Drive Review

Drive 

After reading various reviews, many have been quick to praise Nicolas Winding Refn’s Drive, especially professional ‘film critics’. However among the bloggers and part-timer writers, many have been less awestruck. But after following the project for a while and watching the trailers, Drive had gained my attention. Based on James Sallis’ 2005 novel, Nicolas Winding Refn takes the relatively simple premise and injects it with adrenaline and style. My personal experience with Refn’s career stems from Bronson and the Pusher Trilogy. His stylist approach to film is reminiscent of work by Stanley Kubrick, and there’s a focus on the primal nature of man; aggression and violence. However, how would this transcend in, arguably, his most mainstream work?

The plot follows a Hollywood stunt performer who is simply known as ‘Driver’ (Ryan Gosling). He starts to form a relationship with his female neighbour, Irene (Carey Mulligan), and her son Benicio. However, after meeting Irene’s newly paroled husband, Standard (Oscar Isaac), he soon becomes entangled in dangerous territory. He takes a job as the getaway driver for a simple ‘Pawn Shop’ robbery job. But when everything goes wrong, a brutal thrill-ride begins as he tries to protect Irene and tie up loose ends. Drive’s story is relatively straightforward with no plot twists and nothing really ground-breaking or unique. What’s surprising about Drive is its dramatic change from a dragging ‘romantic’ endeavour into a barrage of violence and brutality. Its 18 rating becomes justified through the course of the film as bones break and heads get caved-in, whilst the development of tension really adds a refreshing note to the ‘tired’ narrative. However Drive’s story suffers from slightly flawed pacing and character development. After a dramatic heist scene that masterfully opens the film, its first act turns into a sluggish exchange of smiles and small talk between Gosling and Carey’s characters. Drawn-out shots of staring and ‘silence’ become a tedious and awkward affair. Alongside the first act’s slow speed, is a somewhat instantaneous relationship between Gosling and Carey that never is explained or fully developed. The abruptness of the ‘romantic’ plot element means that we don’t build any attachment to the characters, and it feels rather empty and shallow. These problems weaken the first act but are cancelled out by pulsating, and thrilling second and third acts. 

In terms of the acting, Drive is good but far from perfect. Ryan Gosling has to be the most busiest actor this year with the likes of The Ides of March and Crazy, Stupid Love. Here his performance is somewhat disjointed. While his character’s persona is split between calm and quiet, and then intense and sinister, Gosling fails to pull off both.  When he’s interacting with Mulligan, it’s too lifeless and uninspired. In contrast he plays his latter personality perfectly, managing to be genuinely threatening and savage. He’s good but lacks balance and refinement. Bryan Cranston puts in a great performance as Shannon, whilst Albert Brooks is perfect as crime boss Bernie Rose. However, the female side of the cast is underwhelming. Carey Mulligan is average at best, but she doesn’t really have enough dialogue to display her acting skills. Meanwhile, Christina Hendricks is listed as a main character but never really fulfils her ‘title’. 

The cinematography is where Nicolas Winding Refn really nails it. The ‘cockpit’ camera angles are evocative of those in 1968’s Bullitt, and really immerse the audience in the action. The simple camera framing of Gosling’s reflection in the rear-view mirror, his leather-clad hands clutching the wheel and the oscillating speed-o-meter really add a dynamic and depth to the simple act of driving. Outside the car, low and tilted angles, as well as changes in camera focus, make characters seem more imposing and menacing. Lighting is also used smartly. From the neon-lit landscapes of Los Angeles, to the revolving beams from a lighthouse, there’s a illustrative richness and added ambience to the blank interiors and exteriors. 

