Sleight of Film

Today’s quick review: Osmosis Jones. Frank (Bill Murray), a slovenly zookeeper, puts his life in danger when he eats an egg tainted with Thrax (Laurence Fishburne), a deadly virus with a plan to kill its host within 48 hours. Osmosis Jones (Chris Rock), a disgraced white blood cell, teams up with Drix (David Hyde Pierce), an over-the-counter cold medication, to stop Thrax’s plan and save Frank’s life.

Osmosis Jones is an animated family crime comedy set in a fictionalized version of the human body. Anthropomorphic cells work hard to keep Frank up and running, in spite of his atrocious diet and bad lifestyle choices. Osmosis Jones follows the buddy cop formula, with Frank’s immune system serving as the police department. The movie has a clever premise that serves as a fruitful source of humor, but its offbeat style and shallow plot hold it back.

The best aspect of Osmosis Jones is its setting. Every scene shows off a new part of Frank’s body, from the new arrivals at the stomach to the control center in the brain. The movie has a knack for matching up the locations in a city with Frank’s organs, and it delivers a constant stream of puns, medical humor, and sight gags. And while the action is not a major selling point, Jones’ amorphous body leads to some creative chases and fights.

However, Osmosis Jones has a few things holding it back. The movie is crude by nature, packed with bodily humor and adult references. The art style and subject matter have none of the cuteness seen in other family films; the animation is mainly there for sight gags and cartoon physics, not to capture something beautiful. Meanwhile, the plot never ventures far from the buddy cop formula, and its emotional arc falls a little short.

Osmosis Jones is a curiosity that the right viewer will find entertaining. It does not have the sharp writing, elaborate plot, or emotional depth of the best family films, but it does bring to life a fairly original premise. Fans of the offbeat side of the genre will find that it’s worth checking out. But those looking for a more fulfilling, family-friendly adventure may want to approach with caution.

For an animated family comedy with a similar flavor of humor, try Robots or Shark Tale. For a more emotionally laden depiction of the inner workings of a peron, try Inside Out. For a live action cop comedy with a bit more punch, try Lethal Weapon or Beverly Hills Cop.

[6.3 out of 10 on IMDB](https://www.imdb.com/title/tt0181739/). I give it a 6.5 for a creative premise with some rough edges.

“Why does magic have to smell so awful?” —Earwig

Today’s quick review: Earwig and the Witch. Earwig (Taylor Paige Henderson), a girl who was left at an orphanage by her witch mother (Kacey Musgraves), finally gets adopted by Bella Yaga (Vanessa Marshall), a stern witch who needs an assistant to help her brew potions. Worked hard and treated cruelly, Earwig searches for a way to escape. Meanwhile, she tries to learn more about the house’s other magical inhabitant: the Mandrake (Richard E. Grant).

Earwig and the Witch is a Japanese animated family fantasy adventure from Studio Ghibli. The movie tells the story of a spirited girl who gradually learns more about her magical heritage. Earwig and the Witch trades Studio Ghibli’s traditional hand animation for CGI. The movie’s bright colors and cheerful attitude make it a pleasant watch, but issues with its story, characters, and visual details make it a step down from other Ghibli films.

Visually, Earwig and the Witch brings a few new things to the table, but it struggles with some of the finer points of the medium. The environments are well-designed and charming, the bright color palette sets the mood nicely, and the CGI works well for cloth and liquids. But the characters themselves are wooden, with none of the subtle touches needed to make them feel alive. Likewise, the presentation never quite finds the right rhythm.

Earwig and the Witch has deeper issues with its story. The movie drags its feet getting around to the interesting parts, focusing on Earwig at the orphanage and her early days with Bella Yaga rather than her attempts to learn magic or the mystery surrounding her mother. Earwig herself is a mixed bag, a bold but manipulative girl who never learns any real lessons. Finally, the story cuts off abruptly without resolving many of its main threads.

