Average Rating: 6.9/10
Reviews Counted: 16
Fresh: 15 | Rotten: 1
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Average Rating: N/A
Critic Reviews: 4
Fresh: 4 | Rotten: 0
Average Rating: 3.6/5
User Ratings: 279
Sion Sono (Suicide Club, Cold Fish), adapts Minoru Furuya's popular manga to tell the confrontational tale of a troubled adolescent boy whose dreams of an ordinary life are slowly eroded in the aftermath of the Tohoku earthquake and tsunami. Fifteen year old Sumida (Sh˘ta Sometani) and his mother run a small boat rental business on the outskirts of the city. They don't get many customers, but the presence of some local homeless people on their property ensure that there's rarely a dull moment
Jan 21, 2013 Limited
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[Mr. Sono] gives the film a harrowing cacophony and a sense of trauma with sound effects, including subtle echoes.
Occasionally heavy-handed in the delivery of its ideas, but also a refreshingly sensitive character study.
Much of the film's impact stems from a pair of remarkable lead performances.
Despite the almost nonstop drumbeat of human cruelty, there's a surprising core of sweetness to Himizu...This is a movie that uses hopelessness as a way to explore hope.
Sion Sono's film is a vision of coming of age as trial by fire, a thunderous encapsulation of that period of transition in which adolescents try to discover themselves: their passions, their purpose, their sense of morality.
Sono's latest is overlong and fidgety, but puts its post-Fukushima context to good use.
Sono's film delivers a broadside against the self-interest and complacency of the older generation.
Its young leads are terrific, the ruined city is a fitting backdrop for mental obliteration and the wall-to-wall parental negligence references the behaviour of the disinterested elite.
Sono retains his go-for-the-throat approach, but the violence here somehow connects with the brutal economic conditions, and he fosters very tender, affecting performances from Sh˘ta Sometani and Fumi Nikaid˘ as his crushed young lovers.
a coming-of-age, state-of-the-nation film which, though important in the post-tsunami context, nonetheless hardly feels like one of Sono's best.
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