He'll make you pick up the pieces
Shamoto runs a small tropical fish shop. When his daughter Mitsuko is caught shoplifting at a grocery store a man named Murata steps in to settle things between the girl and the store manager. Murata also runs a tropical fish shop and he and Shamoto soon become friendly. However Murata hides many dark secrets behind his friendly face.
Welp, this is it. I've found it. Sono's best work. I know it's too early to say, given that I'm only knee deep into his crazy filmography. But as of now, I can't possibly imagine anything that can top this. If Sono were to make something even funnier, darker, or generally greater than Cold Fish, my puny mind would reject all reality and self-destruct.
Again, Sono mixed all kinds of genres together as if he's making a cinematic fruit punch. To some it may be considered tedious, to me I see it as his invaluable trademark. The mood shifts constantly and it's almost impossible to predict what will happen in the next scene. From the first murder down the daughter's…
Insane. Absolutely insane. That's probably the best way to describe this movie; and not the "super-fun-action-ride" type of insane, either. Cold Fish is legitimately off its rocker, nuts, crazy, screwy, cuckoo, mad, demented, unhinged, etc.
And I liked it.
Nobuyuki Shamoto owns a tropical fish store. His marriage to his second wife, Taeko, is rocky because his daughter, Mitsuko, disapproves of it. After being caught attempting to shoplift, a store manager scolds Mitsuko extensively, but another man intervenes. Murata, an older man who also owns a (much larger) tropical fish store, convinces the manager to not punish her, and he begins a friendly relationship with the Shamoto family. Until his true, batshit crazy self comes out, of course.
Cold Fish does get 'Harder, Better, Faster' the second time around.
I can't. How the hell do you describe Straw Dogs made in Japan, twice?
What if, in a parallel universe, Sono directed 'Age of Ultron'?
Hulk would first rape Thor, then bite off Loki's head while Cap would be stuck in the cryo-capsule; conscious and subjected to torture by Pepper Potts and The Black Widow, while they have sex on the cryo-chamber glass. Iron Man would be diagnosed with BPD and become addicted to antidepressants, mood stabilizers, and antipsychotics; as a result become a shadow of himself. Hawkeye would gouge out Nick Fury's good eye before stabbing himself, with an arrow. He would leave a highly cryptic note…
If things go wrong, we'll just make them invisible.
144 minutes of batshit crazy. The last film directed by Sion Sono that I saw was Why Don't You Play in Hell?, an ultra violent film about a Yakuza boss that decides to produce a film starring himself, his daughter and his gang in the middle of a mob war using real life gunfights and murder in the film. THAT is a kids movie compared to this.
This one stars Mitsuru Fukikoshi as Nobuyuki Syamoto, a tropical fish salesman who lives a sheepish existence at the mercy of his teenage daughter and young second wife. He seems to let his daughter run roughshod over everyone because of guilt over…
Japanese horror is one of the best horror sources because of several reasons. First, psychologically, it plays with audiovisual cognitive dissonance, that is, give the audience a seemingly defenseless stimuli and create an environment of ease, for then betraying their feelings with the exact opposite of the film spectrum. This has an advantage: Japanese cinema has never cared about the international censorship, so the commercial standards to which audiences have gotten used to are challenged once more. Cold Fish is cognitive dissonance from beginning to end, not only the entire film (the first introductory 21 minutes until finally the film's title is displayed, against the 100 following minutes, until the orgiastically insane madness shown in the last 30), but also…
Although Cold Fish tries very hard to be memorable with its striking moments of violence and gore, excessive soft-core porn and off-beat humor, I'm already struggling to think of what to write about what is one of the duller movie experiences I've had in a while. Sono is a director with whom I'm unfamiliar with and thus I didn't really know what I was getting myself into, but even if I had an idea of what his style is like I doubt I would've enjoyed the film much more. The visual onslaught of blood and gore left me unimpressed (although I should add that they aren't meant to be shocking, or if they are they simply fall flat) whilst the…
Sebbene abbia preferito Why Don't You Play in Hell?, interessante rimane le metamorfosi ambigue messe in atto in questo cinema nipponico. La morbosità, va detto, è presente ormai dagli anni 60, con autori come Wakamatsu, il mitico Masumura (Blind Beast) o il Tanaka de La casa delle perversioni.
