IMDb > Andromedia (1998)

Andromedia (1998) More at IMDbPro »Andoromedia (original title)


Overview

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Director:
Writers:
Masa Nakamura (screenplay)
Itaru Era (screenplay)
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Contact:
View company contact information for Andromedia on IMDbPro.
Release Date:
11 July 1998 (Japan) See more »
Genre:
Plot:
After her sudden death a teenage girl finds her father has uploaded her mind to computer form. With a rival corporation wishing to capture her the girl is uploaded to her boyfriend's laptop. Full summary » | Add synopsis »
Awards:
3 wins See more »
User Reviews:
it's like one big loaf of cyber-teen cheesy-bread; Miike had to know this was a goof See more (7 total) »

Cast

  (in credits order)
Hiroko Shimabukuro ... Mai Hitomi & Ai
Eriko Imai ... Yôko
Takako Uehara ... Rika
Hitoe Arakaki ... Nao
Kenji Harada ... Yuu
Ryô Karato ... Satoshi Takanaka
Christopher Doyle ... Sakkaa / Soccer
Tomorowo Taguchi ... Gôda
Issa Hentona ... Tooru
Shinobu Miyara ... Hiroyuki
Yukinari Tamaki ... Kazuma
Ken Okumoto ... Daiki
Kensuke Toida ... Bodyguard 1
Masataka Haji ... Bodyguard 2
Naoyuki Yokoyama ... Bodyguard 3
Mongoruman ... Bodyguard 4
Anna Ide ... Mai as a child
Akihiro Yoshikawa ... Yuu as a child
Kazuki Kitamura ... Sada
Ryuuta Itô ... Boy A in the bus
Kônosuke Tôkai ... Boy B in the bus
Yûki Nagata ... Kurosawa as a child (as Yuuki Nagata)
John Gallock ... White doctor
Michelle Gazepis ... Sakkaa's / Soccer's secretary
Mikhail Vasilenko ... White boy
Manzô Shinra ... Bathroom visitor
Hiromi Suzuki ... Mai's mother
Yukio Yamanouchi ... Bus Passenger A
Chikage Natsuyama ... Bus Passenger B
Kippei Shîna ... Chinese-speaking man

Naoto Takenaka ... Kurosawa
Tsunehiko Watase ... Toshihiko Hitomi / Mai's father / Ai's creator
rest of cast listed alphabetically:
Takahiro Itô ... Boy on bus

Directed by
Takashi Miike 
 
Writing credits
(in alphabetical order)
Itaru Era  screenplay (as Kurio Kisaragi)
Masa Nakamura  screenplay (as Kurio Kisaragi)
Kozy Watanabe  novel "Andromedia"

Produced by
Kazuya Hamana .... producer
Takashi Hirano .... producer
Takashi Kasuga .... executive producer
Morihiro Kodama .... executive producer
Makoto Nakanishi .... producer
Toshiaki Nakazawa .... producer
Taishi Nishimura .... producer
Tetsuo Taira .... executive producer
Yasuo Takimoto .... executive producer
 
Cinematography by
Hideo Yamamoto 
 
Film Editing by
Yasushi Shimamura 
 
Production Design by
Akira Ishige 
 
Makeup Department
Yûichi Matsui .... special makeup effects artist
 
Second Unit Director or Assistant Director
Bunmei Katô .... assistant director
 
Art Department
Akira Sakamoto .... assistant production designer
 
Sound Department
Jun Nakamura .... sound re-recording mixer
Jun Nakamura .... sound recordist
Akira Nakano .... sound recordist
Kenji Shibasaki .... sound effects
Hitoshi Tsurumaki .... assistant sound designer
 
Visual Effects by
Bernard Edlington .... shader artist
 
Stunts
Makoto Kenmochi .... stunt coordinator
Makoto Kenmochi .... stunts
Hiroo Sawa .... stunts
Kenji Shimozaki .... stunts
Hiroki Takano .... stunts
Keiji Tsujii .... stunt coordinator
Keiji Tsujii .... stunts
 
Camera and Electrical Department
Saiko Hashimoto .... assistant camera
Meichô Tomiyama .... lighting technician
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Andoromedia" - Japan (original title)
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Runtime:
109 min
Country:
Language:
Color:
Filming Locations:
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FAQ

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1 out of 1 people found the following review useful.
it's like one big loaf of cyber-teen cheesy-bread; Miike had to know this was a goof, 17 January 2007
Author: MisterWhiplash from United States

Talk about a project for hire- this is one of those under-seen movies that is understandably kept nowhere in your local blockbuster, and only discovered on Netflix or Amazon by the fans of director Takashi Miike who might want to look for something even more 'different' than his high-voltage yakuza pictures and surreal nightmares. In a sense Andromedia is still a surreal nightmare, only this time filled with so much corny vibes that you'd have to be the biggest air-head 13 year old girl not to see the humor in it. I'm sure Miike had to see it too, otherwise he probably wouldn't of touched it with a 20 foot pole. It's the kind of work that's too weird to be popular, ever, in America, and I wonder looking at the response here on IMDb if there's even much awareness for it in Japan. It tells a love story with images like the cherry orchard (on a beach) meant to accentuate the power of the main teen couple (Mai and Yu played by typical but dippy Hiroko Shimabukuro and Kenji Harada respectfully). Mai, by the way, is not really Mai, but Ai, her previous self's memory packed into a computer simulation form of herself after her sudden death.

It's not just Yu who wants her, but there's also some nefarious villains who want her via the technology for no really big reasons (no world domination, at least I don't think so) other than just having it cause it's there. One of these guys is very strangely played by Christopher Doyle, a DP for directors like Van Sant and Wong Kar Wai, who happens to have a haircut like a muskrat long dead and made into a wig. He has his goons chase after Yu, and his friends as well, just after that laptop with poor Mai (err, Ai), leading up to a climax that doesn't really make much sense except to have really over-the-top CGI effects. Actually, much of the film doesn't make too much sense, but if you don't get that by the thirty minute marker, just throw out the movie. I didn't know going into it that it was also, in part, meant to be a partial commercial for two pop-music groups (though the very oddly placed and uproariously funny music video in the middle of the movie marks as something of a crazy marvel in Miike's cannon).

Of course, it will never mark as a must-see even for most Miike fans, and I'm sure some who come across it will just keep scratching their heads once it's over. Though after seeing several other films from the massively prolific director, I'm kind of glad to see that there is such a fluffy side to his savage satire, and how in-between the sickeningly cutesy love moments (like when Mai and Yu have a real 'connection', where a carnival lights up and the nearly wretched music cues up) there's still some bits that remind one of the heedlessly inventive and demented wild-man of Japanese cinema. The only thing funnier, sometimes unintentionally sometimes not, than seeing Yu and his boy-band friends jumping off the cliffs to relative safety, or the brain-tumored gangster Takanaka getting enveloped in the horrendous tubes of the internet center, or the *very* late 90s mix of Backstreet Boys-styled music and CGI, is that this was originally based on a book! It's poof, slight, and it almost marks a form of campy, sci-fi pop-art.

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