Japan Cuts ’14: Hello! Junichi

Junichi Hayashida is a naturally empathetic kid. Unfortunately, that does not impress a lot of third graders. However, he might gain a little bit of confidence through time spent with his five friends and their bombshell student teacher. Being a kid is hard, but it still has its moments in Katsuhito Ishii, Kanoko Kawaguchi & Atsushi Yoshioka’s Hello! Junichi, which screens as part of the 2014 Japan Cuts: the New York Festival of Contemporary Japanese Film (special festival trailer here).

Anna-Sensei makes quite an impression on everyone, especially Hayashida’s romantically frustrated homeroom teacher. However, he still only has eyes for Maeda. During art class, he found himself borrowing a bunny eraser from her, but he has yet to gird up the courage to return it. This is the sort of thing Anna-Sensei picks up on immediately. Initially, this intimidates Hayashida, just like everything else in life, except more so. Yet, he comes to trust her when she defends him and his mates when they get into a tight spot.

Although Junichi’s parents are well to do, he spends more time with more-with-it-than-he-seems grandfather. Unfortunately, his friend Masato Kuramoto’s home life is much more difficult. Money is tight, so his soon-to-be single mother must work multiple jobs. To help him give her special birthday, Hayashida and his friends agree to stage a special concert for her, with Anna-Sensei’s help, of course.

In terms of tone, Hello is reminiscent of Ishii’s The Taste of Tea, but it substitutes moments of wild but terrestrial zaniness for the magical realism of his Tochigi-set family pastoral. Co-directed with two of his workshop graduates, Hello balances a battalion of characters with ease. They mostly maintain a mood of wistful whimsy, but it still forthrightly addresses the issue of bullying.

Hikari Mitsushima, who took no prisoners in Sion Sono’s Love Exposure, once again becomes a force of nature as Anna-Sensei, the Miss Jean Brodie we always wanted. She develops some real chemistry with her young co-stars and looks great beating on the various adults who cross her. Still, young Amon Kabe distinguishes himself, carrying the narrator-chief POV duties like a good little soldier.

Likewise, Yohei Hotta and Rio Sasaki are remarkably compelling as the gruff but sensitive Kuramoto and the forceful aspiring pop idol, Kayo Tanaka. Frankly, the all the third grade supporting players are quite assured. It is some of their adult counterparts who get a bit shticky (but not enough to undermine the film’s good vibes).

Anna-Sensei’s magnetism is undeniable and her kids are all quite endearing. As a result, it is hard to imagine anyone would not be won over by Hello’s charm. Gentle but relatively true to life, it is perfect for family viewing. To that end, the Japan Society is offering a special $6 admission deal for children twelve or younger. Recommended with affection, Hello! Junichi screens tomorrow (7/20), the closing day of this year’s Japan Cuts.

Japan Cuts ‘14: My Little Sweet Pea

Mugiko Koiwa’s life revolves around anime. Her brother Norio is all about pachinko. Neither is particularly industrious, but fortunately their long lost mother Saiko was helping pay the bills, unbeknownst to her daughter. Sadly, Saiko will not have enough time to rebuild their relationship, but Mugiko will learn to appreciate her mother after the fact in Keisuke Yoshida’s My Little Sweet Pea (trailer here), which screens as part of this year’s Japan Cuts: the New York Festival of Contemporary Japanese Film.

Pleading hardship, Saiko moves in with Mugiko and the surly Norio, who shacks-up with his girlfriend shortly thereafter. It is a decidedly awkward situation for Koiwa, who always thought Saiko had abandoned her family. While she makes some halting efforts, she never really accepts Saiko into her life before the older woman’s death. Unsure of her own feelings, Koiwa agrees to takes her mother’s ashes to her provincial home town for her forty-nine day ritual.

However, Koiwa is rather shocked when the community receives her like a rock star. Evidently, she is the spitting image of her mother in her younger years. Saiko only visited once after moving to Tokyo to fruitlessly pursue her pop star dreams, but she is fondly remembered by all, particularly her cabbie Manabu Inomoto, a luckless suitor, and Saiko’s best friend, Michiru. It turns out Koiwa has a lot to learn about her mother and she will have the time to learn, thanks to some missing internment paperwork.

If you prefer your films on the cynical side than Sweet Pea might just make you break out in hives. However, anime fans should sit up and take note, Production I.G (the studio behind Ghost in the Shell) created original animated sequences seen during Koiwa’s early fangirl sequences. They are pretty cool, but they are a distinct anomaly in their filmography.

