Anime-Breakdown: Blue Sonnet (1989) OVA

The first thing I think about when the word shojo comes up in the description of anything is Cardcaptor Sakura. It’s one of my favorite anime so the association is natural. To be more specific, I usually associate a shojo for stories that place more emphasis on romance than a shonen, or seinen manga from what little shojo manga I’ve read. The vague definition of what is considered shojo versus its origin can muddles what is properly label a shojo, and what is mislabeled that. Although, I ain’t here to discuss that, but I am here to write about a shojo anime OVA from the late 80s that contains heads exploding, spider robots, huge amount of gushing blood, and eventually disposal unit filled with dead fetuses. Yep, these things that can be found in violent shlock can be found in the five episode OVA Blue Sonnet.

What exactly is Hot Dog Express about? I’m curious.

Storytelling in Blue Sonnet is as straightforwards as they come; good guys live ordinary lives, supernatural intervention occurs on heroes average life, and bad guys attempting to capture heroes. On one corner you have Lan Komatsuzaki, a quiet teenage girl who is thought to be controlled by the rage of the esper Akai Kiba (Crimson Fang), and the cyborg/esper Sonnet tasked to capture her. Both of these leading characters are decently developed in the five episode OVA. Sonnet character arc is the standard human recently turned cyborg rediscovery her humanity. There’s nothing here to spice things up besides the fact that Sonnet is also an esper. I might be someone who constantly harp on a story’s writing on a number of things, but I personally feel execution is more important than the ideas themselves. In Blue Sonnet, the character of Sonnet is handle well having each episode slowly questioning what she’s doing. Her rare interaction with other people also help in getting across these plot points.

Lan Komatsuzaki, as the OVA puts it, is just recently becoming a woman. The OVA partially tackle the matter of Lan growing up, but is mostly focus on her trying to control her powers, and learning about herself. She isn’t as developed as Sonnet since it feels like part of her character arc is incomplete. Only getting some answers to her mysterious background. Other characters in the series get minor development making events in the story slightly more engaging as two dimensional characters. Making the odd sight of seeing a human size cyborg battling spider robots, or a seeing a little kid holding a room filled with adults at gunpoint feel a bit more eventful.

It might be a shojo, but it also offers blood, and gore which it saves up for the final two episodes. Using it’s first three to develop the cast of characters to the best of it ability. Working for the most part to give out details on it cast, including some minor characters who don’t influence the story much. These three episodes also prepare the viewer for the insanity that occurs in the final two episodes which is basically a long rescue mission. These last two episodes is where it combines schlocky entertainment, and shojo convention in a surprisingly good mix. Taking a dark turn in what the villains intend to do with Lan, and eventually getting to a point where she ends up in a disposal unit filled with dead fetuses. It isn’t afraid to contrast the more realistic interaction in earlier episodes with dark moments like these. While nothing else is able to top the dead fetuses bit of grisly writing. What does it a good job at is structuring a buildup in first developing characters in the story earning it’s violent turned in the last two episodes.

Hm, can’t say I disagree young lady.

Now the negatives of Blue Sonnet writing are easy to recognize. Suffering from talking a lot, and saying very little at the same time. Despite it having good pacing it feels like the writing linger on scenes longer than it should. Taking several minutes to establish information the viewer could easily pick up on. There’s also the character of Bird having a unearned importance in the story. Granted, Lan, and Sonnet developing convoluted romantic feelings for Bird is part of its Shojo DNA it in no way comes up naturally. It just appears, and you’re just meant to accept. Unlike the violent turn it takes, the romance aspect isn’t hinted at, or buildup too. There’s also the out of nowhere inclusion of humor after long stretches of being serious. Then there’s Dr. Merikus who is the villain, and the worst written character in the OVA. His motivation to capture Lan is poorly define resulting in him simply doing evil things for world domination. There’s hints in his dialogue he has a greater desire than simply capturing Lan, but that part of the story is poorly gotten across to the viewer.

The biggest downfall of the OVA is the incomplete state it feel it ends on. Being based on a manga that’s 19 volumes long ending it run in 1987. It’s unlikely that the five episode OVA which was released between 1989, and 1990 covered everything from its source material. This is strongly evident in the ending implying there’s between Bird, and Sonnet bond that was meant to build upon, and never did. Another instance of this is Lan herself suddenly being fond of Bird despite them hardly sharing any scenes together. Only in one episode do they share a scene together which is not romantic in the least. While the OVA is structure well it doesn’t use up all of its screen time wisely resulting in something that could have been than it ended up from a story perspective.

