elegant. From a technical standpoint, the music used shouldn’t work, but it does. On the violence side there’s not much of it. Same with the body count not being close what a person would consider a massacre, but the action sequences are fine being carried by smart direction. Except for one that takes place on a ship; the sequence is finely crafted, and confined until the two major characters escape from a trap. The characters are corner on all direction, and there seems no way out. This action sequence ends when one of the two major characters shoots the light, and then cuts to the two running out of the ship. Due to how it was framed it’s impossible to tell how exactly they escape a constant barrage of gunfire when surrounded. Aside from this slip up, the old fashion action sequences are pretty well done.

No one here likes the what the future holds for Nikkatsu studio

The only actor in the film who I felt shine was Jiro Okazaki. It helps that he has the most fleshed out characters, but even without that his screen presence is simply attention grabbing without being commanding. He has all the charm to pull off his character with ease, and the dramatic chops to subtly act out the inner separation of his character. He’s a delight to see on screen, even if his supporting role ensures he’s not given the center attention.

Jo Shishido stars in the film, and delivers a solid performance. His botox cheeks gives him a recognizable look, but in terms of acting here he isn’t allowed much range. Always being bound to restraint any emotion to just being collected. Tatsuya Fiji is a bit more loosed, but has the same problem with the material being too limited. Also, a moment in the film has him slapping a woman several, and having sex with her which the woman complies with. It was a different era, but luckily the direction prevents that moment from being worse than it could have been.

Got to say it again, film is beautifully shot

Hideaki Nitani is the second standout in the film playing Jo Shishido friend in a rival gang. Emoting his characters complex emotions with ease. Takashi Kanda portrayal as a Yakuza boss is simple; just come off as evil, and over controlling which he does. Aside from that, the other remaining in the cast from Yoko Yamamoto, Tamaki Sawa, and the rest of the actress simply act concerned over their men. They don’t get much to do either, much like Ken Sanders who plays the jazz player Chico, but make the most with what they can.

Massacre Gun is an above average movie whose only stand out is Jiro Okazaki performance, and its classy direction from Yasuharu Hasebe elevating what could have been a mediocre Yakuza movie. It’s a evident case of style over substance that for those familiar with Yakuza movies make it worth looking into a little. While for newcomers it serves as a good introduction into Yakuza films having all the traits other Yakuza movie past, and future would retain. It might not offer anything unique besides it’s style, but it still makes for a solid viewing experience.

Rating: 6/10

Cinema-Maniac: Nightcrawler (2014)

Several films typically portray news media in a unfavorable manner. Easily due to the shifts most people witness growing up possibly realizing the true intentions of such mainstream journalism, and the inner workings of news media. Many movies that tackle news media simply discuss, or briefly mention how evil, and soulless it is, but very few of them can match the lasting powers that something like Network (1976) has accomplished. However, I also feel Nightcrawler accomplishes the same in depicting the current era of journalism much like Network did for its era. In short, Nightcrawler is classic filmmaking, and fantastically done commentary on its subject matters.

Like a true lunatics, wears sunglasses at nighttime.

Nightcrawler follows Los Angeles denizen Louis Bloom (Jake Gyllenhaal) stumbling into a new career as a cameraman, and begins his nocturnal forays across the city in search of shocking and grisly crimes. Being entirely character driven the film hardly leaves Louis Bloom out of the picture in its tightly crafted, and masterful woven narrative. Louis Blood is a charming, sociopathic, and manipulative character written in such a darkly comedic manner one can’t help, but be engrossed by him. Part of his masterful characterization is starting up as underdog in a field he has no experience in, and even less knowledge on. His stick it to the man attitude is brilliantly used to help masked an already trouble character true’s intention. Possibly fooling the viewer into hoping this trouble man will succeed in his new career against the bigger corporation that are his competition. Only to witness more of Louis Bloom sociopath personality in his desire to always be on top.

Louis Bloom writing is similar to a fictional character from a sports story, like Rocky Balboa, and having them go the distance despite all odds. Using a similar method here, but to a vastly different effect that works just the same. Chronicling Louis Bloom hard work in detail from him rigorously learning police codes, waiting hours for a good scoop from police scanner, and learning the streets for the fastest possibles route to get to his scoop. Much like Louis Bloom mentions it several times himself he’s a very hard worker, dedicated, and always set high goals for himself which is shown in great. There’s no shortage of antagonistic forces applying pressure to Louis creating more obstacles for him to overcome. Culminating in the creation of a sympathetic character you’ll find in Louis Bloom despite taking more morally questionable action to stay on top.

Here in nature, we see Louis Bloom in his natural habitat, waiting to attack his prey.

Louis Bloom doesn’t so much descend into madness, but rather his true intentions come to the forefront the further he reaches success, and obsessively wants to maintain it. The writing does an excellent job displaying Louis Bloom troubling nature. Just about every interaction Louis has in the film displays his cunning nature in manipulation; especially with his assistant Rick (Riz Ahmed) whom always get talked back into doing Louis work despite it being against it morally. Another subtle trait of Bloom true’s sociopath self is his politeness. Always presenting himself in a calm, and collected manner with a polite tone to everyone. Once he gets taste of being success his politeness takes a different nature when applying that to threaten people. Giving layers to an already well defined character.

When it comes to Louis Bloom, the film passes no judgement on him, and instead uses his position in the story provide commentary on society. Through, and through Nightcrawler ultimately tells a story about how a man seeking a job, and who eventually through hard work makes a successful business for himself. Seeing the method he used, and the moral lines he crossed to reach his goals never once pushes the blame on Louis Bloom. Rather, it is used for viewers for reflect how society itself lend a hand in creating such a person. By using the background of sensational journalism it kills two birds with one stone; illustrate exactly how society created a man like Louis Bloom & the consequences that come for rewarding such behavior, and displaying the shady side of sensationalist journalism. Commentating on these things with a easy to understand character with plenty more around him to dissect. Nightcrawler doesn’t become a complex story to follow, nor are it themes difficult to decipher, but much in the same vein as Louis Bloom, it’s a lot more intelligent than you might think.

First time director Dan Gilroy (who also wrote the script) shows a surprisingly amount of understanding in crafting his movie. Every choice he made in the film can fool the average viewer into thinking he’s an experience director. From his masterful usage of James Newton Howard music to display Louis Bloom triumphant state of mind when perfectly capturing a hot scoop. Gilroy style is one that is in control showing the right amount of restraint between displaying the sympathetic, and sociopath side of his story. He presents the cold truth, and harsh realities around him as well as portray Louis Bloom worshiping sensationalist media without ever telling the audience how to feel. One standout sequence in the film details how a news station usage the morbid footage Louis Bloom filmed of a terrible aftermath of a horrific crime, and showing viewers firsthand look how the news station uses such footage to manipulate its audience. It’s a brilliant scene in terms of writing, and especially direction giving it a an eerie horror like mood to it. Depicting the night life of Nightcrawlers as one full of wonders, and equal disgust in the length news media will go for ratings. Precise, and calculated Dan Gilroy in his directorial debut managed to helm a film all with an understanding of a veteran director.

I’ll make you an offer you can’t refuse Nina.

Jake Gyllenhaal is obviously the man of the hour with a tour de force performance. Gyllenhaal’s weight loss in the film help further emphasizes his definitive facial features, and seems to leave his eyes empty of emotion beyond greed. Contributing to the character’s slimy personality. Nailing his polite mannerism in scenes where he meant to come off professional, and shows subtle violent nature within him when speaking to people privately. His fast talk is just charming as it is perceived to be coming from a complete lunatics. From his smirks whenever he gets what he wants to his eye bulging look that makes him appear ready to snap at any moment. All the while keeping his portrayal of Louis Bloom in check, and actually making him a sympathetic character despite being morally against him. When viewing Nightcrawler, Gyllenhaal simply disappears into the role. Jake Gyllenhaal performance makes is worth the price of admission alone.

