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

The Fable: The Killer Who Doesn’t Kill (2021) by Kan Eguchi

Following on directly from the first “Fable” film, we find the legendary hitman (Junichi Okada) living under his secret identity of Akira Sato in Osaka, alongside his associate posing as his sister (Fumino Kimura). He is still working at the design company alongside Misaki (Mizuki Yamamoto) and Kainuma (Masao Yoshii). Sato’s past comes back to haunt him in the form of Utsubo (Shinichi Tsutsumi), a former target who is now running a non-profit organization for disadvantaged children as a front for his criminal activities. Four years ago Fable took down five members of his group, but was called off killing Utsubo himsel. Utsubo is out to avenge his brother’s death. Sato is also reunited with a young woman, Hinako (Yurina Hirate) who he saved from the gang, but whose spine was damaged in the rescue.

“The Killer Who Doesn’t Kill” is an enjoyable follow up to the first film, delivering the same mix of action and comedy. The first film had its problems with uneven tone and pacing, neither of which are fixed here. Essentially this sequel succeeds and fails in all the same ways as the previous film. The film recycles several weak gags, such as the Jackal Tomioka and hot food elements of Fable’s character, and again the odd blend of slapstick alongside genuinely gruesome killings and abuse is often hard to reconcile. The opening action sequence is incredible and there are some highly entertaining and inventive action moments, with use of extreme slow-motion to show Fable’s incredible reflexes. The film often seems at a loss when outside of these action moments, struggling to know exactly what to do with the characters, who are largely stereotypical action heroes or villains. The story of Hinako is a welcome addition, adding some much needed emotion and the way the characters backstories are intertwined is interesting. This time there is far more of a connection to Fable’s past and therefore it feels far more meaningful. Yoko is also given more to do in this film, showing her own martial prowess.

Fans of the first film will enjoy this and it delivers some fantastic fight scenes and action. It is hard to see why they wouldn’t simply go for a straight-up action film, retaining some of the better character-led comedy while removing the sillier elements. It’s a missed opportunity as taken individually there are some incredible scenes, but it often feels like two distinct films spliced together, one an ultra-violent and stylish underworld thriller and the other a wacky comedy. Overall, the film is an improvement on the first and certainly has elements to recommend it despite its flaws.

Matt Cooper Films

Not Quite Dead Yet (2020) by Shinji Hamasaki

A surreal comedy about a difficult father-daughter relationship. Nanase (Suzu Hirose) has never forgiven her father Kei (Shinichi Tsutsumi) for not being by her mother’s bedside when she passed away. As lead singer of a death metal band she pens excoriating lyrics about how much he stinks and how much she dislikes him. Her father seems oblivious to this, focussing only on his research at a pharmaceutical company. When the company develop a drug that allows a person to die and later return to life, Kei finds himself temporarily deceased for two days. There is a plot afoot by a rival company to take them over, which Kei learns about shortly after dying. His assistant Taku (Ryo Yoshizawa) hears about this attempt to steal the company and its research; and along with Nanase they attempt to save her father’s company, while Kei tries to contact them from the spirit world.

Writer  Yoshimitsu Sawamoto and first time director Shinji Hamasaki deliver a hilarious look at death that delights in poking fun at tense parent-child relationships. Odd characters, wordplay jokes, visual humour, and surreal moments all work together to create a film that has no intention of being taken seriously. The excellent comedic central performance of Suzu Hirose (Our Little Sister) as Nanase, gurning and howling her way through the film, alongside the equally amusing straight man act of Shinichi Tsutsumi as Kei, is a fantastic dynamic, the wild child teenager conflicting with her boring father. A fantastic supporting cast, with Yukiyoshi Ozawa as Kei’s assistant, Kyusaku Shimada as the rival company head, and cameo roles for Lily Franky as a spirit guide and Den Den as a ramen chef, give the whole thing a variety show feel, with some scenes playing almost as standalone sketches. The rock music sets off the riotous punk aesthetic, sticking one finger (the index finger) up to the norms of family dramas. There is little surprise in the resolution of the film and it never attempts to flesh out the narrative or characters, instead using every moment to cram in more jokes. The film even actively pushes back against convention at times, with Nanase telling Taku that this is not some kind of romantic drama.

“Not Quite Dead Yet” follows a long cinematic tradition of poking fun at death, puncturing any sense that it is something to be concerned about. By having a pill that allows people to die temporarily it further distances us from the fear of death. In this universe death is simply another state humans might be in, no different than being asleep. Nanase and Shinichi’s relationship deteriorates after the passing of her mother, with Kei burying his head in his work while Nanase vents her frustrations through her music. The film shows a slow coming together of the two and the realisation of the importance of living life and not forgetting those people who are left behind. With its whimsical premise and a short run time packed with laughs, the film is an easy watch that is sure to raise a smile.