Tag (2015) User Reviews

What?

[elipsenbarnick · 5/10 · 30 September 2019]

I loved parts of it and absolutely despised other parts of it.

The film accomplishes leaving the audience member with a sense of escape from eternal solitude and despair. This is an amazing thing to make others feel. Sadly, there is alot of random annoying things in the film too.

Watch it if you are interested.

Running - The Movie

[HorrorEnjoyer · 6/10 · 16 June 2019]

If you like to look at hot girls running, this is a movie for you, as that makes up about 80 % of the movie, there's also a lot of pillow fighting, but also a lot of gore and violence. There is a plot in between of all that, but it doesn't make that much sense and I don't think it is supposed to. There is also a "twist" and some kind of a gender issue message at the end, but honestly I am not sure. I'd say if you're going to watch this movie - just turn off your mind and enjoy the scenery.

Tag is a medium quality production that advocates the importance of gender equality.

[hjpog · 6/10 · 30 April 2017]

First of all, the film has a moderate quality in today's standards. But it has a great satirical critique. And it's not a known production, because it's not much liked by the audience and it's not a huge budget. It's a movie made in Japan. We can see in this film the appearance of skirt under white pants which is the classic of Japanese films. The film contains very exaggerated and absurd scenes for being satirical. The vast majority of disliked audiences don't like the film because of absurd, exaggerated scenes. The film starts on the bus with a school trip. It's dividing an unspecified windy bus into two. The main girl, Mitsuko, is the only survivor. After when she goes to school, she realizes she does not know anyone in the school. This school is not her school and her friends are not her friends. Then there's another weird incident in school. The teachers of the school are starting to kill everybody in the school with a scanning rifle. Mitsuko runs away from school and takes refuge in a police station. And when the cop holds the mirror to the girl, we see again the identity of someone different. And here we can understand that Mitsuko is in a game, not real life. It's quite possible to compare it to The Matrix movie. And from here on in the movie Mitsuko continues to progress like an arcade mode game. As the film progresses, it gets different identities every time. It is also possible to see a lot of Hollywood shipments in the movie. By way of example, the Keiko character's wedding could be a fighting scene at the end of The Matrix's derivation. When we continue through this, Keiko escapes from there and continues in a running race. And in this jogging race, we see everybody in the film from start to finish. At the end of the run, like a cave, Izumu entered the world of men from here. Especially noteworthy is that there are no men in the film until this scene. Here Mitsuko sees the future and faints. When Mitsuko wakes up, she finds herself in a game. We see a very old man with long hair playing with them like a PlayStation. In this case, we see a feminist critique of the use of women in the fact that all of this is a game that men do. Mitsuko is actually a dead woman in 2034 and men have created a game with her genetics. Then we see the sculptures of dead women in the film. Mitsuko then realizes that the men will start the game again and kills herself at the beginning of the game in order to break the loop. When Mitsuko dies, all the playable characters die, and mitsuko gets a chance in the snow. End overall, the film uses Feminism correctly and makes a good criticism that men dominate the woman. Because feminism sees women and men equality in symbols and improper use of it in movie. The film can be a good production made to break the perception that men lead women. As I mentioned at the beginning, the film is not very good quality, but it contains a solid criticism.

White as a feather

[FlorianLaur · 6/10 · 31 December 2021]

Tag is a difficult movie to rate. The soundtrack is beautiful, the CGI is...shall we say, it could use improvement? The acting to me is good, but I can see if some consider it "over the top".

It's a very Japanese movie with Japanese humour, so many Western people might not understand it or frown upon it.

It's also a very "Sono" movie. Sion Sono (I think as far as I remember, he comes from the pinka aiga genre and his wife is a former JAV star) made many movies about patriarchy and the whole "men vs women" thing. Love Exposure, Cold Fish, Guilty of Romance...all with pretty despicable male characters and often with the empowerment of women.

Tag makes it clear early on that it's a very female movie. Up until the final part, there isn't a single male character (if we don't count a literal "pig") in the film. Then, as we cross into the "real" world, we see nothing but male characters (and not in a flattering light).

I see Tag as a metaphor. Men control women, they oversexualize them (if you watch closely, all the school girls seem to be clearly older than regular school girls) and show them as objects. So we can see the final scene as a freeing of male shackles, aimed at (Japanese) women?

