Matt Cooper Films

Demolition Girl (2019) by Genta Matsugami

High-schooler Cocoa (Aya Kitai) attempts to scrape together enough money to attend college by acting in videos crushing objects with her feet. With her unemployed father (Yota Kawase) spending his days gambling away his benefit money, and her brother lounging at home, Cocoa must work to support her own dreams of attending college. A former friend of her brother, Naoki, films her stomping on trash, cans, balloons, and other things while dressed in her uniform, which he then sells on as fetish tapes to a low-level gangster to distribute. While Cocoa continually strives, using whatever means she can, to support herself; the world seems constantly turned against her, with her father’s recklessness; the school authorities lack of compassion; and the gangster’s selfishness, confounding her hopes at every turn.

“Demolition Girl”, directed by Genta Matsugami from a screenplay by Matsugami and Yoshitaka Kasui, is an interesting take on the coming-of-age drama, with a great central performance from Aya Kitai as Cocoa. Her challenging circumstances, living with her lazy, feckless, father and older brother, create immediate sympathy, along with her determined attitude to overcome them. She has good chemistry with her two schoolfriends, who both come from more comfortable family circumstances, in sharp conrast to her own struggles. The fetish videos are bizarre but get across the point the film is attempting to make about the constant exploitation of the poor by society and how the pursuit of money leads people into degrading states of being. Matsugami’s direction features some fun moments such as the standoff between Cocoa and the gang leader near the end of the film in one long, tense, take.

“Demolition Girl” has several familiar themes which it handles expertly, without being too heavy-handed in its messaging. Cocoa’s ability to pick herself up after every setback is commendable, and sets her apart from the grasping, self-centered immorality of the gangsters and her own family. We see society as deeply flawed, failing to protect the most vulnerable and well-meaning individuals, while illegality goes unpunished. In the end, Cocoa realises that the only way to truly thrive is to stick to your own values, rather than being pressured into forsaking your sense of self-worth or striving to fit societal expecations. Money and power often force people into unnatural self-abasement and the film’s conclusion applauds those who are able to step away from our warped value system towards self-belief and eschewing the twisted morality of modern capitalism.

Matt Cooper Films

Suspect X (2008) by Hiroshi Nishitani

Based on the novel “The Devotion of Suspect X” by Keigo Higashino, this big budget crime thriller proves a great adaptation. Single-mother Yasuko Hanaoka (Yasuko Matsuyuki) kills her ex-husband after he unexpectedly reappears and threatens her and her daughter Misato (Miho Kanazawa). Their math-genius neighbour Mr. Ishigami (Shinichi Tsutsumi) decides to help them, with seemingly little motivation other than a desire not to see them arrested for murder. Ishigami devises a plan that appears to throw off detectives Utsumi (Ko Shibasaki) and Kusanagi (Kazuki Kitamura) who are assigned to the case; that is until they bring in physics professor Yukawa (Masaharu Fukuyama), an intellectual powerhouse comparable to Ishigami, and a former friend from their university days. While suspicions swirl around Ishigami it seems that he has created a puzzle that no-one other than Yukawa may be able to solve.

“Suspect X” inverts the usual crime narrative, by giving us full details of the murder early in the film; and instead focussing on the method by which Yasuko and Ishigami may or may not escape detection. Following fairly closely the plot of Higashino’s novel the film centres on the main cast, throwing up potential clues along the way as the detectives and Yukawa battle to uncover exactly what happened, while Ishigami waits patiently to discover if his ruse will hold. Masaharu Fukuyama and Shinichi Tsutsumi as the erstwhile university friends prove the perfect foils for one another, both highly intelligent and somewhat aloof from everyday society. Ishigami is quiet and sympathetic, leading a drab, mundane existence that is far from challenging his exceptional intellect; while Yukawa’s distance from everyday concerns stems from an absolute dedication to the world of science and logic, shunning the unpredictability of human affairs. The film’s budget and Nishitani’s direction bring to life the world of Higashino’s novel, lingering on certain hints to the final revelation and adding a touch of cinematic magic to a couple of Yukawa’s explanations, such as a sequence in which he explains the concept of doppelgangers (seeing him appear in duplicate) and his first scene which sees him conducting a large-scale (and somewhat unbelievable) experiment to prove a point to detective Utsumi.

