Year: 2020 Director: Glenn Chan Writer: Felix Tsang, Kiwi Chow Cast: Stephy Tang, Philip Keung, Tse Kwan-ho, Ben Yuen Running Time: 94 minutes
Country: Hong Kong
The UK Premiere is on July 25th at BFI Southbank as part of the Chinese Visual Festival (Tickets)
Shadows is a dark psychological thriller with nightmarish imagery and some supernatural elements. Featuring another excellent lead performance from Stephy Tang. This has been hailed as one of the best Hong Kong films of the year.
Revolving around a sinister murder case in which
a social worker is compelled by an inner voice to kill his family and
commit suicide. Shot in atmospheric noir style and with a taut, twisting
narrative that keeps the audience on the edge of their seats, the film
features a commanding lead performance by popular actress Stephy Tang,
who was herself traumatised by the emotionally gruelling shoot and the
film’s delving into the darkness of the human psyche. (Chinese Visual Festival)
Glenn Chan makes his Hong Kong film debut with an ambitious thriller that will make an impression with its uniqueness and inventiveness. Out of recent Hong Kong films, it's hard to think of one that is similar. And while not everything about this film works, there is plenty to celebrate and admire.
Stephy
Tang is a revelation. Over the years, she has managed to shake off the pop star image and establish herself as a serious actress. Stephy is now known for acting in challenging and dramatic roles, her most prominent being The Empty Hands and My Prince Edward. Both of these roles got her a nomination for Best Actress at the Hong Kong Film Awards. After watching Shadows, it feels like she could receive a third nomination as she delivers another show-stealing performance.
This film is incredibly stylish. Featuring slick camerawork and great cinematography to give it a noir feel. There is brilliant use of lighting throughout to create the dark mood and unsettling atmosphere. When Dr Tsui enters into a patient's subconscious there is often an impressive use of imagery and visual effects on display to capture how anxious and terrifying the whole process is. It's all handled excellently.
Unfortunately, the scenes inside the patients subconscious is an intriguing idea, and it looks fantastic, but it feels like an idea that was never fully realised. This was a concept that deserved more time to be explored before the film reached its exciting and somewhat bemusing conclusion. While this gimmick might have borrowed ideas from other films, they manage to make it work and still feel fresh and it feels like more screen time should have been spent on this.
Philip
Keung co-stars as detective Ho and injects some fun into the story. Ho and Dr Tsui team up in an almost buddy-cop style trope as they investigate
the crime together. His character of Ho is pretty simple and wants to
work within the law and catch the bad guys, but the way he plays off of
Dr Tsui is a neat contrast. There's also a side story involving his
daughter which is often touching and charming.
At
a trim 94 minutes, the film is a breeze, and it is entertaining from start to
finish. Some extra time to fully develop the ideas and plot could have
benefited the overall story, as well as more time exploring how much actual
power the psychiatrists have over the patient's free will. Parts of the
film are pretty ambiguous which suits the style and genre of film, but
some viewers might think it's too open-ended.
Overall, Shadows is a good thriller that is visually stunning and entertaining even with its flaws.
Year: 2021 Director: Jun Li Writer: Jun Li Cast: Francis Ng, Loretta Lee, Tse Kwan-ho, Cecilia Choi Running Time: 112 minutes Country: Hong Kong
"I may be homeless. But I am not worthless."
The excellent Francis Ng is almost unrecognisable as he delivers one of his finest performances in this powerful drama about a group of homeless people. One of the very best Hong Kong films of the year.
Jun Li follows his acclaimed trans drama Tracey with a socially
conscious story focusing on the plight of the homeless in Hong Kong,
based on a real life incident. Taking place against a contrasting
backdrop of luxury and extreme poverty, the film follows Fai (Francis
Ng), just out of jail and stuck in an endless cycle of nomadism, coming
up against an uncaring government and a police force whose actions are
antagonistic at best. A stunningly frank film about Hong Kong’s
socio-political and economic divide, Drifting confirms Jun Li as a passionate filmmaker committed to bringing the stories of the marginalised to the screen. (Chinese Visual Festival)
Jun Li wrote and directed Drifting and based it on a 2012 court case that involved homeless people in Sham Shui Po. But rather than focusing on the court case, Li puts the characters at the forefront. Their stories, daily life and struggles are explored much deeper than surface level. There's also not too much attention on the reasons that they ended up homeless. There's a memorable scene with Fai chatting to reporters, and he explains that the media is only interested in talking about this drug use or his time spent in prison. This is an intriguing piece of social commentary on not only how the media sometimes view homeless people, but also some of the general public share a similar view. Li often makes it clear that it's not important why they are homeless, it's about their hardships and how other people treat them, even those with good intentions.
Hong Kong is a beautiful country, and the film captures this with excellent cinematography by Leung Ming-kai. The high-rise flats and skyline are on full display and often suddenly juxtaposed with the homeless camps and temporary accommodation. It's a startling contrast showing off the living conditions of the rich versus the poor, especially in Hong Kong, where apartment prices are sky-high. With more and more high-rise apartment buildings springing up anywhere there is vacant land, it makes the characters wonder where the homeless people are supposed to go.
The cast are all splendid in these often challenging roles. Francis Ng has always been a superb actor but doesn't always get the chance to show his full potential as he does here in his role as Fai. Ng has undergone a transformation of sorts and plays an extremely convincing drug addict. It's a powerful performance that easily could have gone too far, but they know exactly when to dial it back. Elsewhere, Cecilia Choi and Pak Hon Chu also shine in their supporting roles. It's always a treat to see Loletta Lee in a modern Hong Kong film especially with a film that allows her to sink her teeth into the role. Tse Kwan-ho almost steals the show with one particularly heartbreaking scene involving a video call which is sure to have award shows and festivals buzzing.
Drifting captures a true sense of realism while still being visually stunning and cinematic. The film feels almost like a docu-drama at times, with the viewers standing at the side and watching the character's lives unfold. This emphasises the helplessness as you watch this heartbreaking tale unfold. Jun Li manages to craft all of this wonderfully without the film ever becoming "poverty porn." Drifting is one of the most affecting Hong Kong films to come out in years, and it will leave you thinking about the characters and their situation long after the credits have finished rolling.
