River’s Edge (2018)

A high-school drama that deals with several serious issues. Haruna (Fumi Nikaido) is in a relationship with Kannonzaki (Shuhei Uesugi), who is cheating on her with her friend. Fellow classmate Yamada (Ryo Yoshizawa), who is being bullied by Kannonzaki, becomes friends with Haruna who feels sorry for him. Yamada is gay and therefore something of a social outcast amongst his peers. He takes Haruna to see his ‘treasure’, the skeleton of a corpse he discovered in an overgrown field beside a river. Another classmate (Sumire), who works as model and suffers from bulimia, is also aware of this body. The story follows each of these characters as their lives intersect and impact on each other through a series of increasingly dark and dangerous situations.

The film makes much in its opening scenes of the looming industrial site that belches forth smoke and discharges filth into the river. The setting highlights the complex, dirty nature of teenage life, being a metaphor for the corruption of society on the pure children who are born into the world. Director Isao Yukisada makes good use of cuts, for example between sex and scenes of vomiting or violence, to show the confused blend of emotions that characterise this period of life. There are for example highly comic transitions between a sex scene and the consumption of bananas or sausages, which function to underscore a message about the interconnectedness of these characters who at first seem to socialise only in a shallow sense. The bulimic subplot likewise offers a human counterpoint to the idea of the factory that both consumes and then vomits back pollutants. The acting is occasionally hit and miss, but Fumi Nikaido and Ryo Yoshizawa give fantastic performances. The ensemble cast are all given fairly hefty roles, with their own nuances and dilemmas to face. There is a little overacting, but with such a collection of actors and scenes it is easy to move past them. It is a little overlong, the second half becoming directionless, seeming more like a series of vignettes rather than a single narrative. This is easy to understand as the film is based on a manga by Kyoko Okazaki and is perhaps attempting to fit too many stories into a single cohesive narrative. The film often seems like it is struggling to fit in all of the stories it wants to tell, something that is far easier in the long form, episodic nature of a manga. The film is rarely dull however, being a kaleidoscope of teen angst and genuinely shocking scenes. All the various subplots are resolved to varying degrees of satisfaction.

The film discusses death, most prominently in the characters’ reactions to the corpse and in a latter shocking scene with Haruna. This corpse is symbolic of the characters confronting death itself, with the associated nihilism and overwhelming realisation that there is really no goal at the end of life, simply a series of tragedies. Bulimia, infidelity, anger, jealousy, homosexuality, and bullying are all shown to be part of life and the audience is left to find some morality amongst a morass of sin and suffering. There is an unspoken distance between many characters, who are unable to relate to one another, despite being in desperate need of someone to help them. They are isolate, impulsive, nothing is neatly resolved. It is a fizzing, unstable collage of teenage emotions showing the darker side of human nature. River’s Edge is a solid drama that deals with a number of important themes and leaves you speculating on the characters actions long after it is over.

I Want to Eat Your Pancreas (2017)

As a high-school teacher (Shun Oguri) is sorting the books in the library by Dewey numbers with a group of students, he is reminded of his former classmate, Sakura Yamauchi (Minami Hamabe), with whom he had a close relationship at school. The film then turns to this story with the younger boy, a retiring, lonely figure, meeting the popular, chirpy Sakura. While at hospital he finds her diary and learns that she has pancreatic cancer, with perhaps only a year to live. With her secret exposed, Sakura becomes friends with him as he is the only person with whom she can share her inner turmoil. The two of them spend time together on what might be described as a series of dates, although their relationship does not move beyond a fond friendship. Unlike other films of its kind, in which a terminal illness provides a tragic basis for a romantic relationship, this is not a saccharine story of young sweethearts. Sakura’s reasons for confiding in him are as much selfish as driven by romantic interest, with the main reason being an unwillingness to distress her best friend Kyoko.

The film utilises flashbacks to tell its story and without a doubt the scenes with the younger actors are the strongest parts. The framing device of the older characters does resolve itself into an emotional climax at the end of the film, but for the most part is a distraction from the genuinely enjoyable interaction between the young boy and Sakura. Minami Hamabe is incredible as Sakura: bright, charismatic, but harbouring deep fears and sorrow which occasionally surface. Takumi Kitamura provides a good foil, being the polar opposite in many ways, he is initially awkward, his stoic acceptance of life and Sakura’s fate complimenting her outgoing, fun-loving persona. Later in the film he also has scenes of deep sadness that are more impactful following his quiet, subtle performance earlier. Another enjoyable performance is that of Yuma Yamoto, the gum chewing classmate, who appears regularly as comic relief, with one major recurring joke. Sho Tsukikawa’s direction is beautiful with some interesting transitions between the past and present. For the most part the direction and music are what might be expected from a high-school romance. The story is adapted from a novel by Yoru Sumino, with a screenplay by Yoshida Tomoko. The dialogue is well-written and the moving back and forth through time gives the film a good sense of rhythm as you wait to see where both stories are leading.

A heartbreaking story with a poignant message about treating each day as if it were your last. This is a common theme and there are a few films of this type, but by keeping things unsentimental for the most part makes the final dramatic scenes here more impactful. Sakura is not under any illusions about her fate and both the young character’s acceptance of this tragic fact is a great example of enjoying life despite adversity.

