Cinema-Maniac: Blood Heat (2002)

From my little experience in Japanese cinema away from their Samurai, and Yakuza movies. Japan film industry gives a general impression they have a disinterest in producing action movies. The closest Japan gets to producing their equivalent to action blockbuster is either a live action anime/manga adaptation, or their monster/Kaiju movies. I don’t know the reasoning behind this, but I do know for certain that Blood Heat (aka Muscle Heat US Title) wanted to hang with the best in the action genre, and be influential in its country. Obviously that didn’t happen because it barely left a mark even as a footnote in action cinema history.

Left kick missed!

Blood Heat is set in the futuristic year of 2009 following court martial ex-Navy Seal Joe Jinno (Kane Kosugi) in his assignment to put an end to the circulation of super steroid drug Blood Heat. When the movie started I was mostly on board with the story. Things were to easy follow, and were developing nicely. It was focus, and contained itself in it simplicity for thirty minutes. After those first thirty minutes the film issues of convoluted plot points, thin characters, and by the number storytelling deteriorate a passable action movie into a chore. Choosing to grasp more than it can actually achieve burying anything it actually does well in terms of writing. This is primarily due to the fact that it sets up  plot points, but doesn’t expand on them. Plot points like Joe protecting a little girl, the underground people calling themselves “sewer rats” starting a revolution, and Joe seeking vengeance remain flat in the overarching story. This wouldn’t be an issue if Joe Jinno desire to take vengeance was fleshed out at all. Joe gets the entirety of one scene showing Joe, and his partner bond before Joe’s partner bites the dust. Before that, the only scene Joe, and his partner share is Joe getting recruited into his current assignment. Just simply stating through dialogue Joe, and his partner have become good friends won’t generate investment like the movie think it will.

The drug itself, Blood Heat, main function is basically acting like a super steroid. Established in a newsreel it is revealed Blood Heat can increase the physical capacity of the user five times over the normal limit, and the user becomes depended on it after a single dose. You might think that user would be able to punch a hole in a person face with that much boost in physical strength, but it doesn’t. Blood Heat, the drug, is mostly used for blood combat in the Muscle Dome (a death combat arena), and its effects are pretty lame when in sight. This also creates a numerous amount of logical gap within the film establish universe; like why doesn’t the film villain provide Blood Heat for all his henchman if it can enhance their physical abilities. Since the film doesn’t clearly get across much negative side effects in using Blood Heat it’s questionable why the villain doesn’t do this. Another issue would be the lack of impact the drug is shown to have in civilians. It’s stated that Blood Heat is spreading rapidly, but hardly shown being consumed when the film’s villain isn’t around.

So this is how a Japan in over two decades of depression looks like. Kinda nice.

Biggest faults of the writing comes from director Ten Shimoyama inability to hide his budgetary shortcomings. It’s established in the first five minutes that Japan had been in a depression for over two decades, yet decides to show aerial shot of a nice looking Japan. Adding to the disservice he does to the writing is not displaying a more economically broken Japan. in its set designs There’s not much dirt on the actors playing the Sewer Rats gangs, and is too nice looking in the environments to visually get across a economically depressed Japan. Simply making the background a little ugly, or filled a little trash isn’t too much to get the setting correct. There’s also his overblown direction at times to scenes that don’t need it. When actor Kane Kusogi sees his partner getting killed, instead of letting the sight of Kane Kusogi being depressed in the rain do its job. Here comes Ten Shimoyama choosing to insert a cheesy Spanish guitar, and violins instrumental to the sequence. A simple moment of seeing Kane Kusogi down in the rain is made cheesy by the inclusion of music. Creating a unintentional cheesy nature during the film’s most serious moments. Especially the crucifixion of actor Show Aikawa was pretty heavy handed in the many contrived monologues trying to make itself appear deeper than it actually is.  Adding onto the list of issue is Shimoyama pacing. Portions of the movie felt longer than they actually were, while portions that should have been longer feel to short. Resulting in a movie, and story that feels underwhelming on all front. There’s no raising action in narrative to make things feel like they’re escalating, and without engaging characters you’re left with what eventually becomes a chore to watch after the first thirty minutes. 

The biggest surprise in the movie is a good chunk of the dialogue in Blood Heat is spoken in English, Japanese, Cantonese, and a little bit of Korean in the film just for added measure. More surprising is the acting in the movie is pretty solid. Kane Kosugi is the film leading action star. Doing all his own stunt he more than has the physical abilities to carry a movie. Looking proficient in his fight sequences, and being able to perform his fight scenes with ease like many famous onscreen martial artists. His commitment on the action makes it a shame he hasn’t gotten many opportunities to take the leading role. Although, that could be do to his middling acting abilities. He’s able to make awkwardly written English dialogue sound when he delivers it, and his Japanese dialogue he’s able to put a bit anger in his delivery. He simply lacks range in his acting ability always looking angry in nearly all of his scene. Kane Kusogi also lacks charisma explaining his lack of comedy scene, or long takes during dramatic portions past a certain point in the movie.

Most disappointing performance is easily from Show Aikawa who can’t do anything in his role because of his limited time. Best he could provide for his character is simply putting on sunglasses, and looking cool. Caring about him, or his character he’s unable to do anything on that front. Same with Misato Tachibana who who plays Show Aikawa sister isn’t in the film much either. Both of these actors lack of screen time make is made very evident in sequence that meant to be the dramatic height of those two character arcs, but nothing emotion is gained from it. Masaya Kato is enjoyable over the top as the film’s main villain. His line delivery are simply blissful when spouting out ridiculous English dialogue you simply can’t take him seriously. When speaking in their native language the Japanese actors are okay to mediocre, but when speaking English it’s pretty rough at times. Although, some of it is to blame on the awkward, and at times grammatically incorrect English dialogue.

Not even the glass is spared in this fight sequence.

The fight choreography is handled by Jackie Chan’s stunt team regular Ming-Sing Wong. Creating Hong Kong style action with the look of Japanese cinema. For the first half of the movie, the action sequences are on par with Hong Kong action cinema. Choreography is creative in its limited setting, typically in tight corridors with little room for error. Kane Kusogi fighting a dozen men in a hallway is the obvious highlight with slight usage of wire work. This fight sequence is tight being able to actors in the background waiting for their que to attack. Hiding the background actors expertly as the choreography has Kane tossing henchman like rag dolls to the people in the hallways. When someone attacks Kane, the cinematography keeps anyone in the background out of frame placing the focus on Kane, and the single person he’s fighting in that moment. This is one smooth, and seamless looking action sequence.

Making it a shame the remainder of the action sequences are lame. The cinematography isn’t as tight with Kane fight against Joe Lee is the sleepiest fight in the movie. Having some sparse shots where contact isn’t made when trading blows. Joe, and Kane Kusogi fight in the Muscle Dome suffers from one sided nature. At first Kane Kusogi is pummeling Joe Lee, but than the reverse happens once Blood Heat kicks than Kane Kusogi gets beaten without using any counter maneuvers. This is a boring fight since both actors are clearly capable of doing complex choreography, but the baffling decision to not show Joe Lee, and Kane Kusogi on some kind of even ground makes the long fight sequence dull. Then comes the climax which is also disappointing, and the slowest fight sequence in the movie. All to this point all the previous action sequences had actors performing them at normal speed. In the climax, Kane Kusogi, and actor Masaya Kato fight with sledgehammer, and it’s slow moving. Revealing the setback of having two actors fight with sledgehammer as both simply trade blows, and dodge without doing anything impressive in the matter. Once both actors drop the sledgehammers, both knee cap each other before throwing a single flying kick ending the fight. You don’t get to see the final blow in the fight as it cuts to black! Talk about anti-climatic.

And one last gif of Kane Kosugi doing something cool. His own stunts.

Blood Heat is the definition of brainless action cinema, and on some level it can be enjoyable on that front. It’s tries it hardest to be a Hollywood level action blockbuster, but without the budget it falls more in line of B-movie with some competent production values, some competent action sequences, and a competent enough lead in Kane Kusogi to carry the film. Bad aspects are obviously the poor writing unable to develop anything engaging, and bad direction that’s unable to visually tell its story, nor pace it properly. If you’re ever in the mood for brainless entertainment that’s somewhat watchable Blood Heat is not a bad choice, but otherwise you ain’t missing much in this little film that couldn’t cut it for the big leagues.

Rating: 4/10

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

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 Isle (2000) Review

Art house films is a part of the whole spectrum of movies that I don’t care for to be honest. It’s pretty obvious by the movies I choose to see. The challenge of seeing such a film is not a turn off, but the absent of substance I tend to find is. Art house cinema, unlike everything else related to movies I encounter, is the likeliest home of some of the most shallow piece of filmmaking that I can find. In particular, the smugness of these filmmakers that become present in their work thinking they made something deeper than it actually is. With this kind of mentality being equally common in art house cinema as the thought-provoking films that stick with you I’m happy engaging in it as little as I do. Preventing viewing experience like the one I had with The Isle from being a frequent thing.