The sound design is also brilliant, especially during the driving sequence. Engines rev, exhausts pop, its a very loud and exhilarating experience. In contrast, the visual brutality is assisted through uncomfortable snaps and splats. However what’s more interesting is Refn’s use of silence. Silence becomes an indicator when Gosling goes into overdrive, but adds a sense of unpredictability, tension and allows the film’s visual character to fully convey. On the other hand, the soundtrack is a mixed affair. Cliff Martinez’s score is fabulously atmospheric, with a strong mix of electronic pulses and eloquent, panoramic tones. Reminiscent of work by Brian Eno, it certainly integrates well with Refn’s use of silence and slow-motion sequences. In terms of the other contributors, its a little varied. College’s ‘A Real Hero’ lyrics is foreshadowing at its most obvious, whilst the annoying electronic voice of ‘Nightcall’ by Kavinsky & Lovefoxxx fails to match the song’s soothing, synthesised notes. The real stand out is The Chromatics‘ ‘Tick of the Clock‘ (in the trailers) which, though repetitive and minimal, manages to merge well with the visual styling and creates added tension to the opening heist scene. 

Overall, Drive is a ‘bloody’ good watch but is spoilt by a slow first act and a lack of character development. While the story is relatively simple and the performances aren’t award-winning, Refn focuses his attention on the film’s cinematography and audio construction, resulting in a very stylish, thrilling and intense film that leaves a lasting impression. 

8/10 

Tinker, Tailor, Soldier, Spy Review

Tinker, Tailor, Soldier, Spy  

Strangely for a British-based, potentially award-winning film, Tinker, Tailor, Soldier, Spy had a rather lack-lustre build up. While it picked up near its release, few trailers and little media attention had resulted in the film slipping under the ‘radar’. However when reviews began to emerge, ‘amazing’ ‘brilliant’ and ‘spectacular’ were terms plastered onto every poster, TV spot and film article. The ‘prediction’ of a BAFTA winner became apparent, thus an intrigue was inevitable. Originally a novel by John le Carré, it was adapted into a BBC television series in 1979 starring Alec Guinness. Having not read the book or watched the series, it was interesting to see Tomas Alfredson condense a seven-part show into 2 hours. Known for his direction of 2008’s Let the Right One In, Alfredson has had a relatively sparse filmography and has tended to stick to Swedish film-making. Therefore with a star-studded British cast, and a very British story, how would he manage?

The plot follows a number of officials from the British Intelligence Service as rumour spreads of a ‘mole’ leaking information to the Soviets. George Smiley (Gary Oldman) is taken out of ‘retirement’ and is tasked with finding the double agent among four primary candidates; Bill Haydon (Colin Firth), Percy Alleline (Toby Jones), Roy Bland (Ciaran Hinds) and Toby Esterhase (David Dencik). On first glance, the film’s plot seems simple, however after witnessing a botched operation in Budapest and a ‘setup’ in Turkey, its an engrossing and quite complex narrative. Many will find the story a bit hard to follow as it skips back and forth between time slots, but nothing that really impedes the film. However the film’s pacing is a bit all over the place. A long-winded intro sequence/ montage of Gary Oldman being silent in different locations gets tiresome. And when he finally speaks, it fails to match the build up. The overuse of long, drawn out shots of people sitting and ‘first-person’ perspectives from files, slow the film’s pace and become tedious. Thankfully by the end of the film Alfredson nails everything, creating tense and dramatic sequences and a very fine and satisfying last note.

Acting-wise, Tinker, Tailor, Soldier, Spy has a fantastic cast that definitely showcases British performances from established actors and up-and-coming ones. Benedict Cumberbatch puts in a superb performance as Peter Guillam. His amazing voice and energetic screen presence create a sophisticated and memorable character. Tom Hardy also puts in a stellar performance as Ricky Tarr, whilst Mark Strong is brilliant as usual. However Gary Oldman’s performance is the one that has grabbed the media’s attention. His portrayal of Mr Smiley’s lonely, muted personality is nothing special. But during the course of the film, through dramatic and fierce dialogue confrontations, his character comes into his own. However with such a big cast, the likes of Stephen Graham and Ciarán Hinds seem underplayed. While I recognise that condensing a seven-part series inevitably results in the omission of scenes and a immediacy to events and characters, why cast lead actors? Hinds doesn’t say anything in the entire film, while Graham has a few scenes but little dialogue, neither really showing their talents. It’s disappointing but understandable. 

