Tokyo Tribe (2014) Movie Thoughts

You'll never believe what all the squabbling is about..

Could it be that I'm far beyond done with Takashi Miike? After a year plus of hearing frenetic buzz about Shion Sono's hypercharged adaptation of Santa Inoue's mad urban fantasy manga(1993, 1997-2005), I guess a part of me never suspected that it would wallow so much in familiar depths that it would forget the potential inherent in its more experimental qualities. Just pull focus back from all the holiday and gold laced lens flare, urban garishness, fly honeys, pimps, chinpira, bruisers, DJ grannies, chrome-dudded shogun on tanks, and dialogue in rhyme, and one has seen pretty much all of what happens here through any number of Miike's V-Cinema output in the 1990s.  Sion Sono, may be one of the most furiously active filmmakers in the world, and as such one cannot blame him for not knocking this delirious piece out of the park, but the end result feels deprived of a life it is certainly aching for.

Set in a fantastical urban myth of Tokyo, the city has become fragmented after quakes and rioting have severed the land into several unique district gangs. (Each with their own distinct rapping and DJ style) Told through the eyes of rhyming narrator, Sho (Shota Sometani) , we learn about these gangs, and the nightmarish kingpin that pines for dominion over the entire city. Led by the perverse crime lord of Bukuro, Buppa(Riki Takeuchi, in full coked-out mode), he and his cadre of sex and violence crazed beasts plot to crush peace-loving Musashino Saru. Stemming from an unexplained grudge belonging to Buppa's Adonis-esque enforcement , Mera(Ryohei Suzuki), a trap is set that begins a turf war that threatens not only Musashino's gang of country kids, but of every other group in Tokyo. Amidst this bubbling conflict, is the missing daughter (Nana Seino) of a foreign high priest on the run, and the street kid charged with protecting her. Plot takes a grand backseat, as Sono, cast and crew pull out all possible stops in creating an immersive hip-hop opera that largely drowns in its concept instead of marinating in it.

While the beats and visuals of Tokyo Tribe aim to create something truly singular in the world of the japanese gangster pic, so much happening within it plays like a greatest hits of a half century of Nikkatsu productions. This really should function dazzlingly on paper, but what ends up bogging a lot of the film down, is that pesky inability to allow us an emotional connection to anything that's happening. While Sono offers the viewer an immense playpen of swirling cameras, and impressive single takes, our identification with central characters end up surface at best, and label at worst. With a film so reliant on music and spectacle, it becomes hard to focus on any single character, leaving something of a void while matters grow increasingly mad, and the blood begins to fly. This also speaks to the female quotient of the piece, which renders them either as window-dressing, or accessory action. And even then, the debasement seems perfunctory, like a post-it note on everyone's trailer door. While Sono has never shied away from matters of the unveiled id, Tribe seems less interested in the psychology of such extremes, and just wallows. At least with this film, the human circus is presented as whirlwind sideshow, and we're given no real sense of absorbtion. It's a theme park ride logic that threatens to alienate many sections. As good seems so overpowered by evil throughout, it's hard to care when the cost is so casually explored.

Matters are not helped that we are never granted any greater reason to care whether the gangs unite or not, or a means to feel the villains beyond them being villains. Sure, there are implications of toxic masculinity, but to cop a reasoning ala The Warriors, one should be willing to offer up a bit more punch.

Sure, we've been here before. The one film that comes to mind with all of this is Sogo Ishii's Bakuretsu Toshii(Burst City), which also dealt with a colorful apocalyptic cityscape populated by musically driven communities, fighting for their share of a broken world. But what allowed that film to endure was a patience to hit pause long enough for us to grasp the world that was being lost in the rabble. Here, we are allowed in only so far as to where everything is a farce, bodies are disposable, and J-shock cinema has rendered viewers into inert quantities. In the two decades since super-violent post-anime action has declared an expectation of blood, blades, and exposed breasts as the law of the land, one would think that one of the premiere voices of Japanese film would offer up something beyond a louder version of what we've been overstuffed with. It's like we've been on pause since at least 1999, and that's the film's most glaring shame.

There is exuberance and energy to be found among the bass and fire of Tokyo Tribe. Just don't ask it to deliver past the packaging.

