Hellen I like the storyline of this show,it attract me so much

Exoticalot People are voting emotionally.

TaryBiggBall It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Teddie Blake The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

coldplayer-57213 This movie is a suspense movie. The main character is Aoyagi. One day, he is mistaken for a murderer so that he runs for dear life. However, when he runs, there are a lot of difficulties. In order to live, he runs away many chaser with the help of his friends. I think that his performance is really good. In particular, I strongly feel sense of urgency. If you are interested in his performance, please watch this movie.

CountZero313 Golden Slumber is a conspiracy tale about an everyday guy framed for a political assassination. It is a portrait of nostalgia and friendship. It is a critique of modern Japan's lapdog media and uncritical consumer citizenry. It is also slyly comic.Nakamura studs his cast design with rockabilly boys, b-list starlets, aging anarchists, and an avenging outlaw, sprawled over 139 minutes, in a narrative that strains but does not break. It is all pulled together in some wonderfully moving moments, as motifs such as fireworks, teachers' gold stars, and personal quirks such as pressing lift buttons with one's thumb recur and are given layered meaning. Great scenes abound - the father telling his son through a media frenzy to escape is both hilarious, and a powerful dig at Japan's lynch mob media.Yûko Takeuchi as a loyal ex has never been better. Teruyuki Kagawa is his usual reliable self, oozing menace. Masato Sakai leads the line as the naive Masaharu Aoyagi, the fall guy who learns to grow a pair as his troubles pile up. His expressions, both pure and embittered, reveal an actor who knows acting is reacting. The comedy is entertaining, but the emotional punch is perhaps surprising given the significant shift in tone it requires.A clever, engaging script that holds you all the way. Highly recommended.

Seino Aoyagi (Masato Sakai) is mistaken for a murderer and on the run from the cops. At first glance one would think it to be a simple suspense film, but that's not the case. Each character has a deeper motive. Carefree, open-hearted, soft-spoken, each character seems to have some sort of reliance and trust in Aoyagi.A married couple with child get into an elevator, standing alongside a suspicious hooded man. The elevator descends, and a long take follows them as they walk through the department store. Suddenly, the child disappears. In this moment the film has us nervously thinking, "Something bad must have happened."With this powerful moment I'd recommend the film. Every scene in the film feels like a pure cinematic experience: when the company owner says to Aoyagi, "i know You aren't the criminal;" when we cut to the scenery outside the car in motion; when the child of the wanted criminal dies. Even normal scenes were certainly shot with meaning. The cooperation of Sendai City during the filming has a positive effect on the movie's quality. Extras who appear in the film for just a few seconds stand with consideration for their own significance, in turn blessed by a splendid film. As soundly escapist entertainment, it's a shame the film hasn't been screened overseas since its debut in 2010. This kind of amusing film is an example for what Japanese cinema is all about.

Hyomil From the trailer, this looks like an action thriller with good acting. Well, I made it 50 minutes because of the acting, but it was abundantly clear the trailer was misleading. This is actually an art house movie that, according to some reviews, is an "uplifting" and witty commentary on Japanese society.Characters don't act like real people, and things are deliberately structured to meander and not make sense. What the movie seems to think is funny is either trite, lame, or, most annoyingly, disturbing, and there are no reassurances something horrific isn't about to happen any second. There seems to be a gleeful nonchalance at work keeping you from becoming invested in anything, and I had to check some reviews to see if it was worth sitting through another 90 minutes to finish it. After seeing a string of glowing reviews along these lines, I knew it wasn't: "Most movies suffer from the need to explain everything. They do not leave any room for imagination. They are designed for people who love to avoid thinking and just want to consume what's put in front of them. The celluloid guinea pigs.Movies that come close to what art's supposed to be involve the viewer, inspire contemplation and leave many things unexplained simply because art doesn't dictate perspectives, it opens perspectives. A great movie is a movie that allows us to see ourselves in it." This is not a thriller to pop in for some excitement and get lost in; some say it gets better towards the end, but you'd better have a *lot* of patience to find out. See the twitch and meniscus reviews I added in the external reviews section for a couple of more realistic appraisals.This is the kind of movie that loses the viewer's trust, much like the 'prankster' who says "Oh, your wife called earlier and said she was on the way here, but it sounded like she got into an accident and the line went dead" and then laughs at your horrified expression and chides your for not 'getting' their joke, and director Yoshihiro Nakamura is now on my 'avoid' list.