Returner (Ritana) (2002)
Average Rating: 4.4/10
Reviews Counted: 33
Fresh: 12 | Rotten: 21
No consensus yet.
Average Rating: 4.2/10
Critic Reviews: 12
Fresh: 5 | Rotten: 7
No consensus yet.
Average Rating: 3.4/5
User Ratings: 12,680
In the year 2084, when humanity is decimated by a ruthless alien force, all hope lies in Milly (Anne Suzuki), a hardened young soldier, as she goes back in time to stop the invasion before it's too late. Ending up in present-day 2002, she appears in the middle of a gunfight as Miyamoto (Takeshi Kaneshiro), a mysterious mercenary, is breaking up a child-slave ring headed by Mizoguchi (Goro Kishitani), a ruthless Triad member with an uncanny thirst for blood. With bullets flying left and right,
Aug 31, 2002 Wide
Feb 10, 2004
Samuel Goldwyn Films - Official Site
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This irresistibly over-the-top delight remains truly original in spite of its debt to an array of cinematic chestnuts.
With little room for new ideas, the film must rely on the strength of its actors, and they're excellent across the board.
Returner was a huge hit in Japan, but this would- be sci-fi epic is soporific, shamelessly derivative and barely coherent by American standards.
This Japanese sci-fi actioner copies so many Hollywood hits that it should win an award from the Xerox Corp.
The real reason to see this film is the scrappy rapport between Kaneshiro and Suzuki. They are so good together, you won't know whether to cheer or cry.
At its worse when it tries to get serious, emotional or to just end the damn film.
Worth catching for fans of the genre, just to whet the imagination of what this talented director could do with a coherent screenplay.
Ransacking films like Independence Day for ideas is one thing. Restaging E.T. The Extraterrestrial, right down to the cuddly alien, is another matter entirely.
Yamazaki has made himself into a cover band, content to play Van Halen classics for middle-aged boys looking for a trip down memory lane.
Director and co-writer Takashi Yamazaki mines familiar territory and does nothing especially new with it.
Plays like a John Woo movie superimposed on a Terminator /Independence Day /Men in Black hybrid and infused with an anime heart.
Takashi Yamazaki doesn't have style as much as momentum, which keeps the film rolling right through the whiplash changes in tone from giddy cuteness and shameless sentimentality to brutal jabs of indiscriminate murder and mayhem.
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