The first posters for the upcoming live-action adaptation of Attack on Titan (Shingeki no Kyojin) have been released, showing the cast in costume as their respective characters.
Regardless of your taste in manga or anime, the posters are pretty awesome just in terms of graphic design.
It also gives fans of the Hajime Isayama series a chance to see how the cast of the upcoming big screen version measure up to the characters as depicted in their previous animated or comic-book incarnations. Oh, and the weaponry and hardware also get a very strong emphasis.
The all-star cast includes Hiroki Hasegawa, Haruma Miura, model Kiko Mizuhara, idols Nanami Sakuraba and Ayame Misaki, Jun Kunimura, and Satomi Ishihara.
Kotaku did a nice comparison of the anime, manga and film versions of each main character.
Attack on Titan has become a commerical phenomenon in recent years and this majoro film adaptation is the icing on the cake. Filming on location at Gunkanjima, it will be released in Japan in summer 2015.
If you can’t wait, you can always stage your own mini Attack on Titan battle scenes on your desk with the Tsumikore EVO! Attack on Titan Mania.
Tokyo International Film Festival is currently running in Roppongi. Japan’s premier film event always draws crowds and plenty of press attention.
So far this year’s biggest headlines have perhaps been generated by comments by director Takeshi Kitano, who has reached the age where he doesn’t care what people think anymore. He criticized the monopoly of the major Japanese film studios which control movie theaters, and how the local media never writes proper reviews. “The Japanese film industry is going to ruins,” he decried. He also admitted his dislike for anime. “I dislike Hayao Miyazaki the most. But I give credit to his works for earning so much money.”
Meanwhile Hideaki Anno, whose work is being showcased in a retrospected at TIFF, lamented the state of the local anime industry. “The Japanese animation industry has hit a dead end — it will be tough to escape unless we can make animation without commercial considerations.”
Hardly the stuff of a buoyant festival that the organizers were no doubt hoping for.
However, there has been even more criticism of the festival itself by industry people and the public alike about the way TIFF is presenting itself. TIFF has never been very sophisticated in its PR but this year might be the most crass.
In large print adverts run in major newspapers it has been pushing the country’s “legacy” for producing cinema maestros. This nationalist tendency might well meet the approval of the current government and no one would surely doubt Japan’s pedigree when it comes to past masterpieces, but this is bullishness verging on the right wing.
The official English translation of the copy is even worse:
Lest we forget; our nation gave birth to some of the world’s most respected directors.
The “lest we forget” is horribly formal and also sounds like an intonement at a memorial service. It is the kind of phrase you hear uttered after terrible events. And the “our nation” is, needless to say, hardly welcoming to the many foreign visitors to the festival.
It has been harshly criticized by director Tetsuaki Matsue.
Our question is also this: Who has forgotten? Just as no one has forgotten about the great directors of France, America, Germany et al, Kurosawa, Mizoguchi and Ozu have not been blotted out of the public’s mind, as far as we know. Does TIFF need to remind us, especially like this?
Better alternatives have been suggested:
Some of the world’s most respected directors were born here.
However, no matter how you adjust the copy, the rightist nuance reminds.
It is also perhaps no surprise that AKB48 producer and Prime Minister Shinzo Abe favorite Yasushi Akimoto was invited to produce the film festival this year. The rather inexplicable appointment by the government has resulted (directly or otherwise) in a nasty taint of politics over the event.
The festival was sponsored by Toyota until 2012 and it was in past festivals that the copy really rankled with us personally. That year the theme was all about ecology and the environment, including even a “green carpet”. This from an international event based in that eco paradise Roppongi, flying in guests and staff from all over the world. And sponsored by the biggest car manufacturer on the planet. “Action! for Earth” [sic] the slogan said. Yes, quite.
“Princess Jellyfish” exhibition at Shibuya Parco Museum: Male visitors must “cross-dress” in female clothesWritten by: William on October 27, 2014 at 8:47 am | In CULTURE | No Comments
A new exhibition event in Shibuya will turn all male visitors into crossdressers.
All right, let’s qualify that.
The exhibition, held in December and January at Shibuya Parco Museum, is a promo for the upcoming live-action film adaptation of the manga “Princess Jellyfish”.
The original, called “Kuragehime” in Japanese, is all about the goings-on at an apartment building populated only by female otaku, such as a girl obsessed with kimono and another with Chinese history. The tenants of the apartment in the threatened “Amamizukan” building are all girls. No boys are allowed, though the main character Tsukimi Kurashita (her mania is for jellyfish, hence the title) eventually allows a cross-dressing politician’s son into her life and of course, we can probably all guess how things turn out between them.
The exhibition will feature props, costumes and more from the world of the film and manga.
