Matt Cooper Films

The Master Plan (2021) by Yuichi Sato

Makoto (Mackenyu Arata) and Kida (Takanori Iwata) are childhood friends, both orphans they have grown up with only each other for support. While still at school the two are joined by a third orphan, transfer student Yocchi (Anna Yamada). These three inseperable companions grow up together, with their feelings of friendship blossoming into romance. Years later, Makoto and Kida are working at a car repair shop when model Lisa (Anne Nakamura), the daughter of a prominent politician, arrives after having been involved in an accident. Makoto sets his sights on Lisa and spends years trying to get close to her. Meanwhile, Kida joins a shady organisation as a euphamistically labeled ‘negotiator’. As Makoto’s feelings develop for Lisa, Kida and Makoto’s relationship grow more complex as secrets from their past still linger between the two.

Based on the novel by kaoru Yukinari, “The Master Plan” is a thriller that relies heavily on a non-chronological structure to keep its secrets. Unfortunately, the plot is wound so tightly that when the revelation finally arrives it is the only possible answer to what has preceded. This mystery also leaves little time for serious character development or anything outside setting up the dominoes ready to knock them down in the final half hour. This finale also moves so far away from the realms of realism that it undermines some of the more interesting character work that has come before. There are certainly some positives in the film. The scenes with the three friends are charming, with the Arata, Iwata and Yamada having a believable chemistry and some great moments together. Their relationship is the heart of the film and they are sympathetic and enjoyable in their constant pranks and clear affection towards each other. The cinematography features some powerful moments, capturing the sense of youthful energy and anxieties about the future and director Yuichi Sato makes a stylish thriller, perfectly drawing out the tension between the players and the mystery lurking beneath the story. Naoki Sato’s score mirrors this sense of unease and hidden secrets.

While the film’s convoluted plot, featuring some inexplicable decisions, undeniably detracts from the emotional impact of the finale, the film does feature some fantastic, if disjointed, moments. Yocchi’s fear of being forgotten is one of the most affecting sentiments expressed throughout, and the film’s use of a back-and-forth approach to storytelling, moving between their childhood memories and the present, reflects this idea of a permanent connection with the past. The use of the crossroads, which play an important part in the story, as a metaphor for this juncture between past and present, where memory drifts like morning mist, is subtle yet effective. All three children are orphans, which makes their links to one another more important, being surrogate siblings and family for one another. “The Master Plan” is a film in which these interesting characters are unfortunately trapped in a tawdry thriller, with more interesting themes of family and memory ignored in favour of a second-rate mystery.

Matt Cooper Films

Intolerance (2021) by Keisuke Yoshida

A father comes to terms with his daughter’s accidental death in this powerful examination of grief. When Kanon (Aoi Ito) is caught shoplifting at a local supermarket, she is chased down the street by the owner-manager Naoto (Tori Matsuzaka). After dashing out into the road Kanon is hit by a car and then a truck, killing her instantly. Kanon’s father Mitsuru (Arata Furuta) blames Naoto for his daughter’s death, believing rumours that he has a predilection for young girls and may have interfered with Kanon. Separated from his wife, Shoko (Tomoko Tabata), Kanon’s mother, Mitsuru has little support aside from his young co-worker. Naoto is supported through the difficult aftermath and public scruitiny by one of his colleagues Asako (Shinobu Terajima), who refuses to believe he is responsible.

“Intolerance”, written and directed by Keisuke Yoshida, is a rumination on the grieving process. The scene of Kanon’s death is depicted brutally and shockingly, although not overly graphic the audience experiences the sudden violence of the acccident. We are shown little before the accident, other than her uncomfortable relationship with her overbearing father. Mitsuru is a stern disciplinarian who has little interest in his daughter’s life before her sudden death. What unfolds after the action is a heart-wrenching portrayal of parental loss. Arata Furuta gives an astounding performance as Mitsuru, driven by anger against those he believes are responsible mixed with his own sense of regret that he showed little affection for his daughter when she was alive. A complex character, far from a perfect father-figure, he seems to want to make amends for past failures by lashing out at the world and placing the blame on others. Tori Matsuzaka’s Naoto is also overcome by a deep sense of shame, realising that he is in part responsible for the death and perhaps regretting his actions. “Intolerance” is shot in a down-to-earth, everyday style, with the supermarket and streets of the fishing town where it is set depicted without embellishment. It is a perfectly ordinary place, with ordinary people experiencing a tragic and extraordinary event in the death of this schoolgirl, showing the impact of this loss on those connected with Kanon.

