Ryuta Sato, Yusuke Kamiji team up for "Manzai Gang"

Following up on the success of his movie "Drop" last year, comedian Hiroshi Shinagawa is working on his second film as a director, titled "Manzai Gang." It will star actor Ryuta Sato and talento Yusuke Kamiji in a story about an unlikely comedy pair.

Like "Drop," "Manzai Gang" is an adaptation of one of Shinagawa's novels. Sato plays a professional comedian who has been part of a manzai duo for ten years, but due to a decline in popularity, his partner quits. While drinking his troubles away, he ends up involved in an incident and is placed in a detention cell. There, he meets a delinquent (Kamiji) with a natural talent for comedy, and he decides to create a new duo.

Shinagawa started filming on April 19 and is aiming to finish in early June. "Manzai Gang" is scheduled for release in 2011.

Just watched a Kiyoshi Kurosawa film, Retribution, starring his regular actor Koji Yakusho along with Manami Konshi, Joe Odagiri. Reminded me quite a bit of Pulse, quite dark, dreary but so captivating. Have to watch again, like a lot of his films can be a bit confusing, need a couple of watches to understand all of it. Would recommend it, was a good watch, hard to call his films enjoyable.
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hitomi #1 wrote:

Just watched a Kiyoshi Kurosawa film, Retribution, starring his regular actor Koji Yakusho along with Manami Konshi, Joe Odagiri. Reminded me quite a bit of Pulse, quite dark, dreary but so captivating. Have to watch again, like a lot of his films can be a bit confusing, need a couple of watches to understand all of it. Would recommend it, was a good watch, hard to call his films enjoyable.

Yeah, I saw Retribution once. As the credits were rolling I thought to myself, "WTF was THAT all about?!!?"

Maybe I should watch it again.

gaijinmark wrote:

Yeah, I saw Retribution once. As the credits were rolling I thought to myself, "WTF was THAT all about?!!?" Maybe I should watch it again.

Guess that was my thought too, Manami had such a big role though I'm still trying to figure who was she? My only complaint was that Odagiri didn't have a bigger role.
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Yosuke Eguchi, Yu Aoi make cakes in "Coin de Rue"

Yosuke Eguchi and Yu Aoi will co-star in a new movie by director Yoshihiro Fukagawa ("60-sai no Love Letter," "Hanbun no Tsuki ga Noboru Sora"). Both of them will play pastry chefs in the film, which is titled "Yogashiten Coin de Rue."

Eguchi plays Tomura, a man who was once known as the "legendary patissier" before he suddenly stopped making his famous cakes and became a lecturer and critic. Aoi, on the other hand, plays a young woman named Natsume who moves from Kagoshima to Tokyo to chase after her boyfriend. Natsume begins working at a shop called "Coin de Rue," where Tomura is a regular, and their encounter leads them both to personal growth.

It is said that Aoi's lines are entirely in Kagoshima-ben, which she has been earnestly practicing. She and Eguchi also had to train a lot for their baking scenes.

Supporting cast members include Noriko Eguchi, Hiroyuki Onoue, Sumie Sasaki, and Keiko Toda. Filming already took place last fall, and the movie is scheduled for theatrical release in early 2011.

Viewed another film by Koki Mitani who also did Uchoten Hotel, this one was called The Magic Hour, starring Satoshi Tsumabuki, Koichi Sato, Eri Fulatsu, Haruka Ayase and Susumu Terajima. This one went down as a classic in my book, so funny, lot of slapstick in it but in a controlled way. Very impressed with Tsumabuki in this, looked so different, plus no one beats Terajima playing those not so serious gangster types, nice role for Eri too. Like the Uchoten Hotel, had that old time feel set to modern times. Know I'll be watching this another 5 times at least, seen many good films as of late but this was the best of them, highly recommended.
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hitomi #1 wrote:

Viewed another film by Koki Mitani who also did Uchoten Hotel, this one was called The Magic Hour, starring Satoshi Tsumabuki, Koichi Sato, Eri Fulatsu, Haruka Ayase and Susumu Terajima. This one went down as a classic in my book, so funny, lot of slapstick in it but in a controlled way. Very impressed with Tsumabuki in this, looked so different, plus no one beats Terajima playing those not so serious gangster types, nice role for Eri too. Like the Uchoten Hotel, had that old time feel set to modern times. Know I'll be watching this another 5 times at least, seen many good films as of late but this was the best of them, highly recommended.

