From Today, It’s My Turn!! (今日から俺は!! 劇場版, Yuichi Fukuda, 2020)

The high school fighting manga has long been a genre mainstay but perhaps hit peak popularity in terms of the big and small screen during the Bubble era with such well known hits as Sukeban Deka and Beb-Bop High School. More recent treatments have frequently bought into the genre’s inherent absurdity such as the contemplative and melancholy Blue Spring, or the anarchic Crows Zero series helmed by Takashi Miike to which Blue Spring’s Toshiaki Toyoda later added a sequel. Which is all to say, that a genre so deliberately puffed up and obsessed with macho posturing is near impossible to parody. Leave it Yuichi Fukuda to try with the retro nostalgia fest From Today, It’s My Turn!! (今日から俺は!! 劇場版, Kyo kara ore wa! Gekijoban), a theatrical sequel to the TV drama series adapted from the manga by Hiroyuki Nishimori. 

Set in the genre’s heyday of the 1980s, the action takes place in a small town in Chiba with an improbably large number of high schools. Nerdy high schooler Satoru (Yuki Izumisawa) floats the idea of transferring somewhere else, fed up with all the delinquents at his school disrupting his studies with their constant violence but then it seems like everywhere else is the same. The big problem is that their two top guys have recently been deposed during a conflict with rival school Nanyo leaving a power vacuum while their school is temporarily merging with Hokunei from the next town over seeing as they’ve already burnt their school building down. 

While many high school fighting manga focus on the hierarchy within one particular institution, From Today, It’s My Turn!! is much more concerned with the battle between rival schools even if some of the more antagonistic fighters are in fact secretly friends. The first fight that breaks out is between bleach blond Mitsuhashi (Kento Kaku) and blue-suited Imai (Taiga Nakano) over a juice carton he bought for Mitsuhashi’s aikido-trained girlfriend Riko (Nana Seino) which Mitsuhashi sees as an affront to his masculinity, though in truth the two guys seem to get along well enough in the long run. Most of this fighting is in essence performative posturing, something made plain by the unexpected cowardice of supposed top guy Mitsuhashi who it turns out frequently runs away when challenged even relying on Riko to get him out of trouble. 

Though there are female gangs and female lone fighters, this is largely a male affair as the women, excepting Satoru’s cousin Ryoko (Maika Yamamoto), are expected to perform their femininity as the boys perform their masculinity through fighting. The supposedly evil head of the girl gang from Seiran High, Kyoko (Kanna Hashimoto), turns into a walking embodiment of kawaii when encountering crush Ito (Kentaro Ito) who begins acting in an equally lovey-dovey fashion, but breaks right back into her delinquent tough girl persona as soon as he’s off the scene. Aikido expert Riko meanwhile is largely reduced to trying to keep Mitsuhashi out of trouble while adopting an air of nice girl refinement. Only Ryoko who determines to take revenge on behalf of the bullied Satoru with the aid of a bamboo sword is allowed to stay firmly within the confines of the sukeban

Nevertheless, despite their treatment of each other most of the gang members can’t abide bullying which is why they eventually turn on Hokunei realising that they’re the sort of guys that befriend vulnerable people only to betray them later. Yet like Mitsuhashi, Hokunei boss Yanagi (Yuya Yagira) is also an under-confident coward so insecure in his fighting prowess that he has to cheat by taping throwing knives to the inside of his blazer. Legitimate authority is it seems largely absent, parents either unseen or oblivious while the teachers are unable to offer much in the way of help, wandering round the town with a toy police car and a loudspeaker trying to fool the guys into dispersing. 

Fukuda’s brand of humour is nothing if not idiosyncratic and largely inspired by TV variety show sketch comedy which explains the random nature of many of the gags along with the absurdist manga to the max production design. He further amps up the incongruity by casting prominent actors clearly far too old for high school and then saddling them with ridiculous costumes to the extent that Taiga Nakano looks oddly like Frankenstein’s monster with his too broad shoulders and overly bouffant quiff. While action choreography leaves much to be desired, fans of Fukuda’s previous work will most likely have a ball though others it has to be said may struggle. 