When it comes to the voice acting it was simply adequate. Only Hiromi Tsuru who voices Sonnet got a chance to stand out in her performance. The rest of the cast do fine, but only Hiromi stands out because she’s able to hit her dramatic parts successfully. Everyone else don’t add much to their characters in their performances. Also, it has some wonderful Engrish in the first episode which last briefly. The OVA is director by Takeyuki Kanda (director of the first six episodes of Mobile Suit Gundam: The 08Th MS Team) doesn’t impress in handling of the material. For the most part, the story plays out fine, but his inability to transition between tone is awkward. It explains the lack of balance in humor which is why Kanda hardly uses it because when he does it sticks out against the mostly serious tone.

Character designs look something from the early 80s, in particular Sonnet skin tight suit, and grasshopper inspired helmet is very cheesy looking in practice. The animation is done by Tatsunoko Production, and it’s dated. When moving, the animation lacks detail in the background art, and character movements are limited to being blocky. Visually resulting in a boring looking anime half the time. Only time the animation picks up are during the sequences, and the last two episodes where everything results in bloodshed. The same with the music being okay. No tracks stand out besides the opening song “What Is Love” by the band GO!. The music is easily the most forgettable part of the OVA.

Blue Sonnet is enjoyably schlocky entertainment. It might carry the label of shojo, but offers decently developed characters, a well structure story, and a little bit of blood & gore to satisfy an average viewer looking for something outside of what they expect from a shojo. The sums of it parts is better than the bigger picture itself, although it’s those parts that makes it stand out against shojo.

Rating: 6/10

Cinema-Maniac: China White (1989)

I’ve seen many films, and been disappointed plenty of times even with reasonable expectations. Once you’ve seen the many noteworthy films in the action genre the more obscure titles you’ll have to take a gamble on. Granted, I haven’t written anything about a good portion of those noteworthy action movies, but sometimes the prospect of tackling something not widely discussed intrigues me more over something that is well praised, and regarded. Having a huge respect for action cinema than probably your average blogger/reviewer who writes about action cinema. Movies like China White further hammer in the point why action cinema is frequently criticize for their bad stories, and bad acting.

In 10 seconds, Russell Wong avoids getting killed three times

China White follow brothers Bobby Chow (Russell Wong) and Danny Chow (Steven Vincent Leigh) want control of Amsterdam’s Chinatown for their drug trade in the midst of an escalating between the Italian, and Chinese mafia. Now, that sounds like a blast of an Hong Kong style action in a U.K. setting you might be thinking. The final product falls significantly short of its somewhat interesting setup due to its inability to focus on a single point. For starter, the character of Bobby Chow, and Danny Chow are developed decently in the story. However, the film isn’t interested in showing these two blood brother bond, and the struggles they must overcome in the violent criminal world they are a part of. Bobby, and Danny spend around half of the movie together, and then the other half both are separated from each other with the viewer only seeing Bobby side of events. When it wants to show some kind of drift between Bobby, and Danny it’s quickly brushed aside. Considering the movie spends a good chunk of the first half developing these two characters it’s misdirection in how it uses them effects the impact it desires to have.

While not required it does have a romantic subplot which yes litters action cinema in drove, even if the film could be stronger without such a thing. In the case of China White it got it partially correct. Bobby first interactions with Anne (Lisa Schrage) aren’t ones filled with romantic intentions. Starting off on the right foot in getting them to start out as friends. However (again), once Anne gets rescue in the film the relationship between Bobby, and Anne quickly takes a more romantic turn, and it’s unconvincing because it’s rushed. After Anne gets rescued there’s no recovery phase for her to get over her near death experience. It’s just brushed over like the development of Anne, and Bobby relationship. It practically goes from Bobby, and Anne having sex to the next important scene they are planning a trip to Paris before something tears them apart.

Another part of its grand story is the initial storyline of Bobby Chow, Danny Chow, and their comrades taking vengeance on the criminal boss who took out their father figure. This part of the story is pretty thin in actual value, but simply having them be themselves makes a thin idea work well. It easily gets across these people respect their father figure, and establishing a good sense of gratitude towards him. It’s unfortunate that after a flashback sequence which yes brings the movie to a halt that it is unable to expand on the idea. This is to blame on the romantic subplot, and also the subplot of the police officers trying to capture our main criminal characters. It’s unable to juggle all of it pieces into a coherent narrative easily  making things get lost in the shuffle. Meaning you have aspects of the story that start out initially working well, but deteriorate in quality as they go on.

