Matt Cooper Films

Two on the Edge (2021) by Yusuke Kitaguchi

“Two on the Edge” opens with a harrowing scene in which a young girl sits alone in a dark bathroom, singing ‘Happy Birthday’ to an absent mother. From the bruises on her face and the treatment of her by her mother’s partner it is clear that she is suffering neglect and abuse at the hands of these adults. Many years later, after fleeing home, this girl Otose (Meiri Asahina) is leaving her foster home and begins a job at a hotel, taken under the wing of senior housekeeper Abigail. Shortly after, Otose’s mother Yoko (Akie Namiki) reappears, asking for financial support from her daughter. Otose, happy to be reunited with her, tries to help, but wonders whether her mother has really changed. A subplot sees another mother-daughter relationship, as teen idol Yume (Maki Teraura) discovers she is pregnant and argues with her mother over her future.

Director Yusuke Kitaguchi creates a powerful emotional drama with “Two on the Edge”, dealing with difficult themes of child abuse and neglect, as well as self-harm. The screenplay, by Kitaguchi and Mahiro Yuki, never shows the physical abuse, but the tearful face of child actor playing the young Otose, and the cold-hearted way she is spoken to are hard to watch, suggesting the unseen horrors she is being subjected to. The performances of Meiri Asahina as the older Otose and Akie Namiki as her neglegent mother are exceptional, complex portrayals of women who are both burdened by their past experiences. The film further establishes Otose as a conflicted character by having a representation of her inner critic appear to chide and encourage her. This is well-handled in a film that is mostly down-to-earth realism, showing that she still yearns for her mother’s affection while understanding that she is being manipulated. Kitaguchi’s direction sees hand-held close-ups and incredible use of lighting, creating a dark, intimate portrait of these troubled individuals, and the melancholic score perfectly compliments the drama. The story of Yume and her mother (Kyoko Masago) is almost a counterbalance to the tragedy of the main plot, with their relationship being comparatively less problematic.

“Two on the Edge” deals with the aftermath of child neglect and abuse, as we see the impact it has had on Otose. She is deeply anxious to receive her mother’s love, or at least acknowledgement, but also enough of a realist to apprecaite what has happened to her. The film shows that this kind of abuse leaves a lifelong mark on those it affects. Her mother’s actions are despicable and inexcusable, but the film also hints at a troubled past for her, suggesting she may have suffered hard times in her youth, as she mentions her father losing the family business and drinking heavily as a teen. This notion that abuse can be multi-generational is portrayed well, neither absolving her guilt, nor making her entirely unsympathetic. A powerful drama about the often fraught relationships between mothers and daughters that questions whether forgiveness and redemption are possible in such circumstances.

Matt Cooper Films

Once Upon at Crime (2023) by Yuichi Fukuda

Red Riding Hood and Cinderalla get caught up in a murder investigation in this comic twist on the classic Grimm’s fairy tale. While out walking in the woods, Red Riding Hood (Kanna Hashimoto) comes across Cinderella (Yuko Araki). With the help of two witches they are transformed into beautiful dresses in time for the upcoming ball at which the prince (Takanori Iwata) is to choose a bride. Things begin to go wrong when their carriage, driven by a recently transformed mouse named Paul (Tsuyoshi Muro), hits someone on the road. The investigation into this death, of renowned stylist Hans (Masaki Kaji), sees doubt cast on several individuals before Red Riding Hood’s unique powers of perception and deduction begin to unravel the mystery.

“Once Upon a Crime” is a comic-fantasy that subverts the traditional fairy tales of Red Riding Hood and Cinderella by turning it into a detective drama. Based on a novel by Aito Aoyagi, it has a pantomime feel with over-the-top acting and anachronistic references that add a humorous accompaniment to the central story. The plot is farcical, continually wrongfooting the audience with each new twist, as the ridiculous evidence piles up. The cast do a great job with the comedy, largely aimed at children but with a surreal, nonsensical style that provides some fun moments, such as the mouse carriage driver being asked if he has a license, or the bickering between Barbara the witch (Midoriko Kimura) and Red Riding Hood over her lack of magical ability. The opulent costumes are sure to delight fans of fairytale princesses, along with the extravagant castle, ballroom scenes, and whimsical fantasy moments.

