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Very best movie i ever watch

the audience applauded

Memorable, crazy movie

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.

I got such great recommendations for this movie, I thought it must be great. What I got... was a disappointment. Half an hour of it was just getting ready to do a radio drama. Another half an hour and the movie sorta, kinda, dragged its feet into a patchy, commercial-filled start. I was feeling the slowness from all the way over here. I sped it up to 2x, scanning the subtitles. Maybe the last 1/3 or 1/4 picked up the pace and added humor, but at this point an hour of my life was blown and no amount of dry humor could bring it back.It had the long, drawn out scenes that reminded me of Gravity... except the acting was mediocre and uninspired, with no interesting developments in it. Was there humor? Oh, maybe. If Dana Carvey's Master of Disguise was funny, so was this.Was there excitement? Just imagine the slow moments from 2001 a Space Odyssey, and remove the sci-fi elements (or ANYTHING with a budget).This movie was boring, dull, and over-dramatized with the weak point it was trying to drive home. It feels like a play, probably because it was adapted from one. A weak 1990s movie in a 1980s setting hearkening back to the 1930s, with all the appeal of the dud it portrays.Do not watch.

Fun in the same sort of teeth-gnashing way Mitani's "Minna no Ie" is. I found myself wanting to rescue both films' main victims of everybody else's machinations. Similar plot in both movies about what happens when your dream falls into the hands of supposed experts. Both movies have leading characters who work in commercial entertainment, so I suspect the satirical elements of both scripts relating to this career path are very near to Mitani's experience.The rest in both movies is stock-character-driven farce, over-the-top, as all well-wrought farce should be. This picture was derived from the work of a live sketch comedy troupe, so it has that wild, loosey-goosey feel you get when actors get to improvise major chunks of the plot, reined in just enough to make it a coherent movie, while still nodding to the art of improv in the script-within-a-script.Look for Ken Watanabe somewhat reprising his role in "Tampopo." He doesn't do nearly enough comedy anymore. His early work is a hoot. This is only a small taste of it.

A brilliant comedy from Japan about a radio station going live with an original drama written by Miyako, a housewife, who entered a contest the station gave. She is played superbly by the plainly dressed but pretty Kyoko Suzuki. From the beginning, the madness starts. Her screenplay keeps getting tweaked to the point where it is unrecognizable and the last second script changes keep the tension up. Throughout, the characters are so rich: The temperamental actress Nokko (Keiko Toda), the too appeasing producer, the opinionated engineer, the suffering manager of Nokko, Miyako's husband who thinks the screenplay is about him, and so on. Its screwball comedy at its best, frantic, unrelenting and, at times, hilarious. I would not usually give a 10 to a movie such as this, but this one not only keeps your interest, it gets better and better. Even Ken Wattanabe is here, playing a trucker who, while driving his big rig, tunes into the melodrama and is moved by it all. Writer/Director Koki Mitani does a superb job of keeping the pacing perfect in this film. You have to see it, it is really terrific.

At a time when Japanese movies are becoming less and less imaginative and more and more standardized, THE RADIO HOUR stands as one of the happiest surprises from their industry in many years. Koki Mitani's script and direction are beautifully assured, and the actors, particularly the hilarious Jun Inoue as the cheerful, prankish Hiromitsu, couldn't be better. Mitani doesn't bother directly explaining anything to the audience; rather, he expertly shows a wide range of human behavior, each quirk of which leads to yet another bizarre twist in the ongoing live-broadcast drama. Fortunately, Mitani likes all his characters, and with marvelous economy, sees that we well understand why they behave the way they do. In fact as the story unfolds, one begins to see Mitani's story as something of an allegory for the filmmaking process, or the process of any endeavor, including the theater or the radio, that involves a broad number of collaborators. There's the actor who'll go along with anything, and the actor who won't; the actress who demands a star turn (but mainly because she feels underappreciated); the technicians who've seen it all before, and scramble to improvise; and, finally, the playwright herself, increasingly weirded out by what's becoming a perversion of everything she intended. But, finally, was what she intended any better than what what the rest of the team threw together? They needed her to get started; she needed them for the same reason.Collaboration means interdependence, and if the audience is finally happy, as Mitani ultimately suggests, then what better outcome could there be? There is not a finer or more cheerful film to come out of Japan since the last works of Juzo Itami, and it is fitting that his widow, the great actress Nobuko Miyamoto, contributes a (nearly invisible) cameo, to one of the few Japanese films to emulate the spirit of her late husband's art. And like Itami's films, THE RADIO HOUR is that rare Japanese comedy that audiences anywhere can enjoy