Our Little Sister (Umimachi Diary)


These four delightful Japanese girls create sparks.

These four delightful Japanese girls create sparks.

(2015) Drama (Sony Classics) Haruka Ayase, Masami Nagasawa, Kaho, Suzu Hirose, Ryȏ Kase, Ryȏhei Suzuki, Takafumi Ikeda, Kentarȏ Sakaguchi, Ohshirȏ Maeda, Midoriko Kimura, Yȗko Nakamura, Jun Fubuki, Kazuaki Shimizu, Kaoru Hirata, Shin’ichi Tsutsumi, Masumi Nomura, Shinobu Ohtake, Fight Seki, Saya Mikami, Saya Mikami. Directed by Hirokazu Kore-eda

 

The Japanese realize that life is contradiction; the hectic, non-stop pace of Tokyo and the fragile beauty of cherry blossoms coexist in their culture. While it sometimes feels like Tokyo is winning the war within Japan’s culture (although I would prefer characterizing it as more of an animated argument), films like this one are proof that the cherry blossom is still strong.

In an old wooden house near the ocean in the seaside city of Kamakura (about an hour south of Tokyo by train) live three sisters who inherited the house from their grandmother. The oldest is Sachi (Ayase), a nurse who raised her other two sisters after their father left for another woman and their mother, devastated, abandoned them. She is bitter towards both her parents, and in a bit of irony is carrying on an affair with a married doctor (Suzuki) that works in the same hospital.

The middle child, Yoshino (Nagasawa) is a bit of a party animal, getting involved with a conga line of bad relationships and drinking much too much. She works in a bank and doesn’t take life seriously and she is constantly arguing with her elder sister. Finally there is Chika (Kaho), a teen just out of high school who works in a retail store and is perpetually smiling and happy. Her boyfriend may look slovenly but he has a good heart.

One day they are notified that their father has passed away. Sachi has no interest in attending the funeral, especially since it is in a rural village far away but Yoshino and Chika go mainly out of politeness. They don’t have many memories of their dad. They arrive at the funeral and meet Suzu (Hirose), the 14-year-old daughter that their father had by his mistress (and later his wife) who had also since passed away. She was now living with her father’s third wife who seemed uninterested in Suzu and her future, although she was pleased that her step-daughters had attended the funeral – including Sachi who showed up unexpectedly.

It became clear to the three Koda sisters that their half-sister was in a bad situation and that she seemed to be a really genuine person – and it turned out that it wasn’t the wife who nursed their father through his final illness but Suzu. Sachi, moved by a sense of responsibility, asks Suzu if she would like to move in with them and Suzu is absolutely thrilled to say yes. When the three sisters leave on the train, the fourth sister sees them off with absolute joy.

When Suzu moves in, she is adored by those who know the sisters. She joins a local club soccer team and excels. She makes new friends at her new school. The owner of a local café is charmed by Suzu who in turn adores her whitefish bait toast. As for the sisters, they are overjoyed to have her in the house and even though all of their lives are changing, there is more love in the house than ever.

Yoshino gets assigned to assist a loan officer who goes to various businesses to arrange loans and finds herself becoming more responsible and less flighty. Sachi, who has assumed the mother role in the family since she was a teen is beginning to see that she can have a life beyond her sisters if she chooses – and that she can do things just for herself. She is also learning the value of forgiveness.  And Suzu is discovering what having a support system means. In the year from Suzu’s arrival the lot of the sisters changes immeasurably.

Kore-eda is one of Japan’s most promising directors and he has put together a string of impressive films to his credit. Many of them are like this one, which is incidentally based on a popular Japanese manga. He tends to put together movies whose plots on paper look unremarkable, but when experienced on the screen become powerful indeed. This is the kind of movie that makes you feel better when it ends than you felt when it started.

It is also a slice of Japan on celluloid. We get a look how the average Japanese family lives from day to day, be it paying homage to their ancestors, delivering gifts to family, funeral rites and courtship, all of which is a little different than we Westerners are used to, although in many ways the cultural differences between East and West are shrinking.

The cinematography is occasionally breathtaking as we see both the rural villages and the small cities (Kamakura has a population of about 174,000 people at present). The film is presented through four different seasons, so we get a sense of the ebb and flow of life for the sisters. Their old house is a little run down but still beautiful in a similar fashion to a beautiful woman who hasn’t taken as good care of herself as she could but remains in her twilight years still a beauty by any standard.

The four actresses who play the sisters all do standout work here which isn’t surprising considering the reputation Kore-eda has for being an actor’s director. Most of the attention is going to Ayase and Hirose for their work as Sachi and Suzu but the other two have nuanced performances in smaller roles. I might have liked a little more attention paid to the two remaining sisters but the movie is fairly long as it is.

This is not a movie that demands your attention. Instead, it presents itself quietly, without fanfare or fuss and just lets you get sucked under its beguiling spell. Honestly, I had thought I might like this movie when I saw the trailer but how much I liked it was a complete and pleasant surprise. Kore-eda creates a beautiful, sweet and melancholy world that you want to dwell in long after the lights come up and he didn’t need a ton of special effects and CGI to do it. If only people realized that you don’t have to see a Star Wars movie to find a new and exciting world to spend time in.

REASONS TO GO: A nice look at Japanese culture and daily life. All four of the sisters have their own personalities and foibles. There’s a mixture of optimism and melancholy that is nicely balanced.
REASONS TO STAY: May lean a little bit too much to the feminine side for some male moviegoers.
FAMILY VALUES: There is a small amount of profanity and some adult themes.
TRIVIAL PURSUIT: All four actresses who played the sisters were nominated for the Japanese Academy Award of which Hirose was the lone winner.
CRITICAL MASS: As of 9/8/16: Rotten Tomatoes: 92% positive reviews. Metacritic: 74/100.
COMPARISON SHOPPING: Mustang
FINAL RATING: 9.5/10
NEXT: As I Open My Eyes

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Drag Me to Hell


Drag Me to Hell

This isn't exactly the girl-on-girl action I had in mind.