From Today, It’s My Turn!! streamed as part of this year’s New York Asian Film Festival.

Original trailer (no subtitles)

Tokyo Revengers (東京リベンジャーズ, Tsutomu Hanabusa, 2021) [Fantasia 2021]

“You don’t deserve to change my life” the hero of Tsutomu Hanabusa’s adaptation of Ken Wakui’s manga Tokyo Revengers (東京リベンジャーズ) eventually affirms in finally facing his fears while trying to change destiny not least his own. In contrast to its original meaning in English, the wasei eigo “Revenge” usually means not payback but “rematch” or at least a second chance to prove oneself or make up for a past mistake. Through his time travel shenanigans, this is perhaps what young Takemichi (Takumi Kitamura) is attempting to do in revisiting the events which he feels ruined his life and left him a useless coward too cowed to offer much resistance to his continual degradation. 

Now 27, Takemichi lives in a rundown, untidy apartment and works part-time in a bookstore where his boss inappropriately mocks for him for still being a virgin, the kind of guy who peaked in high school and can’t move on from adolescent bravado. He might have a point in a sense in that Takemichi is indeed arrested but hearing on the news one day that his first love Hinata (Mio Imada) has been killed in a car accident supposedly caused by the Tokyo Manji gang alongside her brother Naoto (Yosuke Sugino), he finds himself thinking back to his school days. It’s at this point that someone shoves him off a train platform and, facing certain death, he suddenly finds himself in the body of his 17-year-old, bleach blond delinquent self. Takemichi assumes it’s a near death flashback, but later wakes up back in the present and realises that his actions in the past have consequences in the future. 

Quite clearly taking its cues from classic high school delinquent manga in which moody high school boys vie for the top spot through relentless violence, Tokyo Revengers nevertheless undercuts the genre’s macho posturing in firstly having Takemichi broken by his first defeat and then allowing him to reclaim his space as a hero through his determination to care for and protect others even if his final victory is in facing the man he held responsible for shattering his sense of self. Sent back into the past to prevent the Tokyo Manji Gang from ever forming, Takemichi refuses the obvious early solution but remains conflicted in realising that at its inception “Toman” saw itself as a compassionate force for good, a far cry from the nihilistic violence it now brings to the city. Rather than more violence, he finds a solution in its reverse, safeguarding relationships and preventing heartbreak in order to ensure no one else’s soul is corrupted by grief or loneliness. 

Takemichi feels himself powerless but is valued by his friends for his determination to protect others no matter the cost to himself, as he unwittingly proves through his time travel adventures attempting to save himself as much as Hinata by restoring his sense of self apparently shattered by his subjugation at the hands of a rival gang back back in high school. At 27 he’s a meek and broken man, forever apologising for his existence and living an unfulfilling life always running away from challenge or difficulty. Given an improbable second chance, he begins to find the courage to do it all differently with the benefit of hindsight and the stability of age, finally facing his teenage trauma as a fully adult man.  

Like any good delinquent movie, Hanabusa makes space for more than a few mass brawls along with intensely personal one-on-one battles drawing a direct line between high school violence and street war thuggery. “Thugs aren’t cool anymore” Toman leader Mikey (Ryo Yoshizawa) had explained, his compassionate second in command Kenchin (Yuki Yamada) reminding him to “have a heart” in keeping gang violence within the confines of their society and refraining from injuring innocent people. Toman aren’t yakuza, but they are perhaps the inheritors of jingi, or at least would be if left untouched by trauma and betrayal. In beating his own trauma, Takemichi undoes his destiny saving his friends and himself by learning to embrace his inner strength and refusing to back down in the face of intimidation. Part high school delinquent manga, part time travel adventure, Hanabusa’s sci-fi-inflected drama swaps macho posturing for a more contemplative take on the weight of past mistakes while giving its hero a second chance to be the kind of man he always thought himself to be.


Tokyo Revengers screened as part of this year’s Fantasia International Film Festival.