Beyond the Dream 幻愛 Year: 2019 Director: Kiwi Chow Writer: Felix Tsang, Kiwi Chow Cast: Cecilia Chow, Terrance Lau, Nina Paw, Chan-Leung Poon Running Time: 120 minutes Country: Hong Kong
Based on the award-winning short film Upstairs (2006), which was also
directed by Kiwi Chow, Beyond the Dream became the highest-grossing domestic film in Hong Kong
in 2020 since the COVID-19 pandemic. The film also won awards and
nominations at a long list of festivals, including Best Adapted
Screenplay award at 57th Golden Horse Awards, which is Taiwan's equivalent to the Academy Awards.
Lok (Terrance Lau) is a recovering
schizophrenic who yearns for love. One day, he encounters the young and
beautiful Yan (Cecilia Choi) and quickly falls in love with her. Just
when he struggles whether to tell her about his illness, he has a
relapse and becomes delusional. Little does he know that she’s a
psychological counsellor who has a hidden agenda. The pair develops a
relationship that is beyond their wildest dreams. (Focus Hong Kong)
The film opens with a woman having a mental breakdown on a busy street and rather than anyone trying to help her, most people laugh and take photos. This is an extremely raw and powerful scene that sets the tone for an emotional drama focusing on mental illness and a romantic relationship. Upon initial viewing, this plot might start off seeming predictable, but it quickly twists and turns into something else entirely. The film becomes more complicated as Lok's psychosis worsens, and it definitely requires your full attention to completely understand what is happening in reality, and in his delusions.
Both lead actors give award-worthy performances, with Terrance Lau being a huge surprise. Lau is a former TV actor and he plays this part spectacularly. Portraying someone that is mentally unwell can be a massive challenge, But Lok never takes it too far or turns the character into a stereotype. In fact, it feels like a very honest portrayal which can also become scary at times. Cecilia Choi is also wonderful and plays her roles with a subtle charm, innocence and mystery that still allows you to root for this flawed human being. Whether they are sharing a romantic moment together, or having a full-blown argument, they have great natural on-screen chemistry that enthrals your full attention.
While the cast and plot are rightfully praised, the production aspects also need commending. The camerawork is rich and varied. And the cinematography and pale colour palette are stunning. The look and feel of this film gel perfectly together, and it's honestly a visual treat. And the shallow depth of field enhances the dream-like nature of the story. The production values raise the expectation of this from another independent film to something greater.
Beyond the Dream is a Hong Kong film through and through, but it's also unique in its film-making methods. The locations used on-screen aren't what people have come to expect in their Hong Kong cinema. They don't spend time glamorising the neon lights and busy shopping streets, and instead, they use their time to build up a real-world that locals actually live in. The use of trains as a plot device is marvellous at separating these characters from one another, or for bringing them closer together. Similarly, the cramped and confined high-rise apartment buildings add to the notion of not having anywhere to escape in moments of need, and that everyone knows all of your business.
While the film can be dark and challenging at times, and sometimes it becomes convoluted, intentional or not. Overall, it's an ambitious film that deserves the attention and accolades it has received thus far.
7.5/10
Beyond The Dream is streaming as part of the Focus Hong Kong Film Festival from the 31st of March until the 6th of April.
My Prince Edward 金都 Year: 2019 Director: Norris Wong Writer: Norris Wong Cast: Stephy Tang, Chu Pak-hong, Jin Kai-jie, Nina Paw, Eman Lam Running Time: 91 minutes Country: Hong Kong The directorial debut of Norris
Wong has been one of the most popular and acclaimed Hong Kong films of
recent years, winning multiple Best Film, Best New Director and acting
awards and screening at festivals around the world.
My Prince Edward is set in Prince Edward district’s Golden Plaza, a
shopping mall in Hong Kong best known for bridal shops and cheap wedding
supplies. Fong (Stephy Tang) is a clerk at one such bridal shop. She
has been with Edward (Chu Pak Hong), the owner of a wedding photography
shop in the same mall, for seven years. Everyone sees Edward as Fong’s
Prince Charming, destined to head to the altar. The problem is that Fong
must first sort out the sham marriage that she was paid to take part in
years ago before she can get married for real. (Focus Hong Kong)
My Prince Edward is a clever play on words, set in the Prince Edward district and one of the main characters being named Edward. This small detail made me think the film was going to be a fun Rom-Com, similar in tone to something like My Best Friend's Wedding. But I was pleasantly surprised. My Prince Edward has the romance angle, but there's much more to it than that. This is a very well written story dealing with complicated topics, such as the stigma around divorce, and political issues between Hong Kong and China. The film is very honest, heartfelt and touching. This could easily have become another familiar story, but it's tackled in such an interesting and fresh way, and it leaves many parts of the story up to the viewer's interpretations.
This is not a fairy tale by any means. Stephy Wong's character Fong deals with a lot of problems that are deeper than surface level tropes. It shines a spotlight on Hong Kong marriage culture and questions who is it really for. Is it for the happy couple? Or is it to please the family? Or maybe it's a contract to stop you from leaving each other? Or maybe it's for a VISA or residency? There are clever metaphors and imagery sprinkled throughout to drive these ideas home. Fong is also feeling pressure to get married because of her age, even though she is still in her early thirties. The film is packed full of ideas that viewers can relate to.
My Prince Edward is wonderfully directed, especially for a debut director. The film has snappy pacing and editing. And at a trim 91 minutes, it never outstays its welcome. It also takes its time with the characters and gives them time to develop and breathe. There's some stunning camerawork and cinematography placed throughout. Their apartment has a massive neon sign attached to the building which often illuminates the street and their bedroom with a pink haze. One shot that stood out, in particular, involved an overhead camera while both characters lay in bed with the neon shining in the window to light their faces. There's also a subtle nod to a famous shot from In The Mood For Love if you really pay attention.
The small cast were excellent and their character differences made them all stand out from one another. Stephy Tang has turned into a brilliant actress, and this comes across as a very natural performance for her. She received a nomination for Best Actress at the Hong Kong Film Awards for this role, which is well deserved. Chu Pak-hong plays the role of Edward, and during half of the film, you will spend your time wanting to strangle him. His character is overprotective, a tad annoying and even sometimes disinterested. But deep down you can tell that he honestly loves Fong. None of the characters in this film are perfect, and it doesn't ever try to pretend they are.
My Prince Edward is a modern and uniquely Hong Kong story. It's made specifically with Hong Kong in mind, and it wouldn't quite work if it was set anywhere else. But, the story and the characters are completely universal, and everyone could get something different out of it. Norris Wong has cemented her name as a new director to keep an eye on.
8/10
My Prince Edward is streaming as part of the Focus Hong Kong Film Festival from the 31st of March until the 6th of April.
