Well. Its a very long film; at around 3 hours I guess, and at times it does feel like ...it could have been a little sharper. But I don t begrudge the length: unlike some movies, where the coyote syndrome starts to cut in, I didn't t feel like chewing off my leg once. The movie is a companion piece to the very excellent Suicide Circle But those expecting the same extraordinary images of the first film might be disappointed: this is a (mostly) slow moving and introspective study of identity, the roles that we play, and that others and society impose upon us. 17 year old Noriko runs away from her seemingly loving family to Tokyo where she meets the chilling Kumiko; a woman with no individual existence. What follows is profound and, at times highly unnerving as the personalities of Noriko, her younger sister Yuka, and their family are all annihilated. The performances of all of the actors is outstandingly committed; I cannot believe that the last set piece of this movie could have been shot in more than one take; the strain on the actors must have been unimaginable. This is big, grownup cinema, don t expect explanations, don t expect to understand all of what takes place I sure as hell don t. Do however expect to be awed by the sheer daring of this wonderful piece of work and the brave actors, who are called upon to give performances of such extraordinary power. You might love this move, you might hate it, but you sure as hell won't forget it.
19 Reviews
Rent A Family
chelano18 October 2010
Director Sion Sono had done a film called, "The Suicide Club" that had an interesting story, but was just a mediocre movie. In fact it had seemed like there were holes in the story. This film pretty much fills in all the holes and has so much more added on. This movie is almost three hours long and jam packed with dialog. But really good dialog. It almost had a poetic feel to it. This is called semi-sequel, but actually it more or less takes place during the other movie. This film is listed as a horror film. But it is not the gore fest that "The Suicide Club" was. The movie had no scare factor at all. But mentally it was creepy. Two sisters run away from home and get into a business where others rent them to be part of their family. The creepy part is that they take on different names and personalities and they get so use it, they become these alternate people. It really does give the movie a creepy warped feeling at parts. The sisters are played by Kazue Fukiishi; who is a nerdy type girl who becomes more open with her other personality. Then you have Yuriko Yoshitaka; who basically turns into someone else, but mostly stays the same personality wise. The girl who runs the business is played by Tsugumi who has the most warped mind in the film. She loves role playing in these families because she never had one. She likes it so much, it is like she is trying to find the perfect family to stay with. The movie does run a bit long, but in some ways it is worth it because the words spoken and the meaning behind the movie are pretty powerful.
Absorbing and weirdly endearing
I_Ailurophile2 September 2021
Love it or hate it, 'Noriko's dinner table' is oddly fascinating. Technically both a prequel and sequel to Sion Sono's much more grisly 'Suicide Club,' there are definite connections, and 'Noriko' works to fill in some gaps in the narrative writing of the 2001 film. At the same time, this readily seems like a strong standalone feature, with greater weight and meaning beyond visceral shock and loose threads - this is much less a thriller than it is a psychological drama. I'm not entirely sure what to make of it, but it has a feel all its own, and is peculiarly grabbing.
Far be it from me to employ a tawdry metaphor, but the story in 'Noriko's dinner table' makes me think of a sandwich. What initially impresses as the superficial plotline is reaffirmed more concretely in the end, and between these bookends is considerable substance that truly makes this film what it is. The tale begins as teenager Noriko, feeling uneasy and out of place with her life and family, runs away from home to meet an otherwise unknown acquaintance from an Internet bulletin board, and to seek her own way. It's a simple beginning, but where the narrative goes from there is distinctly captivating. Scenes play out with the actors also narrating the course of events and providing characters' inner thoughts, only further ingratiating the picture to us with its particular style.
With each fiber that comprises the narrative, there's a measure of subtlety to the active plot, while themes of 'Noriko' are much more plainspoken. The movie explores the idea of the lies we live, and what that does to us; the lies we choose, that we find meaningful; disconnection from family, from society, or from our own persons; and in the midst of it all, finding ourselves - or, alternatively, losing ourselves. It's filled with ideas of empathy, and what we can be for other people. More underhandedly, 'Noriko' also touches on notions of everyone and everything having a purpose - how discovering and fulfilling that purpose can bring true happiness, and be gainful in a very existential and philosophical sense. That all these concepts are tied into the darker, more foreboding aspects of the story makes us question ever more deeply what they mean for us.
This is also where it's especially worth mentioning 'Suicide Club,' because 'Noriko' is intended in part to round out some details of its predecessor. In the themes of this feature, and to a smaller extent in elements of the narrative, it does provide us a more complete image of what Sono was doing with 'Suicide Club.' Even so, when more predominantly considering the latter, adding 'Noriko's' contributions into the very mixed bag that the bloodier flick represents also serves to further confuse its plot. Its an unfortunate cycle - the facets of this movie that would bolster its antecedent, failing to fit neatly, then also consequently dampen the narrative here with their inclusion. In whatever ways one ties into the other, that 'Noriko's dinner table' broadly stands so well on its own somewhat magnifies the weaknesses and lesser coherence of 'Suicide Club,' and the kickback with their link is not advantageous.
There are definite deficiencies with this picture, also including camerawork that I don't necessarily find impressive. Yet the broad narrative writing is solid, and fantastic. So it is with the characters, too, and while a little hit or miss, the assembled cast is overall pretty swell as they inhabit their roles. Kazue Fukiishi is a solid lead as chief protagonist Noriko, capably realizing the girl's dissatisfaction, confusion, and shifting sense of identity. Yuriko Yoshitaka, portraying Noriko's younger sister Yuka, demonstrates able skill in a character arc that somewhat mirrors the protagonist's. I'm personally most taken with Tsugumi, who as Kumiko embodies a part requiring notable range, poise, and force of personality, and she deftly maneuvers the nuance. To emphasize these three is hardly to discredit anyone else involved though, and it's also worth mentioning the contributions behind the scenes of hair, makeup, costume design, and set decoration. Everything in this movie looks pretty great to these eyes.
Having watched Sono's 'Suicide Club' and found it enjoyable but wanting, and being vaguely aware of the association with 'Noriko's dinner table,' I wasn't sure what to expect. But I'm genuinely, pleasantly surprised. It's a little bit uneven, and not altogether perfect, but much more so than not it's admirably well-written. While the execution sometimes falters, most scenes are wonderfully orchestrated. The end result is a film that's engaging, entrancing, and not just satisfying, but rewarding. The story and characters are rich and enticing, focal points of a movie I'm happy to say I confidently recommend. If marginally imprecise, 'Noriko's dinner table' is a fun, warped, and pleasing feature, well worth seeking out.
Far be it from me to employ a tawdry metaphor, but the story in 'Noriko's dinner table' makes me think of a sandwich. What initially impresses as the superficial plotline is reaffirmed more concretely in the end, and between these bookends is considerable substance that truly makes this film what it is. The tale begins as teenager Noriko, feeling uneasy and out of place with her life and family, runs away from home to meet an otherwise unknown acquaintance from an Internet bulletin board, and to seek her own way. It's a simple beginning, but where the narrative goes from there is distinctly captivating. Scenes play out with the actors also narrating the course of events and providing characters' inner thoughts, only further ingratiating the picture to us with its particular style.
