The easiest way to describe the tone of Satoshi Miki’s realization of an objectively ingenious concept (What happens to the rotting carcass of a defeated kaiju?), is to mention the question to which every journalist demands an answer after a blister filled with the gaseous byproduct of the monster’s decomposition bursts: Does it smell like poo or puke? If that sounds like your idea of a good time for two hours, Daikaijū no Atoshimatsu [What to do with the Dead Kaiju?] is for you. If it doesn’t, however, the film will feel more like a different scene occurring much later, one where a character electronically leaks a classified photo and text file. Rather than an instantaneous transfer, we must literally watch the progress bar slowly fill to completion.
That’s how most films in this vein feel to me, though: the whole lowest common denominator comedic send-up of a usually earnestly dramatic genre piece a la Scary Movie.
That’s how most films in this vein feel to me, though: the whole lowest common denominator comedic send-up of a usually earnestly dramatic genre piece a la Scary Movie.
- 8/3/2022
- by Jared Mobarak
- The Film Stage
An emerging auteur in Japanese cinema, Satoshi Miki isn’t the first name thought of to helm a big-budget, mainstream-ready kaiju film, and he seems up to the task with his latest offering “What to Do with the Dead Kaiju?” Managing to blend together a range of influences from political satire, romantic comedy, and popcorn-style action into a cocktail that doesn’t always deliver on the mark, this rousing new genre effort will have its international premiere at the 26th Fantasia International Film Festival.
“What to Do with the Dead Kaiju?” is screening on Fantasia International Film Festival
Following the creatures’ sudden appearance and subsequent death, the carcass of a giant monster is left behind while the joyful citizens celebrate its defeat and the attempt to revert to a normal life. The task of disposing of the behemoth falls to Arata Obinata (Ryosuke Yamada), a member of the fictional Japan Special Forces.
“What to Do with the Dead Kaiju?” is screening on Fantasia International Film Festival
Following the creatures’ sudden appearance and subsequent death, the carcass of a giant monster is left behind while the joyful citizens celebrate its defeat and the attempt to revert to a normal life. The task of disposing of the behemoth falls to Arata Obinata (Ryosuke Yamada), a member of the fictional Japan Special Forces.
- 8/2/2022
- by Don Anelli
- AsianMoviePulse
The second film of Japanese writer and director Satoshi Miki is a “miscellany of characters” reminiscent of Jean-Pierre Jeunet’s “Amelie” albeit lacking “both sentimentality and humor” according to reviewer Emma Slawinski, whose focus is also on the missing plot of the film. Even though her review may be harsh, it nevertheless points at some of the aspects of the film as well as Satoshi’s body of work as a whole.
Having worked within the Japanese TV industry, the director was responsible for TV movies, mostly in the field of drama, until he eventually ventured into feature films for the cinema. In an interview following the release of his most popular film in the West, “Adrift in Tokyo” (2007), he claims his style of infusing often nonsensical comedy in everyday situations is derived from the British comedy group Monty Python. Apart from both countries being islands, British audiences thus understand...
Having worked within the Japanese TV industry, the director was responsible for TV movies, mostly in the field of drama, until he eventually ventured into feature films for the cinema. In an interview following the release of his most popular film in the West, “Adrift in Tokyo” (2007), he claims his style of infusing often nonsensical comedy in everyday situations is derived from the British comedy group Monty Python. Apart from both countries being islands, British audiences thus understand...
- 8/9/2021
- by Rouven Linnarz
- AsianMoviePulse
One of the wonderful things about independent home video labels is that they are able to champion individual filmmakers in a way that major studios have no interest in doing. Arrow Video has taken an interest in giving Argento, Romero, and Fulci their due; while Severin Films had their sights set on making the films of Jess Franco, Walerian Borowcyzk, and Joe D'Amato the credit they deserve. Third Window Films is also determined to help bring some of their favorite directors some exposure, even if the Western world hasn't yet discovered them. When I spoke to Third Window's Adam Torel, he gave me three names of filmmakers/auteurs that he really stood behind with his label, and those three are Tetsuya Nakashima, Sion Sono, and Miki Satoshi. The first two should be names not unfamiliar to many Twitch readers, Nakashima's Kamikaze Girls and Sono's Love Exposure, among others, are some...
- 12/24/2010
- Screen Anarchy
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