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Sono still pushes boundaries
christian944 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)
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You are it
kosmasp5 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
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Lunatic Splatter with a Subversive Edge
conedust15 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.
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pushed all my buttons, and in a good way
accts-866-12529521 May 2017
i love apocalyptic dystopias and time travel and, of course, Japanese schoolgirls in their uniforms and blood and gore if it's ironic. throw in an unreliable narrator and you've hooked me. and i was hooked all the way in this movie. i kept stopping it to shoot frames--many of which i plan to use for memes on facebook, they're so pithy. most from 'sur' of course!

towards the end i suspected it might fall apart when the big reveal came, but every time i formulated a guess, it would twist slightly and, although i'm not about to reveal anything, it was not only not a cheap cop-out, some serious issues were raised about the future and us as a society.

btw, the only movies i give 9s to are epics such as lotr, for geniuses such as kubrick, and the occasional quirky black comedy. this movie earned the 9 from me fair and square with its imagination. my only quibble is i wish they could have afforded better effects in a lot of places, but the bus scene jerked me bolt upright in my chair and that was the intended effect, so they got their money's worth.

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Interesting, followed by Borefest and Snoozefest
Patient44428 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.

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Weird, crazy, funny, makes no sense whatsoever and more than a little creepy
tenshi_ippikiookami26 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.
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Epic poem
begob29 September 2021
While retrieving her pen from the floor of the school bus, a poet fortuitously avoids the bloody massacre of her classmates by an invisible force. But her struggle to survive has just begun ...

What the hell! The only thing I expected from this was some unusual J-horror, and what I got instead was something unique. The opening scene has plenty of kicks 'n giggles gore, and it's obviously a cheap production with relentless music ... and running - relentless running. Then on to a scene of confusion in a school, with a babble of questions but no answers, rounded off by another LOL episode of violence.

But by this point the key to the plot has been explained, in a scene down by a lake: to alter your fate, do the unexpected. From there we go through levels of bizarre experience, with abrupt changes of scenario and character (tagged by white feathers and a splash of powder), until we reach the ultimate evil - a gnostic mastermind who dominates the characters, all female. Now I get the tacky upskirting from earlier on; and the wedding with the Pighead; and all that running.

In the end comes an unexpected act: the feathers turn red, fate is changed, and we end on a trail of footprints in the snow - impressions left by the poet on a blank sheet. So what comes in between is a poem, and an epic one because the heroine battles fate as she travels through to the inner lair and the final conflict.

At one point I thought this was channeling The Matrix, with the red and blue cables leading to the World of Men, but that turns out to be no choice. The new reality has to be created, rather than discovered through a confused Platonism, and the product is a perfect return to the origin of the story. Some might dislike the choice made by the three characters of the heroine, but it's really a final victory for her.

Overall: Sometimes even a horror fan gets lucky.
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Running - The Movie
seveleniumus16 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.
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A Movie With Ami Tomite (AKB) and Kaori (Tokyo Tribe)
o-18545-2840820 December 2018
WHAT else could you ask for? The story is convoluted and better understood after watching twice, but I have to say a movie with these two babes is automatically a winner.
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Japan makes weird movies. Some are good. This one isn't.
manuelasaez22 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.
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Very open to interpretation, but WOW!
bigbarry-8813024 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!
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hae-4904410 October 2015
Shion has a reputation. He has recently been downgrading his own reputation on purpose it seems, but he still has a reputation and this film finally tries to upkeep it. Now this isn't the type of movie you would watch at church on a Sunday with the ball and chain but it is after church when the ball and chain stays behind for some quilting or whatever that you sneak into the basement with buds over a brewsky

How? Gore, explosions, mystery and like loads of thin flaunting girls. Like what else can you ask for? Yeah, if you want depth and crap like Mama Mia then go for that, but here the music and the dance comes from the type of oozing blood that few masters can deliver and one of those has directed TAG! Don't miss it even if it hard to find. Prepare for the screaming
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the plot really does not understand
yoggwork19 February 2019
The three women have their own characteristics, of course, the third is the most beautiful. Unfortunately, the plot really does not understand, infinite cycle of surreal games, the final suicide is the game or real?
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An Original Violent Horror That Eventually Comes Together
tabuno11 January 2019
22 May 2017. A Saoirse Ronan-like (The Lovely Bones, 2009) Japanese lead finds herself and brings the audience into a bizarre often violent Japanese world of changing identities and challenges. The confusing and oftentimes perplexing circumstances that confronts Reina Triendl as Mitsuko actually becomes very clear towards the end of the movie. It's hard to judge this somewhat dark Japanese import because at times it just seems a disjointed mess of violent scenes without any direction, without any meaning, or purpose kind such as M. Night Shyamalan less than well received The Happening (2008) or the better received performance of Jim Carrey's dream sequence from Eternal Sunshine of the Spotless Mind (2004). Yet the underlying premise of this movie allows the unfolding scenes to be vividly and surrealistically well done in an almost David Lynch way.