Riz Ahmed who plays the hapless assistant Rick serving as a good contrast to Gyllenhaal. Keeping his emotions in tack to empathize with his cause. He’s closest the film has to a moral compass. Ahmed expresses fear in the way he speaks during scenes he shares with Gyllenhaal helps portray what kind of hold he has over people while his nervous nature to be firm constantly shown. On the other hand, the film also has Rene Russo who plays news station director Nina Romina. Her chemistry with Gyllenhaal is perfect in every scene they share. She’s commanding, easily approachable, and most important of all underlying evil in her portrayal. Able to slowly show the inner destruction of someone who eventually seeks ratings over ethical journalism. Bill Paxton also delivers to in the film as a enjoyable, and unlikable foil whenever he’s onscreen. Simply being charismatic in his slimeball nature while keeping himself in check.

Nightcrawler is my ideal type of movie; everything just works seamlessly with one another perfectly into a masterful viewing experience. Keeping me glue to the screen, and never looses me in it. Everything about Nightcrawler seems seamless from the natural writing that engrosses the viewer, the great performances, and the very careful direction that elevate the film to where it needs to be. Being both an entertaining movie through Jake Gyllenhaal captivating performance, and a fantastic character study ensures Nightcrawler can be the type of movie that can be enjoyed by anyone.

Rating: 10/10

Anime-Breakdown: Patema Inverted (2013)

Patema Inverted follows Patema, a young girl from a civilization that resides in deep underground tunnels. While exploring one day, she gets herself trapped in Aiga, an inverted world, and teams up with a resident to escape and return home. Instantly having the appeal of its unique world set up in the opening minutes, Patema Inverted will make you curious to seek answers. Once the film ends, you’ll end up almost exactly where you started in your understanding of the world. The origins are explained, and some of the aftermath on the creation of opposite gravitational pulls, but other details like the changes that might occurred after the film events, and the new discovery from our main characters are left unanswered. The effect of a device that created a shift on Earth’s gravity is also vague implying it does whatever the story demands it, like shifting the weight of characters when traveling. Without proper world building it’s uncertain how the Orwellian dystopia of Aiga would change at all from the events in the film. Furthermore, it’s distracting with the lack of proper world building will make you wonder what exactly happened to the Earth itself since twice in the movies Patema, and her friend reach the highest point of their respective civilization, and there’s no stars to speak off. Adding onto this issue is the lack of explanation of what happened to the first people that fell into the sky given a specific revelation at the beginning of the third act. That revelation leads to more questions that aren’t answered, and some plot holes while the ending also does the same adding to the list of plot holes. 

And on your left, you’ll see more pointless buildings.

Aspects of Aiga civilization are very broad, and one dimensional in its portrayal. Being a civilization rule by a over the top evil leader Izamura. From the onset, having a villain who thinks he’s doing good in order to maintain order isn’t bad, but it becomes downgraded when the portrayal is over the top. The villain of the film has little motivation to act the way he does, and the religious like mindset to punish sinners isn’t delved into enough to make up his shortcomings. There’s also the unanswered question of how he obtain so much power despite him clearly not being in the right state of mind for it. Given how dead set Izamura is to keep order the only protection he has to prevent outsiders from entering is a fence. More leap in logic includes Aiga being surrounded by cameras, and later implied in the film to be under constant surveillance makes it baffling how the security in Aiga didn’t catch Patema crossing the boarder sooner. I could also bring up the fact the Aiga has students shown to be given points with the implication of worth, shown strict regulation on how people can act, and no parents to be found. However, the film chooses to gloss over these functions of its society, and simply speculating on them will do the film no favors.

At the center of it all is Patema, and Age both teenagers who bond is rushed in the film. Patema dreams of seeing more to the more, and Age likes looking at the stars. These two characters eventually meet each other only to have what should be the emotional anchor of the story to be left shallow. The most effective scenes the quiet moments where Patema, and Age simply talk about their lives. It’s doesn’t sound exciting, but it works in creating good drama. Unfortunately, the quiet moments are sparse throughout relying mostly on a comedic back, and forth between the two. Yet, because of how rushed their bond is there is little time they spent together before one of them gets captured, and has to be rescue. On top of that, because Patema, and Age got separated so early in the movie it renders their eventual reunion ineffective. There is also some kind romance building, though that’s hard to buy since it was rushed, and accepting both characters fell in love after spending like three days with each other mostly apart with everything else going on might be a little too much to accept.

As separate characters, Patema is the stronger of the two. She gets more development, and has more lively personality compare to Age who is simply nice guy. Patema backgrounds get delved into, and getting to see her absorb the beauty, and harshness of a new world she hasn’t seen. Her enthusiasm, and expressed wonder in seeing this new world for the first time helps in providing the film a sense of adventure. Age on the other hand just accepts whatever happens. This changes later on when he becomes more proactive, but lacks growth, and any sort of pay off for following him. Patema eventually gets a rewarding emotional scene when she discovers the fate of her father like figure, but Age is not given that same luxury. When alone Patema is a character that’s somewhat worthwhile to follow, and sadly Age isn’t lending to the uneven nature in the film.

I can assure you that I am not evil!

Supporting characters remain simplistic, and stay one dimensional. They don’t serve any greater narrative purpose other than what a certain scene requires them. Either be hesitating to shoot Age, have a side character provide comedy, or helping Age in breaking out Patema from a tower. They are functional since in Patema’s home there is an attempt to depict some kind of everyday life for the people, and some world building. Aiga, I already mentioned glosses over its world building. One side of the world you have some fleshed out characters, and a lead character who experiences a satisfactory growth on her journey. On the other side of it you have a major character, and a world who are glossed over during the film. It’s odd, one half of the movie knows what makes a good story, and the other half is that bad movie. Sadly, it’s the bad portions that eventually become victorious as the weaker aspects of the writing overwhelm the good parts the longer it goes.

When it comes to voice acting I would say neither the Japanese, and English track have a clear winner. The Japanese cast has two better lead actors in Yukiyo Fujii, and Nobuhiko Okamoto with a more heartfelt performance. Especially Nobuhiko Okamoto performance helps mask the shortcoming of Age bad writing through his more emotional delivery. In the English dub both Cassandra Lee Morris, and Michael Sinterniklaas are okay in their role. Only Cassandra Lee Morris of the two is able to make Patema captivating. On the other hand, the English dub has a better supporting cast keeping in line with the film overall tone. In Japanese, some of the supporting voice actors can be prone to overact their parts creating tonal whiplash in a scene that isn’t found in the English dub. Dialogue is underwhelming in both version either being fluff, or clunky in places. Regardless what you choose to go with, neither the Japanese, or English voice track will impress.

Animated sequences like this are the highlight of the movie.

The animation is handled by Purple Cow Studios Japan (yes, that’s the studio name), and it’s nice looking at times. Character designs are uninspired, but make up for it by having them be very expressive. Background are also simple, but during night sequences the background will be given more details to display its beauty. The underground city where Patema live is brittle with detail as well. Anything outside, or inside during broad light though is unimpressive. There’s a few time where the cinematography would have scenes animated upside down. Making for a few unique looking sequences. In rare usage, the camera will also turn sideways, or upside down to show the perspective of the other character. It’s obvious the animation studio abilities are limited since these type of usage of the camera are in short supply. The music is composed by Michiru Oshima making some wondrous tunes. His music elevate certain sequences giving them a sense wonder where the writing lacks in creating. My favorite pieces of his music are for creating a foreboding mood providing a sense of danger, or mystery that severely lacking.

