Kids

Stephen reviews: Fumoon (1980)

fumoon_1 Fumoon [フウムーン] (1980)

Starring Hiroshi Suzuki, Mari Okamoto, Minori Matsushima, Junpei Takiguchi, Chiako Ohtsuka, Ryoko Kinomiya, Kousei Tomita

Directed by Hisashi Sakaguchi

I’ve been having a blast with these Tezuka films, so I’m a little sad that this is the last one on my list. Hopefully more will become available someday. I’m also a little disappointed with this one because it doesn’t quite live up to the fun of the previous two.

The humor takes a back seat this time, so it didn’t leave as strong an impression as the others did. I think what really took me out of it was the obvious nature to its moral. It hammers home the anti-war, anti-pollution message a little too hard for me. Maybe that’s just a personal problem, but the same themes had already been addressed in Bander Book and Marine Express without losing any of the fun and charm. If you’re a fan of movies with a message, then you won’t find much to fault here, but I prefer it when the moral of the tale is not applied with a sledgehammer.

This isn’t to say that the film is bad by any stretch. It still sets up an intriguing premise and carries the plot along with ample new developments to keep things from getting stale. In fact, judging by the plot structure, the narrative arc is every bit as solid and gripping as the others, perhaps more so. It just felt like the whole time it was telling me, “Give a hoot, don’t pollute.”

Stephen reviews: Undersea Super Train: Marine Express (1979)

marineexpress_1 Undersea Super Train: Marine Express [海底超特急マリン・エクスプレス Kaitei Chō Tokkyū Marine Express] (1979)
AKA Seabed Express

Starring Junichi Takeoka, Kousei Tomita, Nachi Nozawa, Mari Shimizu, Hisashi Katsuta, Fumi Koyama, Chikao Ohtsuka, Kaneta Kimotsu, Toshiko Ota

Directed by Osamu Dezaki

I’ve got another Osamu Tezuka film lined up for you. Marine Express doesn’t have the same crazy aliens that Bander Book reveled in, but it still has all the wacky antics that gave Bander Book its charm. It also has a more cohesive plot that more than makes up for any lack of strange wonders.

It starts out as a murder mystery in which the bodies dissolve into nothing, making it difficult for detective Ban Shusaku to convince people the murders are actually happening. The short, pudgy detective takes on the mysterious assailant in an epic martial arts battle that leaves trees broken and toppled. Old ’70s animation couldn’t keep this scene from being fantastic fun and it immediately absorbed me into the film, and the rest of the movie kept me just as eager to keep watching.

When Ban later sees one of the villains board the experimental Marine Express, he slips aboard himself. The Marine Express is taking its first test run across the bottom of the ocean from California to Japan, and the whole affair is fraught with skulduggery, hijackings and more recurring Tezuka characters than I could count.

Stephen reviews: One Million Year Trip: Bander Book (1978)

banderbook_1 One Million Year Trip: Bander Book [100万年地球の旅バンダーブック Hyakumannen Chikyū no Tabi – Bander Book] (1978)

Starring Yuu Mizushima, Mami Koyama, Masatō Ibu, Iemasa Ieyumi, Kaneta Kimotsuki

Directed by Osamu Tezuka

Osamu Tezuka has a large catalog of creations beyond his most famous one, Astro Boy. Bander Book may be one of the more minor entries in that catalog, but it isn’t without some significance. This was the first of a series of TV movies made once per year beginning in 1978, so it kicked off a series of films that helped bring Tezuka’s creations to a new generation of viewers.

Tezuka’s visual style takes some getting used to. Despite having defined the genre, his designs look very little like anime as we know it today. It carries a very cutesy and childish impression that reflects his own influences from western animators such as Walt Disney and Max Fleischer. Since this is a children’s film, the art style fits naturally here. Although, Western audiences will no doubt be startled by the nudity. There’s some cultural disconnect here. Japan never considered bare breasts to be particularly taboo until American influence after World War II changed things. Nowadays, I wonder just how much the nudity would surprise even Japanese viewers.

Shapeshifter (1999)

Shapeshifter (1999)
AKA Shifter

Starring Paul Nolan, Bill MacDonald, Catherine Blythe, Emmanuelle Vaugier, Theodor Danetti, Serban Celea, George Ilie, Andrei Finti, Marioara Sterian

Directed by Philippe Browning

Expectations: Low.

On the general scale:

On the B-movie scale:

What do spies, gypsies, asteroids and shapeshifting have in common? Before watching Shapeshifter I would have said, “Nothing,” but now I know the truth. These disparate elements are actually all tied together in the grand scheme of life. While you go about your business brushing your teeth or walking your dog, there are people out there doing the big work, playing hypnotic new age music on glass bowls. And if that made no sense to you, don’t worry. It is not our place as common mortals to understand the work that goes on behind the scenes to ensure our lives are safe.

Shapeshifter starts out much more reserved, though, leaving the fantasy elements on the back burner and out of sight for the first 30 minutes. The story opens with a seemingly unrelated scene involving a gypsy kid picking up a fallen asteroid, but our tale truly begins when we meet Alex. His parents have recently quit the spy business and are moving back to the United States to enjoy the rest of their lives — or so they thought! The night they arrive, evildoers come by way of van and kidnap Alex’s parents! Good thing Alex was in the attic playing with his parents’ spy gear.