Sukeban Deka (1987) Movie Review

Transition has been in the air for former yo-yo cop/ seifuku-clad avenger, Saki Asamiya, but the implications of this bear a far greater challenge than she ever could have imagined. A would-be dictator, and his army of followers have taken control of a remote private school, and plot greater threats for the future of Japan (and possibly the world). More than done with it, Saki has little choice but to join up with several generations of her former detective life(including the sister of one of the students held prisoner) to infiltrate the prison school, rescue the hostage students, and save tomorrow! And if the preceding paragraph sounds like a recipe for fun, I wouldn't harbor any blame. The first full-length feature of Shinji Wada's Delinquent Girl Detective saga has been a review long in the putting off, and now in a time of mutual transition, it's time to put this wild child out into the ether.



I suppose the best way to preface the remainder of this review is to summon up a little history regarding the SD franchise, and its enduring cult appeal. First appearing via Hakusensha's Hana To Yume, Sukeban Deka's unique brand of often brutal action amidst the confines of a high school drama universe has long been a part of popular manga lore. The tale weaved shares the revelation that Wada, under pressure to concoct a new series received two conflicting suggestions (one being a hard-hitting detective tale, all the while he was developing a high school story), the mangaka took a hard left and combined both. The concept of a lone schoolgirl being picked to become a brutal crime-fighting machine for a secret government agency seems almost atypical for the era. But it was this completely bizarre concept decision that gave way to what became  SD's signature; Saki Asamiya's designated weapon in her war against the terrors of school life? A yo-yo.



Add this to a neverending gallery of bullies, freaks, terrorist organizations, and even cultists, and you have one of the most lovably absurd allegories for adolescence imaginable. So when SD ended its run after twenty-two volumes, things went silent until a popular live action TV series resurrected Saki Asamiya, pals and rivals for a solid run between 1985 and 1987 to the amazing number of 108 episodes. One of the biggest secrets to its success lied in the reveal that the Asamiya moniker was something of a "Bondian" code name for those co-opted for this role which initially went to exceptionally skilled/dangerous "delinquent girls", who also assumed the same close-combat weapon. Series one featured Yuki Saito in the title role which was a significant success in also launching a popular idol singer career for her. Then came the more friendly-faced Yoko Minamino, who's run in the lead granted her an expanded idol popularity which eventually led to this first feature film which in many ways functions as a bridge between second and third generation (series) of Sakis(The third being the smaller, more inexperienced yet plucky Yui Kazama played by Yui Asaka). And as a transitional tale, Sukeban Deka is as hilariously over the top as one can expect from the franchise.


The film immediately informs us that Sukeban Deka No. 2 (Minamino) has long earned her wish of returning to normal life, and is now a civilian prepping for college entrance exams, which is of course thwarted by a disturbing run-in with what looks to be a fugitive boy on the run from a group of elder shadies (why their abduction vehicle of choice is a public transit bus remains a mystery). It turns out that the young man, Saki has stumbled upon and is briefly captured with is a student of Sankou Gakuen, a secluded oceanside private school predominantly aimed at trouble students. Being isolated from the rest of Japan, the fortified campus is now apparently under the auspices of a dangerous megalomaniac with fascisistic tendencies, running the school with a militaristic iron fist. With students tortured, injured, and even killed, even Saki's old superiors at the shadow police agency she once worked for cannot intervene due to treacherous names amongst the higher ranks. Even when it is discovered that the brutal headmaster is in fact a once thought to be dead would-be revolutionary, their hands are tied, which only forces Saki to undertake a dangerous operation outside of any legal channels.


And almost immediately, the film remains true to the television series in how it balances some pretty fascinating and goofy extremes to entertaining effect. Having the usually black seifuku wearing Saki with hair ribbon and pink sweater as she is not only tortured with a ridiculous barrage of electric shocks, but also kicking holy arse is pretty hilarious in itself. Even as Saki amasses old friends including the ever reliable Biidama O-Kyo (played by fellow idol singer and fan favorite, Haruko Sagara), Yukino Yajima (Akie Yoshizawa) and newcomers Megumi Kato(Ayako Kobayashi) & Sukeban Deka 3, Yui Kazama (who's entrance makes for one of the film's most hilarious decisions- making her a successor to anything more than a doorstop. Her cries for her enemies to fight fair & square as they pummel the girls in a quarry with heavy machine gun fire undoubtedly wins the chuckle prize) the stakes in their mission are raised upon arriving at the school, only to discover that the cold mania that is headmaster Hattori, is complimented by...You guessed it. A MACHINE BODY complete with metal arrow launchers built into his arms.





