April Fools (エイプリルフールズ, Junichi Ishikawa, 2015)

april-foolsIn this brand new, post truth world where spin rules all, it’s important to look on the bright side and recognise the enormous positive power of the lie. 2015’s April Fools (エイプリルフールズ) is suddenly seeming just as prophetic as the machinations of the weird old woman buried at its centre seeing as its central message is “who cares about the truth so long as everyone (pretends) to be happy in the end?”. A dangerous message to be sure though perhaps there is something to be said about forgiving those who’ve misled you after understanding their reasoning. Or, then again, maybe not.

Juggling seven stories April Fools is never as successful at weaving them into a coherent whole as other similarly structured efforts but begins with an intriguing Star Wars style scroll regarding alien sleeper agents who can apparently go home now because they’ve accomplished everything they came for. Changing track, pregnant snack addict Ayumi (Erika Toda) decides to ring the still unknowing father of her child after witnessing an improbable reunion on TV only he’s in bed with someone else and assumes her call is a weird practical joke. Overhearing that he’s just arrived at a restaurant for a lunch date, Ayumi takes matters into her own hands and marches over there, eventually taking the entire place hostage. Meanwhile an older couple are having a harmless holiday pretending to be royalty and a grizzled gangster has “kidnapped” a teenage girl only to give her a nice day out at the fun fair. Oh, and the hikkikomori from the beginning who’s fallen for the whole alien thing has made a total fool of himself at school by taking out his bully, kissing his crush goodbye and racing up to the roof to try and hitch a lift from the mothership.

Importing this weird European tradition to Japan, the creative team have only incorporated parts of it in that they don’t call time on jokes at noon and it’s less about practical shenanigans and elaborate set ups than it is about wholesale lying which is frustrated by this famous non-holiday apparently created in celebration of it. All of the protagonists are lying about something quite fundamental and usually to themselves more than anyone else but at least their April Fools adventures will help them to realise these basic inner truths.

Then again some of these revelations backfire, such as in the slightly misjudged minor segment concerning two college friends who are repeatedly kicked out of restaurants before they can get anything to eat. One decides to “prank” his friend with an April Fools confession of love, only to find that his friend really is gay and is in love with him. Awkward is not the word, but then an April Fools declaration of love is about the worst kind of cruel there is and is never funny anyway, nor is the casual homophobia involved in this entire skit but that’s another story.

In fact, most of the other people are aware they’re being lied to, but are going along with it for various reasons, some hoping that the liars will spontaneously reform and apologise or explain their actions. Ayumi, who is shy and isolated by nature, always knew her handsome doctor suitor was probably not all he seemed to be but is still disappointed to be proved right, only be perhaps be proved wrong again in the end. Convinced to take a chance on an unwise romance by an older colleague who explains to her that many miracles begin with lies, Ayumi is angry with herself as much as with her lying Casanova of a baby daddy, and also feels guilty about an incredibly sight deception of her own. As in many of the other stories, now that everyone has figured out the real, important, truths about themselves and about the situation, they can excuse all of the lying. Sensible or not? The choice is yours.

Despite coming from the team who created some very funny TV dramas including Legal High, the comedy of April Fools never quite hits its stride. Weak jokes backed up with slapstick humour giving way to sentimentality as the “good reasons” for the avoidance of truth are revealed don’t exactly whip up the farcical frenzy which the premiss implies. The point may very well be that we’re the April Fools going along with this, but even so its difficult to admire a film which pushes the “lying is good” mantra right to the end rather than neatly undercutting it. Still, there is enough zany humour to make April Fools not a complete waste of time, even if it doesn’t make as much of its original inspiration as might be hoped.


Original trailer (English subtitles)

Parasyte The Movie Part 2 (寄生獣 完結編, Takashi Yamazaki, 2015)

parasyte part 2Review the concluding chapter of Takashi Yamazaki’s Parasyte live action movie (寄生獣 完結編, Kiseiju Kanketsu Hen) first published by UK Anime Network.


So, at the end of Part 1, Shinichi and Migi had successfully dispatched their creepy fellow student enemy in the midst of high school carnage but if they thought it was over their troubles were only just beginning. While Shinichi and Migi struggle to define what it is that they are, Ryoko Tamiya’s network is also showing cracks as her increasing levels of humanity contrast with her fellow Parasytes’ ambivalent attitudes to their host species. Ryoko may regard humans as the best hope for the survival of her kind, but you can’t argue with the fact that humanity is often the biggest threat to its own survival. The Parasytes may have a point when they describe us as a pestilence, blighting the planet with our lack of interest in our own living environment. Parasytes, dispassionate as they are, are better equipped to take the long view and ensure the survival of the Earth if only so that they may live in it.

