Matt Cooper Films

Midsummer’s Equation (2013) by Hiroshi Nishitani

While on a business trip, physics professor Yukawa (Masaharu Fukuyama) finds himself caught up in the investigation of a mysterious death at a seaside inn. After arriving in town as part of a team of scientists attempting to show the value of a controversial sea-drilling operation, Yukawa checks-in to an inn run by Setuko (Jun Fubuki) and Shigeru (Gin Maeda) who live with their daughter Narumi (Anne Watanabe). The couple’s nephew Kyohei (Hikaru Yamazaki) has also arrived in town and is looking forward to the summer break; but things take a dark turn when another guest, ex-police detective Tsukahara (Sansei Shiomi) is found dead on the beach. It appears that Tsukahara was part of an investigation into a murder in Tokyo fifteen years prior, following which Narumi and her parents moved from the capital. Officer Kishitani (Yuriko Yoshitaka) asks Yukawa for his assistance, but the professor soon discovers that the family has more than one secret.

Following on from 2008’s “Suspect X“, director Hiroshi Nishitani tackles another Higashino Keigo adaptation in “Midsummer’s Equation”, an enjoyable who-dunnit set in a picturesque seaside town. This juxtaposition between the dark subject matter of Tsukahara’s murder, and the stabbing that starts the film, alongside the brightly coloured locale works well, offering a clear-eyed look at the case as Yukawa himself views it without prejudice. The incredible underwater sequences and stunning backdrop make for a highly enjoyable watch and you are in little doubt that the genius Yukawa will eventually wrap up the entire case. The ensemble cast do a great job, particularly Anne Watanabe’s Narumi, a conscientious young woman who harbours a dark secret; and the young Hikaru Yamazaki as Kyohei, whose innocence provides the perfect foil for Yukawa’s deliberations.

“Midsummer’s Equation” examines the lengths people will go to to protect those closest to them. Morality is far from black-and-white with people caught between loyalty and self-preservation. The subplot of the sea-drilling opereations that threaten the natural order are a perfect encapsulation of the film’s philosophy, one in which the right action may not always be the just one. There are questions over the extent to which personal responsibility factors into the guilt of a suspect. Crime takes many forms, often committed in the heat of the moment, or unwittingly, as in the film, or coldly pre-meditated. The film attempts to distinguish between the levels of guilt attributable to these varying acts, despite the results being the same. An interesting detective tale that utilises a great cast of characters to explore the nuances of criminality.

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

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

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

The Third Murder (2017) by Hirokazu Koreeda

When lawyer Tomoaki Shigemori (Masaharu Fukuyama) is brought in to defend Misumi (Koji Yakusho) on a charge of murder, it appears to be an open and shut case. Misumi confesses to the crime and appears remorseless. However, as Shigemori delves into his past and the details surrounding the crime a different story begins to emerge.

Writer-director Hirokazu Koreeda has made his name as an incredible film-maker with a string of family-focussed stories (“Our Little Sister”, “Like Father, Like Son”). With “The Third Murder” he brings his careful observations of human behaviour to the courtroom drama. The plot of the story is straightforward, with a lawyer defending a man he believes is guilty, but the world is packed with characters and moments that make deeper connections to universal themes. It is a dialogue- heavy film with characters spending a lot of time discussing the case details. This can make for a dry experience at times, but is made enjoyable in two main ways. Firstly, by turning the film into something more akin to a detective drama, with Shigemori interviewing various individuals and cross-examining the suspect, Misumi. In fact, the film shies away from courtroom scenes until its final third. Secondly, the performances, particularly from Masaharu Fukuyama and Koji Yakusho are exceptional, showing their experience and charisma on screen. Most of the standout scenes are featuring only the two of them conversing through a plexiglass screen. Mikiya Takimoto’s cinematography is slick and has a sombre tone that is fitting for the story.

“The Third Murder” investigates the very notion of truth. The lawyers are shown to be individuals for whom the truth is of relatively little importance. Their job is to have their clients acquitted, whether they are guilty or not. In fact, this very point is raised at one point by the prosecution attorney. It also looks at the notion of crime and guilt in relation to provocation, by contextualising the murder. Crime is a subject that provokes strong emotions but is rarely black and white. This film does a good job of explaining the potential pitfalls in jumping to conclusions.