Matt Cooper Films

Moonlight Whispers (1999) by Akihiko Shiota

A tortured teenage love story touching on themes of perversion and control. Takuya Hidaka (Kenji Mizuhashi) and Satsuki Kitahara (Tsugumi) are classmates and members of the same high-school kendo club. Hidaka finally musters the courage to declare his love for Kitahara and shortly after they sleep together. The relationship is short-lived however, when Kitahara discovers that he recorded the sound of her urinating while at his house. She calls him a pervert and leaves in disgust. Later she begins dating Hidaka’s friend Tadashi (Kota Kusano). Hidaka pleads to be allowed to be near her and she begins to engage with his unusual desires, allowing him to watch her and Tadashi on a date and even having sex.

Based on a manga of the same name, with a screenplay by Yoichi Nishiyama and director Akihiko Shiota, “Moonlight Whispers” is certainly not a normal relationship drama, though it contains many features of the genre. It lures you in with the conventional romance of the young teen protagonists early in the film. The only sign that things may not progress smoothly is Hidaka stealing a sniff of Kitahara’s gym shorts from her locker. The actors all do a fantastic job with their characters. Hidaka and Kitahara capture the awkward, faltering of a first romance, while Kota Kusano’s confident Tadashi acts almost as a conventional romantic leading man in contrast with their twisted relationship. For a film dealing with the perversion of cuckolding, the film is rarely explicit, allowing the emotional import of the drama to drive the story, rather than the physical. One example of this is in the long take of Takuya sitting in a dark cupboard while he listens to the sounds of Satsuki and Tadashi’s lovemaking in the room. The swirl of emotions in the audience, discomfort, frustration, incomprehension, only growing stronger as the camera remains fixed on him. The cinematography largely leans on the romantic drama style, with soft-focus sunsets, and a realism in the dialogue scenes, an ironic counterpoint to the content of the story. The soundtrack, used sparingly, of delicate guitar, also suggests a more romantic story that what we are watching, heigtening the tension between expectation and reality that allows us to sympathise with the characters.

The film takes a unique look at relationships, focussing on a very particular fetish. Hidaka wants to observer Kitahara, to hold the perfect version of her in his mind, and completely fails when given the chance to have a physical relationship with the real Kitahara. He is utterly devoted to her, prepared to do anything for her, even when there is nothing in it for himself, and to go to incredible extremes to prove himself. But understandably, Kitahara is not interested in this, wanting a real relationship. However, she soon comes to indulge Hidaka, whether to satisfy him or herself is left ambiguous, but that is the heart of what the film is about. The obligations people have towards each other, the give-and-take of all romantic and sexual relationships is depicted starkly through this exaggerated example. We see the difference between Kitahara’s relationship with Hidaka and Tadashi, one asexual and based on a distinct power imbalance, while the other (perhaps considered more conventional) does not seem to satisfy her emotionally. A provocative film that forces the viewer to reassess their notions of romantic love and relationships.

Matt Cooper Anime, Films

Demon Slayer: Mugen Train (2020) by Haruo Sotozaki

While it is possible to enjoy this film without having seen the Demon Slayer anime, I would advise watching the series first. The film picks up directly from the end of the last episode of the show, with Tanjiro (Natsuki Hanae), Zenitsu (Hiro Shimono) and Inosuke (Yoshitsugu Matsuoka) boarding the titular Mugen Train (or “Infinity Train”). There they find the Flame Hashira, Rengoku Kyojuro (Satoshi Hino), who is on a misson to defeat a powerful demon. It is not long before the demon makes their presence known, putting our heroes to sleep in hopes of killing them while they are vulnerable. This gives us a look into the psyche of the characters through various dream sequences which they must escape from.