Diverging slightly from the sci-fi movie norm, the police have cottoned on to the Parasyte threat and even uncovered the city hall based conspiracy though they haven’t quite got it all figured out yet. They are also completely unprepared to deal with the big bad that is Goto – a super Parasyte introduced in a Hannibal Lecter inspired cameo at the end of the previous film. Goto also has a minion, Miki, intent on making trouble whereas Ryoko still has various “experiments” on the go including her recently born son and a blackmail scam involving a low rent photojournalist. Add to the mix a dangerous serial killer who can ID Parasytes and the end of mankind seems like a very real possibility.

By this point, Shinichi and Migi have developed a symbiotic relationship which includes endearing little episodes like cooking dinner together with Migi using his unique capabilities to chop veg and make the ultimate miso soup. Ryoko has now given birth to her son and finds herself unexpectedly attached to her experimental offspring. After playing peekaboo with him one evening, she mimics the baby boy by laughing out loud and observing her reflection. Her human disguise has begun to feel good – what she wants now is less colonisation than peaceful co-existence. If Parasytes and humans could truly become one, embracing both the dispassionate Parasyte capacity to plan for their survival and the human capacity for compassion, perhaps both could achieve mutual salvation.

However, Ryoko’s comparatively hippy trippy viewpoint won’t play city hall and the new mayoral stooge is not as well disposed to humanity as his co-conspirator. In attempting to remove Ryoko’s various irons from the fire, the local government gang do nothing so much as invite their own destruction both at the hands of Ryoko herself and at those of the police. However, the police have not banked on Goto who has already become more powerful than they could possibly imagine. The series’ big bad, Goto isn’t given much of an opportunity play the mastermind card but is allowed to expound on his philosophy during the final fight. He says he hears a voice which instructs him to devour the whole of humanity but, after thinking about who this voice might belong to, he concluded that it belongs to humanity itself, begging to be released from its cycle of self destruction.

Less than subtle philosophising aside, Yamazaki maintains the approach and aesthetic from the first film though Part 2 is a little more serious in tone and more given over to meaningful speechifying than its gore filled predecessor. The body horror shenanigans are much less prevalent until the quite gruesome practical effects based final fight, though we’ve already seen enough Parasyte carnage by this point to know the score. That said, the Terminator 2 inspired car sequence and Goto’s unexpected superhero metamorphosis more than satisfy the craving for explosive action.

Parasyte plays with dualities to the max as Ryoko and Shinichi travel the same path from opposite directions ending by meeting somewhere in the middle and parting on a note of understanding rather than one of conflict. In the end, the film’s major message seems to be a plea for harmony in all things. One of Ryoko’s final thoughts casts grief as another kind of parasite – invading the soul, corrupting it and transforming a once rational person into a creature of fear and rage. She eventually finds an answer to all of her questions in the most human of things, emotional connection becomes her salvation and her final hope was that this union of pragmatism and passion could serve as a plan for the salvation of both species.

Even if Parasyte is a little blunt in delivering its well worn messages about the mankind’s negative effect on the planet, the essential baseness of the human spirit, and that desire for survival in one form or another is the driving force of all life, it does so in an interesting fashion and generally avoids falling into the cod philosophy trap of more seriously minded science fiction adventure. Once again Yamazaki marshals all his powers to create a well produced genre-hybrid of a blockbuster movie which takes its cues from 80s genre classics and is well anchored by a series of committed, nuanced performances from its admittedly starry cast.


Parasyte The Movie: Part 2 is available on DVD and blu-ray in the UK from Animatsu Entertainment.

English subtitled trailer:

Parasyte The Movie Part 1 (寄生獣, Takashi Yamazaki, 2014)

parasyte part oneReview of Takashi Yamazaki’s adaptation of Hitoshi Iwaaki’s manga Parasyte – Parasyte: The Movie Part 1 (寄生獣, Kiseiju) first published by UK Anime Network.