The real point of Sweet Pea is Koiwa’s journey rediscovering her lost mother. As her host and guide, Michiru, Yumi Asou is wonderfully warm and humane, unexpectedly outshining just about everyone. On the other hand, Yoichi Nukumizu indulges in a bit of shtick as Inomoto. Nevertheless, he nicely turns his big serious third act speech. Maki Horikita portrays Koiwa’s internal arc of development with believable restraint, but Ryuhei Matsuda makes little impression as brother Norio, while Kimiko Yo’s Saiko never really lands the emotional haymaker.

The Oscar winning Departures (which co-starred Yo) is an obvious comparison film, with the misunderstood Saiko taking the place of the encoffineer’s absentee father. While Sweet Pea is not nearly as devastating, it feels more true to life. It is a wistful, endearing film that works on its own terms. Recommended for fans of tearjerkers with anime seasoning, My Little Sweat Pea screens tomorrow (7/19) at the Japan Society as part of the 2014 Japan Cuts.

Japan Cuts ’14: Man from Reno

Mystery novelist Aki Akahori’s Inspector Takabe is like a Japanese Maigret, but her life is about to turn into a Mary Higgins Clark novel, except darker. A chance encounter with a seductive stranger leads to more intrigue than Akahori bargained for in Dave Boyle’s Man from Reno (clip here), the best narrative award winner at the 2014 L.A. Film Festival, screens as part of this year’s Japan Cuts: the New York Festival of Contemporary Japanese Film.

Although Takabe rules the Japanese bestseller lists, Akahori is uncomfortable with her success. Tired of her celebrity status, she deserts her publicity tour, taking refuge in San Francisco, where she once went to school. In her hotel, she meets a handsome Japanese tourist from Reno, or so she deduces. She did not have a tryst in mind, but she eventually yields to his charms. However, just when things start heating up, he precipitously vanishes. Even more disconcerting are the total strangers who suddenly want to take a quick look-see in her room.

Just north of town, Paul Del Moral, the sheriff of San Marco, is also searching for a Japanese man. In this case, it is the individual he accidentally hit during severe fog-in, who up and left the hospital in an equally rash manner. Soon a dead body turns up in San Marco who seems to have some connection to the fellow Del Moral dubbed “Running Man.” Inevitably, Del Moral’s investigation will lead him to the increasingly uneasy Akahori.

Reno represents a quantum step up for Boyle, whose previous films, like White on Rice, have been largely classifiable as romantic comedies. His frequent collaborator Hiroshi Watanabe is also back in the fold, but this time around he plays a strictly serious supporting role. Instead, Ayako Fujitani and veteran character actor Pepe Serna take star turns as Akahori and Del Moral, respectively. Expect to see more of them because they both make major statements with their smart, charismatic, yet understated performances.

As thrillers go, Reno (co-written by Boyle, Joel Clark, and Michael Lerman) has several fresh twists and it nicely captures the between-worlds vibe of the expatriate lifestyle. Technically polished, Richard Wong’s evocatively noir cinematographer also heightens the tension during several key scenes.

Murkier than one might expect, Reno is an effective somewhat romantic suspenser that never rushes to tip its hand. However, it even more appealing to see a film anchored by people who look like Akahori and Del Moral. Granted, Fujitani is a beautiful woman, but in a mature, cerebral manner. Likewise, Serna is wonderfully grizzled, in a confidence-inspiring way. They are terrific, carrying the film relay-style during their many solo scenes. Highly recommended, Man from Reno screens tomorrow (7/19) at the Japan Society as part of the 2014 Japan Cuts.

Japan Cuts ’14: Greatful Dead

Japan is the nation that brought us the hikikomori phenomenon and Nami is grateful, so to speak. However, she is not interested in garden variety shut-ins. It is the seriously cracked loners, or “solitarians” as she dubs them, that fascinate her. Her unhealthy obsession will take on dangerous dimensions in Eiji Uchida’s Greatful Dead (yes, that is how it is spelled, trailer here), which screens as part of this year’s Japan Cuts: the New York Festival ofContemporary Japanese Film.

Nami’s parents were highly flawed. Her mother’s compulsive third world child sponsorship never left her time for her own daughters. In contrast, their father was only interested in her, so when she abandoned her family to live the Mother Theresa lifestyle, it essentially killed him inside. Eventually, he takes up with a seductive new mistress Akko-chan, but she hardly helps his state of mind. At least he has a lot of money to leave Nami.

