Tang and Me (2022) by Miki Takahiro

Former pop-idol Kazunari Ninomiya plays an immature man who finds new purpose in life in this children’s science-fiction comedy. Ken (Ninomiya) spends his time playing video games instead of doing chores, frustrating his wife Emi (Hikari Mitsushima). When a robot appears behind his house, Ken believes he might be able to impress Emi by trading the robot by trading it for a more functional model. The robot, also voiced by Ninomiya, has no memory of where it is from and little apparent value, however Ken soon discovers that the robot may be highly sought after. He travels to meet robotic expert Rin (Nao Honda) and Tang is stolen by two shady individuals leading him to try to recover the robot and return it to the professor who built it.

“Tang and Me” is a children’s fantasy adventure based on the book “A Robot in the Garden” by Deborah Install. The story centers on the relationship between Ken and Tang with the slapstick comedy arising from Tang’s childlike naivete about the world pitched firmly at younger viewers. While the plot offers few surprises, Ninomiya does a good job as the hapless Ken, creating a believable relationship with Tang as the two embark on a road trip leading to him maturing as he learns to empathise with the robot. Hikari Mitsushima plays Ken’s long-suffering wife Emi, with a great supporting cast of comic and dramatic actors. The electro-pop and cheerful score provide a light aural accompaniement to the bright, colourful visuals. The future of “Tang and Me” is a utopia of clean streets, drone delivery, gaudy lightshows, and little in the way of threat. The surprisingly violent military application of robotics and Artificial Intelligence is necessitated by the plot, but the film is at pains to point out that this is done at the behest of foreign investors.

Artificial intelligence and machine learning are increasinly becoming an important part of human society. “Tang and Me” shows a world coddled by technology, with the humans facing few problems or dangers. They live in a state of childlike innocence about the world outside. Tang’s appearance forces Ken to face up to his responsibilities and learn compassion for others rather than continuing in his selfish ways. The film also has a strong message about the misuse of technology by humans, showing a scene in which fear causes the robot to brutally massacre both humans and machines, suggesting that the real danger is not the technology but the people who are programming it. Alongside the story of Tang as a surrogate child for Ken, this gives the film a little more depth and makes it an enjoyable all-ages science fiction fable.

Hard-Core (2018) by Nobuhiro Yamashita

Two men working a meaningless job find a high-tech AI robot in this existential comedy-drama. Unlike his younger brother Sakon (Takeru Sato) who is a high-flying professional, Ukon (Takayuki Yamada) is stuck in a rut. Along with his simple-minded friend Ushiyama (Yoshiyoshi Arakawa), he finds work with an elderly man who is part of some right-wing political group. This man and his assistant Mizunami (Suon Kan) have the two digging in a tunnel for gold that may or may not exist. One night Ushiyama finds a robot under the abandoned factory where he is sleeping that may provide a solution to their current troubles, but at the same time brings difficulties of its own.

Directed by Nobuhiro Yamashita, with a screenplay by Kosuke Mukai, this manga adaptation is a film that includes many disparate elements that never quite come together in a satisfactory way. The lowbrow comedy, such as Ukon’s attempts to help the naïve Ushiyama lose his virginity; or their attempts to hide the robot from prying eyes are amusing; but the film also seems to be striving to be more than a simple knockabout comedy, undermining the potential for more serious discussions with the more outrageous moments. Ukon and Ushiyama’s relationship is touching, being almost surrogate siblings to one another. Takayuki Yamada and Yoshiyoshi Arakawa are perfectly cast as this odd couple, Yamada as a dissatisfied individual who is striving to find some purpose in life, and Arakawa as the childlike, semi-mute, vulnerable Ushiyama. The film begins to find its feet after the discovery of the robot, giving the characters a unique situation to deal with, but at the same time it is unclear what the science-fiction element adds to the narrative.

“Hard-Core” is at its best when focussed on the relationship between the two protagonists, and the comparisons between them and their robotic companion. There is a lingering sense of existential angst in the film, with the shot of a dead cicada bringing home this idea that life is fragile and transient. There is also a strong desire in the character of Ukon to find meaning in his life. At the beginning of the film we see he is a man who is disgusted by humanity, lashing out at people enjoying themselves while he drinks himself into a stupor. Both Ushiyama and the robot, in contrast, are blissfully ignorant of the world around them, rarely troubled by concerns beyond the here and now. As Ukon’s brother explains to him, the robot has no will or desires, it does what it does because it is told to. It is the tragedy of humans that they are searching for meaning in a meaningless world. In the same way that they are digging for gold and Mizunuma’s daughter Taeko (Kei Ishibashi) is searching for physical pleasure, to the exclusion of all else. “Hard-Core” is an unusual film because it attempts to juggle so many genres, action, romance, existential drama, comedy, and science-fiction, and often seems to drift aimlessly from one to the other. Much like the journey of the protagonist, it is often hard to discern a deeper meaning amidst the madness.

