Showing posts with label Japan. Show all posts
Showing posts with label Japan. Show all posts

Review: Love★Com (2006 Film)

Saturday, February 13, 2016
Ignoring my better judgement not to judge a book by its cover, I picked up LoveCom because it looked really animated. And as the cover suggested, the movie was essentially anime in real life!


“Annoyingly animated, yet ridiculously fun.”

The Rundown
Behind the name: ラブコン Full name—Lovely Complex based on a Manga
Country: Japan, 2006
 Genre: Teen Comedy
Distributed by: Schochicku Fuji Company
Director: Kitaji Ishikawa
Cast: Ema Fujisawa (as Risa Koizumi), Teppei Koike (as Atsushi Ōtani), Nami Tamaki ( as Ishihara Nobuko), Heikichi Nakao (as Yusuke Yamazaki)
Compare to: Sailor Moon, Romeo x Juliet, Cardcaptor Sakura
Hate it or Love it?  Luv it J  

Synopsis in a Sentence: Rika likes Otani, buts she’s taller than your average girl and he’s shorter than your average guy, so they try to make things work, but together they make an off-beat, quirky high school couple.

LoveCom is your typical shōjo manga* story transposed into film. Directly transposed. So as you can guess, its all anime, anime, anime and the film is no different. It’s quite interesting to see film pop-out at you like video out of a book, but if you’re not in the mood, you’d only be annoyed by it. Still, there’s no doubt that the story itself is popular, as the story has survived transmission from manga to TV, to anime, to video game and finally, to film!
*(A shōjo manga is a comic/print cartoon directed toward female audiences between 10-18)

On Writing: The Plot
In film form, the writing quite honestly falls flat. There’s really nothing to it, but ridiculous comedy which kind-of works, but lacks any real base. Regardless, you’ll be too distracted by the overly active production techniques in the film to care. Its pop-up, out-in-your face, anime, anime, anime!!!… in the form of film.
But the plot addresses real issues: prejudice and double standards, and as the title entails, the “lovely” social complex faced by short-man, tall-woman couples, especially in societies like Japan.
(3.5/5)

On Acting: The Cast
Like the production, the cast is overly active. Think bizarre gestures, outrageous clothes (pink caps, green shorts and blue vests for boys, red, white and pink polka-dotted dresses for girls) and ridiculous film techniques (pop-out characters, game characters coming to life). It’s really not bad but it might grate on you, then again, you don’t see many films like this so why not just enjoy it?
Ema Fujisawa
Although Lead actress Ema Fujisawa plays a character much younger than her real age, she certainly doesn’t look it but her unnecessarily animated gestures tell us that it’s been a long time since she was in high school. A talented actress, regardless. She single-handedly keeps us into the film. 
Teppei Koike 
Teppei Koike who takes the role of lead actor suffers similar symptoms, but mostly in the wardrobe department—who says playing dress-up on a man will make him a boy? His acting skills don’t suffer though, although he is betrayed by the wrinkles by the side of his eyes.
(3.5/5)



On Production: The Creativity
As though it hasn’t been said enough, this film is all-around anime, as put by another review; it’s essentially transposed anime. And it really is, but It’s actually fun. Think Lizzie McGuire, pop-up cartoon movie. While this is done sparingly, in a more sophisticated, comedic fashion, it’s done tastefully, and it is, in a ridiculous manner, honestly, quite fun!
One more thing—there’s a slight goof in production, but I’ll let you figure that out yourself. Somewhere mid-film.
(4/5)                                             

On Resolution: The Conclusion
This film is made for younger viewers, but a good film should translate into any age range, and as the target age range is up to 18 years old, its no excuse that the film does not tend to the greater movie viewing audience. When it comes down to it, it’s essentially a love story, and regardless, the ending was good, actually.
(3/5)

The Verdict: See it when you’re on sugar (or anime) overload J

Overall Score = 14/20


Are you an ani-maniac?
Experience anime in real-life, see LoveCom 

Hana Yori Dango (2005 TV Series)

Friday, January 7, 2011
After seeing the Korean version, I had to see the version from the originators of the story, and Hana Yori Dango didn’t quite disappoint.  

 

“It’s Japanese manga in action.”

