April Bride 2009 Japanese Movie Watch Online Movie Trailer Review Cast And Crew

April Bride 2009 Japanese Movie

Cast And Crew

Cast: Eita Nagayama, Nana Eikura,
Akira Emoto, Ryûki Nishimoto, Satomi Tezuka
Director: Ryuichi Hiroki
RunTime: 2 hrs 9 mins
Released By: Encore Films & GV
Rating: PG
In Japanese with English & Chinese Subtitles
Genre: Drama
Opening Day: 8 October 2009

Synopsis:

This melodramatic Japanese tearjerker concerns a young woman who receives the most devastating news of her life: not only has she developed breast cancer, it is quickly metastasizing throughout her body and she has only a short time to live. Aware that the news will threaten to destroy her relationship with her boyfriend if he learns of it, she unsuccessfully attempts to conceal the information from him; he finds out anyway and plans to marry the girl despite her prognosis of only a month left to live.

Movie Review:

The very idea of a devoted boyfriend marrying his cancer-stricken girlfriend just before she passes away screams Japanese weepy, and indeed that’s exactly what "April Bride" is. Of course, if there is one thing that sets this movie apart from countless other such films the land of the rising sun is well known for, it would be that this is actually based on a true story.

Told first in a TV news segment and subsequently in a 2-hour TBS documentary, "April Bride" is the story of the radiantly beautiful and unfailingly cheerful Chie Nagashima who by a fortuitous mix-up meets the pleasantly handsome Taro. Soon after the couple are happily dating, Taro decides to take the next step forward by asking to meet Chie’s family (just her father, since her mother passed away when she was 10) and on that family visit hints to Chie of marriage.

Not long after he senses her reservations, Taro discovers that Chie has been diagnosed with breast cancer and undergoing chemotherapy for the past months. Despite Chie’s subsequent attempts to avoid him, Taro insists on staying by her side and promises not to let her condition change one bit of their love for each other. Yes, even before those wedding bells ring, Taro has to live out his upcoming wedding vow- 'to love and to hold, in good times and in bad, in sickness and in health'.

How Taro faithfully sticks by Chie’s hospital-bound days is recounted in great detail by director Ryuichi Hiroki. We see the couple exchange sweet-nothings, celebrate their special occasions, and finally take that final leap to matrimony- the pinnacle of their profound love for each other. All this while Taro endures countless rounds of treatment and eventually survives on painkillers to numb the pervasive pain.

Every one of these moments, whether unassuming or exceptional, are both heart-warming and heart-renching at the same time- heart-warming because of the zest for life Taro and Chie are determined to have despite Chie’s circumstance; and heart-renching because what happiness they share is always overshadowed by Chie’s impending passing. Credit goes to director Hiroki for not resorting to maudlin melodrama to milk the audience’s sympathy; instead his approach of the subject of death is unusually dignified, particularly for a film of this nature.

But Hiroki also has a habit of drawing out scenes past their welcome, such that "April Bride" does feel like an interminable affair in parts. There’s no doubt this 'lingering' approach does allow certain scenes (such as Chie’s final video message to Taro) to achieve greater emotional significance, but Hiroki’s gratuitous use of technique also considerably slows down the 129-min film especially where it could have been shorter and tighter.

The true stars of the film are indeed Nana Eikura and Eita, who play Chie and Taro respectively. Besides working their tearducts very hard, the pair give earnest, sincere performances, capturing beautifully the fears and vulnerabilities Chie and Taro would only naturally experience. Ditto for Akira Emoto and Satomi Tezuka, who play Taro’s stoic father and compassionate aunt- through their heartfelt acting, the ensemble cast pay a befitting tribute to the real-life characters they are portraying on-screen.

So too does "April Bride" honour the true-to-life story it tells- one of fortitude, of determination and of resolve to live and also to love. That fortitude, determination and resolve lies not just in Chie, but also in her partner Taro, for the undying love he displays towards her. Twice in the movie is Bette Midler’s "The Rose" played, its lyrics below:

"Some say love it is a river that drowns the tender reed
Some say love it is a razor that leaves your soul to bleed

Some say love it is a hunger, an endless aching need
I say love it is a flower and you it's only seed

It's the heart afraid of breaking that never learns to dance It's the dream afraid of waking that never takes the chance It's the one who won't be taken who cannot seem to give And the soul afraid of dying that never learns to live When the night has been too lonely and the road has been too long And you think that love is only for the lucky and the strong Just remember in the winter, far beneath the bitter snows Lies the seed that with the sun's love In the spring becomes the rose."

and its significance could not be more true- the truest, purest and most beautiful form of love is that forged through life’s harshest winters.