Interessante soffermarsi sull'implosione del protagonista; insomma sul suo punto di rottura derivante dalla sua mediocrità e dalle vibranti sollecitazioni esterne. Non solo stress moderno, ma incapacità di incanalare e sfogare le pulsioni, finendo per esserne schiacciato. Il tutto qui è filtrato da un occhio fumettoso e grafico, che usa come veicoli la violenza e il sesso che (s)muove le cose.
Watch Coldfish with classic Sono Sion style in mind. Dark comedy, jarring music, long cuts and blood. After all, Sono is known for the extreme weird and freakish themes in his films. But this film is not for everyone. It's for the gore-seekers, the midnight madness, the avid supporters for cult-cinema which can either be a hit or miss audience to satisfy. With that though, Sono proves himself a master at his chosen niche market, though not perfect but shown with satisfying quality.
He opens the film with fast cuts paired with marching music that immediately sets the tone and the setting. The plot develops not through the revelations (the cliche way) but through dialogues, action and small details wrapped…
That third act ... Oh my.
Sono Sion has a real talent for setting up horrible nightmare shots. There are images from this film too that linger. But I found the story just a bit too predictable. Maybe it's because I've been binge-watching everything he's made. It's just off the rails enough that I'd give it another watch, but it's not fun in the way a lot of his other movies are.
This thing is like being thrown into an emotion-blender that's mostly negative but never without being interesting. Oddly, this movie evoked thoughts about "Anger Management" and also "Beasts of No Nation". Stripped all the way down to its frame, it's one of those endurance tests where you have to see an introvert-type who is bad with confrontation just get royally shit on throughout the entire movie. Does the guy deserve it because he's spineless? Are the people shitting on him just terrible people and he doesn't really deserve it? Is it both?
There's similar vibes in this to Chan-Wook Park and Takashi Miike. It's an extremely violent dark comedy but has profound dramatic core themes having to do with human nature and how people respond to physical and psychological pain (and also how their actions affect others). It will likely keep you thinking and possibly depress the living shit out of you. Fascinating movie though. Sure leaves an impression.
Odious and miserable. I don't have a problem with violence in film, but I hate movies like this that wield it like a trump card, with no ideas, morals or visual wit behind it. There's not even anything recognizable as irony behind it. It's simply a flat and utterly distasteful experience, overlong, underbaked and completely hollow.
And why the fuck did dates and times appear so often, down to milliseconds in huge numbers in the middle of the screen?
Les films de Sion Sono sont extrêmement inégaux et la seule manière d'apprécier l'oeuvre du réalisateur est de les accepter comme tels. Les digressions, les cassures de ton, la surenchère d'effets spéciaux ou d'humour cabotin… c'est ce qui définit un film de Sion Sono. C'est aussi pourquoi Cold Fish est surprenant, pour un amateur, parce que c'est pendant une très grande partie de celui-ci le film le plus conventionnel du réalisateur. On y suit l'histoire d'une famille bien normale, propriétaire d'une petite boutique de poissons tropicaux, dont le père tombe sous l'emprise d'un compétiteur et est forcé de l'accompagner dans ses entreprises meurtrières. Ça prend presque une heure avant que le film ne prenne véritablement son envol, et la longue…
Ugly, brutal story conveyed in a sleazy unconventional fashion. Most of the actions committed by the characters make little rational sense, especially considering this is "based on a true story," which also makes it pretty difficult to predict the outcome as events escalate.
Made with a lot of style, but the unrealistic behavior of the characters is a huge detriment. Powerful energy but wholly unconvincing and difficult to digest. Two words describe this one: red and squishy.
[...] Bleibt nach der Sichtung ein unmittelbares Gefühl der ratlosen Verstörtheit zurück, so formen sich nach und nach die ersten Gedanken: Geht es hier tatsächlich (nur) um den Schwächling, der vor dem Leben kuscht und schlussendlich, nachdem er ewig lang nur kassiert hat, den Psychopathen in sich entdeckt? Eigentlich nicht und doch in gewisser Weise schon – aber eben anders, als es auf den ersten Blick erscheinen mag. Es ist nicht sein wahres Ich, welches unser Protagonist, Fischverkäufer Syamoto, ganz plötzlich in sich entdeckt. Sono will uns nicht sagen: „In jedem steckt ein Psychopath“. Nein, es ist das Endprodukt seiner jahrelangen Unterwürfigkeit, welches ihn zu etwas werden lässt, das er nie sein wollte, nie erahnt hätte überhaupt sein zu können.…
a list that is trying to contain every horror film made that is not lost and is found on the…