Now in her twenties, the privileged Nami consumes like mad, while her sister revels in the ordinariness of her stable family life. Nami wants no part of it. She prefers documenting the sad and sometimes twisted lives of her solitarians. Her latest seems to hold special meaning for her. Mr. Shiomi was evidently once a man of some position, but now he shuns his family, leading the sort of aggressively anti-social existence Nami finds so charming. However, when Korean evangelical Su Yong starts to reform and uplift Shiomi, it threatens to spoil Nami’s fun. Extreme measures will be taken in response.

In a way, Greatful asks which is the stronger force, consumerism or Christian fellowship. Surprisingly, it treats the latter quite fairly. However, it takes viewers to an existentially dark and bloody place, like nothing one would ever see in Evangelical cinema. Still, Su Yong is unquestionably the film’s most sympathetic and virtuous character, played with deep sensitivity by Korean indie star Kim Kkobbi.

Nonetheless, Kumi Takiuchi completely dominates the film, effortlessly transitioning from eccentric kookiness to raging sociopathic ferocity. It is an unsettling performance, because she shows the little girl inside Nami, lashing out for attention. Likewise, Takashi Sasano is pretty fierce himself, convincingly portraying Shiomi’s personal evolution and his sudden snap back into brutishness, courtesy of Nami.

Greatful is absolutely chilling at times, but its morbid sense of humor takes the worst of the edge off. It is quite cleverly constructed and Uchida’s execution is unflaggingly tight and tense. It is not what you would call “feel good,” yet Uchida someone leaves us some ambiguity to clutch at. Highly recommended for those who take their horror-comedies unsweetened, with a side order of social commentary, Greatful Dead screens tomorrow (7/18) at the Japan Society as part of the 2014 Japan Cuts.

Japan Cuts ’14: Unforgiven

For Jubei Kamata, it is the end of an era—the Tokugawa Era. The former samurai-assassin used to kill with impunity and then he simply killed to stay alive, but he gave up killing at the behest of his beloved late wife. However, killing is a skill you never forget. Reluctantly, Kamata digs up his sword for a final violent errand in Sang-il Lee’s Unforgiven (trailer here), an inspired cross-cultural remake of Clint Eastwood’s Oscar-winning western, which screens tomorrow as part of this year’s Japan Cuts: the New York Festival of Contemporary Japanese Film.

In a remote frontier village on Hokkaido Island, two ranchers brutally disfigure Natsume, a young prostitute. Rather than prosecute them, local police chief Ichizo Oishi merely requires the former samurai pay restitution to the brothel owner. Outraged by his callous disregard for Natsume’s suffering, her fellow prostitutes pool their money to place a bounty on the offending settlers.

Old Kingo Baba intends to collect that bounty, so he tries to recruit his old samurai comrade Kamata, a.k.a. “Jubei the Killer.” Already haunted by his past carnage, Kamata dearly wishes to keep his promise renouncing violence. Unfortunately, a disastrous harvest leaves him no other option to provide for his young son and daughter. Soon, Kamata and Baba are joined by Goro Sawada, an impulsive would-be outlaw, who also happens to be half Ainu (the indigenous people of Hokkaido and Sakhalin). As it happens, Kamata’s late wife was also Ainu, giving the two men a distant kinship and a shared outage at the Meji government’s repression of Ainu customs.

Arguably, the Ainu element further deepens the Unforgiven story beyond the Eastwood’s revisionist critique of a violent, misogynistic American west. Closely paralleling the original, Lee’s adaptation perfectly fits within the rough and tumble early Meiji northern provinces, where many former Shogunate ronin sought refuge.

Ken Watanabe (who starred in Eastwood’s Letters from Iwo Jima) is impressively hard-nosed and world weary standing in for his former director. Akira Emoto’s nervous energy playing Baba is a bit of a departure from Morgan Freeman’s analog, but it works well in context. Koichi Sato is smoothly fierce in the Hackman mold and Shiori Kutsuna is devastating as the disfigured (but still beautiful) Natsume. Yet, it is evidently still hard to get the balance of exuberance and angst right for Sawada/the Schofield Kid.