But Saki is not as outmatched as one might expect as she is given one last gift by her concerned caretaker, Nishiwaki (Keizo Kanie); a triple weighted version of her already heavy yo-yo, complete with shoulder harness designed to theoretically cushion the recoil of her crushing blows to enemies. Concept notwithstanding, it does create tension as it becomes quickly evident that every time she uses it, it runs the risk of irreparable damage to her! And the fact that she and friends not only face a metal and stone stronghold, but an army of seemingly brawler-style video game army of drones at Hattori's disposal, makes for one incredibly tired and beaten looking heroine by the finale.


Other laughably funny elements include; often inappropriate music editing which largely consists of Ichiro Nitta's bombastic cues from the original series, the aforementioned bus action scene (exact change), the choice "landing" moment where the delinquent girl squad infiltrates the school, somehow revealing perfecly tailored and cared for seifuku complete with skirts underneath their waterproof suits (which were bright silver & pink complete with PANTS by the way). Another extremely funny moment is what seems to be a mission briefing happening as characters sample some of Saki's rice cooking skills! In the truest hyperbolic sense, the film wavers recklessly between being aimed at younger audiences, or those looking for a specific tone of action adventure trash. Again, the film reminds me of what may have inspired Kenta Fukasaku's contributions years later. When people assume Battle Royale was something of a first, one might want to point them in this direction. Sometimes, it's only Japan that could deliver something so innocent, and yet so visceral and violent. It isn't terribly bloody, but safe this is not.

But a large part of what makes it work for me, is Minamino who ultimately plays matters as straight as possible, all the while such absurdity is happening via her or the villains. The extremes are often so taut at both ends, and knowingly so, it becomes more endearing than exasperating. Being a product of the idol salad days of the 1980s, the film walks the thin line between cuteness and brutality the likes no other culture can manage. Sukeban Deka for all it's extreme thuggery and violence, is a tokusatsu action series at heart, so asking for a film like this to make sense is merely an invitation to insanity.

Live Action Manga Blues Meets Anime Diet!

Suddenly a live action manga/anime project too wild and wooly for the Kaijyu to handle was unleashed upon audiences this last weekend, and only the halls of Anime Diet could contain it!

Join me, as I attempt to break down and parse the good from the bad of NTV's 90-minute Ranma 1/2 dorama special, starring Yui Aragaki! Kung-Fu! Water! Gender Confusion! Hard Gay Clones! Bar Hostess Middle Sisters! Panda!

Read Here.

Kamikaze Girls (2004) - LAMB Review

And after nearly months of harping about it, and hoping that it could happen again, here is a first crack at a full-blown Kaijyu return. Now granted this wasn't at all what I had planned before certain events reared their heads, but in part respect to rural Japan , and part inspired by a fun Twitter discussion, I've decided to choose this 2004 film as my next review in my ongoing Live Action Manga Blues series. While this is a film I have seen multiple times over the years, it isn't as if I've loved it without reservation.

Yes. The Kaijyu has a strange relationship with Tetsuya Nakashima's colorful ode to EGL & Sukeban subculture. And I'm not sure if there's a complete way to actually describe what it is that I feel either way about Shimotsuma Monogatari. Originating as a light novel by Novala Takemoto in 2002, and was eventually adapted into a popular manga (featuring Yukio Kanesada), the film is a neck-breaking, eye-attacking exploration of the relationship between two unique characters. And when I say character, I mean white-hot intense caricatures, not unlike everything else in the film.