With each fiber that comprises the narrative, there's a measure of subtlety to the active plot, while themes of 'Noriko' are much more plainspoken. The movie explores the idea of the lies we live, and what that does to us; the lies we choose, that we find meaningful; disconnection from family, from society, or from our own persons; and in the midst of it all, finding ourselves - or, alternatively, losing ourselves. It's filled with ideas of empathy, and what we can be for other people. More underhandedly, 'Noriko' also touches on notions of everyone and everything having a purpose - how discovering and fulfilling that purpose can bring true happiness, and be gainful in a very existential and philosophical sense. That all these concepts are tied into the darker, more foreboding aspects of the story makes us question ever more deeply what they mean for us.
This is also where it's especially worth mentioning 'Suicide Club,' because 'Noriko' is intended in part to round out some details of its predecessor. In the themes of this feature, and to a smaller extent in elements of the narrative, it does provide us a more complete image of what Sono was doing with 'Suicide Club.' Even so, when more predominantly considering the latter, adding 'Noriko's' contributions into the very mixed bag that the bloodier flick represents also serves to further confuse its plot. Its an unfortunate cycle - the facets of this movie that would bolster its antecedent, failing to fit neatly, then also consequently dampen the narrative here with their inclusion. In whatever ways one ties into the other, that 'Noriko's dinner table' broadly stands so well on its own somewhat magnifies the weaknesses and lesser coherence of 'Suicide Club,' and the kickback with their link is not advantageous.
There are definite deficiencies with this picture, also including camerawork that I don't necessarily find impressive. Yet the broad narrative writing is solid, and fantastic. So it is with the characters, too, and while a little hit or miss, the assembled cast is overall pretty swell as they inhabit their roles. Kazue Fukiishi is a solid lead as chief protagonist Noriko, capably realizing the girl's dissatisfaction, confusion, and shifting sense of identity. Yuriko Yoshitaka, portraying Noriko's younger sister Yuka, demonstrates able skill in a character arc that somewhat mirrors the protagonist's. I'm personally most taken with Tsugumi, who as Kumiko embodies a part requiring notable range, poise, and force of personality, and she deftly maneuvers the nuance. To emphasize these three is hardly to discredit anyone else involved though, and it's also worth mentioning the contributions behind the scenes of hair, makeup, costume design, and set decoration. Everything in this movie looks pretty great to these eyes.
Having watched Sono's 'Suicide Club' and found it enjoyable but wanting, and being vaguely aware of the association with 'Noriko's dinner table,' I wasn't sure what to expect. But I'm genuinely, pleasantly surprised. It's a little bit uneven, and not altogether perfect, but much more so than not it's admirably well-written. While the execution sometimes falters, most scenes are wonderfully orchestrated. The end result is a film that's engaging, entrancing, and not just satisfying, but rewarding. The story and characters are rich and enticing, focal points of a movie I'm happy to say I confidently recommend. If marginally imprecise, 'Noriko's dinner table' is a fun, warped, and pleasing feature, well worth seeking out.
honest review of Noriko no Shokutaku
tsuchinoko22 June 2007
First, I will just state a few things about the movie before I give my review and comments.
-Yes, this is a continuation of sorts of the story started in Jisatsu saakuru (Suicide Club). -No, this is not a "horror" film, at least not in the modern sense. -Yes, as is stated, this is a long movie, and requires an open mind, and patience
It has been stated on several reviews of the first film that it meant to serve as a social commentary on the overly complacent stance taken by the general public in modern Japanese society. Whether that is true or not, the first film had a perfect blend of twisted "horror" imagery, with a stark use of satire. While the first one left many questions unanswered at the end, this entry into the series not only answers some of those questions, but opens new ones.
Shion Sono shows one again that not conforming to any convention can be a refreshing thing. This time around, he shows us a new story, not focusing on characters living through the main events of the story, but rather events taking place before, during, and after the events of the first film. This is all done with a much slower pace this time around, and focuses more on emotions and thought of the characters, rather than focusing on the events themselves. Most of the story itself is told though the narration of the four main characters, as they share their perspective of the events they are seeing. This gives a very intimate feel, though some may feel that the characters give a little too much detail.
This film leaves the big events of the series and instead focuses on little moments, moments that the characters share with others, or with themselves. The fact that this movie focuses more on emotions is what makes this movie shine. The performances are simply amazing. Using mostly lesser known Japanese actors, Sono has drawn out some of the most emotionally draining and shocking scenes in recent memory, and by the end of the film it is hard to think that these actors aren't all seasoned professionals. The film feels very real, and has a somewhat low budget home movie quality to it. This is the same quality that is given to many TV movies in japan. The effect is a movie that is stripped down to the basics, and is at some points very intense and hard to watch.
This is not "Suicide Club 2". There are no pop songs, or flashy Ziggy Stardust-type moments. at times this may feel like it is worlds away from the first film. For those that are looking for a good, emotionally charged film that builds on conventions and story-pieces that were started in the first film, I would whole-heartedly suggest seeing this film. It is not for everyone, and to some it may be frustrating. This is a movie for those that want to ponder a mystery much greater than any murder; inter-family relationships.
-Yes, this is a continuation of sorts of the story started in Jisatsu saakuru (Suicide Club). -No, this is not a "horror" film, at least not in the modern sense. -Yes, as is stated, this is a long movie, and requires an open mind, and patience
It has been stated on several reviews of the first film that it meant to serve as a social commentary on the overly complacent stance taken by the general public in modern Japanese society. Whether that is true or not, the first film had a perfect blend of twisted "horror" imagery, with a stark use of satire. While the first one left many questions unanswered at the end, this entry into the series not only answers some of those questions, but opens new ones.
Shion Sono shows one again that not conforming to any convention can be a refreshing thing. This time around, he shows us a new story, not focusing on characters living through the main events of the story, but rather events taking place before, during, and after the events of the first film. This is all done with a much slower pace this time around, and focuses more on emotions and thought of the characters, rather than focusing on the events themselves. Most of the story itself is told though the narration of the four main characters, as they share their perspective of the events they are seeing. This gives a very intimate feel, though some may feel that the characters give a little too much detail.
This film leaves the big events of the series and instead focuses on little moments, moments that the characters share with others, or with themselves. The fact that this movie focuses more on emotions is what makes this movie shine. The performances are simply amazing. Using mostly lesser known Japanese actors, Sono has drawn out some of the most emotionally draining and shocking scenes in recent memory, and by the end of the film it is hard to think that these actors aren't all seasoned professionals. The film feels very real, and has a somewhat low budget home movie quality to it. This is the same quality that is given to many TV movies in japan. The effect is a movie that is stripped down to the basics, and is at some points very intense and hard to watch.
This is not "Suicide Club 2". There are no pop songs, or flashy Ziggy Stardust-type moments. at times this may feel like it is worlds away from the first film. For those that are looking for a good, emotionally charged film that builds on conventions and story-pieces that were started in the first film, I would whole-heartedly suggest seeing this film. It is not for everyone, and to some it may be frustrating. This is a movie for those that want to ponder a mystery much greater than any murder; inter-family relationships.
The Magical Inbetweens
tedg27 June 2011
Warning: Spoilers
Magical spaces in Hispanically influenced films are easy to locate. We as viewers find it easy to place ourselves there it seems natural. Only Medem challenges.