No one in the background looks suspicious at all

Lastly, the biggest downfall of the film’s story is the uneven pacing. The film’s act is paced well setting up the characters, and small bits of an overarching story in good fashion. Sure some of the dialogue is unnatural, though it has little hiccups in actually telling a story. Act one only big drawback is a flashback that’s bring the movie to a halt to provide some backstory. It’s well intended, but since the film is all over the place the flashback unintentionally harms the overall quality in the long run. There’s a lack of raising action due to the fact Bobby, and the gang easily obtain resources to launch their big plan for vengeance which skips plenty of steps. The final act is where the film suffers the most from rush pacing. Whereas the first hour of the film did somewhat well in holding itself together. It’s the remainder forty minutes where it all comes crashing down.

Plot points that were meant to resonate fall flat from glossing over character building rendering significant characters death lackluster. Raising action is absent spending an uneven amount of time between the main conflict, and the conflicts in its subplots which aren’t granted enough time to be properly fleshed out. Leading to resolutions to storylines that will make you feel nothing in the journey. There’s also the ending text crawl saying this movie was based around true events, even though it has cheesy elements ripe in the action genre like going oversea (half the time it’s Thailand) to expands drug trade, main villain having evil henchman doing their every bidding, villains & heroes being able to kill people in public (sometime in broad daylight) without long term repercussion, the protagonist love interest getting pregnant, and the police letting a criminal get away with a murder once against someone they hate to name a few.

I wrote earlier before the film’s does a somewhat decent job developing its leading characters, but its actors are plain wooden. Our lead is Russell Wong, and he is incapable being charming, and showing many range of emotions. His biggest issue is he’s mostly stoic in his facial expression, and there’s hardly a change in his tone of voice when delivery dialogue. When’s he meant to be tough he doesn’t come across as tough. If Wong is meant to be charming his wooden delivery, and stoic expression will make you question how he manage to get a woman with a lack of personality. The only time he’s somewhat convincing is during his action sequences because he has no lines to speak, and even those get ruined by some awkward choices. Also, he sounds really unnatural when speaking English dialogue. Almost robotic in delivery simple sentences. Russell Wong other co-stars fare about the same also sharing Russell Wong lack of range. Steven Vincent Leigh doesn’t come across much of a gangster, but since he’s given as much wide ranging material he fares better. He’s typically has to look upset, or tough in his scene. The only one in the supporting cast was Victor Hon as One Hand, and that was because he was at least trying to do his best in his limited role. The Chinese actors are largely speaking in their native language are fine, but sadly the stars speak English in a unconvincing manner making the bad performances stand out more.

Even in bad movies, I do appreciate stunt work

Surprisingly, the film has superstar Andy Lau, Alex Man, and a surprise appearance by Fui-On Shing who just keeps popping up in a number of obscure Kong Hong movies I keep checking out. Despite appearing only in the ten minute flashback sequence Andy Lau doesn’t fare much better. He simply looks like he wants to exit the production. Allegedly, Andy Lau, and Alex Man were abducted by force by the triads to be in the film. I say allegedly because apparently a lot of sources claim this is real, but I’m unable to find the blog post by Manfred Wong who confirms this on the internet. As for Fui-On Shing he’s the typical baddie, and that what he so well at playing. He’s a highlight in the movie, along with a lackluster Andy Lau who is still more engaging to see than his other prominent co-stars.

The western cast of the film fare slightly better. Out of the entire cast Billy Drago comes out the best as the film’s villain. He’s one note in his performance, but it’s that one note he’s able to nail by hamming it up. Instead of portraying his character in a realistic manner Billy Drago simply revel in his evil nature. Lisa Schrage does okay with her haphazard material. She isn’t allowed any opportunity to transition from one aspect of her character into another. However, she’s able to pull off her none-serious scenes well. Frank Sheppard plays a cop name Rasta (I’m not kidding), and it’s a stereotype performance. Providing a Jamaican accent while throwing the occasional “I told ya man” whenever on screen. It’s passable at best. Saskia van Rijswijk plays the classic silent henchwoman who doesn’t appear much in the movie, and aside from one fight sequence she doesn’t get any scene to stand out.

When mixed together, Chinese, and Italian gangsters are very explosive

Ronny Yu direction is one without confidence. He’s unable to make an assure experience being just as lost in juggling the film story just as much as the script. He’s also unable to overcome his actors weaknesses having long takes of his actors giving one bad performance after another. Where he partially does well is during the action sequences. The choreography in them is nothing special, but liven them up a bit. They would be exciting if it wasn’t for two things; Ronny Yu unnecessary use of slow motion, and his inability to show a connection between the camera & action choreography. For example, there’s a small skirmish between two criminals, and one of them pulls the pin of a grenade. The grenade isn’t seen with the only indication of a grenade pin being pulled being a sound effect. That’s not good action design. What’s also not good action design is some of the sloppy timing in the editing. There are a few instances where someone is shot, and takes seconds before the actor is shown reacting to getting shot. Sometime in slow motion!

