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normalaboutdntm · 7 months

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Signed programme from the London concert of Death Note the Musical ^.^ It reads right-to-left so this is the front cover!

[ID: a black programme which reads Death Note the Musical In Concert above the show's logo of an apple resting on an open Death Note. Ryuk's silhouette can be seen in a reflection on the apple and while the writing in the notebook isn't fully legible, one can tell it's the rules of using the Death Note. At the very bottom in small text it says copyright Tsugumi Ohba, Takeshi Obata Shueisha, Horipro. There are five autographs in golden sharpie. End ID]

They started selling autographed programmes on Saturday at the Lyric for not much more than the non-signed ones. I can't read the handwriting very well but I'm pretty sure they're signed by Light/Joaquin Pedro Valdes, Rem/Aimee Atkinson, Ryuk/George Maguire, and Misa/Jessica Lee. This particular programme is also signed by Sayu/Rachel Clare Chan, as I met her at stage door and she happened to have a pen. :) I really wish I'd thought to bring one so I could have gotten L/Dean John Wilson's autograph as well (I'm not sure why he didn't sign the programmes - maybe because Carl Mann also performed the role?) but you can't win them all I guess.

More described images of the programme and commentary below the cut. I am only including the "articles" so to speak and excluding the actor bios/ad pages because I don't have it in me to type up every bit of information in here. If you would like to see the extra pages and are willing to write image descriptions, DM me.

[ID: a text box that says "Welcome to Death Note: the Musical at the London Palladium! Tonight, we invite you to immerse yourself in the gripping world of Death Note, a story that has captivated hearts globally. With mesmerizing music, stunning performances and thought-provoking themes, our talented cast and creative team will lead you through a thrilling journey of morality, power and justice.

"As we make history at the iconic London Palladium with what will be the first ever English language performance of Death Note, we thank you for joining us on this unforgettable adventure.

"Prepare to be spellbound as the curtain rises, the music swells and Death Note unfolds before your eyes. . .

"Enjoy the show!

"Carter Dixon McGill Productions"

After the text box is a rehearsal picture. Light sings wearing a backpack and two femme actors who are also singing stand in profile next to him, holding books and wearing backpacks as well. Someone stands behind JPV almost completely blocked by him. End ID]

Two things to note here: the use of the manga font and the welcome message that specifies the Palladium. The rest of the programme mentions both the Lyric and the Palladium, so I'm not sure if the absence of the Lyric here is a mistake or if they wanted to preserve the original intent of the message, which is that the first performances at the Palladium were a really big deal.

[ID: A rehearsal pic of Light holding up the Death Note while L, Ryuk, and other cast members look on. A text box says " A message from Horipro, the original producers of Death Note: The Musical.

"The project to adapt the internationally acclaimed manga Death Note, published by Shueisha and created by Tsugumi Ohba (original story) and Takeshi Obata (illustrations), into a musical, began in 2011. Composed by Frank Wildhorn, who has collaborated with our company on numerous productions since Jekyll & Hyde in Tokyo in 2001, and directed by the renowned Japanese director Tamiya Kuriyama, Death Note: The Musical had its world premiere in Tokyo in 2015. Since then, it has garnered passionate, enthusiastic fans and has been performed multiple times in Japan and South Korea.

"Currently, HoriPro is presenting Harry Potter and the Cursed Child and School of Rock in Tokyo. Over the years we have had the pleasure of bringing numerous wonderful works born in London, such as Mary Poppins, Matilda and Billy Elliot, to Japan. It brings us immeasurable joy to now introduce a production originating from Japan to audiences in London.

"To everyone witnessing the start of Death Note: The musical as it ventures into the world, we express our heartfelt gratitude.

"We hope you enjoy the show!

"Yoshitaka Hori, HoriPro Group Chairman, President & CEO" End ID]

[ID: the panel from the manga of Light's heart attack. Text box that says, "Death Note Between Entertainment and Culture by Filippo Cervelli

"When Death Note originally appeared as a manga in 2003, it took its audience by surprise. The story of the genius high-school student Light Yagami chancing upon the magic titular Death Note, giving him the power to kill everyone on the planet just by writing their name on its pages, was a compelling tale interweaving magic with the urban Tokyo everyday environment. Dissatisfied with the judicial system, Light takes the matters of justice into his own hands, placing himself above the law and embarking on a journey to purge the world of evildoers. From this enticing premise Death Note then evolves into a psychological thriller, epitomised by Light's cat-and-mouse battle with his main antagonist, the brilliant and mysterious detective L. The numerous panels alternating the two characters playing mind games against each other, brilliantly written by Tsugumi Ohba and vividly drawn by artist Takeshi Obata, have left a long-lasting impression on the manga's readers. And yet, together with the compelling drama and carefully crafted dialogues, Death Note also struck a powerful chord in its audience, because no reader could remain insensitive to the simple yet fundamental question it asked: "What would you do if you had the power to change the world?" end ID]

