One word: bloodbath.
More words: humans really, really suck. Children don't suck any less.
The hilarity of rooting for someone to beat another
not because you want him to win,
but because you want everyone to lose.
Also: Odagiri Joe is woefully underused.
No Otoko was good.
The synopsis portended cheese, but the film was surprisingly well-made?
It felt like Matsuyuki Yasuko was reprising her role in Mother lol
but excellent acting across the board (including Toma, yes),
(that one shot of Toma limping in and out of the carpark lights -
heartbreakingly-gorgeous lighting ;;),
And enough excitement and surprises to last me fragile heart a week. ><
(Rn I feel as if a deranged Nikaido Fumi will jump on me and cut out my tongue if I walk into the living room. :(:(
Or - an equally-attractive alternative, clearly - blow up hospitals/public buses. :(:(:( )
Listening to Kana sing blithely about breakups - THIS IS THE LIFE
Snuck Funuke and 9 Souls into my packed (ha) weekend.
Work is so energy-sapping; I'm not complaining bc WORK after all
but I AM SO BEHIND ON MY DRAMAS/FILMS :((
Not without its flaws
(at last count, lurchy pacing, pat flashbacks
and one horrendously-executed, what-is-this-even-doing-here scene) -
Kirishima was clearly the product of a more assured hand -
but awfully exciting for a debut effort?
-The over-the-top characterisation
(lol these people are so determinedly unlikable, I kind of love them):
Sumika and her vaguely BPD traits,
weak, abusive Shinji,
overly chirpy, in-denial Machiko -
but, most of all, the development of Kiyomi from helpless victim/underdog to emotional leech/voyeur
(unrepentant and as much to blame for the state of matters as the other siblings).
-The odd, dark humour
(e.g. Shinji X Machiko's clumsy, bruising sex, and Machiko's fixation with the hideous stuffed toys).
-Machiko's sadly ironic fate.
Yet another Toyoda disappointment. :'(
The idea of escaping from one prison only to return to an old one (or enter a new one) was pretty thought-provoking,
but the execution...
backstories were predictable, scenes insubstantial, some of the humour unpalatable
(bestiality... really? O.o).
Loved the conclusion (Torakichi, Michiru),
but apart than that I felt strangely removed throughout?
Just watched the 2013.02.07 VSA ep
and it is easily the best one I've seen in ages???
AKIRA is an adorable man guh (and actually sorta resembles his Tumbling character irl, aww)
and Takahashi Katsumi was hugely entertaining.
If I picked dramas to watch based on variety promo appearances
I'd be jumping on Biblia without a second thought.
H's taste, on-point as always.
So... warm? And heartfelt - and genuinely, genuinely lovely (much like the shooting locale, haha).
Loved Koichi's shedding of his superstitions (says so much with so little)
and the adorably hilarious-awkward bath scenes.
Also the massively endearing characters
and the winsome (who would have thought I'd ever get to use that word, lol) soundtrack.
Ended too soon tbh.
NEW SODAGREEN VIVALDI PROJECT ALBUM :D:D
I THOUGHT THEY'D GIVEN UP ON IT ;A;
DAICHI I LOVE YOU
SHOTA I LOVE YOUR FACE
Koreeda films are like those sweets that get more flavourful the longer you savour them lol?
Start off dozy/disconnected
(you can literally pause them, go away and come back to them the next week
without feeling any sense of urgency),
but - unbeknownst to you - the threads are winding tighter and tighter
till (quite sudddenly) WAITASECONDI'MTEARINGUP WHEN- WHAT- HOW-
Plus the attention to detail makes repeat viewing so awfully rewarding. <3
Double Tone, ep3:
I HAVE QUESTIONS AND SHOW YOU HAD BETTER ANSWER THEM ;;
OTOH - Starman, ep2:
This setup makes me uncomfortable,
both logically (girl you're not even going to put together a less holey story beforehand?)
and in terms of the views espoused.
'Women aren't interested in what's "right"'? REALLY, baa-chan?
Hammer in that stereotype of women being emotional, flighty creatures, won't you.
And a single mother takes a random man she knows ZILCH about
into a home with three kids and an elderly lady?
I get the whole lonely/tired thing, but - quite frankly - that's utterly irresponsible.
(Dai is the sole sane voice in this shebang.)
Plus, did you not consider how unfair it would be to the dude
to force him into a life that isn't his/that he might not be suited for,
and to lie to him pretty much every other sentence?
The kids are qts but. Eurgh D:
Lmao these Strawberry Night shorts -
this franchise is so fab I can't.