Patema Inverted is fascinating conceptually while the actual movie ends up being less than it could have been. The world is more fascinating to me than the rushed character bonding it’s more focus on showing. If it wasn’t rushed in developing it central relationship than I would have engaged despite the half baked world building in place. All around interesting, and all around somewhat disappointing. It had high goals that it couldn’t grasp fully.

Rating: 4/10

Cinema-Maniac: Kamikaze Taxi (1995)

Today’s film is three things; an arthouse film, a leisurely pace film at nearly three hours long, and very mindful of the heavy theme it touches on. On paper, arthouse is typically something I ignore as some will typically sacrifice narrative worth for alluring visuals. Depending on the film the abstract accompany by pleasant visuals can add to something, and other times just feel like a complete waste of time. The lack of any middle ground in terms of quality, from my experience, prevents me from checking more arthouse films. However, Kamikaze Taxi is an exception in both areas; it’s exactly what I expected out of a arthouse film, but exceeded everything I thought it could possibly be. I am willing to go as far as to say this film might just be an underappreciated classic.

“No need to fear. We’re just going to kill you.”

KamiKaze Taxi follows a revenge-seeking man, and his foolish friends plan to rob a yakuza gang. Despite that simple synopsis, the film covers much broader subjects beside vengeance. It touches on violence in many perspective from the conceived honorable sacrifice of a Kamikaze to the senseless nature of war. You might even be surprise for a film that has plenty to say about violence there’s hardly any of it to be found within the actual film. Instead, you’re treated to a cast of fleshed out characters with some level of depths to them. Tackling heavier subject matters, especially for the Japanese audience, on a nuance level.

The film begins in a pseudo-documentary style, commenting on the presence of Japanese with foreign upbringing, and how they are not looked upon as “true Japanese”. Further illustrating this is the first sequence where young Yakuza Tatsuo Minami (Kazuya Takahashi) is introduced to Senator Domon whom comments he hopes Tatsuo is a full blooded Japanese from his Korean sounding name. It’s not just a one off comment that makes up Senator Domon character, but several scenes throughout the film where he freely share his racist remarks, even on live television. Later receiving characterization on his likes for Jazz music, and perceiving himself as a true Kamikaze with his boastful nationalistic pride. All the major characters in the film receive this level of characterization.

Slow moving as it might be in its pacing it uses that to have secondary character to provide humanizing moments amidst the aftermath of a violent sequence. One such example of this occurred early on in the movie; Tatsuo job is to set up Senator Domon with women to sleep with, and after a bad night (which occurs offscreen) he has a lengthy conversation with the women involved. Being unable to view them the same way his Yakuza brothers do, and it’s many moments like these that elevate Kamikaze Taxi into something special. What short bursts of violence it contains become layer with meaning for the participants, and for the viewer weaves an engaging narrative sharing a intimate understanding on it complex issues.

“Bite on this while I kill you gently”

Kamikaze Taxi starts with Tatsuo Minami story of desiring vengeance is just the beginning of the movie before transitioning into the meditative phase of a road movie an hour in. It is right here where an already good movie with a great foundation becomes even better. On the other corner we have the other major character of Kantake (Koji Yakusho). The unlikely bond, and connection Tatsuo, and Kantake form elevates the preceding events of simple ideas, but broad introductions, and give them depth here. Themes such as what is truly consider Japanese, the long term effects of violence on a person, what defines a Kamikaze or Yakuza, moving from past prejudice, and other subjects fully develop.

One of Kamikaze Taxi noteworthy scene requires the characters to reflect on their life choices through a seminar of sort. Encompassing the comedic, and the dark nature of its characters into a single sequence. Scenes like these are a dime of dozen in Kamikaze Taxi allowing even minor characters to influence the larger narrative in the end.

Not bound to just tackling contemporary issues specifically pertaining to Japanese culture it also delves into more universal themes. The already mention viewpoints of violence, pride, love, freedom, and ultimately forgiveness. Much like its characters, the story leisurely makes several stop during its journey. Either to build the bond between its lead through something simple like navigating a map of Japan, or taking a breather from the harrowing situation with a drink. Characters aren’t afraid to discuss the harsher aspects of life the closer they get to their journey’s destination, even contemplating simply escaping from their dangerous endeavors. Through their many exchanges, understanding these characters along with developing the fictional backdrop tackling real issues become easier to grasp.

What better way to end a fun party than telling everyone about my tragic past.

The journey this film will take you on isn’t all smooth. For an ambitious film with a desire to tackle a number of themes it is riddle with some issues. One of these being the complete disappearance of the pseudo-documentary framing device from the narrative. It’s disappearance isn’t harmful to the movie since it setups all the working pieces that later pay off once they get fleshed out. What is potentially harmful to the viewing experience is the circling around of established information. Kantake in the movie expresses his issues finding work in a country because of his ethnicity, but the documentary portion of the movie already set that up in its opening minutes. In context, Kantake explaining his situation makes sense, but within the narrative it’s just reiterating information with nothing adding on to it. They also eventually disappear from the movie making it have narrative inconsistency in its execution.

Perhaps the biggest hurdle for viewer in this movie is the way it ponders. There’s a lengthy sequence at some hotel where the characters are enjoying downtime from their journey. What occurs is a series of goofy antics before getting into the characters reflecting on their choices that led them to this moments. These halts in the movie can take several minutes before offering anything that could progress the story. Naturally being all over the place when it shifts gear into being a meditative road movie. These issues might detract from the experience for some viewers, and to a greater extent hurt the viewing experience since the film delve into many subjects.

By the end of the film, it’s obvious by how much I gushed about the writing I simply was in awe from such a thought provoking piece of cinema. Rarely does a film for me ever reaches the narrative heights Kamikaze Taxi accomplishes in virtually all aspects. I was never bored watching Kamikaze Taxi thanks to its engaging characters whom I grew to like a lot on their journey. Spending so much time leisurely developing, and fleshing out everything it tackle created an rich experience not offered to me in many films. Its shortcomings aren’t things I’ll excuse, but they are weaknesses I can forgive for everything I feel it excels in creating.

In its natural habitat, the third wheel.

Director Masato Harada helms the film with ease. Visually arresting with it neon nights city, flute center score, and a dreamlike mood that make it an absorbing viewing. The Peruvian flute like music in particular grew on me over time giving the film a unique soundtrack that I can’t recall other Yakuza movie ever having. With the exception of a few scenes requiring over acting, Masato Harada is able to keep the film realism in tact. Providing the film a grounded touch that it needed, especially during the more solemn scenes when characters are opening up about themselves. Rarely ever using music to influence the audience what they should think during an important character building scene. He also isn’t afraid to inject a bit of humor to prevent the film from becoming overly moody. One sequence where his direction is a bit of a misfired is when Koji Yakusho, and Taketoshi Naito (Senator Domon) only scene together involves an over the top outside inference in their encounter. It’s pretty odd witnessing something over the top happen in the movie when everything else is somewhat grounded.

Standout actor here is obviously Koji Yakusho as Kantake who provides the film most grounded performance. Carefully able to hide the inner turmoil of his character without making him come across as emotionless towards those around him. Without question, his shining moment of acting is when during an long take he reveals his tragic past to the other actors. It’s a scene that is perfectly solemn, and delivered with the right amount of emotion. Overshadowing his co-star Kazuya Takahashi who plays Tatsuo. Takashi isn’t bad in his role either; displaying his character insecurity to fully be a Yakuza with such a sensitive side to him. As the film progresses, Kazuya portrayal of Tatsuo slowly matures into a deep thinking young man by the end. Embodying the puzzling mindset of Tatsuo perfectly. When together, Koji Yakusho, and Kazuya Takahashi are simply wonderful together.