Young Momoko Ryugasaki (played with often frightening detachment by J-culture icon, Kyoko Fukada) opens the film in a dazzling prologue that includes a scooter accident, life flashing before our eyes, and some backstory to gather us into the wild story of her life until the potentially unseemly final moment. In an almost Fight Club inspired fashion, we are instantly privy to this film's cartoonish, frantic style complete with segueways and narrative rest stops as we see Momoko's early life as the daughter of a generation completely incomprehensible to her. Her mother, an aimless beauty, seeking out a man to rescue her. And her father, a lowly Yakuza errand boy. It is within this section of the film that we are quickly informed of just how this girl, came to not only move from the city, and into the cow patty-laden fields of Ibaraki, but also of her early disenfranchisement with the Japanese mainstream-enter her love of Elegant Gothic Lolita fashion, Roccoco-era sentiments, and utter detachment from others in a frilly packaged means of self-preservation. No way any old world "ideals" of love and connection to drag her down. Even as she often takes the long train to the city to spend whatever ill-gotten money she "earns" to maintain her fashion fix. (the weakness stemming from her father's counterfeit fashion scheme that eventually ran them out of town in the first place)

And it is within this mildly questionable chain of business practice, that she inevitably meets imposing, uncouth biker gal, Ichiko (played to the nines by model-singer Anna Tsuchiya) who is everything that Momoko isn't. The scooter-riding, showa-era style seifuku wearing Ichiko is passionate to say the least, which runs perfectly counter to Momoko's perfectly imposed sense of self, and seeming lack of caring. And it is within this strange, often violent (Simple, insult Ichiko, and its a kick or a headbutt) pairing that the film centers on. And it is the fact that these two are so far away from the city that borne out these obtusely diverging lifestyles that often fuels the humor. There is something about Momoko getting headbutted out in the middle of an open field that is both pathetic and hysterical. But it is when the duo set out to the city to seek out a "legendary" pattern maker that the story is set to test them both.

And this is where Nakashima & Co. seem far more interested in us getting to know these two at an almost arms-length distance, all the while drowning us in exploding charges of style. Which is welcome of course (this is also a guy who happened to really dig Scott Pilgrim if you remember), but the context of how we know these characters is often through the eyes of Momoko, who's world view may be considered skewed to say the least. And even an unreliable narrator as she can be, there needs to be some kind of counterbalance to help us better see them as humans rather than caricatures (even in Pilgrim's case, a look, a gesture went a long way to sell the real stakes) which really takes on bothersome dimensions when a potential love interest enters the fray. There's something in this section of the plot that in many ways almost kills the film completely. Especially when one of the girls is placed in a situation where growing up is at the center. If we don't feel the gravity of what is happening, and the interest is nothing more than an exaggerated cartoon, we are given little to nothing to care about. The fallout from this is an air of visually striking indifference. And worse yet, disinterested. (much like Momoko at the start, which defeats the entire purpose of an arc.) Made all the more frustrating as it seems like the two leads are really striving for more.

It also doesn't help that when the film's frenetic stylings attempt to shift gears, none of that works since the film almost wholly relies on gimmickry and the often appealing performances of Fukada/Tsuchiya. A mix that could have worked, but ultimately rings hollow. Particularly in the dull thud of a finale, which puts emphasis on name and reputation over individuality, which is disappointing.

And yet, perhaps the reason I still come back to the film occasionally is the package, rather than content. Nakashima's background was in commercials, and this is occasionally a stunning showcase of his talents if anything utilizing colors, set design, lighting, and even animation to fun effect. There is also an extensive use of real locations that is more than appreciated. To see these exteriors from the often flat lands of Ibaraki, to the pachinko parlor backlit streets of Tokyo, there is some welcome imagery here. And also of note is famed composer, Yoko Kanno's unique work in the film that encompasses several eras of J-pop culture to create a sound collage that is unlike anything she had done prior. And while all this, with such a surprisingly fun pairing, make for a fun audio-visual experience, its a shame that such a package comes short of a beating human heart.

Live Action Manga Blues: Starting On A Twisty Note [UZUMAKI]

Live Action Manga Blues is a look at ten years of manga/anime adaptations, and a look into the promise, and pain of bringing the drawn to life. (This post:A revised, extended version of a shorter originally featured in The Cortex.)

