Review: "Big Man Japan" (2007)

“Big Man Japan” is a weirdly entertaining but erratic film that blends a parody of monster movies with a bizarre spin on the superhero epic. It’s an oddball take on “Hancock” that focuses a satirical eye on Japanese nationalism and the world of media and reality TV.

Employing a faux documentary style of filmmaking, director Hitoshi Matsumoto (who also plays the lead character) chronicles the surreal adventures of Daisato, a lonely middle-aged man, gifted with the power to transform into a giant when shocked with electricity, as he goes about his job as chief monster fighter for the Department of Monster Prevention. While his father and grandfather were hailed as national heroes and mobbed by fans, monster fighting isn’t quite as popular it once was and TV ratings are down. Daisato is now a pariah within the community – people complain about the noise and property destruction he causes, his wife and child have left him and neighbors throw rocks through his windows and write obscene graffiti on his door. In order to supplement his income, Daisato takes on a talent agent whose job is to sell advertising space on his chest.

Despite the interesting premise, the film is often dull, focusing too much time on the mundane activities of its hero. Nevertheless, there are some poignant scenes, filled with touching details that reveal Daisato’s inherent sensitivity – his gentleness with a stray cat and his thoughtfulness in picking out just the right birthday present for his daughter - while capturing his sense of isolation.

The film picks up momentum during the computer-animated monster fight sequences, which have a purposely fake look as if filmed on miniature sets similar to the Godzilla movies. Broadcast on national TV, we watch Daisato battle a host of increasingly bizarre creatures such as a Stink monster and another with a long eyeball growing from its genital area that it tosses around like a bowling ball. Kudos to the creature designers!

“Big Man Japan” is likely one of the strangest films ever made. It’s over the top and over long but worth a viewing for its sheer quirkiness.

Review: "A Thousand Years of Good Prayers" (2007)

“It takes 1,000 years of good prayers for a father and daughter to get along”. Thus begins “A Thousand Years of Good Prayers”: a touching portrait of a Chinese father and daughter trying to bridge the vast gap of geography, language and culture that divides them.

Based on a story by Li Yi Yun about an elderly man who travels from Beijing to Washington state to visit his recently divorced daughter he’s not seen in many years, “A Thousand Years of Good Prayers” is a wistful meditation on loneliness, connecting with strangers and the communication gap between parent and child. Henry O gives a subtle and heartfelt performance as Mr. Shi, a traditional Chinese father who is worried about his Americanized daughter and questions her decidedly non-traditional lifestyle choices. In turn, the daughter Yilan (Faye Yu) is defensive and resents her father’s meddling into her private life. Over the course of his short visit, they gradually open up and reveal some hidden secrets that enable them to begin to heal their relationship. Director Wayne Wang complements the father-daughter drama with a modest yet moving minor story between Mr. Shi and Madam, an Iranian immigrant he encounters in a local park, as they form a close bond talking about their children.

Overall, this is a quiet film - filled with moments of tenderness, humor and sadness - that illustrates some universal truths about human connection and how encounters between strangers can be more intimate than those amongst family.

Review: "Hard Boiled" (1992)

“Hard Boiled” is a gritty, powerful Hong Kong crime thriller in the vein of “Dirty Harry” that combines exciting, visceral action with characters that you care about.

Featuring strong performances by Chow Yun-Fat and Tony Leung Chiu Wai, “Hard Boiled” tells the story of Tequila (Chow), a tough-as-nails detective who loses his partner in a teahouse shootout with gun smugglers. Seeking revenge against the ruthless gangster kingpin responsible for his partner’s death, he teams up with Tony (Leung), a disillusioned undercover cop who has infiltrated the gangster’s lair, to bring down the smugglers and stop them from killing.

While the story is solid, the main reason to watch this flick is for the action sequences. Across three unique locations (teahouse, warehouse and hospital) , director John Woo manages to orchestrate a stylish and energetic ballet of gunfights, explosions and bare knuckle brawling that is truly eye-popping. Both Mr. Chow and Mr. Leung are believable as action heroes and very capable actors, imbuing their characters with compassion and bringing emotional resonance to the dramatic scenes.

It is to Mr. Woo’s credit that he allows some breathing room amidst all the fighting and chaos in order to flesh out the dramatic arc of the characters and inject a bit of humor. We can relate to Tequila and Tony -- both are inherently good guys trying to do the right thing against a morally corrupt villain who kills innocent people without remorse – and come to appreciate the bond of friendship that develops between them. Overall, this is a fine blending of action and drama.

Review: "Avalon" (2001)

In the vein of “The Matrix”, “Avalon” explores the world of virtual reality and computer gaming. As directed by Mamoru Oshii, “Avalon” offers an artistic and meditative take on the subject, showing us how addictive the computer game becomes that it distorts our vision of what’s real and what’s imaginary.

Set in a drab world seemingly devoid of human connection, “Avalon” focuses on the story of Ash, a young and introspective woman who is one of the top players in a virtual reality war game that is played for points and money. It’s a game with risks as players’ spirits can become trapped in the game while their bodies remain comatose in the real world. We follow Ash, who seems to blossom only when she’s playing the warrior, in her grail-like quest to win each battle and progress to the next level.

Although the narrative is a bit muddled and the characters don’t really spark much emotional connection, “Avalon” is worth a viewing for its impressive visual effects, dark surreal imagery and production design. Even though it’s a live-action film, the look and feel is very close to anime. The war game sequences are visually impressive even if the action itself isn’t so riveting. The use of a sepia tone color palette is effective in blurring the distinction between the real world and the imaginary game world.

Overall, “Avalon” may not be a good fit for those seeking intense action but it offers some philosophical food for thought about a person’s internal quest for meaning and identity that is constantly changing.