Those wounds are nothing compare to what I went through in Battle Royale.

Taketoshi Naito who plays the racist, and at times misogynistic Senator Domon does a great job in his performance. By choosing to not over act his character feels more humanize, and detestable for it. Benefiting the film by giving it a more realistic depiction of this film’s version of a villain without actually being one. Mickey Curtis who makes sporadic appearances in the film is a treat to watch. His laid back attitude as a Yakuza underling rightfully gets across his character experience. When needed too, he definitely display his tougher side. Finally, Reiko Kataoka who just like Koji Yakusho later becomes a mainstain in the story. She also deliver a great performance on the level of Koji Yakusho, and Kazuya Takahashi. These onscreen chemistry is simply perfect able to make you believe they have created a great bond together despite the small amount of time they spent together.

Kamikaze Taxi is my kind of art film; slow moving, but visually alluring, loosely meditative narrative, and handling of several subject matter gracefully. It’s a film that was a more than pleasant discovery during my viewing, and giving me far more than I could have ever expected from it. I expected, from the trailer, a lengthy Yakuza epic with violence throughout, but instead what I got is a far more ambition, humanizing film that not provides frank criticism on Japan’s culture, but also a film that never bored me, and serves as a personal reminder the profound power arthouse cinema can have.

Rating: 10/10

Anime-Breakdown: Nitaboh (2004)

When it comes to the instrument of the Shamisen my first introduction to it was through the Japanese pop band Monkey Majik. It was with the song titled “Change”, in collaboration with the Yoshida Brothers (brothers performers of the Tsugaru-jamisen style), became a song I instantly liked a lot. A main reason this being Shamisen gave the song a unique sound that stood out to other music I listened too from Japan. However, other than that I simply didn’t care to listen to other pieces of Shamisen music since it’s not the sort of thing I would listen to regularly. Monkey Majik on the other hand I like their stuff a lot. For some who choose to venture into the 2004 anime film Nitaboh will probably be their first introduction to the Shamisen. While the film has plenty to offer on the music side there’s not much else that’ll stick with you once the film ends.

Insert: “You’re the best, around! No one ever gonna keep you down!”

Nitaboh follows blind musician Nitaro through his life as he discover his passion for the Samisen, and honing his skill. Narratively, the film somewhat avoids the pitfall that musical biopics would go with. The formula usually has the lead character discover a passion for music after a performance of some kind, this performance inspires the young lead to become a musician, rising to fame through small performances, and eventually having a rival to compete against. Thankfully Nitaboh doesn’t have the whole fame getting to musician head, hitting rock bottom, and eventually reigniting their passion for music. However, it doesn’t do anything wholly different from a music biopic either by remaining with the basics. It also has a passive leading character which for a story that doesn’t much in terms of conflict won’t be shown struggling through much either in his life story.

One standout feature about the story is the setting taking place during 19th century Japan at the end of the Edo era, and the story somewhat touches on the change Japan was experiencing at that time. The changes occurring during that time, like the change in the way music is played, are far more interesting than what film actually intends to cover. It brings up how unorthodox people thought the idea of a blind man becoming a musician was to people during this era, western influence on Japanese culture that is simply mention, and partially mentions the changing landscape of Japan. However, it’s only ever on the surface, and since it’s not the main focus I can’t really knock it down for that.

Nitaboh biggest flaw is simply not trying enough to flesh things outside of Nitario, which is ironic given it’s main character Nitaro survived through many hardship as a child into adulthood. Hardships that aren’t shown pulling the classic montage into eventual timeskip to get pass the boring stuff of seeing a young Nitaro struggling to support himself on his own, and right into adulthood where he seems better off with hardly anything resembling a conflict. This timeskip cheapens the journey, and ultimately detract from its portrayal of Nitaro dedication to his crafts. Lending to make Nitaro overcoming the stigma he faced of being a blind Shamisen player fall severely short of resonate. By not establishing much in the way of some kind viewpoint there isn’t much growth to discuss from when Nitario was a child who was enraptured playing the Shamisen to an adult who desires to do more with his love playing the Shamisen. Most you’ll get in terms of depth in this area is the times of changing line.

The film’s character had a harder time staying awake than I did.

Another issue with the storytelling would simply be it’s modest aim. It doesn’t tell a grand story, nor sensationalize it events through any means making it a down to earth in its depiction. At the same time for something that demands you pay attention to it for 100 minutes there isn’t a whole lot to take in. If the film was half of its current runtime you could have gotten the same story. It wants to express the power of music, and how it touches people hearts, but Nitaro impact on these people lives, or his interaction with the town folks isn’t shown much. People gather to listen to Nitaro play the Shamisen, and that’s about it. Only once does the film has a character speak about how Nitaro dedication to pursue his craft influenced him to do the same. Aside from this one character, hardly anyone else in the film expresses the same gratitude.

The one area Nitaboh is successful in is characterization. No one in the film is complex to any degree, though that’s mostly because how modest it is. Nitaro has a conflict, learns from it, and pushes himself physically, and mentally to resolve it. There isn’t much to him, but his arc is competently written, and doesn’t come across as half baked in his journey. Some aspects of his characters, like the lack of focus of him dealing with his blindness, or quickly getting over the death of a love one hurt Nitaro in the long term. Making him come off as impersonal when it comes to his friends, and bonds, but what is shown successfully is his love for the Shamisen, and his passion for it. While it’s hardly expanded upon, there are several point in the movie Nitaro does point out the unfairness of the world he lives in, and his philosophy on his style.

Picture here a nice moment, and a relationship that doesn’t evolve much.

Side characters on the other hand hardly add much to the film’s narrative. There’s sorta a romance between Nitaro, and Yuki whom meet each other when they’re children. They show some feeling towards each other, but neither of them over confront the other about these feelings. Another aspect to this sorta being a romance is these characters friendship generally spend little time with each other before spending a long amount of time apart from each other. When they are together, only the first thirty minutes is successful in setting up their friendship, and the rest of the film doesn’t bother to evolve it much. Other than Yuki, the other two supporting character Nitaro interact with simply enjoy his music, and help him out. Only one gets influence by him to do something while the other one is just there to help progress the story. Much like some of the world events it brings up throughout the film, side characters just help push the story forward, and that’s all.

Nitaboh is animated by WAO World studio, and in terms of animation its fine. Character designs are simple, but unique enough to tell apart through the entire film. Movement is okay, and backgrounds are pretty much okay too. The animation doesn’t have much happening visually on screen keeping things simple for the most part. There’s one exception to this rule in during the first act that has Nitaro father riding through a storm on his boat, but other than that the animation isn’t lively. It is cheap at times like having a large crowd listening to Nitaboh play the Shamisen just remain still. The direction of Akio Nishizawa is exactly what the film needed. He over play, or senatalizie any aspect of the story that doesn’t need it. Of course, parts of the third act are debatable for being somewhat silly like Nitaro talking to his dead loved ones through a shaman, or the extreme training regimen he went through. Luckily, the film doesn’t venture into over the top territory with those moments.

With the power I hardness from Amidarmu, I shall became the Shamisen King!

Sounds though is the one area it excels in. While not much of a listener to traditional Japanese music it gives the film it’s own identity where it can’t stand out in other areas. The noteworthy pieces of music in the film is obviously whenever the Shamisen is in used, and letting the viewer absorb the music. Besides being a cool sounding instrument it has such a commanding presence. Going heavily for an atmospheric approach to its sound design which it soars in flying color. In terms of acting only Satoshi Hino, who plays Nitaro stands out. Easily because he gets the most screen time, but also because he come across as the most understanding of his character. It could have been easy for Satoshi to over act his performance since he’s playing a blind character. Hino approach to the character is not portraying him any different than he would from any other character with eyesight. Bringing out some likable aspect of Nitaro personality that over acting could have overshadowed.