Superman III (1983)

Starring Christopher Reeve, Richard Pryor, Jackie Cooper, Marc McClure, Annette O’Toole, Annie Ross, Pamela Stephenson, Robert Vaughn, Margot Kidder, Gavan O’Herlihy

Directed by Richard Lester

Expectations: I’m so excited.

On the general scale:

On the “B-movie for Kids” scale:

Superman III is the Superman film that I saw more than any other as a kid. Due to this odd fact, during this re-watch I saw both all the flaws AND loved pretty much every moment. It’s kind of a good thing that Richard Donner didn’t finish Superman II, because if the world went from that slice of awesome to this full-on slapstick, camped-out take on the character, I imagine heads would have exploded in theaters across the world, just on sheer grounds of lunacy. Thankfully(?), director Richard Lester stepped in and added a bunch of slapstick to his scenes in the theatrical Superman II, creating something of a hybrid film between the two directors’ tones and paving the way for this 100% Lester joint.

Having previously fought off human and Kryptonian supervillains, Superman III naturally pits the character against another human supervillain. Oh, but don’t worry because this guy, Ross Webster (Robert Vaughn), is in no way, shape or form like Lex Luthor. Not. At. All. Luthor dealt in land to facilitate his desire to financially control the world; Webster deals in computers and controlling specific industries for financial control of the world. Luthor had a pair of henchpeople; Webster had a pair of henchpeople and Richard Pryor, but one of his henchpeople had a thing for Superman. Oh wait, Ms. Teschmacher had a thing for the Man of Steel also. I could continue listing these “clear differences” in the characters, but honestly, it’s so obvious that the characters are absolutely nothing like each other that it’s kinda of pointless.

Frankenweenie (2012)

Starring Catherine O’Hara, Martin Short, Martin Landau, Charlie Tahan, Atticus Shaffer, Winona Ryder, Robert Capron, James Hiroyuki Liao, Conchata Ferrell

Directed by Tim Burton

Expectations: Fairly low. I’m only watching this because my girlfriend thought I should see it because I love the Universal Monster movies.

The simple fact of Frankenweenie‘s existence as a 2012 feature brings up some questions in my mind. Having spent the last decade or so making adequate to poor movies, Tim Burton decided to return to his roots and remake his 1984 short film, Frankenweenie. It’s a great idea for a film, and with the short never having the release it deserved, this version of Frankenweenie represents a good way for fans to experience this inspired homage to the Universal Monster movies from the young/old mind of Burton. But to return to his roots at such a creatively bankrupt time in his career is also somewhat distressing. Is this merely a remake aimed at eliciting some response from those that grew up adoring the likes of Beetlejuice, Pee Wee’s Big Adventure or Batman?

The answer, for me, was a bit of both. Frankenweenie is a gloriously made film, perfectly evocative of the era it seeks to recreate and pay homage to. At the same time, it also seems to be aimed directly at fans already familiar with his work, with visual, audio and story references to his previous, iconic works. But despite my reservations, this resurrected version of Frankenweenie does have that old Burton magic throughout. It’s easily his best film in years, and one hopes that this is a sign of things to come in the future. The fact that his next film will reunite him with the Ed Wood screenwriters for a biopic starring Christoph Waltz and Amy Adams definitely piques my interest more than most of this other recent films have.

Phantom Town (1999)

Phantom Town (1999)
AKA Spooky Town

Starring John Patrick White, Taylor Locke, Lauren Summers, Jim Metzler, Belinda Montgomery, Gabriel Spahiu, Jimmy Herman, Jeff Burr, Iuliana Ciugulea, Dan Badarau

Directed by Jeff Burr

Expectations: Moderate.

On the general scale:

On the B-movie scale:

Phantom Town may be a simple retelling of the classic Invasion of the Body Snatchers story, but it’s overwhelmingly well-made, and will please all the B-Movie fans in your household. One night, a bunch of home alone kids throw a massive party for their friends. When their mother calls to check on them, they freak out! Hey guys, scram! Mom’s coming home! But this freak-out is nothing compared to the fear that sets in when Mom and Dad’s phone call cuts short as they drive into the mysterious town of Long Hand. They never make it home, so the kids go out the next night to look for signs of what might have happened. Instead, they find the Last Chance Trading Post, where an old Native American man tells them that Long Hand has been gone for a hundred years, and the only way there is to dream your way in. Whoa, man, that’s so heavy!

As is tradition in the Moonbeam films, young children who watch the film will get what is perhaps their first tastes of many things. Things like: the dread of waking up and realizing that your parents are probably dead, the concept of taking matters into your own hands by jumping in a car and sneaking out on your current guardians, the idea that you have a soul and that it can be taken, the thin line that defines one’s mortality, the existential question of meaning… y’know, all the common playground topics. I don’t object to any of these as I’m not a parent, but I can imagine parents these days getting twisted about this stuff being in a supposed family film. If anything, I think it would help kids deal with their fears of soul-stealing alien cowboys, but what do I know?