Suh Jung recreating my reaction watching this movie

The Isle is about mute Hee-jin (Suh Jung), who operates a fishing resort, forming an unlikely bond with shady customer Hyun-shik (Kim Yu-seok). What little there is too the story is underwhelming. This is one of those art house movies that pad out their runtime by showing you every single action of their character not related to the story. Typically, it would be characters walking long distances, but this case its seeing Suh Jung drive people, or herself in a boat around the fishing resort. Things that take up minutes of screen time with little substantive dialogue to connect a theme, or a message of any sort. Being more damaging in this movie since entertainment is not a focus of the film. There’s also numerous occasions of seeing people do random activities at the fishing resorts whether it be seeing them poop on the resort, or attempting suicide. It’s the mundane atmosphere of nothing visually exciting happening that make the “shocking” scenes “hard” to watch. It’s easier to be shocked by something when the film has nothing happening in terms of story.

Characters simply go through the motion of events, and are more about displaying abstract ideas with nothing concrete to center the characters. One can ponder why a woman would shove a several fishing hooks up her vagina, but one can also be bored by such a sight when the only thing gather about its characters are abstract. Same with the abstract characteristic thag Hee-jin becoming possessive when saving a suicidal man’s life. Maybe Hee-jin is possessive, but with little foundation to her as a character she could also simply be a woman overstepping her boundary in preventing a suicidal man from taking his own life. Either of these notions could be correct. By doing so, it would defeat the movie intentions when simply throwing non-correlating interpretation at it, but when there’s no foundation for characters to connect to themes anything goes.

Hyun-shik character best gets across the clumsy writing of the movie. His shady background once reveal involves him being a wanted man, along with the brief details of the crime committed. By the way the story is written this revelation is just mundane. By choosing to remove raising action, and the essence of conflict from the writing everything seems equally dull. It’s not the intention of the film to portray such events, or people as dull. Rather it has something to say about the human state of suffering, and the way different ways people communicate is more sincere, even if against the familiarity one is use too. I know, that’s quite a mouthful of a sentence. In the movie itself, it doesn’t come off that way. Unlike great art house movies, you’ll won’t find working pieces that connect everything together. It has substance, but it’s all over the place that’s more than likely to leave your pondering what was the point than being provoked by it.

The Isle (2000) can look beautiful at times.

Actress Suh Jung despite playing a mute delivers a fantastic performance. Conveying an arrange of emotion, and inner turmoil of her character through her body language. Bringing to life a tragic character of its own kind rare to be seen in films. Taking pleasure in portraying the more sadistic side of her character, and improving the movie with her presence. She might lack any memorable lines of dialogue to speak, but when she’s as good as she is there’s no need for it. Aside from the cinematography from Seo-shik Hwang, Suh Jung is practically the only thing the movie has going for it.

Actor Kim Yu-seok whom plays Hyun-shik does well in portraying a lost soul, wandering soul. Awkward, sincere, and crazy are the impressions he’ll give you with his performance. When it comes to his acting he best shines with Suh Jung whom together create a strange onscreen couple. One’s that is odd as it is fascinating, and a bit charming when fish hooks, or knives aren’t around. Much like Suh Jung, Kim Yu-seok is also able convey the same inner turmoil of his character to similar success. There are other actors in the movie whom do adequately in their roles, but Suh Jung, and Kim Yu-seok are the only actors with substantial material to dig into.

Kim Yo-seok: “You see your life story, but all I see is my pet bird in a cage”

Director Kim Ki-duk (whom also wrote the movie) creates a visually alluring film that is absorbing. Almost dreamlike with the mist covering the water resort to add to its surreal mood. Using a wide variety of camera angles to show its beauty, setting the atmosphere accordingly enveloping the viewer into a trance with the calm mist, and smoke above the water to put them in a trance. Consisting of primarily long takes to provide the viewer more than enough time to absorb everything in, and out of this fishing resort. It’s easily an alluring movie displaying beauty in the mundane. Granted, when the “disturbing” scenes came around I wasn’t grossed out by them, but with fantastic dreamlike cinematography I can’t anyone who found the grotesque moments hard to watch.

The Isle is a visually absorbing movie with a fantastic performance by Suh Jung, but that’s about its only outstanding features. With a emphasis on minimalist storytelling, and acting it’s one of those up to interpretation type of art house movies. Why it doesn’t work is simple, it doesn’t center the substance, or themes to anything concrete to cohesively connect the dots. It won’t provide much to think about when it comes to themes, characters, or interpretations. Instead, all you will remember are certain scenes that might make your stomach turn.

Rating: 4/10

Cinema-Maniac: G4: Option Zero (1997) Review

Action movies typically isn’t the genre people will go digging through for a good story, and Option Zero (1997) will remind some of why. Directed by Dante Lam, whom I consider to be China equivalent to Michael Bay, has been sloppy in the films I’ve seen him helm. A common problem with Lam films is starting off good, and losing steam as it goes on as so far every film I’ve seen from Dante Lam feels longer than it should be. Also just like Michael Bay thing for explosions, Dante Lam also has knack for making action sequences pop out from the screen. It’s a skill of his that can be seen in the film in one lengthy action sequence in Option Zero, but unfortunately the faults that plague his movies are more present here than his strengths in his feature film debut as a director.

Anthony Wong: See the wood on the ship? Emote more than that.

Option Zero follows the private lives of some of its key members of the HK police force known as SB, and how that affects their work in the field. It’s unfortunate that all these cops live very boring lives. For starter, when the SB officers aren’t talking about anything job related they are either talking about sex, or romantic relationships. In a movie that is just 11 minutes shy from being two hours this cycle of job procedural, sex jokes, and romantic drama dialogue wears you out. Aside from these things, there’s nothing the film characters choose to talk about. If a conversation seems like it’s going to break this cycle, it goes right back into its familiar routine.

Whenever Option Zero focuses on the SB officers doing their jobs all the task feel largely unrelated to one another in the overarching story. Capture a group of criminals dead or alive in a hotel, go chase after a criminal with valuable information, stop a gun deal, and finally protect someone important. Even if you spot the small connection, it doesn’t build up to the climatic action sequence in any form. A shootout that occurs in a container port 55 minutes into the movie, has a South Korean criminal, who evaded the SB officers in a previous action scene, killing off a major character only to have that same Korean criminal disappear for over 40 minutes before haphazardly just putting him in the climatic action sequence. You go almost half the film length without any build up towards that encounter, and when you do get to the climax there’s no confirmation if this South Korean criminal is the same that killed off a major character earlier. All the action sequences simply happen without the excitement one would hope these sequences would provide.

Now the meat of the film’s plot focus on romantic relationships. Initially, I was on board to see how the SB officers job would take a toll in their personal lives, and all it amount to was serviceable. It has too many subplots that get scatter around during the run time, half of which don’t even bother to get properly resolve. For example, there’s a love triangle in the movie involving our lead character Ben Chan (Julian Cheung), Chan’s current civilian girlfriend Kelly (Carman Lee), and Monica Leung (Monica Chan) who is basically Chan’s best friend. Monica who gets written like a third wheel, gets mentioned pretty early in the movie, and gets established as clearly having a crush on Chan. Leading to some interesting scenes like when Chan gets asked by Kelly if she’s the first person he’ll think about if he’s dying. Other times, it’s the soap opera treatment of “you never notice my feelings, or will you will never love me like I want you to”. This plotline, despite becoming the focal point of the movie as it progresses simply ends. There’s also no mention if Monica relationship with another character evolve into anything more romantic affecting another subplot by having no resolution.

Missing here is some cheesy music.

Other characters in the film also suffer the same fate of repetitive dialogue; talk about their job, talk about sex, and than talk about relationship to reiterate once again. Dialogue related to the SB officer work is purely exposition while anything related to sex is a jab at comedy. Unfortunately, the jab at comedy eventually stop to become the equivalent of a bad high school drama. Something gets brought up that appears to be a big deal only to be forgotten about over time. Like Chan’s partner Sing (Anthony Wong) having a things for boats, and not using that characteristic of Sing for anything even though a scene is dedicated to it, or the fact Sing wife possibly cheated on him is also dropped. The supporting characters are only here to provide some fluff to the story since it’s main plotline doesn’t have much to sustain itself during the runtime. Getting multiple scenes of characters simply hanging around each other like friends. Despite the length the film would go to provide characterization, even forgetting it’s an action film for half of it runtime, characters still come out feeling flat by the end.

Finally, the G4 unit finally pops up in the final stretches of the film, and it’s simply more melodrama. The part of this being a police unit that only takes in the best is expected dialogue, but after many melodramatic scenes it would be nice to return to its characters prioritizing something else on their minds besides love. It’s this circling around the same three topic that make these characters shallow. Without going in depth into what it chooses to talk about everything feels detached emotionally. The film can whatever amount of time it wants on developing it cast, but without adding, or evolving their plotline beyond their introduction the effort seems wasteful. It has it mind set on something, but doesn’t bother developing it to the best it can be.

Julian Cheung is our stiff leading man in G4: Option Zero. He’s unable to express much, even during the action sequences he even struggle to show the most basic signs of struggle. However, seeing Cheung being passable in a action scene is better than him trying to emote in the dramatic scenes. His delivery lacks any emphasis on emotion typically wearing the same expression from beginning to end. His other co-star like Alex Cheung Hung On also suffers from the same issues. However, since Alex Cheung isn’t on screen frequently he’s comes off as passable instead of stiff like Julian Cheung. Carman Lee, and Monica Lee fare a little bit better, though not by much. Their dialogue delivery as the emotional support, or unrequited love is what you would expect them to be. They’re fine, and unlike their male co-stars, can carry a scene by their acting chops.

