tmz_99
After reading other reviews of this movie on IMDb i thought, ''bah! female friendship movie! Thelma and Louise in Japan! why would anyone without childbearing qualities want to watch this?!". However, the movie quickly engrosses even the most cynical of viewers with its offbeat direction style, quirky storyline and solid acting.Yes, the movie centers on two Japanese girls in their teens and their begrudging yet growing friendship. The cast of characters is colorful, the direction style is eclectic (think Natural Born Killers, one moment a cartoon, the next a musical, the next a soliloquy sequence).All these factors come together in what is an enjoyable, lighthearted and engrossing film. Although some of the scenes are clearly influenced by Anime and Kung Fu movies of yore, there is a lack of outlandish violence. The mis-mash of styles really backs up a very solid story. Pleasantly surprising movie, definitely worth a watch.
EHrmns
The opening of this movie certainly impresses, using different media and a riot of colours. The story also seems off-beat with a gangster world mixed with fairy tales. However after about 20 minutes the movie settles for a more linear approach and all the jokes and quirkiness disappear. The problem is that the story itself is pretty boring: biker chick wants to find herself with the aid of rococo girl. Most acting is 1 dimensional in this sometimes surreal world.I just wish directors like this would distribute all the gimmicks throughout the length of the movie and also to keep the story interesting, I just didn't care for the characters. A lost opportunity.
screaminmimi
"Shimotsuma Monogatari" is somewhere between "Thelma and Louise" and "Wayne's World," with a bit of the "Odd Couple," "The Wild One" and a very brief Spike Lee quote thrown in. Ostensibly a coming-of-age chick-flick, its appeal for me is mainly as a wicked satire on fashion consumerism, and it does a pretty thorough job of demolishing female stereotypes in broadly comedic, but plausible, ways. In a rather unflattering product placement for two giant Japanese retailers: Jusco (http://en.wikipedia.org/wiki/JUSCO/ ) and Parco (The Wal*Mart and Bloomingdale's of Asia), they're both slammed. The Lolita-look obsessed Momoko calls their customers twisted, but I guess the "I don't care what you say about me, as long as you spell my name right" version of PR is in play here.Sadwo Abe plays a dual role, and it's nice that in at least one of them you can see his face, unlike in his brilliant turn in "Yôkai Daisensô" as Kawatarô, where he's under four hours' worth of turtle-esquire latex. He's a full-body actor, one of those people who could probably steal a scene just using his pinkie toe. In his case, he's a scene stealer with a heart who makes everybody he works with look that much better on-screen. Abe-san is already a full-fledged actor. I look forward to Kyôko Fukada and Anna Tsuchiya becoming as skilled. They're well on the way.I give this movie a 9 for the clichés it succumbs to, although it smashes most of them to bits. I'd tack on a half star for its self-awareness.
LARSONRD
A completely enchanting and engrossing comedy-drama about two 17 year old girls, vastly different from each other (one a self-absorbed dreamer with a love for Rococco period fashion and behavior; the other a rebellious biker chick), who become friends and change each other's lives. The film makes the most of this simple plot line, and it's the compelling personalities of the characters, beautifully overplayed by Kyoko Fukada and Anna Tsuchiya, respectively. The film is told through a color-saturated visualization and stylish direction by Tetsuya Nakashima, who adopts a manic style not unlike that of Jean-Pierre Jeunet in AMELIA or Tom Twyker in RUN LOLA RUN, with jump-cut flashbacks, bizarre cut-aways and edits; the effervescent vitality of Nakashima's direction coupled with the performances of the lead and supporting cast really make this film a fascinating and repeatedly watchable experience. Also of note is a terrific score, which varies from J-Pop to American hard rock and punk, to classical (one fight scene is set to Strauss' Blue Danube) and really sets the film's aural tone and pacing; Yoko Kanno (MEMORIES, ESCALFLOWNE, GHOST IN THE SHELL: STANDALONE COMPLEX, and Nakashima's previous SUMMER TALE) is responsible for the underscore and several of the songs.
AD
