I cannot recommend this movie to those who aren't into certain kind of Japanese cinema. On the other hand there is a lot to appreciate here. Aoyama's talent is apparent. On the plus side is, first of all, the admirable absence of clichés - well, it still is a yakuza flick: a yakuza returns from prison and cannot cope with the fact that his gang is apparently defunct; he bumps into Tadanobu Asano, whom he happens to know (he may be his relative - I forgot). Asano's father is dying in the hospital. That's the opening setting, I will engage in spoilers. Almost every character is an original - a retarded/insane girl with a pet rabbit, a friendly, clueless classmate of Asano's - you never know what they are up to, and it feels real. Aoyama has been notable for his attention to music - see his use of Jim O'Rourke's song in Eureka and the noise rock that is a constituent part of Eli Eli Lama Sabachtani. Here he plays electric guitar himself, and it's good.
On the minus side, it does feel a bit contrived, and as it plays out almost in real time (during a single day), with limited cast of characters, it has the feel of a stage play adapted for film.
But this is not a forgettable movie. It contributed to the development of the style from which greater works sprung later, both by Aoyama and others. And Asano's fans naturally have to see it.
On the minus side, it does feel a bit contrived, and as it plays out almost in real time (during a single day), with limited cast of characters, it has the feel of a stage play adapted for film.
But this is not a forgettable movie. It contributed to the development of the style from which greater works sprung later, both by Aoyama and others. And Asano's fans naturally have to see it.