Tetsuya Mariko's follow up to his 2016 controversial hit Destruction Babies is 'Miyamoto,' an adaptation of an award-winning manga and TV Mini-Series. Sosuke Ikematsu won the Kinema Jumpo Best Actor Award for his role in this film.
A quirky tale of high-octane love is told through the eyes of a
hot-blooded stationary salesman, Miyamoto (IKEMATSU Sosuke), as he falls
hard for Yasuko (AOI Yu) upon their introduction. At first using
Miyamoto to get rid of an unwanted boyfriend, Yasuko ends up growing
attached to the overzealous admirer and the two enter a relationship.
Soon however, their love is put to the test when he fails to protect her
from a violent assault and their volatile relationship devolves with
increasing pace until it reaches an explosive and melodramatic finale. (Japan Foundation Touring Film Programme)
Going into this film blind made for an interesting experience. I had only seen the poster on the Japan Foundation website and underneath it was listed as "Quirky, Romance, Drama," so I had assumed it would be a Japanese romance similar to something like Cyborg She. This couldn't have been further from the truth. What I watched was an extreme, violent, unpredictable and sometimes humorous story dealing with themes of toxic masculinity (not a term I use often, but it is what it is). Looking back at the listing, there is a warning stating it features "scenes of a very strong violent/sexual/abusive nature." While the experience of the film is heightened when you watch it unprepared, I am glad they attached this warning because the sexual abuse scene is realistic and tough to watch. It completely caught me off guard and it might be distressing to people that don't watch as much violent cinema.
Hiroshi Miyamoto is played by actor Ikematsu Sosuke and he channels everything about this character. He spends most of the film either whispering nervously while he speaks or full-blown shouting while he is losing control of everything around him and seeking revenge. Even though he is a flawed character, and quite selfish, you will be rallying behind him by the end. His overall goal is to become more of a "man" and summoning up the bravery to protect his wife and have a happy relationship... Although, his reason for doing this is much more complicated than it originally seems.
Yu Aoi is a wonderfully talented actress. Her strengths in convincingly handling the emotional scenes in Miyamoto are simply remarkable. Yu Aoi carries the weight of these events and adds much-needed depth to the serious issues that this film tackles. The sexual abuse and the fallout leaves many questions up to the viewer. What is the correct response and action? Is it more violence? It also challenges the viewer to question, are you are getting revenge for the person that has been wronged, or is it for yourself?
For the most part, the storytelling is crafted very well. The pacing sags a touch in the middle but picks up for an enthralling finale. The non-linear plot adds to the suspense of the story as you are greeted by Miyamoto looking battered and bruised, and then discover what happened to him through a sequence of flashbacks. This enhances the overall unpredictability of the film, where you often assume the worst. It becomes a little convoluted at times, especially trying to figure out the current timeline. Thankfully, that never becomes a major issue, but a little more clarity would have been welcome at times.
The antagonist of Takuma Mabuchi played by Wataru Ichinose is completely despicable in every way. There is no grey area involved with him. Takuma Mabuchi is exactly the driving force the film needed, and I don't think there will be one single viewer who doesn't want to see him get his comeuppance. The final confrontation between the protagonist and antagonist is brilliantly staged. It's a no-nonsense, realistic and violent brawl. It pulls no punches and some moments will have viewers squirming in their seats. The payoff is definitely worth the wait and viewers are rewarded with a thrilling piece of filmmaking.
Miyamoto is a unique film. The clever marketing from the poster and synopsis, leave the majority to your own assumptions. This could also be seen as a negative, as some people might skip on it, believing it to be a general romantic drama. If you don't mind violence and dark themes in your films, this is worthy of watching and dissecting the meaning behind it all.
Shin Adachi adapts his own semi-autobiographical novel focusing on the love/hate relationship of a married couple. Winner of the Best Screenplay Awards at the 32nd Tokyo International Film Festival.
Gota (HAMADA Gaku) is an unsuccessful screenwriter struggling to
catch his big break and is seemingly set upon in all areas of his life;
teetering on the brink of financial ruin, unable to push through a
relentless writer’s block, and besieged by a wife that openly despises
him while refusing all of his sexual advances. One day, despite strong
resistance from his wife (MIZUKAWA Asami), Gota drags his family on an
impromptu and ill-funded research trip in the hope that it will kick
start his career and improve his ailing marriage. (The Japan Foundation)
Gaku Hamada is one of the most likeable and sympathetic actors in recent memory. For fans of Third Window Films, you will recognize him from a string of great movies, including Fish Story, Sake Bomb and See You Tomorrow Everyone. Gaku almost has a childlike immature quality and innocence, that always makes you feel compassion for him, even in A Beloved Wife when he is acting like a pervert. This simple story relies on both leads to be terrific, and thankfully they are.
Asami Mizukawa plays the role of the wife, and she is not a very easy person. I have to admit, while Asami was excellent in the role, and I know she was not supposed to be a completely likeable character. There were moments when her character became grating and I wondered why her husband would put up with it. Her constant abuse and put-downs become tiresome, even for the viewer. And it makes you wonder, why would this couple continue rather than break up? It could be in part, due to their daughter, who is completely adorable and offers some warming moments between the family. But, it appears there is more to the couple's relationship. Almost like they are playing a game. A game where Gota is abused but he either oddly enjoys it, or he puts up with it because he really wants sex. They both appear disappointed in their own life, and that is what is causing the friction.
Most viewers will know people in a relationship like this one. Some viewers might even be in a similar relationship themselves. And that is one of the strongest elements of the film; realism. The portrayal of the characters, the way they talk and interact with one another, and their relationship habits are incredibly honest and realistic. Although they are played up to the extreme for comedic affect.
The humour is awkward, at times very awkward. If you don't enjoy cringe, then it might not be for you. However, there are some great laughs to be had. The moments usually come from Gota when he is in full-on horny mode. Some of the situations he gets himself into, and the way he tries to use them as his ticket to sex, are genuinely eye-covering funny. On the other side of the spectrum, there are some very sweet comical moments between Gota and his daughter which should enact more of a playful chuckle.
To stop the film from becoming too dark and depressing, most of it is set in Kagawa Prefecture. Featuring beautiful beach backdrops, it's a sharp juxtaposition of how toxic their marriage has become. There's also a lighthearted, bordering on comical score, which often lifts the mood and makes you forget about how unhappy the marriage has become... Until the fighting starts again.