[ID: the manga panel where Soichiro has just fired an empty gun at Light in the car and Misa and Light both look terrified but relieved. There are two pull-out quotes that say "Death Note has sold more than 30 million copies worldwide, making it one of the bestselling manga of all time" and "Death Note has successfully shown that manga aimed at 'kids' can treat very serious matters, too." The rest of the article reads: "Not only was Death Note a successful story, the context of its publication was conducive to its great impact. Japan's comics industry is heavily focused on serialisations in dedicated magazines, of which there exist a plethora, divided by frequency of publication (weekly, biweekly, monthly, etc.) and genre. Death Note was in fact published in weekly instalments in Shonen Jump, Japan's most popular and iconic manga magazine which, in its 55 years of history, has published global hits such as Jojo's Bizarre Adventures (1987-2004), Dragonball (1984-1995) and the more recent Demon Slayer (2016-2020) and One Piece (1997-). While the popularity of Shonen Jump contributed to the visibility of Death Note, it also placed the story in an unusual context. As the above examples show, Shonen Jump is famous for action, comedy and sports manga catered to an audience of mainly adolescent boys. Although the categorisation does not of course preclude readers outside of this demographic, Japanese magazines do take their target audiences into serious consideration when choosing their contents. It was therefore striking that a manga not based on humour, romance or battles, which focused instead on murder and psychological thrills, could find a space among the pages of Jump. However, this supposed misplacement worked in the manga's favour, inducing in readers a sense of wonder and curiosity towards a new publication that seemed so different from its neighbours. In the end, with a serialised run of three years (2003-2006), later collected in twelve volumes (plus one with extra contents), Death Note has sold more than 30 million copies worldwide, making it one of the bestselling manga of all time. It has successfully shown that manga aimed at 'kids' can treat very serious matters, too.

"Beyond the numbers, Death Note has left an indelible mark on contemporary Japanese culture. Its great success solidified the reputation of Oba and Obata as one of manga's most appreciated duos, who later produced other hits such as Bakuman (2008-2012), which takes an insider's look into the world of manga publiishing in Japan, and Platinum End (2015-2021), a fantasy manga following the stories a group of contenders who are granted angelic powers in a race to become the next God. Death Note proposes a protagonist who chooses to fight for his values in a society that does not seem to give any solid models of prosperity and fails to ensure individual happiness. While Light's motives might be despicable, his actions ask fundamental questions about right and wrong and about what justice really means, which may not find immediate answers. This is possibly Death Note's deepest strength.

"All these factors have assured Death Note's success. While the original manga is read avidly around the world even today, 20 years after its original serialisation began, the story has also been expanded and adapted into various media. Together with the animated series following the original story, a live-action film version was released shortly after the manga's conclusion in 2006. Split into two parts, the films starred internationally renowned Tatsuya (Battle Royale) and Ken'ichi Matsuyama (Norwegian Wood, Gantz) as Light and L, respectively. The films, featuring a different ending from the manga version, enjoyed such popularity that they spawned a spin-off film in 2008, L Change the WorLd, focusing on the titular awkward and brilliant detective. In 2016, another spin-off film was released. Titled Death Note: Light Up the New World and set ten years after the confrontation between Light and L, it imagines a new case in which six new death notes have appeared. Filmic adaptations have also crossed Japanese borders, with a US-produced film released by Netflix in 2017. The film transposes the story to an American high school setting, changing characters' names accordingly. The TV format has also proved particularly fruitful for Death Note, with the story adapted into a series of 11 episodes in 2015, featuring in the role of L Kento Yamazaki, known to Western audiences as the lead in the Netflix show Alice in Borderland.

"With countless adaptations to other media, including novels, videogames and trading card games, Death Note's cultural impact is still strong. Together with reading the original manga and watching the various cinematic versions, London audiences now have the possibility to enjoy the musical adaptation of the manga series, adding another precious layer to the multimedia experience of this staple of contemporary Japanese creativity.

"Filippo Cervelli is a Lecturer in Modern and Contemporary Japanese Literature at SOAS University of London." End ID]

This is all I can manage tonight. . . I'll be back with more later.

#death note the musical #death note musical #joaquin pedro valdes #dean john wilson #my post #death note

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tsunflowers · 1 year

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director kuriyama walks in and says "it's pride month natsukawa you know what that means" and haruki is like "huh what. do you want us to fight like. gay kaiju" but instead of the comic ending there it ends with the zoom in on juggler making a goofy face like on looney tunes from the episode where yuka said she wanted to dissect him

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battlestory · 2 years

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‘Battle Royale’ at 20: revisiting the ultra-violent Japanese classic with screenwriter Kenta Fukasaku

The 2000 Kinji Fukasaku-directed movie, which debuted in the UK 20 years ago this month, very much proved that the kids aren't alright

Battle Royale is a riotous dystopian bloodbath. Its premise is simple: Japan’s government, fearful of the country’s youth and teenage delinquency, passes the Battle Royale Act, where secondary school kids are forced into a kill-or-be-killed arena of combat. The 2000 film was a huge hit, inspiring The Hunger Games and a swathe of Hollywood-made YA sci-fi franchises in its wake.