Amalfi 2009 Japanese Movie Watch Online Movie Review Trailer Cast And Crew

Amalfi 2009 Japanese movie

Cast And Crew

Starring: Yuki Amami, Koichi Sato, Erika Toda, Yuji Oda
Directed by: Hiroshi Nishitani
Local Distributor: Golden Village Pictures
Opening Date: 22nd October 2009
Language: Japanese
Rating: G
Genre: Drama

Synopsis

The story begins in Rome around Christmas time, starting with the abduction of a Japanese girl. Kuroda (Yuji Oda), a foreign diplomat based in the city of Amalfi who learns about the incident, launches an investigation and soon finds himself falling in love with the girl's mother (Yuki Amami). "Amalfi" is described as part suspense, part romance.
A foreign diplomat relegated to the coastal town of Amalfi investigates the case of a young Japanese girl kidnapped off the streets of Rome at Christmas, falling in love with the girl's mother.

Story

The story follows a brilliant but quirky piano student Megumi ‘Nodame’ Noda, played by Juri Ueno, and her aspiring conductor love interest (Hiroshi Tamaki). Production is slated to begin this June with famed classical music locations across Europe. Hideki Takeuchi, who directed the series, will also direct both films.
Japanese distributor Toho has slated the films for Christmas 2009 and spring 2010 releases.
As reported on Screendaily last November, kidnapping thriller-romance Amalfi is Fuji TV’s 50th anniversary film and its major summer release for 2009.
The film stars Bayside Shakedown’s Yuji Oda, Yuki Amami and Koichi Sato and is directed by Hiroshi Nishitani. Amalfi was shot entirely on location in Italy, including scenes at Rome’s Cinecitta studios.
Currently in post-production, Amalfi is slated for release on July 18 with Toho distributing.

Views And Reviews

[Excerpt from Sarah Brightman's website] "This album is a Japan import released in conjunction with Sarah's new Japanese movie, AMALFI, this CD features love songs selected by Sarah, as well as gorgeous new photos."

This cd fits Sarah's pattern of: New Release, Compilation CD, New Release, Compilation CD, etc. While I wish there were more "new releases," any release by Sarah is OKAY with ME. :)

If you don't have anything by Sarah, this is a good CD to have if you love Classical/Vocal music, although you can get most of the same track from her Sarah Brightman Classics CD at a much lower price. If you are a casual fan, I'd pass, as there are no new tracks. For the die-hard Sarah fans, like myself, I have a copy and I LOVE it. It really is a good collection of love songs and a great collector's item, as it's not a domestic release and a lot of the text is in Japanese. Now I just wish they'd make one from her pop music, including tracks from Dive and Fly. Love ya Sarah, keep it up.

Amalfi Reviews

Now, Fuji is celebrating its 50th anniversary with another film starring Oda and with executive producer Chihiro Kameyama at the helm. Kameyama is the head of the network's film division and the mastermind behind "Odoru" and many other hits. Titled "Amalfi: Megami no Hoshu" ("Amalfi: Rewards of the Goddess") and directed by TV drama veteran Hiroshi Nishitani, this big-budget thriller is not, like most networked-produced films, based on a popular TV show, best-selling manga or other pretested property. But it does include many elements of Kameyama's past successes, while lacking those that Hollywood considers de rigeur.

First of all, it is set in a location that, like Odaiba, spells "cool" for the target young audience: Italy. And just as the "Odoru" films featured the Rainbow Bridge and other Tokyo landmarks, the action of "Amalfi" unfolds against a backdrop of famous tourist sites: the Coliseum, the Forum, the Spanish Steps and, of course, the magnificently rocky Amalfi Coast — all photographed by cinematographer Hideo Yamamoto with a golden romantic glow. "Amalfi," in fact, was shot in entirely in Bella Italia — a first for a Japanese film.