Cinematographer Norimichi Kasamatsu gives the Hokkaido vistas the full John Ford treatment, while Lee invests the action sequences with a tragically operatic vibe. It is a gritty period production that represents a triumph return to the tradition of Jidaigeki films and westerns riffing and channeling each other. Frustratingly, it is also a reminder of how rare the contemporary western has become in Hollywood, even though Japanese cinema continues to find creative grist in its national history. Highly recommended for fans of moody westerns and samurai films, Unforgiven screens tomorrow (7/15) at the Japan Society as part of the 2014 Japan Cuts.

NYAFF ’14 & Japan Cuts ’14: Wood Job!

Yoki Iida is a forester and he’s okay. Yuki Hirano is a forestry-trainee and he’s a mess. Trees will chopped, fish will be out of water, and lessons will be gently learned in Shinobu Yaguchi’s Wood Job! (trailer here), which screens as a joint presentation of the 2014 New York Asian Film Festival and Japan Cuts.

After failing his university entrance exams and getting dumped by his girlfriend, Hirano does what any slacker would do. He applies for a “green job.” His real motivation is the pretty girl on the cover of the forestry brochure. However, it turns out forestry involves real work—something Hirano was never any good at. Yet, just when he is primed to desert, he runs into Naoki Ishii, the forestry covergirl. Evidently, she was never a student, but she once dated one. Frankly, she is rather annoyed to see her picture still in circulation and thinks even less of scammers like Hirano, who enroll hoping to put the moves on her.

However, Ishii’s telling off has a perversely motivating effect on Hirano. He sticks out the training program and accepts a yearlong apprenticeship in her remote lumber village. Of course, Hirano still has a lot to learn about the forest. His boss, the gruff but gruff Iida is not very impressed, but the mismatched mentor and protégé slowly start to grow on each other.

Will honest, hearty country living finally win over Hirano? Will he ever win over Ishii? Do you want to see grown men wearing a thong-sash during their Burning Man forest rituals? If you answered yes to that last one, Wood Job is definitely the film for you.

Granted, writer-director Yamaguchi follows a pretty well established formula. One could consider it Japan’s teenage/early adult Northern Exposure with lumber. Nevertheless, his mastery of mood and keen visual sense elevates it well above standard Doc Hollywood terrain. While mostly grounded, there is one particularly striking excursion into magical realism Yamaguchi executes with graceful understatement. He also gives viewers very practical instructions in proper tree-chopping technique. Seriously, you will think you can actually do this stuff after seeing the film.

Shota Sometani’s Hirano is a bit of a goof and a goon, but he portrays his maturation with a fair degree of subtlety. As Ishii, Masami Nagasawa brings some healthy verve and attitude, while developing nice Fleischman-O’Connell chemistry with Hirano. In contrast, Hideaki Ito is pure mountain man as Iida.

Somehow Yamaguchi is able to convey the sensation of that crisp mountain air. He is not afraid of a little sentiment either—and why should he, anyway? It is all quite a sweet, sure-footed, ax-wielding coming of age film that gets steadily more inviting as it progresses. Recommended for fans of bittersweet romantic comedies, Wood Job! screens tomorrow (7/13) at the Japan Society, as a joint selection of this year’s NYAFF and Japan Cuts: the New York Festival of Contemporary Japanese Film.

Japan Cuts ’14 & NYAFF ’14: All-Round Appraiser Q

Riko Rinda is sort of the Japanese Lovejoy, except she is far more reputable and much cuter. She can appraise anything, but she specializes in fine art and jewelry. Much to her surprise, she will be called upon to evaluate a masterpiece that should need no appraisal in Shinsuke Sato’s All-Round Appraiser Q: The Eyes of Mona Lisa (trailer here), which screens as a co-presentation of the 2014 Japan Cuts and New York Asian Film Festival.

Rinda, a.k.a. All-Round Appraiser Q, is good at her job. Struggling journalist Yuto Ogasawara is not. They both happened to be working the same gourmet reception. Rinda’s client is concerned the slicker than slick outfit renting his restaurant is too good to be true. Ogasawara’s boss thought a cooking demonstration would be the only assignment he couldn’t possibly make of hash of. He was wrong. Rinda duly foils the criminal goings on, but Ogasawara misses the photo. However, he suspects Rinda might be an even bigger story, especially when she is offered a chance to serve as a special Japanese curator on the Mona Lisa’s world tour.

After sleuthing out the real La Joconde to pass her audition, Rinda is whisked off for training with her snooty colleague, Misa Ryusenji. Yet, Rinda eventually develops some fake-spotting chemistry with her. They appear to have the makings of a real team, until Rinda falls sway to a sinister force. At this point, the eager Ogasawara takes up the case in earnest.