While “Suspect X” features several stunning twists in its final third, it is underpinned by an emotional human drama to match the purely intellectual exercise of working out how Ishigami seeks to exonorate his neighbours. It is possible to sympathise with the actions of Yasuko and her daughter, and we are drawn in to hoping that they are somehow able to get away with murder. Ishigami is a more complex character, certainly flawed and vulnerable, but with praiseworthy characteristics of selflessness and intelligence. Yukawa’s role is interesting as he is almost an antagonist at times, working to uncover the criminal deception that will see a mother and daughter potentially imprisoned for murder, albeit arguably committed in self-defence. The film also touches on themes of loneliness, homelessness, and what the purpose of our existence is. Ishigami is a memorable character precicely because he is imperfect, driven by both joy and pain. A highly entertaining film with great production value, cast, and a story that has hidden depths.

Matt Cooper Films

Kidan Piece of Darkness (2016)

An anthology of short horor tales by various directors offers mild thrills and creative takes on the traditional ghost story. This collaboration consists of segments by Mari Asato, Hiroki Iwasawa, Eisuke Naito, Yoshihiro Nakamura, Hajime Ohata, and Koji Shiraishi. The short films are unconnected save by theme, with the framing device of a narrator who has heard these tales from anonymous individuals. There are several featuring children, school pupils or teachers, but there are no overlapping characters. While the stories each have a unique take on hauntings, they struggle with a lack of characterisation and deeper exploration of themes due to their restricted length, most around the ten minute mark. The best stories are those that tie everyday fears to their supernatural antagonists; for example a later tale about a mysterious pregnancy, and one concerning a group of primary school children playing in a graveyard who are injured one-by-one. Others, such as the early tales of the shadow man, or the red woman, appear far more superficial in their narratives.

Overall, the film is an interesting experiment by the directors to put together an anthology, and you get the sense that some used the opportunity to try out new ideas. The direction is solid throughout, as might be expected from such a talented group, particularly in the use of framing and editing to evoke a feeling of unease. The sudden appearance of a bloodied figure before the film cuts to black is a perfect example of an effective way to shock the audience while leaving them questioning exactly what they just witnessed. There are several themed around suicide, relationships, and children, all common tropes in this genre. “Kidan Piece of Darkness” offers an easy watch and it moves along at a good pace. Unfortunately, the abundance of ghosts has a pernicious effect: rather than increasing tension it feels more like flicking through an encyclopedia of ghosts without spending time to really feel any kind of emotional attachment to the characters, or terror of the ghouls themselves. A good introduction to Japanese horror, but perhaps too tame for long-term fans.

Matt Cooper Films

Scoop! (2016) by Hitoshi One

A veteran freelance photo-journalist is forced to partner with a rookie reporter in this dark comedy about celebrity culture and the press. Shizuka Miyakonojo (Masaharu Fukuyama) earns a living by taking photos of celebrities in compromising situations: hanging out at girl’s bars, having affairs, or being caught blind drunk. He gets by selling his snaps to his ex-wife Sadako (Yo Yoshida) who works at ‘Scoop!’ magazine, which specializes in celebrity gossip and soft-core pornography. Lone-wolf Shizuka is teamed up with newbie reporter Nobi Namikawa (Fumi Nikaido) and the pair are tasked with getting high quality content for the magazine. The mismatched pair soon form a bond over their secretive activities and schemes to secure stories. Danger is never too far away however with Shizuka’s unhinged friend Chara (Lily Franky) lurking in the background.