Bizarre but intriguing

[funtasticfour · 6/10 · 12 June 2018]

I never would have seen this movie or known of it's existence without my kids. My daughter showed me a clip from the first 10 minutes, and I was hooked, because I had to know what was going on. From then on, it was silly and juvenile but every now and then very unexpected things would happen. I'm not sure if this is deemed a horror or sci-fi, but the Japanese film industry sure is different, and occasional worth diving into. I'm glad I watched it, but wouldn't necessarily recommend it.

I'd appreciate the story if I've read it as a book

[Otakore · 6/10 · 30 November 2015]

I discovered this film from a Humour site who posted a sample video of this film. It made me curious to watch this film because of the cute chick plus the gory scene in the trailer.

The story is kind of deep. I think, It's trying to make its audience a mind blown effect. But it isn't. I'm unsatisfied with the dialogue trying to give a meaningful line. I think the novel version tells a lot than the movie version.

Regarding the special effects, instead of scrutinizing the not so bad and not so good gory scenes, just okay, I just laugh it out. I don't know if there's something wrong with me, but I really find those scenes funny.

After watching this film, It made me more curious and I want to read the original story of the novel this film was based.

Thank you.

Incomprehensible Nonsense

[stevepennington · 1/10 · 24 November 2019]

The folk who say this is a work of art house genius just want to look really, really clever. Its rubbish pure and simple and films like this have been conning audiences for years, the suggestion being that only the clever people will 'get it' so who wants to say they don't 'get it'. Art house auteurs have been pulling this con for a long time. Avoid this drivel.

Lunatic Splatter with a Subversive Edge

[conedust · 8/10 · 15 February 2016]

If nothing else, Sion Sono possesses an admirable work ethic. Depending on how one counts such things (and despite the often sprawling length of his films), he's averaged at least one major theatrical release per year since catching the attention of international cinephiles and horror nerds with 2001's Suicide Club. That's on top of an ambitious schedule of television shows, short films and little-seen mystery projects. Even so, 2015 was a banner year. Over a twelve-month period, the director cranked out five full-length features in a bewildering variety of genres and styles, finally rivaling the mad profligacy of Takashi Miike, Sono's countryman and peer in overcranked eccentricity.

Tag, the first of these films semi-available to Western viewers, is an ambitious if modestly budgeted exercise in surrealist dream-horror. Sono's film takes inspiration and its Japanese title, "Riaru Onigokko" ("Real Tag"), from a popular science fiction thriller by teen-lit superstar Yusuke Yamada. Given that the novel in question recently spawned not only a successful screen adaptation but an entire, ongoing film franchise, it might seem strange that a celebrated art-house iconoclast would so soon choose to pay it another visit. In scripting his own version, however, Sono deviates significantly from Yamada's text, twisting the straightforward tale of a young man hunted by mysterious forces into a fragmentary, gore-soaked and frequently comical deconstruction of female identity in contemporary media and society.

The story concerns a teenager named Mitsuko (Reina Triendl) and her attempts to navigate the inconstant landscape of what I hesitate to call her reality. We're given little opportunity to know Mitsuko, as Tag provides us no access to her past or inner life. Instead she's a blank and rather sleepy slate, and we drop into her ordinary schoolgirl's day in stereotypical media res. When the relative calm of a brief opening idyll explodes in grisly mayhem, we understand no more than Mitsuko herself, and from there we tumble with her, bouncing repeatedly from confusion to carnage and back again. Nothing we encounter coheres for more than a moment or two, not even Mitsuko's paper-thin sense of self.

As our hapless heroine's trip down the razor-lined rabbit hole progresses, even her name and face become subject to revision. Though Triendl's Mitsuko remains central, three actresses eventually step in and out of the lead role. Mariko Shinoda plays the character as bride- to-be "Keiko", while Erina Mano appears as a determined young athlete named "Izumi", each quite strong and distinct in her portrayal. It's worth noting here that much of Tag's runtime is populated exclusively by women. This lends a distinctly political edge to the film's constant threat of apocalyptic violence, especially when combined with the polymorphous protagonist's adaptive blankness. For those who might need a bit more prompting, a hilariously bizarre third-act reversal makes Sono's intentions crystal clear.