Yeah yeah, Dan Brown, right? In point of fact, Manbu Uda’s adaptation of Keisuke Matsuoka’s source novel rather cleverly incorporates the painting’s strange history, including handyman Vincenzo Peruggia’s unlikely theft in 1911 and the recent discover of the initials in her eyes. However, Appraiser Q is considerably more fun than a month of Da Vinci Code clones.

In large measure, this is due to the character of Rinda. While she is as brilliant and nearly as eccentric as Cumberbatch’s Sherlock, she is also warm and empathetic. Frankly, it is nice to see an endearing underdog find her niche, especially when seen shortly after the emotional angst of Yoshihiro Nakamura’s The Snow White Murder Case. Haruka Ayase’s performance is scrupulously demure, yet she lights up the screen.

Tori Matsuzaka’s Ogasawara trails after her as best he can, largely keeping the shtick in check. Asian film connoisseurs will not be shocked to hear awkward looking westerner Pierre Deladonchamps is embarrassingly clunky as Rinda’s French instructor, but Eriko Hatsune delivers some subtle surprises as Ryusenji.

Appraiser Q has several nice twists and loads of genre appropriate atmosphere. The “Monna Lisa” misspelling is a tad unfortunate, but these things happen. Ayase and company put on a great show, which is the thing to focus on. It makes you hope it is the start of a franchise. Highly recommended for those who enjoy old fashioned romantic mysteries, All-Round Appraiser Q screens tomorrow (7/13) at the Japan Society, as a joint selection of this year’s NYAFF and Japan Cuts: the New York Festival of Contemporary Japanese Film.

NYAFF ’14 & Japan Cuts ’14: The Devil’s Path

Junji Sudo is a yakuza. Shuichi Fujii is a journalist. That means they are both users. Yet, each will discuss justice with earnest indignation in Kazuya Shiraishi’s The Devil’s Path (trailer here), which screens as a joint presentation of the 2014 New York Asian Film Festival and Japan Cuts.

In the opening scenes, the audiences watches Sudo kill, torture, and torment several victims, so it causes no great distress to learn he is now on death row, awaiting word on his final appeal. Before he goes, Sudo has a few things he wants the world to know. Fujii’s editor assigns him the provisional interview, expecting he will quickly dismiss Sudo’s letter as an attempt to buy time at the eleventh hour and move on to the political scandal stories she is much more interested. However, it does not work that way.

Sudo is willing to admit to three additional murders the cops know nothing about, for the sake of implicating the associate who set him up. He had always considered the man he called “Doc” (or “Sensei” depending on the translation) as a close friend and ally. During their time together, Doc was the brains behind some really nasty real estate and insurance schemes and Sudo was the brawn. Nevertheless, Doc duped the yakuza into believing his closest cronies had betrayed him. Needless to say, they all met very bad ends, for which Sudo will likely pay the highest price.

Naturally, Fujii is skeptical and Sudo’s accounts are frustratingly light on details. Considering how many horrible deeds he committed, these three just were not that memorable at the time. Yet, when Fujii starts probing, Sudo’s story holds up.

The idea of a malevolent bad guy helping an investigating-protagonist solve some sort of crime probably sounds like another pale copy of the Silence of the Lambs-Blacklist formula, but there is considerably more to Devil’s Path. For starters, Fujii’s relationship with Sudo is decidedly awkward and nearly entirely antagonistic. It is also a rather bracing look at what are typically considered white collar crimes, perpetrated in a lethal blue collar fashion.

As Sudo, Pierre Taki is a truly riveting presence, holding a vice-like grip on viewers. In contrast, Takayuki Yamada’s Fujii is rather weak and dull opposite him, which is surprising given his fierceness in the thematically related The Samurai that Night (seen at last year’s Japan Cuts). On the other hand, Lily Franky calls and raises Taki as the ruthless Doc. Usually cast in shaggy dog roles, such as the easy going father in Kore-eda’s Like Father, Like Son, Franky delivers a lightning bolt out of the blue here. Amongst the rest of the large but mostly beaten down supporting ensemble, Nozomi Muraoka stands out a bit, bringing some Runyonesque dash as Fujii’s editor.

