Mozu the Movie (劇場版MOZU, Eiichiro Hasumi, 2015)

mozu-posterThe criticism levelled most often against Japanese cinema is its readiness to send established franchises to the big screen. Manga adaptations make up a significant proportion of mainstream films, but most adaptations are constructed from scratch for maximum accessibility to a general audience – sometimes to the irritation of the franchise’s fans. When it comes to the cinematic instalments of popular TV shows the question is more difficult but most attempt to make some concession to those who are not familiar with the already established universe. Mozu (劇場版MOZU) does not do this. It makes no attempt to recap or explain itself, it simply continues from the end of the second series of the TV drama in which the “Mozu” or shrike of the title was resolved leaving the shady spectre of “Daruma” hanging for the inevitable conclusion.

Six months on from the climatic events at the end of season two, Kuraki (Hidetoshi Nishijima) has become a drunk, Ohsugi (Teruyuki Kagawa) has left the force for the private sector, while Akeboshi (Yoko Maki) is still preoccupied with the strange phone calls she sometimes receives and the fate of her long lost father last seen on the deck of a sinking submarine. The dreams of the citizens of Tokyo are being haunted by the mysterious face of “Daruma”, but this is quickly superseded by an explosion in an office building which turns out to be a diversionary exercise as the autistic daughter of a refugee with diplomatic immunity is kidnapped by terrorists.

At this point, Kuraki appears at the scene, beats the bad guys into submission and rescues the girl, Elena, and her mother who are then taken into protective custody. However, things go south when Ohsugi’s daughter and Akeboshi are taken by the bad guys in the hope of an exchange forcing the gang to take Elena to a neighbouring Asian nation.

Mozu the movie suffers from many of the same problems which plagued the generally impressive TV series in its wildly inconsistent tone and increasingly convoluted, often bizarre plot twists. Assuming the audience will be familiar with the TV series, the film provides no recap, leaving the casual viewer completely lost amongst the numerous numbers of subplots held together by Kuraki’s need to find the answers behind the death of his wife at the site of a suicide bombing and the drowning of his daughter a year or so before. Likewise, Akeboshi’s familial concerns – her absentee father whose dark past was hinted at in the previous series and her close relationship with her two neices, is glossed over, as is Ohsugi’s ongoing battle to win back the respect of his teenage daughter. When a key character suddenly and quite unexpectedly appears to save the day (and then disappears again), the casual viewer has a right to be utterly baffled.

Where the central tone is one of cool noir supported by occasionally poetic camera work, Nishijima’s laid back minimalism gives way to broad, over the top villainy from Hasegawa’s Higashi as well as the punkish Mozu copycat who kickstarts the action. Kuraki remains an unbeatable super agent, taking out bad guys with well placed kicks to the chest and enduring numerous acts of torture whilst remaining doggedly fixed on his quest to find out the truth about his wife and a possible conspiracy plaguing Japanese society. Ohsugi is still the bumbling cop but equally committed to protecting his daughter while Akeboshi is underused, her slow burn romance with Kuraki simmering away in the background.

What remains is a collection of impressive action scenes and mysterious conversations offered with portentous seriousness. The purpose of Elena’s kidnapping is predictably grim yet reduced to a single sentence shortly before Kuraki apparently saves the day once again through undisclosed means. The central conspiracy in this conspiracy thriller, that Japan has been manipulated by a shadowy figure literally cannibalising his own children, fades into the background as Kuraki is left to affirm that all that remains now is chaos. Mozu the movie is season three with all the important bit stripped out – strange, confusing, and ultimately hollow. Yet for those well versed in the Mozu universe, it may provide a degree of closure to its ongoing mysteries, even if ultimately unsatisfying.


Original trailer (no subtitles)

Assassination Classroom (映画 暗殺教室, Eiichiro Hasumi, 2015)

photo_4First Published on UK Anime Network in November 2015.


You might make the mistake of thinking that the E in class 3E just means it’s the 5th 3rd year class, or that it stands for “elite” and contains some of the top students in the school. You’d be wrong, “E” stands for “end” because these are the no hoper kids that everyone’s already written off as having no future. However, it’s precisely these kids that a mysterious extraterrestrial being insists on becoming the teacher of in return for not destroying the Earth (just yet). Nicknamed UT (unkillable teacher), the giant yellow octopus-like creature has already destroyed 30% of the moon just for kicks and has now set the challenge that if the boys and girls of class 3E fail to assassinate him before graduation he’ll destroy the Earth too.

The ironic thing is, UT is the best teacher they’ve ever had, but to pass the course (and save the world) they have to kill him. The high schoolers are also under the tutelage of a self defence forces officer for their military training and a sexy assassin who randomly ends up becoming their English teacher (and giving them one of the least appropriate English lessons ever recorded on film). Every morning they bow and then pull out their various kinds of firearms as UT takes the register whilst flitting about dodging bullets. Despite wanting to destroy the Earth, UT is 100% committed to training his students both in the arts of assassination and in the more regular subjects. Because of his super speed and ability to be in several places at once he has time for everybody and is quick to work out each of his charge’s specific weaknesses and help them work on those to become better people as well as ace students.

Still, the students are supposed to kill their teacher and there’s a little bit of sadness creeping in as they inevitably grow closer to UT and his quirky antics. Up ’til now everyone has given up on them and now they’re supposed to kill the one person who’s actually trying to help. Of course, even while this surreal situation is going on these are just regular high school kids undergoing regular high school stuff like wanting to sneak into the girls’ changing rooms or having a crush on someone who hasn’t even noticed you. Despite the impending end of the world, the kids of Class 3E are just enjoying their time trying to work out ever more complex ways of trying assassinate their seemingly invincible teacher.

UT himself is strangely adorable with his giant yellow smiley face style head and bizarre little laugh. He also changes color according to his mood and has a tendency to go off on tangents with one notable example which turns into a long form ‘80s style melodrama about abandoned single mothers before being politely shut down by the bored students. Assassination Classroom is undoubtedly bizarre, surreal and full of absurd humour but all the better for it. It’s just very silly but has an undeniably clever and very witty script that proves near impossible to resist.

To put it mildly, Assassination Classroom is just heaps of zany, crazy fun. It also manages to be genuinely heartfelt as we come to care for this rag-tag bunch of no hopers but also for UT himself as we start to hope the kids will somehow fail and succeed at the same time so we can save both the world and UT. The film drops us a few hints about UT’s backstory but stops short of offering a full explanation for the crazy goings on. Thankfully a sequel, Assassination Classroom: Graduation Day is already in production and even if it doesn’t offer any answers, Assassination Classroom is already one of the most enjoyably absurd offerings to come out of Japan this year.


Assassination Classroom receives its UK premiere at the Leeds International Film Festival on 15th November 2015.

Look out for a review of Tag which is also playing at the festival as it Happy Hour, and Our Little Sister.