Roujin Z (1991) by Hiroyuki Katakubo

Haruko is a student nurse working as a carer for the elderly, bed-bound and incontinent Takazawa. The government department in charge of looking after the aged members of society has developed a new machine, the Z-001, which it promises will revolutionise the care profession. The machine is a giant bed that includes television, telephone, games, and will wash, feed and clean the patient. It even has a special vacuum for dealing with toileting. The government remove Takazawa from his home and place him inside the prototype machine to test and promote its effectiveness. Haruko sets out with her friends to rescue Takazawa from the government’s clutches. However, things soon spiral out of control when the machine develops unknown capabilities.

“Roujin Z” was written by Katsuhiro Otomo (Akira) and shows many similarities with the director’s other works. This includes concepts of transhumanism, human-machine interfacing, and corrupt government departments that do not have the citizens best interests at heart. Director Hiroyuki Katakubo who worked with Otomo on Akira does a great job with the mix of tones in “Roujin Z”. The film leans heavily on the comedy and jokes, particularly early on, which helps get the audience onboard with the somewhat out-there premise. There is also a lot of action and the breakneck pace leaves little time for reflection. Once the plot kicks into gear there is barely time to consider as it moves from one action sequence to another, with helicopter chases and robot fights. Haruko is a sympathetic protagonist, the personification of the kindness and hardwork of the medical profession. The artwork and style includes some excellent backgrounds, packed with details and the robots are well-designed, stretching the concept of a sentient robotic bed to its limits.

This film is packed with ideas about the future of the medical profession, the problems associated with technological progress, the corruption inherent in corporations and the military. Haruko’s job is threatened by the emergence of this new technology, and the film raises concerns about what society loses by relying heavily on computers or robots, positing that such progress may lead to a diminishment of compassion and human contact. The treatment of the elderly is at the heart of the drama. Although there is comedy to be gained from Takazawa being tossed around by the robot, the complete lack of care shown to him by the head of the department for welfare shows a dark side to how society sidelines their elderly. There are more far reaching concepts such as how humanity is increasingly becoming tied up with technology. Takazawa becomes able to converse through the machine and likewise people are able to hack into this system. An excellent science-fiction film that touches on many important ideas concerning the future of humanity, with an action-packed script and lots of humour.

Robo-G (2012)

When their robot falls out of a window a week before a major robotics exhibition, three hapless engineers need to find a way out of their dilemma. They decide to hire an elderly actor, Shigemitsu Suzuki (Mickey Curtis), to get inside the remaining shell of their creation and pretend that it is still functioning normally. The old man wows attendants at the robotics show with his displays of dexterity and lifelike movement, seemingly able to do anything, causing the three engineers to panic that their ruse will soon be uncovered.

This light-hearted family comedy has a great premise which is amusing enough to carry a sometimes weak script. There are moments of slapstick humour with most of the jokes deriving from the public’s ignorance of the old man inside the robot suit. Mickey Curtis, playing the elderly Suzuki, does a great job with the character, who is shown to be struggling with modern life and feeling a little abandoned by society. The three engineers (played by Gaku Hamada, Junya Kawashima and Kawai Shogo) also have some great moments. We also follow a young engineering student (Yuriko Yoshitaka) who is obsessed with the marvellous robot, and members of Suzuki’s family. I found that it was an entertaining film, very similar to others in the genre (director Shinobu Yaguchi’s other films include “Waterboys” and “Swing Girls”), with a fun story and central performances, although some of the sub-plots are only very briefly addressed with the film’s main focus being on the jokes.

Despite being a knockabout comedy, the film also involves an emotional heart in the portrayal of the elderly Suzuki. We see him largely ignored by people around him due to his advanced years, and when he gets inside the robot suit there is an interesting dynamic as he is beloved by everyone and highly entertaining, but nobody sees him. A fantastic reflection of society valuing youth over age, further highlighted with the advancement of robotic technologies making people partially obsolete. I would recommend this film as an easy watch with a few great comedic moments.