The film is a fun twist on the traditional princesses and damsels in distress, with a superb cast of non-conformist heroines, the whipsmart Red Riding Hood, with her Sherlock Holmes-like powers of deduction, the outrageous Barbara the Witch, whose incompetence is matched only by her self-belief; and Cinderalla, whose character is given more depth that we might expect. The film closes with hints of a sequel and it would be interesting to see what other wild adventures our heroine might end up in. Overall, a fun, lighthearted take on Cinderella with a wry sense of humour that nevertheless succeeds in creating sympathetic characters.

Matt Cooper Films

Hiruko the Goblin (1991) by Shinya Tsukamoto

An archaeologist and a schoolboy must fight a subterranean terror in this B-movie fantasy horror. While investigating an underground cave, Professor Yabe (Naoto Takenaka) and schoolgirl Tsukishima (Megumi Ueno) unwittingly awaken an ancient monster, which decapitates its victims, using their heads as part of its form. Yabe’s friend Professor Hieda (Kenji Sawada) and his son Masao (Masaki Kudo) find themselves battling against this monster, which now has the face of Masao’s former crush Tsukishima. The two are in a race against time to destory the creature and seal the site under the school before there is a mass invasion of them.

Director Shinya Tsukamoto, who rose to fame with his cyberpunk body-horror cult favourite “Tetsuo”, takes on a more traditional horror fare in “Hiruko the Goblin”, based on the “Yokai Hunter” manga by Daijiro Morohashi. The plot is wafer thin, with heroes fighting an inexplicable supernatural threat, but enlivened with some fun side-characters such as Watanabe the janitor (Hideo Murota) who is tasked with defending the school, and the way in which the monsters steal the heads of their victims, creating a sense of terror when Masao and Hieda are forced to face former friends (now transformed into hideous creatures). The film’s practical special effects, including stop-motion, lends the film a hand-made B-movie feel that is in keeping with the shaky plot. The monster design is unique, with arachnid style legs scuttling around with human faces, and their speed and agility is quite horrifying to witness. The film also features some interesting elements with the creatures’ ability to influence the thoughts of its prey, forcing them to reveal information or commit suicide. For the most part a straightforward horror, the film also leans heavily into its fantasy elements, with prophecies, ancient rites, and a quest for a crown in the goblin lair. The soundtrack also straddles both horror and fantasy genres, with ominous notes and a light, plaintive melody sung by the Tsukishima monster suggestive of the Siren song of Greek mythology.

A fun, fantasy horror with a unique monster terrrorizing the protagonists. “Hiruko the Goblin” doesn’t shy away from shock moments but with a fast-paced action style. Fans of low-budget horror special effects will find much to enjoy here too.

Matt Cooper Films

Jigen Daisuke (2023) by Hajime Hashimoto

Tetsuji Tamayama stars as the hitman with a heart of gold in this neo-western-noir based on the popular Monkey Punch manga character. Following a shoot-out in which his famed gunslinging abilities are let down by a hairsbreadth accuracy defect in his gun, Jigen (Tamayama) returns to Japan, where he hasn’t been for years, to find a legendary gunsmith named Yaguchi (Mitsuko Kusabue). On arrival he finds that Yaguchi has given up the underworld and is now focussed solely on watch repairs. However, when a young mute girl (Kotoka Maki) arrives bearing a token from a former friend, Yaguchi asks for Jigen’s help, promising to fix his gun in return.