The film’s look and feel is fantastic in its recreation of the 1970s. From the cars, fashion and general aesthetic, its an immersive experience that feels very stylish and slick. On the other hand, the soundtrack is somewhat confusing from Alberto Iglesias. Jazzy and classical notes scream the era and match the somber yet chilling visuals. However Mediterranean guitars don’t correspond to the rainy, grey vistas of London. The choice of Julio Inglesias’s cover of Charles Trénet's “La Mer” is a bizarre one that doesn’t suit the film’s captivating ending. 

Overall Tinker, Tailor, Soldier, Spy is very good film, however is slightly disappointing when compared to the critical ‘hype’ the film has gained. Great performances, stunning production values, and a gripping story result in an enjoyable experience. While it isn’t the “powerhouse“ or “masterpiece” that many have stated, it’s a fine effort by Tomas Alfredson and is one that’s up there as one of 2011’s best. Definitely Recommended after a “Summer of Blockbuster Shlock”.

8/10

The Cat Returns (猫の恩返し) Review

The Cat Returns (猫の恩返し) 2002 

Directed by animator Hiroyuki Morita, The Cat Returns was released back in 2002 and remains one of my personal favourite ‘non-Miyazaki’ productions. Originally planned as a 20-minute short back in 1999, it was then turned into a manga by Aoi Hiiragi. After deliberations between Hayao Miyazaki and various other staff members, Morita became responsible for translating Hiiragi’s work into a film. Not only recognised at Studio Ghibli, he has worked on projects such as Akira and Afro Samurai showing an abundance of experience in Japanese animated cinema. However The Cat Returns is Morita’s first genuine debut as a director, and its a great one from another future prospect. 

The story follows Haru, a shy and modest high school student who has the ability to talk to cats. After saving a well-spoken feline from a road accident, who turns out to be Luna ‘Prince of Cat Kingdom’, she is showered in gifts (catnip and mice) by the King and is offered the Prince’s hand in marriage. Troubled by her unwanted glorification, she finds help from ‘The Baron’ (character from Whisper of the Heart), Muta, a pot-bellied white cat and Toto, a living crow statue. However when she is forcefully taken to the ‘Cat Kingdom’, the Baron launches a rescue mission to save Haru from being trapped and transforming into a cat. 

The story is simple yet engrossing. While it may not hold the usual messages of environmentalism or militarism, or the concealed complexities of Studio Ghibli’s usual creations, its a well-told and well-constructed affair. This isn’t to suggest that The Cat Returns is a perfect story. There are problems but none that cripple the film. A slightly drawn-out second act is a bit feeble when compared to the rest of the film. Meanwhile, the portrayal of ‘The Cat Kingdom’ is disappointingly tame. After Studio Ghibli’s vivid and imaginative fantasy scenes in Whisper of the Heart, which prompted The Cat Returns creation, the depiction of the kingdom is underwhelming and slightly mundane. Apart from these niggles, the film runs smoothly and remains engaging.

In terms of the characters, The Cat Return’s ‘roster’ is small but appropriately developed. Primarily focusing on our three main protagonists and a main antagonist, the film duly constructs unique and compelling personalities. Haru comes across as a typical high school girl. Her constant clumsiness and simplemindedness does get tiresome, however there’s a charm to her character, an affection that continues throughout the film. The Baron remains an interesting character after his ‘debut’ in Whisper of the Heart. An intellectual, ‘Sherlock Holmesy’, well-groomed and dressed cat offers something different and imaginative to the usual young boy protagonist. However Muta steals the shows as the comedic relief. His tendency to lead with his stomach, a disregard for Haru and a somewhat obscure background, create a character that’s obnoxious but funny. This is all helped by superb Japanese voicework that does justice to the animation and truly represents the characters, rather than the English dub. 

Animation-wise, The Cat Returns keeps the detailed and colourful backgrounds of Ghibli ,but changes the character design. It’s not a dramatic change, but one that is visible to regular Ghibli watchers. A good use of colours create a clear distinction between the ‘fantasy‘ elements and the ‘realistic‘ setting. And the sight of a cat standing on two legs remains playfully weird, even slightly unnerving. The soundtrack is great from Yuuji Nomi and Ayano Tsuji’s theme song is probably one of the best in Ghibli’s backlog.