As with George Miller’s iconic Mad Max (1979), situating the story a few years from the present-day allowed Battle Royale’s hyperbolic qualities to reflect historic and contemporary social anxieties all within a futuristic setting. Based on a controversial novel by Kōshun Takami and directed by Kinji Fukasaku, best known at the time to cult cinema fans worldwide for his Yakuza series (Battles Without Honour and Humanity), the filmmaker’s son, Kenta Fukasaku, provided the screenplay. Unexpectedly, the father-son duo had an international smash on their hands.

Battle Royale premiered in the UK at the Edinburgh Film Festival in August 2001, before rolling out on the arthouse circuit a month later. Kenta recalls the production with great fondness and is grateful the film has made a lasting impact. “It’s fabulous that this generation is enthusiastic,” he tells NME, before explaining what it was like to make a film with his old man. “[It] was the most exciting and happiest moment of my life. My first production, my first screenplay and, above all, making a wonderful and original novel into a film with my dad, my favourite director.”

Battle Royale arrived at the perfect time as access to Japanese genre cinema was widening, thanks to the J-horror boom and the highly regarded crime dramas made by Takeshi Kitano (who appears in Battle Royale as a schoolteacher and vengeful master of ceremonies). Quentin Tarantino loved it so much he cast Chiaki Kuriyama, memorable as one of Battle Royale’s prominent teen psycho villains, in Kill Bill: Volume 1 (2003) as schoolgirl bodyguard and Meteor Hammer-user (a spiked ball connected to a chain) Gogo Yubari.

Battle Royale’s story, and the topics it stirred up, enabled Kinji Fukasaku to pursue a long-standing interest in putting social and political themes into his genre flicks. “He [liked to] describe the foolishness of adults obsessed by wars and profits,” explains his son, adding how much his father’s wartime experiences shaped not only his work, but his anti-authoritarianism and rebellious streak. “His attitude was consistent and never changed through his entire career.”

Those who watched Battle Royale abroad might not pick up on the political satire and instead simply enjoy the gore and thrills provided by this nightmare scenario. Kenta looks back on the film at the time it was made and doesn’t think much has changed since. “I don’t think the world has changed at all from the time of [Battle Royale’s] production,” he ruminates. “I think that is clear from the current shift of countries around the world to the right, uninterrupted wars and slaughter.”

With Battle Royale being such a hit, it was inevitable a sequel would go before the cameras. Sadly, as Battle Royale II: Requiem began filming, disaster struck: Kinji Fukasaku, having shot only a single scene with Takeshi Kitano, was forced out of the director’s chair after being diagnosed with cancer. He died on January 12, 2003. Put in this awful position, it was decided that his son would take the reins and make his directorial debut. It made sense: Kenta could stick closely to his father’s vision and pay homage to him.

Battle Royale II: Requiem (2003) is an original story that switches up the format, recreating the first movie’s concept into something more extravagant and infinitely angrier about the state of the world, especially warmongering US foreign policy and disastrous forays into the Middle East.

“Kinji Fukasaku created the Battle Royale II concept about the survivor of Battle Royale, that is Shuya Nanahara [played by Tatsuya Fujiwara], who swears to take his revenge on adults and becomes an icon [of rebellion],” Kenta says. “[Kinji] wanted to deliver a final message to [the] Japanese people, who have forgotten their memories of the war. I think that the theme Kinji Fukasaku wanted to create was conveyed. Until the end, my father was thinking about the war in Afghanistan.”

In the sequel, the kids become avengers of their generation and form a terrorist organisation to attack their own corrupt country. It’s potent stuff. However, the film fared less well at the box office and with critics, but the writer-turned-director set out to honour his father with the film they intended to make all along: no compromises. Again, it all circles back to Kinji Fukasaku’s political obsessions and belief in storytelling as a tool to reflect society’s ills. Battle Royale II: Requiem is strikingly aggressive in its stance against America.

“Certainly, I think it’s an anti-American film,” the younger Fukasaku admits, before correcting himself and simply describing it as “anti-authority”. He adds that the film really tells a classical story, one as old as human history: “The strongman exploiting the weak, or the strongman abusing the weak, has not changed since the birth of mankind.”

The filmmaker finishes by telling NME: “I believe it is our responsibility [as filmmakers] to tell stories so the same tragedies are not repeated. We keep fighting through [making] films to make [a] better world.” Kenta Fukasaku isn’t entirely pessimistic, either. “We’re still living in a crappy world where people like George W. Bush, Shinzo Abe and Donald Trump are chosen as leaders. But, at the same time, [it is] gradually getting better.”

NME.com

#battle royale #batoru rowaiaru #バトル・ロワイアル #asian cinema #kinji fukasaku #kenta fukasaku #interview #movie #film #The Hunger Games

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redrusty66 · 6 months

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Batlle Royale Fest : Battle Royale (2000)

Discussing the 2000 Battle Royale Film : Batlle Royale

Starring : Tatsuya Fujiwara, Aki Maeda, Tarô Yamamoto, Chiaki Kuriyama, Tsuyako Kinoshita, Kô Shibasaki, Takeshi Kitano, Masanobu Andô, Takashi Tsukamoto, Sôsuke Takaoka Director : Kinji Fukasaku Writer : Koushun Takami, Kenta Fukasaku

My Score 10/10

IMDB : https://www.imdb.com/title/tt0266308/ Trailer : https://www.youtube.com/watch?v=N0p1t-dC7Ko

