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

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.

Matt Cooper Films

Silence (1971) by Masahiro Shinoda

With Christianity outlawed in Japan, its adherents are forced to worship in private while those who practice openly are arrested, tortured, and killed. Two Portuguese priests, Rodriguez (David Lampson) and Garupe (Don Kenny), arrive in Japan with the help of Kichijiro (Mako Iwamatsu), with the intention of ministering to those who hold to the Christian faith in secret. They are also looking for their senior, Padre Ferreira who was captured by the authorities some years before. As the persecution of Christians continues, the two foreigners are forced to confront their own faith and morality.

Based on the novel by Shusaku Endo and directed by Masahiro Shinoda, is a sombre look at the often troubled relationship between religion and society that resonates as keenly today as in the period-setting of the story. The plot confronts us with questions of whether it is better to cling to faith or to alleviate people’s earthly suffering; and details the conflict between religious authorities and secular powers. Rodriguez insists on remaining loyal to the church in the face while troubled back the lack of divine intervention; while the Japanese are attempting to unite the country around the pre-existing religious faiths of the land. The film is well-paced as we follow the Portuguese missionaries, and witness the repeated attacks on their congregation. There is tension throughout between the Christian and non-Christian factions that reflects the ongoing divides in society brought about by belief. David Lampson gives a fantastic performance as the protagonist Rodriguez, albeit struggling with the heavy Japanese dialogue occassionally, as the film becomes almost a trial or temptation narrative for him, with repeated opportunities for him to renounce his faith in order to save others.

Religion continues to play a major role in many peoples lives, no less divisive than it was in the 17th Century. “Silence” gives us a stark look at the lives of believers who remain commited to these ideologies, attempting to reassure themselves that their actions are meaningful and righteous in the face of the contrary evidence. We also see the torment that followers of faith endure when they believe they have betrayed their religion, most keenly in the character of Kichijiro, who believes he is an amoral individual for selling out his fellow Christians in order to save himself. The film’s shocking final moments confront us with troubling implications for both the characters and wider humanity. A superb film with a timeless moral conundrum at its heart; worth watching for the thrilling plot and performances.

Matt Cooper Films

The Miracles of the Namiya General Store (2017) by Ryuichi Hiroki

Based on a best-selling novel by mystery author Keigo Higashino, “The Miracles of the Namiya General Store” tells the story of a group of people connected by an orphanage and a peculiar store that allows messages to be sent through time. The film begins with three young men, Shota (Nijiro Murakami), Kohei (Kanichiro), and Atsuya (Ryosuke Yamada), on the run after committing a burglary. They hide out in the titular store, now abandoned, hoping that at sunrise they will be able to disappear into the crowds of commuters. While waiting, a letter drops through a slot in the shutters, apparently from 32 years prior in 1980. The trio discover that the previous owner, Mr. Namiya (Toshiyuki Nishida), had answered queries from residents and they decide to post a reply in the milk box outside, as he used to do. Miraculously their message is recieved in 1980 and they begin a correspondance with a young musician (Kento Hayashi) in the past. They later help out another young woman who is worrying about her finances. Meanwhile, in the past, Mr. Namiya is able to receive letters from the future, offering him a chance to appreciate the effect he has had on the community.

Directed by Ryuichi Hiroki with a screenplay by Hiroshi Saito, “The Miracles of the Namiya General Store” is a charming drama about connection and helping your fellow individuals. It has several tropes of the traditional tear-jerker: orphaned children, a sacrifice to save others, cancer, suicide attempts, and redemption. The characters are interesting, but due to the abundance of plots it can be hard to sympathise with any one in particular, with the various sorrowful tales becoming overwhelming. The ensemble cast, which also includes Machiko Ono, Riko Narumi, and Rio Yamashita, do a great job and all of the plots do tie together at the end. It is interesting to see the three different time periods of the film, the late 60s, 1980, and 2012 and they do a good job with the changing fashions and sets. There are moments where the film’s pacing does drag, such as a lengthy sequence of a song performance that, while central to the plot, could have been cut down significantly. The footage of the singer Seri (Mugi Kadowaki), dancing on a beach during this musical interlude, suggests even the filmmakers were unsure how to fill the time.

While it is melodramatic, the film executes the drama with panache, and there are sure to be at least a couple of the stories that resonate with you. Whether it is Mr. Namiya’s dedication to providing top-class advice even in difficult situations, the plight of the orphanage, Seri’s attempts to repay the debt owed to her by the man who sacrificed himself to save her brother, or a young high-schooler whose parentage drives her to depression. The film has a strong message of believing in hope even in the most seemingly hopeless situations and also about the importance of helping others and the impact our lives have on one another. It doesn’t pay to think to closely about the mechanics of how the letters are transported through time, or the various paradoxes this would create, but it is a fun conceit to drive the drama between the interconnected characters. Worth a watch for fans of emotionally charged human drama.

Matt Cooper Films

Every Day a Good Day (2018) by Tatushi Omori

20 year-old University student Noriko (Haru Kuroki) discovers a new passion in the traditional Japanese tea ceremony, the hobby becoming a mainstay in her life as the years pass. After her parents recommend her going to meet Mrs. Takeda (Kirin Kiki), Noriko and her outgoing cousin Michiko (Mikako Tabe), begin their training in the meticulous rituals of the tea ceremony. While Michiko eventually moves away to pursue her career, Noriko remains committed to the weekly lessons, growing in confidence as the years pass. The tea ceremony remains a comfort to her even in her darkest hours.

Based on an essay by Noriko Morishita, “Every Day a Good Day” is a contemplative film, focussing on the traditional art of the tea ceremony. Throughout the film we are given lengthy sequences of parts of the ceremonies, the various nuanced movements, the differentiation by season, and the underlying Zen philosophies that add meaning to the seemingly commonplace practice of brewing and serving tea. There is little in the way of plot, rather we are invited to spend time with Noriko and Mrs. Takeda, Haru Kuroki and Kirin Kiki giving excellent performances as mentor and apprentice, as they perform this calming ritual. We see small glimpses of Noriko’s life outside, her parents, her cousin, references to a failed courtship, and her grief after a bereavement. Throughout everythign the tea ceremony offers a consistent solace in a transient world.

“Every Day a Good Day” is subtle yet effective in its message. Life is fragile and full of constant change. It can be a chaotic thing to endure, yet having something such as the tea ceremony can help a person to remain grounded. Life cannot be rushed, everything that is going to happen will happen, good or bad, and we must simply live through it, stoically accepting our successes and failures as part of an endless journey. This connection with time is brought out most powerfully in the use of a dog cup representing the Chinese Year of the Dog, which character remark will only be used several times throughout their lives. This heightens their awareness of the importance of appreciating each passing moment as a unique experience, acknowledging the smallest thing as much as the greatest, and finding joy in simplicity.