Overall The Cat Returns is short at 75 minutes, but is sweet. Colourful characters, simple story and well-constructed animation, ensure an easy to watch and engrossing experience. It may not be crammed full of symbolism or philosophy, but that’s simply because it’s not intended to spur great intellectual thought. Its a great debut from Hiroyuki Morita, and another fine addition to Studio Ghibli’s filmography. Recommended. 

8/10 

Pom Poko (平成狸合戦ぽんぽこ) Review

Pom Poko (平成狸合戦ぽんぽこ) (1994)

Pom Poko, released in 1994, is Isao Takahata’s 8th animated project which he has written and directed with Studio Ghibli. Taking a different approach to his usual ‘human’ and realistic style, Pom Poko became a success in the Japanese box office, and was eventually submitted as Japan’s selection for the Academy Award for Best Foreign Language Film. Stepping back from ‘human subjects’, Takahata focuses on the traditional Japanese folklore of tanuki (Japanese Raccoon Dogs). Essentially, our main characters are a group of mischievous, gluttonous and cheerful raccoons that have the ability to shape-shift in order to trick humans.............and have shapeshifting testicles.  

The story follows a band of racoons who are under attack by MAN!!!! Initially set in the 1960s, a gigantic suburban development is beginning to be constructed on their land. Trees, grassland and forests are being cut down, causing a dramatic effect on the tanuki population. A resistance forms including Gonta, an aggressive chief, Tsurugame, an old guru, and Oroku, the wise-woman, in order to battle the human efforts to build houses, offices and roads on their habitat. Told in a ‘diary log’ style of narrative Pom Poko’s story structure is pretty simple to understand, but does dawdle during the second act. 

Firstly, this is a very ‘Japanese’ film, but one that remains relatively accessible to a wider audience. The focus on Japanese folklore and mythology is quite daunting but is very interesting. Many viewers unfamiliar with the likes of yokai (a class of Japanese supernatural creatures) or oni (demons, devils....), will enjoy a ‘child friendly’ visual introduction to Japan’s unique and strange supernatural identity. The ‘ghost parade’ scene in particular, barrages the audience with Japanese myths and legends, with some cameos from other Ghibli films. Demons, giant babies, three headed females all appear in an effort to scare the locals. It definitely is a hilarious and surreal WTF moment. 

Inevitably, environmentalism and the general impact of humans is prominent in Pom Poko, more so than in any other work by Studio Ghibli. And to some extent this hinders the film’s general impression. This being a major plotline for the film, the message is somewhat preached continuously rather than allowed to be expressed naturally. What the slightly over-rated Princess Mononoke did to successfully convey its message of ‘environmentalism’, was to employ it though a smartly told narrative and well-developed selection of characters, which are lacking in Pom Poko. 

Studio Ghibli, and especially Isao Takahata, have a very creative and masterful understanding of the concept of characters. From the likes of Calcifer from Howls Moving Castle to Kiki in Kiki’s Delivery Service, there’s a special connection that viewers build with them. Their unique, or relatable features/ traits help, or even solely create the film. However Pom Poko falls short even with top notch Japanese voice acting. This isn’t due to the dialogue, but lies with the story and the sheer scale with which we are introduced to all these characters. All too often, characters “disappear” then reappear causing confusion and a disregard for them. 

In terms of the animation, Pom Poko is great with its vivid colour palette and energetic flow and spirit. There is also a good blend of animation styles to depict the characters. The contrast of the ‘red-eyed’, typical looking raccoons from the humans’ perspective, to the ‘humanized versions of the tanuki, and to the cartoony figures of Shigeru Sugiura’s manga, is an enjoyable and interesting arrangement of various visual styles. Meanwhile, the soundtrack is a mix of traditional Japanese folk, kabuki and children’s music that’s matches the playful and joyful nature of the film and its characters. 

Overall Pom Poko is a great film, yet dawdles too much on its message rather than crafting a flowing narrative and memorable, individual characters. The script is great, the story is simple, and its a very funny film. 