Essentially an extended episode, “Demon Slayer: Mugen Train” is an action-packed continuation of the set-up that ended the series, featuring gory demonic fights and slapstick comedy. It is great to see the characters back in action again after the training they have undergone. We don’t get too many answers to the questions raised at the end of the show, such as the mystery surrounding Tanjiro’s father, or any nearer a cure for Nezuko (Akari Kito), as this story is intended to bridge the two series. However, there are plenty of twists and surprises in store and it builds expectation for series two with a thrilling climactic battle that pushes the story forward in a dramatic way. The blend of animation styles, featuring 2D and 3D animation, the garishly juxtaposed comedy, dark themes and subtext, explosive action, powerful soundtrack, and moving storylines, will be familiar to fans of the show and the film delivers everything you have come to expect from “Demon Slayer”. This is hardly surprising as the film has the same director as the series, and the same incredible music from Yuki Kajiura and Go Shiina creating that epic feel.

In having a demon who uses the power of dreams to entrap their victims, the film allows us to look at the characters inner-lives, Tanjiro’s underlying trauma; Zenitsu’s infatuation with Nezuko; and Inosuke’s animalistic desire to fight are highlighted as key drivers in their behaviours. The decision to set the film almost entirely aboard a train means that the filmmakers are able to expand this inner-world without the distraction of too many new elements. Instead we have again creative antagonists, using unknown Blood Demon Arts, and the chemistry of the protagonists as they do what they do best. A must-watch for fans, the film has already become a box-office smash due to the popularity of the show and is sure to provide a springboard for viewers to get excited before the release of the second series.

Matt Cooper Films

Rurouni Kenshin: The Final (2021) by Keishi Otomo

Taking place several years after the previous film, Himura Kenshin’s (Takeru Sato) peace is once again disturbed by a figure from his past. Enishi Yukishiro (Mackenyu Arata) bears a major grudge against Kenshin, for causing the death of his sister Tomoe (Kasumi Arimura), who was briefly married to Kenshin. Enishi is also working alongside Shanghai mafia boss Wu-Heishin (Takuma Oto), who is under investigation by Hajime Saito (Yosuke Eguchi).

Following on from previous instalments in the saga, “Rurouni Kenshin: The Final” features the familiar stylish action sequences and a lot of nostalgia for the first three films. As well as the return of most of the cast, including Yosuke Eguchi, Emi Takei, Munetaka, Aoki and Yu Aoi, the film also sees the return of Ryosuke Kamiki in another superb fight. There is a nostalgia to seeing the gang back together again and taking on a fresh challenge, and with the same director, composer and cinematographer it is almost as if no time has passed between the releases. The story this time around feels like a more personal affair and Kenshin and Enishi’s backstory and rivalry is a strong thread on which to hang the as-ever impressive action sequences. We learn through flashbacks of their history together, including how Kenshin got the crossed scars on his cheek. Once again the action choreography offers an amazing spectacle, from Enishi’s first fight in a train, through large scale battles and emotionally charged duels later on, there is an endless creativity and skill in each of these set-pieces. The sight of dozens of extras engaged in combat is an incredible sight, the vitality and skill of the actors a marvel to see. The story of the Shanghai mafia investigation is given short shrift, being far less interesting than Enishi’s main plot, but again the film gives ample time to several supporting characters, helping to flesh them out a little.

Despite a run time of over two hours, in keeping with previous films, the story is well-paced and rarely drags. The screenplay, also by director Keishi Otomo, is continuously pushing the plot forward, slowly revealing details about either Kenshin’s history, or the characters around him, building up a sense of connection to events and people that allows the fight sequences to land with a genuine sense of threat. Everything about this project proves not only a serious budget, but a dedication to making something that looks incredible. The costume and set design perfectly recreate the period, while adding colour and vibrancy to the characters, building a believable world around the fantastical plot. Takuro Ishizaka’s cinematography is also beautiful to look at and the film uses light, locations and weather, to emphasise certain moments. Snow softly falling over a tragic death, fires tearing through the city, using the background details to heighten the emotional content of certain scenes. Naoki Sato again provides an incredible score that slips easily between drama and action.

“Rurouni Kenshin: The Final” sees a darker side to Kenshin, similar to when we first encounter him. Despite his easy-going appearance, the film makes clear that he was a killer and has caused great suffering in the past. Enishi’s desire for revenge is understandable and we are left with difficult moral questions about both of them. The film is one of the best big-budget action films in the genre and a welcome return for these characters.