Made during the latter throes of the ever pilfered J-Horror boom of the late 90s, Higuchinsky's live-action version of horror mangaka, Junji Ito's Lovecraftian tale of surreal, unfathomable horror is one of the more notable titles from this time period. For me, it stands right up there with not only horror hits like Nakata's Ringu & Shimizu's Ju-On, but also over-the-top blockbusters such as Kinji Fukasaku's Battle Royale. For me, Uzumaki is even has enough cult clout to earn a special place in my heart as something closer to pure cinema. Films that are so unrelentingly fun, and creative, that they defy the audiences suspension of disbelief, and dare us to join in its madness. These are films that turn up in my player as a gathering or party's beginning to wind down, which usually ends with many folks bunching up around the set, curious and unable to turn away. (for the curious, others in this series include: Brain Dead, Evil Dead 2, Meet The Feebles among others)


As much as I would love to explain the film's storyline, I'm compelled to hedge around it this time, and just say that I envy those who do go in blind. To even describe this film would be to spoil the fun for many of those who've yet to experience it.

My first exposure to this film was through some friends whom were still a part of the older school set with armies of VHS in hand, and my unsuspecting brain their guinea pig. And once this landed in my domicile, it was an instant hit, eventually making me a devoted fan of Ito's inimitably realistic character & environmental designs, as well as his deliriously frightening ideas. To properly describe Ito's style of horror is to invoke not only decades of manga history( for the truly adventurous, I still truly recommend the works of Kazuo Umezzu), but various sources including the aforementioned H.P. Lovecraft and even early David Cronenberg material largely dealing with uncontrolled flesh, and our collective inability to come to terms with it. But unlike those and their use of metaphoric justification for the horror on display, Ito's stories almost exist on a bizarre nightmare plane where human rationale has no dominion, and we are left helpless to the nature of madness(or at the very least, to the mercy of the storyteller).

So how do I satisfy the curious? Brass tacks, I guess.

In a isolated village, young Kirie's life becomes a maelstrom of deep horror when not only certain members of her family begin displaying bizarre behavior, but her entire community is plagued by....spirals. Sounds benignly dopey enough, until you realize just how far you can take this simple idea, and Ito's chops are amazing in this capacity as events escalate into some of the most brain-bendingly bizarre images in all the J-horror canon. Higuchinsky's inventive use of the camera, surreal color palettes, and cartoony touches only multiply the weirdness factor, and what you eventually have is a wild ride borne out of Tim Burton's worst nightmare.The film's look is incredible despite it's reported budget of a million.

In fact, the closest film I can compare Uzumaki to is Obayashi's 1977 manic ode to childhood imagination & terror, HAUSU. Another film short on story and character(including the acting, which is by all means atrocious in places), yet rich in technique and boundless energy. The main contrast here, perhaps is that while HAUSU escalates in how crazy matters get, Uzumaki does begin to wear out its welcome by the last act. And a truly eerie finale isn't enough to make one forget just how cool the original manga became near its conclusion.

In the years since Uzumaki was released upon the world, I was naturally in baited breath for whatever Higuchinsky would crank out next, however his follow ups have only lived up to part of the promise that this film offered (Long Dream and Tokyo Eleven 10+01 were pretty lacking). Upon looking harder for anything else he had done, it turns out a lot of his output is largely in the J-pop world where he has directed many a music video(figures), as well as numerous concert videos for several major acts (including Go!Go!7188) This is a deep shame, as his quirky style was perfectly in sync with Ito's quirk-riddled style.

So in a way, 2000 was an interesting place for anime/manga adaptations to start appearing in the world consciousness. And for a short time, it felt like J-Cinema had a foothold in what could be a new hope for this type of filmmaking. More interesting titles would come in light of this one. But could it raise the bar for more than merely fans of the original work?

-Tune in Next Time, when we take to the halls of school once more, and talk gang wars, and a prince of J-cinema past.

Live Action Manga Blues [What Won't Be Covered]

Perhaps before charging headlong into my exploration of the dearth of memorable live action manga/anime output that has come out of Japan in recent years, perhaps it is best to just go ahead and let folks in on exactly what I won't be covering. As long as japanese cinema & tv has been around, the comics world has been a somewhat common well to often be mined by the big studios. And since comics in Japan meant a lot more than merely superheroes, there has been a fascinating wealth of mentionable movie versions. Some good, some not-so-good. The point is, that aside from the animation industry's love of animating popular manga titles, and having a certain edge over the live action community, this has been a long accepted staple of popular movies.

Some of which have significant fan followings regardless of the limits that low budget live action often provide. And a lot of this naturally lies with the choice of content.