There are moments when A Beloved Wife shows more heart, usually during the flashback scenes, and it honestly starts to make you care for them both. I only wish there was more of this. Sometimes watching this film felt like a chore, and other times I wanted to reach through the screen and give them both a slap. When we view glimpses into their past, I felt more of a connection with their relationship, but these were few and far between. More of these moments would have done wonders for the pacing. It starts to become a bit of a burden at nearly two hours and would have benefited from a little trim around the edges.
Till We Meet Again 生前約死後 Year: 2019 Director: Steven Ma Writer: Steven Ma Cast: Steven Ma, Josephine Ku, Jennifer Yu, Himmy Wong Running Time: 97 minutes Country: Hong Kong Steven Ma directs this extremely personal story dealing with mental illness, which might be almost too dark and realistic.
Mui leaves her family after an irreversible mistake made by her son
Ka-wai. Years have passed, and Ka-wai is living a solitary life, now
working as a salesman, still trying to look for an explanation for it
all and desperately hoping to see his mother again. As the truth is
gradually unveiled, Ka-wai’s own world begins to crumble.
It's clear from the start, this is a story based on real experiences. Steven Ma, who wrote, directs and stars in this film, based it on his own battles with mental health and how he dealt with his mother's death.He literally wears his heart on his sleeve for this film and doesn't shy away from showing how scary it can be to live with a mental illness, especially if the help you are getting is not working. Steven Ma does a decent job acting throughout, he shines more in the mental breakdown scenes rather than the emotional moments with his family.
The film doesn't focus on a plot, it's more about showing how dark the world can seem when you are dealing with grief and depression. And this is something the film is extremely successful at. There are moments throughout that are so troublesome and realistic, that it was tough to watch. The way they depict panic attacks is downright scary. This is eye-opening for someone that hasn't experienced this themselves. The sheer realism and not shying away from these elements, no matter how dark it gets, is something that needs to be applauded.
While the story is a little bumpy, between the psychosis and the flashbacks, the film never becomes too confusing. In part this is due to the flashbacks being colour-graded differently from the rest of the film. If it wasn't for this subtle touch, it could become confusing as some of the flashbacks so long that you might forget as you slowly adjust to the visual style.
Oddly, there is something else going on which leads to a twist later on
in the film. This feels like it was added to give the film more of a cinematic feel. It's not clear if they thought the writing was more clever
than it actually is, because everyone can see this coming. It's not
bad, just very predictable. However, after the twist, they spend too
much time explaining what happened, but it's already crystal clear to viewers. They
could have cut out most of the explanation and the film work have
flowed better overall. Although the film is only 97 minutes, it could
have used a bit of a trim to fix some pacing issues.
Problems
aside, this feels like an important film and story. It's one of the most realistic
portrayals of mental health issues problems that we have had on
screen. And while it might feel dark and depressing at times to watch,
that is how it keeps up its accuracy. Till We Meet Again might not be for
everyone, but if this is a topic of interest for you, then
there is plenty in here to digest.
6.5/10
Till We Meet Again is streaming as part of the Focus Hong Kong Film Festival from the 9th of February at 10:00 GMT until the 15th of February at 23:59 GMT.
Memories to Choke On, Drinks to Wash Them Down 夜香・鴛鴦・深水埗
Year: 2019 Director: Leung Ming-kai, Kate Rilley Writer: Leung Ming-kai, Kate Rilley Cast: Leong Cheok-mei, Mia Mungli, Zeno Koo, Lam Yiu-sing, Gregory Wong, Kate Reilly Running Time: 78 minutes Country: Hong Kong
Four stories (three fictional, one documentary) show how fiction and
fact, humour and drama, the personal and the political are contemporary
facets of the same ever-fascinating, complex, challenging realties that
constitute Hong Kong. Leung Ming-kai and Kate Reilly’s delightful
anthology captures the rich mix of cultures that defines Hong Kong in
lively and gently provocative fashion, following a diverse set of
characters from different backgrounds as they reminisce on the past
while looking to the challenges of the future. (Focus Hong Kong)
Memories to Choke On is an anthology film from two directors Leung Ming-kai and Kate Rilley. They work together to tell four different contemporary stories about life in modern Hong Kong. What is impressive about this film is how each story is completely different but they all feel incredibly real. It's basically a slice of life anthology. Each story focuses on a different aspect of Hong Kong life, ranging from immigrants, family, food and politics.
The first film depicts the story of an Indonesian caretaker looking after an elderly Hong Konger. The story could use a little more urgency, but by the end, it all comes together. The relationship between the characters is simple but charming. They have good chemistry and begin to form a bond over the fact they both came to Hong Kong as immigrants. This story might be the weakest of the bunch, but that does not mean it was bad per se.
The second segment is arguably the best of them all. It's a simple story of two brothers hanging out in their mother's toy shop before she sells it to a new owner. The brothers browse through old toys and reminisce on memories of growing up and their mother's expectations of them. The style of this film stands out massively compared to the first. It's shot incredibly well, and they manage to capture the iconic urban city life. There are some stunning images of the characters walking by stalls and independent shops that looks like high-class night photography.
The third segment features the director Kate Reilly acting as an American living in Hong Kong as an English teacher. She meets another teacher on her first day, and they form a will-they-wont-they relationship. This story focuses on the differences between different races making Hong Kong their home, and it does this through a series of realistic and natural conversations. It's no secret to anyone that Hong Kong has some of the best food in the world. And if you are a foodie, this film will be a treat, as we get to see the characters going to eateries and sampling some of the best local dishes while their relationship blossoms. The structure of this film being non-linear can throw you off if you don't pay attention to the inserts explaining when it is taking place, and if you aren't familiar with when some of the Hong Kong holidays and events occur.
Surprisingly the fourth film is a documentary, which was a little jarring at first, but quickly becomes apparent on why it was chosen. The final film follows Jessica Lam as she runs for a job on the district council. This documentary works incredibly well because Jessica is such a charming and likeable person. She seems almost out of her depth running for a political office job, as she feels like a regular everyday person. But there is something fun and interesting about the way that she speaks and carries herself, that you can't help but cheer her on. It was a bit of a gamble finishing on a documentary, but it feels like the rightful ending.
Memories to Choke On, Drinks to Wash Them Down works effectively as depicting Hong Kong today, for locals and for outsiders. While the film in total only runs for 78 minutes, the plot of some of the films, especially the first one, might be a little too breezy for some viewers. The stories can be a little challenging with their subtlety and require some thinking about what the true meaning behind them is. But for a film like this, that is part of the fun. Now, where can I find some Hong Kong style French toast?
7/10
Memories to Choke On, Drinks to Wash Them Down is streaming as part of the Focus Hong Kong Film Festival from the 9th of February at 10:00 GMT until the 15th of February at 23:59 GMT.