As well as the utter despair and impotence that Mitsuru feels the film also touches on how such incidents are often manipulated by the media and how people who are not involved can effect public perception. Shortly after the accident the media descend on Naoto’s supermarket and Mitsuru’s home asking for interviews. And we see in short newsroom sequences, and social media, the public rapidly develop their own assessments of those involved and what happened free of facts or first-hand knowledge of these people or the emotional turmoil they are going through. The death of Kanon finally provokes Mitsuru to take an interest in his daughter’s life, interrogating her teachers about bullying concerns, accusing Naoto of lying about her shoplifting, and even reacting harshly to his ex-wife’s attempts to calm him. Mitsuru’s growing acceptance of what has happened and final feeling of connection with her is bitter-sweet as it comes with the realisation that he will never have a chance to express his affection for her. A touching film about loss and how its impact can change people.

Matt Cooper Films

The Sound of Grass (2021) by Hisashi Saito

Kazuo (Masahiro Higashide) is taken to a psychologist after suffering a stress-related breakdown who recommends a break from work, medication and regular excercise. Kazuo soon takes to his new hobby of running, setting out on solitary jogs morning and evening every day. His partner Junko (Nao) is supportive but finds his low mood frustrating, a problem exacerbated by her pregnancy. Meanwhile, Kazuo’s friend Kenji (Shunsuke Daito) tries to help him as best he can. At the same time transfer student Akira (Kaya) is struggling to fit in with his classmates, finding friendship with another lost soul in the shape of Hiroto (Yuta Hayashi) and his sister Minami (Yuki Mine). The three youths often see Kazuo on his daily circuit, neither aware of the others problems.

“The Sound of Grass” is based on a story by novelist Yasushi Sato, who took his own life in 1990. It is often a difficult watch, its themes of depression and suicide amplified by a relentlessly oppressive atmosphere. The film opens with a long sequence of Akira skateboarding through the largely deserted streets of Hakodate, the port city where the film takes place, an impressive sequence that typifies the film’s superlative cinematography and direction by Hisashi Saito. With wide shots of the city, parks and port, we get a sense of place and reality that also work in harmony with the story, with the conflicting sense of life surrounding Kazuo being both immediate and remote. The audience is taken along with Kazuo as he runs around the city, crossing the large bridge, climbing the park steps, or circling the carpark. These sequences, soundtracked by an uplifting piano score, stand in stark contrast to the moments when he is at home or in conversation with others, that seem to lack energy. That may seem like a criticism, but it perfectly replicates the hopelessness and sense of stasis that typifies mental health issues such as anxiety and depression, as well as the fluctuation between highs and lows. His illness doesn’t express itself in wild outbursts but in a complete lack of energy or interest in things around him. Higashide gives an incredible performance as Kazuo, and his scenes with Nao’s Junko are heartbreaking to watch as these two characters, who clearly love one another are unable to traverse the vast unseen divide between them. The story of Akira, Hiroto and Minami, is almost a separate, yet parallel story, linked only by themes of isolation and suicide. Mental health can be difficult to depcit on film, without straying into cliche or exploitative exageration, but “The Sound of Grass” presents a realistic view of this issue that can go unseen and have devastating consequences.

In a more conventional film, you might imagine that Kazuo’s running would be the miracle cure to his illness; or that Akira finding friends would lead to an uplifting ending to comfort the audience. “The Sound of Grass” avoids such easy solutions, showing that mental health issues are not something that can easily be resolved by taking up excercise or talking to people, although both of these can be helpful in combatting the worse effects of depression. In its lack of simple answers, or comforting conclusions, the film offers a powerful, emotional, and discomforting depiction of depression. The naturalistic performances from the whole cast help to build this sense of real people with real concerns. What makes the film powerful is not that it is extreme, or shocking, but that it is painfully believable. Not an easy watch, but a worthwhile exploration of this important subject.

Matt Cooper Films

Shrieking in the Rain (2021) by Eiji Uchida

A first-time female director battles studio executives, chauvanistic crew members, and the ratings board, as she tries to bring her vision to life in this comedy-drama from Eiji Uchida. Hanako (Marika Matsumoto) is directing her debut film, an erotic thriller about love and betrayal. Lacking the confidence to stand up to her overbearing crew, consisting of older male lighting and camera operators, she feels as if she is losing control of the production as she navigates various vested interests such as the producer’s desire that it not be slapped with a restricted rating that will damage their box office takings. Hanako is far from the only member of the cast and crew struggling with the film. Older actress Kaede (Maeko Oyama) sees the film as her last chance to prove her acting ability, willing to go all the way in the final sex scene to show that she is a true artist; and Yoshie (Serena Motola), an aspiring camera woman, is facing the same sexism as Hanako.