There are three similarly structured magical traditions in modern Japanese films, and I find them tantalizing, sometimes difficult, visceral. This is squarely within one of these traditions, a small unsettling masterpiece. There seem to be many such, films that have not escaped the island. "All About Lily Chou-Cho" is my favorite, but this has a notable reverse fold.
A common fold is that of performance in life: we all are acting a role that we are drawn to. "Audition" is a great example of where life performance slakes the life that contains it. This construction goes there and then reverses itself.
Imagine a setup where two sisters end up working for a gang which hires out actors to play roles in families for pay. Pretty standard stuff for this tradition, and many of the ordinary girl-sex-angst-parent dynamics are acted out, some symbolically. But now imagine an overlain setup where they are unknowingly hired by their father to play themselves. There's more. Imagine that the film is broken into a collection of first person narratives, each reporting what they discover, and one of these leverages the fact that the father is a reporter- detective (who discovers the gang and sets up the inverted acting gig).
The gang, incidentally, is from a previous movie that is not particularly relevant, except in that it occupies the same magical universe of lost girls.
Ted's Evaluation -- 3 of 3: Worth watching.
There are three similarly structured magical traditions in modern Japanese films, and I find them tantalizing, sometimes difficult, visceral. This is squarely within one of these traditions, a small unsettling masterpiece. There seem to be many such, films that have not escaped the island. "All About Lily Chou-Cho" is my favorite, but this has a notable reverse fold.
A common fold is that of performance in life: we all are acting a role that we are drawn to. "Audition" is a great example of where life performance slakes the life that contains it. This construction goes there and then reverses itself.
Imagine a setup where two sisters end up working for a gang which hires out actors to play roles in families for pay. Pretty standard stuff for this tradition, and many of the ordinary girl-sex-angst-parent dynamics are acted out, some symbolically. But now imagine an overlain setup where they are unknowingly hired by their father to play themselves. There's more. Imagine that the film is broken into a collection of first person narratives, each reporting what they discover, and one of these leverages the fact that the father is a reporter- detective (who discovers the gang and sets up the inverted acting gig).
The gang, incidentally, is from a previous movie that is not particularly relevant, except in that it occupies the same magical universe of lost girls.
Ted's Evaluation -- 3 of 3: Worth watching.
A Nutshell Review: (SIFF) Noriko's Dinner Table
DICK STEEL30 April 2006
This Japanese film is my closing film for this year's SIFF. It tells of a compelling family story, where "safe" is boring, and a child is off looking for that spark in life to spice things up. Turning her back to her family, Noriko makes her way to Tokyo to look up her internet friends, friends she came to know through an online forum. At first everything seems puzzling, until she realize that they are all "actors", folks providing "rental family" services to lonely people out there, yearning to belong.
It's ironic that Noriko had turned her back on her real family, only to join a surrogate one, pretending to be close knit to a lot of other strangers. She takes on her online persona, and forgets about "Noriko", the life she left behind. Which makes it really strange - why would anyone want to abandon their own family, and comfort zone, to make believe with others? It's a social exploration of alienation, and on a separate note, tries to look at the trend of suicide clubs in Japan.
One harrowing scene that was replayed, was that of 54 female students jumping off a train platform in unison. Taking on pseudo-security camera views, and plenty of blood with the smashing of heads on track (in full glory), it'll make you wince, yet wonder in astonishment, the question of Why.ß
Running parallel to Noriko's narrative, are a few others, like her dad's, her sister Yuka's (who also joined Noriko in her new role), and a forum founder Komiko. Taking on parallel and different points of view, it is no wonder that this film clocks in at slightly more than 2 1/2 hours. The father seeks Noriko and Yuka and wants to start afresh by welcoming them home, but find that the siblings have already disowned their lives thus far, preferring to pretend to be someone else, someone they have total control over, someone that they have created for themselves.
The movie started off strongly, but the pace sagged around the half way mark, before picking up again for the grand finale. It also helped that almost all the female cast in this movie are eye-candy, contrasting the seriousness of the issues presented, with their outward cuteness and pretty faces.
It's a pretty weird story, with strange characters, those who don't bat an eyelid over suicide, taking it as a form of higher calling. However you'll still be stuck at the Why question, as the movie doesn't offer any concrete answers, and somehow teased with an ending hinting of a possible sequel, that probably wouldn't be made.
It's ironic that Noriko had turned her back on her real family, only to join a surrogate one, pretending to be close knit to a lot of other strangers. She takes on her online persona, and forgets about "Noriko", the life she left behind. Which makes it really strange - why would anyone want to abandon their own family, and comfort zone, to make believe with others? It's a social exploration of alienation, and on a separate note, tries to look at the trend of suicide clubs in Japan.
One harrowing scene that was replayed, was that of 54 female students jumping off a train platform in unison. Taking on pseudo-security camera views, and plenty of blood with the smashing of heads on track (in full glory), it'll make you wince, yet wonder in astonishment, the question of Why.ß
Running parallel to Noriko's narrative, are a few others, like her dad's, her sister Yuka's (who also joined Noriko in her new role), and a forum founder Komiko. Taking on parallel and different points of view, it is no wonder that this film clocks in at slightly more than 2 1/2 hours. The father seeks Noriko and Yuka and wants to start afresh by welcoming them home, but find that the siblings have already disowned their lives thus far, preferring to pretend to be someone else, someone they have total control over, someone that they have created for themselves.
The movie started off strongly, but the pace sagged around the half way mark, before picking up again for the grand finale. It also helped that almost all the female cast in this movie are eye-candy, contrasting the seriousness of the issues presented, with their outward cuteness and pretty faces.
It's a pretty weird story, with strange characters, those who don't bat an eyelid over suicide, taking it as a form of higher calling. However you'll still be stuck at the Why question, as the movie doesn't offer any concrete answers, and somehow teased with an ending hinting of a possible sequel, that probably wouldn't be made.
A more introspective film than director Sono's previous film.
douglas2k427 March 2007
A sequel to 2002's cult-status film "Suicide Club", director Sion Sono's "Noriko's Dinner Table" tells the compelling and profound tale of the collapse and reconstruction of the family unit. The story follows Noriko Shimabara (Kazue Fukiishi), a seemingly unhappy teenager who lives with her mother, father, and younger sister. To escape reality, Noriko begins to regularly visit the internet site Haikyo.com, a BBS where she begins to chat with other girls just like her. One of the girls, known only by the title "Ueno54", persuades Noriko to runaway to Tokyo so they can meet in person. Noriko willingly accepts and escapes to Tokyo, wherein she meets the real person behind the mysterious Ueno54 and learns her true name—Kumiko (Tsugumi). What Noriko soon discovers is that Kumiko operates a "family-circle" program, which specializes in taking in young girls and giving them new personalities and families
With the release of "Suicide Club", a film that explored the disastrous effects that an enigmatic cult had on an entire population of youth, director Sion Sono not only created a memorable horror film, but also provided some social commentary on Japanese youth. And while it was effective in what it was trying to convey, many viewers considered it a gory, albeit somewhat intelligent film. Sono decided to take a different route with "Noriko's Dinner Table", this time around taking out the unnecessary gore and replacing it with a more introspective stance. The film is split up into various chapters, each dedicating ample time to the film's characters. While this might seem distracting for a film such as this, it does the exact opposite—the first-person narrative of the characters allow the viewer to understand some of the decisions they choose, why they choose them, and what they hope to arrive at after the decision has been made. It's through these narrative perspectives that provided the truly captivating moments throughout the film, wanting to see the outcome of characters I have gotten to know.