Jigen is a traditional outsider hero, finding himself drawn into helping people for his own ends, but slowly learning to love his young charge. The character is something of a blank canvas, as is typical with this kind of protagonist, as we see him early in the film travelling the world and showing of his quick-draw abilities. Even when he returns to Japan he seems to have few contacts or connections and we learn little about his life. The film has an interesting mix-and-match tone, with some fantastical sets, such as Deigyo-gai, the home of the cities criminal underclass, alongside many scenes shot in the ‘real world’. It consistently steps a toe outside the bounds of reality, with some comedically over the top fight sequences. The best example of which is perhaps the central villain Adel (Yoko Maki), who performs a backflip in her wheelchair, while firing a gun at multiple assailants. This whole sequence is beyond ridiculous, but in keeping with other moments in the film, such as Jigen’s own preternatural skills with a weapon, or the other antagonist (Masatoshi Nagase), a man who is able to shapeshift his appearance at will. While the story is one that has been told before: lonely hitman has to take care of a young child, the film does a good job with it, layering in several characters, such as Yaguchi, the villains (whose nefarious schemes are as over-the-top as their characters), and some excellent set piece fight sequences. The score also has a western-noir feel, moving between the high-octane action of fights and the emotional moments. A fun watch and it will be interesting to see where the character of Jigen goes in any potential sequels.

The film’s antagonists are attempting to steal hormones from children in order to produce a drug that halts the aging process. Reminiscent of the procedures in “Helter Skelter” (2012) it is a rather gruesome plot for a film that seems quite light-hearted on the surface.The aging Yaguchi stands in stark contrast to Adel, whose obsession with eternal youth sees her becoming increasingly unhinged. Meanwhile, Jigen himself is clinging on to using his first gun, suggesting that he too is tied to his past. In one interesting scene the characters discuss a version of the “Ship of Theseus” thought experiment, questioning whether Jigen’s gun, which has had every part replaced, might still be the same weapon. Jigen explains haughtily that the memories remain, suggesting that this is what is most important in acscertaining whether it is the same item. In the same way the characters appearances, shown most prominently in the chameleonic Kawashima, have little bearing on who they are, it is what is in their heart that is important. While Jigen might exude the aura of a cold-hearted killer, he is inside someone who when it comes to it decides to protect the innocent.

Matt Cooper Films

Tang and Me (2022) by Miki Takahiro

Former pop-idol Kazunari Ninomiya plays an immature man who finds new purpose in life in this children’s science-fiction comedy. Ken (Ninomiya) spends his time playing video games instead of doing chores, frustrating his wife Emi (Hikari Mitsushima). When a robot appears behind his house, Ken believes he might be able to impress Emi by trading the robot by trading it for a more functional model. The robot, also voiced by Ninomiya, has no memory of where it is from and little apparent value, however Ken soon discovers that the robot may be highly sought after. He travels to meet robotic expert Rin (Nao Honda) and Tang is stolen by two shady individuals leading him to try to recover the robot and return it to the professor who built it.

“Tang and Me” is a children’s fantasy adventure based on the book “A Robot in the Garden” by Deborah Install. The story centers on the relationship between Ken and Tang with the slapstick comedy arising from Tang’s childlike naivete about the world pitched firmly at younger viewers. While the plot offers few surprises, Ninomiya does a good job as the hapless Ken, creating a believable relationship with Tang as the two embark on a road trip leading to him maturing as he learns to empathise with the robot. Hikari Mitsushima plays Ken’s long-suffering wife Emi, with a great supporting cast of comic and dramatic actors. The electro-pop and cheerful score provide a light aural accompaniement to the bright, colourful visuals. The future of “Tang and Me” is a utopia of clean streets, drone delivery, gaudy lightshows, and little in the way of threat. The surprisingly violent military application of robotics and Artificial Intelligence is necessitated by the plot, but the film is at pains to point out that this is done at the behest of foreign investors.

Artificial intelligence and machine learning are increasinly becoming an important part of human society. “Tang and Me” shows a world coddled by technology, with the humans facing few problems or dangers. They live in a state of childlike innocence about the world outside. Tang’s appearance forces Ken to face up to his responsibilities and learn compassion for others rather than continuing in his selfish ways. The film also has a strong message about the misuse of technology by humans, showing a scene in which fear causes the robot to brutally massacre both humans and machines, suggesting that the real danger is not the technology but the people who are programming it. Alongside the story of Tang as a surrogate child for Ken, this gives the film a little more depth and makes it an enjoyable all-ages science fiction fable.