As men are “banned” from the apartment building in the story, likewise the exhibition is ostensibly only open to female visitors. Should men turn up, they will be forced to wear “female items” if they want to enter the exhibition. At the time of writing we aren’t sure exactly what these are, though we doubt a mainstream space like Parco Museum would actually force young guys in Shibuya to wear skirts. If you want to see that kind of thing, head over to Shinjuku or Akihabara for the otoko no ko cross-dressing cosplay subculture trend.
Following an anime series in 2010, the live-action film version of Akiko Higashimura’s comic is set for release on December 27th and stars Rena Nounen (of “Amachan” fame) in the gauche lead role.
Parco Museum (Shibuya Parco Part 1, 3F)
December 19th to January 12th
Descendants of “villain” in Korean box office hit “The Admiral: Roaring Currents” sue over historical inaccuraciesWritten by: William on September 16, 2014 at 9:58 am | In CULTURE | 1 Comment
Descendants of a figure depicted as a “villain” in the current Korean box office smash “The Admiral: Roaring Currents” are suing over the film’s alleged historical inaccuracies.
“The Admiral: Roaring Currents” revolves around the 1597 Battle of Myeongnyang, a victory for the Korean Joseon navy despite the odds. The Koreans had only a dozen ships against the invading Japanese’s 133 warships.
The film, known simply as “Myeongryang” in Korea, stars famed Korean actor Choi Min-sik (“Old Boy”) as Admiral Yi, the commander of the Korean last stand. Released in July, it has grossed over $100 million and been seen by over 17 million people. It is now the most successful film in Korean box office history. It received a limited release in America this summer.
Detractors have accused the film of having an nationalistic agenda. Its release and popularity at a time of Japanese and Korea tension over territorial and historical issues is certainly unfortunate for politicians, though the reasons for its success may also be more innocuous. Ordinary Koreans have much affection has for Yi, the underdog protagonist hero, and film’s distribution company is said to have a monopoly over local movie theaters.
Facing incredible odds, Admiral Yi held his ground even when ordered to fall back and devised strategies to hold the Japanese ships at bay. His leadership qualities are greatly admired by Koreans today and a translation of his diary into modern Korean has been a bestseller.
Not everyone feels that “The Admiral: Roaring Currents” is accurate or fair, however.
The suit, filed against the producer and director Kim Han-min, the screenwriter Jeon Cheol-hong, and a novelist, relates to the portrayal of a side character in the film.
“Our ancestor’s name has been defamed for commercialization and we are also suffering from stigma,” say descendants of Bae Seol, a Korean general whom the film depicts as a rival to Yi. Bae is often said to have deserted the battle but alternative theories say he was allowed to leave the battle due to illness. He was later captured and executed.
His modern-day descendants have asked for screenings of the film to be suspended.
The first set photos have been released for the upcoming live-action film adaptation of the popular TV anime “Lupin”. Starring Shun Oguri, Meisa Kuroki and Tadanori Asano, “Lupin III” will be released in Japan on August 30th.
We love the look of this latest big screen version (following the 1974 film) of the iconic manga and anime by Monkey Punch (who has been a consultant on the new movie). It is supposed to show how the main characters all meet for the first time but updates the story to a contemporary setting.
The big-budget movie has been filmed in Japan, Thailand, Hong Kong and elsewhere, and features an international starry cast. It is directed by Ryuhei Kitamura, who is known mostly for work in the science fiction and horror genres.
Still no full trailer but anticipation is now super high for this film!
Catch is a 15-minute-long short film produced by Intel Japan that tells the story of a boy in Tokyo.
While the whole thing is fictitious, it is a successful example of how to turn sentimentality and careful filmmaking into a memorable ad — without people even realizing they are watching a commercial.
The Japanese title translates as “Catchball” and it’s about a young boy’s struggle to come to terms with his classmate’s death from cancer.
Baseball, school, child mortality, cancer… hardly likely subjects for an IT computer to choose for a film to advertise its brand. But director Takuma Takasaki pulls it off, with some help from talented young actors. And it all comes together at the end in a harmony of message, visuals and product.
What’s inside is at the core of what we do every day at Intel, but it’s more than just what we make that counts. It is the passion behind everything Intel does to enrich people’s lives.
We don’t want to give too much away. The film also has very good English subtitles.
After a teaser a few weeks ago, the official trailer has been released for “Godzilla”, the new American film adaptation of Japan’s most famous monster.
Hollywood has a very bad track record when it comes to adaptations of Japanese pop culture. From “Astro Boy” to “Dragon Ball”, “Street Fighter” and “Super Mario Bros.”, the results are typically embarrassing for all concerned and more often than not, box office bombs. They seem to do better with darker video games or horror films. The “Resident Evil” series has its fans and the first “Silent Hill” film was quite a good horror flick on its own merits, while the remakes of “The Ring” and “Ju-on: The Grudge” weren’t so poorly done.
