andrez_iffy
Joined Feb 2006
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Reviews10
andrez_iffy's rating
Underrated and often unappreciated, but a hidden gem of recent Japanese cinema, starring the inimitable Kiichi Nakai - with a grasp for comedy and hamming up some moments; acting sublimely at others.
Patience and a better understanding of the period concerned (about to crossover from Nobunaga Oda into the Tokugawa/Edo period in the late 16th Century, when Japan was on the cusp of civil war) also go far.
While some of the background effects are not particularly convincing (the early attack on Iga, for instance, and the decapitated head that spits across the screen), most of the sets are appropriate backdrops for some often inspired dialogue and innuendos.
Musically, too, the movie rings true, opting for traditional instrumentation rather than the J-Pop sounds that have hallmarked a lot of other Japanese period pieces.
Andrez Bergen
Patience and a better understanding of the period concerned (about to crossover from Nobunaga Oda into the Tokugawa/Edo period in the late 16th Century, when Japan was on the cusp of civil war) also go far.
While some of the background effects are not particularly convincing (the early attack on Iga, for instance, and the decapitated head that spits across the screen), most of the sets are appropriate backdrops for some often inspired dialogue and innuendos.
Musically, too, the movie rings true, opting for traditional instrumentation rather than the J-Pop sounds that have hallmarked a lot of other Japanese period pieces.
Andrez Bergen
'Dororo' a tale of lost opportunity (and body parts).
By Andrez Bergen (Daily Yomiuri/de-VICE).
Directed by Akihiko Shiota. Cast: Ko Shibasaki, Satoshi Tsumabuki, Kiichi Nakai, Mieko Harada, Kumiko Aso.
There are so many reasons why Dororo, touted by Toho as a supernatural samurai action flick, ought to succeed in such a cross-genre context.
One: Its fight sequences are supervised by Ching Siu-tung - the man who choreographed the giddy brawls in Zhang Yimou's martial art romps House of Flying Daggers (2004) and Hero (2002), and previously directed the hilarious Jet Lee/Takeshi Kaneshiro action spoof, Dr. Wai and the Scripture Without Words (1996).
Next: There's the pivotal acting triumvirate of Ko Shibasaki, who was a revelation as the ruthless Mitsuko in Batoru Rowaiaru (aka Battle Royale, 2000), along with Satoshi Tsumabuki (Waterboys), and Kiichi Nakai.
Nakai was as eloquently dramatic in Mibu Gishi Den (When the Last Sword is Drawn, 2003) as he was effortlessly funny in the "Samurai Cellular" segment of filmic anthology Yo nimo Kimyo na Monogatari: Eiga no Tokubetsuhen (Tales of the Unusual, 2000).
Lastly, the story: originally a manga series penned in the late '60s by the late Osamu Tezuka - he who also created the legendary Tetsuwan Atomu (Astro Boy) and Janguru Taitei (Kimba the White Lion).
Yet, in spite of all these positives, director Akihiko Shiota conspires to produce a live-action movie lacking in ingredients essential for any genre: a decent plot, solid acting, or believable special effects.
For starters, Shibasaki is just too old (at 25) to kid around playing the wild, street-smart child thief of the title, and Tsumabuki lacks the charismatic stamina to retain the focus as the film's lead.
Nakai, our hero's misguided father, summons up a surprisingly lackluster performance; he's merely nonplussed even about having five arrows stuck in his back while conjuring up a host of evil demons.
These actors, along with the criminally underused Mieko Harada (an Akira Kurosawa veteran), suffer at the hands of Shiota, who previously helmed irresolute outings like Kanaria (2005) and Yomigaeri (2002).
More pertinently, Tezuka's original source material borders upon the macabre, which in this context undermines what really aspires to be a light-hearted buddy movie.
Perhaps the scribe's expert knowledge as the holder of a medical degree accounts for this uncomfortable focus, and the way in which the yarn offers a strenuous nod in the direction of Frankenstein's monster.
It goes like this: Hyakkimaru (Tsumabuki) is born without 48 body parts, because they were filched from him in a prenatal deal initialed by his samurai dad (Nakai) with those aforementioned demons.
The baby, which brings to mind Eraserhead, is lobbed into a casket and launched down a river, all Moses-like, then chances to be rescued by an alchemist who has the ability to fashion replacement parts - just so Hyakkimaru can head out, team up with the boisterous Dororo (Shibasaki), slay the demons, and retrieve his real bits and pieces.