I have probably been embarrassingly effusive in my praise of Mitani Koki on this site. His work--both in dorama and in film--has been clever, entertaining, and hilarious. That said, I was somewhat disappointed in Magic Hour, primarily because my expectations for a Mitani work are so high. I expect him to hit a homerun every time; instead Magic Hour turned out to be a groundrule double. It was good Mitani, not great Mitani imo.
The cast was first-rate, the premise was typical Mitani cleverness, but it didn't wow me like many of his previous efforts: Radio no Jikan, Uchoten Hotel, Minna no Ie, Warai no Daigaku, Ohsama no Resutoran, Furuhata Ninzaburo.

shin2 wrote:

I have probably been embarrassingly effusive in my praise of Mitani Koki on this site. His work--both in dorama and in film--has been clever, entertaining, and hilarious. That said, I was somewhat disappointed in Magic Hour, primarily because my expectations for a Mitani work are so high. I expect him to hit a homerun every time; instead Magic Hour turned out to be a groundrule double. It was good Mitani, not great Mitani imo. The cast was first-rate, the premise was typical Mitani cleverness, but it didn't wow me like many of his previous efforts: Radio no Jikan, Uchoten Hotel, Minna no Ie, Warai no Daigaku, Ohsama no Resutoran, Furuhata Ninzaburo.

Uchoten Hotel was a classic for sure, been watching so many serious things as of late it was so nice to finally have a film that had some sort of humor in it, probably why I liked it so much. Gotta find a few of the others you mentioned, though at least you rated it a ground rule double instead of a swing and miss at strike 3.
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Nanako Matsushima to star in "Ghost" remake

Jerry Zucker's hit 1990 film "Ghost," starring Patrick Swayze and Demi Moore, is reportedly getting an Asian remake. Swayze and Moore are being replaced by Korean actor Song Seung Hun and Japanese actress Nanako Matsushima, with the story taking place in Japan.

In the original "Ghost," Swayze played an investment banker who is killed but remains on Earth as a ghost. He learns that his death was planned, and he must contact his lover (Moore) in order to warn her of further danger.

The remake has been assigned to NTV director Taro Otani ("Gokusen," "Zeni Geba"). Paramount Pictures Japan and Shochiku will jointly distribute the film, which is scheduled to start shooting in June. Release is planned for this fall.

AND

Tsumabuki, Matsuyama co-star in new Nobuhiro Yamashita film

Satoshi Tsumabuki and Kenichi Matsuyama will co-star in a new movie from director Nobuhiro Yamashita ("Linda Linda Linda," "Tennen Kokekko").

Titled "My Back Page," the story is set around the time of the 1969 student protests at Tokyo University. It is based on the experiences of critic Saburo Kawamoto, who was a newspaper reporter at the time of the protests. Tsumabuki will play a journalist named Sawada, while Matsuyama will play a left-wing student named Umeyama.

The supporting cast includes Shiori Kutsuna as a model who appears on the cover of Sawada's magazine, Anna Ishibashi as Umeyama's girlfriend, Keishi Nagatsuka, Tomokazu Miura, and Aoi Nakamura. Filming starts on the 16th, with a release date set for sometime in 2011.

hitomi #1

Quote:

Kiyoshi Kurosawa ... hard to call his films enjoyable

With you there. I've never found any of his films enjoyable, and the most frustrating thing for me is that he keeps casting some of my favorite actors and actresses (Both Koji and Nakatani have worked for him I'm sorry to say).

I won't say Kurosawa has single handedly ruined J-Horror for me. He had some help. But I think it's fair to say he's a major reason I've given up on the genre.
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Manga is to Literature
what Graffiti is to Art

hitomi #1 wrote:

Uchoten Hotel was a classic for sure, been watching so many serious things as of late it was so nice to finally have a film that had some sort of humor in it, probably why I liked it so much. Gotta find a few of the others you mentioned, though at least you rated it a ground rule double instead of a swing and miss at strike 3.

Since you enjoy Mitani's work, you also might look into the films of Itami Juzo and Suo Masayuki--like Mitani, both also have a clever flair for comedy.

Itami titles I'd recommend: Ososhiki (The Funeral), Tampopo, Super no Onna (Supermarket Woman), Mimbo no Onna (The Gentle Art of Japanese Extortion), Marusa no Onna and its sequel (Taxing Woman and Taxing Woman Returns).

Suo's comedic films: Fancy Dance, Shiko Funjatta (Sumo Do Sumo Don't), Shall We Dance.

One more note on Mitani--a few years ago he collaborated with two other noted screenwriters on a dorama, Kawa Itsuka Umi e: each writer penned two episodes although Mitani's episodes really had nothing to do with the storyline (which was a good thing since the series overall sucked). However Mitani's episodes (#2 and #4) are typical Mitani. In episode #2 Nishida Toshiyuki plays a troubled salaryman who escapes to a struggling ryokan run by Watanabe Ken and Kobayashi Satomi (a really fine actress who just happens to be married to Mitani). The couple's earnest but hilarious efforts to please their guest ends up driving Nishida's character nuts. The other Mitani episode is about the employees of a company who annually puts on a stage play for its hometown.