Roland Emmerich previously laid waste to the Godzilla franchise in 1998 with a notoriously cringe-worthy and stupid film adaptation. It was a literally a disaster movie.
In these post-Christopher Nolan days, though, Hollywood blockbusters are darker and grittier, so expect more handheld CGI shots. And if the tone is anything to go by in the trailer, lead actor Bryan Cranston will bring a raw emotion to the film that was utterly lacking in the comedic Emmerich film.
The studio sells its new version of Toho’s monster classic like this:
“An epic rebirth to Toho’s iconic Godzilla, this spectacular adventure, from Warner Bros. Pictures and Legendary Pictures, pits the world’s most famous monster against malevolent creatures who, bolstered by humanity’s scientific arrogance, threaten our very existence.”
Here’s the official trailer.
It will be released in US theaters on May 16th (in other words, the first blockbuster of the summer season) and will be shown in 3D.
Directed by Gareth Edwards, the man who put a micro budget to very good use in his independent cult hit “Monsters”, this time he is working with $160 million, which must have been a bit of a change. With its distinguished cast of Bryan Cranston, Juliette Binoche, David Strathairn and Sally Hawkins, the film is clearly aiming for serious dramatic elements on top of the special effects. Youngsters get eye candy in the shape of Aaron Taylor-Johnson and Elizabeth Olsen to keep them occupied, while Ken Watanabe flies the Japanese flag for the film.
In the new telling, the A-bomb “tests” in the Pacific were apparently attempts to wipe out the monster. But they failed. And now he is back to wreck havoc on mankind, specifically New York.
After failing so dismally in 1998, we hope Hollywood has learnt its lesson.
What will Japanese audiences make of the new version? Having only moderately flocked to recent Hollywood fare that offered “Japanese” settings like “47 Ronin” and “The Wolverine”, this time the film doesn’t even have that going for it since the action has been transplanted to American soil. Sure, many will be curious what the monster looks like and Ken Watanabe has plenty of local fans, but ultimately the success of the movie in Japan will depend on the quality.
Movie adaptations of video games rarely work.
For every Silent Hill and Resident Evil there’s a Final Fantasy, Super Mario Bros. or Prince of Persia.
But things go better when Hollywood isn’t meddling with the Japanese source material.
And so it is we wait with bated breath for the upcoming film version of The Idolmaster, the mega successful Namco Bandai Xbox game that sees players become Yasushi Akimoto-type idol producers. If you’ve ever wanted to be in charge of your own idol group, this is the game for you.
The Idolmaster Movie: Kagayaki no Mukogawa e! (The Idolmaster Movie: To the Other Side of the Light) is a brave choice. Although the franchise is immensely successful as a game and anime series, how do you turn such a subject matter into a feature-length film?
And without the interaction element of the game and the digestible length of the TV anime, will it be as interesting for the general public, enough to justify the larger budget?
There is always the problem of the fine line between satisfying the hardcore fans and also bringing in new audiences.
Here’s the trailer.
We will find out on January 25th when it premieres in Shinjuku.
Happy New Year, readers.
2014 is the Year of the Horse and while we are still in the grips of the cold winter, things aren’t nearly as chilly as they are in parts of America right now.
We wanted to start off the year with a little write-up of this interesting-looking and very timely documentary we heard about.
Japan’s Disposable Workers: Lost in the Global Unemployment Crisis is directed by photographer and multi-media journalist Shiho Fukada and focuses on the workers who have no social safety net.
Often dubbed the Precariat overseas, the growth of this new generation of workers without lifetime employment was originally deplored as a post-Bubble, Heisei-era phenomenon. Needless to say, that was a gross simplification, as the economic heyday was built on the back of day laborers and others whose situations were very uncertain. Homelessness didn’t started in 1990.
The film looks at three main areas:
Overworked to Suicide
After the recession of the 1990′s, Japan’s white collar salarymen increasingly must work arduous hours for fear of losing their jobs. This often leads to depression and suicide.
Net Cafe Refugees
Internet cafes have existed in Japan for over a decade, but in the mid 2000’s, customers began using these spaces as living quarters. Internet cafe refugees are mostly temporary employees; their salary too low to rent their own apartments.
Kamagasaki, Osaka, Japan used to be a thriving day laborer’s town. Today, it is home to approximately 25,000 unemployed and elderly men, many of whom are also homeless.
As someone who used to live near Kamagasaki, I am particularly interested to see that section of the film.
It already screened in Washington DC last September at the Pulitzer Center Film Festival.
Here Shiho Fukada talks about her project in 2012 before she had finished making it.
It’s a cold time of year to be hopeless or poor in Japan (or anywhere). Here’s hoping the final film gets screened in Tokyo to raise awareness of the issues.