7/10 

The Guard Review

The Guard 

After watching the trailer of The Guard, apart from the ‘spaghetti western’ vibe, there was a sense of In Bruges to the ‘black comedy’ and ‘crime drama’, plus Brendan Gleeson’s presence. However, all too often modern film trailers have become to eager to entice crowds by showing everything. And after a bunch of funny jokes and clever dialogue, The Guard fails to truly replicate the humour and promise from the trailer. This being John Michael McDonagh’s debut as a feature director, and his second attempt at screenwriting, his inexperience shows with a generic story, poor ending and faulty cinematography and sound design. Yet, there is some entertainment to be grasped from some terrific performances, the amazing Brendan Gleeson putting in a fantastic one, and some witty dialogue. But The Guard feels shallow and a missed opportunity. 

The plot follows Sergeant Gerry Boyle (Gleeson) , a member of the Irish police service, as he goes about his usual business; hookers, booze and......work . Yet after bodies start emerging and FBI Agent Wendell Everett (Cheadle) becomes involved, a complex web of corruption, drugs and murders follows. Its up to Boyle and Everett to team up and take down the gang of drug dealers, bringing an end to the wave of criminal activity. The story is very much a homage to the ‘buddy cop’ genre such as Lethal Weapon and Beverley Hill Cop ,yet in a distinctly Irish manner. Racist comedy weaves into the typical structure: Two mismatched police officers argue and bicker, but eventually build a partnership that sees them overcome the bad guys, and succeed. There are also strong comparisons to the ‘spaghetti westerns’ genres; A rural village setting being corrupted by evil ‘gunslingers’, forcing a hero to rise with the help of a mismatched sidekick......... This becomes distinctly evident with tracks from the soundtrack beng obviously influenced by the likes of Ennio Morricone. The disappointing ending also has the ‘mysterious ranger’ slant to it, as it attempts to be cryptic or enigmatic. However rather than leaving on a satisfied note, it simply feels lacklustre and ill-advised.

Yet whilst the story may be ‘generic’, the cast is fantastic with some big names. However the focus of the film is between Brendan Gleeson and his unlikely alliance with Don Cheadle. Gleeson is a brilliant lead, creating a strong personality that leaves a lasting and humorous impression. Meanwhile Cheadle is solid and brings seriousness amongst the joking Irish. But when both are on screen, the two never really truly connect. While they share some fantastic squabbles, their dialogue becomes too formulaic and predictable, as Gleeson constantly spurs out racist remarks and smug facial expressions. Its funny to watch, but there’s no depth or emotional chemistry which leaves the two feeling rather shallow. Mark Strong and Liam Cunningham perform well as the ruthless, yet witty drug dealers. But there’s a distinct lack of development to some of the main characters. For example, Katarina Cas’s character is quickly introduced and has a significant amount of screen time, but nothing really becomes of her. She’s merely a plot device, rather than a solid personality, and this is the same for many of the others. 

The cinematography and editing is another area that is disappointing with McDonagh’s directing debut. The recent cliché of 360 panning shots, really feels out of place and poorly undertaken, and so too are the opening aerial ones. There is also a disjointedness to the film's construct and editing. Not to spoil anything, but one scene sees us exploring a character, then the next minutes she has passed away. It seems all too sudden, rushed and undeveloped. 

Overall, The Guard is an enjoyable film but feels shallow. John Michael McDonagh’s script and directing suffers from his inexperience, with some sketchy screenwriting, character development and cinematography. While great individual performances from Gleeson and Cheadle help to create an amusing atmosphere, their partnership never completely works. However, some genuine laughs and solid acting create an relatively entertaining film, but unfortunately nothing more. 

6/10

My Neighbours The Yamadas Review

My Neighbours The Yamadas  (ホーホケキョとなりの山田くん)  (1999)

After my extensive log of Hayao Miyazaki’s filmography, many have asked about my opinions and interpretations of the other Studio Ghibli films. But one that many fail to list is one of my favourites of the studio’s backlog, My Neighbours The Yamadas. Quickly overlooked, there is a common apprehension towards the art style and the dramatic contrast from the adventure, fantasy traits of many of Studio Ghibli’s work. However, directed by Isao Takahata, who has a realistic approach to animation (Only Yesterday and Grave of the Fireflies), the film presents the simplistic nature of family life into a very funny and endearing drama.  