Probably one of the strongest elements of the film is the cast. Since Sono's attention to detail is so prevalent in this film, the cast had to be right on the mark. And they do a remarkable job. The highlight of the film is Kazue Fukiishi. Her portrayal of Noriko is a sight to behold and her transformation from being a stubborn, rebellious teen to an overzealous, rather detached individual is masterfully done. Noriko's family—her father played by film veteran Ken Mitsuishi and younger sister played by Yuriko Yoshitaka—are fantastic in their respectable roles as well. Actress Tsugumi in her portrayal as the chilling and austere Kumiko also brings to mind the exceptional acting talent so vividly on display here.
While "Suicide Club" showcased a telescopic overview of the shadowy "Suicide Circle" cult, which showed the cult's negative influence on numerous individuals, "Noriko's Dinner Table" portrays, rather successfully, how the mysterious cult affects a single family. It's a film that touches upon various contemplative societal issues such as individualism, family structure, alienation, and mind control on an enormous scale. With the release of "Suicide Club" a few years back, director Sion Sono had something to say. With "Noriko's Dinner Table", he takes it a step further, raising questions to issues that are relevant and meaningful today. A totally absorbing experience, I highly recommend it.
Please visit iSugoi.com for more reviews.
With the release of "Suicide Club", a film that explored the disastrous effects that an enigmatic cult had on an entire population of youth, director Sion Sono not only created a memorable horror film, but also provided some social commentary on Japanese youth. And while it was effective in what it was trying to convey, many viewers considered it a gory, albeit somewhat intelligent film. Sono decided to take a different route with "Noriko's Dinner Table", this time around taking out the unnecessary gore and replacing it with a more introspective stance. The film is split up into various chapters, each dedicating ample time to the film's characters. While this might seem distracting for a film such as this, it does the exact opposite—the first-person narrative of the characters allow the viewer to understand some of the decisions they choose, why they choose them, and what they hope to arrive at after the decision has been made. It's through these narrative perspectives that provided the truly captivating moments throughout the film, wanting to see the outcome of characters I have gotten to know.
Probably one of the strongest elements of the film is the cast. Since Sono's attention to detail is so prevalent in this film, the cast had to be right on the mark. And they do a remarkable job. The highlight of the film is Kazue Fukiishi. Her portrayal of Noriko is a sight to behold and her transformation from being a stubborn, rebellious teen to an overzealous, rather detached individual is masterfully done. Noriko's family—her father played by film veteran Ken Mitsuishi and younger sister played by Yuriko Yoshitaka—are fantastic in their respectable roles as well. Actress Tsugumi in her portrayal as the chilling and austere Kumiko also brings to mind the exceptional acting talent so vividly on display here.
While "Suicide Club" showcased a telescopic overview of the shadowy "Suicide Circle" cult, which showed the cult's negative influence on numerous individuals, "Noriko's Dinner Table" portrays, rather successfully, how the mysterious cult affects a single family. It's a film that touches upon various contemplative societal issues such as individualism, family structure, alienation, and mind control on an enormous scale. With the release of "Suicide Club" a few years back, director Sion Sono had something to say. With "Noriko's Dinner Table", he takes it a step further, raising questions to issues that are relevant and meaningful today. A totally absorbing experience, I highly recommend it.
Please visit iSugoi.com for more reviews.
A well made movie, but needed a little more character development
Tokyo-199716 October 2010
Warning: Spoilers
This movie was quite entertaining, but I have got one very major complain about this movie. This movie did not really show how the father was bad to his daughters. The father just cared about his work, so when the daughter, Noriko and her sister ran away, did not bother him much. That showed how cruel Noriko's father is. The father even asked his wife to help him do his work, so you can see how obsessed the father is at work. As mentioned towards the end of the show, Noriko's father may even hit her if she asked him something. However, the character development for Noriko's father to see how distant he is towards his daughter could have been made much better like the movie "Click". I thought this movie should also focus more on the "Problem" rather than just the "Solution".Click really shows that when when the main character was obsessed with his work, and when his kids ask him a question, he would scold them and shout at them loudly. The movie also shows how obsessed the main character was obsessed with his work(when he got back home he just did and did his work without even caring about the kids). So you can see how distant their relationship is and feel touch for the characters. This movie did not really manage to make me feel touch because they focused too much on the solution rather than the problem. I did not really feel that the relationship of the daughter and father was very far unlike the movie CLICK. The first half an hour of this movie could have used to build up development instead of long boring dialogs. This movie still managed to be interesting though, it managed to be touching at times, especially when they are trying to solve the problem by doing some 'acting'. This movie is unique and entertaining. It is fun to watch due to its rather good storyline though poor character development. Furthermore, the ending pratically spoiled the entire film. The ending was extremely aggravating and terrible. I thought the whole problem was solved. A lot of effort was put in to solve the problem. What wrong with Noriko's sister? Why did she do something so stupid? Why did she run away? This ending is just horrible and extremely aggravating. This film somehow did not impact me as much as suicide club. I preferred suicide club to this film. Though this film was still good because it was very very entertaining though not convincing enough for me. Score: 7/10
A Tour De Force
crossbow01066 July 2008
After seeing "Suicide Club", I approached this film with some trepidation. However, this is not "Suicide Club 2". Its a story of two sisters Noriko and Yuka, who live with their parents in Toyokawa, a sleepy seaside town. Mousy Noriko is unhappy with this existence and runs away to Tokyo. There she meets Kumiko, who runs a fantasy service in which young ladies act as daughters for lonely men, amongst other things (the "family rental" concept is a great idea for this film). Yuka eventually runs away also, and does the same thing. Their father pieces together clues as to their whereabouts and doing and goes to Tokyo to find them. First of all, the settings are excellent. Like New York City and London, you see Tokyo in all its glory, neon etc. The story itself is also great, flowing & unfolding slowly until it reaches an explosive climax. However, that would only make a good film if the acting was merely adequate. The acting is uniformly superb. Kasue Fukiishi plays Noriko so well, you don't realize she's acting. Likewise, Yuka (Yuriko Yoshitaka) and Kumiko (Tsugumi) also give great performances. This film is much more psychological than "Suicide Club", and for that it shines. I was almost breathless through parts of this, and I watched it on DVD. Its only recommended you watch "Suicide Club" first, buts it not essential, to get the gist of this powerful film. Who expects any film that is labeled a sequel to be much better than the first? I so highly recommend this film. It is actually one of my favorites. I expect great things from the three young actresses in this film. Based on their performances in this film, especially Ms. Fukiishi's, I know I will not be disappointed.
Follow-up from a different perspective
Polaris_DiB1 August 2008
Warning: Spoilers
Sion Sono follows up Suicide Club/Suicide Circle with this, a telling of the story from a different perspective that, Lost-like, answers some questions from the previous movie while exchanging even more. This movie, however, is more character based, and involves the issue of role-playing in society--rather than being merely a commentary on pop culture, it's a discussion of the nature of being "connected to oneself" or, really, being who you are meant to be, not who society wants you to be or even what you were born into being.
