Kaiji ~Jinsei Gyakuten Game~

 

This review contains spoilers for the movie Kaiji ~Jinsei Gyakuten Game~

 

Fujiwara Tatsuya (Light in Death Note) stars in this Kafkaesque gambling nightmare in which a loser called Kaiji finds himself in trouble with a loan company. This is no ordinary loan company, however; this one is embroiled in a secret conspiracy to force young men to wager their lives in order to repay their debts. Some Japanese fans have complained that Fujiwara doesn’t look sufficiently like Kaiji, but it’s a complaint best ignored.

I didn’t have an accurate impression going into this film. Simply put, the trailer is a lie. I had every reason to believe that Kaiji was going on a luxury cruise where he would gamble to either repay his debt or die. It certainly starts off that way and I thought the scene where the man in a suit explains the first game and it turns out to be a variation of janken (rock, scissors, paper) was pretty funny. The resulting chaos as some men charge about the boat and some try to fix the game is reminiscent of my time spent teaching in elementary schools as an ALT. The only difference is that losers are dragged outside, presumed by those watching to be killed. I’ll have to consider adding that one to my repertoire.

Kaiji does some fancy things with card-marking in the first game, but gets dragged off to do hard labour because his companion forgot about a card he had in his pocket. With that, the cruise liner arc is finished. Kaiji spends the next few scenes working underground for the loan company, receiving little pay which he and his fellow labourers immediately spend on beer and yakitori.

Wow. Is this an indictment of modern day life? Kaiji’s decision to buy beer and then tons of food to go with it is definitely portrayed negatively. But then he sighs with all the happiness of a man from a beer commercial and you start to wonder again. Another interesting connection are the ones the film draws between gambling, being a slave to money and the legal loan shark-style companies that are popular in Japan.

The movie can’t help but be at least mildly pro-gambling though, as the manga was written by Fukumoto Nobuyuki, who loves devising new games. It’s not the big eyes that distinguish manga from mainstream American comics, it’s the way mangaka (combined writer/illustrators of manga) use their specialty knowledge, whether it be tennis, wine or gambling. However, the film doesn’t know if it celebrates the acquisition of money and making money through gambling, or if it disapproves of this sort of thing.

One scene that deserves special attention is “Brave Men’s Road”, where Kaiji and a number of disposable characters have to walk on a narrow beam between two skyscrapers. Just writing that doesn’t describe the level of tension in this scene. It’s truly amazing and terrifying. You are drawn into the men’s decision-making process and by the time they start to cross the bridge, you’ve already asked yourself if you’d do the same.

The final showdown is similar to the idea behind the first game and is a bit like deciding to play rock, paper, scissors, lizard, Spock instead of rock, scissors, paper. Seems more workable than the card game Rabbit Nabokov from 20th Century Boys though.

In the end, this movie has some great individual scenes worth seeing, but the plot arc is fairly weak.

 

Kaiji ~Jinsei Gyakuten Game~ (カイジ 人生逆転ゲーム) Official Site

 

This review contains spoilers for the movie Kamui Gaiden (カムイ外伝).

 

Kamui Gaiden is based on a manga started in 1965 by Shirato Sanpei, about a ninja who is on the run having left his clan. Kamui is played by Matsuyama Ken’ichi, who is probably most famous for his role as L in the live-action Death Note movies. Matsuyama also appears in Kaiji ~Jinsei Gyakuten Game~, out this weekend in Japan.

This movie starts out with child Kamui watching his master fight against a strong female ninja (Sugaru), which quickly introduces the way fights are choreographed. Ninja can jump-fly as a matter of course, similar to the wire work used in the wuxia genre. This time it looks like CGI, but my partner gave me a suspicious look when I referred to it as CGxia.

Both Kamui’s master and Sugaru fall from a cliff, but the former hangs on, while the latter is presumed to have drowned. Kamui’s master climbs up and pulls a throwing knife from his eyeball, eyeball still attached. He throws it at Kamui’s feet to teach him a lesson. What lesson? Only ninja know.

That sets the pace for the first half hour or so as adult Kamui encounters and fights other ninja and bandits in a bloody but non-gory way. I got to admit, this was often pretty cool and I love this style of cinema, even when it’s not done particularly well.

But then the plot starts. I feel terrible for typing that. For the next hour or so, there’s no more fighting and Kamui learns to fish and falls in love. Not with the tough female ninja we saw earlier, but a teenage girl called Sayaka. This is possibly more realistic, but not very interesting. However, Matsuyama does spend a scene walking around in a fundoshi and I suspect there’s someone out there for whom this will make the entire movie. Me, I liked the wuxia sharks.