Nitaboh is a modest movie with modest aims, but with modest handling of its material it never tries to make something of itself. What is here isn’t enough to justify a general recommendation to view the movie, especially with some of the more important aspects of Nitaro life aren’t developed much. Simply coming off as a history lesson instead of a engrossing look into a man’s life, and how never he gave up on his passion. If you want a down to earth story that is somewhat difficult to find anime Nitaboh has you cover, but in general it’s a piece of anime that unlike the person its based after, doesn’t have as much going for it.

Rating: 4/10

Cinema-Maniac: The Tigers (1991)

Today’s film, The Tigers (1991), might simply come across as just another obscure Hong Kong film forgotten by time. However, it’s the star studded of the Five Tiger Generals of TVB that will ensure it place in Hong Kong cinema history, even the reason is superficial. The Five Tiger Generals of TVB consisted of Michael Miu, Kent Tong, Felix Wong, Andy Lau, and Tony Leung Chiu-Wai who were the most popular young actors in Hong Kong during the 1980s. If you’re a fan of even one of these actors than eventually you’ll stumble upon this film on their filmography, and like me, be surprised by the amount of talent in the film. Sadly, whose in the film is about as interesting as it ever gets. While some of the Five Tigers of TVB have gone off to star in some classic films that have become landmark films in Hong Kong cinema. The Tigers (1991) is going to be a footnote in it stars legacy.

Hong Kong’s Finest

The Tigers follows fives Cops that find their careers, and their lives in jeopardy when they spend a gangster’s bribe money after releasing him from custody during a drug bust. The movie’s premise immediately falls upon when it decided our first introduction to our characters sould be them betting on horses while on duty. It’s this initial irresponsible impression the film is unable to shake off becoming detrimental in its failing. Before the whole “should we take the money” plot point comes into play. Everything leading up to that plot point paints our officers as goofy, and easy going. Not treating what case they’re currently assigned to seriously. So when the officers are considering whether, or not to take away a suitcase filled with money, and not report it to anyone of course it comes across something they would do without question. Except for the fact it wants to present this fall into temptation with shades of grey, which you can’t do when only one out of the five characters presented actually appears to be taking their job seriously.

So seeing one officers who’s remaining silent on the matter, and not telling his superiors talks to another corrupt officers to remind him why he became an officer is sketchy. For starter, the silent officer values his friendship more so than upholding justice, and yet this character thinks he holds the higher ground when compared to his friends who actually took the money, and spend it. Obviously, just because the character sees corruption in his line of work, is in a position to prevent it from getting worse, and not participating in it doesn’t make him an upstanding officer. If the characters were more fleshed out in terms of caring about their jobs than maybe all the conversations about how they will make things right might actually hold some weight.

Missing from this still image, slapstick humor.

Another weakness from the writing is the uneven characterization for its large cast of characters. Most of them can be defined as easy going officers whom want to make more money. Some of the characters are decently developed, and some fleshed out with their own subplots most of which don’t matter in the long run. However, on the other half you get characters who just come across as background fodder despite being established as good friends. There’s also the noteworthy weakness that none of the officers are given traits to stand out. All are jokey, partially serious, and slowly crack under pressure. Homogenizing nearly all the characters unknowingly. Also, since the film is incapable of developing characters the “mind games” the corrupt officers take part in against the film’s villain feels dragged out. When the “mind games” portion start around the end of the first act virtually no progress in the story is made until the climax of the movie comes. This is because it feel like the story is prolonging the inevitable by having scheme, after scheme failed in either getting the villain killed, or getting the police officers locked up.

Dialogue doesn’t fare any better being the routine “what does being an officer mean to you”, “what separates your action from criminals”, and “we are bound to uphold the law, not break it” variety with conversations going where you would expect them too. The issue with this are the characters participating in these conversations never had the high ground. From the opening that showed the officers not taking their line of work seriously, even during a police raid making sex jokes, all the way to the end these officers simply come off as irresponsible, and stupid. You would think characters who’ve all been serving various amount of years in the police force would know how to hide the fact they illegally acquire a huge sum of money during a raid. Apparently not since the characters aren’t able to hide their tracks for simple reasons like buying an expensive car that can’t be bought on their budget, or giving a daughter a large sum of cash for her to start her business. Made even stupider by the fact they mentioned earlier in the movie they wouldn’t do these of things to because they could caught, yet still do it.

Seriously, we’re surrounded by fog, and looking over mountains, and you still wear sunglasses!

Now comes my biggest point of criticism in the writing; it’s inability to represent morality in shades of grey, or black and white. The villain of the film for instance uses his hold over the officers for his own needs. Never at any point in the film is he given a fair shake that would allow him to be sympathetic. This cartoonish villain doesn’t belong in the same story that is attempting to make police officers that took bribe money appear morally grey. A villian who enjoys giving our main characters a difficult time, and takes pleasure in killing some of them muddles it’s execution of being morally ambiguous. You end up with a film with a cartoonish villain who has nothing much going for him besides being evil. However, when one of the police officers takes the stolen money to pay for his brother education it’s meant to be a noble cause. You simply can’t do that because then the villain becomes justified for demanding the police to do his bidding for taking the money he made through (likely) illegal means. This issue could have been easily remedied if the film didn’t attempt to make what the police did with some sense of righteousness.

As for the actual story of the film that’s hard to discuss because nearly all character arcs are never balanced out in its nearly 2 hours runtime. A subplot revolving around an old police officer trying to reconcile with his daughter that doesn’t add much to the movie. It would have helped if the reconciling part wasn’t resolved by a third party after one conversation that basically amounted to “Your dad does care for you, have you considered that”. Another storyline would be an officer finding his brother during a raid doing shady activities. That plot point feels like it just disappears after its brought up. Instead of using this moment to create an interesting dynamic between the brothers it chooses not to do anything with it because it’s not a well written movie. There’s also another officer who worries about getting killed because it’ll mean his family will be left with no money. This officer is hardly ever shown interacting with his family rendering what could have been an emotional drive seem shallow.

When it tries to be thrilling it fails because inevitable sequences are dragged out; like the police releasing a gang leader from custody in order to get the villain killed, and there being a fight that breaks out. Whenever the story acts like whatever it does is a big deal it gets boring over time before realizing you still have over forty minutes left in the movie. Tonally, there’s no balance in it. It’s somewhat comedic in the beginning of the film, and than suddenly turns dark before the first act ends. The writers had a bunch of ideas about what story they wanted to tell, and just called it a day before developing them into something cohesive that would work in anything it attempted to do.

Cool moment brought to you by Andy Lau.

Despite my gripes with the story my actual biggest disappointment from the movie is generally the weak performances from its star-studded cast. Sure, maybe Hong Kong superstar Andy Lau is the only name you recognize, but Tony Leung, Felix Wing, Miu Roi Wai, and Ken Tong aren’t small players either. First of all, Andy Lau performance in the film is weak. Usually he can make the most even out of cardboard characters. Sadly in this movie his usual charm is nowhere to be found, and when it comes to his dramatic chops the poor direction hurts him. For example, there’s a sequence where he sees one of his friend getting killed, and while he’s mourning a song he sang for the movie is inserted into the sequence with on the nose lyrics about how conflicting his character is. It made a dramatic scene unintentionally funny, and it’s doesn’t help either the song used in this sequence is also used to close out the movie further hammering the point in.