A great way in which Sono pulls this off is to have multiple voice-over narrators engage in a confessional storytelling mode. Unfortunately for international viewers, said voice-over often is delivered over dialog of the movie as well, and the sub-titles can tend to fall behind in many cases, resulting in it being difficult from time to time to tell what all is being said. Can't fault the intentions, but this movie is probably not nearly quite the experience it would be in its native language.
It also commits the cardinal sin of an unjustified playlength. This movie ran about 2 1/2 hours long, but ten minutes could have been shaved off of the end. Sono attempted to justify it with a repeated motif of running away, this time with Yuka, the younger sister, but the movie had a much stronger ending on the "Let's start over" moment. Due to the introspective nature of the movie, however, it makes sense that sometimes the best ending doesn't necessarily end the idea. It's just that this is one of those movies that fades out tantalizingly several times before finally actually ending, and that gets frustrating to watch some times.
--PolarisDiB
A great way in which Sono pulls this off is to have multiple voice-over narrators engage in a confessional storytelling mode. Unfortunately for international viewers, said voice-over often is delivered over dialog of the movie as well, and the sub-titles can tend to fall behind in many cases, resulting in it being difficult from time to time to tell what all is being said. Can't fault the intentions, but this movie is probably not nearly quite the experience it would be in its native language.
It also commits the cardinal sin of an unjustified playlength. This movie ran about 2 1/2 hours long, but ten minutes could have been shaved off of the end. Sono attempted to justify it with a repeated motif of running away, this time with Yuka, the younger sister, but the movie had a much stronger ending on the "Let's start over" moment. Due to the introspective nature of the movie, however, it makes sense that sometimes the best ending doesn't necessarily end the idea. It's just that this is one of those movies that fades out tantalizingly several times before finally actually ending, and that gets frustrating to watch some times.
--PolarisDiB
A film where the characters endlessly yap their mouths, but are somehow able to say absolutely nothing at the same time.
ebossert23 April 2012
I'm a pretty big fan of Sion Sono, with "Love Exposure" (2008), "Strange Circus" (2005), and "Hair Extensions" (2007) being amongst my personal favorites from his portfolio. Even his more recent exploitation-style films like "Cold Fish" (2010) and "Guilty of Romance" (2011) have enough to hold interest, despite their skittish foundations. "Noriko's Dinner Table" (2005) is a dramatic spin off to the gruesome "Suicide Club" (2002). I read up on the film before seeking it out, so I knew what I was in for in terms of style: a slow-paced, character driven art-house flick that was very different from its predecessor. What I got was a boring movie that outstayed its welcome within the opening hour, then dragged mercilessly for another hour-and-a-half.
The plot is bland, the acting is spotty, and the primary psychological elements are unfocused and sloppy. They say a picture is worth a thousand words, but this film abuses narration to such an extreme that massive amounts of superfluous verbiage are used when only a few mere images would suffice. What results is an unbearable series of events that seem to exist for no other reason than to show something during the unending narration. The dialogue is drawn out yet somehow empty – virtually nothing of interest is said. Even after 159 minutes of characters constantly yapping (they literally cannot keep their mouths shut for more than 10 seconds at a time), the viewer inexplicably comes away from this movie with almost no additional understanding of the primary themes behind "Suicide Club", a film that also suffered from meaningless psychobabble but overpowered its flaws with horrific imagery.
Subsequent to my initial disappointment, I attempted to rewatch "Noriko's Dinner Table" on two separate occasions, but simply could not make it past the opening hour. I'm frankly amazed that I made it the whole way through the first time around.
The plot is bland, the acting is spotty, and the primary psychological elements are unfocused and sloppy. They say a picture is worth a thousand words, but this film abuses narration to such an extreme that massive amounts of superfluous verbiage are used when only a few mere images would suffice. What results is an unbearable series of events that seem to exist for no other reason than to show something during the unending narration. The dialogue is drawn out yet somehow empty – virtually nothing of interest is said. Even after 159 minutes of characters constantly yapping (they literally cannot keep their mouths shut for more than 10 seconds at a time), the viewer inexplicably comes away from this movie with almost no additional understanding of the primary themes behind "Suicide Club", a film that also suffered from meaningless psychobabble but overpowered its flaws with horrific imagery.
Subsequent to my initial disappointment, I attempted to rewatch "Noriko's Dinner Table" on two separate occasions, but simply could not make it past the opening hour. I'm frankly amazed that I made it the whole way through the first time around.
Family Rental
trenttnert6 March 2007
Warning: Spoilers
Noriko's Dinner Table is quite possibly one of the best films I've ever seen.
I will not give away any spoilers about the movie, but I will say that it is beautifully done. Each scene seems as if it were painstakingly and obsessively done, paying attention to the tiniest of detail. As with all of Sono's films, the camera angles and shots are unique, and make you feel like you're a part of the story that's unfolding.
Many people consider the length of the movie to be it's downfall, and with good reason. 2 hours and 30 minutes is one long movie, but it holds together very well. In the end, you'll feel like you were a part of what was happening, and it will affect you, for better or worse.
What many people are concerned about, however, is it's connection to Sion Sono's cult classic Suicide Club. There is a definite connection, and it does explain a little of what happened throughout Suicide Club. But it still leaves some small questions unanswered. Nothing is left unanswered in Noriko's Dinner Table, but there's still a little we don't understand from Suicide Club.
This brings me to the meaning behind family in Noriko's Dinner Table. Sion Sono's ideas and meanings are portrayed, and excellently, through sometimes complex symbolism that may take a few watches to understand. The movie is separated into chapters, and the story, how it's told, is broken into pieces and presented to you at little bits at a time. You wont get the full picture until the end of the movie.
Noriko's Dinner Table is an amazing film.
I ordered it from Japan for about 30-some-odd bucks, and I can say it was worth the money and the two week wait to receive it in the mail. I've had it two days, and already watched it three times. It's amazing, not what I expected, but amazing.
A quick note, do not expect what we saw in Suicide Club. A little of that same horror-esquire feeling is there, but it's really a drama at heart. An amazing drama.
This is the mature, grown-up Suicide Club.
Everyone should watch this movie.
I will not give away any spoilers about the movie, but I will say that it is beautifully done. Each scene seems as if it were painstakingly and obsessively done, paying attention to the tiniest of detail. As with all of Sono's films, the camera angles and shots are unique, and make you feel like you're a part of the story that's unfolding.
Many people consider the length of the movie to be it's downfall, and with good reason. 2 hours and 30 minutes is one long movie, but it holds together very well. In the end, you'll feel like you were a part of what was happening, and it will affect you, for better or worse.
What many people are concerned about, however, is it's connection to Sion Sono's cult classic Suicide Club. There is a definite connection, and it does explain a little of what happened throughout Suicide Club. But it still leaves some small questions unanswered. Nothing is left unanswered in Noriko's Dinner Table, but there's still a little we don't understand from Suicide Club.