A Witness Out of the Blue 犯罪現場 Year: 2019 Director: Andrew Fung Writer: Andrew Fung Cast: Louis Koo, Louis Cheung, Jessica Hsuan, Cherry Ngan, Philip Keung Running Time: 104 minutes Country: Hong Kong
Louis and Louis deliver great performances in this sleek crime thriller.
An offbeat award-winning Hong Kong murder mystery that’s part police
thriller and part Freudian psychodrama. After a criminal is found dead,
police suspect that the murder is linked to an earlier violent jewellery
store robbery, with the only witness being a talking parrot. Also known
as a screenwriter for Stephen Chow and Johnnie To, Fung Chih-chiang has
previously tackled the western, musical and media satire genres, and
continues to surprise with his highly entertaining fourth directorial
outing, which offers a fresh, fun perspective on the detective noir, and
boasts a fantastic ensemble cast.
Writer/Director Andrew Fung is back, and this time he dips his toes into the crime genre. While the script might seem a little convoluted, the mystery and performances are strong enough to keep the film entertaining throughout.
The ever-reliable Louis Koo shines once again and proves to the haters why he seems to be in nearly every commercial Hong Kong film released in the past two years. Koo plays the character Sean Wong, a criminal with some heart. He's bad, but he's not all bad. Right? Wong is an intriguing character that has his faults but is still likeable. There is a side story with him living in an apartment with elderly people and a partially sighted woman that seems tonally different from the majority of the film. The main story is often pretty dark but they managed to provide some laughs and heartwarming moments with the introduction of these characters. The change in tones might be jarring for some people, for others it might be a welcome break.
The rest of the main cast are all great in their roles. While Louis Cheung plays Larry Lam as a a good-guy cop, he's also not exactly good at his job. And this is something that works in the film's favour. Lam is constantly getting into bother or getting one-upped by criminals. But because they have established him as a nice guy, you end up anxious and fearing the worst for him. Philip Keung is another extremely reliable actor and he keeps viewers on their toes in his role as the Police Inspector. And last but not least, the parrot. The parrot is an interesting plot device that really starts to have more purpose later on, but it definitely has charm and made me laugh more than once.
The cinematography is good, but also plain. The film looks polished, but
also kind of flat. Some of the shots look great, but then some look repetitious. This might seem like nitpicking, but from a thriller
like this, you would expect more style. The look is very similar to a bunch
of recent Hong Kong films such as The White Storm 2 or Integrity. They
look fine overall, maybe even good at times, but it feels like they could do more stylistically.
While the plot might be a little convoluted, it's also intriguing and full of twists to keep you engaged. Some viewers might be able to guess what is going on, but they throw enough at you to make you question yourself. There are some fun set pieces throughout to keep the action fans happy, and the conclusion of the film is very memorable. They manage to go out with a bang rather than a whimper.
7/10
A Witness Out of the Blue is streaming as part of the Focus Hong Kong Film Festival from the 9th of February at 10:00 GMT until the 15th of February at 23:59 GMT.
The Empty Hands 空手道 Year: 2017 Director: Chapman To Writer: Chapman To, Erica Li Cast: Stephy Tang, Chapman To, Yasuaki Kurata, Dada Chan, Juju Chan Running Time: 87 minutes Country: Hong Kong
Mari is a Hong Kong girl with a Japanese father, a karate instructor who turned their home into a dojo to train his pupils, forcing her to practice as a child. Despite demonstrating great skill, Mari quits after being pushed too hard, growing up to be a directionless and angry young woman drifting through life. After her father dies, Mari decides to sell the dojo, though her plans are ruined when it turns out that he has left a controlling 51% share to former pupil Chan Kent, recently released from prison. At odds with Mari over the fate of the dojo, Chan Kent offers her a deal – if she returns to training and can survive three rounds in an upcoming match, he promises to sign his share over to her. (Focus Hong Kong)
The Empty Hands is a difficult film to explain and truly do it justice. This is not a standard martial arts film. It's not even really a karate film. On one hand, it's an atmospheric arthouse character study that only uses karate as a way to connect and explore the characters. But on the other hand, the entire film works because it hinges on the meaning and discipline of karate. Similar to The Karate Kid and the popular Cobra Kai series, karate can be used as a form of motivation to improve your entire wellbeing. This is one of many ideas that this film explores.
Chapman To has always been a great comedic actor. His roles in films such as Vulgaria and Men Suddenly In Black are hilarious and that's what he has become known for. I don't think anyone was expecting him to write, direct and act in a film as complex and sophisticated as The Empty Hands. Chapman is a blackbelt in karate and has always wanted to make a film featuring this martial art. You can sense this is a passion project from him in every aspect.
The main star Stephy Tang is outstanding in her role as Mari, she delivers a critically acclaimed, award-winning performance. Stephy trained in karate for six months and boxed 2 to 3 times a week to prepare for the role and it shows with her physicality and screen presence during the action. She is completely believable in the training and karate fights. But, Stephy also carries the emotional weight of the film. Her character has many layers and a lot of baggage. The relationship with her father is made heartbreaking at times by her excellent performance. For an actress that is known for starring in rom-com roles, she knocked this one out of the park.
There are some moments and tropes that you've come to expect from
martial art films such as the training scenes. They feel extremely
effective and realistic here, and they never quite verge into a full-blown Rocky
montage. The fight scenes are not the main focus of the film, and they
are not as flashy as Hong
Kong's kung fu films, but they deliver something real. The fights are
shot up-close and personal, but often the composition is artsy and
unusual. It's an exciting mix of techniques. The sound design
is also superb throughout and they succeed in making you feel every single hit.
The film is shot beautifully. There are stunning cinematography and subtle camera movements used to constantly keep the film moving and equally be visually pleasing. Some shots really stand out, such as gorgeous scenes of the actors performing karate katas in empty fields. The lighting style for some scenes might seem pretentious in another film, but it does not seem out of place here at all.
The dramatic themes but down to earth storytelling, championed by Stephy's performance are executed so well, that by the time it gets to the finale, you are emotionally involved for every single beat. At a neat 87 minutes, the film is incredibly brisk and appealing. Chapman To does a fantastic job controlling the structure and pacing of the film, it's remarkable to think this is only his second time directing. Hopefully, we can see more films like this from director Chapman To, and more performance like this from Stephy Tang. Superb.
8.5/10
The Empty Hands is streaming as part of the Focus Hong Kong Film Festival from the 9th of February at 10:00 GMT until the 15th of February at 23:59 GMT.
