Takahisa Zeze

The performances are very solid, Zeze has the gritty look down and the police procedural elements flow well with the drama. Of course there's a little social commentary too (this time focusing on Japan's poor welfare system), but that's just par for the course. Nothing too exceptional, but good, quality film making from one of Japan's more interesting directors.

The performances are strong, the styling is proper (though not too remarkable) and the premise is interesting. Zeze does well switching between three similar but different narratives to underline the core theme of the film. It's a strong and memorable drama, it just doesn't stand out quite enough in an already overcrowded niche to be a personal favorite.

Zeze deliver a rather typical romantic drama, but with Komatsu and Suda in the lead it's a lot easier to capture the audience's attention. The plot is decent, the cinematography is clean and the soundtrack, though borderline sappy, does what it's supposed to do. A very good film, there's just nothing that makes it truly great.

The titular promised land is a small community in rural Japan. A sunny village hidden between the mountains that does look like an idyllic place, at least from afar. Of course these communities hide a lot of toxicity too and when a young girl goes missing a long feud begins, one that will make its fair share of victims.

Performances are solid, the film looks pretty nice and the mix of drama and thriller elements works very well. There's little wrong with this film, but it also doesn't really set itself apart from many others. It's a solid, memorable and at times impressive drama that further underlines Zeze's talent, but never quite dazzles.

Masuda is an aspiring journalist who isn't really cut out for the job. He goes to work in a small factory where he meets Suzuki, a silent and reclusive kid who shies away from his colleagues. Masuda and Suzuki grow close, but Masuda is a little too intrigued by Suzuki's past and starts digging for information, which puts a strain on their friendship.

Performances are strong, the cinematography is fitting and the film has several gripping moments. It's just a little too safe. Zeze's films tend to miss that little extra polish, that tiny bit of personal signature that would elevate them to real masterpieces. Even so, well recommended for fan of grim Japanese dramas, but not quite best in class.

The story is quite convoluted and hardly worth detailing, but it spans several years and a handful of main characters, centered around a plot of murder and revenge. It's not really a thriller or crime film though, Zeze focuses squarely on the characters and the emotions that they're trying to process.

The camera work is effective, the soundtrack is beautiful and the performances are top-notch. There are also quite a few stand-out scenes and a fair amount of memorable moments, but 270 minutes was a bit too much for my liking, especially for a film that is tonally consistent for its entire running time. A must for fans of Japanese drama, just make sure you're ready for it.

It makes for a pretty inaccessible film. The motivations of the characters can be very tough to decipher, which makes it hard for people who need to fully empathize with them to enjoy the film. Luckily A Gap in the Skin isn't too long, so the negativity remains bearable, but it's certainly a challenge and you best be in the right mood for this one.

Visually there are some remarkable scenes, though Zeze relies a bit too much on green filters. The soundtrack isn't too memorable, but decent enough, while the performances are strong yet somewhat of an acquired taste. Not Zeze's easiest film, but if you like your drama to cut to the bone, it's a pretty solid choice.

Zeze's film differs in the sense that it doesn't follow the less-is-more approach that was gaining popularity around that time. Instead, Kokkuri plays more like a traditional drama, only with horror elements added. The curse that follows school kids is already present though, so is the creepy little girl that appears out of nowhere.

The pacing is deliberate, Zeze does a good job building up the tension and the underlying drama is strong, which is a bit unusual for a horror film. On the other hand, don't expect this to be very scary. It's mostly just very atmospheric, with a strong dramatic base and solid styling. Better than I expected it to be.

Other than that, this is a simple rise-to-fame story about a young, talented boxer. The drama elements are more outspoken and the fights are a tad more subdued, but if you've seen a few boxing films you'll know what to expect. Zeze could've done more with it, but overall it was an enjoyable film.

The first 75% of the film is pretty solid, thanks to a splendid cast and a less talked-about topic (Zeze has a knack for that). It's still a pretty basic POW drama, just one of the better ones I've seen. It's a shame the conclusion is drawn out well beyond its stretching point, while also becoming overly sappy. This film deserved a better ending.