This brings me to the meaning behind family in Noriko's Dinner Table. Sion Sono's ideas and meanings are portrayed, and excellently, through sometimes complex symbolism that may take a few watches to understand. The movie is separated into chapters, and the story, how it's told, is broken into pieces and presented to you at little bits at a time. You wont get the full picture until the end of the movie.
Noriko's Dinner Table is an amazing film.
I ordered it from Japan for about 30-some-odd bucks, and I can say it was worth the money and the two week wait to receive it in the mail. I've had it two days, and already watched it three times. It's amazing, not what I expected, but amazing.
A quick note, do not expect what we saw in Suicide Club. A little of that same horror-esquire feeling is there, but it's really a drama at heart. An amazing drama.
This is the mature, grown-up Suicide Club.
Everyone should watch this movie.
An ordeal that does not even get rewarded....
doublethink0313 February 2009
The movie "Noriko's Dinner Table" is a long movie. And it is not one of those movies that make you forget that they are long because they are exciting, gripping, thrilling, funny,... It's just long, bland, and boring.
The main pseudo-philosophical question of Noriko's Dinner Table is a simple one: "Are you connected to yourself?" The question is easily answered: I am myself, therefore I am connected to myself. So why does it take two and a half hours to try to somehow explore this question?
The movie is just like the question: pointless. Furthermore it's disturbingly sick because characters act in totally unnatural ways. But not even that in an interesting way. I can't believe that this movie got only favorable reviews. Honestly I expected something special. There was nothing of that sort.
The main pseudo-philosophical question of Noriko's Dinner Table is a simple one: "Are you connected to yourself?" The question is easily answered: I am myself, therefore I am connected to myself. So why does it take two and a half hours to try to somehow explore this question?
The movie is just like the question: pointless. Furthermore it's disturbingly sick because characters act in totally unnatural ways. But not even that in an interesting way. I can't believe that this movie got only favorable reviews. Honestly I expected something special. There was nothing of that sort.
Great Film!!!
bloody_frets6 January 2011
This was a roller coaster through the sickness of the human mind and back up to blue skies. I watched this after suicide club (that in my opinion was very average to not so good) and was amazed. The movie did not even need the Suicide Circle background. The symbolisms were nicely presented and the metaphors were very tight to the storyline.
The atmosphere is heavy dramatic and suits the movie's concept fantastically. While watching you feel like you are passing from reality to fantasy and back again up to the point you don't know whats real anymore. We have to thank the very well presented characters for this (just enough info but not too much). This was a very very good movie. Long but good!
The atmosphere is heavy dramatic and suits the movie's concept fantastically. While watching you feel like you are passing from reality to fantasy and back again up to the point you don't know whats real anymore. We have to thank the very well presented characters for this (just enough info but not too much). This was a very very good movie. Long but good!
Best Movie Ever... Not an award that I'd grant lightly!!
aloas_kino27 December 2007
I used to think of myself as (among other things) a cinephile, someone who had a taste for good cinema, whose Favorite Movies list was topped by some little known films. But I had seen nothing until Noriko's Dinner Table. I haven't seen Suicide Club yet. I hope to see it soon, but in truth it doesn't matter: right now I consider Noriko's my new absolute "best movie ever" and that doesn't depend on what it's part of or what other films has ever directed its author.
There are personal reasons behind that election, of course, but then, isn't every election personal, and what other meaning could hide behind the word "My" in "My Favorite Movies"?
Of course my familiar history or situation is or was extremely confusing, unstable, unhealthy, and unusual. But, maybe roleplaying is more than Japan's main existential issue. Maybe it's our entire culture's main existential issue. "The actor behind the mask", as in "Riding Alone for Thousand of Miles". The hidden heart, clouded in fat and entertainment and busy-ness, entangled in meaningless liasons that produce meaningless families; the confused heart that can only be brought out (exorcised) using a knife. And a camera.
The movie is divided into chapters, one for each of the main characters. And thus the viewer can achieve what the characters themselves can't: understand other people's motives and feelings.
This is my first review BTW, and will probably be the last. I'm not into sharing my views or anything like that... But in this case the impact was extreme and the reviews here weren't doing it justice so far.
There are personal reasons behind that election, of course, but then, isn't every election personal, and what other meaning could hide behind the word "My" in "My Favorite Movies"?
Of course my familiar history or situation is or was extremely confusing, unstable, unhealthy, and unusual. But, maybe roleplaying is more than Japan's main existential issue. Maybe it's our entire culture's main existential issue. "The actor behind the mask", as in "Riding Alone for Thousand of Miles". The hidden heart, clouded in fat and entertainment and busy-ness, entangled in meaningless liasons that produce meaningless families; the confused heart that can only be brought out (exorcised) using a knife. And a camera.
The movie is divided into chapters, one for each of the main characters. And thus the viewer can achieve what the characters themselves can't: understand other people's motives and feelings.
This is my first review BTW, and will probably be the last. I'm not into sharing my views or anything like that... But in this case the impact was extreme and the reviews here weren't doing it justice so far.
A brilliant masterpiece! Watch it!
Frisil12 April 2007
Warning: Spoilers
Well, this is not Suicide Club 2 and you will be disappointed if you expect it to be... You need to watch it open-minded! It kind of feels more like a "watchable book" than a movie, it is a new viewing experience which only works if you open up to it. It is one of the most intense movies I have ever seen, it is all about emotion and - the only real parallel to Suicide Club - it cannot really be understood, it can only be felt... I will not talk about the plot here, as this is impossible without spoilers, so go to the discussion board if you want to know more. However, I recommend watching it first. Believe me, it's worth it, unless you expect it to be something you can expect...
Interesting Character Study with Deep Seeded Issues and Commentary
Reviews_of_the_Dead8 March 2020
This was a film that I'm pretty sure intrigued me back in college when it and it had been sitting on my Netflix list since then. I finally got it in the mail and decided to check it out. I came in pretty blind aside from that and didn't realize until I started it that it was from Sion Sono and technically a prequel, running concurrently and a kind of sequel to Suicide Club, a film I haven't see yet, but is on my short list. The synopsis for this one though is a teenager runs away from her family to Tokyo, where she gets involved with a strange group of people.
We start off learning one of our main characters, Noriko Shimabara (Kazue Fukiishi) has run away from home. She's from a small town of Toyokama, Japan and she flees to Tokyo. The movie is not told in a linear way and is broken up into 5 chapters. Each one is named after our 4 main characters with a final chapter to bring it all together to an end. Back to what I was saying, Noriko flees from home to Tokyo after a run in with her father.
It fills us in that she's shy and quite timid. Her father is Tetsuzô (Ken Mitsuishi) who is a local reporter. He's strict with her and she tries to impress him, taking on a position with her school's newspaper. One of the crusades she takes on is getting the school to allow them more time on the computer. This turns out to be a bit selfish since her father uses the computer at home. She is trying to find a way to connect through the internet to others. Noriko is unhappy that she wants to go to Tokyo for college but her father forbids it. Her two cousins who went there both came home pregnant and he thinks that will happen to her as well. Her drive to leave is even worse when she meets a former friend from childhood, Tangerine (Yôko Mitsuya), who is no longer going to school, but is something called an 'idol' which I'm assuming is similar to be a prostitute.