Japanese auteur Kirokazu Kore-eda's latest film is a break away from his usual gentle family-centric dramas instead opting for a complex murder mystery legal thriller.
Misumi (Kôji Yakusho) has beaten and killed an industrialist. He turns himself in and confesses to the crime. The case could not be more straightforward until defence attorney Shigemori (Fukuyama Masaharu) arrives, determined to do all he can help his client avoid the death penalty. Challenging assertions, seeking out inconsistencies and refusing to take anything at face value, he seeks to obscure the truth in order to save his client. (Glasgow Film Festival)
Kore-eda is undoubtedly one of the finest Japanese directors working today. His films have been consistent and received praise at film festivals from critics and fans alike. However, in spite of this, he has never managed to become one of the well-known Asian directors whose name is known worldwide to more of a mainstream audience like Miike or Kitano.
The Third Murder has performed very well in Japan; it did well at the box office and recently went on to win six awards at the 41st Japan Academy Prize. Including three big awards for Kore-eda himself for Director of the Year, Screenplay of the Year and Best Editing of the Year. It also took home the main award for Picture of the Year, as well as Best Supporting Actor (Koji Yakusho) and Best Supporting Actress (Suzu Hirose).
But is it any good? Short answer, yes. Is it as good as Kore-eda Hirokazu's other work? Short answer, no.
The film opens with Misumi played by veteran actor Koji Yakusho gruesomely murdering a man at night with a hammer. It's a startling introduction, and it informs the viewers they aren't in for a typical whodunit type of film. Instead, Kore-eda uses his slow-paced meditative style to unwrap a complex narrative of why he committed murder. There are many different theories and ideas placed throughout the film which will leave most viewers with different beliefs as they try to piece it together for themselves.
The script is expertly handled with the courtroom scenes and the scenes with lawyers interviewing witnesses really bringing the film to life with its sheer honesty and brutal reality. In preparation for making The Third Murder, Kore-eda brought together seven lawyers over several months and had them do mock interviews with a criminal and stage mock trials while he observed and studied their thought process and language. This idea paid off extremely well as it all feels incredibly accurate.
Some of the greatest scenes of the film involved the lawyer Shigemori interviewing Misumi behind security-glass. These would involve long takes with little to no camera movement with everything focusing on the characters facial expressions. Sometimes he would frame the scene where you could only see one of the faces and the other was just a reflection in the glass. This all adds the emphasis to how important these discussions are for the lawyer and just how frustrating it is for him to try to get to the bottom of this mystery as Misumi constantly changes his version of what happened.
Suzu Hirose actually shot to fame back in 2015 with her starring role in another Hirokazu Kore-eda film Our Little Sister. She was only 16 at the time of release but managed to deliver a stunning performance. Now, at the still young age of 19, she has somehow managed to improve leaps-and-bounds. If there is one actor or actress in Japan that I was to tell you to keep your eye on, it would be Suzu Hirose. I believe she is going to have an exciting future in the film business.
The only downside to the story is a subplot with Shigemori's daughter slows down the pacing of the film and can get a little muddy as the story overlaps with some similarities to Misumi's own story. The film might also be a little too 'talky' for mainstream viewers, which could turn them off before we get to the exciting climax. For those who are familiar with Kore-eda's filmography then this shouldn't be an issue at all.
The Third Murder tackles some interesting points and asks compelling questions about the legal justice system and the death penalty, which is still legal in Japan. Kore-eda may have written this as some social commentary towards these issues, as the ideas and themes will definitely linger in your mind long after you have finished watching.
When The Promised Flower Blooms aka Let's Decorate the Promised Flowers in the Farewell Morning さよならの朝に約束の花をかざろう Year: 2018 Director: Mari Okada Writer: Mari Okada Cast: Manaka Iwami, Miyu Irino, Ai Kayano, Yuuki Kaji Music: Kenji Kawai Running Time: 115 minutes Country: Japan
Acclaimed screenwriter Mari Okada makes her directorial debut with a breathtaking animated fantasy feature.
The people of Iolph have a lifespan of hundreds of years and maintain their teenage appearances for life. When an army invades their peaceful town, seeking Iolph blood and the secret of their longevity, a young girl named Maquia is forced to escape. Wandering the land alone, she encounters an orphaned baby in the forest. Maquia chooses to raise him, but as the boy grows older, her looks remain the same, throwing the difference in their lifespans into ever-sharper focus. (Glasgow Film Festival)
Although this is Mari Okada's directorial debut, she is no stranger to the Japanese animation world. She has worked as a screenwriter for hits such as Basilisk and Fate/Stay Night and worked on many other successful shows such as CANAAN, Black Butler and Vampire Knight. I believe working on a variety of different genres has helped her first attempt as a director because When The Promised Flower is something of a genre-bender itself. Combining elements of fantasy, action, drama and coming-of-age, Mari managed to create something truly epic.
The film features some beautiful animation with the backdrops being the main stand out! They have created a beautiful fictional world which takes place on locations such as an island that looks similar to Themyscira from Wonder Woman to a city that is reminiscent of a location from Game of Thrones. These are simply breathtaking to just sit back and admire as the characters explore them. While the main characters themselves might not be as aesthetically pleasing and are more minimalist than what you would see in a Ghibli film, they still seem to work very well with this style and genre.
The meat of the story focuses on the main character Maquia and her relationship with her adopted son Erial. Their relationship starts off cute and cuddly with Erial being a baby right through to boyhood, featuring some hilarious and often touching moments between them. However, things get more complicated as he gets older, grows taller and goes through his teenage years on his way to manhood, yet his mum still appears to look like a teenage girl. This is when the story gets deep and ventures into some heart-wrenching scenes. While not everyone can relate to being immortal, everyone can relate to the changing relationships between parents and children as they grow up.
There are also a couple of wonderfully crafted action scenes spread throughout the film which keeps the flow of the film going at a steady pace while also keeping you interested and alert. They could have benefited from another big action scene, but the film already has a near 2-hour run-time and I don't think they wanted to go overboard.
Because the Iolph people are immortal, the story will often leap forward years ahead which can sometimes be a little jarring. Some of the characters don't stand-out as well as others which can leave you confused trying to figure out who is who. However, because of this plot aspect, they manage to create some compelling, powerful and intriguing storytelling which wouldn't be feasible otherwise.