Original trailer (English subtitles)

After the Rain (恋は雨上がりのように, Akira Nagai, 2018)

KoiAme_teaser_B5_F_outAdolescence is a difficult time for all, a period of waiting, in a sense, for the rain to end and everything to make the kind of sense you’ve been led to believe life is supposed to make only to finally see that the thing about life is there is no sense to be made of it. After the Rain (恋は雨上がりのように, Koi wa Ameagari no yo ni), adapted from the popular manga by Jun Mayuzuki, is touted as an admittedly creepy age gap romance between a confused teen and a melancholy middle-aged man but thankfully arrives at something more thoughtful and less problematic in its philosophical look at self-imposed inertia seen through the lenses of age and youth.

High school girl Akira (Nana Komatsu) loves nothing more than running but her record-breaking track career was brought to an abrupt halt by a ruptured achilles tendon. Having given up on her athletic dreams, she now spends her “free” time on a part-time job in a diner-style “family restaurant”. Unbeknownst to all, the reason Akira took the job was that the restaurant’s manager, 45-year-old divorced father Kondo (Yo Oizumi), was once nice to her after her accident and now she’s developed an almighty crush on his mild-mannered charms.

While Akira is processing the loss of her future as a top runner, Kondo is trying to get over not only the failure of his marriage but of his own dreams of literary success. Jealous of a college friend with a bestseller, Kondo has barely written anything in years and has all but resigned himself to a lifetime of managing a low-level chain restaurant in suburbia.

Kondo, for all his faults, is essentially a good guy whose major problem in life is being too nice. Needless to say, he’s not enthused by Akira’s surprise declaration of love and understands that it could cause him a lot of trouble but even so he wants to help her get over whatever it is that makes her think an affair with an older guy might be a good idea. Realising that her misplaced crush is most likely a displacement activity born of her grief for her racing career, Kondo sets about trying to coax Akira back towards something more positive than unwise romance through genial paternal attention even if she finds his attempts to make clear that he is only prepared to offer friendly support somewhat frustrating.

Akira’s problems are perhaps greater than they first seem. A strange girl with underdeveloped social skills and a relatively low need for interpersonal interaction, Akira has few friends and a habit of accidentally glaring at everyone she meets (which is not an ideal quality for a diner waitress). She is however very beautiful which also earns her a heap of unwanted attention precisely because of her angry aloofness. Neither of the boys her own age who declare an interest are very promising – both of them are unwilling to take a flat no for an answer and continue to chase Akira even though she consistently ignores them, though sous-chef Kase (Hayato Isomura) is at least a little more perceptive than he originally seems and finally able to offer some impartial advice to the confused young woman once he’s realised that his attentions really are unwanted.

Unwilling to engage with anything that reminds her of what she’s lost, Akira has been avoiding all her old friends. Haruka (Nana Seino), who has been chasing along behind desperate to catch up ever since they were kids, is as broken-hearted about their ruptured friendship as Akira is about running and longs to repair what was broken if only to prove that there’s more between them than just sports. Originally worried about Akira’s interest in Kondo she relaxes when she realises that he, like her, just wants to help Akira escape her moment of wounded inertia.

As Kondo puts, it’s boring waiting for the rain to stop. Like the heroes of Rashomon which becomes a repeated motif, Akira and Kondo are essentially just marking time waiting to be released from a self-imposed sense of frustrated impossibility. Kondo needed a dose of self-confidence which the decision to help a depressed high school girl who seems to be the only person who doesn’t find him pathetic just might offer, while Akira needs to realise that her life isn’t over and that she may have been too hasty in abandoning her dreams over what could be nothing more than a minor setback. Through their awkward non-romance the pair each rediscover something about themselves that they’d forgotten along with the courage to face their painful failures head on rather than attempting hide and living on in melancholy resentment.

Thankfully not the creepy age gap romance the synopsis teases, Nagai’s adaptation perhaps fails to mine the unexpectedly rich philosophical seam of Mayuzuki’s manga to its fullest extent in its powerful confrontation of age and youth sheltering from the storm of disappointment, but nevertheless presents an oddly warm tale of serendipitous friendships and mutual support as two frustrated people at different points of life each find the courage to move forward through helping someone else do the same.


Original trailer (no subtitles)