“Scoop!”, directed by Hitoshi One from a script by One and Masato Harada (“Bounce Ko Gals”), is a thrilling ride from start to finish. The plot is set up as a straightforward odd couple team-up, with both Masaharu Fukuyama and Fumi Nikaido bringing charisma and chemistry to their roles. Shizuka is a fairly unlikeable character, but Fukuyama’s performance shows us this broken individual hides anxieties about his failure to make something of his life; while Fumi Nikaido brings a cheerful optimism and steely determination to Nobi. The supporting cast are also great, including Yo Yoshida and Kenichi Takito as editors at the paper, and Lily Franky in a role that runs the gamut from humorous to terrifying. The creative camerawork helps the film feel fresh throughout, with a fantastic opening sequence that follows Shizuka from an intimate moment in his van to tailing his mark in a single spellbinding take. The film has a comedic tone, but is always skirting darker elements: sex work, rape, and murder. The ending is shocking for anyone expecting a simple ‘enemies-to-friends’ narrative, but in context makes perfect sense, feeling as if the constant toying with disaster finally catches up with the protagonists.

“Scoop!” takes an unflinching look at the world of paparazzi, who spend their lives following around celebrities to catch them unawares. It’s a seedy existence, using others for personal gain, that borders on the criminal. We are drawn into the excitement of the chase with Shizuka and Nobi and it becomes easy to forget that there are real people involved, as they see them simply as targets. However, in the latter half the film begins to examine the morality of their actions more closely, questioning the purpose of the press in holding politicians to account and covering serious topics such as crime, rather than the more frivolous gossip of celebrity affairs and drinking parties. The film’s climactic moments challenge us with a brutal sequence involving murder, a topic hinted at earlier when the characters are tasked with taking a photograph of a rapist-murderer. This sudden explosion of violence confronts us with the fact that while these magazines may appear to be inconsequential there are real victims behind the stories; and real suffering happening in society. It is easy to forget in a media-saturated world our responsibilities to each other. “Scoop!” is well worth a watch for its entertaining plot, actors at the top of their game, and a conflicted protagonist that questions the morality of journalism in the modern era.

Matt Cooper Films

A Stray Crow Samurai (2025) by Tomohiko Yamashita

In 1666, a young boy, Jiro (Fuju Kamio), witnesses his uncle (Kippei Shiina) massacre his entire family and household. Fleeing from their village, Jiro returns 14 years later seeking revenge and answers from his relative. When he returns he finds his uncle has become the ‘Stray Crow’ of the title, dressed humbly he spends his time helping the common folk with daily chores. Aided by a shogunate spy, and local inspector Maehara (Soko Wada) who also bears a grudge against Jiro’s uncle, he attempts to enact his revenge. Jiro is also helped by a young woman, Eri (Chihiro Yamamoto), who is one of the town’s most impressive swordfighters.

Adapted from the novel by Ryo Akagami, “Stray Crow” leans into melodrama, with the opening sequence seeing a violent skirmish amongst a thunderstorm before the house is set on fire, and young Jiro fleeing through the rain with the flames roaring behind him. The film is strongly plotted, but the sets feel lifeless and Tomohiko Yamashita’s direction uninspired. There is a sense of theatricality, as though the characters are walking through a samurai-era themepark rather than truly inhabiting this world. The final twist in the tale also begs a number of questions, leading to a rather underwhelming finale.

The central mystery of Jiro’s uncle’s actions is resolved later in the film as a ruse to distract the authorities from a more dangerous truth: that the town has a large secret Christian population. It presents a moral quandary for Jiro, whose uncle murders dozens of people in order to protect many more. While Jiro comes to understand the reasoning of his uncle, viewers may find this logic hard to follow. “Stray Crow” sets up a thrilling revenge tale only to deny you the final moment of catharsis in favour of something more nuanced: coming to terms with the justified actions of a perceived enemy. This underwhelming ending sadly leaves the film without a strong conclusion, failing to deliver on the promise of thrilling action from the opening.