Based on Umino Chika’s popular manga this live-action drama production of Hachimitsu to Clover (Honey and Clover) has got to be one of the most reviled Japanese dramas I have ever had the displeasure in watching. Instead of an insightful pastiche of intertwining love triangles what we have here is almost ten hours of turgidly paced schlock filled with grating characters who waffle in the wind at every turn including a lead in Takemoto Yuta (Ikuta Toma) whose inability to say his true feelings is so ponderous that you wish you could reach into your television set and strangle him with your own two hands at his sheer stupidity.
Kurosagi, the eleven episode drama released in 2006, might not have been the pinnacle of Japanese prime time television but it had enough charm and inherent spunk that made the show feel like goofy fun. It also helped that it had two compelling leads in Tomohisa Yamashita and Maki Horikita who were reunited after showing much onscreen chemistry in the critically lauded Nobuta Wo Produce made a year earlier in 2005. With Kurosagi a hit fans hoped for a second season but instead the producers decided that it was time to bring Tomohisa Yamashita to the silver screen in his first starring feature film thus we have Eiga: Kurosagi which takes place more or less right after the end of the series. However, like other television shows which attempt to make the jump to the cinema, it appears the filmmakers have made the same mistakes that have often times plagued these translations. In short, television and film might on the surface appear to be similar but they are in fact totally different mediums and a wise filmmaker would be aware of the massive differences between both.
Oh God Why??
There are only a handful of movies that I have had the distinct displeasure of watching over the years that have made my stomach turn and caused my brain to almost explode at the sheer inanity that I was witnessing. 10,000 BC is one of them. Director/Writer Roland Emmerich has made a career filming movies which feature copious amounts of wanton destruction such as The Day After Tomorrow, Godzilla or his blockbuster Independence Day. It’s obvious that he’s enamored with pure spectacles and it doesn’t matter if it comes from Mother Nature, a giant rampaging reptile or alien invasion.
Let’s don’t mince words here, Director Uwe Boll’s In The Name of the King: A Dungeon Siege Tale is one gigantic risible mess saddled with a laughable plot, embarrassing acting and totally pedestrian direction that all adds up to one of the most unintentionally funniest films ever committed to celluloid. This is one howler that will keep audiences shaking their heads at how anyone could make something so utterly horrific that you just can’t take your eyes off this cinematic train wreck. Then again, on the Uwe Boll scale this is light years better than Alone in the Dark or House of the Dead but that’s like saying getting your leg chopped off is infinitely better than losing your head.