Okay, they’re not technically wuxia sharks. After all, they don’t practice martial arts or exhibit chivalrous or ‘xia’ tendencies. But they linger and pose in the air as they jump. They might just know kung fu.

Then there are the ninja-pirates, confusing all internet debates forever. The pirate ninja leader is played by Itou Hideaki and the fighting resumes in the impressive final showdown between him and Kamui.

Overall, I just wanted to cut out much out the middle part and leave in all the amazing silliness and ridiculous ways of offing people. More beer would’ve been nice too.

 

Kamui Gaiden Official Site

 

20th Century Boys movie poster.

This review contains spoilers.

Kenji is upset. He’s upset because the plans made by a club that he formed when he was a kid are now being used to destroy the world. Successfully.

The leader of the revolution is Tomodachi (“Friend”) and his political party called Yuumintou (“Friendship Democratic Party”). Step by step, his plans for world domination follow the crude drawings of Kenji and his friends. These illustrations depicted terrorists and the boys (and one girl) imagined themselves as a superhero team who could stop them.

The beginning of the end starts when Kenji starts seeing the symbol that they designed everywhere, particularly in connection with the death of his friend, Donkey. You probably know it by now as the hand/eye emblem used in all the advertising for these movies. It’s creepy and mysterious as Kenji enlists his former friends to find out who is behind this and also functions as a (brief) meditation on childhood memory.

It’s so creepy that it’s almost a disappointment when the giant robots show up in the end. Having said that, you have to have a certain amount of respect for a movie trilogy that has already destroyed most of the world by the end of the first part.

What really struck me is that, according to this movie, Japan hasn’t really changed much from the late sixties to the present day. The 1970s school might well have been filmed without making any changes. The only difference I noted throughout the film was the size and technology of the mobile phones. I have no idea if this is accurate, or if they were making a point as the world only really changes after Tomodachi achieves power. Due to the movie’s depiction of time, you watch as the characters change and grow up, only to be murdered or end up working in a convenience store. That left me feeling quite unsettled, although I doubt that was the point.

Worth mentioning is that (so far), you don’t need to have read the manga to be able to follow it all. The movie explains everything you need as you go. I’m looking forward to the next parts.

Twentieth Century Boys: The Beginning of the End // Nijusseiki Shounen: Owari no Hajimari and Twentieth Century Boys: Final Hope // Nijusseiki Shounen: Saigo no Kibou are available to rent on DVD in Japan. The third and final part (Twentieth Century Boys: Our Flag // Nijusseiki Shounen: Bokura no Hata) will get its cinematic release on 29th August.

The official site is here. If you thought my review was fun, check out my review of G.I. Joe.

Yakiniku

 

Please note that this review contains spoilers.

 

Every summer a cry goes up. “Movies these days have been designed for ten year old boys with tiny attention spans!” they say. If you took one of these critics and asked them to create a parody of what they thought movie execs wanted, in between muttering “Then he joins two katana together to make a double katana,” and “So he covers his face in silver and renames him Destros,” they would have written the script to G.I. Joe: The Rise of Cobra.

GI Joe makes it work by using everything they can think of. When it gets a bit too silly, they add another trope to the mix and make it even sillier. Evil guy with a mask and monocle? Sure, but how about if we made him the brother of the main guy’s love interest? (I would love to recommend TV Tropes to you, but I’ve never known anyone to make it out of that site alive). It’s internally consistent and it makes perfect sense when it turns out the two ninja, one dressed in black and the other in while, have a shared history.

One has to disguise one’s love for these movies, of course. It’s appropriate to say, “While it didn’t shed any light on the mystery and existential nature of the human condition, it was in accordance with the way the trailers portrayed it.” You can’t say, “The fight scenes and explosions were really cool and that evil ninja in white was awesome!”

But GI Joe IS awesome. Not awesome as might be commonly understood to mean ‘very, very good,’ but awesome as in the moment The Doctor describes the way he’s injected a serum into a group of men to take away their sense of fear in order to turn them into an army of killing machines. Then he makes one stick his hand into a terrarium holding a king cobra, which bites the guy, but his body pushes out the poison. Then there’s another explosion, or something. See? AWESOME.

Incidentally, said awesome evil ninja (Byung-hun Lee) will turn up very soon in The Good, The Bad, The Weird a movie from South Korea which looks like it’s going to be… y’know… awesome. The release date for “GBW” in Japan is August 29th.