A spell of time in the life of a family living in rural Tochigi prefecture, north of Tokyo. Though her husband is busy working at an office, Yoshiko is not an ordinary housewife, instead ... See full summary »
A middle-aged Japanese man travels to California to attend the wedding of his American-based friend. Prior to the big event, they take one last trip to Napa Valley, where they taste wine, dally with romance.
A freelance writer (Iseya Yusuke) is given a bizarre assignment by the sexy editor of "Black Book Monthly" (Mizuno Miki): find a bug with the power to bring humans back from the dead, in ... See full summary »
Majime, an eccentric man in publishing company, who has unique ability of words, joins the team that will compile a new dictionary, 'The Great Passage.' In the eclectic team, he becomes ... See full summary »
Dropped in this rental one lazy night, hardly remembering what I'd ordered. Knew it was another Maiku hama. At least one of the "Mike Hammers" had played the San Francisco Film Fest one year, and amused mildly. Expecting farce, I watched the grainy nighttime opening segue to a really seventies set up: father seeks daughter's rescue from cult. Rockford. Cult members eschew names for numbers. The Prisoner. Finally I grabbed the sleeve. How old? What? 2002? No! Yes. Not '72. And no I hadn't mis-seen the director's name. Shinji Aoyama, two years after Eureka, not, apparently, some freshman effort. Then came (small spoiler) the tree. No, this one isn't lethal, but a line or two the cult-mother doctor speaks to Maiku make the allusion plain enough. When did Kurosawa release Charisma? 1999, not just before this but before even Eureka.
Not quite awful but, like a lot of seventies trash, dreamy, lazy, naive, lulling, simple, dark, something to fall asleep to and dream dreams more amusing.
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