Diagonaldi Very well executed

Ketrivie It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

Ezmae Chang This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

napo0523 Matsuko is a Japanese woman. Her sister is sick by nature so her father always love only her sister. Matsuko wants to be loved by her father so she tries to make her father laugh and gets a job which his father hopes. However, all her efforts are in vain. One day she is made to quit the job and she goes wild. She is cut her connection with her family. Her sad story starts. Through watching this movie, I thought what life is all about. Matsuko's life looks very sad because she always do her best only for others. I think she should love herself more. However, I also think this movies is great because it gives us the chance of rethinking about our life. We have to value our lives.

thenekassyni This is an excellent film to watch. The narrative style, music, art style and story will capture your mind and hearts. For those that are or have gone through similar events it will bring tears of everything...sorrow, sadness, happiness and hope.The acting is top notch by all the actors. The camera work and even the cgi's are well done. The music is a mixture and well thought out. The simple little song will get to you eventually, it's unbelievable. This is one of my few all best movies to watch over and over. I just love it. I highly recommend watching it if you haven't seen it yet. I think it will appeal a lot more to females but men like me when enjoy it just as much.Edit 12/01/2013 After reading some of the more recent reviews I feel, still, that so many simply cannot understand this movie. Those that claim to understand it the most are the worst as they completely missed the point. Yes it is about the good and bad in life but more importantly it is about this one person (or woman if you prefer) journal and why she took that journey. If you cannot understand the simple fact that although she initially wanted to break away she ultimately is really on a search to find family, a home. What started at the beginning is what ends at her life, simply beautiful. 90% of you don't even know what I mean by this.I am really astonish and sad for those that can't fully enjoy and understand this movie.

CountZero313 When a twenty-something NEET is sent by his father to clean out the apartment of his estranged aunt, 53-year-old Matsuko, he becomes intrigued by the life story of this reclusive, shabby, old-before-her-time woman. As he pieces together her life, he unlocks various family secrets, and learns a thing or two about his own life.Tetsuya Nakashima's film is energetic and thoughtful, in turns hilarious and deeply moving. It's hyper-stylised, with Technicolor vividly utilized, song-and-dance numbers, and some schlock violence straight from the Nikkatsu back catalogue. But it all gels into a magical whole. Interestingly, there is a sly poke at the Showa-nostalgia genre enjoying a contemporary flurry in Japan, the pastiche of the visuals undercut by the brutalities the economic and social mores of the time inflict on Matsuko. The fact that she meets her fate at the hands of the feral children of Heisei is no random element.Miki Nakatani has matured into Japan's most fascinating and watchable actress, the combination of beauty and vulnerability never more alluring than in her portrayal here. But it is Nakashima's slick script, elliptical structuring, and especially his brisk editing that make this film so special. I was singing 'makete, nobashite' for days afterward. One of the best Japanese films of the 21st century.

gunstar_hero At the beginning of "Memories of Matsuko", Matsuko Kawajiri, the eponymous heroine, is found murdered in a field under mysterious circumstances. She has died alone and estranged from her family. It is the task of her young nephew, Shou, to piece together the details of her extraordinary life, which we witness first hand in the form of vivid flashbacks to Matsuko's past, from wide-eyed childhood to disenchanted middle age. The result is something of a Japanese "Moll Flanders", by turns tragic and comic.The freedom with which writer-director Tetsuya Nakashima delves between past and present is the film's most satisfying aspect, coupled with a playfully thin boundary between reality and illusion: one moment the film is insistently realistic, with a limited, dark palette, the next it soars into Technicolor dreamscapes full of songs, flowers, butterflies and other recurring motifs. The cinematography is exquisite and endlessly creative. While this is an ultimately tragic biopic with a number of distressing scenes (not least the repeated incidence of domestic abuse), it is equally full of comedy, particularly during Matsuko's youthful stint as a schoolteacher. This freewheeling mixture of presentation and narrative tone will be quite unfamiliar to most English-speaking audiences, and better parallels can be found in French cinema – "Love Me if You Dare", for instance – or closer to Japan in the work of South Korean Chan-wook Park. At points "Memories of Matsuko" certainly recalls films like "I'm An Android, But That's OK" and the superb "Oldboy". After all, is anyone's life truly sad *or* happy? Our lives are full of joy and pain, elation and tragedy, and in that Matsuko's is little different.Yet Nakashima's visual fireworks are both a blessing and a curse. All too often the montages and singing substitute for proper characterisation and dialogue. At a number of points his cinematic shorthand leaves much to be desired: Matsuko's lengthy jail term, for instance, in which she is supposed to have formed a close friendship with Megumi, is reduced merely to a two-minute music video. Similarly, while Matsuko has various lovers whom she clings to, not once does she share a meaningful conversation with them. Nakashima seems to relish in depicting the dramatic, violent conclusions to these relationships, but the more prosaic task of day-to-day interaction – the real, quotidian essence of life – is almost entirely overlooked. Many of the characters populating the movies's vibrant surface feel two-dimensional, and Nakashima's screenplay shows less interest in taking the time to flesh them out, than it does in jumping forward to the next episode of Matsuko's life.For this reason I found it difficult to really identify with Matsuko and her world by the end, and I was left with a series of stunning vignettes that did not combine into a memorable, convincing whole. The last 10 minutes, indeed, are something of an embarrassment for Nakashima. His screenplay loses all sense of emotional verisimilitude and descends into an overblown, saccharine festival of nostalgia and string-sections which embodies the worst excesses of Japanese cinema. Its simplistic, quasi-religious moralizing is tacky and hollow: Matsuko's character and story really deserved a more complex ending, and certainly something more befitting of the movie's underlying uncertainty. The simple fact of her terrible murder in itself, which is almost unbearably realistic and difficult to watch, would perhaps have been the best place to fade-out.