The Rundown
Behind the name: Pun on Japanese saying, “dumplings before flowers”
Country: Japan, 2005
 Genre: Romantic Comedy
Distributed by: (TBS) Tokyo Broadcasting System
Director: Yasuharu Ishii
                       Cast: Mao Inoue, (as Makino Tsukushi), Jun Matsumoto (as Domyouji Tsukasa), Shun Oguri (as Hanazawa Rui), Shota Matsuda (as Nishikado Sojiro), Tsuyoshi Abe (as Mimasaka Akira)
Compare to: Boys Before Flowers, Meteor Garden
Hate it or Love it?  Love it.

Synopsis in a Sentence: Makino Tsukushi is a poor girl who attends Etioku Academy, an affluent High School in Japan, where she gets mixed up with rich guys and a love trapeze begins.
           
It’s started the Asian wave of the decade. First the Japanese maga, then the Tiwanese series, then the Japanese series, then the Korean series. Hana Yori Dango incorporates some originality in its plot. 

On Writing: The Plot

It’s a good story. It’s not one f those overly lovey-dovey stories and its not one of the mindless ones either. It’s uniquely Japanese, inspired by the best selling Japanese Shojo Manga of all time. The series stays close to the manga, maintaining the names of the characters. The writing’s unique too, with some extra-special parts, and the plot’s easy to follow. Overall,
(4/5)

On Acting: The Cast
Good actors. They seem to mesh well together. Overall,

      ← Mao Inoue, who plays Makino Tsukushi may be the best actor of the group. She’s just right for her character, but she’s not quite the most convincing tom boy. Besides that, she’s all good; very convincing, and will win your trust by the time the series is over.















                  Jun Matsumoto plays Domyouji Tsukasa. Overall, he’s a good actor but comes off a bit like a hooligan—think wealthy careless jackass, minus the gorgeous arrogance displayed to effortlessly by Gu Jun-Pyo (Korean version). If that’s how rich, powerful, Japanese boys are supposed to be, then he plays it well, if not, then his rendition of the characyter comes off very unrefined.



← Shun Oguri relays Hanazawa Rui’s actions, and he’s good. In this series, I actually rooted for him, rather than the main male character. He’s real, relatable and refined. What’s not to love? 

                 Shota Matsuda is Nishikado Sojiro in the series, and he just might be the best looking of the group. His character doesn’t show as much, but when he’s on, he plays it well. 

 ← Tsuyoshi Abe acts as Mimasaka Akira in the series. Quite honestly, he looks a bit too old for his part, but he’s a good one overall. He plays up his character’s role as the voice of reason in the series.

(3.5/5)








On Production: The Creativity

The production was good, with beautiful angles and good symbolism. As far as fashion goes, the buildings outshined the clothes… come to think of it, the clothes were almost a flop, considering the background of the characters. The music is not award winning, but it’s okay. It included music by Arsahi and Utada  Hikaru. Overall, it’s a good production.
 (3.5/5)                                

              

On Resolution: The Conclusion

Ahhh. The end… might have been the best part—was actually the best part of the entire sries, which makes a good story even better. Some knots seemed untied, but that’s probably to keep you guessing. Nice symbolism, nicely wrapped up. You’ll love it because of the end.
(4/5)

The Verdict: A great story, good actors, a great production, but when it all comes down to it, the Koreans did it better. L

Overall Score = 15/20


 






See Hana Yori Dango [http://www.mysoju.com/hana-yori-dango/]




Ju-On: The Grudge (2003 Film)

Tuesday, July 13, 2010




Unimpressed by years of the typical illusory “horror” flicks, I picked this one up with relative optimism, and I wasn’t quite disappointed.

The original version of The Grudge, Ju-on highlights the simple, but spellbinding skill of Japanese horror cinema. 


“A grimy, gruesome production that adeptly highlights one of the best conceptions of the genre of horror.”


The Rundown

Behind the name: 呪怨 Juon, literal translation—the curse, grudge
Country: Japan, 2003
Genre: Horror
Distributed by: Pioneer LDC
Director: Takashi Shimizu
                       Cast: Megumi Okina (as Rika Nishina), Misaki Ito (as Hitomi Tokunaga), Misa Uehara (as Izumi Toyama), Yui Ichikawa (as Chiharu), Takako Fuji (as Kayako, the onryo), Yuya Ozeki (as Toshio), Takashi Matsuyama (as Kayako's evil husband), Takeo Kanji Tsuda (as Katsuya)
Compare to: The Ring
Hate it or Love it?  Love it  

Synopsis in a Sentence: A series of people experience horrifying and mysterious deaths after encountering a vengeful spirit that bears a grudge based on an ancient Japanese curse, which marks Ju-on.
           