Watched (IS THERE A SYNONYM FOR THIS lol I feel like I've used this word way too many times for comfort) Gohatto,
which turned out far more arresting than the plot synopsis/filming style would suggest.
Shozaburo's inscrutability (and thus, ambiguity) as a main character made pm every event intriguing
(a tumblr [? I think] user - 'I still don't know if he was the victim or a little shit' hahaha).
BUT BUT BUT.
That very last ending scene (with the Beat Takeshi monologue) should have been cut.
Lmao I'm trying to banish it from memory as I type this -
it did absolutely nothing besides cheapen the rest of the film. >:(
Hanzawa Naoki, ep1:
Sakai Masato infuses every move with so much steely (ponderous?) gravitas
I feel like I'm in a period drama hahaha (Ooku, maybe? Lol).
Idk how the plot's going to hold up over ten/however many episodes they're planning,
but this was a pretty promising start, imo?
The message seems fairly standard,
but Hanzawa is so awfully rootable-for -
I was legit chanting 'YES GIVE IT TO THEMMM' throughout that inquiry scene -
and Aya is hilarious and generally adorable
(a bit too bubbly at points? But still. Adorable. *O* ).
I like how down-and-dirty the financial stuff gets (even if it's just for laughs),
and how the hero ISN'T BATTLING THE SYSTEM ALL ALONE bc that would be so tiring to watch.
(I also kind of want to find out what he planned to do when he reached the top of Tokyo Chuo asdlifjw)
I DIDN'T RECOGNISE YUTO AT FIRST.
HE ACTUALLY LOOKS LIKE A TWENTY-SOMETHING-YEAR-OLD?
WHEN DID THAT HAPPEN?
Cancer?? SHOW I TRUSTED YOU :(((
The tone so far is - sadly enough - similar to that of Mother
(though I wasn't expecting anything different),
and the subs seem to be missing important nuances of the dialogue,
but I love the dimension Shiori adds to the enterprise
(it's interesting because without her the show really could just be titled 'Mother' as well,
but I suppose a redefining of the relationship between Koharu and Shin is on the cards)
and Nozomi is lovely.
Watched Tantei wa Bar ni Iru and Fune o Amu on the plane;
have yet to see Ryuhei play a character that rouses him beyond languor lol.
Caught Platina Data too,
but was too distracted by the scientific implausibility of the premise to appreciate it. ><
Though it did confirm that Nino makes a much better Sad Person than Angry lmao.
Bought the Ryu scenes more than the Kagura ones.
I really liked the Strawberry Night movie. :D
The whodunit plotline lived up to my expectations.
Yeah the ~doomed love interest~ angle was sort of gratuitous
but the chemistry was fab so it wasn't even close to disappointing (apparently I am easy to please).
They didn't milk the splitting of the Himekawa team as much as they could have though.
I WANTED YOU TO MAKE ME CRY, SIGH.
(Though I for one would not want Himekawa as my leader lol.)
And ofc one obligatory screech - just one! - of KIKUTA-SAMA COME TO MEEE
Listening to D.M. rn and it's pretty good?
I mean, there's no urge to skip songs like there was for his other two albums.
And it's cute how Daichi is all happy kid while performing and 'yo brotha' attempts at ~swag~ offstage
(and sometimes onstage too haha).
Gaps are the best thing. :')
NEW LEO SONG ON THE 24TH YESSS BB IS BACK~~
BEG ON THE 29TH;
SPYAIR ON 7 AUG (PLEASE BE AS GOOD AS IKE IS HOT).
It's actually funny because this is so far removed from what I typically listen to
that I couldn't even tell if it was good or bad
(I have yet to be able to get through a full listen of Fantastic Baby /orz).
Omona (mostly) says it's basic;
me - it has its catchy moments, and I like the use of Dae's voice
(e.g. the pretty 'oh's, the slight staccato on 'star')
and, upon further listen, Zelo's rap -
but otherwise... D:
+ TOO MUCH DAE, TOO MUCH
coupled with the unintentional hilarity of the MV
(some caper film-esque storyline would have saved it but NOPE
they decide to have random shots of members jamming in place/in party cars lol)
and the disappointment stemming from the fact that these producers are the No Mercy ones...
I'm assuming they're saving the big guns for the final song/MV so TS DON'T DISAPPOINT PLZ.
Not to mention all three title songs are different
so the last will probably be as far removed from this as this is from Coffee Shop.