There’s the beginning of the movie where most of the cast are acting goofy. Andy Lau during the brief lighthearted moments appears to be having fun. His dramatic acting is the opposite delivery scene after scene like he’s directly reading of from the script without adding his own touch. Becoming robotic in nature when delivery his scenes. Rarely does he deliver a scene in the movie that feels natural because once the lighthearted moments end he always looks pissed off. This could have been remedied if the writing included more moments of Andy Lau character expressing how conflicting he was about the turn of events. While Andy Lau does have the acting chops to play a unrepentant character the direction gives him little on how much to convey in scenes.

Tony Chiu-Wai Leung who plays Tai-Pi fares worse than Andy Lau. Whereas Andy Lau will have moments that displays the strength of his acting abilities. Tony Chiu-Wai isn’t allowed that luxury as he suffers the most from jarring tonal shifts. He overacts the comedic bits of his character so whenever he does any serious scene it’s difficult for him to come off convincingly. Seeing him be overly goofy detracts from his dramatic scenes, and in return almost comes off the worse among the star studded. Also, his goofy clothing dressing up like a teenager with his baseball cap adds to the problem.

Yes that’s a dummy, but in a boring movie this moment is a highlight.

There’s Miu Kiu-Wai who unlike Tony Chiu is simply wooden. His lack of effort to emote eventually makes him disappear into the background, and make you forget the fact he’s in the film. At least Felix Wong Yat-Wah who is constantly just making an angry face for the entire film stands out a bit. Sure, Felix Wong unmoving angry face makes it impossible to care for him, but he puts effort in emoting when it he has too. Tony Chiu is the weakest link in the film in terms of acting.

The only actor who delivers a good performance in the film is easily Ka-Yan Leung as Uncle Tim. Unlike the rest of the cast, his performance is more grounded, and in line with the film’s end goal. He never borders into the realm of silliness like his other co-stars thanks to his committed performance. He never lets up on his serious portrayal being one of the oldest actor in the cast, but when requires he’ll loosen up a little bit in moments that don’t require him to be serious. In these moments, it’s not jarring seeing him having fun, and most importantly refrains himself from being overly silly like his other co-stars. There’s also a surprise appearance by Shing Fui-On who keeps appearing in obscure Hong Kong movies I write about, and here he’s once again casted as a criminal. He’s does fine, but I find his appearance more amusing more than it actually should be. There’s also Philip Chan as a superintendent which is another surprise.

Not a fan of Tony Chiu (guy in red cap) look in this movie. Just comes across as someone trying to recapture their youth.

Ken Tong plays the villain in the movie, and typically over acts in virtually all his sequences. His character is to dislike, but it’s biggest drawback is falling into the annoying category. When Ken Tong starts taking up more screen time as the film progresses so his obnoxious evil laughter. Over acting while constantly laughing is a recipe for annoying. Sure, it makes you want to see Ken Tong gets killed quickly in the movie, but when’s far from subtle in his acting it diminishes the payoff. His over acting further highlights weakness in the writing going out of his way make his character detastable by any means. In a ironic way Ken Tong succeed in bringing to life this over the top villain, but at the cost of being increasingly annoying.

If you’re expecting any thrills from this film you’ll be disappointed. Aside from the fact the script is terrible written, director Eric Tsang doesn’t know how to rack up tension. I’ve already went into lengths about a majority of the actors inability to balance the tone of their material, but Eric Tsang is just as responsible for that. Committing mistakes that an amatuer is more likely to make; like inserting a song from Andy Lau during a death scene, and the right on the nose lyrics (paraphrasing) “I know I’ve done wrong, so let me take the blame” is not how drama should be delivered. While on music, it’s largely forgettable. His biggest strong suit is obviously comedy since he felt the most comfortable helming those scenes, and simply having fun, even if the humor was off. However, the absence of tension is noteworthy, especially if you’re making a mind game between two opposing forces, and the only thing you could think of to raise tension is by having loud music play more frequently throughout the movie. There’s also the lack of action, but since it’s more in line of a crime thriller the lack of them isn’t a criticism. Although, the poor quality of them is. From a shootout that is ruined by slapsticks to the climatic sequence in a mall that relies to heavily on making its villain nearly invincible to make it exciting. It’s a climax not worth sitting through a chore of a film.

The Tigers only appeal is the star studded cast of actors whom headline the movie, but even than only Ka-Yan Leung comes out looking good. It’s just a complete mess in representing it’s morality, handling its characters, and especially building tension for what’s meant to be a thriller. For something that has a star studded something better should have been expected than what was given. Even if you’re not a fan of any of these actors, this film doesn’t come close to being a worthwhile watch by any means.

Rating: 1/10

Anime-Breakdown: The Night Is Short, Walk On Girl (2017)

Coming of age stories are one of the most relatable type of stories. Growing up isn’t a thing that comes easily, and upon reflection youth is something that feels like it had gone by way to quickly. All sorts of media from novels, to movies, and even anime itself love to do these type of stories. Transitioning from adolescence into adulthood is something that can be apply almost universally. However, finding something in these type of stories to stand out is almost as mundane as sport stories themselves; virtually sticking wholeheartedly to realism, and never venturing into any unfamiliar territory, or experimenting in different genres. Bringing you, and me to the film I’m reviewing today titled The Night Is Short, Walk On Girl (Yoru wa Mijikashi Aruke yo Otome in Japanese). A coming of age film excessive on energy, carried by bizarre imagery, filled with wild characters, all coming together into a insane, yet very thoughtful anime film.

Yes mam, you where this fish!

The Night Is Short, Walk On GIrl follows young woman named “Otome”, and her “Senpai” through an insanely long, bizzare night around Japan. After the first four minutes of the movie briefly setting up a bit of information for its characters, and sharing their plans for the night the movie completely does away with any semblance of normality. Turning into what appears to be a random series of events with some clever ideas getting illustrated along the way. For example, there’s a sequence where Otome, and some pals she met earlier in the night entering a bar, and briefly end up talking about time. The elderly in the bar, and Otome friends mention how time is moving quickly for them, and even show Otome their fast ticking watches. However, when Otome shows the group her watch it goes a lot slower. When brought up, the idea is simply interesting to ponder as it quickly moves on to the next crazy event. The film is filled with small touches like these that through the course of the movie are expanded upon. Going back to the watch passage of time, it’s a detail that rings true to the movie. A majority of the film actually enforces this idea by how long Otome night is, and the crazy amounts of events that occured within the film. There’s also another example of this later on in the film where in the background when Otome visits Rihaku-san it’s shown his clocks moving rapidly forward. Rihaku-san in this sequence, much like Otome, experiences life at such a breakneck while living in the moment, but not having a desire for longing to see someone. Rikahu goes into his sadden state considering his life a failure, and shown in the background clocks slowing down after a discussion with Otome.

The whole film is brimming with seemingly unrelated sequences from a group of students performing Guerrilla Theater, a competition between five men under a large tent eating very spicy food to see who can last the longest to obtain a book of their desire, a drinking battle, the God of the Used Book Market collecting books aiming to set books free, and other craziness ensues. How the film chooses to connect these seemingly random events is through the theme of threading fates. There are a few moments in the film where it plainly lays it out for you; like the God of the Used Book Market explaining how several different books are connected to Otome, and when Otome has a drinking bout against Rihaku she mentions everything happening to her is connected by fate. While virtually the rest of the film doesn’t spell it out for you. When in the moment of experiencing the odd assortments of events it’ll seem unrelated. However, there’s always a small piece that leads into another events either be Otome wanting to see another part of town, or Senpai being pulled into something to win Otome affection. No matter how random it seems, it always lays out how it got from point a to point b successfully thanks to some carefully planned writing. Ensuring self control in its outlandish nature.