Anthony Wong in the film best action sequence

My favorite character in the movie was Sing, and that’s because Anthony Wong was playing the character, even in a lesser effort in terms of acting, is still far memorable than any of his co stars. He’s the most believable with his performance encompassing his middle aged, slightly overweight, physical appearance of a veteran officer. Wong unique appearance easily makes him stand out among the more physically fit looking cast. By becoming Sing, Anthony Wong provides the film only moments of good drama, and comedy since he bothers to mold the weakness of the script into a strength. Easily being able to do the drama, the comedy, and action side of his role convincingly. Unlike the script, Anthony Wong found a way to balance the different tone into his performance never feeling out of character in anything he does. Anthony Wong is the only actor in the film who gives a good performance despite the weak material he was working with. There’s also a cameo from Michael Wong whom starred in the previous two installments of this franchise. His appearance adds nothing to the movie. There is one other actor, Paul Cheng Jang Bong whom plays a South Korean criminal who acts as a sorta-foil, but his performance is onenote leaving little to add on.

The film’s best action sequence is easily a lengthy shootout in a container port. It’s the only action sequence that feels inspired, and where the action choreography shines. Asides from keeping the action movie, the gunplay here in particular have more emphasizes in bullets piercing the background. In this container port action sequence, there’s a very brief shotgun bout between a SB officer played by Anthony Wong, and a Korean criminal that’s easily the highlight of the sequence. Not only do both characters barely miss each other, but quickly have to evade each other gun fire in from a close range. If the film had more dynamic gunfights like this brief shotgun bout than it would have been worth sitting through 40 plus minutes of characters moping around about love, or death worth it. Aside from this container port shootout, the action sequences are sub-par, even the climax itself doesn’t high end things on a high note.

Option Zero is a messy movie that will leave action junkie, or anyone craving a good story unsatisfied. There’s not enough to the story to keep events interesting, and the action sequences only once rises above your average action movie from China/Hong Kong, but even it’s one good action sequence won’t keep you around. Anthony Wong is the one positive G4: Option Zero has to offer, and that’s only when he’s onscreen. Being an example of melodrama, romance, and action not coming together like it should. 

Rating: 4/10

Cinema-Maniac: City War (Yi dan hong chun) (1988) Chinese Heroic Bloodshed Movie Review

City War (Yi dan hong chun) follows two buddy cops; the calm, and collected Dick Lee (played by Chow Yun-Fat), and the hot-headed Ken Chow (played by Ti Lung) in their everyday life when drug lord Ted Yiu (played by Norman Chu) is released from prison seeking vengeance. Despite the classification on numerous film sites calling City War (Yi dan hong chun in Chinese) an action film it doesn’t offer much in terms of action. It’s two-third crime drama sprinkled with comedy with the final act switching gear to an action driven resolution. To a certain degree, anyone familiar with Korean action cinema will feel familiar this type of structure for an action film. However, in this is an instance where the film stumbles in being a drama having no pay off for your patience. It knows what it wants to be, and what it needs to do to pull off its own story, but not how to get there. Having a jarring jump between Dick Lee more comedic centric scenes to contrast Ken Chow more dramatic scenes. There’s nothing like the smooth transition of seeing Chow Yun Fat going on a date to smoothly transition into Ti Lung arresting a criminal with grim music playing. Unfortunately, for the film the dramatic scenes usually incorporate one detrimental flaw each differently preventing these scenes from having the full effects they should.

The officer is just as confused as I am with Ti Lung clothing.

For example, half of the motivation for Ted Yiu (the film’s villain) vengeance is that his balls were shot off. I would like to be joking, but since the film is subtitled there’s no mistaking what I (and other viewers) have read. The serious delivery of this revelation comes off as unintentionally silly since balls being shot off is held to the same significance as someone important in Ted Yiu’s life getting killed. This plot point could have been taken seriously if there was more added to it. Only once does the film do anything with this plot point, and it ain’t much. Ted Yiu, while having sex, with his girlfriend suddenly reminds him of that incident, and that’s it. Something like Ted Yiu possibly wanting kids in the future would have made this silly motivation easier to embraced. This whole “shot off my balls” motive undercuts the other half of Ted Yiu motive for vengeance which is enough to maintain the serious tone of the story. You can also probably make an accurate guess on what Ted Yiu other motivation is if you’re familiar with Hong Kong action flicks when it comes to cops vs. crooks.

A major hindrance in the film is the lack restraint on the film’s listed three writers. Portions of City War will have scenes that feel like they go on far longer than they actually should. For example, a scene where Dick Lee goes on a blind date, and shows him joyously interact with his blind date. The intention of the awkwardly comedic scene is clear, but lingers what feels like minutes of Dick Lee interacting with a character who doesn’t make another appearance in the film. For a while, it forgets it’s mostly a crime drama becoming a romantic comedy in the second act before returning to crime drama without ease. Given the film had three writers it certainly comes across that the film didn’t have a unifying vision, nor cohesion in combining several ideas together.

Hm, I wonder if these are the bad guys?

There’s also the in your face subtlety of some its dialogue that attempt to provide some sort of commentary about law enforcement. There are three instances where the film characters would simply say something along the line of (paraphrasing) “More regulations are making it harder for good police officers to capture criminals”. Now imagine that, but put even more bluntly because the film will sprinkle these odd dialogue at random moments. When this happens, the film comes to a complete halt just to make sure you, the audience, like this sentence, get the point of what is being said to you. It would have been less damaging if the film actually bothered showing the consequences of going against these regulations instead of just ending abruptly like it did. Another reason this commentary does not work is everything within the story goes of it way to justify going against these regulations. Without a balance depiction the commentary comes off tacked on. Yes, it also contains a strictly follow the rules, promotion seeking lieutenant as a bonus whose only purpose is shove the film’s point about laws preventing cops from capturing criminals.

City War final act is where the action finally comes into place, but lacking the emotional resonant intended. A major reason for this is Ken Chow is hardly shown doing anything else besides police work. Ken Chow is meant to serve as the film emotional center given the events that transpired; however, Ken Chow is hardly shown interacting with anyone else besides Dick Lee when it’s not job related so the importance of anyone else in his life does not come into fruition. Ken Chow lost is meant to be sad just because it’s meant to be sad. Ringing a hollow feeling when he decides to take justice into his own hands. Another issue is regarding his attitude towards anyone giving him any kind of opposition. Certainly doesn’t help him, along with everyone else, naturally act impulsively stupid in order to force itself to tell the story it wants.

A rare still of unscripted laughter of both Chow Yun-Fat (left), and Ti Lung (right) when reading about the film’s commentary on police regulations.

The ending is something that just happens abruptly. Granted the main conflict is resolved, but it makes the instances of characters bluntly talking about how difficult it is for police officers to do their job seem pointless. Another downside to the abrupt ending is the absence of weight. Due to the final act being action driven from scenes of tragic loss; character reflection would have been acceptable to linger on are glossed over. Making two acts worth of character building go to an immediate waste in favor of showing people getting blasted with bullets.

Chow Yun-Fat, and Ti Lung performances are easily the best part of an otherwise misguided film. These two actors, whom worked together in John Woo’s A Better Tomorrow (1986) basically play the reversal of their characters from that film. Yun-Fat plays the calm, and collected Dick Lee while Ti Lung plays the hot headed Ken Chow. Ti Lung is given the heavy lifting duty of carrying the film drama almost entirely himself. Being able to make a character that lacks depth sympathetic through his performance. He never over states, or over deliver in any of his scenes. Chow Yun Fat is varied in his performance, but is given some bad comedy to work with. He’s able to make some of the jokes passable while at other times you just want him to shut up. Despite the stupidity of Chow Yun Fat, and Ti Lung characters both actors are able to prevent them from becoming hateable. When on screen together both Chow Yun Fat, and Ti Lung raises the quality of the film, even if it is briefly.

Coming soon…no wait this man has no balls.

 

Norman Chau whom plays the villain Ted Yiu plays his part with a straight face. Only once in the film is he allowed to humanize his character, and it’s when he’s outside of prison for the first time in ten years. After that point, he’s just straight evil leaving his performance on auto pilot. His mannerisms, facial expression, and dialogue delivery remains the same throughout its entire runtime.

In terms of action for what little there is the choreography is fine. The first action sequence at Ti Lung character’s house has a goon tearing up Lung’s house with a barrage of bullets before it eventually becomes a somewhat grounded fight scene. Hand to hand combat is mostly one sided with Lung character barely being able to hold his own. There’s no complex fighting of any kind done in this scuffle as the most elaborate it gets is Ti Lung kicking the villain goon, and while he’s falling the goon shoots some glass. Despite the small apartment the stunt work is commendable as the two actors bodies aren’t afraid to get tossed around. As typical of 80s, and 90s action flicks glass anything is not spared from destruction.

Can’t blame these two for not liking the turns of events.

