The Third Murder Review 2017 Japan 三度目の殺人

The Third Murder 三度目の殺人
Year: 2017
Director: Kore-eda Hirokazu
Writer: Kore-eda Hirokazu
Cast: Masaharu Fukuyama, Suzu Hirose, Shinnosuke Mitsushima, Mikako Ichikawa, Izumi Matsuoka, Yuki Saito, Kōtarō Yoshida, Isao Hashizume, Kōji Yakusho
Running time: 124 minutes
Country: Japan

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.

7.5/10

Written and reviewed as part of the Glasgow Film Festival 2018

When The Promised Flower Blooms Review 2018 Japan さよならの朝に約束の花をかざろう

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.

Screened and reviewed as part of the Glasgow Film Festival 2018.

Mary and the Witch's Flower Review 2017 Japan メアリと魔女の花

Mary and the Witch's Flower メアリと魔女の花
Year: 2017
Director: Hiromasa Yonebayashi
Writer: Riko Sakaguchi and Hiromasa Yonebayashi
Based On: The Little Broomstick by Mary Stewart
Running Time: 103 mins
Country: Japan

The debut film from Japanese animation company Studio Ponoc screened at the Glasgow Film Festival 2018 in both original Japanese language with English subtitles and the newly produced English dub.

The director of When Marnie Was There returns with a thrilling animated adventure based on the Mary Stewart classic The Little Broomstick. Mary is sent to live with her great aunt in the countryside. Venturing into the woods, she discovers a mysterious blue flower that only appears once every seven years, and an old broomstick. Soon she is soaring beyond the clouds to a city in the sky where Madam Mumblechook presides over the Endor College of Magic. An absolute charmer that young and old alike will love. (Glasgow Film Festival)

Back in 2014 Studio Ghibli announced that it would stop making films after Hayao Miyazaki decided to retire and the company came under financial hardship. There was a missing void in high-quality hand-drawn animation that many feared wouldn't be replaced. But several of the most talented alumni behind Studio Ghibli decided to join forces, start their own production company Studio Ponoc and create animated films in the same traditional fashion. The name Ponoc comes from the Serbo-Croation word for 'midnight' which is meant to signal the beginning of a new day.

Hiromasa Yonebayashi has the all-important job of directing their first feature film. After his successful and highly acclaimed 'Arrietty' and 'When Marnie Was There', Yonebayashi once again returns to the tried-and-tested formula of adapting a British novel to Japanese animation.

On the surface, the film appears to combine elements from classics Kiki's Delivery Service and Castle In The Sky mixed with the wizardry of Harry Potter. Die-hard Ghibli fans will be keen to notice moments or visuals which are lifted from films like Spirited Away, The Cat Returns and Princess Mononoke, almost like they are paying homage. There is also a scene featuring a kid with glasses trying to fly a broom who shares a striking resemblance with Harry Potter, this has to be completely intentional!

As you would expect, Mary and the Witch's Flower is full of vibrant, bright and stunning animation. The backdrops and scenery are beautiful and lifelike. The style and technique looks very Ghibli-esque but it still has some of its own unique flavour. The soundtrack is handled by composer Muramatsu Takatsugu, who also scored Yonebayashi's last film When Marnie Was There, and it is a real highlight of the film. The soundtrack fits the world wonderfully, bringing the drama and action to life with its magical sound. The music also really helps build up the suspense and action towards the climax.

The humour and jokes are handled extremely well with some genuinely great laughs throughout. The cat duo of Tib and Gib are excellent comic relief. Their mannerisms and movements are used to add some real comical humour and the animators managed to capture exactly how cats act and move in real life. Like a Disney film, there are plenty of jokes for adults and children, there were many children in attendance during this screening and they were laughing loudly at many of the gags.

One of the main issues with the film is that the world they have created and its lore is just too large to develop over one movie. It would have ideally worked better over two or three films or maybe even an anime series. The introduction to Endor College for Witches is fascinating and there is some time spent there, but you end up craving more before it's quickly abandoned to further the story. Mary's dilemma and intentions are also never really fully explored or realised, she doesn't have enough drama or consequences in her life, it almost just seems like another day to the protagonist as she never really learns or develops as a character.

The screening I attended was the original Japanese language, which was handled extremely well. But I believe Mary and the Witch's Flower could be seen in either the original Japanese language or the English dub. The film is based on an English book, it's set in England and the characters have English names. I haven't watched the English dub but judging from the trailer the new English voice cast seems to suit the film very well. It could be one of those rare animes which can be enjoyed fully either way.

An excellent stepping point for Studio Ponoc which will draw in the fans of Studio Ghibli while hopefully creating some new fans of their very own. The film isn't ambitious as it could have been but maybe playing it safe was the best option for the beginning of this new company. If their future films are as good as or can improve on Mary and the Witch's Flower then their new work could be truly spellbinding.

7/10

Screened and reviewed at The Glasgow Film Festival 2018

Mifune: The Last Samurai Review 2016

Without them there would have been no Magnificent Seven. Clint Eastwood wouldn't have a Fistful of Dollars. And Darth Vader wouldn't be a Samurai.

