Aug 03 2010
Stream Mushi-Shi: The Movie Movie Online
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Stream Mushi-Shi: The Movie Movie Online.
Movie Title: Mushi-Shi: The Movie Mushi-Shi: The Movie is available for streaming or downloading. |
Silver-haired and mysterious, he wanders through Japan helping people who are plagued with mushi — mysterious supernatural creatures.
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And while most live action movies adapted from anime/manga are tepid CGI-heavy affairs, “Mushi-Shi: The Movie” is an ethereal, atmosphere-soaked share of work that shows the shimmering Katsushiro Otomo at his best. The storyline is kind of fragmented as it explains the protagonists’ history, but the eerie site and hauntingly lush backdrop of medieval Japan develop this an resplendent portion of work, with a subtle tinge of panic.
A silver-haired wanderer — a “mushi-shi” or “bugmaster” — named Ginko (Joe Odagin) takes shelter in a shrimp village, where the local matriarch asks him to assist with some problems. One is that some of the villagers have gone deaf in one ear; the other is that her granddaughter is hearing bizarre things that aren’t there, and grown a pair of weird horns from her forehead. With his know-how and an assortment of herbs, Ginko manages to deal with the problems.
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While all this is going on, we recognize a silver-haired woman named Nui (Makiko Esumi) adopt a child whose mother died in a landslide. She urges him to go in case the local mushi affect him, but she grows fond of the boy — leading to a magical and horrifying transformation for them both.
But fresh problems arise when Ginko travels to the Tanyuu household, home of a bizarre hereditary mushi and a ample store of mushi-related information. The mistress of the house (Yû Aoi) has become mysteriously ill, and information about a kind of mushi called the Tokoyami stirs dilapidated memories in Ginko. And as he tries to seal away the mushi that threaten to swarm through the mansion, he comes face-to-face with a tormented soul from his past…
“Mushi-Shi: The Movie” reminds me a puny of “Dororo,” only with lovelier landscapes and less messy monster-slaying. The only accurate spot with this movie is the fragmented storyline, especially since the first half is a series of interconnected vignettes and flashbacks — half is backstory, and half is about Ginko’s ability to glance out mushi and deal with them.
But Otomo manages to sustain the residence threads of past and expose woven into a intellectual web, and the second half is a comely, painful expanse chunky of exertion, blood and past hurt. And we watch how deadly the mushi can be, rather than the minor pests and nebulous dangers in the first.
It’s a glorious share of work, roaming languidly through lush leafy forests, pale misty light, and deep woodland ponds fringed with trees — it’s utterly stunning. One particularly haunting moment is when we witness of Nui and the boy Yoki “flying” in deep pondwater, murmuring to each other as they drift. And the beauty of most of it makes the horrific parts (including a allotment of clothing slowly filling itself with swarming darkness) even darker and more cross.
Joe Odagin (with a headful of silver dye) does a splendid pleasurable job as the perpetually mellow Ginko, who gradually seems to awaken emotionally when a crisis arises that he can’t immediately fix. Makiko Esumi is absolutely sparkling as Nui, Nao Omori has a valid supporting role as Ginko’s rainbow-hunting sidekick, and Aoi has an favorable little role as a legendary mushi-shi who is infected with one herself (and deals with it by writing about them) .
“Mushi-shi: The Movie” is a visually lush, slow-moving section of fantasy, relying on subtlety and a peculiar price of “bugs” that can only be dumb with by a mushishi. It requires some patience, but it’s a pretty section of work.
While Mushi-Shi The Movie cannot claim to have many ties to anime-giant Funimation (after all, it is a 2006 live action film that has cleaned up at movie festivals), the franchise itself is deeply rooted in the anime/ manga industry. Yuki Urushibara was the mastermind slack the modern manga (which was awarded an Excellence Prize for manga at the 7th Japan Media Arts Festival in 2003) and a rich 26-episode intelligent series followed shortly thereafter in 2005.
In 2006, amidst the successful bustle of the anime, Katsuhiro Otomo directed this live-action incarnation, which enjoyed its world premiere at the 2006 Venice Film Festival. It then opened in Japanese theatres in March of 2007.