When it infrequently comes together there’s nothing impressive about the action sequences. Gunfights are strictly of the cover, and shoot variety with little to visually make them interesting. Suffering from the cinematography not establishing the location, and what’s where. Not even the huge amount of sparks when bullets make impact liven things up. The brief instances of a choreograph fight are as good as it get because Ronny Yu tries to show them in a interesting way. Further hurting the movie is the film doesn’t know how to space out scenes evenly. The first half is evenly spaced out, but the second half saves it’s nearly absent until getting closer to the credits. When it gets to the climax, the action sequence is not worth the wait.

China White offers what you expect from a bad action movie from the rush writing in places, and the general bad acting from its cast. Feeling like the filmmakers weren’t yet ready to tackle a story with such big ambitions, and it shows throughout in the final product. Even action junkies won’t find much to enjoy in this mess of a movie.

Rating: 3/10

Cinema-Maniac: The Shape of Water (2017)

The Best Picture Oscar is an award that puts movies on my radar, but don’t go into with high expectations. For me, there’s a general discontent between me, and the Oscars in what is consider great filmmaking. On occasion I can agree with them like the decision to not nominate The Dark Knight (2008) for Best Picture since it was essentially a gritty live action Saturday morning cartoon. Then, there’s everything else that baffles me on the Oscars standards; 2014 had Gravity (2013) nominated for Best Picture despite it’s glaring weak writing, 2016 Mad Max: Fury Road for Best Picture again for glaring weak writing, 2017 Best Picture winner Moonlight which got over hyped despite the fact itself is a quiet film that was well made, and now The Shape of Water joins that rank in 2018. Much like the other best picture winners, and nominees mentioned I don’t think they’re bad movies. They just don’t live up to the pedigree when being associated with the category of Best Picture anything.

Michael Shannon doesn’t look evil enough here, give him some devil horns.

The Shape of Water is set during the 1960s, centering around a lonely janitor forming a unique relationship with an amphibious creature that is being held in captivity. Out of the films in Guillermo del Toro filmography this is the most plain, and least subtle of his films. It’s themes about outsiders being demonize is clear as day, characters being good & bad is nearly impossible to miss with their dialogue, and the whole intention of this being a fairy tale set in a real world is always seen. When it comes to this film’s theme, and writing everything is easy to grasp, but without much depth to it. That’s fine, but not when the contrast is stark between two conflicting halves of a movie. In the same way it’s real world aspects conflicts with the fairy tale like narrative.

For starter, the first half is a slow, absorbing movie chronicling the average lives of an “other” to put it simply, and how they feel lonely in the world. Characterizing the mute heroine Elisa (Sally Hawkins), Soviet spy scientist Hoffstetler (Michael Stuhlbarg), and a tormented artist Giles (Richard Jenkins) pretty directly. They all at some point talk about being lonely, misunderstood, and not knowing the companionship of a soulmate. These topics are further accentuated by the discovery of an unknown Amphibian Man who is experimented on. Through Elisa interaction with the Amphibian Man, and the cruel experiments Hoffstetler is forced to witness all set out to understand the unknown creature. All the meanwhile being held captive in a secret laboratory with the racist head honcho Stirland (Michael Shannon) seeking to kill that which he doesn’t understand. When describing the movie like this it’s easier to see why I consider it’s storytelling to be similar to a fairy tale; simple themes, simple story, and simple characters. What holds this first half together wonderfully is how intimate everything feels from the natural dialogue between friends to the individual characters hardships longing to belong somewhere.

Where the illusion of being a fairy tale more or less falls apart is in its real world aspects, and the second half of the story. Mentions of the cold war, racial discrimination, gays not being welcome at a diner, and other details reflecting real world issues are sprinkle throughout. Figuring out what Guillermo del Toro was trying to do by incorporating these elements is uncertain. The commentary of the acceptance, and understanding of people different from us is obvious, but what about the other details surrounding that. It’s uncertain, and the film’s writing doesn’t provide these answers. In the same way it handle it themes, details that mirror the real world aren’t looked into. It’s wasn’t Guillermo del Toro intention to delve into these issues; instead all I could ponder about is maybe the film is also about old fashioned ideals that brewed hatred, and how it’ll brews disdain, and violence of those you discriminate against when choosing to keep yourself in a bubble. I’m not going to spoil this movie specific plot points, but I did see enough in what it told where coming to such a conclusion is possible to interpret.

The movie is filled with lovely sets like this. Top notch production design all around.