My IMDB : https://www.imdb.com/user/ur48636572 My Letterboxed : https://letterboxd.com/Redrusty66/ My Poetry : https://allpoetry.com/Redrusty66

#horror #review #battleroyale #slasher #film #reaction #film

#youtube

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brookstonalmanac · 7 months

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Birthdays 10.10

Beer Birthdays

Patrick Perkins (1838)

Walter Jerome Green (1842)

George W. Schimminger (1857)

Barbara Groom (1946)

Thomas Cizauskas

Five Favorite Birthdays

Brett Favre; Green Bay Packers QB (1969)

Thelonius Monk; jazz pianist (1917)

Maurice Prendergast; artist (1858)

John Prine; folk singer (1946)

Bradley Whitford; actor (1959)

Famous Birthdays

Henry Cavendish; chemist, physicist (1731)

James Clavell; writer (1924)

Peter Coyote; actor (1941)

Paul Creston; composer (1906)

Dale Earnhardt Jr.; automobile racer (1974)

Jessoca Harper; actor (1949)

Helen Hayes; actor (1900)

Chiaki Kuriyama; Japanese actor (1984)

Bai Ling; actor (1966)

Gavin Newsom; politician (1967)

Jodi Lyn O'Keefe; actor (1978)

Chris Penn; actor (1965)

Harold Pinter; English writer (1930)

Nora Roberts; writer (1950)

David Lee Roth; rock singer (1955)

Robert Gould Shaw; Civil War soldier (1837)

Julia Sweeny; actor, comedian (1959)

Tanya Tucker; country singer (1958)

Midge Ure; Scottish rock musician (1953)

Giuseppe Verdi; Italian composer (1813)

Ben Vereen; actor, dancer (1946)

Jean-Antoine Watteau; French artist (1684)

Benjamin West; artist (1738)

Ed Wood; film director (1924)

Lin Yutang; Chinese writer (1895)

#Birthdays

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byneddiedingo · 1 year

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Yuko Miyamura in Battle Royale (Kinji Fukasaku, 2000)

Cast: Tatsuya Fujiwara, Aki Maeda, Takeshi Kitano, Taro Yamamoto, Masanobu Ando, Kou Shibasaki, Chiaki Kuriyama, Takashi Tsukamoto, Sosuke Takaoka, Eri Ishikawa, Hitomi Hyuga, Yuko Miyamura. Screenplay: Kenta Fukasaku, based on a novel by Koushun Takami. Cinematography: Katsumi Yanagijima. Production design: Kyoko Heya. Film editing: Hirohide Abe.

In my brief and admittedly superficial exploration of Japanese cinema, I have often been struck by how postwar filmmakers take a rather harsh attitude toward the generation born after World War II. Even so hip a director as Nagisa Oshima paints a rather jaundiced picture of wayward teenagers in films like Cruel Story of Youth (1960), though suggesting that American influence at least helped push Japanese young people into delinquency. Masahiro Shinoda's Youth in Fury, made the same year as Oshima's film, focuses on the student riots against the Japanese-American mutual security treaty, suggesting that the political impotence of the young is to blame. An older filmmaker like Keisuke Kinshita, in The Young Rebels (1980), blamed the rebelliousness on parents, a familiar scapegoat. And then there's Kinji Fukasaku's Battle Royale, which subjects the problem of turbulent youth to what we might call a final solution: mutual extermination. In an era plagued by depression and unemployment, the government passes a population-control law: Each year, a middle school class is chosen and sent to a remote island where they are forced to fight to the death. If you're thinking this sounds a lot like The Hunger Games, have another drink. In fact, Suzanne Collins, the author of The Hunger Games trilogy, the first book of which appeared in 2008, has said that she never saw the film or read the 1999 novel by Koushun Takami on which it was based. Her claim is plausible: Battle Royale stirred up so much controversy in Japan over its violence that it wasn't released theatrically in the United States until 2011, partly because American distributors were scared off by memories of the 1999 Columbine High School massacre. Fukasaku's film is in fact like a bloodier, more barebones version of The Hunger Games movies (Gary Ross, 2012; Francis Lawrence, 2013, 2014, 2015). It's also funnier and scarier because it has been shorn of the Olympic Games-style spectacle of the American movies. Instead, we get a "training video" in which a ditzy instructor (Yuko Miyamura), a parody of Japanese game show hosts, explains the rules: Each player gets a bag of supplies that includes a "weapon" -- ranging from a semiautomatic rifle to a paper fan -- and they are all fitted with monitoring collars that will explode if they try to remove them, as well as if the game ends on the third day with more than one survivor. The film, written by the director's son, Kenta Fukasaku, doesn't waste a lot of time on character development, except for two principal combatants, Shuya (Tatsuya Fujiwara) and Noriko (Aki Maeda), who fall in love along the way. There are also a trio of villains: Mitsuko (Kou Shibasaki), who relishes the thought of killing her classmates, and a ringer, a "transfer student" named Kazuo Kirayama (Masanobu Ando), who is really a psychopath brought in by the sadistic director of the game, the schoolteacher Kitano (Takeshi Kitano), to spice things up. There's another supposed transfer student, Shogo Kawada (Taro Yamamoto), who is actually a survivor of an earlier game, but he turns out to be a good guy, seeking revenge on Kitano for his girlfriend's death in that game. Aside from these characters, most of the players are nondescript, except for the computer geek, Shinji Mimura (Takashi Tsukamoto), who manages both to hack into the game's system and to construct a bomb he plans to use to take out the game headquarters. There is much vivid killing in the film, but it's paced so fast, and the characters are mostly so undefined that, except for the fact that these are kids killing kids, it's easy to get caught up in it all. It's not surprising that it's one of Quentin Tarantino's favorite movies.