In all honesty, Devil’s Path could have lost an entire subplot involving Fujii’s wife Yoko and her mounting frustrations caring for his mentally deteriorating mother. Yet, the grit and grime of Sudo’s story is quite distinct from any other yakuza film. Recommended for those who prefer their crime dramas dark and existential, The Devil’s Path screens tomorrow (7/12) at the Japan Society, as a joint selection of this year’s NYAFF and Japan Cuts: the New York Festival of Contemporary Japanese Film.

Japan Cuts ’14 & NYAFF ’14: The Snow White Murder Case

Nobody in their right mind would call Mao Inoue homely and the young actress playing her middle school aged self has to be one of the cutest kids ever. Yet, those caught up in the mob mentality will believe anything. Group think in its many guises, including social networking, scandal mongering journalism, and peer pressure, stands thoroughly indicted in Yoshihiro Nakamura’s The Snow White Murder Case (trailer here) , which screens as a co-presentation of the 2014 Japan Cuts and New York Asian Film Festival.

Noriko Miki was Little Ms. Perfect at her cosmetic company (makers of Snow White soap). Outwardly beautiful and gracious, she was actually manipulative and mean. She also happens to be dead, having been found stabbed repeatedly and then burned to beyond recognition. The media will chose to print the legend, led by TV news part-timer Yuji Akahosi, who sees his relationship with one of the murdered woman’s co-workers as his opportunity to hit the big time. During their interview, Risako Kano not so subtly casts suspicions on Miki Shirono, referred to in his reports as “Miss S.”

In subsequent interviews, their fellow co-workers are eager to follow Kano’s lead, especially since Shirono has conveniently disappeared. Slowly, old high school and college friends emerge to defend Shirono. As they tell their stories in flashbacks, viewers see a pattern of bullying develop in her formative years. Yet, Akahosi doubles down on his narrative, egging on the internet’s baying hounds.

Ostensibly a mystery, Snow White is really the sort of film that rips your heart out and stomps on it. All three actresses playing Shirono are just overwhelmingly endearing and vulnerable. Viewers with any sliver of sympathy will be deeply moved by her/their sensitivity and indomitable faith the future will somehow be better.

Snow White was adapted from Kinae Minato’s novel, as was Tetsuya Nakashima’s incendiary Confessions—and it is easy to see a kinship between the two, especially in the way students’ causal cruelty leads to major macro consequences. However, Nakamura’s film does not leave audiences feeling so bereft and numb.

In addition to Inoue and her fellow Sironos, Shihori Kanjiya and her younger alter ego are terrific as Miss S.’s loyal but emotionally stunted childhood friend, Yuko Tanimura. Arguably, Go Ayano is appropriately vacuous and annoying as Akahosi, in a hipster Williamsburg kind of way. Yet, it is TV actress Nanao in her first feature role as Miki, who really gives the film a disconcerting edge.

Considering how intricately plotted Snow White is, the final resolution comes surprisingly quickly and cleanly. Nevertheless, witnessing Shirono’s life is an experience that really gets into your soul. Indeed, its genre trappings are rather deceptive, dressing up an intensely personal drama that steadily expands in scope. Highly recommended, The Snow White Murder Case screens tomorrow (7/11) at the Japan Society, as a joint selection of this year’s NYAFF and Japan Cuts: the New York Festival of Contemporary Japanese Film.

Japan Cuts ’14 & NYAFF ’14: The Mole Song—Undercover Agent Reiji

Yakuzas do not sing, but they should be able to tell jokes. However, theme songs are a handy way to ensure undercover cops always remember their principles. I mean obviously, right? These are about the only rules that apply during The Mole Song: Undercover Agent Reiji (trailer here), Takashi Miike’s manic adaptation of the hit manga series, which screens as a co-programmed selection of the 2014 Japan Cuts and New York Asian Film Festival.

Reiji Kikukawa is the lowest scoring patrolmen to somehow graduate from the police academy. Basically, he is an idiot, so who would suspect him of being a deep cover narc? After trying to bust a pervy city councilman, Kikukawa is summarily fired and then wink-wink rehired to infiltrate the feared Sukiya-kai clan. Kikukawa’s ultimate target is the elusive boss Shuho Todoroki, but for reasons that would not make sense to explain, the #2, Masaya Hiura (a.k.a. Crazy Papillion) quickly takes Kikukawa under his wing.

Kikukawa also takes a shine to Hiura because of the yakuza’s unyielding stand against drug trafficking. Unfortunately, someone within the organization is not so principled. Kikukawa soon feels rather confused and abandoned. Much to his frustration, being a gangster also complicates his awkward attempts to put the moves on his cute former colleague, Junna Wakagi.