What we now know as “The Grudge” was originally made for Japanese TV audiences alone. Director, Takashi Shimizu created a series of horror films known as “The Ju-on Projects,” which were simple direct-to-video film releases produced on a slim budget with even slimmer expectations for success. But within a year, Ju-on produced international acclaim, numerous sequels, and a U.S. re-make. 


On Writing: The Plot

True fans of horror will know that the genre is often over fantasized, highlighting exceedingly implausible storylines. The problem with horror is that, in an effort to horrify its audience, the genre spits out unbelievable ideas that loses its audience before they can even become stupefied by fear. Although Ju-on initiates its storyline with the typical “horror” plot (the haunted house) it defies traditional methods of horror by tying together a series of protagonists and antagonists who undergo (relatively) plausibly horrific experiences. A singular character is not employed as protagonist here, rather we experience the torment of various characters based on this classical storyline. Through this, Ju-on utilizes minimal attachments to its human characters to incite fear to its viewers in a rather effective way.

(4/5)


On Acting: The Cast

Fear, I believe is one of the hardest emotions to invoke on-screen, when one is not truly horrified. The characters in Ju-on adeptly incite paralyzing, horrendous, crippling fear onto its viewers with little melodrama, all thanks to their actors:
Megumi Okina, who playes Rika Nishina, highlighted a relatable character—the struggling student/social worker who encounters the Ju-on at Work. Her character may be the most likely character that may be credited as the heroine of the film.
Misa Uehara, who plays Izumi Toyama, skillfully portrays the timid schoolgirl pressured into trouble by her peers.
 The performances of Takako Fuji, who plays “the evil spirit” Kayako, the onryo, and that of Yuya Ozeki, who plays Toshio, “the boy with the curse” highlight the unique art of horror in Ju-on.
Put together, the cast reflects the minimalistic human attachment to the characters of Ju-on that still reflects and inflicts the true skill in the depiction of horror.

(4/5)


On Production: Creativity

Minimalism. Fear. Horror flows with little show of blood involved.
Director, Takashi Shimizu adeptly employs the emotive power of minimalism in his production of Ju-on to multiply the effects of horror in this production. Some attribute the minimalistic production to the low budget for the production, but a skill is a skill, and Shimizu’s skill is evident throughout the production of Ju-on. With slight dialogue, it’s less talk, more action, yet the dialogue is not overly minimal, and the production not overly active. Shimizu balances a blend of both to produce the perfect portrayal of horror available, and adeptly does so through Asian cinematics. He chooses to show the villain of the story, a decision most producers of horror fear to do, so as to employ the mystery of an unknown evil and play on the suspense of such a character. However, Ju-on does not lose its effectiveness by employing such tactics, re-enforcing the skill of the production of the film.
Of noteworthy mention is the accomplishment of the sound production in this film. The sound design was artfully, artfully done and may even be single-handedly credited for the apt relay of fear in the film.

(4/5)                                             


On Resolution: The Conclusion

As Ju-on was developed as part of The Ju-on Projects, the film is not resolved independently, but though the sequel to the film holds the final resolution, the soryline to Ju-on stands well on its own. However, after the first instalment of the film, one might ask, so what was the point? The good news/bad news is that we’ll have to wait until we see the ne next film. Depending on where you stand, Ju-on gets resolves with a reasonable ending to an equally reasonable horror.
In the end, the original version of The Grudge, Ju-on highlights the simple, but spellbinding skill of Japanese horror cinema.

(3.5/5)


The Verdict: Fear is in the mind of the bearer. Ju-on either instils that fear, or comes really, really close.

Overall Score = 15.5/20

Experience the horror for yourself,
 Get Ju-on [http://www.amazon.com/Ju-Grudge-Megumi-Okina/dp/B00005JNJR/ref=sr_1_1?ie=UTF8&s=dvd&qid=1278132273&sr=8-1]