#Battle Royale #Kenji Fukasaku #Yuko Miyamura

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rollihero · 2 years

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Kill bill volume 1

Kill bill volume 1 movie#

Kill bill volume 1 driver#

This is a reference to 'Battle Royale' (2000) in which Kuriyama plays a schoolgirl who kills a student who is trying to come on to her - by stabbing him. It explores territory many others haven't, is loaded with memorable scenes and characters, and a piece of cinematic paradise in terms of the showdown between The Bride and the Crazy 88's. In 'Kill Bill vol 1' (2003) the schoolgirl, GoGo Yubari (played by Chiaki Kuriyama) stabs a man in the stomach for coming on to her. Kill Bill is at it's root, a revenge flick, but at the same time so much more than just that term. And finally, Bill, who has very little screen time in this first volume, but is masterfully portrayed by David Carradine who seems to be just as good as his half-brother at portraying a maniacal but composed deadly killer.

Kill bill volume 1 driver#

Fox all play fellow members of the Deadly Vipers and succeed in establishing that O-Ren Ishii, Elle Driver and Vernita Green are all worthy of the "badass mofo" informal title which comes with being a former Deadly Viper. Quentin's casting choices for Kill Bill don't drop the bar either - Uma Thurman returns to the "Tarantinoverse" as The Bride, after previously playing Mia Wallace in Pulp Fiction, as does Michael Madsen after previously appearing in Reservoir Dogs as the sociopathic Mr Blonde. Quentin doesn't just want to make films seriously, he also knows that he can also have fun during the process which is something that a few directors twice his age at the time of Kill Bill have yet to understand or even grasp at it's base sense. Likewise, Tarantino as always adds fantastic dialogue which especially helps the Deadly Viper Assassination Squad during the backstory segmints of the movie. It's a revenge flick with a lot of different elements, but it doesn't try to be something else, or pass itself off as a grand odyssey. The brilliance that lies in Kill Bill is that it doesn't overreach itself. The colours and look of the film are all very exaggerated and oversampled, i'm not going to lie, but with such a masterfully woven story, the two go together like Eggs and Bacon, although I doubt highly that Samurai swords are edible. An assassin is shot by her ruthless employer, Bill, and other members of their assassination circle. Here was have Tarantino at his flashiest but supplemented with a reservoir of substance which endures throughout the film. Courtesy of Time Bomb Records, Japan Sympathy for the Record Industry, U.S. The entirety of Volume 1 is very much a build up that never fully stops, which is unique even to revenge flicks as they usually ebb and flow with a lot of changes to the pace. Courtesy of Toei Music Publishing Co., Ltd. 1 is by far the stronger half of the duo. We had it with Reservoir Dogs, a heist film where we never see the heist, and with both Pulp Fiction and Inglorious Basterds - two more films which take what is typical and throw it aside.Īfter multiple views, I still say that Kill Bill Vol.

Kill bill volume 1 movie#

If there's one thing we've learned about Quentin Tarantino as a screenwriter and director is that one should never expect a typical movie that fits the stereotypes of the genre exactly - or even remotely.

#Kill bill volume 1

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ultraheadcanons · 4 years

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Innaugural Ultraman Z Headcanons Based on the First Episode

Director Kuriyama’s stomach aches are caused by stress. Hikari is responsible for 90% of that stress, with the other 10% coming from the knowledge that millions of lives are dependent on STORAGE doing a good job.

STORAGE’s mecha aren’t the original models. Rather, Yuka built them as replicas of Sevenger and Windam because she’s such a historical giant robot geek.

Yoko likes spicy food.

Captain Hebikura and Ultraseven would get along very well if they ever met. They’d have plenty of stories to share about their respective idiots. Although if Hebikura heard of just how brutal Ultraseven sometimes was, well...

#Ultra Series #Ultraman #Ultraman Z #Director Kuriyama #Haruki Natsukawa #Yoko Nakashima #Shota Hebikura #Yuka Ohta

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recentanimenews · 2 years

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Fullmetal Alchemist Complete Edition Feature Films Announced For This Spring In Japan

Following up on the teaser news a few weeks back, Warner Bros. Japan has officially announced that the Fullmetal Alchemist live-action film series that began with the first film in 2017 will conclude with the forthcoming release of two sequels being released one after the other and is being titled Fullmetal Alchemist Complete Edition.