The weird and eerie off-balancing atmosphere of the entire movie give it an almost ominous tone during everyday ordinary activities and experiences that just heightens the sensations of horror. John Carpenter's The Thing (1982) was very effective in putting its audience on edge as well as Stephen King's The Langoliers (1995, TV). The in some ways has the similar darker emotive tone of John Cusack's 1408 (2007) or Radha Mitchell's Silent Hill (2006). This identity twister has elements from Oblivion (2013), The Thirteenth Floor (1999), Dark City (1998), and even The Matrix (1999) and as topsy turvy and craziness of Kurt Vonnegut's Slaughter-House Five (1972) or the classic Brazil (1985).

For something less dark, one might want to consider roughly similar experiences found in Dramaworld (2016, TV) or Frequently Asked Questions About Time Travel (2009) or even Congress (2013) which might be considered even more weird and out there than Tag. Other mind-twisting movies to consider include Carnival of Souls (1962), Cypher (2002), Slipstream (2007), Colossal (2017) and, of course, Inception (2010).
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There are two types of movies: Popcorn flicks that are easy to watch from a surface area, and films that hold a massive amount of depth. This movie is both of those.
kikitata8 March 2020
Warning: Spoilers
This movie is something that you should DEFINETLY not watch and view from a surface area (despite probably being both a popcorn flick and an in-depth surreal movie) and expecting it to have a basic plot, because what you are about to see is something that needs your mindset not to go sane, nor to go insane, but to go unsane. Tag: Riaru Onigokko is a 2015 Japanese horror film directed by Sion Sono, with one of the main actresses being the pulchritudinous Reina Triendl.

It starts off with a bus scene, where there are these high-school girls jiving around whilst having pillow fights. In the middle of the playful chaos, is Mitsuko - probably one of the only students in the bus who aren't crazy - writing a poem. After being teased for wriitng a poem, she picks up the pen off of the floor, dusts it off, and then is just about to return back up when she realises her entire bus had been sliced in half, with all of the students now dead as their upper extremeties had been cut off by a supernatural wind. This signifies the beginning of a mind-twisting and reality-bending storyline that this very film follows...

This is just my intepretation combined with another folk's one on Youtube named Russel Fortell. But throughout the film, we see such tragic events happen to those who the main character dearly loves, aswell as her identity being changed to represent her growing up (Keiko represents the pressure of getting married by society, and Izumi representing the ongoing marathon that is life). Mitsuko represents our childhood; the bus scene represents our innocence being lost after being first exposed to the harsh reality of the real world, and the other scenes representing something else that's also deep. The ending shows that despite the world being so callous and vindictive, she continues to leave marks (foot-prints) as a sign of her innocence and that she used to live life proudly.

This film has such huge amounts of depth despite being a horror movie (most horror movies kinda don't seem to cram as much metaphors and symbolism into the storyline as much as this one), and it almost seems...beautiful because it just shows as a prime example how filmmaking can bring such versatile things into motion pictures. Tag is a movie that might give you a sense of horror, confusion, euphoria, and a hypnosis-like state. Those who have hated the film must've not fully grasped how extremely radical this flick is in, well, just about almost anything about it (which I do get because this is a movie that's out of the norm).

There's also some feminist metaphors throughout the movie aswell, which I thought was pretty interesting to note about. But overall? This movie is a literal daymare frenzy turned into such a surrealistic masterpiece that will probably require you to go insane. Do take note that the visual effects may not be as good as the typical high budget hollywood movie possibly due to the budget and production, but that is fine, because as long as the storyline has that light and shine, then that can still qualify as a good movie.

10/10 (A+ for me)
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White as a feather
FlorianLaur31 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?
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Misogyny or Feminism?
minsichan26 September 2021
At first, I though it is a movie of typical misogyny, typical men's sensuality. However, I begin to confuse, is it really ironic or misogyny? The conflicts between misogyny and femininity.

Other than kill yourself, why not try to kill the man. A typical metaphor that to save the world, a woman have to sacrifice herself, while is opposite to our hero(specifically male hero, not heroin).

Women encircle and intercept women and also lots of misogyny and typical male stares. It is an almost pure women world, however, in the control of a man.

At the same time, unexpectedly, women help women to fight the world purely without any man's help, even if, it is at the expense of killing a man. And interestingly, males are either ugly, pig and old, or handsome with poisonous, seduce a woman or just a tool to fight against the world successfully.
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elipsenbarnick30 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.
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Girl Power...?
thesar-229 March 2018
Let's bring back the good ole days when Japanese horror was remade in America with a budget. At least, we might get realistic effects.

Oh, God, here comes the fake CGI blood again. Well, not just the blood. Every special effect, every "horrific" moment looked so incredibly bad, this 2015 release would rival 1995's Mortal Kombat as some of the worst CGI I've seen. Sadly, it took me right out of the picture and since there was so much of the dime-store effects, I couldn't come back onboard.