The eccentric Otome is front, and center of the story following her night with Senpai endeavors being splice into each other stories. Both are opposites of each other with Otome always being one to move forward, and Senpai taking thing as they could have been. Both of them interacts with a cast of characters that influence growth in them. Otome with her positive outlook on life, and insistent to constantly move forward makes her the life of the party in her scenes. Typically being wild, and crazy as much as she is. Naturally in the course of the movie her encounters with other slowly makes her reevaluate herself, and much like Senpai, discovers a new balance in their life.

The power of love compels Senpai.

Senpai on the other hand scenes are just as crazy, but as not as fast moving in comparison to Otome. Allowing the audience time to take in the lunacy they had be taken into. Seeing Senpai constantly having to put himself out into the world to have a chance to achieve his goal of capturing the girl of his dream. Going through to great lengths to overcome his many obstacles in his path whether it be an endurance competition of eating spicy food, or running as quickly as he could to take the spot of a lead actor in a play to get a kissing scene with Otome.

Another thing the film covers more subtly is Senpai behavior in obtaining the girl of his desire. At the beginning, he lays out his plan detailing he desired to remove obstacles, and meet Otome by chances so she would notice him more. It’s a strategy that comes across stalkerish initially, but Senpai slowly overcomes it eventually find a more direct answer. Never giving into temptation to fall into creeper territory, even if the desires to read a file detailing about Otome no matter how strong the temptation is within him. His endeavors throughout the movie receives a greater payoff in the final act when it gets into the more nitty gritty thought Senpai conflicting on the best course of action in his endeavor of romance. Thinking about every possibility to approach the situation, and overthinking his affection for Otome wondering if its worth anything.

When it comes to substance there’s plenty to be found in The Night Is Short, Walk On Girl that someone can find some level of deeper meaning in it. There’s a foundation, no matter how small it seems, that eventually comes together into a larger, and broader picture. However, there’s two things that will likely hold the film back from general appeal. One of them being the zany nature of events contrasting against its actual message. It’s a movie about making the transition into adulthood, yet the film has so many bizarrely enjoyable it’s become easier to lose sight of that message. It’s more likely a viewer will remember the bizarre sequence of Senpai competing in a contest of endurance eating hot food against other men than the scene where Otome expresses her life view to live in the moment, and judging things by its own merits. Same thing happens later on in the movie; you’re more likely to remember the odd musical number of romance story involving a singing apple, and a cross dresser than the segment of someone believing love being determined through destiny over life experience. Given its main characters Otome, and Senpai contrast each other, as well as some other characters they meet are contrasting one another. The execution here while deliberate for its own good by design has about as much chances as being taken as pure escapism as much as being something enlightening.

Look at those lovely visuals.

The second thing that might plague this movie are the loose connection to the bigger picture. Certainly the film has plenty to say, but how much of it can tangibly be linked together is where its get messy. For example, earlier I mentioned the clocks spinning at different speed for Otome, and the people she interacts with. Unless you made a note of that nothing about time is express in the film for over half an hour. Same thing applies with the thread of fate appearing in conversations, and then disappearing at it own leisure. It want to pack so much in its 92 minutes runtime making it very dense in story content. Like the movie mentions several times, everything is connected, but it’s easy to lose to connections with so much going on.

The animation is done by studio Science SARU, and helm by Masaaki Yuasa giving the film a unique style. Characters expressions are expressive, and over the top. Lending itself greatly for effective comedy with exaggerated characters expressions, and fluid movement for 92 minutes. Yuasa let his imagination run wild making sure the film hardly has time to sit still. Nearly every scene is hyperactive in movement, or through various shot compositions makes simple moments memorable. For example, the simple action of someone eating spicy food isn’t made as simple as that. In this film, it’s implements a heat stroke like effects, excessive sweating with huge sweat drops, and disportional puff up lips to get this across. He also empathizes his free range in animation get across other emotions in other manners that aren’t as exaggerated. Another positive about the animation it is ability to allow chaos rein with a surrealism touch, especially in the final act where things are at it crazies. No matter how often it bombards you with visuals the film always make sure there’s always something to see.

Notice me Otome!

The Japanese voice acting is also phenomenal. It might be lacking in terms of range since nearly every voice actor has be over the top, everyone gives it their all. Either be it through having good comedic timing in the comedic scenes, or offering good singing during the Gorilla Theater scenes. Both Kana Hanazawa who plays Otome, and Gen Hoshino who plays Senpai are the ones taking the lead. Kana Hanazawa perfectly imbues Otome energy into her performance. Bringing to life an infectious, energetic character. She’s also able to deliver some serious dialogue without ever seeming to break her character personality. Gen Hoshino excels in his awkward performance of Senpai. While not as energetic as Hanazawa, he ables to express much more emotional range than Hanazawa. He’s able to be very fridgetity, determined, depressed, and panicky into a likable portrayal. Hoshino pulls of the difficult task of making a character who initially comes off as a stalker as likable. The music is done by Michiru Oshima, and it’s pretty good. Lively during the party sequences, and melancholy during the more slower moments in the final act.

The Night Is Short, Walk On Girl offers a thrilling experience as much as it is enlighten on subjects pertaining to life. Offering a slew of fantastic visuals, memorable bizarre sequences, a wildly fun cast of quirky characters, and an unusual execution of a simple message delivery. Regardless of what you take from The Night Is Short, Walk On Girl you’re ensured to be in for a great time.

Rating: 10/10

Some Thoughts On: Lostorage Incited WIXOSS (2016) Series

On March 20, 2018 I finished the third installment in the card playing anime franchise of WIXOSS, and it sucked. Before I go further I will established that I liked the first two seasons of WIXOSS. Both Selector Infected WIXOSS (season 1), and Selector Spread WIXOSS (season 2) even though they had convoluted writing. I enjoyed both seasons as it told a good story, developed it characters fine, handle most of it themes well, and concluded satisfactory. So, you could imagine my surprise when Lostorage Incited WIXOSS first premiered, and I just completely ignored it because I wasn’t watching anime much during 2016. However, in 2017 when I finished the first two seasons of WIXOSS I still had no interest in checking it out. This is for the sole reason I liked the English dub, and so I was simply going to wait for it. As of the posting of this right now, that clearly hasn’t happened, and unlikely to happen anytime soon. What got me to check out season 3 of WIXOSS was seeing a promo poster for season 4 of WIXOSS called Lostorage Conflated WIXOSS. The reason I finally got to seeing this was because a character I like, Ruko Kominato (also nicknamed Ruu-Ruu), protagonist of the first two season, was returning in season 4. That’s all the convincing I needed, and so forth witness the crash that was season 3 of WIXOSS.

Another thing I should add is I knew this was a bad anime before going into it, but I simply skimmed through some reviews on MAL to get a gist of its reception. I didn’t read any story specifics, but general complaints like it being a rehash I knew to be aware off beforehand. After seeing episode 1, I knew I was in immediate trouble. So basically, the setup of the previous two seasons was you play a deadly card game, fight to get a wish granted, and if you lose three times you could never obtain your wish, and everything in the world would make sure you never did. It’s nifty concept when explained like that, but the execution of it eventually got continuously convoluted, and some establish rules got thrown to the wayside as it went on. Other things were happening in the game, but that would involve going into spoiler territory.

Card games are typically more exciting to watch in anime than actually playing them.