Periodically, Kikukawa experiences flashbacks of his superior officers singing “The Mole Song,” which is a crime in itself. However, that sort of shameless lunacy is right in Miike’s power alley. Mole Song makes the original Police Academy look like a Noel Coward drawing room comedy. No gag is too slapsticky and no humiliation is too unlikely to inflict on Kikukawa.

Yet, he keeps plugging away, because Mole Song also has heart. You have to hand it to Toma Ikuta’s Kikukawa—there is nothing he will not do for a laugh—starting with being strapped naked spread eagle to the hood of a speeding car. Literally, that is where Miike starts. Kenta Kurokawa and Itsei Nekozawa also make quite a strong impression as feline-themed yakuza assassins, who look like CATS chorus members on crystal meth.

Riisa Naka does her level best to provide some grounding as the decent Wakagi, but she is fighting a losing battle. However, Shinichi Tsutsumi (who also plays a bonkers yakuza in Sion Sono’s Why Don’t You Play in Hell?) largely steals the show as the indomitably hardnosed Miura.

Miike seems to be having a ball trying out nutty ideas throughout Mole Song and the fun is contagious. Frankly, it is rather impressive how many of the bits successfully land. Recommended for those who want to see a madcap cartoon with live people, Mole Song: Undercover Agent Reiji screens tomorrow (7/10) at the Japan Society, as the opening film of this Year’s Japan Cuts: the New York Festival of Contemporary Japanese Film, co-presented by NYAFF.

NYAFF ’14 & Japan Cuts ’14: Why Don’t You Play in Hell?

Which is a greater menace to society, the Yakuza or independent filmmakers? It hardly matters, because when they join forces, there will be blood on the floor. We are talking wall-to-wall pooling here. Yes, this is a Sion Sono joint, so get your game face on when Why Don’t You Play in Hell? (trailer here) screens as a joint presentation of the 2014 New York Asian Film Festival and Japan Cuts.

Ten years ago, scruffy would be teen filmmaker Hirata Don and his two camera-operating chums first met Sasaki, their supposed martial arts star. On that fateful day, they also crossed paths with Jun Ikegami, a profusely bleeding yakuza. He was supposed to assassinate Taizo Muto, a rival clan leader, but they ran into his wife Shizue instead. Only Ikegami survives her wrath, but not before getting a severe dressing-down from her ten year old daughter, Michiko.

Michiko had been well on her way to being Japan’s sweetheart, based on her perversely catchy TV toothpaste commercial, but her mother’s murder convictions derail her career. Feeling understandably indebted to his wife, Muto promises to establish their daughter in the movies before her release. However, the now punky and petulant Michiko walked away from her legit film debut, forcing the studio to recast. With mere days left before Shizue’s parole, Muto needs to find a production for Michiko fast. You see where this is going? Eventually, Don’s dubious crew will hook up with Muto’s clan, but everyone thinks the director is Koji Hashimoto, a poor schmuck on the street Michiko roped into her madness.

With no time to write a proper script, Don opts to film Muto’s war with Ikegama verite-style. Buckle up, because there is going to be a body count. When it comes to over-the-top, outrageously gory comedic violence, Sono’s latest film stands tall, in a field all its own. The sheer level of mayhem Sono unleashes in the third act would even leave Itchy & Scratchy slack-jawed. It is impressive.

Amid all the carnage, there is also something of a valentine to filmmaking and an affectionate eulogy for old school 35mm. It also features one of the greatest and fiercest performances by a child actor, maybe ever, but it will probably be a good eight or ten years before Hara Nanoka’s parents let her see her work as young Michiko. As the older Michiko, NYAFF Rising Star Award winner Fumi Nikaido smoothly picks up the baton and proceeds to bash just about everyone with it. It is a butt-kicking star turn, but nobody can out hard-nose Jun Kunimura (Boss Tanaka in Kill Bill vol. 1, which seems so tame in comparison) as the steely but devoted Muto.

On the Sion Sono spectrum, this is more polished than Bad Film, but more ragged around the edges than Love Exposure. Regardless, whatever you think WDYPIH is, raise it to a power of ten. Highly recommended for cult film connoisseurs who have a general idea what they are getting into, Why Don’t You Play in Hell? screens tomorrow (7/10) at the Japan Society, as a joint selection of this year’s NYAFF and Japan Cuts.