Immediately into the feature, something horrible happens to two buses transporting many school girls. Well, it would seem horrible if it looked even 1% remotely real. But, since it was unintentionally hilarious with the five cents and five minutes they spent on the scene, I wasn't the least bit horrified.

Basically, there's something "HAPPENING" (catch that reference and you'll know) and it leaves one survivor, one of the girls. She manages to get away, or more likely, was allowed to get away and into a new story she goes. She's still herself, but the surroundings are all different. And then, another bad thing happens - this time, it's a fairly sensitive situation here in the US. So, I guess if they did remake this, this scene's gotta go.

Rinse and repeat. The events, that is. But, there has to be a point right?

As much as this is wildly original and the girls do an okay job, the movie loses steam when it's supposed to do the opposite. Add the lackluster second-half that asks even more questions than answers to the disgraceful and unimaginative CGI, this is HIGHLY un-recommended.

Tag, you're not it.


Final thoughts: I'm shocked on how much I wasn't a fan of this. Recently, I've discovered many new-to-me Japanese, Korean and Chinese horror movies that were literally out of this world fantastic. From the top notch direction, to the superb acting, to the deep scripts, to the gorgeous cinematography, to the great effects...it's almost disheartening USA can't even touch some of these greats made in Asia. And then...we have this fake-fest.

Hey, Tag. Shame you brought upon the family of Asian greats. SHAME.
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Only 3 minutes worth of 85
rodriguez-alfonso27 February 2017
I'm not a fan of Japanese movies, so let's be clear on this from the beginning. I was recommended this film by a friend, and before renting it I watched a trailer on YouTube. The trailer, which happens to be the 3 minutes of the title, is really powerful, and if somehow, you can extrapolate the goodness of the movie from the trailer (you and me know that we can't), you'd thing that this is an OK movie, at least. But don't be fooled, the 3 minuets shown there are the only minutes worth while, perhaps some aerials that we see at the beginning can count, but nothing else. The plot is very meaningless, and I suspect that maybe to a Japanese audience could make more sense, but to some occidental mind it does not and is a meaningless teenage movie, at best. If you can skip this film, go ahead and do it, you won't loose nothing.
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Incomprehensible Nonsense
stevepennington24 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.
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Tag is a medium quality production that advocates the importance of gender equality.
hjpog30 April 2017
Warning: Spoilers
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.
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This movie is like a fart.
andrew-5353725 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...
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Too ambitious
Tralequang29 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.
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Curious, gnarly - sensational
I_Ailurophile8 November 2021
I really had no idea what I was sitting to watch. And I'm glad for it.

The substantial blood, gore, and otherwise violence is cheekily over the top and tongue in cheek, some if it so nearly cartoonish as to threaten the most rudimentary suspension of disbelief. Yet that's certainly just as deliberate as the abrupt shifts in tone and narrative throughout the picture, necessarily keeping us alert and raptly engaged all the while. 'Tag' is as surreal and disorientating as it is invigorating and captivating. By no means is this a movie for someone who wants a straightforward cinematic experience, and even among Sion Sono's larger body of film bizarrerie, it's unquestionably an oddball. Yet for all that - this is outstanding!

It feels important to highlight the music in the feature, as Japanese instrumental band Mono provides a score as variable and dexterous as Sono's writing and direction. Hard-charging bombast, ethereal post-rock wistfulness, ambient dreamscapes, and robust arrangements of classical instrumentation are all on the table in a dynamic feature that from one moment to the next flips moods and scenes with calculated obfuscatory bedazzlement. And the compositions are truly marvelous, deftly adapting to every change, and consistently helping to build heavy atmosphere of every appropriate sentiment.

At every turn 'Tag' is filled with meticulous care for detail and utmost technical craft. Nothing greets our eyes or ears with any less than superlative consideration: sound design, special effects, blood and gore, hair and makeup, costume design, lighting, photography, set design and decoration, and more. Sono illustrates superb mastery of his craft as both writer and director. Characters, dialogue, scenes, and the overall narrative are complex, daring, vivid, and brilliant. Camerawork is exquisite - building some terrific shots, capturing every subtlety and nuance there is to see, and orchestrating wonderfully inspiring scenes. From start to finish this is an entrancing delight. And none of this is to count out phenomenal, rich performances of range physicality, and nuance from all involved - a larger cast than I can reasonably name one by one, they're all magnificent.

The rampant violence will be a turnoff for some, and the jumbled, somewhat disorderly presentation still more off-putting for others. The feature holds fast our concentration, but that doesn't mean it's especially easy to untangle, and for all the painstaking construction, it's not necessarily entirely perfect. Yet whatever subjective difficulties and indelicacies there may be in the writing or execution, overall this stands as yet another exceptional testament to the incredible skills of Sion Sono as a filmmaker and storyteller. 'Tag' is a very unique, extraordinary movie experience that's well worth seeking out if you're open to this type of picture.
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