First film's theatrical poster

The first film being released on May 20th is titled Fullmetal Alchemist: The Avenger Scar, and focuses on antagonist Scar's efforts to seek vengance against King Bradley and the state military of Amestris for crimes against the Ishvalan people, incvluding the death of his unnamed brother and family. The second film is titled Fullmetal Alchemist: Final Transmutation and adapts the final chapter of the manga, which will be released one month later on June 24th. The first film's trailer is embedded below:

youtube

The cast for the two films has been expanded since the 2017 film, with returning cast members Ryosuke Yamada as Edward Elric, Tsubasa Honda as Winry Rockbell, and Dean Fujioka will play the role of Colonel Roy Mustang. It was also confirmed that Misako Renbutsu will play the role of Lieutenant Riza Hawkeye of the Amestris Army, Ryuta Sato will play the role of Maes Hughes, Kanata Hongo will play the role of the homunculus Envy, and Shinji Uchiyama will play the role of the homunculus Gluttony. The director of the 2017 film Fumuhiko Sori is returning to direct both films.

Seiyo Uchino will the role of Van Hohenheim, the father of Ed and Al Elric, Mackenyu Arata plays the role of Scar, the role of King Bradley will be played by Hiroshi Tachi, Keisuke Watanabe will play the role of Ling Yao, the twelfth prince of the Yao Clan as well as the secondary role of the homunculus Greed, Yuina Kuroshima will play the role of bodyguard Lan Fan, and Toshio Kakei will play the role of Lan Fan's grandfather Fu.

Alternate poster with Mackenyu Arata as Scar

More members of the Amestris army have also been cast, with Major Alex Louis Armstrong being played by Koji Yamamoto, Olivier Mira Armstrong will be played by Chiaki Kuriyama and the role of Major Solf J. Kimbley will be played by Yuki Yamada. In addition, Yukie Nakama will play the role of Ed and Al's mother Trisha Elric, Jun Fubuki will play the role of Winry's grandmother Pinako Rockbell, and Naohito Fujiki plays the role of Winry's father Yuriy Rockbell. Rounding out the cast, Kaoru Okunuki has also been cast as Sarah Rockbell, Kokoro Terada will play the role of Selim Bradley, Ron Monroe (Long Meng Rou) will play the role of May Chang, and Haruhi Ryôga will play the role of Ed and Al's teacher and mentor Izumi Curtis.

By: Humberto Saabedra

#Anime #News #Latest in Anime News by Crunchyroll!

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pkjd · 5 years

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New character visuals and screencaps from the Doremi 20th anniversary anime film, “Majo Minarai wo Sagashite,” has been unveiled. It'll open in Japanese theaters on May 15th, 2020.

-Synopsis-

"The story follows three adult woman from the generation who grew up watching Ojamajo Doremi. Mire Yoshitsuki; a 27 year-old returnee working for a leading trading company, Sora Nagase; a 22 year-old college student aspiring to become a teacher, and Reika Kawatani; a 20 year-old freeter (freelancer) working part-time. These woman who travel completely different paths will be brought together by a magic sphere. A new magical story begins once they embark on a journey together."

-Staff-

Director: Junichi Sato, Yuu Kamatani

Script: Midori Kuriyama

Character Design: Yoshihiko Umakoshi

Studio: Toei Animation

via: lookingfor-magical-doremi.com | 4NN.cx/.152744

#ojamajo doremi #majo minarai wo sagashite #魔女見習いをさがして #anime

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magherally · 3 years

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Musical Thrill me in Tokyo 2021

They thrill each other insted of love, as a game, not a game.

At first I didn't want to watch this play. Because I guessed it is a story about two twisted murder's love. Now I'm interested in two rare birds.

私が観たものはただの演劇の楽しさだった気がします。

Director Tamiya Kuriyama（栗山民也）is sensitive to the sounds in the script. The Japanese version is also interesting in that respect.

Only 2 men with a piano, Just 100 min. 2021 Tokyo has 3 teams.

小劇場ですが、人の多い場所へ行くのは久しぶりでした。COVID‑19の変異種が増え、依然感染は拡大しています。彼らの健康と公演の成功を願っています。

Thrill Me: The Leopold & Loeb Story

#Thrill me #スリルミー #my art #pencil #musical

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toku-explained · 3 years

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The Knight Swordsman

Before we get into this week, it would behoove me to note the tragic passing of Kinjo Mana, the actress who played Ui in Ryusoulger. She is not the first toku actor to die much too young, but there can be no doubt it is a tragedy she is gone.

A side note for Ultraman, this week's Zero & Z has the first canonical acknowledgement of Melos and Aura, implicitly making Uchiyama Mamoru's manga, or at least the Jackal ones, canon. At the very least, it would be safe to say Fightas also canonically exists.

