Is it really the end? Billed as the “final” instalment in the Bayside Shakedown series which began with a TV drama in 1997, Bayside Shakedown the Final: The New Hope (踊る大捜査線: THE FINAL 新たなる希望, Odoru Daisousasen the Final: Aratanaru Kibou) once again finds the gang contending with annoying red tape but also with a police force which is intrinsically corrupt and self-serving while questioning if they should remain in an occupation in which they are treated with such disdain. Continuing the familiar pattern from throughout the series, the gang find themselves coming up against a serial killer who may be a crazed vigilante only to discover that the whole thing may have been an extreme inside job designed with the intention of drawing attention to inadequacies in the justice system.
The problem is that the body they’ve found appears to have been shot with a gun which was removed from the police evidence locker and is linked to a kidnapping case six years previously which just happens to have been handled by Mashita (Yusuke Santamaria) when he was a hostage negotiator. Mashita had ordered an end to the negotiations because of pressure from above to play by the rules with the consequence that the child later died while the prime suspect in the case was recently acquitted of the crime at trial (a staggeringly rare occurrence in Japan). When Mashita’s young son is kidnapped, all eyes are on a rogue policeman, Kuze (Shingo Katori), but it is obvious he is not acting alone.
Toragai (Shun Oguri), the authoritarian detective from the previous film, has continued along a dark path which only intensifies when his paper on police reforms is rejected out of hand. He too thinks the police force needs structural reform but leans hard into the idea that too many people are getting away with crime rather than concentrating on removing the barriers which prevent police from doing their jobs as Muroi (Toshiro Yanagiba) and Aoshima (Yuji Oda) would probably suggest. Muroi’s lasting dream is of building a police force which trusts policemen to do the right thing and he frequently tells his subordinates that they should feel free to exercise their own judgment.
Meanwhile, the local cops continue to suffer under the command of the elitist officers from HQ who not only look down on them but assign menial tasks, as does Mashita in finding himself short staffed while most are busy providing security for a local energy summit. While Aoshima had experienced a health crisis that turned out to be a false alarm in the previous film, so this time Sumire (Eri Fukatsu) finds herself struggling with ongoing effects from her shooting in Bayside Shakedown 2 eventually deciding that it might be better to leave the police force entirely while lamenting her unfinished business with Aoshima which remains unresolved even in this “final” instalment while he somewhat unsympathetically can only ask her not to leave rather than express his true feelings.
Ironically enough, by the time of the final showdown neither of them are actually in possession of a police badge, Aoshima scapegoated by Toragai who still holds a grudge against him while inconvenienced by interference in his scheme to frame a local petty thief for the killings, presenting him with an invitation to resign following serious misconduct accusing him of beating up suspects and planting evidence. One again, the police chiefs sit around a large circular table issuing orders from afar but are mainly concerned how to bury the “scandal” of having a police officer steal a gun from evidence and then use it to commit a murder. In a bizarre twist of fate, it later turns out that the whole thing may be an elaborate, not to mention entirely amoral, plan to expose police shortcomings with a side dose of revenge against Mashita for contributing to the child’s death by insisting on following protocol while receiving heat from above.
As such the apparently “final” instalment skews a little darker than the series norm while as the subtitle implies offering a new ray of hope in the reversal of Muroi’s fortunes allowing him to embark on the police reforms which have been his and Aoshima’s goal throughout the series. Meanwhile, the film pays tribute to its previous instalments with frequent words of wisdom from the late Waku read from his notebook by his nephew and the ironic return of the previous chiefs reinstated as volunteer mentors as part of a reinforcement programme while familiar faces such as the Captain Kirk cosplayer also make their customary appearances. What’s clear is that there will never really be a “final” outing for Aoshima who reaffirms himself as the last line of defence protecting the local population as he once again runs toward sunset and the next case waiting just behind.
Trailer (no subtitles)
Self disgust is self obsession as the old adage goes. It certainly seems to ring true for the “hero” of Miwa Nishikawa’s latest feature, The Long Excuse (永い言い訳, Nagai Iiwake) , in which she adapts her own Naoki Prize nominated novel. In part inspired by the devastating earthquake which struck Japan in March 2011, The Long Excuse is a tale of grief deferred but also one of redemption and self recognition as this same refusal to grieve forces a self-centred novelist to remember that other people also exist in the world and have their own lives, emotions, and broken futures to dwell on.
Modern life is full of conveniences, but perhaps they come at a price. Shinobu Yaguchi has made something of a career out of showing the various ways nice people can come together to overcome their problems, but as the problem in Survival Family (サバイバルファミリー) is post-apocalyptic dystopia, being nice might not be the best way to solve it. Nevertheless, the Suzukis can’t help trying as they deal with the cracks already present in their relationships whilst trying to figure out a way to survive in the new, post-electric world.
Time is an ocean, but it ends at the shore. Kiyoshi Kurosawa neatly reverses Dylan’s poetic phrasing as his shoreline is less a place of endings but of beginnings or at least a representation of the idea that every beginning is born from the death of that which preceded it. Adapted from a novel by Kazumi Yumoto, Journey to the Shore (岸辺の旅, Kishibe no Tabi) takes its grief stricken, walking dead heroine on a long journey of the soul until she can finally put to rest a series of wandering ghosts and begin to live once again, albeit at her own tempo.
Review the concluding chapter of Takashi Yamazaki’s Parasyte live action movie (寄生獣 完結編, Kiseiju Kanketsu Hen) first published by 
Windows on Worlds 