I don't know about you, but I'm a sucker for bugged-out existential thrillers in which the fundamental nature of reality is called into question, so I found Tag's shifting, looping, self-sabotaging storyline quite intriguing. Better yet, Sono corrals his penchant for long-winded digression this time out, confining himself to a careening, 85-minute sprint. This allows the film's disruptions and mysteries to retain their charge from beginning to end, despite the fact that "making sense" isn't high on the agenda. Many will doubtless feel cheated by the elliptical resolution, but as far as I'm concerned, the thrill of the ride more than justifies the price of admission.

About A Girl

[jima-22353 · 7/10 · 12 August 2020]

This one is set in Modern Japan and revolves around a schoolgirl named Mitsuko. I don't really want to tell you much about the plot as i think some people would really enjoy seeing it and watching it cold ... with no spoilers. I will say that this one starts right away. At the 3:40 mark 2 school buses of Japanese schoolgirls meet their gory end except our hero Mitsuko who was bending down at the unfortunate moment.

Her life cascades from there into a never ending pursuit by a force she cannot see or anticipate. She stumbles into various schoolgirl realities finding friends along the way and just as quickly losing them to the invisible attacker.

In the end the movie is about how Japanese media panders to dirty old men and what that does to the children they portray in their entertainment. (i know ... how was that for a jump?) Although it appears that much of Japanese media is geared towards kids and mountains of it to young girls, it can, in reality, be a veiled strategy to sexualize young Japanese girls without actually admitting it. The Otaku call it "Ecchi" which is used to describe Anime that doesn't portray actual sex (that would be Hentai) but portrays the characters (mostly teenage girls) in a sexual light ... an object of desire so to speak and not an actual person. One of the first things you learn about Anime is it isn't always for kids.

But "Tag" isn't anime and not all Ecchi is anime. In Akihabara (the game and Anime mecca in Tokyo) there are girls dressed as sexy french maids on every corner giving out coupons to their diners. The misogyny of Ecchi pervades much of the Game and Film culture and women are just finding their voice in fighting it. That's what this movie is about.

It is also a blood fest that would challenge any Friday The 13th or Halloween film for gore. There are more than a few creative deaths and the Bus is a prime example. I can say in the end Mitsuko wins out but it is an unsatisfying win as she has to give up more than she should just to get a little respect from a culture that claims to cherish it so much.

You can watch this for free on YouTube in SD or HD+ if you have Prime Movies.

I give this one a solid 7 out of 10. It can be hard to watch due to the subtitles but well worth the pain.

Japan makes weird movies. Some are good. This one isn't.

[manuelasaez · 4/10 · 22 May 2018]

Japan, such a wonderful country with a rich history, makes some of the most absurdist movies on the planet. There are some movies so wild you start to think, "What magical drugs do they have there that causes people to come up with this stuff?". While some of the movies are creative and entertaining, being weird for weird's sake isn't always a good thing. That's where TAG comes in. It's weird, but not in a good way. Let me explain....

The movie starts out AMAZINGLY. Girl is on a field trip, riding a bus with her classmates, when an invisible force slices the bus in half laterally, taking the lives of everyone on it except the main character. This happens in the first 10 minutes of the movie. The level of gore and depravity involved in this is commendable and I thought, "This movie is going to be great!" A movie about an invisible force that slices everything it comes across in half, leaving blood and gore in its wake? This is going to be an awesome movie! Man, was I WRONG. The invisible force was around for those 10 minutes and it never shows up again. Instead, we get a series of "alternate universes", each weirder than the next. There are only females in this movie, so everything that happens comes off as a middle school kids daydream playbook.

Panty shots of High School aged girls? Check.

Women in scantily clad underwear? Check.

Girls fighting each other and killing each other in brutal ways? Check.

A dude in a pig mask? Check

It's like a child was asked "What type of movie to do you want to see?" and he answered, "Girls! Panties! Underwear! Fighting! Pig man!" and someone said, "We can make a movie out of that!". Absolutely tragic that someone thought that this would be appropriate for a feature length film, but here we are.