Z: Director Kuriyama explains the dismantling of STORAGE and replacement with 1st SAAG. When a question is asked about contingencies for D4 Yuki Mai explains about data from Ultraman that has been used to create Ultroid Zero, Yoko seems apprehensive, Yuka and Juggler are more openly against it, and we get our confirmation for what we all knew, that Celebro has possessed Director Kuriyama. Haruki is melancholic, bored with his security work, though at least he still gets to see Yoko. The stuff about Yoko is obviously leading somewhere. Yuka discovers Kaiju are showing signs of waking in response to Ultroid Zero, but Kuriyama refuses to hear her out. Ultroid Zero's test begins and immediately we get the appearance of Takkong, King Guesra and Demaaga. Haruki sneaks off so Z can deal with the aquatic Kaiju first, 1st SAAG in response deploys Ultroid Zero to deal with Demaaga, but as soon as the fighting starts Gomess (S) and Pagos arrive as well. They have done well replicating abilities, it must be said. Kuriyama is keen to use D4 again. Having defeated Z, Takkong and King Guesra also make their way to Ultroid Zero. Z returns and manages to calm the aquatic Kaiju. Kuriyama forces Yoko to use D4, while she tries very hard no to, but she relents. While the dimensional collapse has been prevented, the feedback nearly kills Yoko. Z pulls her out, only for Hebikura to appear, and finally reveal himself to Z and Haruki as Juggler.

The Absolute Conspiracy: Great and Powered contend with Sran Seijin and Hellberus, while Ribut tries to save Max, and the team of 5 Ultras manage to defeat Leucocyte, meaning it wasn't THE Leucocyte. Justice and Cosmos explain that the energy they detected wasn't Leucocyte, and also appeared in Future Earth. Absolute Tartarus introduces himself. Ribut uses the antibodies on Max, but the egg still hatches into a Gudis mutated Maga-Orochi. Max is enabled to fight when Max Galaxy appears and restores his energy, followed by Xenon, who joins his subordinate in battle. Tartarus introduces himself as an Absolution and attacks again, but is opposed by Cosmos and Justice joining as Legend, who immediately forces Tartarus to flee, before spitting back to Justice Standard Mode and Cosmos Luna Mode. Great defeats Sran Seijin, Powered defeats Hellberus, and Xenon softens Maga-Orochi for Ribut and Max. Taro assigns Ribut to the Galaxy Rescue Force, and Hikari assigns Sora to the team. 80, Yullian, Powered, Max and Great all discuss the matter of Tartarus with Zoffy. At Galaxy Rescue Force HQ Ribut and Sora meet their new comrades, War God Queen Izana, Andro Super Warrior Andro Melos, and guardian deity Gukura Shisa. And so ends part 1... On the ruins of Planet Mikarito, Tartarus, who once saved Sran Seijin, now kills him for his failure, and heads somewhere else, sensed by King.

Saber: Okay, so Kento isn't dead. They could've done more last time to make clear that he wasn't. Storious questions if the swordsman of lightning can open the last gate for them, but Kamijo claims Kurayami will serve. After everyone talks about the situation, Touma decides to try and take Kurayami, as Kamijo goes to defeat the last Goblin. Daishinji is working on two books, the one Touma got from the Man in Avalon, and what looks like a replica. Oh god damnit Kento. Kurayami is apparently doing something to Kento to destroy him. Kento shows up just in time for Caliber to kill the Goblin, unlocking the last book. The Riders continue trying to fight Caliber as the book fully unseals, to the Megiddo's general glee. Touma's resolver triggers a reaction between Brave Dragon, Rekka, the flip book and the book from Avalon, which goes to Touma and becomes Dragonic Knight, Touma and Kento both hear Luna's voice. As Dragonic Knight Touma is much stronger and able to match Jaou Dragon, and having a power to send back attacks like Caliber. Mysterious Man is cryptic. Touma manages to use the Dragon to get Kurayami away from Kamijo, and I think seals the Gateway? Then Saber does the incredible double fakeout 1st quarter whammy. What's up with Kurayami???

Kenshin Retsuden: This time we have "an episode of Espada", the back side of episode 13. While still unconscious in bed Kento is tormented by the memories of 15 years ago. He awakens to find darkness pooling around him, and recalls his defeat and then Sophia presenting him with Ikazuchi, he then asked Ogami if he had any idea about why Hayato had betrayed Sword of Logos, and we see from his recollection for the first time Kamijo defeating Caliber, and Hayato fleeing the scene, the last time anybody saw him. Kento regrets his focusing on his father over his duties, and spots the Wonder Story book, remembering Rintaro telling him about Touma becoming a swordsman, and Sophia asking about how he acquired Brave Dragon and Rekka, Rintaro reveals Lost Memories, Touma's book, contains details from 15 years ago, Kento was overjoyed to learn Touma was alive. After seeing how Touma still values promises, he swore to explain to Touma when he remembered. Mei comes in and tells Kento the others are fighting to save him, and that Rintaro wants to take a family photo with everyone. Kento recalls Rintaro's strength, and Mei joins in thinking about him. Kento asks for some water, and uses the chance to sneak out to join the others, so he can fulfill his promise to them.

Kiramager: Garza's angry, and Yodonna makes a plan with him. Since we're mentioning Numajo again, is anyone else confused that Minjo still hasn't appeared? They established there was a sister and then she never appeared. Anyway, Shiguru is poisoned, and Garza with his powered up Jamentality uses Smog Jouki to forcibly combine with Express, forming Jaaku King Express. It's a pretty hopeless situation all around, with Garza's power up allowing Jaaku King Express to stand up to even Grateful Phoenix. The eventual loss sends Yodonna into a rage, showing her own Jamentality. And Yodon...does something for once...and Juru sensed it.