Battle Vixens (2003)

When a new female transfer student Sonsaku Hakufu arrives at Nanyo Academy and begins challenging everyone in the yard to fight, her cousin rushes in to help her before she causes serious damage. This is no ordinary school, and no ordinary world, as various individuals have an earring that contains the spirit of a legendary figure from the Three Kingdoms period of Chinese history. The ditzy, upbeat protagonist is the spirit of a legendary warrior who loved fighting for its own sake and was a champion of the period. As the story progresses the characters find themselves involved in numerous fights with other students, replaying historic battles and attempting to avoid their fates.

Based on the manga by Yuji Shiozaki, and directed by Takashi Watanabe, the series contains many tropes from similar sexploitation series, going to almost any length to include upskirt shots of the girls, jiggling breasts, or sexually charged sequences. Each of the characters is given a unique personality though they remain largely surface level clich├ęs. The conceit of the reincarnated spirits makes for an interesting story as the characters attempt to escape from their predestined paths, or relish following them. Those with knowledge or interest in this period of history may get more out of the series than the casual viewer, as each episode ends with a brief historical note on who the characters are meant to represent and what happened to them. The fight scenes are good and the humour, though broad, is entertaining. The major weakness is in the story that never really grabs your attention in the way it should. With the characters established it too often feels like a sequence of battles without a meaningful purpose. We see the rise and fall of several of the characters, but despite engaging fights you never feel a sense of danger. This is partly down to the outlandish premise that significantly impacts the ability to relate with anyone.

The central theme of the film is the idea of fate and escaping from it. Being reincarnated the characters are essentially living out another life in the modern era. This also conjures up the notion of a cyclical history where humanity is doomed to repeat its former errors and violence is an ineradicable human trait. By the end the characters do manage to change their course, but this raises the question of why they couldn’t have done this earlier. Despite a weak story the series moves quickly and does feature some exciting sequences and humour. Its main flaw is that, much like the characters, it feels as though it is going through the motions with few surprises.

Love & Pop (1998)

Based on a novel by Ryu Murakami (In the Miso Soup, Coin Locker Babies), “Love and Pop” tells the story of four high-school girls as they get involved in the world of “compensated dating”. The film’s protagonist is Hiromi (Asumi Miwa) who lives with her parents and younger sister. As the girls wander round the streets of Shinjuku they engage in the practice of compensated dating, where older men will pay them for their time. While out shopping, Hiromi spots an expensive ring that she would like to buy. Her friends agree to help her by going as a group to karaoke with a man. At the end of their date the man asks them each to chew a grape and spit it back into their hands. These he puts in sealed containers, asking them for a false name or high-school to attribute to each. Following the date Hiromi decides they should split the money, still leaving her short of the cash she needs to buy the ring. Heading off alone she finds other men to accompany and becomes involved in increasingly dangerous and sexualised situations.

Director Hideaki Anno, who also wrote the screenplay, is best known for his work on the anime series Evangelion. In “Love & Pop” it seems that his creative energy was focussed on the style, with Murakami’s story providing the structure. Utilising various unusual camera angles, switching aspect ratios, fish-eye lenses, cameras attached to cups, train-sets and more, help to create an endlessly inventive world that is in keeping with the minds of these young protagonists. You get the sense that you are seeing everything from their perspective, one that is vibrant, inventive, full of fun, curious, a little disorientating, but above all alive. The actresses all do a great job with their characters and you quickly learn to distinguish them by their particular traits. Tadanobu Asano also appears as a peculiar figure who communicates primarily with a stuffed animal.

The film is essentially a coming-of-age story. We see Hiromi grow up rapidly from a fun-loving teen to someone who realises the dangers that life presents. “Love & Pop” deals with the issue of “compensated dating” in an even-headed way, with most of their encounters being fairly mundane (albeit perhaps incomprehensible to people outside Japan), while not ignoring the inherent dangers of what they are doing. The men that approach them are portrayed as oddballs, but not psychopathic. Similarly the girls are rarely portrayed as victims, but bold, confident young women, despite a certain naivety or carelessness. Another of the themes, and one that I feel Anno particularly drew out, was that of communication and isolation. One sequence features two characters using sign-language to converse over train tracks, and much of the plot revolves around the use of a phone on which characters leave message which are later replied to by unknown men. Throughout there is the feeling that characters are speaking at one another rather than genuinely communicating. The friendship of the main characters is described not as them telling each other everything, but knowing when not to ask questions. The endless stream of voice messages on the phone are a tragic example of a multitude of people who are calling out for somebody to genuinely connect with. I would highly recommend this movie. The story is unique and it is layered with various themes that make it worth thinking about.

Crows Zero 2 (2009)

With the same cast and director as Crows Zero the style is consistent with the first film. This film introduces the Houzan gang, whom the Crows, following the murder of Houzan’s boss by an ex-student 2 years prior, are unwittingly drawn into war with. This time Selizawa and Genji must fight together against this new rival. There are also a few interesting new characters introduced.

The style is identical to the first, with the comedy and action set pieces expanded on. There is little to say about this film that couldn’t be said of the first. The new dynamic of a rival gang is exciting and the first half is fast paced with the usual blend of violence and humour. The second half is largely a single assault on the rival gang’s building. While the direction is fantastic and it’s broken up with memorable moments, it feels overdone at times.

Definitely worth watching if you enjoyed the first film as it rounds off the story with the boy’s graduating. A highly enjoyable comedy action film.

Based on a manga by Hiroshi Takahashi.