“Shrieking in the Rain” is a comedy-drama film with an uplifting atmosphere reminiscent of a less cynical world. Set in 1988 it shows a film industry that is a very male-dominated environment, one in which Hanako’s ostensible power as a director is continually undermined by her lack of authority as a women with the men around her. Things perhaps haven’t changed enough in the industry to this day, but the choice of setting does allow the film-makers to push some of the behaviour, with women being smacked round the head or shouted at in front of the entire studio, to an extreme perhaps consigned to history. Most of the film takes place in the single film set or the nearby studio buildings. It has a behind-the-scenes feel as we watch what happens on the other side of the camera, with this motley crew working to capture the pivotal scenes of their movie. The cinematography by Kenji Noguchi, has a beautiful sunset feel of late-eighties nostalgia.

We often see Hanako surrounded by her crew and actors, visually establishing the power dynamics and the sense of pressure she feels from all sides. The three women who provide the backbone of the story, Hanako, Yoshie and Kaede, are all enjoyable characters with actors Marika Matsumoto, Serena Motola and Maeko Oyama giving powerful performances as women beset by an inhospitable world of entrenched sexism and self-important men. “Shrieking in the Rain” tackles these issues with a light touch, providing plenty of comedy to ensure that it never feels like a sermon on the wrongs of the film industry. This lighthearted approach to the drama is emphasized by the sentimental score, often indistinguishable from the melodrama of the film within a film. It is a testament ot the film’s whimsicality that the final sequence, an all-out song and dance number performed by the crew, does not seem out of place beside the more serious themes, not to mention the nudity and sex of the production they are filming.

The film recreates in the microcosm of this single film studio a sense of what many women in the workplace have to contend with. Hanako is far from incompetent, even though she is a newcomer to directing, but she is constantly chastised for her decisions, being asked why she needs another take or why she cannot simply change her plans for certain scenes to make them suitable for a general audience. It can be hard to understand why Hanako persists and it seems even she has her doubts about whether she is in the right job. A particular traumatic memory from her past seems to drive her creativity and determination to finish this film and this past trauma seems to chime particularly the other women on the production, although their own pasts remain unknown. Hanako’s relationship with Yoshie, who looks up to her as a female role model is touching and you find yourself willing them to succeed against the ignorant behaviour of the male crew. However, the film is far from a polemic against chauvanism, with many other aspects and subplots to enjoy. The foremost amongst them is the power of film itself to transport people, as the experienced actor Kazuto (Yuma Yamoto) explains to pop-idol Shinji (Kenta Suga), to another world. The introduction of a character working for the film classification board allows for some ridiculing of the often nonsensical rules defining lewdness or inappropriate behaviour in film. And Kaede’s character depicts the difficulties of aging in an industry obsessed with youth. A fantastic cast in a film packed with interesting characters, each showing an aspect of the film-making process or problems associated with it, “Shrieking in the Rain” is sure to entertain film fans looking for a lighthearted take on the industry.

Matt Cooper Films

The Fable: The Killer Who Doesn’t Kill (2021) by Kan Eguchi

Following on directly from the first “Fable” film, we find the legendary hitman (Junichi Okada) living under his secret identity of Akira Sato in Osaka, alongside his associate posing as his sister (Fumino Kimura). He is still working at the design company alongside Misaki (Mizuki Yamamoto) and Kainuma (Masao Yoshii). Sato’s past comes back to haunt him in the form of Utsubo (Shinichi Tsutsumi), a former target who is now running a non-profit organization for disadvantaged children as a front for his criminal activities. Four years ago Fable took down five members of his group, but was called off killing Utsubo himsel. Utsubo is out to avenge his brother’s death. Sato is also reunited with a young woman, Hinako (Yurina Hirate) who he saved from the gang, but whose spine was damaged in the rescue.

“The Killer Who Doesn’t Kill” is an enjoyable follow up to the first film, delivering the same mix of action and comedy. The first film had its problems with uneven tone and pacing, neither of which are fixed here. Essentially this sequel succeeds and fails in all the same ways as the previous film. The film recycles several weak gags, such as the Jackal Tomioka and hot food elements of Fable’s character, and again the odd blend of slapstick alongside genuinely gruesome killings and abuse is often hard to reconcile. The opening action sequence is incredible and there are some highly entertaining and inventive action moments, with use of extreme slow-motion to show Fable’s incredible reflexes. The film often seems at a loss when outside of these action moments, struggling to know exactly what to do with the characters, who are largely stereotypical action heroes or villains. The story of Hinako is a welcome addition, adding some much needed emotion and the way the characters backstories are intertwined is interesting. This time there is far more of a connection to Fable’s past and therefore it feels far more meaningful. Yoko is also given more to do in this film, showing her own martial prowess.

Fans of the first film will enjoy this and it delivers some fantastic fight scenes and action. It is hard to see why they wouldn’t simply go for a straight-up action film, retaining some of the better character-led comedy while removing the sillier elements. It’s a missed opportunity as taken individually there are some incredible scenes, but it often feels like two distinct films spliced together, one an ultra-violent and stylish underworld thriller and the other a wacky comedy. Overall, the film is an improvement on the first and certainly has elements to recommend it despite its flaws.