Matt Cooper Films

Rurouni Kenshin 3: The Legend Ends (2014) by Keishi Otomo

The final part of the Rurouni Kenshin trilogy tells the story of the legendary swordsman Kenshin Himura (Takeru Sato) as he battles against Shishio (Tatsuya Fujiwara), a fellow former assassin who has turned to a life of crime. This film picks up where the last one ended, with Kenshin training with his former master, Seijuro Hiko (Masaharu Fukuyama) and asking him to learn the ultimate technique of his “High Heaven” style.

The biggest fault with this film comes from the fact that, after an incredible build-up in the previous film “Kyoto Inferno”, we return to Kenshin training to take on Shishio again. This almost seems like a backwards from where we were in the story, but it is understandable that they cannot rush straight to the climactic battle scene. The film has a much slower pace, and more time for character development, in many ways a more sedate affair than the previous films. While it is a little frustrating to have to wait for the climactic duel, this does allow us to see a different side of Kenshin, a more vulnerable, mortal, human than the unbeatable hero that he had become. When the film does reach the final fight it is as spectacular as anything that has gone before, and you can appreciate the build-up as it adds a definite weight to their struggle to defeat Shishio, and Shishio’s own hatred of the government. Again there are certain characters in the ensemble who fall by the wayside, receiving only a short amount of screen time, but the film is told with such assuredness of direction that it is easy to forgive its flaws. Having the same director and cast ensures that each film is of comparable quality, and they do their best to introduce new elements to each story. The score, by Naoki Sato, emphasizes the sense of scale and it is hard not to feel emotionally engaged when various themes begin, familiar from previous films.

This is really a part two with “Kyoto Inferno” bringing to a close a trilogy of fantastic historical action epics, probably one of the best live-action adaptations of a manga out there, which respects its characters enough to spend significant time developing them and also takes its story seriously. The consistency in quality, with the same cast and crew, mean that if you enjoyed the earlier films, you are very likely to enjoy this final instalment, which brings things to a satisfying conclusion.

Matt Cooper Films

Rurouni Kenshin 2: Kyoto Inferno (2014) by Keishi Otomo

The film opens with an atmospheric sequence in which we see police chief Hajime Saito (Yosuke Eguchi) tracking down the dangerous gang-boss Makoto Shishio (Tatsuya Fujiwara), a figure who was believed to have been killed at the battle of Toba-Fushimi, which brought about the new age of peace in Japan. This opening sequence establishes Shishio as a dangerous villain, intent on exacting revenge on the world. We pick up the story of Himura Kenshin (Takeru Sato), and his friends Sanosuke (Muneta Aoki), Kaoru (Emi Takei), Megumi (Yu Aoi) and others from the first film, when he is asked to travel to Kyoto to find Shishio and kill him. Kenshin reluctantly agrees, setting up a series of thrilling encounters with Shishio’s gang.

With the same cast and director as the first Rurouni Kenshin film, this includes much of what made that film great. The action sequences are exciting, well-choreographed, both one-on-one duels and fights against larger numbers. The film introduces a few new characters, including Sojiro Seta (Ryunosuke Miura), who has one of the best fights in the film with Kenshin. The story has a darker tone than the first, with a much more intimidating villain. Shishio appears wrapped in bandages after being betrayed and burnt in his last battle, and is believed to be equal in strength, speed, and skill to the semi-legendary Kenshin himself. The imagery of fire and hell in the beginning is a fantastic introduction to this character and sets the scene for an epic showdown. The film does a reasonable job of distinguishing itself, although the basic elements remain unchanged. Once again the film benefits from Takuro Ishizaka’s incredible cinematography and an epic score by Naoki Sato.

A fine sequel to the first film, with everything that was enjoyable about it reproduced here. The film-makers succeed in upping the tension with a darker, more violent villain and some incredible action set-pieces. The film is the first part of a two-part story, meaning that the end of the film builds to a climax that doesn’t arrive. However, it does an great job of setting up that confrontation for the next film.