Different scenes suggest a diverse array of influences. One tavern scene looks like it came straight from Conan the Barbarian, while some talking rats seem to be accessories from The Goodies.
It's all too clear that Shiota - like Tezuka before him - isn't quite sure whether to pursue the supernatural, the bawdy, a good laugh, or full-on action - and instead confuses the whole caboodle.
The movie opens today. (Jan. 27, 2007)
By Andrez Bergen (Daily Yomiuri/de-VICE).
Directed by Akihiko Shiota. Cast: Ko Shibasaki, Satoshi Tsumabuki, Kiichi Nakai, Mieko Harada, Kumiko Aso.
There are so many reasons why Dororo, touted by Toho as a supernatural samurai action flick, ought to succeed in such a cross-genre context.
One: Its fight sequences are supervised by Ching Siu-tung - the man who choreographed the giddy brawls in Zhang Yimou's martial art romps House of Flying Daggers (2004) and Hero (2002), and previously directed the hilarious Jet Lee/Takeshi Kaneshiro action spoof, Dr. Wai and the Scripture Without Words (1996).
Next: There's the pivotal acting triumvirate of Ko Shibasaki, who was a revelation as the ruthless Mitsuko in Batoru Rowaiaru (aka Battle Royale, 2000), along with Satoshi Tsumabuki (Waterboys), and Kiichi Nakai.
Nakai was as eloquently dramatic in Mibu Gishi Den (When the Last Sword is Drawn, 2003) as he was effortlessly funny in the "Samurai Cellular" segment of filmic anthology Yo nimo Kimyo na Monogatari: Eiga no Tokubetsuhen (Tales of the Unusual, 2000).
Lastly, the story: originally a manga series penned in the late '60s by the late Osamu Tezuka - he who also created the legendary Tetsuwan Atomu (Astro Boy) and Janguru Taitei (Kimba the White Lion).
Yet, in spite of all these positives, director Akihiko Shiota conspires to produce a live-action movie lacking in ingredients essential for any genre: a decent plot, solid acting, or believable special effects.
For starters, Shibasaki is just too old (at 25) to kid around playing the wild, street-smart child thief of the title, and Tsumabuki lacks the charismatic stamina to retain the focus as the film's lead.
Nakai, our hero's misguided father, summons up a surprisingly lackluster performance; he's merely nonplussed even about having five arrows stuck in his back while conjuring up a host of evil demons.
These actors, along with the criminally underused Mieko Harada (an Akira Kurosawa veteran), suffer at the hands of Shiota, who previously helmed irresolute outings like Kanaria (2005) and Yomigaeri (2002).
More pertinently, Tezuka's original source material borders upon the macabre, which in this context undermines what really aspires to be a light-hearted buddy movie.
Perhaps the scribe's expert knowledge as the holder of a medical degree accounts for this uncomfortable focus, and the way in which the yarn offers a strenuous nod in the direction of Frankenstein's monster.
It goes like this: Hyakkimaru (Tsumabuki) is born without 48 body parts, because they were filched from him in a prenatal deal initialed by his samurai dad (Nakai) with those aforementioned demons.
The baby, which brings to mind Eraserhead, is lobbed into a casket and launched down a river, all Moses-like, then chances to be rescued by an alchemist who has the ability to fashion replacement parts - just so Hyakkimaru can head out, team up with the boisterous Dororo (Shibasaki), slay the demons, and retrieve his real bits and pieces.
Different scenes suggest a diverse array of influences. One tavern scene looks like it came straight from Conan the Barbarian, while some talking rats seem to be accessories from The Goodies.
It's all too clear that Shiota - like Tezuka before him - isn't quite sure whether to pursue the supernatural, the bawdy, a good laugh, or full-on action - and instead confuses the whole caboodle.
The movie opens today. (Jan. 27, 2007)
Pixar's "Cars" stalls mid-race...
By Andrez Bergen @ de-VICE / Daily Yomiuri (Japan).
Ever since Steve Jobs rather presciently snapped up the former computer graphics division of Lucasfilm, Ltd., for a measly $10 million back in '86, Pixar has accelerated its winning streak in Hollywood animation stakes, against inconsistent competitors like DreamWorks.