Of course, the second half is likely where it’ll lose viewers. Further losing the illusion of being a fairy tale with 1960s aesthetics, and in its place is gap in logic, and plot conveniences that increases as the film progresses. One such event includes a moment when the Amphibian Man run outs of it hiding place, and goes out in the open with our characters having to search for it. In all this commotion, not a single person spots the Amphibian Man, and even more convenient is the place where the Amphibian Man is found doesn’t have a single person inside it either. Another example of leaps in logic is how simplistic the plan to get the Amphibian Man free from the laboratory is, and further astonishing is that it actually works. Making you also question with such a valuable specimen why is it so lax in security for it. Questions like this only increases in the second half. Another trait lost in the second half is the relationship building between Elisa, and the Amphibian Man. The first half dedicated time to Elisa, and the Amphibian Man making a connection, and finding a way to communicate. In its second half, it rushes through this. Maybe it’s intentional by design since time in the first half moves slower compare to the events that transpire in the second half. I could definitely see it being Elisa, and the Amphibian Man romance making time feel minoot when with a soulmate. Although, as a film, it’s also a missed opportunity to naturally let it grow.

Del Toro eyes for visuals is capture through cinematographer Dan Laustsen, and production designer Paul D. Austerberry creating creating multiple atmospherically rich worlds. From the cold, and harsh interiors of the laboratories to Elisa apartment filled with green for an underwater feel. Submerging the viewers in a clammy wet mood, rain streaming down the windows, and shadows wavering on the walls elegantly set the mood. Capturing the pleasing, and old fashion style of 1960s America with a dark underbelly when Michael Shannon is on screen. Echoing a darker world amidst it’s beauty. When it comes together set to the ever changing moody score from Alexandre Desplat’s from wistful, and sorrow will immortalize certain images in your mind.

Sally Hawkins delivers a nuance performance portraying plenty about her character without saying a word. She’s understated in capturing every ounce emotion providing a sense of wonder, intrigue, and tragedy through movement. Her eyes, and the way she expressive herself is one of the film’s many technical strength. Michael Shannon receives the short end of the stick out of everyone in the cast. He’s has to play a racist, and misogynist villain, and make him unlikable. Shannon mores than hams it up in his scenes ensuring every bit of his mannerism, and expression is as slimy as possible. Only thing less subtle about Shannon performance would be him literally hanging a sign around his neck written with “Obviously evil bad guy” on it. Richard Jenkins is basically a more vocal version of Sally Hawkins, but equally just as tremendous in action. Sorta being the emotional voice that Sally Hawkins cannot have making every scene he’s in believable, and his friendship with Sally Hawkins seems more genuine for it. Octavia Spencer is humorous through her many scenes, and sympathetic when needs to be. Michael Stuhlbarg is much like Michael Shannon in getting a role that doesn’t require much from him, but plays it it well.

We shall eat your children tonight Creature of the Black Lagoon

Doug Jones plays the Amphibian Man in a costume that is impressive in detail, and allows Doug Jones to do everything he needs to bring the creature to life. Acting like a scared animal, Jones makes the Amphibian Man alluring in its behavior. Meticulously moving unlike a human, and sounding more like a beast through his screams than a man. Creating a creature with a soul that’s easy to be lose sight over the thought it’s a mere man in a costume. It’s quite a joy to see a costume so rich in detail from the wet scales, the fish like fins around its arms, and the several combination of different Amphibian creatures into a human like structure. Plus, it’s possibly the only time you’ll see an Amphibian Man in a musical number which personally was a treat to view since I do have a soft spot for some silly B-movie pictures too.

The Shape of Water doesn’t live up the pedigree of a award winning film, but if one can get over that hurdle there’s plenty to like about the movie on a technical, and writing level. Del Toro eye for visuals is just as strong as ever, and so is his love for old cinema replicating the feel, and look of a classic movie. Being a heartfelt mishmash of his love for old school creature feature like Creature From the Black Lagoon (1954) with his love of classic cinema like E.T. the Extra Terrestrial (1982) portraying otherworldly bonds. It’s a film that from Guillermo del Toro that feels as every bit as passionate, and sincere as its leading characters. It’s second half is where most viewers will be tested containing the biggest lap in logic, and rushed relationship which is meant to be the centerpiece of the film. Being best described as a E.T. the Extra Terrestrial for adults it’s dreamy in its imagery, but much like Sally Hawkins character that lives above a theater roaming with fantastical images, the real world eventually creeps in, and ends the fantasy. It’s nowhere near the pedigree of other Best Picture winners like many will allude too, but it’s a movie I wouldn’t mind revisiting to be lost again in its dream.

Rating: 10/10