CommentsXp Best movie ever!

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Bluebell Alcock Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

WILLIAM FLANIGAN Viewed on DVD. Restoration = four (4) stars. We've all been there: struggling to find the pause button in the dark on your player's remote so you will not miss anything when you are momentarily away from your viewing area. Well folks, it's not a problem with this movie. Just keep it running; when you return you will find you have missed nothing of significance! This is because nothing of significance appears to occur in this film which seems fixated on trivia, fleas (or lice), and fans. Although the actors sure try to build re pore and empathy with viewers, the director seems satisfied with the notion that trivia, fleas, and fans will carry the day. Not really! Staying with acting for the moment, it is (for the most part) first rate and you have likely seen (or will see) many of these actors before (or again)--as members of the director's acting company or, more likely, from the ranks of the studio's contract players). But the actors face a losing battle struggling with a dull script, having to scratch and fan themselves with numbing (pun intended) regularity, and less-than-inspired direction. (The plot is among the missing and the ending is flat out ridiculous!) The artificiality of a studio bound production (except for one outdoor scene) is embarrassingly obvious with small sets for both interiors and "exteriors." Cinematography suffers from the absence of deep focus. Costumes rarely change; some characters wear the same costume; it looks like the actors may have had to provide their own wardrobe. Intertitles and subtitles often occur faster than the speed of speed reading. The piano score is fine, but it's lively nature can not reanimate dead trivia. Restoration is not there yet: distracting deterioration artifacts often occur at what seems to be where reel changes took place. Criterion graphic artists are still having fun frustrating the viewer by making a game of how to turn subtitles (and the piano score) on/off. Bottom line: A padded-out featurette that goes nowhere--very slowly. WILLIAM FLANIGAN, PhD.

crossbow0106 Ozu has often used the theme of father and son relationships in his films and here he explores a little more besides. Beyond the relationship of Kihachi the father and Tomio the young son you get the widower Kihachi trying to become closer to the pretty, much younger Harue. This silent film speaks volumes about family, about hopes but it is Ozu's light comic touch which makes it another great film of his. It is completely silent but it is compelling, actually a story that could be retold and remade in any corner of the globe. The acting is just about universally good and the film has a lot of heart attached to its sometimes ordinary theme. Then again, Ozu has always made extraordinary out of the ordinary. Here is another example of the master at work.

MartinHafer Yasujiro Ozu is an extremely well respected film director. While not as famous today as his countryman, Kurosawa, among those who are fans of Japanese cinema, he is practically a god. While I have loved many of his films due to their amazing artistry and great direction, I also think that overall, many of his films are a tad overrated. In other words, because SOME films are near-perfect classics (such as both versions of FLOATING WEEDS or my favorite, LATE SPRING), people often tend to see ALL of his films as having the same quality. This is true of all the great directors, as there are a devoted group of followers that see every film as great--even if the films have obvious flaws or were made before the directors learned and perfected their craft.I mention all this because although PASSING FANCY is a very good film, it's far from great--despite some amazingly positive reviews. While it's true that the Japanese film industry didn't switch to sound until very, very late compared to Western countries, shouldn't this be considered when giving out 10s to these silents? In other words, shouldn't technical merit be considered when reviewing a film? As such, I'd have to knock a point off the film. In addition, the film's plot is amazingly scant and a bit too ordinary.Now in Ozu's defense, I must say that when it comes to the ordinary, nobody does it better. Here we have the story of a hard-drinking blue collar man and his young son and there's not a lot of excitement or action...but it STILL engages the audience due to his nice touch and excellent acting. In addition, the ending is very sweet and well done--even if nothing is exactly resolved in this story of very mundane individuals.Well done and worth seeing but not exactly magical.

alsolikelife Takeshi Sakamoto and Tokan Kozzo team up memorably yet again as an unemployed illiterate drunk and his resentful son, in this sentimental study of working class father-son relationships. As in I WAS BORN BUT... and TOKYO CHORUS, Ozu explores how children measure their self-esteem in their parents.