Humans – are we the biggest threat to our planet and ultimately our own survival? If the world population were halved, would we also halve the number of forests that are burned and the damage that we’re doing to our natural environment? These thoughts run as a voice over beginning the full scale blockbuster adaptation of Hitoshi Iwaaki’s classic manga which was also recently adapted into a critically acclaimed anime. The Parasyte of title most obviously refers to the extraterrestrial microbes which are climbing into the driving seat of an unsuspecting host’s brain with nothing less than the colonisation of our entire species on their “minds”, yet, is it we ourselves who are the real parasites feasting on the corpse of our dying planet? Parasyte is that rare blockbuster treat that is content to give us man-eating, shapeshifting, monsters and gore filled destruction but also wants us to dig a little deeper into our own souls at the same time.

Shinichi Izumi’s (Shota Sometani) mum (Kimiko Yo) probably told him not to sleep with his headphones on but luckily they’re about to save his life as a weird little bug tries to crawl into his ears but finding them blocked opts for the arm instead. Wrapping the cord around his elbow tourniquet style, Shinichi is able to stop the bug’s progress but the parasite has taken root and Shinichi is horrified to find his right hand is no longer his own but is now controlled by a dispassionate alien that eventually names himself “Migi”.

Shinichi and Migi develop an odd kind of partnership born of their mutual dependency which is threatened only by the presence of other Parasytes who have successfully infiltrated a human brain and can blend in with the general populace (aside from their cold and robotic natures). To his horror, Shinichi discovers a new teacher at his school is actually a Parasyte stooge who recognises the “research” potential of a hybrid team like Shinichi and Migi. Becoming very keen on “experiments” Ryoko Tamiya (Eri Fukatsu) has also mated with one of her fellow Parasytes in the hopes of exploring what will happen with the birth – will it be purely a human child seeing as it’s born of two human bodies or will something of the Parasyte get through? However, Ryoko’s “network” of Parasytes aren’t all as committed to scientific research as she is and Shinichi and Migi quickly find themselves becoming humanity’s last line of defence against the invading creatures.

Shinichi is the teenage lead of the picture but in this first part at least it seems to be Ryoko leading the show. She gives us the original voice over and it’s her burgeoning motherhood that gives the film its clearest ideological standpoint. As the dispassionate Ryoko comes to develop the beginnings of maternal pangs and a desire to ensure the survival of her child (or perhaps just her “experiment”), so Shinichi finds his humanity being erased by the parasitical “child” he is gestating in the form of Migi. At the same time Migi begins to take on a protective mentality towards his host which may be more than simple self preservation particularly after a traumatic near death experience bonds the two even tighter together, in a biological sense at least.

Though the film obviously references former genre classics, in particular Invasion of the Bodysnatchers with its difficult to detect pod people, it steers clear of the “red scare” inspired sense of paranoia and the feeling of intense mistrust that exists even between supposedly good friends. Migi is able to sense (to a degree) his own kind making the presence of potentially dangerous Parasytes easier to detect but the fact that the Parasytes are able to colonise and use the form of someone all too familiar to confuse their enemies restores something of their power to lurk unsuspected in the shadows.

All this seems to suggest that the big screen live action adaptation of Parasyte would be a fairly serious affair yet the tone is often lighthearted, maintaining the darkly humorous buddy comedy side of the relationship between normal teenager Shinichi and the almost omniscient yet strange Migi. Migi, as played by veteran actor Sadao Abe who is perhaps most closely associated with comedic roles, has a thirst for a different kind of “brains” than his fellow Parasytes and quickly devours any and all knowledge he can get his “hand” on though he lacks the emotional intelligence to make sense of everything he learns and thus is dependent on his host Shinichi to get a fuller understanding of the human world.

Like the blockbuster mainstream films of recent times Parasyte boasts generally high production values on a par with any Hollywood movie though it has to be said that the film is often undermined by unconvincing CGI. However, this is mainly a problem with the action scenes and Migi himself is generally well integrated into the action and oddly adorable to boot. In some ways it might have been interesting to see a fully “in camera” take on the effects ala Cronenberg whose spirit is most definitely evoked throughout the film which also harks back to ‘80s body horror with its synth score highlights and generally gruesome scenes of carnage. Though it’s hard to judge the overall effect from just this first instalment of a two part film which drops a decent number of threads to be picked up in part two, part one at least serves as a tantalising appetiser which only heightens expectations for its final conclusion.


Parasyte: The Movie Part 1 is currently available on DVD and blu-ray in the UK from Animatsu Entertainment with Part 2 to follow in June 2016.