Tomie

I wonder about the Japanese sometimes. What motivates them to make a movie? In the case of this one, it appears they just wanted to have Tomie look like Sadako, the nice ghost from Ring. I really can't see any other reason for this movie to exist. It's just that good.

It starts with Tsukiko undergoing hypnotherapy to help recover her memories prior to a traumatic accident. What she has conveniently forgotten is that this accident was actually her witnessing the murder of a classmate named Tomie at the hands of her then-boyfriend. Turns out this isn't the first time this has happened to Tomie. In fact, she (or parts of her) has just moved in to the apartment below Tsukiko, gearing up for a little bit of payback.

Sound interesting? It isn't. It's a good idea: a perpetual murder victim who always comes back to settle the score. But this movie is so poorly directed and written that the story gets overcome by boredom. The filmmakers have even gone so far as to almost make the movie confusing beyond comprehension by inserting an ending that raises more questions than it answers (that and poor subtitling confused the hell out of me). Really not worth the time to watch, plus however long it takes you to figure out what's going on. Avoidable.

From the opening credits, I was hooked. There's a strange static and distorted voice over the black screen with simple white titles. Then we're taken to a noisy city street where a young man is digging through a white paper bag. Within a few seconds, what should be horrifying segues into one of the most beautiful moments of stillness I have ever seen in a film, Asian or otherwise. The music is at once haunting and peaceful. It's like those moments in a Miyazaki film that are so peaceful, with a tinge of Dario Argento's Goblin soundtrack.

It is very hard to find a decent review of this movie. The one positive review I found gave away the entire plot. It's one of those movies that is so metaphor-laden, it makes absolutely no sense if you just watch the images and hear the sounds. Still pretty amazing, but I don't think it would keep someone's attention if they weren't thinking while viewing. There is a lot more going on here than just a few murders.

Like many (too many?) Japanese movies, there is a lot left unsaid. Characters with strange quirks are introduced, and it never explains why they have those quirks. Transitions from one scene to the next sometimes feel awkward. It sometimes feels like you're reading a book by a first-time author, as it is not clear why some scenes are even included. This is not a polished high-quality cinematography type film either...not up to the standards of Ringu or Dark Water. It lies somewhere between the blockbusters and Evil Dead Trap.

Even as I make those criticisms, I could only bring myself to take one smoke break. As much as Tomie may look like Sadako (and every other female ghost), this is a truly engaging film that still has me thinking 24 hours after viewing it.

I watched this, the first of the Tomie series, after having already seen the second, "Tomie - Replay," which builds on the storyline that's started here. From the reviews of I'd read I expected this, the original "Tomie," to be fairly pedestrian and mediocre and... that's exactly what it is.

This one is not really horror, not really even a murder/suspense thing. "Tomie" is rather an interesting but unambitious murder melodrama - that happens to have a few scenes of gruesome violence, an atmosphere of weirdness and creepiness throughout, and which is based on an understated supernatural premise.

I don't think this is as bad as some are letting on though - the story itself holds together nicely, for instance, and in that respect "Tomie" is roughly 50 times better than that contemptible Korean mess called "Tale of Two Sisters" that so many are raving about sycophantically.

The ending is a little arbitrary but that's nothing new to naturalistic fiction; the characters are all interesting and well-acted; the cinematography is gloomy and occasionally oppressive but the choice of camera angles and composition is very well done. The music is probably the scariest thing about this movie. There's an English-language song that's sung in a voice filtered through an absolutely demented signal-processor patch that conveys a palpable and unsettling malevolence. It's just too bad none of that song's creepiness spilled into the movie's plot.

What's lacking is a needed element of intensity that really grabs you and sucks you in. In that sense you could almost consider "Tomie" to be a lengthy trailer or prologue to the vastly-superior "Tomie-Replay." I have yet to see the third and fourth, respectively "Rebirth" and "Forbidden Fruit." This first one is optional - good for Japanophiles and completists - but "Replay" works as a standalone film with no problem. Do *not* miss that one - it's easily one of the best Asian horror flicks I've yet seen and I was not expecting that at all.

I really enjoy this film. I've watched it twice - trying desperately to figure out what the hell happened at the end, but to no avail. Strangely though, I still find myself in love with it. I think it had has a great deal to do with Miho Kanno's performance. And also the mood. And that's what it is: a mood movie. I can excuse the plot. I think I'd rather be confused by a plot than have a badly filmed, acted and directed movie. It's kind of artsy to me. If you're looking for a horror movie that makes perfect sense, and will make you say, 'wow, that's clever!' go home. But if you're in a strange mood, and it needs feedin', go for it!

A slow-burning supernatural drama that's nothing like RING or THE GRUDGE for once. Instead, TOMIE is a comic-book adaptation about an otherwise ordinary schoolgirl who has one special talent: she always, without fail, comes back from the dead.

TOMIE is a weird movie. It's slow-moving and subtle for the most part, and the sometimes disjointed storyline never really visits many places. Horrifying it isn't. On the other hand, it's undoubtedly an atmospheric film full of off-kilter scenes and eerie moments (most of these involving a guy who finds himself 'growing' a new friend).

It's difficult to fault the efforts of cast and crew, and the highlight is the wonderfully weird piece of music that accompanies the titles in which a distorted, computerised voice proclaims an obsessive friendship. Many sequels, of varying quality, followed.