(Universal) Alison Lohman, Justin Long, Lorna Raver, Jessica Lucas, David Paymer, Dileep Rao, Adriana Barraza, Chelcie Ross, Reggie Lee. Directed by Sam Raimi

Director Sam Raimi made his bones, so to speak, in the horror genre. His Evil Dead trilogy still remains today a classic of the genre, hallmarks of Raimi’s patented horror-with-laughs style. After doing Army of Darkness, the last of the trilogy, Raimi moved on to doing the Spider-Man movies as well as a couple of other non-horror movies, but the genre has never been far from his heart – his Ghost House Pictures production shingle has been responsible for such fare as The Messengers, 30 Days of Night and The Grudge trilogy.

Now he makes his return to the genre as a director with this nifty little film. Christine Brown (Lohman), a sweet, mousy blonde, is gunning for a promotion at the bank where she works. If it were given on competence alone, she’d be a lock but the slimy, smarmy Stu Rubin (Lee) is undercutting her and looks to have the promotion sewn up. Her boss, Mr. Jacks (Paymer) tells her that she needs to be making tougher decisions.

She puts this into practice when Mrs. Ganush (Raver) comes to her desk, begging for an extension on the third mortgage for her house. Christine is inclined to give it to her – she doesn’t have the stomach for throwing an old woman out into the street – but she reeeally wants that promotion so she turns her down, even when Mrs. Ganush gets down on her knees.

Christine has forgotten one of the basic rules of horror movies – never humiliate a gypsy. Has she learned nothing from Stephen King? Apparently not, so she reaps the consequences and hideous they are. Mrs. Ganush levels a curse on her that gives her three days before a demon drags her soul straight to H-E-double hockey sticks.

Before she gets there, however, she will go through all manner of being terrorized and grossed out, having all sorts of bodily fluids vomited onto her by the demonic Mrs. Ganush and her minions. Her incredulous boyfriend Clay Dalton (Long) thinks she’s out of her mind at first, but is supportive nonetheless – and as unexplainable things begin to pile up he too becomes a believer, sorta kinda.

She’s not alone in her fight, however; Indian spiritualist Rham Jas (Rao) helps her figure out what’s going on, and takes her to see legitimate psychic Shaun San Dena (Barraza) who fought one of these curses once before and lost, so is eager to redeem herself. It won’t be easy though, and with every possibility exhausted, there remains one last desperate hope for Christine, one that involves doing something terrible.

Most horror movies these days are either remakes of iconic franchises from the ‘70s and ‘80s, remakes of far superior Asian films, or the kind of torture porn of the Saw and Hostel series. It’s refreshing to see a good horror movie that has some great scares to it, a reasonably original premise and is a great ride to boot. Raimi hasn’t forgotten his skills as a genre director and has added to it the experience of making big-budget mega-effects driven movies, which help him increase the scope of his vision here.

Lohman has had something of a checkered career as an actress, but here she nails it. Her character doesn’t necessarily lack a moral compass in that she knows the right thing to do; she just doesn’t have the backbone to follow it. That makes her far more human than either a complete saint or an utter bitch might in that role.

Raver makes this a career highlight reel; she is astonishing as the old woman and after a career of soap operas and TV show guest appearances, she gets the kind of role finally that really lets her cut loose, even if you can barely recognize her under all the make-up. She takes a standard gypsy character and turns her into one of the most frightening movie characters of the last decade; it wouldn’t surprise me a bit if they bring her back to curse other people in sequels to this if Raimi decides to make one.

While the rest of the cast is solid, kudos should be directed at Rao who turns his charlatan psychic which was meant to serve as a plot explainer into an integral part of the movie’s success. It’s not strictly comic relief, but suffice to work that he works similarly to what the Suresh character does in the “Heroes” TV show.

There are plenty of scares here and not all of them are the artificially manufactured kind, either – you know, the ones with the jumpy soundtrack, loud crashing noises and cats jumping out of dark spaces. Nope, this is a movie where the scares are earned, and the laughs that follow them legitimate. While the movie didn’t do gangbusters at the box office (only raking in $40 million domestically), it was so cheaply produced that it turned a tidy profit so the powers that be at Universal may be amenable to sequels, even though the movie doesn’t really seem to promise one.

For my part, I’ve found the American horror movie in something of a rut in the 21st century for all the reasons outlined above. While some terrific horror movies have come from places like Japan, South Korea, New Zealand and England, there have been very few to come from the States and there is something galling about that. Fortunately here comes Sam Raimi to deliver a movie that shows you why few movies can scare the bejeezus from you like an American horror movie can.

WHY RENT THIS: This might just be the best horror movie so far of the 21st century. 

WHY RENT SOMETHING ELSE: Christine is so ditzy and spineless at times it’s hard to really feel sympathy for her. The ending was a bit of a disappointment.

FAMILY VALUES: This is plenty scary, gang. Seriously, unless your kids don’t ever have nightmares, think twice about letting them see this – some of the imagery is really, really intense.

TRIVIAL PURSUIT: This is the first movie directed by Sam Raimi in which actor Bruce Campbell didn’t appear (he was busy with his television show “Burn Notice”).  

NOTABLE DVD EXTRAS: While the DVD and Blu-Ray covers trumpet that this is an unrated version, the difference between this and the theatrical release is a single scene; the unrated version is actually nine seconds shorter in total than the theatrical version. 

FINAL RATING: 7.5/10

TOMORROW: Charlie St. Cloud