Finally, the climax where the remainder of the violence finally unfolds is somewhat interesting. Chow Yun Fat goes to interrupt a deal at a bus terminal starting off with Chow Yun Fat being a one man army against an entire gang. In fashion of other movies of this era, Chow Yun Fat can run into a barrage of bullets without getting hit, nearly always hitting the goons trying to kill him, and just barely dodging bullets when the action choreography is going into a new part of its staging. Unlike in nearly all of John Woo films, when Chow Yun Fat actually gets shot in this film working it way into the action choreography without adding much to it. Instead of intensifying the climax seeing Chow Yun Fat in a wounded state fight for his life. Chow Yun Fat just limps for a couple of seconds, and that’s all. Same thing also applies to actor Ti Lung who in spite of receiving a direct hit with an axe to his body moments later is able to swing that same axe with ease to kill a person seconds later. A couple of more seconds later, does a some very brief fighting making the axe wound pointless. When it comes to the final confrontation it feels empty overall due to the lack of rising action. Also, the lack of applying injury to the action choreography certainly adds to that problem too. Finally, the score of the movie works just fine when it’s needed. Nothing that’ll stick with you (especially for me) once the film has ended.

City War (1988) is unable to fashion a compelling crime drama for two-thirds of its total time to columinate into an explosion of bullets filled emotions in its final act like intended. The pacing is an hindrance either lingering on scenes longer than it should have, or rushing moments that should have been significant. The action sequences that are packed at the end of the film start off well before making whatever action it does have feel hollow no matter how much the film wants to emphasize the emotion that you should be feeling. It’s a sloppily made film that had the potential to draw in crime film, and action fans. Instead, it’s a film that is unable to function cohesively enough for either type of viewer to like.

Rating: 4/10

Post Review Note:

Also, if you do plan on seeing City War regardless of my negative review I strongly recommend you avoid looking up any trailers since it spoils the biggest turning point in the film, and sets up unrealistic expectation it’s going to be an action heavy film instead of the drama it is for the majority of its run.

Cinema-Maniac: No Tears for the Dead (2014) Review

On the surface U-neun nam-ja/No Tears For the Dead in English simply looks like another polish Korean action film. Well that is correct, but the man behind it, director/writer Jeong-beom Lee is famous for doing a film named The Man from Nowhere (US English title). It was the highest grossest film in Korea in 2010, and gained international attention that only a handful of Korean films have reached. There’s a (as expected) Indian remake named Rocky Handsome set to release somewhere in 2016, and (typical reaction) an announce US remake of the film. With these remakes it’s safe to say The Man from Nowhere cemented its place in Korean, and action cinema. Another thing that occurred was it made Jeong-beom Lee a talent on everyone’s radar. Unless you’re Jee-woo Kim (I Saw the Devil), Joon Ho Bong (Gwoemul), or Chan-wook Park (Oldboy) the Western world will more than likely forget great filmmakers if they fail to follow up on their success. If they do prove their big hit wasn’t a fluke, than they might get a call from Hollywood to direct a film in English language production. Jeong-beom Lee won’t join the likes of his other peers as No Tears For the Dead is not a good film, let alone one that comes close to matching half of the traits that many loved about The Man From Nowhere.

Getting into the rhythm of making my new rap album. Crying Bullets.

No Tears for the Dead is about a hit man traumatized from accidentally killing a young girl during a job, and is given the mission to eliminate her mother. The killer for hire who becomes remorseful is a premise that grants leeway in exploring themes, and character traits that would otherwise be ignored in the action genre. Aspects like the protagonist becoming accustomed to taking lives, addressing how the character views change on the matter on killing growing older, and in some instance showing an inability put it behind them for a normal life. These are aspects for these kind of characters could be explored helping to create an action film that could be more meaningful than good guys killing bad guys. However, an hour into the film you’ll realize nothing within that span of time ends up becoming meaningful. For the first hour, the film is more in line of a drama setting up the pieces before changing gear into an action film for its later half. What is problematic about this is, within the first ten minutes, the film relays the information of what’s protagonist Gon (Dong-gun Jang) has to find for his boss, and that Gon is guilty about murdering an innocent child. Scenes beyond these ten minutes beat you over the head with the fact Gon feels guilty for killing a child. If you didn’t understand within the first ten minutes of the film then the film will dedicate an hour to make sure you get plot point.

Gon guilt over killing a child isn’t contemplative in the way it’s written. There is one flashback inserted into the film that show Gon past, and his drug addicted mother (Kim Ji-Sung). What purpose this flashback serve is not clear as Gon decision on whether or not to kill the mother, Mo-Kyung (Kim Min-hee), is determined by his past experiences. There isn’t any monologue, nor a discussion he has with the other characters as to why he made the decision that he did. The most that get elaborated on this is Gon saying “I’m tired”, but exactly what aspect of his old ways he’s tired off doesn’t come across plainly. Before Gon utter those words he kills a couple of people, and after uttering those words one would assume Gon stops killing for the remainder of the film. Except for the fact Gon makes a bomb to take out one of the goons who is trying to kill him which derails that possibility. So even when grasping at straws there’s no depth to the theme the film brings up on redemption, and killing. Another aspect of this writing that fell through was lacking scenes incorporating Gon with his mother. His mother is never given a name, never shows what led his mother to the situation she’s in, and how this led to Gon becoming a gun for hire. As a character, Gon mother has little value in the story, and as a plot device isn’t developed further then when it’s introduced.

Want to know why I’m angry lady? It’s hard finding a still without me holding a gun.

Then there’s the interaction between Gon, and Mo-Kyung which instead of building on what’s established only reiterates the same point in the first hour. Gon is guilt ridden for killing Mo-Kyung’s daughter, and Mo-Kyung is dealing with it in her own way. Their interaction could have developed them both into more complex characters, but alas it does not. Aside when Gon, and Mo-Kyung meet in an elevator there’s no scenes of them interacting like regular people. Gon observe Mo-Kyung from the sidelines. Having already mentioned the lack of monologue preventing an understanding of what Gon is thinking leads to pure speculations. Connecting loose dots while stimulating does not amount to much if there’s nothing concrete to connect them together. Gon does have a complete character arc, but there’s not much to his character. The whys he suddenly feel guilty about taking lives is left blank, as well as other aspects of his character. Other issues also include the script making a big deal of the desired item in question when found being made into a big deal when it reveals, even though the first ten minutes confirmed what the item is, and who likely has it. A subplot involving the police ends up contributing little to the story as well as other characters whom contribute little in the long run. The second half of the film is more like an action movie, but the lack of emotional resonate from the buildup makes the ensuing violence lacking in weight to what was presented. It’s first half got across it does not want to be a piece of mindless action which conflicts with the brainless approach in viewing the film second half. Then there’s the film’s ending which plays against expectation. It’s a good ending completing Gon arc, though the other underdeveloped elements prevent from staying in the mind.

So you want me to kill a man? Pfft. I’m head of security at Jurassic World in my spare time.

Now time for some actual compliments for what the film did correctly. Starting with the man behind it Jeong-beom Lee. He’s confident in his craft which is evident throughout the film. His selection of shots, with the help of cinematographer Mo-gae Lee, gives the film a sleek look. There’s also good stunt work, and fight choreography in the action sequences. Jeong-beom knows how to film action, and using shaky cam accordingly. Usually adding to an action scene than obscure the set piece. Another aspects of these action sequences is they come mostly in the form of hand to hand to combat. While some of the scenes require leap in logic when it comes to how characters survive none of the action sequences suffer any serious issues. There’s a fight scene that has actor Jang Dong-gun fighting in a small hallway that is very inventive. Using the small space to create a sense of enclosure, and Jang Dong-gun character skill in hand to hand combat to convincingly turn an outnumbered fight in his favor. The one set piece that emphasizes gun fighting is staged elaborately. Usually in gun fights you’ll have the duck, and cover approach which is boring if not done right. However, Jeong-beom Lee one only gun fight makes use of the actors moving across the environment besides narrowly dodging bullets. Jeong-beom made sure to show one character shooting while going to cover, and the person who being shot at not testing his luck for a kill. The gun fight also have the actors moving to different level of a single building visually adding a nice change in scenery in the set piece. Lee makes the right choice to keep the action sequences small, and manageable never going to big making them work as well as they do. As a director, Jeong-beom does nothing wrong from the selection of music that fits the tone, to editing action sequences to make as coherent and wisely framed as possible, and putting trust faith into his crew which shows through out with good production values.

Leading actor Jang Dong-gun is the best part of the film. His performance is complex putting his all into his character. Coming across as both a no non-sense assassin in body movement, and getting across he’s a troubled soul through his eyes. Never once in the film is Jang Dong-gun afraid to reveal the more emotional side of his character. Dong-gun performance is more compelling than the actual film. There’s several scenes in the film where Dong-gun is silent, but thanks to the way be expresses himself through facial expressions, and body movement what his character feels comes across clearly. He also performs in the action sequences convincingly not being afraid to take a couple of hits. Regardless of what Jang Dong-gun is shown doing on screen he’s the easily the best actor in the film.

Don’t worry about us. We do very little to help you.

Kim Min-hee has the second largest role in the film. Her character visibly goes through more series of emotions. For the first hour of the film nothing about her performance is noticeable since her character is all over the place, and Kim Min-hee is unable to make her character come across as putting up a facade like the writing intended. However, pass the forty minute mark of the film Min-hee shows a gradual mental downfall of her character. Slowly showing her character becoming broken in her state.