Last year was the studio's most profitable to date, raking in 15 times Jobs' original investment - mostly on the back of The Incredibles (2004) and Finding Nemo (2003). This January, Pixar also scored the keys to the Magic Kingdom, via its merger with Disney.
It's been a mesmerizing ride.
Throughout its 20-year jaunt, through earlier hits like Toy Story (1995) and Monsters, Inc. (2001), Pixar's strength has been not just its uber-progressive eye for CG detailing, but the team's sense of humor and flexibility with its intended target-audiences - an animated sortie by Pixar can appeal equally to preschool whipper-snappers and grouchy retirees' laugh quotas.
The versatility of the studio's subject-matter over the years has also been enviable, Pixar proving itself as adept at lampooning cultural icons as it has been at unfurling cool characters for kids' lunchboxes.
On first impressions, with Pixar's founding father, John Lasseter, back in the driver's seat after a seven-year directorial hiatus, Cars has all the essential ingredients to create another sure-fire winner - checkered flag, lunchbox and all.
But scrape beneath its waxed and polished exterior, and you may walk away a tad disappointed.
Let's start with the plot premise: Churlish, high-octane motor-racing rookie Lightning McQueen (Owen Wilson) sets the track afire and is all set to take the national championship before an accidental detour off Route 66 sets him in the slow-lane in a sleepy little hick town called Radiator Springs.
There he realizes the error of his ways and becomes best buddies with a multicultural cross-section of motor vehicles bearing engines of gold; he also gets the chance to fall in love with someone aside from himself, and saves said town from obscurity.
All in all, it's a bit like Toy Story on wheels, filtered through a homogenized host of celluloid predecessors including City Slickers, U-Turn and Petticoat Junction.
While at times quirky, mostly this yarn borders on pedestrian. Chances are it's all the backseat drivers involved - Lasseter may have written and directed with Joe Ranft (who was tragically, if ironically, killed last year in an automobile accident), but there was scripting input from at least nine other people.
The cast also struggles to turn over. Cars plunks 81-year-old veteran actor Paul Newman alongside the more comic-inclined Wilson, Michael Keaton, Cheech Marin, and Pixar regular John Ratzenberger (Hamm the Piggy Bank in Toy Story).
Ratzenberger is side-tracked (as Mack, the transport truck) until the final credits, Marin fills out a tired Latino stereotype, Keaton isn't allowed driving time to develop his surly take on McQueen's chief racing rival, and Wilson is unusually flat as the stockcar infant terrible.
It's left to Newman to save the (spoken-word) day, but even his gravely intonations - as Doc Hudson, the 1951 Hudson Hornet M.D. with a mysterious, racy past - aren't quite up to the Herculean task here.
Lasseter has confirmed that the character name of Lightning McQueen is in part a homage to the late, great Steve McQueen, the actor who pushed the driving envelope in movies like Bullitt and Le Mans; Newman himself has been a renowned car racing nut for years on end. Classic Pixar would've tweaked this angle for more than it was worth, yet all we get here is Lightning McQueen's racing number - 95 - which is a mundane reference to the year Toy Story was released.
There are some genuinely funny sequences here, like the tractor-tipping, the closing-credits Ratzenberger rant, and the flying bugs which are, yes, VW Beetles. But these moments are fleeting and spaced far apart.
Most surprising is the lack of depth in the personas - particularly since Pixar usually renders insightful character designs and personalities. This may be just animation, but coloring between the lines is essential.
Luigi, the 1959 Fiat 500, and Fillmore, the 1960 Volkswagen Kombi van, offer cute asides, but visualizing central character Sally (voiced by Bonnie Hunt) as a 2002 Porsche 911 is a bland choice for the love interest. Wouldn't a 1969 VW Karmann Ghia or a 1960 Volvo P1800S Sports qualify as far more sexy options, if we're going to get all auto-erotic? For a studio following up on its two most internationally successful films, in its 20th anniversary year, Cars is Pixar's least satisfying outing.
Unless you reside in the heartland of the American Midwest, twiddle with V8 engines, listen to country music, smash the odd mailbox, vote for George W., have secret hankerings for reruns of The Beverley Hillbillies, or adore NASCAR racing - as Lasseter does - your attention span may start sputtering before you've completed the first lap.
By Andrez Bergen @ de-VICE / Daily Yomiuri (Japan).
Ever since Steve Jobs rather presciently snapped up the former computer graphics division of Lucasfilm, Ltd., for a measly $10 million back in '86, Pixar has accelerated its winning streak in Hollywood animation stakes, against inconsistent competitors like DreamWorks.