Kenji Kawai took control as the musical composer and really lifted the film to give it the feel of a huge blockbuster film. Kenji Kawai has lent his hand to many massive anime films including Ghost In The Shell and The Sky Crawlers. However, he has also ventured into live-action, composing for films such as Ringu and the massive Ip Man series starring Donnie Yen. Kenji has created a score that fits the film's emotion perfectly while also suiting the medieval setting, and although there are only a few big action scenes, the music really brings them to life. The main title song Viator by Rionos is enchanting and when it plays at the end I overheard more than a few people bubbling away in the theatre.
The film has a few issues for the climax with many false-endings and some over-clarification. I believe the viewers will have already figured it out without them rehashing points and explaining it again. The film manages to redeem itself with their real ending though, which is what viewers will have been waiting patiently for.
When The Promised Flower Blooms is truly magnificent! It's an incredible story of a relationship between mother and son which just so happens to be set in a stunning Game of Thrones-esque fantasy world! Highly ambitious, extremely moving, at times hilarious and completely beautiful from start to finish.
8/10
All The Anime are releasing When The Promised Flower Blooms in select UK and Ireland cinemas on 27th June.
City of Glass 玻璃之城 Year: 1998 Director: Mabel Cheung Writer: Mabel Cheung, Alex Law Starring: Shu Qi, Leon Lai, Daniel Wu, Nicola Cheung Running Time: 110 mins Country: Hong Kong
City of Glass was another commercial success for the tried and tested team-up of director Mabel Cheung and writer Alex Law. But can it match up to their other hits such as An Autumn's Tale, Eight Taels of Gold and The Soong Sisters?
Raphael (Leon Lai) and Vivien (Shu Qi) tragically died in a car accident on their way to a New Year's celebration in London, England. They met and fell in love during their days at the University of Hong Kong in the 1970s, but many challenges and obstacles would often come between them. In the present day, after their funeral, Raphael's son, David (Daniel Wu) and Vivien's daughter, Susie (Nicola Cheung) met for the first time and go on a journey together to discover more about their parent's secret lives.
Following two extremely different love stories, a nostalgic romance in the past and a fresh romance in the present. One story is about destiny and tragedy while the other is more uplifting and positive. Although the film is well written and the characters are extremely likeable, the shifting between stories and time affects the overall drama and impact that the film could have had. It also somewhat hinders the authenticity of the story as Shu Qi and Leon Lai's characters appear to age extremely well. With that being said, Shu Qi is thoroughly engaging and possibly one of the most beautiful screen actresses of all time.
The film is full of stunning still moments with excellent cinematography, dazzling art direction and gorgeous locations, especially capturing the nostalgia of the seventies. Mabel Cheung manages to brilliantly take this period of energetic youth and excitement and frame it all beautifully. The musical soundtrack fits the film perfectly, the choices of songs really set the mood and feelings of the scenes. Leon Lai's rendition of Try to Remember will be lodged in your brain after watching and no doubt you will be humming it for days.
David and Susie are played very well by Daniel Wu and Nicola Cheung. Both are fun characters with a story which unfortunately doesn't receive as much time to blossom. With more development, their romance and side story could have really felt more important. Even with less screen time, the young actors manage to showcase and capture the self-doubt of the Hong Kong youth, some of which is still prevalent to this day.
City of Glass has a lot going on, some of the side-stories and plot devices add to the story, like the Diaoyu Islands dispute, but you are left wondering if it was really needed for the overall story. But in contrast, the Hong Kong handover is used during the story with Wu and Cheung's characters and it embodies the feeling of the whole film. Both sets of love stories can be used as a metaphor for the end of British rule in Hong Kong and the handover to China with an uncertain future ahead.
Overall, it's a flawed film but definitely worth watching. The story, romance and light melodrama are commendable but it's more of a stunning cinematic showpiece with exquisite performances from Shu Qi and Leon Lai that really makes the film feel significant.
Il Mare 시월애 Year: 2000 Director: Lee Hyun-seung Writer: Yeo Ji-na, Kim Eun-jung, Kim Mi-yeong, Won Tae-yeon Starring: Jun Ji-hyun, Lee Jung-jae Running Time: 96 mins Country: South Korea
Il Mare is the Italian translation for "The Sea" which is the name of a beautiful house which both protagonists live in but tragically they are separated by two years in time.
Eun-joo (Jun Ji-hyun) moves out of her house "Il Mare" on the lead up to Christmas in 1999. She leaves a Christmas card in her mailbox for the future owner, asking them to forward any of her mail to her new address in the city. Sung-hyun (Lee Jung-jae) is the original owner of "Il Mare", he moves into the house in 1997 and discovers the Christmas card in his mailbox from Eun-joo, it is signed with the date 1999, Believing it to be a joke, Sung-hyun writes her back telling her so and reminds her that it's actually 1997. The two eventually realise that they live in the same house but are separated by two years of time, after discovering that they can communicate through the mailbox, they start to bond through the letters they send each other.
Jun Ji-hyun has superstar written all over her in this performance but she actually didn't become a megastar until a year later with the release of My Sassy Girl. Il Mare surprisingly did poorly at the box office but later developed a big following among Korean film fans after the home release and Jun Ji-hyun's popularity explosion. It's now regarded as a bit of a classic! Lee Jung-jae and Jun have great chemistry even though they hardly spend any screen-time together. You really believe in both characters and root for them to overcome their obstacles to meet and be together.
Il Mare is a stunning film with exceptional cinematography and stunning locations. The beach and the house sets are breathtaking and inspiring. It really makes you want to live in a location similar to this. The locations for the film were Ganghwa Island's Sukmodo and Jeju Island's Udo, I'm not sure if these are popular locations for movie-fans to visit, but if they aren't then they should be.
The beach setting and calm pacing, topped with a beautifully relaxing piano musical score give the film a tranquil feeling and peaceful vibe. The story and subplots also develop organically at a slower pace which allows viewers the time to piece together clues and absorb every little detail. That being said, the story involving two different timelines can be puzzling at times and a second watch really does the plot justice!
For fans of modern Korean dramas, there is plenty to keep you entertained and plenty of familiarities. The story has many dramatic moments and tears will be shed. Il Mare has similar beats, ideas, acting and pacing. It also has an engaging plot from beginning to end which will keep you emotionally invested.
In 2006 Hollywood attempted a remake of Il Mare titled The Lake House starring Keanu Reeves and Sandra Bullock. It really doesn't come close to the original, especially by simplifying the ending. Avoid it and seek out the far superior original!
Back in 2013, I wrote an article highlighting 3 of my favorite Asian Christmas films from Hong Kong, Japan and South Korea. After rewatching
more this year, I figured a follow up was due with 3 more of my
favourites! So sit down in front of the TV with your family, grab a
Christmas KFC and some mulled wine and let the holiday festivities
begin.