Supporting cast includes the likes of Brian Tee whose solid in his role. Tee is simply meant to be the adversary to the hero of the film, and nothing more. For the role, Tee is also convincing in his performance in the action scenes he’s in. Anthony Dilio is plays one of Tee’s henchman, though the only noteworthy thing about his performance is speaking in Korean, English, and Spanish (only in scene) in a single movie. Dilio only meant to look tough aesthetically. Same thing applies to Alessandro Coumo who is only aesthetically needed for his small role. Byun Yo-han, and Jun-Seong Kim deliver one note in his performance which fine because of the characters they play. Not so much for Jun-Seong Kim who has more screen time making his lacked in varied expressions noticeable. Finally, there’s Kim Hee-Won who shines in the final act of the film, though doesn’t leave much of impression anywhere else in the film.

No Tears for the Dead (2014) has a polish look, and good set pieces, but hampered down by bad writing, and actors who are unable to elevate the material. It has good setup to create meaningful characters, and has the desire to provoke the viewers unlike your average action film, but sadly aimless writing, humorless story, lack of depth presented in its theme, and lack of emotional resonates makes the entire film self-conflicting for the whole run. No matter what way you attempt to view the film from there’s always more issues than positives in the writing. It’s too serious to be entirely brainless, but it’s lack depths to punch the viewer with a series of emotions like it wanted. Dong-gun Jang, and the action sequences are the only consistently high quality aspect of the films, but whenever one isn’t on screen the film is unable to stand as strongly. Despite the conflicting material, Dong-gun Jang performance was a highlight of the film no matter what he was doing. Unfortunately, the good qualities wasn’t enough to save the film from being a messy film that couldn’t live up to its potential.

4/10

Cinema-Manaic: Beasts of No Nation (2015) Movie Review

Cesar: “Can you put the Bat down?”

Matoi: “Why should I? You laughed at the sight of dead kids watching this movie.”

Cesar: “So? No matter what subject matter a film tackle a bad movie is a bad movie.”

Matoi: “I still think you’re insane.”

Cesar: “Fine, but I rather not have my laptop be destroyed.”

Matoi: “Sure, so long you tell me why you think this is a bad movie without comparing it to other films that tackle the same issues.”

Cesar: “Seriously? Than how will I get across how uninspired the film is.”

Matoi: “You figure that out.”

Beasts of No Nation falls into a difficult category of films to dislike. It revolves around a relevant issue that affect the lives of young children, and going against it can give the misconception you don’t care about human life. I often find myself quoting the song “Do You Feel” by one man band Bryce Avary aka The Rocket Summer when in discussion on these matters. Beside lacking expert knowledge on such matters, I ask myself if the cause wants me to see those involved as people, or simply victims of a crime. The portrayal of such tragic events, and crimes is just as important as understanding the reasons that caused them in the first place. Without that, ignorance further grows….

Matoi: “Stay on topic Cesar”

Beasts of No Nation tells the “story” of Agu, a child soldier fighting in the civil war of an unnamed African country. Within the first act of the film the writing shows some immediate cracks in its crafting, and execution of a delicate story. For example, instead of establishing an average day, or week for Agu steadily throwing in politics removing more, and more aspects of the average life it establishes war torn nation is the norm in his life. The film immediately jumps into its politically unstable setting before bringing up any history to this unnamed country has. It gets explained briefly in two scenes, but the broad generalization of the details can be apply to anywhere. Being incapable to express the value the people place on the country, or the people living in it. Then there’s also the writing failing to make the unnamed country significant to Agu in a meaningful way. There’s more to someone home than being a place to live in, but the film says otherwise made evident by its execution on the story. By not setting up the foundation for the drama to stem from the film ultimately feels aimless.

Commandant: “Graham knows we’re onto him, all right? And he’ll try, and kill as many as he can before we catch him, and if I terrify his wife to stop that happening. I can live with that”

Another aspect that crumbles because of the writing are the characters. Agu, despite being our main character, is not a defined person. He’s simply a ploy to do whatever the story commands of him. For example, in the first act Agu is shown to have a brother whom it’s easy to assume they have a good connection with one another. Agu brother is not treated as a person in the story which makes the weight of his character less significant. This wouldn’t be an issue if Agu displayed some sorrow over losing family members in his life, but does not which is apparent with his brother never coming to mind after the first act. The only time Agu is shown, or hinted at caring for his family is when he has to bid farewell to family members due to circumstances that prevented him from leaving the country. Then, there’s the other kids Agu interact with in the beginning of the film which if under good hands one of those kids would have also been with Agu in his journey. Sadly, this isn’t the case as Agu never seems to ponder much for his family, even if he loses a person close to him in front of his eyes the film does not allow Agu to display his emotions. Nor does Agu seem to care about the livelihood of his friends either at it is never brought up.

In its two hours, and 17 minutes run time it feels longer than it actually is. This is contributed to the uninspired formula the film chooses to tell its story. You have a kid whose innocence get taken away from him because of a war, they see families and friends dying as the war worsen, they befriend someone in the militia/rebel fighters that force them to fight, get noticed by the commander demanding more of the child besides fighting, the eventual downfall of the rebel fighter group, and finally the ending which either has the child dying for the cause, or struggling to settle back into society because of his experience. It’s a typical telling of the story minus engaging material that explores the psychology of it lead character. Another aspect that does not help is the cinematography gives away plot point when it lingers too long on something. However, the formula for kids drag into war stories start at a point where it shows the good life of the kids. This film avoids this aspect immediately throwing viewers into the politically violent nation. Afterwards, the child would be captured by a rebel leader, and this is where the kid would be forced to either choose to make a stand to hold true to what he/she believes, or do something that can damage them through adulthood. It also glances over this plot point as Agu simply becomes a fighter without protest which hinders the impact the story should have had.

Commandant: “Chop em up boys! We got us dinner tonight!”

Then at some point in this story the child protagonist eventually has to come across a point where he is forced to kill somebody in front of a commanding officer. Agu does not show, nor expresses any hesitation when this pivotal moment happens. Giving the false impressions Agu didn’t apply any values to human life before the war which yes means despite saying he loves his friends, and family it’s simply for show instead of an ideal for the character. Now, not all films of this subject matters has the child killing someone to show how much the character changed from their normal life before being taken to war. In some cases, the kids would even protest doing such a thing resulting in either severe punishment, or deaths at the hands of the rebel leader. However, earlier in the film there was a shot that lingered on an unimportant event of a kid going into a shack with the commander. Since I know the plot beats of these kind of stories (particularly the uninspired ones) I expected the child to lose their innocence. This same shot also spelled out the outcome of the “the turning point” (as I refer to these of plot beats) before it happened. This particular moment between Agu, and the commander could have painted a harrowing image of Agu lost childhood, but cuts from it before showing anything remotely hinting at the action. If the viewer got to see Agu reaction it would have been more harrowing than simply implying it. Like mentioned in the past, if you only provide a tame version of an atrocity the sugarcoating of the crime is more damaging.

Also in these kind of films the importance of family is empathize either be it with the protagonist actual family, or the rebel fighters they fight with. In Beasts of No Nation it gets both aspects of this plot point wrong. Agu actual family is used in a manipulative way in the scenes they’re written. At the beginning, it hints that Agu, and his brother don’t always see eye to eye, but after one brief moment of anger they get along easily. Now imagine this sort of portrayal for the rest of Agu family only showing them in a good light. However, without Agu expressing his sadness of losing his family it creates a detachment. This would have been remedied if the rebel were treated as Agu new family, except it’s not. The rebel fighters only has two character one of whom Strika, a mute who get no development pass that trait so you can pretty much guess what his contribution is. Most insulting about Strika character is he was unneeded in the way he was used since the film does not glorified child soldiers even in their eyes so using Strika to deliver the “War is bad” message only serves to hammer in its point.

I’m guessing this is how Netflix got a good performance from a child actor. Wonder if this technique will be common.

Matoi: “You still haven’t explained why you laughed during this film?”

Cesar: “Fine, but that was the fault of the editing.”

The editing in Beasts of No Nation is competent, though nothing outstanding about it. In general, there is nothing really to complain about the editing. There’s a moment in the film where the rebels, and Agu are cheering together as they take over a town. Up-roaring music also plays during the march as it shows the rebels relishing their victory before abruptly cutting to bodies of dead kids. This abrupt cut made me laugh because the music does not fade out, nor does the scene fade into showing the dead bodies of kids. It simply just cuts to the scene. Going from Agu celebrating on the streets with other gun wielding rebel fighters with up-roaring music to like a snap of a finger showing dead bodies is not good editing. Granted my suggestion of fading the music, and fading the scene out is plain, but is allot more appropriate in transitioning between the two tonally different scene. One is meant to be a dark celebration due to the context while the next moment is a cut back to reality. What it did was make me laugh when the movie is about a kid being forced to fight in a war.

Matoi: “Oh. I didn’t notice that while watching it.”

Cesar: “That’s okay. This is the reason Izanagi considers me the Devil when watching movies. I notice stuff that tend to go over his head.”

Matoi: “Keep going.”

Cesar: “Come on. I told you how a film about kids going to war made me laugh.”

Matoi: “You know you still have to explain why you think the movie is bad.”

Cesar: “Did you not listen to me? Whatever.”

By the end of the film it comes across empty. I wondered what was the point of it? Was it trying to say using children in warfare is bad? Well, of course it is Sergeant Obvious. That’s basically the equivalent of watching a film like Schindler’s List with the only thing it tells you is the Holocaust was bad. It is trying to be an exploration for the kids who participate in the war? To be blunt, it is not character study even in the minimal sense. It feels more exploitative using the images of little kids killing, or dead kids to make viewers care what from they’re suffering from and not because they’re people who lost their ways. Agu, our main character, simply accepts the new life as a combatant without protest making him appear as if family has no value to him.

