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It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

The film may be flawed, but its message is not.

The film never slows down or bores, plunging from one harrowing sequence to the next.

A fantastic movie about a fantastic Lady. I've had the privilege of knowing Tomi since the early "70's. My wife and I still attend her concerts if she's playing on our annual trips to Japan. The movie nailed the PC culture in Nashville (just like the George Strait song "Murder on Music Row") Bottom line, this is one of the best movies I've seen in a long time, not because I know the producer Josh Bishop, or Tomi, it's because it was a beautifully done move which captured the essence of Tomi. She's one of the best entertainers I've ever had the pleasure of listening to. I'm proud to have been a part of it.

Greetings again from the darkness. My favorite documentary at this year's Oak Cliff Film Festival introduced me to the world's first female Japanese Country and Western music star: Tomi Fujiyama. She made a historic appearance at the 39th anniversary of the Grand Ole Opry in 1964 and director Josh Bishop follows her efforts at realizing a dream of a return performance.The first thing we notice about Tomi is her effervescent personality and zest for life. Her smile lights up any room she enters, and her observations are often laugh-out-loud funny. The next thing we notice is that she is incredibly talented as a guitar player and singer. She is no circus act, but instead a world class musical talent … not just in 1964 when she followed Johnny Cash onto the Opry stage, but even today as she belts out The Tennessee Waltz.Filmmaker Bishop does nice work in allowing us to learn Tomi's history, beginning with the destruction of her family home in Japan during WWII, and her later trip to the United States with her father. Her early career was spent performing for the U.S. military – this during a time when female performers in Japan were rare, and those that toured the world were nearly non-existent.The filmmaking process began in 2005 and the early scenes blend seamlessly with more recent footage. It's pretty interesting to watch as Tomi and her husband re-trace her early time in Las Vegas, New York City and Nashville. It's especially touching and entertaining as she meets up with 91 year old Oscar, who was part of the "Lonzo & Oscar" duo who pushed to get Tomi some of her early gigs. Watching them play together is watching two people who truly love what they do – two people born to make music. And that's the overriding feeling of the entire movie. Tomi dreams of standing on the Opry stage again, but she never misses a chance to perform … anywhere, anytime.The historical aspects of this story are impressive – multicultural and multigenerational facets play a role, and the enthusiasm shown by Tomi make her so much fun to pull for. Mr. Bishop noted in the post-screening Q&A that the final cut of the film will be different from this version, thanks to recent developments involving SXSW, Jimmy Kimmel, and yes, the Grand Ole Opry. It's a story of history, music, perseverance and attitude; and it's a story more of us should know.