The result is a light fantasy movie that’s cute in places but has a lot of missed potential. Earwig and the Witch feels like the beginning of something, both in terms of its incomplete story structure and in terms of the characters and concepts it introduces. But its best ideas are never fully realized, and the movie lacks the richness and sense of adventure seen in its competition. Skip it unless you are truly interested.

For a more charming animated film about a young witch, try Kiki’s Delivery Service or Mary and the Witch’s Flower. For a family comedy with fantasy elements about a plucky young girl overcoming oppressive home conditions, try Matilda. For a live action fantasy adventure about a teenager coming into a magical inheritance, try The Sorcerer’s Apprentice, the Harry Potter series, or The Mortal Instruments: City of Bones.

[4.7 out of 10 on IMDB](https://www.imdb.com/title/tt12441478/). I give it a 6.0 to 6.5 for charming but flawed art and a half-baked story.

“You speak nonsense, I’ll speak truth. We’ll see what comes of it.” —Kyoami

Today’s quick review: Ran. Hidetora Ichimonji (Tatsuya Nakadai), an aging warlord, reflects on his life of violence and decides to give his throne to his eldest son Taro (Akira Terao). But when Taro’s vengeful wife Kaede (Mieko Harada) convinces him to betray his father, Hidetora is cast out. Facing similar betrayal from his second son Jiro (Jinpachi Nezu), Hidetora has no choice but to turn to Saboru (Daisuke Ryu), the third son he banished.

Ran is a Japanese drama directed by Akira Kurosawa. The film is an adaptation of Shakespeare’s King Lear. The story follows a proud lord who loses his kingdom when he entrusts it to his treacherous son. Ran is a tragedy of high caliber. In one fell swoop, Hidetora sees everything he fought for taken away from him. At the same time, he is tormented by the years of bloodshed he inflicted, pushing him to the brink of madness.

Ran draws much of its strength from its plot. What begins as a gesture of good will from an aging ruler snowballs into a tangle of betrayal, revenge, and internecine bloodshed. The situation escalates out of control with shocking smoothness, and the film does an excellent job of capturing Hidetora’s fraying mental state as he’s dragged ever lower. Ran’s themes come across clearly, and its characters are studies in human virtue and folly.

The story also plays well on the screen. The battle scenes are never the main focus, but they serve as a climax to the political drama. The visuals of the film show Kurosawa’s careful touch, and it is packed with minor details that add to the story. The scope of the film may be too grand for those who prefer more personal drama, and the characters are not individually appealing, but taken as a whole, Ran achieves its vision with grace and skill.

Ran represents some of the greatest strengths of its genre. The fate of nations, the ruin of kings, and the tragedy of regret all come together into a powerful whole. Not everyone will enjoy its selfish characters, its dour tone, or the exaggerated nature of its plot. But those willing to fall into Ran’s rhythm will find it to be a finely crafted film that is well worth a watch.

For another Kurosawa adaptation of a Shakespearean drama, try Throne of Blood. For a Kurosawa samurai film with a personal touch, try Seven Samurai. For an epic crime drama with a similarly tragic, tumultuous plot, try The Godfather.

[8.2 out of 10 on IMDB](https://www.imdb.com/title/tt0089881/). I give it an 8.0 for skillful execution of a powerful story.

Today’s quick review: Spies in Disguise. Walter Beckett (Tom Holland), a gadget designer for an American spy agency, gets the chance to prove himself when Lance Sterling (Will Smith), the agency’s top spy, is framed as a traitor. But when Walter’s experimental formula turns Lance into a pigeon, the duo must work together to restore Lance to his original body and stop Killian (Ben Mendelsohn), a cyborg villain, from destroying the agency.

Spies in Disguise is an animated family spy comedy that pairs a hyper-competent secret agent with a pacifistic weapons designer. The movie specializes in freewheeling comedy driven by Walter’s nonlethal gadgets, Lance’s spy prowess, and the unfortunate transformation of Lance into a pigeon. Spies in Disguise hits some of the same beats as other animated family adventures, but its world, action, and sense of humor make it a worthwhile watch.