It's to serious to be a comedy, not scary enough to be a horror film, not sad enough to be a drama, and definitely not enjoyable enough to be a full movie, so what gives? It's absurdist cinema with a low budget and not enough creative reigning in. This movie needed quality control, it desperately needed and editor, and it most assuredly needed to be screened a lot before it was released. There is no audience in the world that would find this movie enjoyable as a whole, although certain parts are so wild that they almost make up for the failure that is the rest of the film.

Look, I love absurdist cinema and I would enjoy it more if it tried to be absurdist. Instead, we get a movie that IS absurdist, but takes itself WAYYYY too seriously. I wouldn't recommend this movie to ANYONE, except those that want to test their patience for weird, drug-induced nonsense.

Sono still pushes boundaries

[christian94 · 8/10 · 4 August 2015]

With an opening sequence that tops 'Suicide Club" in shock value, aesthetics and eeriness, "Tag" targets a gore-hungry audience, but goes deeper with the many philosophical and psychological themes of determinism, power, fear, reality and identity.

"Tag" tackles greater issues than most films and does so well with a brisk pace that takes the viewer along the joyride (or hellride depending on how you see it) and makes him/her identify with the lead character's distress. The three leads who play the same persona are very well cast and effective in edging us into our seats. Their acting is grounded while the rest of the movie is often over the top at parts.

The daring premise, edgy editing, themes and tones are strong, yet Sono falls slightly short of his best work by making a clearly uneven piece at times with some easy thrills and instances with little coherence or content sneaking in. He proves showy, self-indulgent, eager to please the crowd and even uses questionable short-cuts instead of going deeper into the surreal, suspenseful and sublime narrative.

We are left with many questions like many of Sono's films, but in this case, we also understand that perhaps he could have asked himself more questions in the making in order to overcome some unwanted extraneous confusion and loss of focus. This is especially troublesome as it clocks less than 90 mins (uncharacteristic for long-winded Sono - see 237 mins "Love Exposure" as extreme example) and still shows some filler farce instead of sure hit fire-power.

Some superficial moments over subtlety and substance holds this film back, but the brute force and fantastic screen-writing and directing defy denying this fresh film its place into the pantheon of path-breaking provocative piece of cinema.

Despite its minor and more blatant flaws, this film holds well to a metaphorical mirror and is not in search of identity like its main character. It is disconnected beyond its useful purpose, but parades around arguably able to arouse sympathy and separately speak volume on our psychological individual and societal brink of breakdown.

Try to be spontaneous. Accept the surreal and tolerate the slapstick and silliness.

Japan 2015 | 85 mins | FANTASIA INTERNATIONAL FILM FESTIVAL | DCP | Japanese (English subtitles)

Too ambitious

[Tralequang · 7/10 · 29 April 2020]

This movie has a very promising premise, but fell short of my expectation. As a horror, it is not at all scary, leaving no fear in the aftertaste. As a psychological thriller, it lacks suspense and a logical plot development as well as world building. As a moral lesson, it could have done much better with more subtlety. The only thing I like about it is the aforementioned opening scene and the wedding scene where tension is built up quite well. A very ambitious hot pot, but not at all tasty.

Weird, crazy, funny, makes no sense whatsoever and more than a little creepy

[tenshi_ippikiookami · 3/10 · 26 November 2015]

Let's start saying that I will not deny Mr Sono his desire to push boundaries and be original. Just 5 minutes into the movie and we have like 200 million women that have been cut in half but some weird wind. Women, yes, because well, you will notice quite soon that men are not ones to be seen around a lot in this movie.

But the problem is that he just seems to want to be original for the sake of it, and doing so, ends repeating himself quite a bit. Leaving out all his religious symbols and passion for underwear, that come up in all of his movies (or at least in all I have seen), he ends just being a marvelous director in terms of camera-work, scenery, original shots, etc etc, and horrible in the plot department. I enjoy looking at his movies, but from a distance, and like for 5 minutes, when I notice there is no plot to hold the visuals.

