Himizu (2013)
Average Rating: 6.7/10
Reviews Counted: 12
Fresh: 11 | Rotten: 1
No consensus yet.
Average Rating: N/A
Critic Reviews: 1
Fresh: 1 | Rotten: 0
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Average Rating: 3.6/5
User Ratings: 218
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Movie Info
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 (Shôta 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
Magnolia Pictures
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All Critics (12) | Top Critics (1) | Fresh (11) | Rotten (1)
Much of the film's impact stems from a pair of remarkable lead performances.
Top CriticOccasionally heavy-handed in the delivery of its ideas, but also a refreshingly sensitive character study.
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 Shôta Sometani and Fumi Nikaidô as his crushed young lovers.
A near-masterpiece from one of the most significant directors working today, Himizu combines all the director's strengths while introducing a tentative humanism that proves remarkably affecting.
An uneven film brightened with the occasional flash of social comment.
Over-the-top but blackly funny along the way.
Love in this teen flick is less like a red, red rose than a bloody nose.
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.
Despite the freakishness of the plot, there is a mournful tone that the use of Mozart and Samuel Barber reinforces. This is a satirical and in some ways despairingly angry film.
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