Mifune: The Last Samurai, a new film by Academy Award-winning filmmaker Steven Okazaki, explores the accidental movie career of Toshiro Mifune, one of the true giants of world cinema. Mifune made 16 remarkable films with director Akira Kurosawa during the Golden Age of Japanese Cinema, including Rashomon, Seven Samurai and Yojimbo. Together they thrilled audiences and influenced filmmaking around the world, providing direct inspiration for not only The Magnificent Seven and Sergio Leone and Clint Eastwood’s breakthrough, A Fistful of Dollars, but also George Lucas’ Star Wars. Weaving together film clips, archival stills, and interviews with such luminaries as Steven Spielberg and Martin Scorsese. Narrated by Keanu Reeves.

Mifune: The Last Samurai is a chronologically told portrait of one of the most important and influential actors to ever grace the big screen. Mifune as an actor and a person left an undoubtedly large impression on the world, but can an 80 minute documentary do his legacy justice.

Starting off with a brief introduction to Chanbara cinema, the audiences is treated to the foundations of early Samurai films traced back to the earliest days of cinema while viewing a collection of clips from extremely rare or long forgotten films. 'Chanbara' is the Japanese word for “sword fighting films” and is derived from the sound of two swords crashing together. A real highlight is the only surviving scene from a 1926 film ‘Chokon’ in which a Samurai takes on multiple enemies on his own, while licking the blood off of his sword to give him strength.

The documentary goes through his life from being born in China, to getting drafted to fight in World War II, to returning and trying to make a living as an assistant camera-man to then accidentally becoming an actor. All the way until his untimely death. Drawing the attention of Akira Kurosawa at Toho studios, a fierce collaboration between the actor and director started which would stretch over 16 films. Kurosawa left many choices up to Mifune and allowed his to create and mold his own characters, ultimately allowing him to create his own heroes. 

There are many intriguing interviews from big name Hollywood interviews like Martin Scorsese and Steven Spielberg who offer their own praise on Mifune’s work and how it inspired them. But it's the candid interviews from his family, friends and Co-stars that are the real heart of the film. Kanzo Uni was his frequent fight choreographer and takes great delight in telling you he was killed by Mifune onscreen more than 100 times. His daughter explains why Mifune turned down the role of playing Obi-Wan Kenobi after George Lucas himself sought him out.

One of his Co-stars explains a hilarious yet scary situation while shooting the finale of ‘Throne of Blood’ were Mifune’s character is bombarded with hundreds of arrows. What people don't know is that these were all real arrows being shot towards Mifune which he actually had to dodge… and it was college students firing the arrows… and they also had no insurance for this scene. Stories like that show how dedicated to his art that Toshiro Mifune was. And just how crazy he could be.

The main problem with The Last Samurai is it is just too short. It's never really a problem to leave you wanting more. However, appearing in almost 170 feature films, the majority of these films aren't touched upon and some of the big ones are alluded. They also hint at why Mifune and Kurosawa stopped collaborating without really giving any detail. The same can also be said for his documented affair. Although, these could have been avoided because the documentary is more a celebration of his life and career and these issues might bring the tone down.

Mifune: The Last Samurai is still a very well constructed informative picture which will open eyes to newcomers of his work and the Samurai genre. And for his already established fans it offers a great intimate insight into his life with many details and stories they won't be aware of.

7.5/10

Mifune: The Last Samurai screens on Friday 24th February as part of the Glasgow Film Festival.

Glasgow Film Festival 2017

15th - 26th February

Yesterday marked the first full day of this year's Glasgow Film Festival. Showing over 100 films, the GFF is one of the leading UK film festivals. It's guaranteed to be a fun and welcoming event which breathes life in to the already bustling city and nightlife, it's an event that really shouldn't be missed.

This year there is umpteen world cinema screenings at the event including many new releases as well as some bona-fide classics! 

Some of the main highlights include the new Korean Thriller 'Age of Shadows' directed by Kim Jee-woon(I Saw The Devil/A Bittersweet Life). There is also screenings of the new Indonesian action film from the team that brought you The Raid and starring Iko Uwais 'Headshot'.

Some promising Independent films will be screened such as the 2014 Korean film How To Steal A Dog based on the novel by Barbara O'Connor. There is a Canadian/Chinese production Old Stone which will have the director Johnny Ma in attendance. And one that I am extremely excited about is a new anime release A Silent Voice directed by Naoka Yamada(K-On!).

For fans of the golden age of Japanese cinema, there is a retrospective on Toshiro Mifune. Including screenings of the 2015 documentary Mifune: The Last Samurai, there is also some of his classic work being shown including Seven Samurai, Yojimbo and Rashomon. What's even better is that they fall under the Festival for A Fiver category. Which means you can see Seven Samurai on the big screen for £5! 

And that's just the tip of the iceberg. There are many reasons to visit Glasgow Film Festival 2017. For a list of all their screenings and more information visit their official website. Have fun!