Also, in common with the Kameyama-produced "Dare mo Mamote Kurenai" ("Nobody to Watch over Me," 2008) and about 10,000 other Japanese thrillers, the story of "Amalfi" revolves around a kidnapping. Naturally, the snatched child is adorable and, naturally, her single mom, Saeko (Yuki Amami), promptly falls into hysterics, from which she never quite recovers.

Coming to her rescue is Kuroda (Oda), a diplomat assigned to the Japanese Embassy in Rome, whose job is to protect Japanese citizens from terrorists. His main client at the moment is the Foreign Minister, who will soon arrive in Italy for a G8 meeting. The embassy staff, from the urbane councilor (Shiro Sano) to an earnest, if hopelessly tongue-tied trainee interpreter (Erika Toda), are all in a dither about this visit, introducing another common theme in Kameyama's films — fallibly human, but basically decent folks uniting for a major task. In other words, a shout-out to all the salarymen (and the stray bureaucrats) in the seats.

The film's biggest departure from the Kameyama formula is the character of Kuroda, who is fluent in Italian, well-versed in the culture — and hardly ever cracks a smile as he tries to sort out the motives and methods of the kidnappers. This is something of a first for Oda, who has spent decades trading on his boyish charm, but his all-business attitude adds a needed gravitas to a story that, from the second act on, becomes as far-fetched as any Bond film.

In yet another trope from the "Odoru" franchise, various sorts of gadgetry, from GPS tracking devices to security cameras, play a big role in the pursuit of the bad guys, while the usual Hollywood devices for pumping up the action, car chases, fist fights and gun battles are conspicuous by their absence. Kameyama has made it a point of pride to never show violent deaths in his films — and "Amalfi" is no exception.

This is actually a nod toward realism for films set in Japan, where lethal firefights are about as common as solar eclipses, but not for one set in Italy, where the history of violence has been different, to put it mildly.

Also, only one Italian character, a detective played by Rocco Papaleo, emerges as an individual. The others, including the kidnappers, are little more than local color. Even the Bond series, in its only visit to Japan for "You Only Live Twice" (1967), did better than that.

There is also an extended stage appearance by pop diva Sarah Brightman, belting her hit "Time to Say Goodbye" — another blow to Italian pride. In the land that gave birth to opera and canzone, Kameyama couldn't find one singer?

But "Amalfi," in common with nearly every other Fuji film, is not made for export — and its intended audience will probably like it just fine. It's pretty to look at, mildly entertaining and reaffirms the essential niceness of Japanese folks, even ones in a country not nearly as well-ordered as dear old Nippon. And it added Amalfi to my check list of places to see before I die.

Crows Zero 2 2009 Japanese Movie Watch Online Movie Review Trailer Cast And Crew

Japanese 2009 movie Crows Zero 2
AKA: Kurozu zero II

Cast And Crew

Cast: Shun Oguri, Takayuki Yamada, Kenta Kiritani, Meisa Kuroki,
Sousuke Takaoka, Kyuoske Yabe, Tsutomu Takahashi, Kaname Endo
Directed by: Takashi Miike
Writers: : Hiroshi Takahashi
Genre: Action
Runtime: 02:13
Country: Japan
Language: Japanese
Subtitles: English
Opening Day: 16 October 2009

Synopsis

Takiya Genji and his newly formed gang, GPS, have successfully taken over Suzuran and overthrown their former leader, Serizawa. He soon realises however, that reaching the top is tough, but staying there is even tougher. Unity is fast deteriorating as inner turmoil begins to grow within the grounds and loyalty crumbles. Genji is soon beset by a malaise as he doubts his ability as a leader and fighter. Meanwhile, a certain rival school declares all-out war on Suzuran and this conflict will test Genji’s ability to rise up to the challenge.

The Film Review

Takeshi Miike returns to helm the second installment of Crows Zero, which is arguably amongst his more mainstream work, based upon the manga by Hiroshi Takahashi. Bringing back almost all the major cast from the first film, one should expect more of the same story of high school violence given the thuggish micro-society amongst the academic community, where it's sans teachers and books, replaced by life's experience though the school of hard knocks (at times literally), coupled with the opening of old wounds and settling them through some good 'ol fisticuffs.