Geezer wrote:

hitomi #1 Quote: Kiyoshi Kurosawa ... hard to call his films enjoyable With you there. I've never found any of his films enjoyable, and the most frustrating thing for me is that he keeps casting some of my favorite actors and actresses (Both Koji and Nakatani have worked for him I'm sorry to say). .

It could have been worse, Geez--they could have been cast in a Miike Takashi film.

shin2 wrote:

Since you enjoy Mitani's work, you also might look into the films of Itami Juzo and Suo Masayuki--like Mitani, both also have a clever flair for comedy. Itami titles I'd recommend: Ososhiki (The Funeral), Tampopo, Super no Onna (Supermarket Woman), Mimbo no Onna (The Gentle Art of Japanese Extortion), Marusa no Onna and its sequel (Taxing Woman and Taxing Woman Returns).

Must have seen Marusa no Onna 10 times, what a great film to watch, for sure in my top 20 perhaps top 10. Also seen Super no Onna, so different but still so good. Ososhiki I keep forgetting about, haven't seen it though I really want to. Mimbo no Onna is one I haven't heard it about, I'll go check it out and sigh, kick me but I've got Tampopo but haven't watched it, will put near the top of my list now.
Also saw the Mitani film All about our House, liked it though not as much as his others, really need to give it another watch though, many times it's hard to rate a film until you've seen it a few times.
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shin2

Quote:

It could have been worse, Geez--they could have been cast in a Miike Takashi film.

Too true. Kiyoshi Kurosawa's movies are just aimless, pointless, directionless collections of pretty pictures passed quickly in front of a bright light.

Whereas Takashi seems to strive to be bad.
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Manga is to Literature
what Graffiti is to Art

hitomi #1 wrote:

Viewed another film by Koki Mitani, this one was called The Magic Hour,

Yeah, I saw that a while ago. It was an awesome film, very funny.

Geezer wrote:

hitomi #1 Quote: Kiyoshi Kurosawa ... hard to call his films enjoyable With you there. I've never found any of his films enjoyable, and the most frustrating thing for me is that he keeps casting some of my favorite actors and actresses (Both Koji and Nakatani have worked for him I'm sorry to say). I won't say Kurosawa has single handedly ruined J-Horror for me. He had some help. But I think it's fair to say he's a major reason I've given up on the genre.

Yeah, besides him though the J-Horror has really died down the last few years, starting to look all the same, but I will give it credit for introducing me to Japanese movies, years ago the horror genre films were the only things you could find in a store, now I realize the other genres are so much better. Doppleganger wasn't too bad for him, least it wasn't dark and dreary, Koji seems to shine so much more brightly in non-Kurosawa films.

Just viewed Cyborg-She, so-so rating I would give it. First half of the film was so entertaining and very funny, second half seemed to get too serious, had the potential to be such a solid film, shame it didn't turn out that way. Would recommend it but not highly though Ayase looked great in that time travel suit.
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Here's a review by Mark Schilling of the Japan Times of the latest version of the Zatoichi story, this one with Katori Shingo as the iconic blind masseur:

Turning a blind eye in the revival of Zatoichi

By MARK SCHILLING
The "Zatoichi" series has long been an entry point for non-Japanese into Japanese films. Guys from Bonn to Buenos Aires who nod off after 10 minutes of Yasujiro Ozu's "Tokyo Monogatari" ("Tokyo Story") devour the 25 episodes of the original series of films (1962-1973), as well as the 1989 revival directed by series star Shintaro Katsu, and Takeshi Kitano's 2003 revisionist take featuring Kitano himself as the blind swordsman hero.

Zatoichi: The Last Rating: (3.5 out of 5)


Blind faith: Shingo Katori stars as a family-oriented Zatoichi, a portrayal quite different to that in past Zatoichi films. (C) 2010 "ZATOICHI THE LAST" SEISAKU IINKAI
Director: Junji Sakamoto
Running time: 132 minutes
Language: Japanese
Opens May 29, 2010
[See Japan Times movie listing]

There was also a TV series that aired for four seasons (1974-1979), as well as various takeoffs and rip-offs, including the flashy yet forgettable "Ichi" (2008), starring Haruka Ayase as a female Ichi (the hero's real name, "Zato" being a title signifying the lowest rank in the feudal-era blindman's guild).

One reason for Ichi's popularity, here and abroad, is that the character is easy to understand. Unlike samurai living and dying according to a bizarrely masochistic (in Western eyes) code, Ichi was just trying to make a living as a masseur and gambler, while wandering the country alone. Giving massages was a traditional occupation for the blind in his era, but gambling was his true moneymaker, thanks to super-sensitive hearing that enabled him to accurately call the dice's roll.