Spies in Disguise shines when it can build up enough momentum. Lance’s lavish introduction sequence, his bickering with Walter, and his improvised tactics as a pigeon are among the movie’s highlights, which show off its cartoonish physics, offbeat gadgets, dynamic choreography, and rapid-fire comedy. Not every scene uses these elements to their fullest, but the ones that do are enough to bring a smile to any viewer who’s on board.

Spies in Disguise is on weaker footing with its themes and its plot. The backbone of the story is typical for the genre: Lance and Walter must learn to work together, while Walter has to prove to the agency that his unconventional methods work. The problem is that there isn’t much else. The movie is missing the softer moments it needs to make its emotional arc work, and Walter does not get the opportunities to grow that Lance does.

The end result is a light, comedic adventure that makes for perfect popcorn entertainment. Spies in Disguise is funny, action-packed, and occasionally clever. Its plot and character work leave something to be desired, especially when compared to the very best the genre has to offer, but the movie succeeds in its primary goal of being entertaining. Give it a shot when you feel like something energetic. Steer clear if you want a masterpiece.

For a live-action spy comedy with similar character dynamics, check out Get Smart. For Will Smith in a comedic spy adventure with a heavier sci-fi emphasis, try the Men in Black series. For an animated family adventure that holds similar appeal, try The Incredibles, Megamind, or Big Hero 6. For a Tom Holland sci-fi adventure with similar plot elements, try Spider-Man: Far from Home.

[6.8 out of 10 on IMDB](https://www.imdb.com/title/tt5814534/). I give it a 7.0 for a fun adventure in a creative world.

“When it’s finally known that the person is gone, what will happen to the shadow?” —Nobukado

Today’s quick review: Kagemusha. In 1573, Lord Shingen (Tatsuya Nakadai) is shot and killed in battle. Obeying his dying wishes, his brother Nobukado (Tsutomu Yamazaki) installs a body double (Tatsuya Nakadai) in Shingen’s place and maintains the ruse that Shingen is alive. In spite of the double’s best efforts, Oda Nobunaga (Daisuke Ryu), the enemy commander, becomes suspicious and sends spies to determine whether Shingen is real or fake.

Kagemusha is a historical Japanese war drama directed by Akira Kurosawa. The story centers around Lord Shingen’s unnamed look-alike, a petty thief who becomes one of the ruler’s most faithful servants after his death. The double and his advisors must navigate a political maze as they fend off the forces of Nobunaga, deal with Shingen’s hotheaded son Katsuyori (Kenishi Hagiwara), and, above all, keep the death of the lord a secret.

The heart of Kagemusha is the double himself. Saved from execution by Nobukado, he starts the film as shallow and self-interested, willing to cut out at the earliest opportunity. But following his master’s death, he is inspired to do more. Over the course of months, he works hard to keep up the ruse, becomes attached to the people of the kingdom, and earns the grudging respect of Nobukado and the lord’s advisors.

Kagemusha takes a different tack than some of Kurosawa’s other work. The story operates at two different levels: the minutiae of the deception and the broader political context. The double concerns himself with the former, trying to imitate Shingen as exactly as possible while covering for the lapses in his performance. However, the double has almost no control over the political maneuvering going on around him, leaving him a passive observer.

The result is a sympathetic protagonist who can never advance his position, only avoid failure. This gives the film an odd sort of appeal. Instead of focusing on tactical victories, clever gambits, and conquest and defeat, Kagemusha focuses on how the double is affected by these things. The film is also stylized in places, opting for surreal imagery to convey several of the battles and the double’s shifting state of mind.

How much you get out of Kagemusha will depend on your taste for its subject matter. Kagemusha is a sweeping look at war and politics during a pivotal period in Japanese history, as seen through the eyes of one of its humblest figures. For the right viewer, this premise will work just right. But a less enthusiastic viewer may find that Kagemusha cuts out the best aspects of the genre without adding as much humanity as Kurosawa’s other work.