But where in Tokyo Tribe, for example, he had a more or less original plot and crazy idea (a story told by actors "rapping"; I'm generous here by calling their singing rapping, but it's part of the movie...) here we just have random situations that are hold together by... well, nothing. We have poor Mitsuko (Reina Triendl) just running around from one place to the other while something (I think he is winking his eye at Sam Raimi here; or just plainly copying) at first, teachers later, and well, weird things further on (I'll let you see it if you are interested) try to kill her. Poor Reina Triendl is not very expressive in this movie, but well, she has not much to work on. I see Mr. Sono telling her: LOOK SCARED! SCARED! JUST LOOK SCARED AND RUN!

If this review makes no sense to you, the movie will make less. Sono, as Miike Takashi before he went mainstream, tries to be original and ends like the drunkard that loses himself in his own story by leaving everyone else scratching their heads. Original, yes; makes no sense, you betcha.

You won't have seen anything quite like it before

[Leofwine_draca · 6/10 · 26 August 2018]

TAG is another offbeat movie from Japanese cult director Sion Sono, possibly his weirdest yet. The story follows the pitfalls of a young schoolgirl who finds herself the sole survivor of a shocking and inexplicable accident; her day just gets weirder from there. This abstract movie doesn't make a whole lot of sense; rather, it's a thematic piece exploring fate, predestiny, alternate realities, death and violence, all in Sono's inimitable style. It's very bizarre to sit through, dodgy at times (it seems, like his protagonist in LOVE/EXPOSURE, Sono loves upskirting) and featuring lots of gruesome, outlandish CGI death scenes which are hardly realistic. At times it feels like little more than a string of extraordinary set-pieces with some mumbo-jumbo exposition in between. On the other hand, it's also fresh and original, and I can guarantee you won't have seen anything quite like it before.

fantastic opening

[christopher-underwood · 6/10 · 26 March 2022]

.The twenty or so was the most fantastic opening of the film and something I have never seen as surprising, with lovely, funny and gory being open mouthed. The running, screaming calls all the time and gradually, the film gets rather tiresome. It is still interesting and Sion Sono can never be like other film makers, his great other films are Suicide Club (2001) Love Exposure (2008) and Guilty of Romance (2011).

Subpar horror flic with the many faces of Mitsuko

[thewakenarrative · 6/10 · 5 January 2019]

Tag - aka Riaru onigokko (Beware there may be spoilers)

We know what you're thinking. No, this isn't the Jeremy Renner comedic Tag flic from 2018. This is the Japanese fantasy horror film with English subtitles (yes, we desperately needed to use them.) Mitsuko, a Japanese school girl, is cascaded through a plethora of parallel universes where the fate of her friends and those around her is nothing but terror and death. The opening scene gives sudden shock to the audience when the innocent girl drops her pen in the midst of a feather pillow fight. She picks up the pen (writing utensils to the rescue) only to realize when she stands up "the wind" takes off the entire top half of the bus and the people, which nonetheless leaves her covered in blood.

Mitsuko is continuously terrorized and runs to her next fate only to have her friends killed again. Mitsuko, or is it Keiko this time (she switches characters numerous times throughout the film), is terrorized once again. Marriage. Marathons. And death. Lots of death. Oh wait you're now in the future and in a video game played by Mr. Miyagi with long white hair. Make a big scene and it will all be over.

Moral of the story: Life is surreal. Don't let it get to you. The End.

Best groom: Bloody pig.

Best stolen soundtrack: The theme to the Walking Dead, hope you got the rights!

Best running team: Aki and the joy luck club.

Overall Grade: C for completely confused

Interesting, followed by Borefest and Snoozefest

[Patient444 · 4/10 · 28 November 2015]

Good premise, tho I've seen this plot in other movies, can't name them cause I'd spoil too much, so I'll try to explain why I disliked it without giving the idea away.

If you're heavily into Asian horror movies, especially those with a Japan touch on them, it could just happen that you'll enjoy this. But as it moves forward it starts to look like a dream, where your feet are running yet you go nowhere, time starts to stand still and everything else catches you from behind. Slowly and surely it drags itself for too long, getting harder to watch, or just to keep you eyes opened to be honest.

It will happen that this movie actually ends at some point, but when you'll realize what this is all about, the idea outside the idea of the movie, the seed from where it all began, well, this is a split road right here. Either go full in or go back.

Cheers!