Also, unlike the stainless samurai types that were then the genre's standard, Katsu's Ichi was a dirty hero par excellence �\ rough, crude and less inclined to noble crusades than payback against those who mocked him for his blindness �\ until they tested the edge of his cane sword, an unconventional weapon that he wielded with an unconventional underhand grip. His nearest equivalent in the West was Clint Eastwood's "Man with no Name," who gunned down his opponents with cold, scornful glee.

Junji Sakamoto's "Zatoichi: The Last," the latest revival, doesn't feature Katsu, who died in 1997 after a wild, riotous life. Instead it stars the hyper SMAP singer Shingo Katori, who has mostly appeared on the big screen in comedies ("The Uchoten Hotel") or kiddie actioners ("Saiyuki").

Also, instead of portraying Ichi as an outcast and loner, the film gives him a wife, friends, a community �\ and strong feelings for all of them.

None of this sounded promising going in, but "Zatoichi" is a better film than expected. Fans can rightly complain, however, that it lacks much of the rude swagger of the original series as well as its feats of legerdemain, such as Ichi slicing and dicing various airborne objects.

Sakamoto has compensated with the sort of spare, striking stylistics and strong, elemental emotions found in Yoji Yamada's acclaimed samurai trilogy, particularly the 2006 "Bushi no Ichibun" ("Love and Honor"), whose swordsman hero, played by SMAPster Takuya Kimura, was also sightless. At the same time, the film is loaded with action sequences that try to be more hard-breathing, blood-soaked substance than choreographed, CG-assisted style �\ though the whole idea of one blind swordsman, however accomplished, taking on hordes of sighted opponents is frankly fantastic.

The story begins with Ichi pledging to his wife Tane (Satomi Ishihara) that an upcoming fight will be his last. At its end, with Ichi bloody but triumphant, a cowardly late-comer rushes in to stab him, but Tane unwittingly steps in between Ichi and the blade. The late-comer flees, Tane dies �\ and Ichi is left seething with grief and anger.

Instead of hunting down the killer, Ichi returns to his native village, where he finds a home with his friend Ryuji (Takashi Sorimachi), a humble farmer, and his family. There he leads a quiet life while becoming close to Ryuji's young son Goro (Seishiro Kato) and big-hearted mother (Chieko Baisho), who cares for him as if he were her own flesh and blood.

But the local big man, Tendo (Tatsuya Nakadai), is despotic and ruthless. Together with corrupt local officials, he and his minions run roughshod over the villagers, using any means necessary to enforce obedience and compliance �\ from threats to murder. Zatoichi is finally stirred reluctantly to action, but Tendo proves to be a wily and dangerous opponent.

Shingo confessed that he had never seen Katsu's Zatoichi films prior to taking the role �\ which may be heresy to the series' fans, but at least enabled him to bring a fresh perspective to the character instead being overly influenced by Katsu's charisma.

He plays Zatoichi with a headlong, physically risky commitment. Watching him slip and slide on the snow with his eyes closed as he battles dozens of opponents, I imagined the bumps and bruises he must have accumulated in the retakes. Emotionally, he is all there as well, minus the goofy smirks of his usual on-air persona, though his performance is on the sweaty and over-wrought side, as though he were channeling Toshiro Mifune instead of Katsu.

Meanwhile, Nakadai elevates the film beyond the genre standard with his over-sized, hollow-eyed presence. His Tendo is not only intelligent and amoral in the usual villainous mode, but also scarily remote, unknowable and capricious �\ more like a demon god than a man.

For all its pretensions to tragedy, "Zatoichi The Last" is ultimately chanbara (sword-fighting) entertainment, similar to "The Dark Knight" and other Hollywood comic book movies that try for darkness and depth but still have CG action at their center. As such it delivers the goods, but I can't help preferring Katsu's more straightforward and definitely cooler approach. Or maybe I just like watching a blind guy slice a buzzing fly in half with a barely perceptible flick of his sword. Call me old-fashioned or simple-minded.

^ Oh man.

I can't watch any more Zatoichi remakes after Kitano Takeshi's oddball version from a few years ago...

I'll stick with re-watching the originals.

just finished watching Goemon...
ok story, nice effects thoughs
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Belgian J-movie fans may be delighted to hear that the Cinamatek in Brussels has a full Kurosawa retrospective (they show all his movies minus 2 apparently )

http://www.cinematek.be/?node=17&event_id=100063000

I won tickets for tomorrow's session "Sugata Sanshiro" from 1943.

It runs until the end of June and I will try to go and see a few more movies ...