This sequel essentially picked up from where we last left off from the first film, with a prologue that went back some 2 years to set up the introduction of the rival thugs in Hosen Academy, where their leader got gutted by Sho Kawanishi (Shinnosuke Abe) in a cowardly manner against the rules where a weapon was used. Upon Sho's release, he's hunted down by Hosen members, where his flight from punishment landed him onto Suzuran's turf. Given a truce between the two schools, it got quickly broken by a standoff, caused by de-facto current leader Genji Takaya (Shun Oguri). So begins the reason for more action, broken bones and bruised egos in whack-fest sequences.

For those who have not seen the first film, it's not really necessary as you'll be quickly primed into the scheme of things, though those who had will undoubtedly enjoy some more detailed insights as to who the characters are, and their respective motivations. For starters at least, one would have expected Genji to have united Suzuran under his banner, but the truth is far from it. As with most aspects of leadership, respect is earned, not a given, even though you've defeated the biggest bad-ass in school, Tamao Serizawa (Takayuki Yamada). Suzuran is still very fragmented amongst its various levels and cliques, and made worse because of the perceived ineptness of Genji to lead them.

In classic united we stand, divided we fall scenario, Hosen students, in their skin-head motif, bring about some fearful raw energy as they wage war against their rivals. Leading the pack are Taiga (Nobuaki Kaneko) who sports a mean-looking goatee (which for an Arsenal fan like myself, I can't help but to associate his resemblance to Robert Pires), and a Michael Jackson-like character in Ryo (Gou Ayano), with pasty white skin, soft spoken demeanour and an aversion to sunlight (hence the umbrella), but packs quite the wallop when allowed to do his own thing in unleashing mayhem against his opponents.

The fight scenes replicated what has been experienced in the earlier installment, and I suppose even those who are new to this may find it a little repetitive at times although the fights are more realistically designed sans impossible leaps and superhuman powers, save for some unbelievable endurance of the combatants. In the finale battle for instance, which lasted some more than 20 minutes of screen time, brought out an interesting, battle-to-the-top scenario as attacks come wave after wave, which is kinda smart as it gave the various characters ample opportunity to show off their moves and abilities to hold their own ground. Miike, for all his morbidity infused in various genre films in his filmography, again chose not to include unnecessary blood and gore,

Fans of Meisa Kuroki (like *ahem*, myself) may take some delight in having the idol appear in all but 3 different scenes, 2 of which are spent consoling Genji, and one performing on stage at the pub (like what she did in the first film), though this time round it's a rather tame and shortened version of Bad Girl (those of you who have seen that music video, will know what I mean). But hey, at least Miike brought her back, so no complaints I guess. The soundtrack is again amply peppered with pop-rock music, and the main theme just accentuates perfectly the proud swagger each time the characters band together to battle. You can't help but feel that it's arse-kicking time, each time the theme comes on, cliché as this technique may be in inducing you to swell with pride as if you too are wearing a Suzuran badge.

Crows Zero II may seem like a rehash of the first film, but under different circumstances. The key subplot here involved Sho's attempt to reintegrate back into the society he knows, which is very similar to ex-convicts seeking a second chance at forgiveness after a major wrong. Other than that, there's very little emoting by the characters, or what passed as emoting in Genji's moping of why he's still pretty much the loner despite being Suzuran's top dog, and Serizawa being very much a shadow of his first film self, waiting menacingly in the wings in threatening take over looks, but very much more like the fallen hero awaiting an opportunity for a comeback. I guess fame and power doesn't account for anything especially when you belong to the same house. While the first film was essentially an ego trip for the protagonists in gaining and holding onto turf and reputation, this one rang home the importance of banding together and putting aside differences and ego for the greater good and survivability.

Thankfully the action sequences get interspersed and are brutally solid throughout, which naturally is the draw of this fantasy film. It's surprising too that for all the simplicity in its storyline, it still managed to extend itself to more than two hours, which flew by especially when you're having fun as observers to major fights. The perfect antidote after a stressful day at work (besides hitting those kickboxing gym classes)