For a martial arts drama about a body double who comes to replace the original, try Shadow. For a more personal war drama from Akira Kurosawa, try Seven Samurai. For a Kurosawa drama with similar theatricality, try Throne of Blood.

[8.0 out of 10 on IMDB](https://www.imdb.com/title/tt0080979/). I give it a 7.0 to 7.5 for a broad story missing the intimate touch of Kurosawa’s best; your score will vary dramatically.

“Even bad food tastes good if you chew it well.” —Dr. Kyojo Niide

Today’s quick review: Red Beard. Against his wishes, Naboru Yasumoto (Yuzo Kayama), a young and proud doctor, is assigned to Koshikawa Clinic, a clinic for the poor and needy. There he clashes with Kyojo Niide (Toshiro Mifune), the stern doctor in charge, and tries to get switched to a more prestigious assignment. But as Yasumoto treats his patients and learns of their plights, he comes to see the value in Niide’s work.

Red Beard is a classic Japanese drama directed by Akira Kurosawa. The film follows the lives of two doctors working in a public clinic, one a hotshot with an inflated ego, the other a devoted caretaker who will do anything to help his patients. Red Beard is an examination of the human condition, showing life and struggle in the poorest parts of society. Top-notch acting and potent subject matter make Red Beard an excellent film.

Red Beard draws its conflict from two sources: the gradual development of Naboru Yasumoto, and the heartwrenching struggles of his patients. Yasumoto is a capable and compassionate man, but his pride gets in the way of his work as a doctor. Witnessing the suffering that goes on at the clinic puts Yasumoto on a more selfless path, and he comes to admire Niide for the fierce way he fights for every patient.

Yasumoto’s story serves as the backdrop for a series of shorter tales about individual patients. These tales are not about illnesses per se, but rather the poverty, sorrow, and cruelty that jeopardize the lives of the patients. Each tale is moving in its own way. Although they are clearly written with drama in mind, the tales never feel forced or unnatural. Instead, they are illustrations of how lives can go wrong and how they can be mended.

The heart of Red Beard is its acting. Yuzo Kayama and Toshiro Mifune head a highly capable cast. The script is strong enough on its own, but nearly all of the pivotal moments of the film come down to the actors’ performances. The shock of an unexpected loss, the impact of an act of kindness, and the crumbling stoicism of a doctor moved to tears: Moments like this are what define the film, and the actors are always up to the challenge.

Try Red Beard when you are in the mood for a powerful look at the human condition. Red Beard has a relatively mundane premise, but the depth of its characters, its insightful writing, and the skill of its craftsmanship make it one of Kurosawa’s best works. Anyone with a taste for drama should give it a watch. Steer clear if you are looking for a more direct story with an easier payoff.

For an Italian drama that is similarly moving, try Cinema Paradiso or Macaroni. For an even more tragic Japanese animated drama about true poverty, try Grave of the Fireflies.

[8.4 out of 10 on IMDB](https://www.imdb.com/title/tt0058888/). I give it an 8.0 to 8.5 for humane characters, insightful writing, and powerful emotional moments.

“Hide a stone among stones and a man among men.” —Rokurota Makabe

Today’s quick review: The Hidden Fortress. Tahei (Minoru Chiaki) and Matashichi (Kamatari Fujiwara), a pair of fortune seekers, stumble across a hidden fortress where General Rokurota Makaba (Toshiro Mifune) and Princess Yuki (Misa Uehara), the leaders of the conquered Akizuki clan, are hiding. Unaware of their companions’ identities, Tahei and Matashichi help smuggle Makaba, Yuki, and a fortune in gold out of occupied Akizuki territory.

The Hidden Fortress is a classic Japanese samurai adventure directed by Akira Kurosawa. The film follows the misadventures of two peasants as they get caught up in war and political intrigue. Fleeing danger and chasing the promise of treasure, Tahei and Matashichi become instrumental in Makaba and Yuki’s flight to safety. The Hidden Fortress is a sweeping tale of greed, honor, and friendship backed by solid cinematography and likable characters.