You are it

[kosmasp · 9/10 · 5 December 2016]

This movie is hard to explain and also hard to watch. You could make a strong case for it being very incoherent, but you could also argue the opposite. And it's not that one or the other would be right overall. What you can say about this, is that it completely messes with your head (avoiding other words here,to keep it family friendly).

But the completely over the top and also very violent content will either appeal or appall you as a viewer. The very weird story, that I couldn't really explain even if I tried to, has the same thing going for or against it, depending on your point of view. If you want and can wrap your head around things happening (you can't just watch it and do other stuff, the movie needs your overall, full and undivided attention), then you will be entertained - if you are into that sort of strange storytelling that is

Female objectification and fetishism

[batuhancanliturk · 31 December 2017]

There are many problems comes with the gender inequality. We can observe in several fields that most problematic and universal one is sexual objectification of females. Besides the worldwide impact of female objectification in advertising, we view it in movies, too. Apart from the motion pictures, porn industry has been expanding all around the world. Due to this fact, different kind of fetishes can be seen and they can be assimilated as normal behaviors. "Riaru onigokko" is a brute criticism of how the female objectification and fetishism can be gone to extremes.

Female sexual objectification is viewing women as a desired object or toy - like in the movie- rather than an individual human being. According to feminist cultural critic Robert Jensen, the expansion of female objectification is because of the mass media and advertisement companies (1997). We see that women are shown weak and vulnerable to make objectification stronger. In the movie, men created a game to both making money on female sexual objectification and using females like a toy for fulfilling their satisfactions. No woman lives among the men's world. All women are seen as toys and nothing more. They act in a way that females can not have autonomy. Main characters of the game are always in danger. They act as an instrument of the game rather than having unique personality. They can be replaced by other women. These are the example of features for person objectification that are defined by american philosopher Martha Nussbaum (1995). Pornography also is an important case in the feminist discussions about female sexual objectification. Anti-pornography feminist Andrea Dworkin mentions that since men watch porngraphic content, women are seen as a mere tool for their purposes (1989).

In the movie, we see that school girls with their uniforms which is the most popular fetishism indicator among the Japan men. They use it in every movie whether in a sarcastic way or specifically to attract men. This is not only fetishism example in the movie. At the end of the movie, we observe that man is crazy about having sex with the game character. In Japan, they have virtual pop stars and people love them. Most popular one is Hatsune Miku who is a virtual idol. Thousands of Japanese people fill the concert area to watch holographic star. They bought special stuffs which are produced for Hatsune Miku. Cosplays of her are also made. With this example, witnessing for the virtual madness of Japanese people is an inevitable fact.

Lastly, adding one more discussion about the female objectification can be useful for understanding the outcomes of it. There is an objectification theory which is defined by Barbara Fredrickson and Tomi-Ann Roberts in 1997. Theory consists of the conclusions of female objectification. Women who experiences sexual objectification, think that they should show their bodies because of the mentality which defines body as an initial view. Adopting the problem in this manner creates bigger problems. Females start to see their bodies as objects which should be used to be served. That leads self-objectification. This self-objectification can be seen as an empowerment of females, however it led birth of "raunch culture". Encouraging sexual representations of women for the various platforms is the main understanding of the raunch culture. This is even especially promoted by women. Making nudity available in advertising is the most known example for the effects of raunch culture.

In conclusion, gender inequality is the reason behind the female sexual objectification. Females are used in different ways as a mere means by males. For some countries, cultures are formed with this mentality to ensure male dominance over females. Fetishm can be observed in different forms like we saw in the movie or in virtual popstar example. On the other hand, self-objectification is the result of female objectification in long run.

Sion Sono Does Live Action Anime

[truemythmedia · 7/10 · 18 June 2019]

Tag boasts lots of moments to laugh at, as well as some moments that are quite thrilling. For horror/gore fans, there's plenty here for you to like, and the body count is higher than a lot of action movies. This is a fun and thrill filled ride, with a twist that actually makes you think. Though there are some issues with the CGI looking rather cheap, I would say the rest of the movie is pretty polished, in terms of story, pacing, and excitement.

This movie is like a fart.

[andrew-53537 · 2/10 · 25 November 2018]

You hold your breath and keep hoping things will get better, but they don't. It doesn't go away... until finally, it's over...

