Foreign film buffs who enjoyed Lost in Translation may find it worthwhile to revisit Japan with a native guide.
Bounce Ko Gals (1997)
Tomatometer
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Reviews Counted: 15
Fresh: 8
Rotten:7
Average Rating: 5.8/10
Theatrical Release:Oct 3, 2003 Limited
Synopsis: As soon as Lisa graduates from from her Sendai high school, she leaves home to begin her journey to America, where she's to continue her studies. When she gets to Tokyo, she decides to make some... As soon as Lisa graduates from from her Sendai high school, she leaves home to begin her journey to America, where she's to continue her studies. When she gets to Tokyo, she decides to make some quick cash by selling her old school uniform to a sex shop, where she is also given the opportunity to don a uniform once again for a video with a number of other girls. Unfortunately, Lisa's money is soon stolen, and she finds herself desperate for cash. When one of the other girls on the shoot lets her know that she can make big money quickly by going on "dates" with older Japanese men, she decides to try it and becomes immersed in a world where a man will pay a young girl to do any number of bizarre things, from the mundane and innocent to the perverse. [More]
Starring: Yukiko Okamoto, Hitomi Sato
Starring: Yukiko Okamoto, Hitomi Sato
Director: Masato Harada
Director: Masato Harada
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Reviews for Bounce Ko Gals
a drama that focuses on the seedy world of Japanese schoolgirl prostitution - wins points for trying to tackle a hard subject, albeit with velvet gloves.
Manages the difficult feat of being simultaneously sordid and tedious at the same time.
Three Japanese teens bounce from scenes of seedy underworld horror (and kink) to school-girl giggles. These final giggles that will hold you spell-bound.
Despite the lurid material, director Masato Harada's intelligent drama takes a refreshingly non-exploitative look at Japan's real-life sex industry and its relationship to an increasingly youth-oriented consumer culture.
Bounce Ko Gals feels fabricated, studio-bound and claustrophobic, which doesn't add to the ripped-from-the-headlines authenticity this genre has always depended on.
It's a down and dirty look at the world of the ko gals, but it has class.
The movie frames a critique of socially permissible pedophilia as indelible as Harada's eavesdropping mise-en-scène.
A straightforward story -- but nothing admirable here, no good people, no point.
Harada fashions a socially mimetic picture of seedy street-hustler life a la My Own Private Idaho and Olivier Assayas’ Cold Water.
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