The Hidden Fortress covers a broad emotional spectrum. From the peril and hardship of war to the comical schemes of Tahei and Matashichi to the cunning heroism of General Makaba, the film delivers drama, action, and quite a bit of comedy. Tahei and Matashichi ground the story with their steady banter and streaks of good and bad luck. No matter how dangerous the situation gets, the two peasants muddle their way through.

Meanwhile, Rokurota Makaba holds up the heroic side of the film quite nicely. Faced with the nearly impossible taks of getting his princess out of occupied territory, he uses a series of clever ploys to manipulate the peasants, protect Yuki and the gold, and avoid enemy troops. His prowess in combat gives the film several strong fight scenes, while his interactions with Yuki give the story its share of important events and drama.

The Hidden Fortress is a finely balanced film that handles its harsh setbacks and lighter moments with equal ease. The journey of Tahei, Matashichi, Makaba, and Yuki is an enjoyable one to watch, while everything about the writing, acting, and direction shows the same excellent craftsmanship. Anyone who is in the mood for a sweeping adventure should give it a shot. For a more sober samurai drama from Akira Kurosawa, try Seven Samurai.

[8.1 out of 10 on IMDB](https://www.imdb.com/title/tt0051808/). I give it a 7.5 to 8.0 for an enjoyable story and high quality.

“In this degenerate age, one must kill so as not to be killed.” —Asaji

Today’s quick review: Throne of Blood. For their valor in defeating a rebellion, commanders Taketoki Washizu (Toshiro Mifune) and Yoshiaki Miki (Minoru Chiaki) are honored by the Great Lord (Takamaru Sasaki) of Spider’s Web Castle. But when a spirit (Chieko Naniwa) prophesies that Washizu will one day sit on his lord’s throne, his wife Asaji (Isuzu Yamada) urges Washizu to commit treason and take his rightful place as ruler.

Throne of Blood is a classic Japanese samurai drama directed by Akira Kurosawa. The film is a retelling of Shakespeare’s Macbeth, a tale of treachery, ambition, and ruin. Once a loyal soldier, Washizu betrays his lord and his friend in pursuit of power. Throne of Blood features strong performances from Toshiro Mifune and Isuzu Yamada as well as the sharp direction of Kurosawa. However, its particular style will not appeal to everyone.

Throne of Blood is more stylized than other Kurosawa films. The film clearly shows its roots as a play. The characters have human flaws, but they are larger than life, without the mundane touches seen in films like Seven Samurai. The plot contains everything it needs, although some of the key events happen offscreen. The film also shows traditional Japanese influences in its music, storytelling, and acting.

The final product is a skillfully crafted film that captures the drama of the source material. Fans of Shakespeare or classic tales of power and betrayal would do well to give Throne of Blood a shot. However, fans of the more grounded, personal side of Kurosawa’s work will find that Throne of Blood fits into a somewhat different niche. For a dramatic epic from Kurosawa that’s larger in scope, try Seven Samurai.

[8.1 out of 10 on IMDB](https://www.imdb.com/title/tt0050613/). I give it a 7.5 for fine cinematography and potent conflict; your score will vary according to taste.

“I don’t care if it’s a lie as long as it’s entertaining.” —Commoner

Today’s quick review: Rashomon. Following the murder of a samurai (Masayuki Mori), four witnesses give testimony about the crime: the bandit Tajomaru (Toshiro Mifune), the samurai’s wife (Machiko Kyo), a medium (Noriko Honma) channeling the samurai’s spirit, and the woodcutter (Takashi Shimura) who found the body. However, every witness tells a different story, leaving the true events leading up to the murder in doubt.

Rashomon is a classic Japanese crime drama and mystery directed by Akira Kurosawa. On a rainy, oppressive day, a woodcutter, a priest (Minoru Chiaki), and a commoner (Kichijiro Ueda) try to make sense of a four seemingly irreconcilable accounts of the same brutal crime. Rashomon examines human cruelty and the nature of truth. Each version of the story shows a different kind of wickedness while further muddying the question of who is to blame.