Now that you understand in the previous two seasons players were fighting over to have a wish granted you would think the same would apply for season 3. It simply doesn’t as players fight for the grand prize of choosing how to alter their memories, and all losers cease to be themselves. Yeah, already the stakes feel they were immediately diminished from the previous seasons. For starter, losing memories doesn’t sound as big of a deal compare permanently being unable to obtain a wish. For example, if you lost in the first two seasons of WIXOSS, and your wish was to be a track runner. The consequences of your lost would permanently prevent you from being able to achieve that wish. Compared to “losing yourself” it simply doesn’t pack the same punch. Especially, considering that in the first two seasons some of the characters loss their memories while being participants of the game. There’s something else to it, but, eh, that would lead to spoilers!

With the prize being changed there’s also the consequences of the new rules. In the first two seasons, you only had 3 chances, and if you lost three times at any point you were done. Fine, that’s not entirely true with a certain character, but that’s a spoiler if I delve into that plot point. However, in this season you get five coins; the goal is to turn all five coins gold, the amount you start with is random, and if you lose a coin it turns black. You can use coins in card battles to use a special ability. At the end of a battle, the winning player gains a coin. The losing player loses a coin, in addition to any coins they may have bet during the battle. There’s also a 90 days time limit where the longer you wait the more coins that get blacken, and the more memories the user loses. As for how the actual game is played, the previous two seasons didn’t bother to explain that so this season won’t bother either.

I’m skimming over some details like the fact the players are called selectors, and are given LRIG’s (a entity created to fight for/with you during Selector battles) created based on their memories since such details aren’t delved into much. Alongside the poorly explained rules in the previous paragraphs, there’s also the fact when a battle is initiated players basically go into another realm for the fight to be held. The only way the battles end is either when someone loses, or a non-selector interrupts the battle. From the first episode of season 1, the rules were clearly established, and then later on the consequences were clearly explained. Here, despite the rule of non-selector breaking battles up by simply interrupting them appearing in the first two seasons. Lostorage Incited WIXOSS makes that rule feel convoluted in usage. Rules despite being laid out don’t apply to the main heroine of season three, Suzuko Homura, who has important battles simply work out in her favor because of luck.

Oh Suzuko, not a fan.

I don’t want to compare the heroine of Lostorage Incited WIXOSS to Ruko Kominato because I clearly like Ruko way more than Suzuko. Part of this has to do with the fact Ruko gets more characterization than Suzuko does. Sharing similar traits, both characters are goodie-two-shoes, have trouble socializing when the series start, and have family issues. Hell, both Suzuko, and Ruko don’t know what they want to fight for initially at the start of their respective seasons. In Ruko case, there were more going on around her, and unlike Suzuko, she actively sought out information on Selectors Battles. Ruko goal, once she finds something worth fighting for, is bigger in ambition compare to Suzuko who’s only wants to retain her memories of her best friend.

Another thing that made Ruko better is her many interactions with other players so it wasn’t simply random people she was fighting. Lostorage Incited WIXOSS attempted to do something similar, but after Suzuko beats some blonde guy who lost his sister the idea is dropped. The characters Suzuko plays against in season 3 aren’t as fleshed out compare to season 1 & 2 making the battles less interesting in comparison. What also devalues Suzuko Homura appeal is nearly in every episode she has to say “Chi-Chan’, and remind the audience she’s her best friend. It doesn’t work because the anime is completely overblown with its execution. I know it’s possible to get viewers to cry with a good story, but hitting the same beats over, and over again won’t work in a TV series. 

I thought I was done, but I went here to say a bit about Suzuko Homura character design. It trying to hard to be cute I feel. Could be J.C. Staff thinks if you see something cute being miserable it’s easier to sympathize with the character. It’s not, and at the same time what relatable traits she has have been used a dozen times. One of her parents became deceased when she was little, and is never brought  up again. You know, in Cardcaptor Sakura the main character also had a parent who was deceased, but the difference being the parent got characterization, and it was treated as a proper character. So whenever when Sakura (in Cardcaptor Sakura) ever talked about her mother the emotion of the character felt genuine. Here, and other animes that do the samething the dead parent is just there.

Yes, this guy’s our villain for the reason. (facepalm)

One of the biggest changes I wasn’t a fan off was the villain. In the previous season there was an attempt to make the big baddie be more than just someone who enjoyed a twisted game. Season 3 goes exactly for having someone who takes pleasure in making other people miserable. If that sounds silly, well it’s even sillier in execution because the villain is written, and animated in a over the top manner. Having obviously evil bad guy written all over him.

The one character I did like, Kiyoi Mizushima, was someone who appeared in the previous two seasons, but as a supporting character. Here, her role of supporting character is the same, but compare Suzuko, Mizushima backstory has more going for it. There a lot more to her endeavors than simply desiring to obtain a single wish. She isn’t a complex character, although I would have been more interested in this season if Mizushima was the main character because there is more shades of grey to her compared to Suzuko. It’s a shame that she appears in about 4 out of the 12 episodes, and only in two of them does she a sizable part to do anything.

I would continue bashing Suzuko, but you get the point. If there were more episodes I would probably feel differently, although that would be unlikely considering I spend a lot of time on the rules, and complaining about Suzuko instead of the bigger picture. Can’t help it when the characters, the story, and themes feel inferior compare to the previous seasons. It tries too much in such a short amount of time resulting in a series of half baked ideas, especially the ending since it attempts to play it off as a happy ending despite the fact almost nothing changed. Of course, there was also that deus-ex machina of a victory in the final battle which was never established beforehand was doable in battles!

Yep, difficult to make this look interesting.

There’s also an OVA called Lostorage Conflated WIXOSS Missing Link that is absolutely worthless! It’s simply the first episode of Lostorage Conflated WIXOSS (season 4) just with the title card, and opening animation added in. Technical stuff is fine. Only thing that stands out is the over the top acting from the villain, and the characters saying “Coin Beto” which I get a kick out of hearing. There’s the music which is surprisingly good. It deserved to be in a better anime, but at the same time without else to compete against it stands out that much more.

Lostorage Incited WIXOSS was simply bad. I was hoping to find the same kind of appeal like in the first two season, but didn’t get that. I got a water down version of a series I liked; characters weren’t as fleshed out making selector battles mean very little, the new rules to the selector battle minimize the stakes as well as the consequences, and finally the silly villain turned it into a battle of good versus evil. The first two seasons had some sloppy writing with similar issues, but since it had more time to tell a singular story it was able to improve itself in areas season simply couldn’t.

If I were to rate this anime I would 4 out 10. That’s probably a bit too generous.

Quick Thoughts on Loststorage Conflicted WIXOSS

So season 4 is currently airing, and as of this moment five episodes have aired. Since I’m watching it currently I might as well put something here about what I think of it so far. It’s slightly better than Lostorage Incited WIXOSS, but at the same time if the total amount of episodes is going to be 12 it might end up having the same fate. Once again, the rules have changed, and there’s more addition to the game where certain abilities feel overpowered. With characters from the previous seasons being participants in the game I have doubts 12 episodes will be enough to give everyone a fair shake, let alone add to their established characterization. Yes, I still don’t like Suzuko Homura, and at this point I’m overreacting whenever she appears on screen because she’s still boring. She’s doesn’t say her catchphrase “Chi-chan” as much though so that’s a little better I guess. Kiyoi Mizushima might actually beat out Ruuko Kominato as the best character in the franchise. One main reason being five episodes in and Ruu-Ruu hasn’t been given much to do! It bugs me, but at the same time I might be expecting too much out of J.C. Staff. I don’t what it is, but I might have a thing for stoic female characters. Should probably talk to a psychiatrist about that. I might write a post about Lostorage Conflated WIXOSS once it ends, but I’m not sure since I usually don’t write about airing anime.

Now, this is the actual end of the blog which turned longer than intended even though I barely said everything on my mind. That’s what reviews are for….I’m sure right? Oh well. Til next time, and insert clever closing line here.