You’ve probably read that a new Ju-On: The Grudge movie is coming to Japanese cinemas in June this year, but did you know that a new Western reboot of 2004’s The Grudge is also currently in the works?
movies (Page 49)
The first teaser trailer for the Ju-on: Owari no Hajimari (The Grudge: Beginning of the End) horror film began streaming on Saturday.
As we’ve seen before, with many international releases the names of films can sometimes be vastly different from the original. The changes are made for a variety of reasons due to language, culture, or style. This begs the question: How much of an impact do these title changes make on the people who see them?
Just for fun, we took 19 movies from other countries that have had their names changed for Japanese audiences, translated them back to English and put them in their original posters.
So join us after the jump for such gems as Academy Award-nominated Nairobi Bees, Love is Deja Vu with Bill Murray, and cult classic Captain Supermarket. What, never heard of them!?
As we mentioned before, Japan can be painfully slow when it comes to releasing overseas movies. Disney’s Frozen doesn’t release here until this Friday, and Edgar Wright and Simon Pegg’s The World’s End, released in most countries some nine months ago, won’t arrive until next month.
Another late release is Kiss Ass 2 (Kick Ass: Justice Forever in Japan), which although shown in the West last summer, only made its way to Japanese theatres two weeks ago. And if you happen to live in a more rural part of Japan, forget about it. For example, Tottori Prefecture often has to deal with so-called nationwide releases never showing up in their part of the nation.
Tired of being treated as second-class movie-goers, a movement was started to ask for the showing of the latest Kick Ass movie in their land. And for such a job they called in Tottori’s greatest hero: Negiman (Green Onion Man).
At the same time that director Hayao Miyazaki’s drectorial swan-song, The Wind Rises, opened in wide release in North America, the live-action version of Kiki’s Delivery Service was released in Japan. The coming of age story of a young witch in training is best known internationally for the 1989 Studio Ghibli animated film of the same name, but how does the new version, from production company Toei, compare with the anime classic?
Eager to see if Kiki was better left in two dimensions, we checked the film out for ourselves.
A Wednesday press conference at Tokyo’s Akagi Shrine announced that Masayuki Ochiai (Parasite Eve, Shutter, live-action TV The Girl Who Leapt Through Time) will write and direct a new Juon/The Grudge horror film. Juon: Owari no Hajimari (The Grudge: Beginning of the End) will begin shooting on Tuesday and will open in Japanese theaters on June 28.
You wouldn’t know it from the current state of the industry, but the biggest grudge match in video games wasn’t always PS4 versus Xbox One or Skyrim versus Dark Souls. For the bulk of console gaming’s most formative years, the bitterest rivalry was Nintendo versus Sega.
Back before Sega threw in the towel on making its own hardware, the two companies hated each other, and their fans did, too. “Nintendo makes games for little kids.” “Sega’s marketing is obnoxious and juvenile.” “The Super NES processor sucks.” “The Genesis sound chip sounds like a muffled fart.” “Mario is fat.” “Sonic only has one eyeball.”
Soon, you’ll be able to relive the epic struggle for 1990s video game supremacy with the feature film adaptation of the book “Console Wars: Sega, Nintendo, and the Battle that Defined a Generation.”
It’s been almost half a year since Studio Ghibli founder Hayao Miyazaki announced his retirement from animation direction, leaving a empty seat at the top of Japan’s pile of anime talent. Miyazaki himself has even voiced his concerns about whether or not his juniors in the industry will be able to replicate the results that Studio Ghibli achieved when he was at the helm.
With the medium in a state of uncertainty, Japanese telecom provider NTT Docomo asked fans which director they expected to pick up the banner of the Japanese animation industry. Their surprising answer? Hayao Miyazaki’s son, Goro.
In an interview with Saikyo Jump magazine, Akira Toriyama, the creator of long-running anime epic Dragon Ball, dropped some hints on a possible new movie. As well as revealing some titbits of info about Goku’s mother, the artist shared his hopes for a future animated feature, saying that he personally would like to see none other than Goku’s eternal rival Vegeta as the main character in a new Dragon Ball flick!!
There seems to be a bit of a debate these days centered around whether or not being an otaku, the term used in Japan to describe people who obsess over a variety of hobbies, is a socially healthy one. In extreme cases, the otaku lifestyle can limit romantic opportunities, and even renowned anime director Hayao Miyazaki has grumbled about their effects on the industry he earned his fame in.
With all the negativity and marginalizing, you’d think the number of people the label could be applied to would be small, and the number of individuals who’d choose it for themselves to be smaller still. Surprisingly enough, though, in a recent survey of college students, nearly four in ten identified themselves as an otaku.
Goro Miyazaki (Tales from Earthsea, From Up On Poppy Hill) will direct a television anime adaptation of Swedish author Astrid Lindgren’s Ronia the Robber’s Daughter children’s fantasy book. The series, titled Sanzoku no Musume Ronia in Japan, will air on NHK and BS Premium this fall. POLYGON PICTURES (Knights of Sidonia, The Sky Crawlers) is animating the 3D CG series in collaboration with Studio Ghibli. The show will mark the first time that Miyazaki is directing a television anime series.