The movie reveals more about Commandant (Idris Elba) leader of this rebellion than it does any of the children whom are the center of its focus. It demonstrates why so many rally behind Commandant, why the battles feel aimless under Commandant leadership, and why the Commandant lost his original purpose for fighting for Africa. Commandant has a motivation, has conflict, and reacts to it in a dynamic way expressing his distraught he can’t do anything for his country, or its people. However, Commandant is neither not the main character, nor the main focus despite the fact his subplot is written far better than the main story. Commandant feels like a struggling person because he expresses himself through he believes is right. This unknown nation, and its people mean something to him. Those strong emotions for his country, the people, and soldiers are not attributes found with Agu. For even when the violence seem aimless, and ordinary when itching close to the end how Agu dealt with the situation feels robotic in conveying emotions, and emotionless commenting about violence through the eyes of a child.

Matoi: “Well if the writing is as bad as you claim taking away the part you praised Idris Elba character. How come so many who’ve seen it are challenged by it?”

Cesar: “Images.”

Matoi: “I should break your laptop now.”

Cesar: “Wait! Some people are so close minded to real issues, and the dark nature of humanity they can’t phantom stuff like this as part of life. It’s part of human nature to be self centered. If possible we do it to ourself without thinking about it.”

Matoi: “So, you’re saying because we’re not expose to this sort of events people like it. That’s shallow of you.”

Cesar: “Well, it’s true for some people. Like it says in The Rocket Summer song “Do You Feel”. Why should I have to try to fix things I didn’t create or contrive? Do you feel the weight of the world singing sorrow, or to you is it just not real cause you got your own things? In the instance of Beasts of No Nation, it failed to make me care. Now can you move away from my laptop.”

Matoi: “Next time I’ll watch a movie with someone who isn’t as insensitive as you are.”

Cesar: “Well excuse me for hating a work of fiction.”

Matoi: “Wait, it’s not based on a true story?”

Cesar: “Nope, just a novel.”

Matoi: “Oh, well, this is embarrassing. I’m going to leave.” [Matoi has exited the review]

Beasts of No Nation strengths are in its production aspects. Leading actor of the film is child actor Abraham Attah who was flawless in his portrayal. He gave his character more depth than the writing did. In his eyes, he gets across being a tortured soul with body motions that shows nervousness in the heat of danger. Subdue in his portrayal despite whatever context is given Abraham Attah balances the harrow nature of the film. Avoiding the pitfall of being too showy (at least for a child actor) opting for performing a character not simply being seen as a child actor.

Idris Elba: I see, my Oscar is the distance.

Lastly from the cast is the fantastic Idris Elba. While he does get overshadowed by his younger co-star Attah. Elba performance is nothing that be taken away from. Through his mannerism he slowly transform into a lost soul when reaching the end of the film. Idris Elba managed to sneakily create a performance that gets across his subtle manipulation of his character. Much like with Attah, Elba performance is mostly subdue with the only time he riles up is when he is inspiring soldiers to fight. The supporting cast do well in their roles, but aren’t given big roles like with Attah, and Elba to make much of an impression. They unfortunately fall into thankless roles, but aren’t wooden as the actors put allot of effort into their performances.

Cary Fukunaga’s cinematography is quite good ambitious, and atmospheric in its goals. Optimizing various wide shots of locations to set up the vast landscape, using close ups to get personal in dramatic scenes, and keeping the camera on a single actor for a period of time to follow the chaos. A huge compliment also goes in Cary Fukunaga decision in using filters for a majority of the film to make the scenes appear more realistic. When it comes to violence he doesn’t compromise showing dead kids, or showing a kid kill people. He does not stylized his violence. Rather, makes it as grounded, and dirty as possible to display the rough nature of combat. Dan Romer (the film composers) creates a score that favors ambiance for a foreboding atmosphere. Mixing various ambiguous instruments, like a drum kit made out of stringed instruments, to create musical that oscillates between themes of innocence, confusion, and terror. Progressing naturally as it changes tone in the film. Given the film doesn’t incorporate montages of fighting it was the right direction to take the music in. While unnoticeable it serves it purpose well by not drawing attention itself, nor taking away from its usage.

In the end, Beasts of No Nation is a hollow film whose images evoke more emotion than the people it is about. Despite the fact it’s based on a sensitive subject matter it provided no reason for me to care. Commandt was the most developed, and engaging character even though I’m clearly meant to hate him for basically making who know how many young children, and teenagers fight in a cause resulting in large amount of deaths under his command. It’s a shame he (Commandant) shows a greater importance for everything that is occurring around him than the filmmaker do. Agu who is the main character didn’t need to understand politics to express how the war changed him, and the effect it had on everything he held important. Sadly, that does not become a focus since Agu expresses little value to everything that gets taken away from him. While well made the images are the only aspect that will trigger a reaction since they involve kids committing war acts. It’s a shame things like this happen, but when done in this manner it comes across as lip service rather than showing concern for those in the same position.

4/10

Anime-Breakdown: Golden Batman (Black Star and the Golden Bat (1979) Movie Review

Golden Batman is a Korean animated movie from 1979 based on a 1967 anime series called Golden Bat or Ogon Bat in Japanese. Created by Takeo Nagamatsu in the 1930s, Ogon Bat is a Japanese superhero that predates the likes of Superman, and Batman. Much to my surprise, Ogon Bat is considered to be the world’s first superhero. Borrowing more traits from Superman than the name of the 1979 film would imply having super powers that include superhuman strength, invulnerability, and the ability to fly. In the original Korean-Japanese production of the 1960s anime series (according to what little information could be found on this series), Golden Bat is apparently the last surviving Atlantean who fights crime wearing a golden skull mask. If you see the poster, or promotional art you’ll notice that the golden skull mask is nowhere in sight. Turns out in 1979 Golden Bat design was updated to resemble Batman.

Seriously though, the golden skull pimp design looks cooler.

Now, the only viewable copy of Golden Batman is a Spanish dub of the film since the film never officially received an international release in the US. Probably because the new character designs rips off Batman. You either have to search to the ends of the world to find an old VHS tape, or search desperately online. If Golden Batman was dubbed in any other language besides English, or Spanish that would be the end of the story. There’s no English subtitles either so unless you know you’re Korean, or Spanish well you’re sadly out of luck. However, that is not the case for me so I’ll discuss the actual film.

Golden Batman (or Black Star vs. Golden Bat according to the announcer in the beginning of the film) story follows a bunch of kids, and their talking pet dog trying to prove their bravery for their dying sick friend. There’s also a subplot revolving around villain Black Star who is kidnapping the world’s top scientists to develop a weapon that can make him take over the world. Pass the opening credit sequence which has cheesy music the first thing the villain, Black Star, is shown doing is watching a news broadcast. This news broadcast basically clarifies a scientist is working on “Rocket TM” which is described to be a robot for an Aerospace Science Central. Black Star after seeing the newscast decides to call the Aerospace Corporation, and announces to them in a phone call that he’s planning to steal the blueprints to “Rocket TM”. With this information you think the Aerospace Science Central would signal Golden Bat, or sing his Korean theme song to make sure Golden Bat appears at the scene in advance to stop Black Star. The Aerospace Science Central does not do that, and instead a army of clone security guards that were in charge of protecting “Rocket TM” fear at the sight of Black Star.

This event make news waves where whoever translated the script into Spanish felt the news broadcast should say (paraphrasing) “We’re living in a time of authentic danger”. Leading me to speculate that regular crime committed by normal people in this world is not considered “authentic danger”. There’s also a pointless cutaway to a child crying where the mom threaten her kid she’ll call Black Star if he doesn’t stop crying. It contributes nothing to the story, but that some hilarious cruel parenting right there. It only takes around six minutes before Golden Bat actually makes first his appearance in the film for some further nonsense. Aside from his ridiculous character design the members of the mafia show their fear by doing some sort of invisible orgy from what I could interpret from the animation. You got one mafioso thrusting the air, and another mafioso thrusting the floor repeatedly. This leads into a badly animated action scene where Golden Bat wins easily. After stripping the mafia down to their underwear, and leaving one of them a red Bat on their chest Golden Bat leaves the scene. So why did Golden Bat go to the hideout of the mafia if it wasn’t to retrieve the blueprints is never explained. Well, Golden Bat is did strip down several mafioso down to their underwear so he had a plan of some sort that wasn’t aimed at kids (the film intended demographic).

This goofy fight while entertaining sadly isn’t followed up on. Instead of following the last surviving Atlean fighting evil on Earth the film shifts focus to a bunch of annoying kids that really like Golden Bat for the majority of the film. Given the film is barely an hour, and ten minutes long the kids remain static characters. Along with the one dimensional kids, neither do Golden Bat, or the villain Black Star have much personality to them than stating the obvious between good, or evil. The movie also has a easy to follow story where you’re just meant to accept everything at face value. There’s a talking Cat, and a talking Dog that wears boxing glove in the film that everyone simply accept in their everyday normal life in this world. In one scene, there’s a kid who disguises himself as Golden Bat to scare off the mafia, yet the disguise changes his height, body structure, and voice simultaneously. I could buy the mafia falling for the disguise, and even Golden Bat flying out of a Lava pit unscrathed, but an entire costume changing a kid body structure is just pushing it.