Zeze does his best, but he too gets stuck in some of the genre's pitfalls. While performances are solid and the cinematography is decent, the film ends up being a bit too sappy and there's very little to balance out the sentimentality of the story. It's also quite long for a film that spoils its entire plot in the title.

That's not to say it's a terrible film. Takeru Satoh has some nice scenes and the easy-going pace of the film allows for a few nice breathers in between. The story itself (based on a true story, with credit-pics to prove it) is sweet too, but I've seen too many of these films to be truly touched by them.

The flashbacks are pretty grim and seem to foreshadow a gritty drama, but when Nagashima and Yoko meet the film turns softer. The back-and-forth keeps it from becoming overwhelmingly sentimental, but the balance shifts noticeably and not for the better. Still, some good performances, strong drama, and a few powerful scenes make this a worthy drama.

Outbreak/pandemic films tend to be quite samey, Zeze doesn't challenge that and simply made a Japanese version. Performances are decent, the drama a little overdone, but the tension is solid and the quest for a cure pretty interesting. Maybe not the right time for some people to watch this one, but I had quite a bit of fun with it.

Etsushi Toyokawa and Ryo Ishibashi make a fun duo here, Haruka Igawa's part felt less confident. The story, about a dog turned human who ends up with his former owner is a tad cheesy though, the soundtrack borders on the verge of kitsch and the runtime is a bit long for a film of this caliber.

Luckily Zeze knows to balance this with some solid drama, the kind that is quite typical for those early millennial Japanese films. Important events are almost shown like static manga panels, focusing more on the aftermath than on certain faithful events. It's a bit dry, but it helps to contrast the sappier bits elsewhere. Overall a pretty solid film in other words, but not a real highlight.

The cast is solid and the drama has potential, but Zeze forgoes subtlety. A somewhat cheesy and heavy soundtrack sets the tone, and the glossy cinematography and strong focus on the drama do little to hide the film's tear-jerker sensibilities. There are some decent moments, but overall it's a bit disappointing.

Performances are pretty poor, but that's not too surprising considering there's quite a few pop idols (like Gackt) taking up the lead roles. Some better actors in secondary parts, but their roles aren't big enough to make a difference. The bits of drama and romance aren't too successful either, getting in the way of the fantasy and action and putting a break on the pacing.

On the other hand, the action scene are pretty slick and there's some visual trickery that is quite entertaining. The setting too is pretty intriguing, with some novel multicultural and fantasy elements that set it apart from other films. Zeze may not have been in full control of his film, at least it's a pretty cool train wreck.

These nihilistic Japanese dramas are always tons of fun, but the pinku elements do take away from the impact. Zeze doesn't take them too seriously, but they still get in the way and mess with the rhythm of the film. If you like an edgy drama there's still plenty of fun to be had with this one, but Zeze made better ones.

The film is quite moody and slow, apart from the nudie scenes which needed to appear in between. Zeze shows he has a way with dark and relentless drama and builds up the story quite well, but it remains difficult to take this entirely seriously when you know the inner workings behind films like these. And it's not exactly Wakamatsu either. Not bad though, just very forced.

Zeze neatly groups the pinku scenes in the middle, which leaves him pretty much the rest of the runtime to focus on the characters and the crime elements. The cinematography is surprisingly decent, the Yakuza elements feel gritty, and the plot isn't half bad. A film that foreshadows Zeze's post-pinku qualities.

Zeze is clearly more interested in the characters and in between the prescribed scenes he does manage to build some proper drama. The cinematography looks cheap, and the soundtrack is terrible, but the performances are surprisingly decent and the friendship between the three leads is nice enough. Not a great film, but focus on the drama, and you'll see shimmers of Zeze's talent.

Like most pinku movies, the film is anything but sexy. No Good Men does touch upon some interesting themes, but Zeze merely breezes by them. The cinematography is cheap, the performances aren't good and the drama never really hits the mark. Mostly for completists, unless you're a big pinku fan.

The plot is negligible, the performances are weak, and the pinku scenes are extremely unsexy. There's really no reason to bother with films like these unless you're a completist and you're interested in getting the full Zeze experience. I plead guilty, others can safely ignore this film.