The film narrates the concept of a ‘family’, and the successes and pitfalls that are experienced. Starting off at the wedding of Matsuko (Mrs Yamada) and Takashi (Mr Yamada), they are “educated” by the enlightened elderly about the ‘ups and downs’ of marriage. We are then introduced to the rest of the family; Noboru the son, Nonoko the daughter, and Shige, Matsuko’s mother. There isn’t a definable storyline, but a ‘sitcom’ style of structure, with an intro and outro, that shows the Yamada family’s everyday life.

Being based on Hisaichi Ishii’s four panel ‘yonkoma’ manga (Nonochan), each chapter takes a similar form;  a setup, an expansion on the scene, an unexpected development, and then ending on a humorous note. While this may sound formulaic or repetitive, My Neighbours The Yamadas manages to retain the sharp and entertaining characteristics of the source material. The ‘slice of life’ fiction is very much in the same vein as Only Yesterday’s focus on adulthood, however Takahata takes a more light-hearted approach. The film explores ‘marriage’, ‘child-rearing’, ‘father-son relationships’ and other stages of a family, all in a comedic yet charming manner that both an adult audience and a younger one can identify with. While similarities can be drawn with The Simpsons and the millions of sitcoms, Takahata never lets the film fall into recycled and cliché waters. 

Takahata also employs a strong Japanese cultural commentary throughout his film. The prominent use of brief haiku (short poetry) from the likes of Matsuo Bashō and Natsume Sōseki act as segues between each ‘chapter’. An example: “The scent of plums on a mountain path. Suddenly dawn”, gives a poetic sensibility to the film and to everyday events. There is a fantastic sequence which follows the magical/ fantasy ‘adventures’ of Takashi and Matsuko, as they travel across the length and width of Japan to “find” their children. Its a amazing scene which involves the Japanese folklores ‘Momotarō’ (Peach boy) and the ‘Taketori Monogatari’ (The Tale of the Bamboo Cutter), which are cleverly used to represent Noboru’s and Nonoko’s “fairy tale” entrance into the world. 

However, it’s the animation which is the massive step away from the typical style of Studio Ghibli. While detailed backgrounds and top-notch character design have become the standards of Ghibli’s artistic legacy, Isao Takahata has been brave in his unique visual departure. My Neighbour The Yamadas uses a watercolour style of sketching that while looks minimalist, manages to convey a surprising amount of detail and emotion. 100% digitally constructed, the simplistic character designs and flowing colours of the backgrounds, help define the characters and allows for each scenes’ personality to be beautifully displayed.

The Japanese voice acting is superb, really suiting the visualisation of the characters. For a film that relies on the construction of a realistic family, the actors really put in great performance. Touru Masuoka is great as the busy, hard-working Mr Yamada. His constant bickering with his mother-in-law, and unenthusiastic reaction towards work, create a character that represents the general consensus of fathers. Yukiji Asaoka plays the childish and clumsy housewife, that while scorns her children’s behaviour, has a low tolerance for chores and general laziness. Hayato Isobata plays the typical teenager boy, a slacker yet strong-willed and not afraid to question the reality of his family. In comparison, Naomi Uno adds cuteness and normality into the chaotic family as Nonoko. While she doesn’t get enough screen-time, her character still remains memorable. Meanwhile, Masako Araki puts in a splendid performance as the grandmother. The critical and fearless voice of conscience, she finds the ‘joys of life’ in the smaller things. Its a fantastic cast of actors and actresses that create a very believable household. 

The soundtrack, composed by Akiko Yano, is made up of short jazzy piano tunes that perfectly merge with the orchestral pieces from the Czech Philharmonic Chamber Orchestra. Its one that perfectly manages to match the jovial and charming visuals, story and acting. 

