I have a question about “what to do with dead sea animals”.

Hideaki Anno and Shinji Higuchi Since 2016, is this a good satire that the Japanese government is actually falling into bureaucracy?Have you ever wondered how such a government would deal with the aftermath? monster (Monster monster, literally “strange beast”) Because the rampage, especially the rampage in the movie, is stopped by the protagonist working outside the system?The dull title of the scriptwriter and director Satoshi Miki What to do with dead sea animals? (Three continuations of the big monster) Is it eye-catching? How about the charming stars Ryosuke Yamada and Tao Tsuchiya?

What if Yamada plays Obinata Arata, the prime minister’s (fictitious) special forces pointman to clean up the monsters? Tsuchiya plays Yukino Amane, the key woman of Kaiju Cleanup by the Minister of the Environment (Eri Fuse). And are they ex-girlfriends? And what if you add the slight wrinkle that Yukino has a fascist mustache and is married to her ex-Arata friend, the Prime Minister’s special aide, Masahiko Amane (Manabu Hamada)? Do you believe me if this makes him Arata’s boss and Yukino’s professional rival? And does that mean he has a relationship with a laboratory technician in a very convenient location?

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What do you think of satire if the Prime Minister was played by Toshiyuki Nishida in full-on clown mode? What if the entire cabinet was a big clown car, one of the childish, taunted, bullied, and sometimes physically aggressive clowns? And what if the Defense Minister, played by Ryo Iwamatsu, spoke only with an epigram of the genome that only the shogun could understand and return in kind? Do you think this is an accurate satire of Japanese society, or an overly wide caricature?

Do you think such a movie can handle the very complex love triangle at its center with some nuance? Or do you think it’s one of the movies where people talk back to back by the window, monologue, shoot at a low angle (by Haruyuki Takada), and play epic music (by Koji Ueno)? )?

Did you think the exaggerated epic stopped there? Can you imagine the frivolous details of unfounded enthusiastic cameras, plunges, arc discharges, aerial drones, doorknobs and briefcases (edited by Takashi Tominaga)? Can you hear in the ear line of your mind after the next line of fake exaggerated dialogue (when not in slapstick mode), or hint at a level of importance that isn’t really there?

Want to see the corpse of the monster that is the centerpiece of the movie? Would you sigh of relief if you said that lying in the river didn’t look half bad, except that one leg was sticking out into the air? Would that relief be wiped out if we quickly added that the function of the corpse was basically to create one big flatulence joke backed by sexually transmitted disease jokes? CGI and the green screen (by Koichi Noguchi) look terrible, but if you say that most of the effects are practical (by Koichi Takeda), are they positive or negative?

Mysterious Death Ends 怎麼 辦 _ Newspaper News Drama Teru 02

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How do you react to the idea that the ending will be ruined when we first meet the Prime Minister? Would it be comforting if the ending was completely unpredictable, in the sense that it would come out of nowhere, even after the spoiler?I would say it this way: have you ever seen Do you remember the ending? What if instead of a sword, the weapon that kills the monster was a giant ball of light? What do you mean What does that mean? How do you know?

Doesn’t it sound like Miki wrote herself in the corner? Do you think he should have had another screenwriter try it?Well, it should be a sign of A few Is it the ability that he seems to have returned to involve a meaningless ending in a plot? Do you think it makes more sense on the page? Is it great or pathetic that the movie ends with a self-deprecating post-credit scene?

Mysterious Death End 怎麼 辦 _ Newspaper Release Drama 0606

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What do you want for this kind of movie anyway? Suggested when the Minister of Culture (Toshihiro Yawata) proposed to turn the stinking corpse of an still-exploding monster (named Hope by a committee of naming experts) into a museum exhibit or tourist attraction. Is it a conflict between values ​​and interests? Or do you just want to see a dismantling expert (Joe Odagiri) with a complicated inside story blasting a dam and flushing the monster’s corpse “like a toilet”? Both have appeared in movies, so now is a good time to ask a question. Do you know the phrase “less than the sum of those parts”?

So what conduct Do you play with dead monsters? Do you want too much to expect a movie to answer the question for that title? Or is the movie “tired” of even its own title?

Leave these questions as exercises for your readers.

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TNL Editor: Nicholas Haggerty (@thenewslensintl).

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