Released to North American markets at last, Funimation has acquired the irregular rights to the motion report, which occupies a single disc within a standard-sized DVD case. Runtime comes in at 131 minutes and language options follow the standard region in the anime business: Fresh Japanese dialog (in stereo) and an English dub option in Dolby 5.1 Surround. English subtitles are available with either suppose choice.
The film wears an appropriate TV 14 rating due to the slightly disturbing imagery though the film does a incredible job of steering obvious of sexual situations, corrupt language, or glorification of gore.
Extras on the release include a host of deleted & extended scenes (opposed to the theatrical release), Mushi-Shi premieres, new trailer, and a prick of coming attractions (which includes live-action features) .
The fable, which basically follows the format established in both the manga and the anime, goes something like this: In turn of the century Japan, a mysterious traveler named Ginko arrives to a petite village where he happens upon a houseful of individuals afflicted with inner-ear peril. As fate would have it, the traveler is one of few living Mushi Masters; an individual who has devoted his life to studying peculiar, iridescent parasites called Mushi.
What’s more, these parasites cannot be seen by everyone, which of course makes them particularly risky as their choice for entering their host (human or animal) is through the ear.
Infection of the parasite results in deafness and the appearance of four shrimp, upward curving horns on the forehead (which are worthy of detecting modern sounds that unaffected men cannot hear; whispers and ringing bells) .
The tone of the film is surprisingly serious, with near-constant tension and mysteriousness. It requires a positive level of patience and willingness to sit attend and allow the film to weave its tale. Action-lovers will probably be disappointed but horror-film fans will probably have slight distress adapting into the righteous spot of mind by the mysterious series of events with which the film opens.
Some have expressed shameful disappointment in earlier American-renditions of the film, which, like many foreign properties before it, brutalized the subtleties and genius of the recent in translation. If you observe examples, judge this: The current English translation was titled “The Bugmaster”; a name obsolete to identify Ginko as the Mushi themselves was translated simply as “bugs”.
In my view, viewing the creatures as a simple bug infestation certainly downplays the mysteriousness and borderline-disturbing nature of the creatures. These aren’t the type of pests that one can obtain rid of by calling in the Orkin Man. Instead, there’s mysticism at work here that builds well by playing off the natural scenery and darkened environments of the film.
Jô Odagiri’s portrayal of Ginko is quite impressive as well thanks to an affinity of confidence-filled grins and dead, deliberate motions.
The dub is decent and certainly holds up blooming well against the new dialog, though not quite as smoothly as the generic mouth flapping that anime allows. Once the initial injure of lips that do not match the dialog fades, put a question to a solid job by the English mutter actors coupled to the benefits of Dolby Digital 5.1 Surround Sound.
Pacing is fairly dumb and methodic throughout but for the most share, well done. Films like this rely upon tension and release in its prose rather than endless action sequences or CG-induced visual overload.
About the biggest source of confusion comes in the develop of the frequent flashback sequences that without the encourage of some corny wavy screen-wipe attain could easily be inaccurate for unique events. These segments, which can be identified by a woman with the same silver hair as Ginko, are in fact memories of Ginko’s distant past. The silver haired woman is in fact Nui; young orphan Ginko’s fill mentor and her teachings are the type of philosophical infusing one might query should be explain in an Asian film.
Perhaps the picture’s greatest strength lies not in what’s seen but in what isn’t- as in dimly lit sets, misty mountainsides, and minimal-use of the computer-generated parasites all add up to a creepy undertone that works extremely well. It’s often said that some of the finest tension-thrillers are those where the villain is rarely seen on veil (but left to the viewer’s imagination) . Ridley Scott has reiterated this point when discussing his 1979 film, ALIEN time and time again and indeed, it’s the hastily shots of the monster that acquire it so shocking and withhold viewers studying the shadows in every scene.
In all, this movie certainly isn’t for everyone. As stated above, it takes a obvious level of patience and commitment from the viewer to fully devour. The over-two-hour runtime can feel long and wearisome if approached with the unpleasant expectations. The tones and themes here are definitely remarkable heavier and more depressing than those presented in the anime, manga, and video game incarnations of the property. In all though, a very current record that will surely ticket those who belief artistry and emotionally driven storytelling as one in the same.
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