#toku explained #ultraman z #kamen rider saber #kiramager

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luna-rainbow · 4 years

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jdrama 2020 spring

For those who haven't been paying much attention to what's happening for Japanese TV, and more as a record for my future self who may want to look at the disaster that was 2020, the spring season had meant to be the pre-Olympic season. Given that the Olympics would attract the attention of most Japanese audiences, the TV channels had invested most of their hopes (and budget) in this season. Much awaited sequels for Hanzawa Naoki, Haken no Hinkaku, the Japanese remake of Suits, and BG were to lead the season, while star-studded casts filled out the rest with Ryuu no Michi, Unsung Cinderella, MIU404 and Miman Keisatsu. Almost every A-lister was on the roll. But, like many things in the last 3 months, that was not to be, even as Japan admirably took reins of its earlier explosion and kept the local outbreak under control. None of the above listed shows except Suits managed to screen, while smaller scaled shows managed to scrape past the quarantine and make their way to the networks. Bishoku Tantei ~ Akechi Goro | Official site Stars: Nakamura Tomoya, Koike Eiko The premise of this is one of those silly things that can only arise from a manga. A private detective goes around solving cases that are related to food, and in the first case he accidentally creates his arch nemesis, a beautiful woman who connects with her psychopathic inner self and finds a second career as an assassin for hire. She enjoys killing people, so why not, she reasons, do it while helping others who want to kill people but don't know how to go about it. I only recently watched Legal High, and it was only then I realised that not so many years ago, Koike Eiko went by sexiness rather than good acting. It's remarkable how much she's come from that, especially if you watch her act in Toma's recent Watashi no hanashi ga nagai. This series brings her back to the femme fatale or murderous vixen trope, which she clearly enjoys. Unfortunately, there's not much else to enjoy about the series. Nakamura is far less interesting here than he was in Nagi no Oitoma. What might have worked as a manga with its dramatic grandstands and aggressive flirtations come across as awkward and difficult to believe when transplanted to real life. There is also not much "life" in this series...the story exists in its own bubble of reality, and the world around it seems empty and soulless - again a set up that works with manga but feels poorly fleshed out in live action. Silent Voice 2 | Official site Stars: Kuriyama Chiaki I have a fond spot for Kuriyama, who has always been one of the more versatile actresses of her age. The first season was enjoyable - Tateoka Ema might come across at first glance to be a wallpaper, but she has a special skill of extracting information from suspects by their subconscious reactions and gestures. It's as if the American Lie to Me was crossed with Amami Yuki's KinTori, Kuriyama manages to dominate the camera by the way she controls the flow of the investigation or reacts to the information presented. Almost all of the scenes take place inside the interrogation room (one reason why this season managed to screen without glitch), but still remain gripping for 40 minutes each time. Tateoka's side kick has changed from Shirasu Jin to Baba Toru, as the former has joined a cooking show set in a fictional town of European characters played by Japanese actors...so, let's not start. Byouin wo Naoshikata | Official site Stars: Koizumi Kotaro, Takashima Masanobu I had no idea what to expect when I went in, and I was pleasantly surprised. Apparently based on some true events, the story is about the revival of a small district hospital by a brave hospital director who brings in a number of radical reforms. It sounded mind-numbingly boring, but turned out to be a remarkably pleasant watch. It's nice to see Koizumi go back to playing his type (instead of his recent roles as the mastermind villain) as a smiling, unflappable, optimistic yet realistic and big-hearted gentleman. In fact, Arihara is so perfect it's hard to believe someone like him exists in real life, yet it is also very hard to dislike him. One amazing scene was when he, as the new vice director, gets confronted by the entire frontline staff over his decision to pare down and standardise medical supplies, and one of the senior nurses challenge him with, "What if we make a mistake because we're not used to the equipment?" He smiles graciously and says without a hint of irony, "Let's avoid that from happening; after all, we're all professionals." In the hands of anyone else, it's hard to avoid making that line sound patronising or passive aggressive, but there's something about Koizumi's manner that makes you believe it's heartfelt. I'm not sure how the Japanese health system works, and it seems quite different to what we're used to. The impression I get (and feel free to correct me if you're familiar with the system) is that there are numerous small privately owned hospitals, which has the right to refuse to accept or refuse to treat certain emergency patients. As one recent newspaper article alluded to, during the height of the Covid outbreak, one ambulance circled the streets of Tokyo for hours before finally a hospital agreed to accept the patient. Beyond that though, I'm getting to the stage of life (or career?) where management is interesting, if only on a theoretical level. Good doctors do not often make good medical administrators, and doctors also classically respond poorly to being managed, but whatever health system you work in, hospitals are a money-draining exercise, and sometimes these result from considerable wastage and inefficiency. It doesn't quite have the drama or stakes of Ikeido Jun's underdog series, and that's to its benefit. It's smaller scale and as a result much more intimate and relatable, as though this story might take place on your neighbourhood.

#jdrama #jdorama #kuriyama chiaki #nakamura tomoya #koizumi kotaro #silent voice #bishoku tantei #byouin wo naoshikata

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