If you're going to make us sit through all these snoozy philosophical ramblings,
at least have some (/clearer) point to make?
Maybe it comes down to personal preference, but ngl it was a bit of a letdown
(especially coming off Kuchuu Teien and Aoi Haru).
Ryuhei (and Tatsuya Fujiwara, I admit grudgingly) is so hot, though. /sigh
(Kiko is gorgeous too - but we all knew that already. <3)
It's (Re)Discover Daichi Night thanks to Arama and Go For It. :'D
Brb, melting into a puddle of feels ;~~;
Sayonara, Bokutachi no Youchien:
Sick kid, tear-wringing antics, feel-good factor - check, check, check.
Thankfully a few surprises kept things fresh:
-Its portrayal of children,
e.g. the forging of completely distinct (even adultlike) personalities for the key characters (\o/),
them being shown as more independent/rational/intelligent than adults tend to give them credit for.
-Thematically, the superimposition of kindergarten graduation against, well, the cycle of life
(as when Kanna and Hiromu act out the graduation ceremony in his hospital room).
Also, everything about the Starry Night motif. <3
-The touches of surrealism?
Like the side encounters with the homeless jii-chan and the elderly lady.
-Takumi's and Mari's backstoriesss
(because lbr Takumi/the kid playing him was the true star of the show -
Mana was okay but too 'if-I-do-this-it'll-be-cute', 'if-I-do-that-it'll-move-them' self-aware).
-'MARRIAGE BY ABDUCTION' lololol
I WANT A KID THAT LOOKS LIKE HONDA MIYU SHE IS SO ADORBSSSS
I WANT TO CUDDLE HER AND FEED HER LOTS
In which nothing and everything happens.
Koreeda has such a masterful grasp of family dynamics,
and the way humans think and feel and act,
that he simply has no need for dramatic flourishes and flashy plot structures
(as much as I adore my snappy, *O*-inducing films a la Nakamura).
The smallest actions/words hold such weight, whether to the characters or to us -
and not in the pretentious, symbolic sense either (mostly),
but as they would in real life.
Therein lies the genius.
Subtle, matter-of-fact, painfully accurate.
IT'S BEEN OUT FOR A WEEK /CRIES
(Lmao a crowd of spinning ballerinas.
You know some storyboard guy somewhere
is congratulating himself on inventing this (super)fresh! way
of making a PV look like it has a larger budget/more artistic merit than it really does.)
O.O THE WHITE VERSION OF THE 24HR TEE IS AWFULLY PRETTY
(AND REFLECTIVE OF BOTH KUSAMA YAYOI'S AND OHNO'S STYLES) DDD:
Very, very tempted. Is it worth $36 (or £18, in a bid to make myself feel better)?
The flashier - for better or for worse - cousin of Tokyo Sonata.
(Was pleasantly surprised by how different from Aoi Haru it was, actually?)
Visually gorgeous in a languid kind of way (notwithstanding the excessive use of spinning camera),
tinged with dark humour in unexpected corners
and (O.O) subject to a constant undercurrent of creepy even at its most mundane.
Ughhh was practically holding my breath throughout the birthday party scene -
first during the tension/those vicious retaliatory stabs,
then during the palpable grief and regret in the SacchanXEriko conversation. ;;
Okay, the ending confused me. ><
- The way I read it, Eriko rewrote the bitter truth in the blood-rain
(and I'm certain this could be phrased less cheesily, but oh well),
which would be a cool parallel to Sacchan's admission
that her memories became more pleasant the more she dreamed them.
But this wouldn't explain the fact that Sacchan seemed to think herself a better mother
than Eriko remembered her to be.
- Alternatively (as I read in one or two online reviews after the fact),
Eriko was reverting to the truth in the blood-rain
(i.e. her memories had up till this point been lies, just like the rest of her life was a farce).
But the point of said farce was to compensate for the reality compassed by those memories,
so this wouldn't really make sense, would it? :3
Idk, maybe I favour the former interpretation
because this would then raise the further question of whether lies are justified
should they /truly/ make one happier
(and when Eriko smiles genuinely for the first time in the film's closing minutes,
it really does feel as if everything would be worth it, just to get to that point) -
which would extend the film's exploration of the collapse of lies covering up a LACK OF happiness.
(In this case, the discrepancies between Sacchan's and Eriko's perceptions of their relationship
would merely be that - differing perceptions.)
Whereas the latter would mean the conclusion was unequivocally optimistic.
...I wonder if the ambiguity was intended, or if I'm just being dense. L-lol.