In Tokyo, Noriko assumes the identity of Mitsuko, her username for a site called Haikyo.com. She tries to meet with someone from this site as she doesn't know anyone else. Her name on there is Ueno54. Noriko goes to meet her at Ueno Station and after some investigation learns the number is for a locker. This brings her to meet Kumiko (Tsugumi) along with her family. It turns out not to be the case though. Noriko then learns some information about her new friend.
It's around this point where we learn how this ties into Suicide Club. 54 girls jump in front of a subway train to commit suicide. The other chapters in this are that Noriko's sister Yuka (Yuriko Yoshitaka) looks into what happened to her sister which also brings her to Haikyo.com. She disappears as well, but she leaves clues for her father to follow. She predicts what she thinks he will do. Tetsuzo does some of them, but he also loses his mind to find out what happened to his daughters as his family falls apart. This brings them all into world underneath to find out the truth.
Now I have to say that I'm a bit upset with myself for not doing a bit more research into this movie before watching it. I would have sought out Suicide Club first and then this. I did watch an interview with the writer/director Sono after completing the movie which made me feel a bit better that it doesn't really affect the story here. It really just seems to explain some aspects a bit more for the other movie.
Something I really liked about this movie is all of the social commentary that we're working with. I kind of want to break down the 4 main characters as each one really seems to be tackling a different issue with some overlap. This first chapter follows Noriko. What translate here according to Sono and I also do agree, is that she's growing up in a small town with a strict father. There aren't a lot of young women around her that she can connect with so she goes online. Even as a male, I did feel lost after college and it took me getting into this hobby of reviewing horror films which led me to podcasts that I really found my place and brought enjoyment to my life. I feel horrible for Noriko as she wants to go to college in Tokyo, but her father doesn't want her to as he doesn't understand. He thinks what happened to her cousins will happen to her as well. Playing off of this though, she's a bright girl with a thirst for knowledge. The strictness of her father really causes her to run away and into the situation she finds herself.
Chapter 2 then follows her sister Yuka. She ends up following her sister to Tokyo. What I found interesting here is that Noriko thinks of her as the golden child, but when we see from Yuka's point of view, she really admires her sister. We don't get that at all in the first chapter. Yuka does fit into the system a bit more though Japan is really known for their family ties and not dishonoring them. Yuka sees what Noriko does to put her down this path. She wants her father to find them though. She left clues like this is a mystery novel which is interesting. Seeing this from multiple points of view is a great way to build the story.
Next we then follow Kumiko who as I said, we thinks she shows up to Ueno Station with her family. We learn through this interaction that for work she will send people, including herself, to live out fantasies with the clients. The people that she shows up there with aren't really her family and they're pretending with another example is Noriko and her go to a man's house to pretend to be rebellious sisters for a lonely man who acts as their father. I found it interesting that this is something these young women could for money, but going back to how strong family ties are there. If you don't have family, you're probably lonely and would pay for the feeling that it brings.
The fourth chapter follows Tetsuzo as he tries to figure out what's going on. He follows clues that were left for him by Yuka and using the skills as a reporter it leads him to this suicide club. The movie does fill in a lot of things behind the scenes from it and from things in Suicide Club, which includes the major event of that movie. Tetsuzo is to blame for his daughters leaving and what happens to his wife, Taeko (Sanae Miyata). She can't handle her daughters leaving either. Tetsuzo also admits he chose his job over family and there's also a gap in the generations. He either cannot see that Noriko was unhappy or he willfully ignored it. He isn't connecting with his children and doesn't see the truth. It's sad to be honest and seeing how everything ends up as well.
I want to shift gears and take to this over to the pacing. I do think that we have some slight issues here if I'm going to be honest. It just runs too long. The runtime clocks in around 159 minutes and I think there's quite a bit that could be cut out without sacrificing anything with the story. What I found interesting was that this is a based off of a novel also written by Sono. During his interview he talks about would he adapt other writers work and he was hesitant. It feels like he adapted everything from the novel and didn't want to cut anything out which hurts the flow in my opinion. That's not to say that I hated this, as that's far from the case. It made me feel quite anxious for a good portion of it and the mystery worked. I even like the ending. It isn't how I prefer normally, but it works for how things play out. It really does feel the tone.
As for the acting, I thought this one of the strongest parts of the movie. I like how it established Fukiishi from the timid girl we see in the beginning to where she is when working with Kumiko in Tokyo. There's a drastic change and we see her living out her emotions with clients who aren't really her family. It all comes to a head with the climax for sure. Mitshuishi is also intriguing as we get growth from his as well. He is the crux of what causes all of the bad things to happen to his family and he hits rock-bottom in order to fix things. This is redemption story of sorts, but not necessarily with a happy ending. Toshitaka I thought was really good as well. Tsugumi is interesting as she is villainous, but I still feel bad for her. She's broken young woman who's hurting others, but also giving them a family that they desire. There are some deep seeded issues there that she's ignoring with herself as that's all she really wants. She has just dealt with bad things that she put up a wall and refuses to feel. I would say that the rest of the cast really does round this out for was needed as well.
This movie is a bit lighter on the horror than I was expecting. I bring this up as there's not a lot in the way of effects. The horror from this is the underworld that this family ends up dealing with. The blood we get does look good. We get images of what I'm assuming is Suicide Club. The climax has some blood, but that's all I can think of. The cinematography though was well done. We're delving into the past so it has that hazy look to it. I thought it was effective and the movie is shot well overall.
The last thing to cover would be the soundtrack. My favorite selection as used on the DVD menu. It is a classical sounding song that is just unnerving when coupled with things that we're seeing on the screen. It isn't horror in the traditional sense. It's the anxious driving feeling of seeing the things this family is dealing with for sure. I thought the score really fit there for what was needed.
Now with that said, this is an intriguing film. I'm a bit upset that I watched this before the original, but again, from what I read it doesn't affect it too much. I think this is an interesting social commentary of what these characters are dealing with. The acting really helps to bring this to life along with the soundtrack that fits very well. There's not a lot in the way of effects and if I have any negative things to say, it is just that this movies runs a bit too long so it does get repetitive. Not enough to ruin this though and I still enjoyed what I was seeing.
We start off learning one of our main characters, Noriko Shimabara (Kazue Fukiishi) has run away from home. She's from a small town of Toyokama, Japan and she flees to Tokyo. The movie is not told in a linear way and is broken up into 5 chapters. Each one is named after our 4 main characters with a final chapter to bring it all together to an end. Back to what I was saying, Noriko flees from home to Tokyo after a run in with her father.
It fills us in that she's shy and quite timid. Her father is Tetsuzô (Ken Mitsuishi) who is a local reporter. He's strict with her and she tries to impress him, taking on a position with her school's newspaper. One of the crusades she takes on is getting the school to allow them more time on the computer. This turns out to be a bit selfish since her father uses the computer at home. She is trying to find a way to connect through the internet to others. Noriko is unhappy that she wants to go to Tokyo for college but her father forbids it. Her two cousins who went there both came home pregnant and he thinks that will happen to her as well. Her drive to leave is even worse when she meets a former friend from childhood, Tangerine (Yôko Mitsuya), who is no longer going to school, but is something called an 'idol' which I'm assuming is similar to be a prostitute.