Rashomon showcases the powerful direction Akira Kurosawa is known for. The film has no dead weight, only the framing device and a series of flashbacks depicting what happened when Tajomaru met the samurai and his wife in the woods. Subtle thematic touches support the ideas of the story and contribute to its atmosphere of uncertainty and despair. Yet the story remains very personal: a fateful altercation between three people and what it means.

All of this provides a foundation for what Rashomon truly excels at: asking questions. The film makes a few concrete statements about humanity, but it is largely open-ended. The meaning of each version of the story, what they say about the participants, and whether they point to failings in humanity as a whole are all questions that the audience has to anwer for itself. Viewers who enjoy this kind of analysis will find Rashomon deeply rewarding.

Rashomon takes a relatively simple premise and spins it into something complex and meaningful. How much you get of the film will depend on how much you are willing to put into it. Much of its value comes from interpreting it and testing its hypotheses. But even for a casual viewer, Rashomon is a finely crafted film with plenty to offer. Check it out.

For a martial arts action film that makes heavy use of unreliable narrators, try Hero. For a modern legal drama that cultivates ambiguity about the truth, try Primal Fear. For a cereberal crime thriller that explores similar themes, try Gone Baby Gone, Gone Girl, or The Interview.

[8.2 out of 10 on IMDB](https://www.imdb.com/title/tt0042876/). I give it an 8.0 for skillful storytelling and layered themes.

“I won’t let this rice go to waste.” —Kambei Shimada

Today’s quick review: Seven Samurai. Faced with hardship and starvation, the farmers of a Japanese village set out to find samurai who can help them defend their barley harvest against the bandits who are coming to take it. They recruit Kambei Shimada (Takashi Shimura), a wise ronin, and six other samurai (Toshiro Mifune, Daisuke Kato, Isao Kimura, Minoru Chiaki, Seiji Miyaguchi, and Yoshio Inaba) to organize the defense of the village.

Seven Samurai is a classic Japanese samurai drama directed by Akira Kurosawa. The film follows a motley group of ronin who decide to help defend a poor farming village against the forty bandits planning to attack it. Seven Samurai features a rich and fully realized story, one that touches on human frailties and acts of heroism alike. Its solid plot and masterful cinematography make it well worth a watch for anyone willing to invest in it.

Seven Samurai has a knack for blending high-minded idealism with gritty reality. The premise is romantic: seven down-and-out samurai accept meager pay to help a besieged village. Their specific motives may vary, but they are all dedicated to the cause in their own way. Yet the world of the film is messy and imperfect. The farmers are pitiful in their poverty and their fear, and the combat scenes are full of chaos and misfortune.

All of this works perfectly with Akira Kurosawa’s direction. The film takes no shortcuts and never relies on gimmicks to tell its story. The camera is always exactly where it needs to be, and there are no wasted shots in the entire film. The result is a masterful piece of cinema that wins over the audience one step at a time. Seven Samurai is not as flashy as other movies, but its quiet craftsmanship and compelling story set it apart.

Seven Samurai is an excellent pick for a wide variety of viewers. Fans of finely crafted cinema will find it to be a treat simply on the quality of its execution. Those who prefer action will find plenty of it, along with human characters and moving drama. Its one major downside is the investment it requires, clocking in at over three hours. But for anyone with the patience, Seven Samurai is worth the effort.

Check out The Magnificent Seven for a remake of the film as a Western. For an artistic and dramatically powerful Japanese animated movie about the hardship that follows war, try Grave of the Fireflies. For a classic Western with a similar degree of craftsmanship, try The Good, the Bad and the Ugly.

[8.6 out of 10 on IMDB](https://www.imdb.com/title/tt0047478/). I give it an 8.0 for a robust story and craftsmanship that is impossible to fault.