すべては君に逢えたから It All Began When I Met You Year: 2013 Director: Katsuhide Motoki Writer: Atsuko Hashibe Cast: Hiroshi Tamaki, Rin Takanashi, Fumino Kimura, Masahiro Higashide, Tsubasa Honda, Miwako Ichikawa, Saburo Tokito, Nene Otsuka, Nenji Kobayashi and Chieko Baisho Running time: 106 minutes Country: Japan
In 2013 Japan released their Love Actually inspired romantic Christmas film. Following 6 different semi-interlinking stories focusing on 10 different characters in the lead up to Christmas. The film revolves around the location of the magnificent Tokyo Station which was used in celebration of its 100th anniversary.
The characters and their stories feature a wide range of diversity. A train driver has received the news that his illness has left him with only 6 months left to live and he is faced with the difficult decision of telling his son. A long-distance relationship between a fashion designer in Tokyo and a construction worker in Sendai is facing some real tough issues. Will they be able to resolve their schedules and meet each other for Christmas? A miserable company president with severe trust issues meets a woman at a restaurant in Tokyo Station. He believes all women are only after his money but that accusation doesn't sit well with the woman. A 7-year-old girl who lives at an orphanage hopes and prays that her mum will come back to pick her up for Christmas. The owner of a cake shop at Tokyo Station is reminded of a promise she made to her partner 49 years ago while she watches one of her part-time workers nervously try to approach her crush.
The romantic element of "It All Began When I met You" is actually more suited for the Japan setting than it is for the British setting of Love Actually. In Japan, Christmas not being a national holiday, is actually more about couples and dates than it is about family. Many singles desperately try and find someone they can date and spend Christmas with.
While the film may play out like a romantic comedy. The film is actually far from it. Some of the stories are sad and others are downright tragic. Plus some of the "love" stories feature some characters acting like jerks. Some of the stories don't quite touch the heart as much as they should, but still does a fair job of feeling Christmassy and some of the stories shine on their own!
A solid Christmas film with great performances and a beautiful setting. You will laugh, you will cry and probably cry again.
타워 The Tower Year: 2012 Director: Kim Ji-hoon Writers: Kim Sang-don, Heo Jun-seok Cast: Sol Kyung-gu, Kim Sang-kyung, Son Ye-jin Running time: 121 minutes Country: South Korea
2012 saw the release of the surprise Christmas disaster film, The Tower, inspired by The Towering Inferno(1974). Set on Christmas Eve in Seoul and released on Christmas Eve across South Korea on Christmas Day. It's not exactly your everyday standard festive film, think of this one as more of a Die Hard or Batman Returns.
It's Christmas Eve at Tower Sky, a luxury twin-skyscraper in central Seoul as the staff and president prepare for a massive Christmas party. Dae-ho the maintenance manager has a crush on the restaurant manager Yoon-hee, which often causes him to screw up in her presence. Dae-ho's daughter arrives for the Christmas party, but he has to leave her in the care of Yoon-hee as he is forced to deal with security issues including a faulty sprinkler system. While everyone is enjoying the party, the Sky Tower manager dazzles the guests with fake snow being dropped from above from hired helicopters. However, strong winds cause serious disaster as one of the helicopters loses control and crashes into one of the towers. Raging fires soon begin to spread across the building, engulfing floor by floor. Veteran firefighter Young-ki leads the fire department to the scene to try and stop the disaster.
The Tower is easily one of the best disaster films in years. While most disaster films struggle to hold the viewer's attention in the opening act while they patiently wait for the action and chaos to start, The Tower manages to be entertaining from the very start. All of the characters are intriguing and their stories as captivating as you try to suss out who will become the heroes and who will be the victims. The pacing is frantic with none of the acts really dragging out or leaving you bored.
For being a lower budget film than Hollywood counterparts, all of the visual and special effects are brilliant. The scenes with the fire spreading are genuinely scary as are the exploding flames. The film often leaves you feeling on edge and tense and almost claustrophobic as the fire surrounds all the poor guests.
The film definitely has it's Christmas moments. From the party setting, to the Christmas music to the family drama and romance. The first half hour introduces you to the characters and makes you care for them. The next hour and a half is an adrenaline rush and those characters you now care about trying to survive. If you are looking for a 2 hour no-nonsense gripping thrill-ride this Christmas then this one is for you.
MIRACLE デビクロくんの恋と魔法 Miracle: Devil Claus' Love and Magic Year: 2014 Director: Isshin Inudo Writers: Kou Nakamura (novel), Tomoe Kanno Cast: Masaki Aiba, Nana Eikura, Han Hyo-Joo, Toma Ikuta, Hitori Gekidan Running time: 115 minutes Country: Japan
The most original film on the list is easily Miracle: Devil Claus. Not being based on or inspired by another movie but based on an original Japanese novel, this makes Miracle feel all the more uniquely Japanese.
A bookshop worker Hikari(Masaki Aiba) is extremely kind and reserved, not really getting himself out there, his kindness often makes him look pathetic to others. Hikari dreams of becoming a successful manga artist and he spends his free time spreading mysterious flyers called "Debikuro Communication" around the city. He meets a girl one cold winter night that he immediately falls for. Anna(Nana Eikura) has been Hikari's best friend ever since they were children but she secretly wants more from him. It turns out she works with the girl that had the chance encounter with Hikari, a successful lighting designer So-Young(Han Hyo-Joo). Meanwhile, Kitayama(Toma Ikuta) who was friends with Hikari is back in town, he is now a popular manga writer and his life is just about to cross with Hikari once again.
The Devil Claus from the title is actually a fictional character that Hikari creates for one of his manga comics. The character pops up from time-to-time as an animated cartoon character in a real-world setting, looking like a similar effect to Roger Rabbit. It is only Hikari that can see him like an imaginary friend, offering wisdom and often added to scenes for great comic effect.
While not being as cliche as you might first think, it is still a somewhat familiar story of misunderstood love and finding your way, set to the backdrop of Christmas. The story has just enough Christmas and romance to be in that genre without becoming to sickly-sweet. Pretty predictable from start to finish, it never pretends to be anything more than a fun Christmas drama. This is one that will certainly leave you feeling in the Christmas spirit and maybe even hoping for a Christmas miracle. 7/10
So there we have it. Another Christmas is nearly upon us. But there is still some time to sit down with a few festive films and get into the spirit of the holidays.