In Tokyo, Noriko assumes the identity of Mitsuko, her username for a site called Haikyo.com. She tries to meet with someone from this site as she doesn't know anyone else. Her name on there is Ueno54. Noriko goes to meet her at Ueno Station and after some investigation learns the number is for a locker. This brings her to meet Kumiko (Tsugumi) along with her family. It turns out not to be the case though. Noriko then learns some information about her new friend.
It's around this point where we learn how this ties into Suicide Club. 54 girls jump in front of a subway train to commit suicide. The other chapters in this are that Noriko's sister Yuka (Yuriko Yoshitaka) looks into what happened to her sister which also brings her to Haikyo.com. She disappears as well, but she leaves clues for her father to follow. She predicts what she thinks he will do. Tetsuzo does some of them, but he also loses his mind to find out what happened to his daughters as his family falls apart. This brings them all into world underneath to find out the truth.
Now I have to say that I'm a bit upset with myself for not doing a bit more research into this movie before watching it. I would have sought out Suicide Club first and then this. I did watch an interview with the writer/director Sono after completing the movie which made me feel a bit better that it doesn't really affect the story here. It really just seems to explain some aspects a bit more for the other movie.
Something I really liked about this movie is all of the social commentary that we're working with. I kind of want to break down the 4 main characters as each one really seems to be tackling a different issue with some overlap. This first chapter follows Noriko. What translate here according to Sono and I also do agree, is that she's growing up in a small town with a strict father. There aren't a lot of young women around her that she can connect with so she goes online. Even as a male, I did feel lost after college and it took me getting into this hobby of reviewing horror films which led me to podcasts that I really found my place and brought enjoyment to my life. I feel horrible for Noriko as she wants to go to college in Tokyo, but her father doesn't want her to as he doesn't understand. He thinks what happened to her cousins will happen to her as well. Playing off of this though, she's a bright girl with a thirst for knowledge. The strictness of her father really causes her to run away and into the situation she finds herself.
Chapter 2 then follows her sister Yuka. She ends up following her sister to Tokyo. What I found interesting here is that Noriko thinks of her as the golden child, but when we see from Yuka's point of view, she really admires her sister. We don't get that at all in the first chapter. Yuka does fit into the system a bit more though Japan is really known for their family ties and not dishonoring them. Yuka sees what Noriko does to put her down this path. She wants her father to find them though. She left clues like this is a mystery novel which is interesting. Seeing this from multiple points of view is a great way to build the story.
Next we then follow Kumiko who as I said, we thinks she shows up to Ueno Station with her family. We learn through this interaction that for work she will send people, including herself, to live out fantasies with the clients. The people that she shows up there with aren't really her family and they're pretending with another example is Noriko and her go to a man's house to pretend to be rebellious sisters for a lonely man who acts as their father. I found it interesting that this is something these young women could for money, but going back to how strong family ties are there. If you don't have family, you're probably lonely and would pay for the feeling that it brings.
The fourth chapter follows Tetsuzo as he tries to figure out what's going on. He follows clues that were left for him by Yuka and using the skills as a reporter it leads him to this suicide club. The movie does fill in a lot of things behind the scenes from it and from things in Suicide Club, which includes the major event of that movie. Tetsuzo is to blame for his daughters leaving and what happens to his wife, Taeko (Sanae Miyata). She can't handle her daughters leaving either. Tetsuzo also admits he chose his job over family and there's also a gap in the generations. He either cannot see that Noriko was unhappy or he willfully ignored it. He isn't connecting with his children and doesn't see the truth. It's sad to be honest and seeing how everything ends up as well.
I want to shift gears and take to this over to the pacing. I do think that we have some slight issues here if I'm going to be honest. It just runs too long. The runtime clocks in around 159 minutes and I think there's quite a bit that could be cut out without sacrificing anything with the story. What I found interesting was that this is a based off of a novel also written by Sono. During his interview he talks about would he adapt other writers work and he was hesitant. It feels like he adapted everything from the novel and didn't want to cut anything out which hurts the flow in my opinion. That's not to say that I hated this, as that's far from the case. It made me feel quite anxious for a good portion of it and the mystery worked. I even like the ending. It isn't how I prefer normally, but it works for how things play out. It really does feel the tone.
As for the acting, I thought this one of the strongest parts of the movie. I like how it established Fukiishi from the timid girl we see in the beginning to where she is when working with Kumiko in Tokyo. There's a drastic change and we see her living out her emotions with clients who aren't really her family. It all comes to a head with the climax for sure. Mitshuishi is also intriguing as we get growth from his as well. He is the crux of what causes all of the bad things to happen to his family and he hits rock-bottom in order to fix things. This is redemption story of sorts, but not necessarily with a happy ending. Toshitaka I thought was really good as well. Tsugumi is interesting as she is villainous, but I still feel bad for her. She's broken young woman who's hurting others, but also giving them a family that they desire. There are some deep seeded issues there that she's ignoring with herself as that's all she really wants. She has just dealt with bad things that she put up a wall and refuses to feel. I would say that the rest of the cast really does round this out for was needed as well.
This movie is a bit lighter on the horror than I was expecting. I bring this up as there's not a lot in the way of effects. The horror from this is the underworld that this family ends up dealing with. The blood we get does look good. We get images of what I'm assuming is Suicide Club. The climax has some blood, but that's all I can think of. The cinematography though was well done. We're delving into the past so it has that hazy look to it. I thought it was effective and the movie is shot well overall.
The last thing to cover would be the soundtrack. My favorite selection as used on the DVD menu. It is a classical sounding song that is just unnerving when coupled with things that we're seeing on the screen. It isn't horror in the traditional sense. It's the anxious driving feeling of seeing the things this family is dealing with for sure. I thought the score really fit there for what was needed.
Now with that said, this is an intriguing film. I'm a bit upset that I watched this before the original, but again, from what I read it doesn't affect it too much. I think this is an interesting social commentary of what these characters are dealing with. The acting really helps to bring this to life along with the soundtrack that fits very well. There's not a lot in the way of effects and if I have any negative things to say, it is just that this movies runs a bit too long so it does get repetitive. Not enough to ruin this though and I still enjoyed what I was seeing.
Excellent for Lovers of Bizarre and Shocking Films
davidhilley13 February 2018
If enjoy for example, the filmography of Takashi Miike but want something a bit more sophisticated I would advise you this is a must see. On the spectrum of those type of 'shock films', I would actually rate this a 10 star rather than an 8.
It is probably the most disturbing Japanese film I have seen, and despite what the movie poster suggests, that is accomplished without any graphic depictions of sex, violence, or gore (excluding the last scene). All this to say, it is a very intense movie that left my jaw hanging open throughout the entire viewing thinking "What the f***? What am I watching?". Great movie!
Identity in the modern world
brchthethird1 November 2021
A sort-of sequel (but also partly a prequel) to Suicide Club that ended up being deeper than I expected, certainly more ambitious. Had some intriguing exploration of identity, connection, and family in the context of the modern world, with the coming internet-ization of everything squarely on the horizon. I also thought of the famous Shakespeare quote about the world being a stage, and everyone on it merely players. That took on quite a literal meaning here. Although the film ended in an ambiguously positive way, I still took this as more of a tragedy. Overall, very thought-provoking, and certainly an interesting way to close out this Halloween month.
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