Among various nonsense of the writing there is Toltry (the main character) father who claims it is normal for his son to break his neighbor windows. I bring this up because the film does this frequently. It shows something to the viewer that is inconsequential to the story, and goes about it business like nothing happen. So for like 40 minutes it does this until eventually the kids discover Black Star cave by accident. The film tries to setup drama by having a sick dying kid in the film, and revealing his tragic backstory through flashback. I laughed at this part in the film so that tells you how much I cared. Not only was the currently sick kid bald for some reason when his mother died, but became good friends with neighborhood kids on a whim. I would have taken the scene seriously if what sounded like bad porno music (the bad voice acting didn’t help either) wasn’t playing in the background during the flashback. Also, in the flashback a kid shed tears, and his tears goes through his glasses. That’s the kind of things you’ll notice when boring kids character are meant to carry an entire film. It’s difficult to care them too when they’re idiots. In one scene, Toltry tells his friend they should leave before they are discover by Black Star henchman. Instead of immediately leaving the evil layer the kids stand in the same place until an announcement finishes saying someone entered the evil headquarters. I know Toltry is the same character is who did animal impression to cheer up his dying friend in an earlier scene, but that was seriously stupid.

The best part of the movie is easily whenever Golden Bat appears on screen because ridiculous things happen on screen. It’s a shame he’s delegated into the background since the climax is the highlight in the movie. During the climax, the film could care less about the tiny details like logic, and rational thinking as Golden Bat beats up everyone in his path. Golden Bat fights against an army of clone henchman, a robot, and eventually the villain with just whatever came up to the animators mind. Golden Bat is so powerful that he even survives falling into a pit of Lava, and flies out of it without a scratch to fight the villain of the film. The final confrontation is entertaining seeing Golden Bat fight a villain who can seemingly shoots laser out of anything he touches. If the movie offered more cheesy superheroes antics over annoying kids than the film would have been more enjoyable, though probably just as badly written. It would make the moment where Golden Bat karate chops off Black Star arm off look less out of place given the intended audience was obviously for kids.

Animation is odd. Unfortunately I was unsuccessful in finding the studio behind this film. Then again I guess it’s for the best since the animators have a clear butt fetish in the film. Characters are slapped in the butt, kick in the butt, patted on the butt, and a couple of shots to show fat kid butt. Putting some detail into them which questions where the animators priority were at. Throughout the film there’s many examples of bad animation like a character face being colored differently from the rest of his body, a kid head going through a bed sheet even he’s a couple feet away from it, and Golden Bat flying off seemingly out of thin air from a window. My favorite pieces of bad animation is the constant jittering from all the characters in the film that never stops. It’s quite an accomplishment when the animation is so bad that still animation wasn’t done properly. However, the non stop jittering of characters make can scenes unintentionally funny when taken out of context. Usually making it seems like characters are doing something sexual like making it appear like a fat kid is giving his dog a rough time.

I saw the film with a Spanish dub, and regardless of what language you actually understand you can obviously tell this is horrible voice acting. Now I can’t list any specific voice actors since the credits are written in Korean, and the Spanish dub didn’t list any Spanish voice actors in the closing credits either. The only voice actor I would give any compliment to is whoever voiced Golden Bat did a good job in his role. His role was rather limited in screen time, but the voice actor felt self-aware of the role he was playing, and chose to ham it up. It felt appropriate with the tone of the film. Golden Bat was also the only voice actor whose performance was remotely enjoyable because he was intentionally campy. Even though Golden Bat was the hero the evil laugh of Golden Bat as he beats up people is hard not to enjoy. Every other voice actors was terrible. The whole cast simply not caring about their performances. The only things that aren’t dubbed in Spanish are the Korean song tracks. Including two moments where the kids sing Golden Bat theme in their original Korean language, and oh man it’s awful! The kids are out of sync, can’t sing those high notes, and also can’t sing.

Golden Batman is an interesting piece of animation history, as well the source material it’s based on, but there’s nothing to see here. Golden Bat takes a back seat in his own movie even though he has top billing in the film title. While unintentionally funny in parts the annoying voice acting, and the amount of time it likes to waste on pointless diversion it’s better to leave this relic of the past unseen.

4/10

Anime-Breakdown: Persona 3 The Movie: #2 Midsummer Knight’s Dream (2014) Movie Review

Persona 3 The Movie: No. 1, Spring of Birth was done by AIC A.S.T.A. studio which despite not being a good film I would have preferred if they continued making the films over A-1 Pictures studio. A-1 Pictures had their chance at the Persona franchise with Persona 4: The Golden Animation. Instead of refining Lerche’s earlier anime adaptation, titled Persona 4: The Animation, on the same game A-1 Picture created what is best described as a cash grab. Now they’re in charge of creating a sequel to an average video game movie adaptation. Like with Persona 4: The Golden Animation, A-1 Picture doesn’t seek out to make improvements, and instead makes sure you know it’s an A-1 Pictures product. What I find funny is during the opening sequence, Makoto says “I don’t know why, but I feel really good” looking up into the sky revealing director Tomohisa Taguchi name. Almost as a way to reassure viewers this sequel in good hands. It might seem unimportant, but this is the same director behind Persona 4: The Golden Animation. Persona fans, let that sink in as I delve into this bad sequel.

Persona 3 The Movie: #2 Midsummer Knight’s Dream continues the story of Makoto Yuki from the first film leading a group of Persona users to eliminate “The Dark Hour”. This movie opens with a shower scene in a motel room. The film is gracious enough not to provide viewers with a recap of the previous film to pad the running time, but not smart enough to provide context as to why two teenagers are in a motel seemingly about to have sex. I know what happened since I played the game, but even with that said I’m watching a movie not playing it. External knowledge should not be required to understand the first scene of a movie. Once Yukari Takeba finishes showering, putting on a towel while Makoto takes off accessories around his neck. Yukari, and Makoto stare at each other in the middle of the room for a bit before Yukari blushed from embarrassment. The opening scene ends when Yukari slaps Makoto in the face then cue in title card. No scene, can better express what it felt like to see the film. It was, in every metaphorical sense, a slap to the face as a fan of the Person 3 video game.

A-1 Pictures: We care about plot!

Now, I want to emphasize this is an A-1 Picture production because it takes 17 minutes before anything significant like story actually appears in the movie. Yes, it takes that long before anything story wise actually starts moving forward in a film that’s around an hour, and forty minutes long. The most important thing relating to story that happens within those first 17 minutes is introducing the passive villains Strega. Everything else is spend on fan service like a scene at a beach involving Junpei Iori describing the swimwear of the female characters as the camera shows them off. Granted, this also happened in the video game, but at least they (the female characters) received some characterization at that point in the video game. Since the last movie didn’t develop the cast into dynamic characters it’ll make you shake your head as this is most of the female characters’ biggest contribution in the film. Another aspect it failed to do within those 17 minutes was introduced anything meaningful to use later on in the film story. After an opening action scene, the characters are next seen on a boat heading to an island, then proceeds for around 10 minutes on the beach on non-story related activity.

Now pass those first 17 minutes the film finally provides explanations for questions that should have been answered in the first film. So now you’ll finally get an answer for why Gekkoukan High School transform into Tartarus in “The Dark Hour”, why the Shadows were released into the world, how to possibly eliminate “The Dark Hour”, and how many of the powerful Shadows that appear during a full moon need to be defeated. All of this information would have been useful in the first film! This is basically damage control for the insane decision for characters to withhold information for no good reason. Narratively it leaves the viewers with no exposure to Persona 3 wandering in the dark when information needed to understand how the film world function gets addressed in the sequel. Thankfully, the one good decision from the story was explaining the concept of artificial Personas. Explaining what makes them different from regular Personas, and the consequences they hold. It’s not a focal point in the film, but at least some attention is given to it.

Welcome to the Pointless Room. A place between padding, and filler.

Out all the material that could have been cut from the film it’s beyond comprehension why the one, and only scene in “The Velvet Room” was left in when all that was said in it was enjoy life to the fullest, and beware of Shadows. This added absolutely nothing of value to the story. The inhabitants of “The Velvet Room” don’t appear again the film besides this one scene. The film was also in need of direction, and main goal to accomplish in the story. There’s a moment in the film where Shinji cooks for a dog while wearing pink cooking apparels. Then, the camera turns around to show an expressionless Aegis staring at Shinji. This causes Shinji to sweat with hip hop music (Mass Destruction by Lotus Juice) playing in the background repeating “Baby, baby, baby”. I just described a pointless moment in the film that the creators of the film approved to animate in the film, even though the first 17 minutes does nothing to move the story forward. Choices like these are the reasons why these Persona 3 films fail to tell a story properly.  