Totally non-sensical the whole way through. It's hard to imagine a plot that makes any less sense - really. Kudos to them for that, I suppose...

Very open to interpretation, but WOW!

[bigbarry-88130 · 10/10 · 24 December 2018]

TAG is the most interesting, weird, strange and amazing movies to watch. If you have an open mind, this is the movie to see. I am now on my 5th viewing and it still surprises me every time. If you are squeamish, DO NOT WATCH THIS MOVIE. There is so much blood and special effects you will not like this. It's almost like being on a rollercoaster, it starts slow and picks up a lot of speed, slows down and before you know it, you're in the loop de loop. The best thing I can say about TAG, is that you are going along you are as much in the dark as the main character. Real surprising ending too. I highly recommend you watch it at least twice. You won't be disappointed!

Another let down climax.

[tkullachet · 6/10 · 26 April 2016]

I'm rate this movie 6/10 and decided to rate Dragon Head (2003) at 1/10

effectiveness scene: 8/10 (sometime boring enough to make my wife yawn out loud, but even the boring yawn scene is counted at the end, next time ... but next time, I'd love if it shorter and more brief than it was.)

Mindblowing: opening 12/10, 2nd act 3/10, 3rd act 6.3/10, peak 7.5/10, ending(resolution) 4/10

This movie distinguish from other japan movies lead cast by teenage, which always wasted time with ineffectiveness/meaningless scene. (Such as Dragon Head, Battle Royal even 20th Century Boy, which finally I came to realize that those movie made from comic book is just a step stone for a young actor/actress, these industry not meant to make it great.) Like everyone said the film opening was fantastic, amaze, wonderful, ... (sorry I can't tell how it's great in words) But prepare your mind not to set high hope at the end... but yet, every scene counted, even boring sequence after the opening.

Just a stupid Movie

[profOsmanAli · 1/10 · 16 May 2021]

Stupid movie, no story, no point, waste of time.

I'm so Angry for 1:25 Hour i wasted in watch this garbage.

TAG

[BandSAboutMovies · 7/10 · 30 October 2023]

Tag starts with an entire schoolbus full of girls making fun of Mitsuko (Reina Triendl) for being a dreamer before all of them - like fifty people - are beheaded as Mitsuko stands screaming and covered in blood.

This is not the last time that she will be the only survivor.

She wanders through the woods, avoiding a deadly wind, and meets Aki (Yuki Sakura), Sur (Ami Tomite) and Taeko (Aki Hiraoka). The girls discuss predetermination and how they could all die at any moment. Before they go back to class, Sur shares her hypothesis that fate can be tricked by simply doing something one would never normally do.

Back in class, the teacher pulls out a gigantic weapon when no one is paying attention and kills everyone with Sur and Taeko saving Mitsuko, who is again the only survivor as teachers and the wind kill everyone she knows. Mitsuko wanders into town where a cop recognizes her as someone else, Keiko (Mariko Shinoda). She is taken to her wedding, where Aki is her bridesmaid and encourages her to kill all of the other bridesmaids to save herself from being married to the pigheaded groom inside a coffin before the teachers return and attack again. Aki and Keiko defeat all of them as our heroine runs away from the church.

Keiko, who was once Mitsuko, now becomes Izumi (Erina Mano). She's trapped in a deadly marathon with Aki, Sur and Taeko as they run from the pig husband, the teachers and the wind. Izumi finds her way into a cave where zombie girls try to kill her, claiming that while she lives, they remain undead. Aki saves her and they travel through several parallel world until she demands that Izumi pulls the cables from her arms, killing her and opening a doorway to where she meets a young and old version of a man who is playing as her in a game called Tag that has Mitsuko, Keiko and Izumi as the characters. More than a century ago, Izumi was a girl he admired. He took her DNA and that of her friends and made clones for his 3D game, which is played by men throughout the world. The final part of his game is that she will make love to him.

She then changes the game and each version of herself through all of the different moments of the film kill themselves all at once. She wakes up in a pure white world.

Sion Sono, who directed and wrote Tag, is wild. Seriously, this never stops and never gets the least normal. For a movie that starts with so many heads being removed, you'd think that was the highest point. It's not. Somehow Sono made four other movies in 2015 and it was inspired by 2008's The Chasing World.