We won't be talking about some of the earliest adaptations like the 1962 attempt at bringing Tetsuwan Atomu to life, nor will we go into the ever popular
Lone Wolf And Cub , or the scuzzy fantastic of the Sasori films. The latter as much as I've enjoyed them in the past, is a fitting title that works in those films as there is a historical grounding that allows us to better accept the stories. Where my interest lies in finding the enjoyment in bringing the wild, unrestrained nature of manga to life in this more fluid medium. So perhaps now one can see where this is all going to go...

There's a language in live action film that can get lost when dealing with the often hyperbolic nature of japanese comics, a medium that sprouts beyond mere concepts such as panels, and seems to leap from the page as if the paper itself can't contain the visuals. And now considering the bizarre & vibrant directions manga took come the 1970s, the film community must have salivated at the idea of taking on some works before considering the iconographic necessities of said works. Whether the film be yet another fun tokusatsu spin on a famous title, or even a gritty, violent celebration of one perennial badass or another , the films of the 60s - 90s covered the gamut of film interpretations whether or not the source material begs to be made live.

Some examples?

Try HAUSU director, Nobuhiko Obayashi when he took his loopy sensibilities to tell a bizarrely international co-ed version of Kazuo Umezzu's legendary horror epic, The Drifting Classroom(Hyoori Kyooshitsu). A landmark of awkward.



(So, if your head hasn't completely exploded, let's move on.)

Also near this time, comes the ever puzzling initial version of Takahashi's
seinen favorite, Maison Ikkoku.



-Now one may be thinking that Ikkoku doesn't follow my train of thought. In an odd way, it is one of those rare instances where despite the world of the manga, there's something about it going live action that somehow feels false. A strange inversion of reality takes place, which can be argued will become an issue with later films.

The treatment of manga in live form is such an insurmountably difficult achievement to pull off, which is why it is that we have seen so many fall by the wayside with the occasional moment, or laugh. And more likely than not, this is either due to technical limitations, or as in many adaptations made here in the US, a lack of understanding what connected readers to the original work in the first place. So many elements come into that manner of play that can be lost on film. (calling nearly every single video game adaptation to date) And so, we'll be looking more into adaptations made in a time where CG and special effects have eliminated one part of the limits, thereby leaving the one remaining question to the bulk of these films, "why do they still not work?"

We will be checking out several "big scale" productions that have surfaced within and after the anime boom of the late 90s-2000s in hopes of finding out what happened.

And, as tempting as the notion may be..We will be avoiding Rapeman.

Sorry.

Live Action Manga Blues [The Dilemma Of Playing With Iconographics - An Intro]

I suppose this was only a matter of time.

A few Twitter chats have taken place over the last few weeks that have brought a particular phenomenon to attention here at the labs, and now I'm hoping to better illustrate my concerns with how Japan treats its modern myths. Once was a time where like so many before me, Japanese cinema was sort of a bold alternative to domestic released bland, and a much regarded jolt of energy when regarding trash cinema. These days however, it has been pretty tough to rekindle such a flame. And I'm sure it isn't merely me. Something is genuinely missing, especially since the manga and anime worlds have long had their day in the international spotlight. And in a time where stateside films like The Dark Knight, and others have reached world class status, it only feels so much more tragic when looking at concepts that perhaps could prove expansive in a three dimensional universe.

Or is it just too iconographic a line to grasp?

Really have been considering taking a crack at this since adaptations of drawn projects have run such the gamut over the years, and can be considered a mastered form in the west. Can the same be said regarding our Japanese counterparts? A part of me would love to think so. But to be honest, more than several years of manga/anime adaptations have proven to be a challenge to properties with often provocative themes, and a film industry eager for a "hit". And even when the mentioned property can be considered light in nature, it rarely seems to be the most successful transition. Could it really be an issue of disconnect between the originating creators, and the film production brass? Endless compromise? Or could it just all be attributed to bad luck?

So what I hope to shed light on in the coming weeks is a series of posts dedicated to live action manga & perhaps find some diamonds in that particular rough.

We'll start with a look at some of the last decades biggest adaptations from violent seinen favorites like Ichi The Killer (Koroshiya Ichi), to even lighthearted shoujo fare like Lovely Complex. Either way, this is guaranteed to be an interesting exploration.