Mikami's Judgement: Library of Woe (working title): Part I
So, this film, at least, that's what I suspect it has, has opened with a hackneyed plot device; a loss of conciousness and an awakening in unfamiliar surroundings with a gaggle of complete strangers. This plot setup is about as old as World War One, and only about half as pleasant to be involved in. With this cheery forecast, allow me to begin.
So, like any good, or bad film, it continues, introducing the antagonist, a vague and undoubtedly powerful figure who has decided for unknown reasons to attempt to replicate a terrible event that happened many years ago. The effects are certainly impressive, with a full-scale moving animatronic of Monobear, the now famous icon for what is historically termed 'The Despair Incident'
But you're not reading this review for a history lesson, or at the very least if you are I'm afraid you must be a bit lost, so allow me to continue. This work of historical-inspired psychological thriller reality takes a fascinating twist when the kidnapped teenagers are all ordered to murder each other, a process that will no doubt be captured on the many, many, many, cameras everywhere in the library. Yes, everywhere. Yes, even there.
It's an interesting approach to camera work, I admit. Why bother with professional cameramen or camera rigs when you can just put a load of fucking cameras everywhere and choose the footage that looks the least like it was filmed through a camel's anus.
To properly rate this experience, I would have to discuss the characters; Yasu Ieyasu, an angry girl who ought to work on her violence and anger management issues and who very rudely dragged me around on the floor for the heinous crime of existing and demanded I help her and her ragtag group of acquaintances with doing.... something. I never figured out what.
Sonya Channing, an initially abrasive and rude foreigner who very crudely mocked my excellent taste in film before becoming slightly more rational to the extent that she was able to bestow upon me the most singular and rare of pleasures, that of learning something new about film.
Setsuna Emo-kun a person of indeterminate gender who really ought to get some clothes that seem less like they belong on the child of an American CIA agent and a French avant-garde director, but who has an interesting viewpoint on films, a sense of humour lacked by many other people in this place, and a generally agreeable personage overall. Also less violent and shouty than their female compatriots, so that's a thing.
After a bizarre encounter where I helped to reorganize a DVD section, and when I say helped I mean did the entire thing on my own, I, out of fear of my life and for no other reason, followed the party to breakfast, as Eisuke Hanake, a rather alarmingly large boy who is apparently my roommate, prepared an excellent rice dish.
The highlight of the scene was my meeting with Hotaru Hitoya, child star and actress extraordinaire, whereupon we shared a remarkably friendly and interesting conversation on the merit of her work, which concluded with my promise to continue to criticize and hers to continue to improve.
All in all, although I came worryingly close on a number of occasions, I have as yet escaped every encounter with an intimidating and loud person unscathed, more than I can say for the participants in the first incident.
All in all, this instalment merits a fair HOLY SHIT SOMEBODY GET US OUT OF HERE BEFORE SOMEONE DIES out of ten.