While still discussing the first thirty minutes of the film I should get across this sequel ruined one of my favorite scene from the video game. It’s after Yukari sees footage of her father dying (plus a revelation discerning Shadows too), and Makoto goes to the beach at night attempting to make Yukari feel better. I very much like this scene allot in the video game besides being a tender moment gave Yukari more depth as a character. It also ended with a humorous note showing the group strong friendship in hard times. So, when I saw the altered scene play out it was for a different purpose. What should have been a character defining moment for Yukari ends up being the set up to an introductory action scene to show off Aegis capabilities as an Anti-Shadow Suppression Weapon killing a dozen or so shadows. I wouldn’t have mind the action scene if A.) Cell Phones were working even though the first film establishes technology doesn’t work during “The Dark Hour”, B.) The action scene happens after Yukari sees footage of her father dying which dramatically voids Yukari of a meaningful moment, and finally C.) If in the previous film a single character had no trouble fending off a powerful Shadow in his first time of combat in Tartarus what makes you think I’m going to believe two unarmed characters will be in danger from an encounter where they are surrounded by a dozen weak Shadows.

Okay, with the first 1/3 of the film problems already written about there’s the rest of the film. With newly introduce Cyborg Girl Aegis now part of the main cast the film makes sure to tell audience she has an infatuation with protagonist Makoto Yuki. A love triangle would have benefited the story if done right. Makoto pays more attention towards Aegis in the film than Yukari even though they have known each other longer. Yukari is shown being jealous whenever Aegis says her purpose in life is to be next to Makoto Yuki side. If competently written this would be used to develop Yukari instead of just being used for humor. To add insult to injury Aegis proves to be more powerful, and useful in combat than Yukari who has been fighting Shadows for a far longer time. This romance aspect of the story doesn’t go far beyond Aegis stating she wants to be next to Makoto. Our protagonist shows no interest in either of them, but spends more time with Aegis in the film.

“I can’t believe believe this goes nowhere plot point”. Now with everything you hate without the cholesterol.

Continuing what was the point of the first film if Makoto didn’t learn to be more open with his emotions! It’s like he reset as a character to learn the same thing in the sequel. However, this film ends on a tragic note which would have made sense for Makoto to be emotionless if that tragic event happened earlier, or if the film was longer. It’s headache inducing attempting to figure out why the filmmakers thought this was a good direction to take Makoto character in.

When it comes to characters instead of developing the already large cast this sequel decides to increase its number instead. With the exception of Makoto, all the characters from the previous film are delegated into the background. Including Yukari, and Junpei whom were important in the previous film don’t grow as characters in the sequel. Junpei for instance doesn’t know what he would do after “The Dark Hour” is dealt with, but there’s no exploration on it. Other characters who also pondered this same question in one scene. Beside Makoto Yuki, everyone else’s thoughts on the question feel unimportant. A negative that detracts from the whole group dynamic when its tries to get across SEES is made up of close friends. Any character that was in the sideline in the first film don’t receive better treatment except for Akihiko who receives some characterization. Unlike the first film where the climax allowed him to contribute to the story. In this entry, Akihiko ends up short as his connection with Shinjiro has to be rushed, nor is the idea that they (Shinjiro and Akihiko) are good friends is done convincingly.

A total of seven characters get added to the cast. One of them is Ken Amada who turns out the best developed of the new characters. He has a simple backstory that eventually turns into a sub-plot of revenge. This leads to Ken being more developed as a character since the reasons behind his negative feelings on living are addressed. Koromaru is a dog that can use a Persona who has no backstory to him. Ken says a single line that Koromaru got left behind, but that could mean anything from an owner who forgot his dog to a street dog with no owner. A single line won’t make me care Koromaru, even if he’s a cute dog who can use a Cerberus like Persona. Finally, there is Shinjiro Aragaki who joins SEES fifty minute into the film. Anybody who has played the game (minus maxing out Shinjiro social link in Persona 3 Portable female route) knows Shinjiro fate in the story. His late addition to SEES makes Shinjiro character be rushed, and his impact on the story overall weak. Without much time spend with him, along with other characters, there’s no reason to be invested in their story. He’s also a plot convenience in the film when he goes to the rescue of SEES.

I pronounce you Mr. and Ms. Sue.

If you complained about Makoto Yuki being overpowered in the first film; this film offers a solution by providing another overpowered character. This time in the form of Aegis who also just as powerful as Makoto. In this film, Aegis is responsible for doing most of the fighting while Makoto is given a handicapped depending on the context. The climatic fight in particular has Makoto pondering his purpose after eliminating “The Dark Hour” for most it. While on the climax, it does a disservice to Junpei, and Yukari characters as they get beaten quickly showing they had not grown stronger since the first film. As a character, Aegis is simply a robot that doesn’t blend well with other human with how she acts. Unfortunately, she doesn’t learn, or wants to seek out what it means to be human in the film. Though, given the archetype of Aegis it’s bound to happen. Her defining trait in this film is being overpowered, and being attached to Makoto Yuki allot.

Lastly for the characters there are the members of Strega. A group that only has one character who has anything to do in the story. His name is Takaya Sakaki who states his intentions, and make the heroes ponder the questions of their purpose without “The Dark Hour”. Takaya is only in this film to kill off a certain character whose death has not much impact because that specific character short screen time. The other members of Strega don’t do much beside exist. Finally, there’s the character of Pharos who also has little to do in the film. Much like the one scene in “The Velvet Room”, Pharos appearance could have been cut out since he basically states the obvious of something bad is about to happen.

I might hate this movie, but A-1 Pictures usually delivers in animation.

A-1 Pictures is in charge with the production, and thankfully at least that is carried over from previous film. A-1 Pictures doesn’t improve on the animation aspect, but there is not a decrease in quality either from film to film. There’s more variety in the settings. The majority of the movie takes place at night time with the presence of with lots of heavy shadows. Like in the previous film, it’s reliance on lighting to create an eerie atmosphere. When in “The Dark Hour” blacks into dark greens and the blues into reds. This carries in the film insistent on color saturation be it making day scenes intensely bright, or making night scenes really dark. Almost as if it’s unable to trust viewers with the time of day a scene takes place in. Particle effects are amped in the battles from the previous film as members in SEES equals to more Persona on screen using magic attack, or the characters killing shadows. When Aegis is killing a group of Shadows in her first action scene the animation is fluid as she quickly moves around the environment, the framing of shot making it clear to see what’s going on, and the effects to add to the impact of an attack be it heavy flames, or bullet piercing. There is some bad 3D animation during a major action scene that doesn’t blend with 2D animation. Besides this the 3D in the film is not jarringly noticeable through its duration.

Shoji Muguro continues to provide music for the Persona 3 films. This time around the film offers new music to listen that wasn’t in the original Persona 3 games. The hip hop track “Fate Is In Our Hands” by rapper Lotus Juice plays in the opening sequence during a battle scene. Due to the bad audio mixing the sound effect drown out the music being played, but the song itself is rather good. It’s more progressive than the actual film discussing the hardships of life, and the persistence to overcome them. There’s a stanza in the song where Lotus Juice tries to understand his foes, and quickly goes into how his actual worse enemy is himself. Subjects that are brought up in the film, but not expanded upon like in this track. Yumi Kawamura provides her vocal for the film ending theme titled “One Hand, One Heartbeat”. This melancholic, piano ballad track perfectly closes the film on a somber note. Unlike the film writing, Yumi Kawamura provide emotional vocals that can make the viewer feel something in the scene after it’s over. By itself Yumi Kawamura song is a heartfelt piano ballad about losing someone special. In general, the music itself tells a far better, and compelling story than the film writing does on its own.

Voice acting is satisfactory once again. With too many characters, and unequal screen time the majority of the main voice cast from the first film get sideline without being offered single a scene to display their talent. Giving more half of its talent the equivalent of thankless roles. New addition Kazuya Nakai who plays Shinjirou Aragaki gets the most ranged in a rush amount of time. His performance is noteworthy as despite the speed his character changes tone Kazyua Nakai always sound natural. He makes the swift change in his character easier to accept. Megumi Ogata plays Ken Amada has a more steady change in her performance. Going from uncertain scare kid, too optimistic, to gloomy is handle well through her performance. I might not like the character Ken Amada, but she makes the character convincing. Then there’s Maaya Sakamoto who plays Aegis who has plenty of screen time. Unfortunately, her character is a cyborg trying to learn emotion archetype. However, since Aegis hasn’t gotten philosophical of what it means to be human Maaya Sakamoto is monotone for the whole film. It goes with the character in this instance, but it ends up being a forgettable performance. Sakamoto monotone delivery of her lines does provide hint of a complex character making Aegis seem hollow than she might actually be.

Makoto Yuki: “I could be dynamic, but I’ll prefer to be static”

What really bothers me the most about the performances is voice actor Akira Ishida doesn’t get to expand on his character Makoto Yuki. So he once again has to play the same emotionless, broken leading character from the first film. Ishida is not allowed to be more emotional, more expressive in his portrayal of Makoto Yuki. This film does the biggest disservice to him since by not allowing Akira Ishida to gradually transition his emotionless character to a more expressive one. The film rejects Akira Ishida the opportunity to expand Makoto Yuki beyond what was presented in the first film. It feels like a retread of his performance from the first film. While his retread performance is not bad it doesn’t quite the same effect the second time around.

Persona 3 The Movie: #2 Midsummer Knight’s Dream is a bad film continuing being inaccessible for newcomers, and infuriating for Persona 3 fans for not making the appropriate changes for the material to function as a movie. None of the character are develop to care about, there’s no tension because of two overpowered characters, a large cast most of whom don’t contribute to the story, and is predictably boring for anyone who played Persona 3 as it does nothing to fans off guard. It looks, and sounds like Persona 3, but by the time the credits roll it won’t be the same emotional roller coaster the video game was.

4/10