Last year was the studio's most profitable to date, raking in 15 times Jobs' original investment - mostly on the back of The Incredibles (2004) and Finding Nemo (2003). This January, Pixar also scored the keys to the Magic Kingdom, via its merger with Disney.
It's been a mesmerizing ride.
Throughout its 20-year jaunt, through earlier hits like Toy Story (1995) and Monsters, Inc. (2001), Pixar's strength has been not just its uber-progressive eye for CG detailing, but the team's sense of humor and flexibility with its intended target-audiences - an animated sortie by Pixar can appeal equally to preschool whipper-snappers and grouchy retirees' laugh quotas.
The versatility of the studio's subject-matter over the years has also been enviable, Pixar proving itself as adept at lampooning cultural icons as it has been at unfurling cool characters for kids' lunchboxes.
On first impressions, with Pixar's founding father, John Lasseter, back in the driver's seat after a seven-year directorial hiatus, Cars has all the essential ingredients to create another sure-fire winner - checkered flag, lunchbox and all.
But scrape beneath its waxed and polished exterior, and you may walk away a tad disappointed.
Let's start with the plot premise: Churlish, high-octane motor-racing rookie Lightning McQueen (Owen Wilson) sets the track afire and is all set to take the national championship before an accidental detour off Route 66 sets him in the slow-lane in a sleepy little hick town called Radiator Springs.
There he realizes the error of his ways and becomes best buddies with a multicultural cross-section of motor vehicles bearing engines of gold; he also gets the chance to fall in love with someone aside from himself, and saves said town from obscurity.
All in all, it's a bit like Toy Story on wheels, filtered through a homogenized host of celluloid predecessors including City Slickers, U-Turn and Petticoat Junction.
While at times quirky, mostly this yarn borders on pedestrian. Chances are it's all the backseat drivers involved - Lasseter may have written and directed with Joe Ranft (who was tragically, if ironically, killed last year in an automobile accident), but there was scripting input from at least nine other people.
The cast also struggles to turn over. Cars plunks 81-year-old veteran actor Paul Newman alongside the more comic-inclined Wilson, Michael Keaton, Cheech Marin, and Pixar regular John Ratzenberger (Hamm the Piggy Bank in Toy Story).
Ratzenberger is side-tracked (as Mack, the transport truck) until the final credits, Marin fills out a tired Latino stereotype, Keaton isn't allowed driving time to develop his surly take on McQueen's chief racing rival, and Wilson is unusually flat as the stockcar infant terrible.
It's left to Newman to save the (spoken-word) day, but even his gravely intonations - as Doc Hudson, the 1951 Hudson Hornet M.D. with a mysterious, racy past - aren't quite up to the Herculean task here.
Lasseter has confirmed that the character name of Lightning McQueen is in part a homage to the late, great Steve McQueen, the actor who pushed the driving envelope in movies like Bullitt and Le Mans; Newman himself has been a renowned car racing nut for years on end. Classic Pixar would've tweaked this angle for more than it was worth, yet all we get here is Lightning McQueen's racing number - 95 - which is a mundane reference to the year Toy Story was released.
There are some genuinely funny sequences here, like the tractor-tipping, the closing-credits Ratzenberger rant, and the flying bugs which are, yes, VW Beetles. But these moments are fleeting and spaced far apart.
Most surprising is the lack of depth in the personas - particularly since Pixar usually renders insightful character designs and personalities. This may be just animation, but coloring between the lines is essential.
Luigi, the 1959 Fiat 500, and Fillmore, the 1960 Volkswagen Kombi van, offer cute asides, but visualizing central character Sally (voiced by Bonnie Hunt) as a 2002 Porsche 911 is a bland choice for the love interest. Wouldn't a 1969 VW Karmann Ghia or a 1960 Volvo P1800S Sports qualify as far more sexy options, if we're going to get all auto-erotic? For a studio following up on its two most internationally successful films, in its 20th anniversary year, Cars is Pixar's least satisfying outing.
Unless you reside in the heartland of the American Midwest, twiddle with V8 engines, listen to country music, smash the odd mailbox, vote for George W., have secret hankerings for reruns of The Beverley Hillbillies, or adore NASCAR racing - as Lasseter does - your attention span may start sputtering before you've completed the first lap.