Overall, My Neighbours The Yamadas is a fantastic animated film that definitely competes with many of Miyazaki’s works. Its realistic and humorous perception of ‘family’ is endearing and highly entertaining. While many will be unconvinced by the visual style and a ‘disjointed’ narrative, Isao Takahata’s film proves that a great animated film doesn’t require snazzy and meticulous animation, but requires a funny and smart story, script and characters. This is one not to be missed. 

9/10 

Audition （オーディション）Review

Audition （オーディション）1999

Alongside anime, Japanese Horror is another genre that has travelled across the globe. With the likes of Ringu, Dark Water and Ju-On (The Grudge) gaining American remakes, it is clear the Japan’s supernatural stories have gained a significant ‘horror audience’. On the other hand, the likes of Tokyo Gore Police, Evil Death Trap and the highly controversial Guinea Pig series form the other violent, deeply sadistic side of a lot of Japanese Horror. As I stated in my short review of Ichi the Killer, Takashi Miike has become a prolific and controversial director known for his taboo film-making and persistent use of violence. However it was 1999‘s Audition that gained him international fame, and brought his distinct type of directing to the thriller/ horror genre. And it still remains one of his best works in amongst his lengthy filmography. 

The film follows Shigeharu Aoyama (Ryo Ishibashi), a widower for the past 7 years, who is being urged to start dating by his 17-year old son. His friend and colleague Yasuhisa Yoshikawa (Jun Kunimura), a film producer, creates a mock-audition for the “part” of Aoyama’s wife. Various young and beautiful women are questioned and gazed upon. However, he is soon entranced by an ex-ballerina, Asami Yamazaki (Eihi Shiina). Even with a warning from Yoshikawa, and a background that is rather shady, Aoyama is intrigued and enthralled by her looks, charm and emotional depth. But as the two further their relationship, his first impressions soon turn out to be wrong. Yamazaki’s troubled past, and psychological ‘imperfections’ start to become apparent, culminating in tense revelations and twisted events. 

Many have criticised the slow and crawling pace of Miike’s film. With a running time of 115 minutes, it isn’t until halfway through when it dramatically and suddenly turns into a disturbing psychological thriller. Yet, while the ending is typical ‘Miike’, he is a lot more ‘mature’ in his pacing, structure and direction of the plot. When compared to Visitor Q or Imprint, Audition is a more restrained affair that doesn’t linger on the violence, nudity or grotesque imagery. Instead, the majority of the film plays out like a romantic drama creating a false sense of security that truly makes the last act significantly effect. The serenity of the first three-quarters of the film completely contrasts with the last scene which is completely devoted to shocking the audience with grotesque imagery and an unbearably, disturbing torture scene. While the gore is subdued, it’s the sound design and simplistic acting that truly makes the last 20 minutes horrifying. The cinematography, especially the use of lighting, colours and set design really help create the distinctive change in the films tone and atmosphere. The blank white room where the auditions take place differs from the dark, cramped and filthy ‘domain’ of Yamazaki. 

In terms of the acting, it’s not Oscar-winning but it still remains memorable. Ryo Ishibashi gives a solid performance as Shigeharu. Meanwhile, Eihi Shiina is perfectly cast as Asami. She presents herself as an ‘everyday woman’ with no unique features or traits. Her simple yet understanding facial expressions persist throughout the film, creating a charming and cute character. But it’s during the final scenes, when her disturbing glee and joy to her actions adds a more disconcerting effect to the scene. By the end she’s terrifying, but her tragic background and social loneliness adds a complexity to the character which really creates a unique and lasting impression.

Overall, while the slow build up won’t be to everyone’s taste, Audition rewards its audience with memorable acting, and one of the most disturbing and cringe inducing endings. To simple toss it aside as another ‘horror’ film doesn’t do justice to Miike’s construction of a engrossing thriller film with a romantic drama dynamic. It’s all played out realistically and naturally, maybe even too realistically. The premise of a relationship that turns bad is an event that many of us have experienced. And while the image of a 8 foot man wielding a machete, or the walking dead remains easily dismissed as fiction, an insane girlfriend is not out of the question......

8/10