It’s hard to imagine legendary anime director Hayao Miyazaki needing to be any more lauded than he already is. Over 95 percent of Japan’s population has watched one of his movies, people see uploading his films to the Internet as being the fast track to popularity, and he’s even got a celestial body named after him. Really, though, after seeing the quality of his work, it’s hard to argue with the respect he receives. The man is clearly a genius.
However, Miyazaki is also a 73-year-old man, and like many individuals who have reached such an age, occasionally can’t resist the stubborn urge to grumble about how the people who came up after him are screwing up his industry.
There’s a common phenomenon where people born and raised in Japan appear younger than their actual age to people who grew up in the West. On a trip to Los Angeles, for example, my wife and I wanted to shoot pool at a local bar, but were turned away at the entrance. She had forgotten to take her passport with her when we went out, and the doorman wouldn’t let us in without proof she wasn’t a minor, despite the fact that we were both in our 30s at the time.
The effect is amplified when the person in question looks young even by domestic Japanese perceptions, such as with actress and TV personality Maiko Ito, whose age we’d never have guessed by looking at her.
A man from Japan’s Gunma Prefecture is facing legal action on the grounds of copyright infringement after uploading Studio Ghibli’s 2013 animated film Kaze Tachinu (The Wind Rises in the West) to a public website in July and November last year, the Yomiuri Online reports. When questioned, the accused individual remarked that he uploaded the film “to be popular”, proving once again that crime, especially the dumb kind, does not pay.
Growing up in Southern California, I was no stranger to long road trips, whether up the coast to visit relatives, or out to Las Vegas to visit the craps tables. Along the way I’d pass many freeway rest areas, with amenities whose quality ranged from “a good place to use the bathroom as long as you cover your nose” to “a good place to use the bathroom, as long as you have a friend with you to make sure you don’t get shanked by a hobo.”
So imagine my surprise when I moved to Japan to find that its highway rest stops (called “parking areas” by Japanese motorists) are spotless. Plus, they’re often great spots to munch on regional specialties or pick up local souvenirs. And if you happen to visit one particular parking area, you can even go back in time.
When Final Fantasy VII hit PlayStations around the globe in 1997, featuring some of the most gorgeous graphics and CG cut-scenes gamers had ever seen, it single-handedly opened up the Western market to Japanese console RPGs. In years since, though, there’s been some contention over just how deserving developer Square’s biggest hit ever is of its exalted place in video game lore. Does it have a gripping story, or does the narrative become a confused mess after its midgame plot twist? Do the title’s numerous mini games flesh out its world, or is spending hours breeding giant flightless birds to race for sport both silly and boring?
But no matter which side of the debate you fall on, there’s one thing gamers everywhere can agree on: Final Fantasy VII’s antagonist, Sephiroth, is a stone-cold badass. Now, Hollywood blacksmith Tony Swatton has brought the villain’s iconic weapon, the gigantic blade named Masamune, to life.
Sometimes fans groan when they hear that their beloved book is going to be made into a movie. Manga fans often have the same reaction when they learn that their favorite manga will be turned into a live-action film or drama adaptation. But not all of these adaptations turn out to be cringeworthy. Readers on one Japanese website chose the best live-action adaptations of popular manga. Do you agree with their ranking?
Two Thousand Thirteen was a year of ups and downs for Studio Ghibli with the release two feature-length films (Kaze Tachinu and Kaguya Hime no Monogatari) and the retirement of their greatest director, Hayao Miyazaki.
Now as the year comes to a close, it might be a fitting time to take a look back at some Ghibli films and learn some things we might not have noticed the first time around in a collection of facts compiled by Japanese website, Naver Matome.
There few pieces of cinematic brilliance that come close to matching Captain EO. The star power of Michael Jackson guided by the directing talents of Francis Ford Coppola in a George Lucas Production all come together in a space-operatic masterpiece that taught us all to dream again.
However, the film was taken from us after a fleeting 11-year run at Disney theme parks around the world. Then in a bittersweet moment it was reopened in tribute to the king of pop’s passing in 2010. And now again we in Japan will have to mourn the 17-minute film’s closing in 2014.
Last month, we saw a brief teaser trailer for the upcoming live-action theatrical version of Kiki’s Delivery Service. Happy as we are for another chance to see our favorite magical parcel carrier on the big screen, our first look at the film’s flying effects didn’t do much to excite us, especially when compared against the lovingly crafted visuals of the story’s 1989 animated adaptation by Studio Ghibli.
Now, the producers of the live-action Kiki are back with a full-length trailer. Being the open-minded cinemaphiles/Kiki fanboys that we are, we decided to give the plucky witch one more chance to impress us, while also getting an earful of the film’s new theme song.
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