Two dumb and naive guys but with a good heart stumble on not so good people in their lives.
You know, sometimes is better to think about the next decision or action; however, nothing of that occurs in this story hence all start to go down...and fast.
Very interesting side of the coin to observe the problematic that the Life could be if the action is taken too abruptly.
Movie is a violent one. All interactions are violent...and with a manly point of view.
He needs to believe in himself and prove that to most (manly) to demonstrate that he really can "win" the love of the gal and of course have that baby.
Acting is pretty good. Also the filming in the fight with his némesis was greatly done.
4 Reviews
Half and half
politic19836 March 2021
Warning: Spoilers
Over-acting is a common trait in much Japanese melodrama and this is something Tetsuya Mariko exploits in his rom-com which starts off rom, but ends up com. And much like his "Destruction Babies" before it, "From Miyamoto to You" is an assault on the senses that will leave your ears ringing, if you're lucky.
Miyamoto (Sosuke Ikematsu) and Yasuko (Yu Aoi) are a couple who plan to marry and so visit their respective parents to announce their intentions. The parents suspect that Yasuko is pregnant, and they are right. What is less certain, however, is why Miyamoto has his arm in a sling and several front teeth are missing.
We are the presented with a series of flashbacks as we gradually piece together the story of how love bloomed for the couple, but not without its problems. Yasuko is at the end of an on-off relationship with the abusive Yuji (Arata Iura) and Miyamoto has something of an inferiority complex, smaller in stature and income that those around him. He combats this by drinking heavily, but this soon leads to bursts of absolute rage.
Pushed over the edge, the boy tries to take on the man's world, despite the chips being stacked against him, but he will stop at no cost.
It would be fair to say that "From Miyamoto to You" is a film of two halves. The first is fairly slow-paced as the couple meet with their parents and their relationship develops. But there is always a slight odd feeling in the air, though you can't quite place it. Laughs are few and you feel a little put-off as to why they choose to communicate but shouting aggressively at times.
But, once a night of heavy drinking leave Miyamoto immobile and Yasuko exposed, things start to fall into place. Miyamoto's rage at those more powerful than him takes over and he becomes a man on a mission to prove everyone wrong, and himself to Yasuko. This manifests itself quite brilliantly when he has his final showdown with the giant Takuma (Wataru Ichinose), with a fight scene on a fire escape that quite literally goes over-the-top.
At this moment, we finally find ourselves in a comedy, and all the angst previous suddenly makes sense, and the enjoyment of the film increases. Over-acting becomes comic acting from a strong cast and the audience is freed from the more restrained and awkward first half.
Something of a lampoon on the melodrama, we are taken to silly and violent extremes. Much like "Destruction Babies" before it, the violence on show is felt through the screen in all its bloody, impactful glory. But Mariko has certainly upped his storytelling game with "Miyamoto". Where "Destruction Babies" gradually waned and the extreme violence grew tiring, "Miyamoto" improves as it goes, the violence building.
Much like the couple's relationship, "Miyamoto" is something of a bumpy ride that isn't always enjoyable, and it takes a while to get going. But, give it a chance, and it certainly rewards. Mariko works to a similar brand of cinema as Shinya Tsukamoto in that you experience as much as watch. And if he continues to mix comedy and violence in equally extreme measures, I will certainly look to experience more.
politic1983.home.blog
Miyamoto (Sosuke Ikematsu) and Yasuko (Yu Aoi) are a couple who plan to marry and so visit their respective parents to announce their intentions. The parents suspect that Yasuko is pregnant, and they are right. What is less certain, however, is why Miyamoto has his arm in a sling and several front teeth are missing.
We are the presented with a series of flashbacks as we gradually piece together the story of how love bloomed for the couple, but not without its problems. Yasuko is at the end of an on-off relationship with the abusive Yuji (Arata Iura) and Miyamoto has something of an inferiority complex, smaller in stature and income that those around him. He combats this by drinking heavily, but this soon leads to bursts of absolute rage.
Pushed over the edge, the boy tries to take on the man's world, despite the chips being stacked against him, but he will stop at no cost.
It would be fair to say that "From Miyamoto to You" is a film of two halves. The first is fairly slow-paced as the couple meet with their parents and their relationship develops. But there is always a slight odd feeling in the air, though you can't quite place it. Laughs are few and you feel a little put-off as to why they choose to communicate but shouting aggressively at times.
But, once a night of heavy drinking leave Miyamoto immobile and Yasuko exposed, things start to fall into place. Miyamoto's rage at those more powerful than him takes over and he becomes a man on a mission to prove everyone wrong, and himself to Yasuko. This manifests itself quite brilliantly when he has his final showdown with the giant Takuma (Wataru Ichinose), with a fight scene on a fire escape that quite literally goes over-the-top.
At this moment, we finally find ourselves in a comedy, and all the angst previous suddenly makes sense, and the enjoyment of the film increases. Over-acting becomes comic acting from a strong cast and the audience is freed from the more restrained and awkward first half.
Something of a lampoon on the melodrama, we are taken to silly and violent extremes. Much like "Destruction Babies" before it, the violence on show is felt through the screen in all its bloody, impactful glory. But Mariko has certainly upped his storytelling game with "Miyamoto". Where "Destruction Babies" gradually waned and the extreme violence grew tiring, "Miyamoto" improves as it goes, the violence building.
Much like the couple's relationship, "Miyamoto" is something of a bumpy ride that isn't always enjoyable, and it takes a while to get going. But, give it a chance, and it certainly rewards. Mariko works to a similar brand of cinema as Shinya Tsukamoto in that you experience as much as watch. And if he continues to mix comedy and violence in equally extreme measures, I will certainly look to experience more.
politic1983.home.blog
Rabbits bite when they are in a hurry
g-8962224 October 2021
Warning: Spoilers
Roar to the ear burst; sad and tragic, often tearing and crying; full of adult workplace, remedial marriage, chaotic revenge, but the director and starring Chi Song Zhuang Liang is still awesome, the fight on the fire stairs. The clip is simply, the elephant, the determination and courage are the first, and when you hit the ground, you have to catch the egg to win and explode.
It's just too much...
sendspamhere-6886821 February 2021
This movie is mislabeled and misrepresented starting with its poster. It's not a romantic or happy film. It's a full-time drama that just goes too far with its realistic physical violence. Based on a seinen manga, the characters lack emotional complexity and are just a vehicle to the shocking turns of the story.
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