  Photo Kano - Episode 13 - Mutual Feelings Jul 4th 2013, 17:00 
Kazuya has a big problem. While his parents are gone on a trip for Europe, he realizes that he might have the hots for his younger sister, Kanon. If he confesses his feelings, for better or worse, life at home may never be the same again!
 |  Majestic Prince - Episode 13 - The Aloof Ace Jul 4th 2013, 15:00 
The Fail Five is happy to welcome a new AHSMB unit and its pilot, Ange, to the team. Shortly after Ange joins, they are sent on a mission to 4 Vesta. Ange seemed to do well in the mock battle, but how will he manage on the battlefield?
 | | Detective Bureau 2-3: Go to Hell Bastards – Review Jul 4th 2013, 00:04 
"I'm a virgin, but my heart is that of a prostitute." Detective Bureau 2-3: Go to Hell Bastards is another of Suzuki's yakuza films. A marvel for 1963, it is a seldom mentioned title in his career (perhaps the title length is intimidating). It is stylistically and defiantly a Suzuki film, containing all of his usual trademarks, both glorious and baffling. With the opening credit sequence superimposed over a burning car, the film is violently self-aware, allowing for the absurd – like much of Suzuki's work. We have the tough-as-nails protagonist (played expertly by Jo Shishido), the wronged mistress (Reiko Sasamori), and the evil villain (Kinzo Shin), for the film shares elements with fables as well as cheesy "undercover cop" films. There is structural familiarity but also a conscious artistic and absurdist postmodern take on the private detective character. Members of two gangs are gunned down during a gun trade by an unidentified third group, the goods stolen. A man named Manabe is soon arrested by the police but the day has come for him to be released. The police plan to tail him so that he'll lead them to whichever gang is involved, however, both gangs camp outside of the precinct prepared to shoot him down. The reason the police allow them to do so is, of course, because they have hunting licenses. The media fervently covers the story. The protagonist is private detective, Hideo Tajima. His office is Detective Bureau 2-3 and he has one assistant and a magazine editor who help him at opportune times. They bring him potential assignments and bring the film a great deal of camp. They are eager and dependable however, so they are also watchable. 
Hideo arrives at the police station and convinces the chief (after a fair amount of tedium) that a non-policeman, a complete "unknown," namely himself, would be the most ideal inside man to crack the gun trade. He doesn't do this for free of course. He is given a gun and fake I.D. by the police. His name is now Ichiro Tanaka, a man who's been sentenced twice and has since been released. They give him a residence in Musashidai. The chief reassures him that only the top brass know of this arrangement; if he commits a crime he will be arrested, he is only to act as bait. Upon Manabe's release, Tanaka (Hideo) helps him escape with such bravado that he even stops to watch the carnage unfold at one point to admire how well it all worked out. These are signature Suzuki scenes, embraced by some and despised by others. Another, where a television news report is simply black and white scenes shot for the film as if a dozen cameramen were covering the action with finely-focused close-ups and all. The colours of certain scenes, extreme reds and vibrant yellows, the claustrophobic closeness of key shots (beautiful by the way), the jagged editing; it's absurdist cinema, sometimes a bit too much, but Suzuki's confidence is clearly cast upon the film. http://www.youtube.com/watch?v=Oa7YF3OXEY8 Tanaka is accepted into Manabe's gang, or rather one he's a part of. We meet Yoshihama, nephew to Boss Hatano. Hatano, however, is actually maneuvered by a man named Beniki. It isn't long before they discover Tanaka's true identity and we witness Hideo's daring and pure sense of reckless abandon in full force. And so a song is sung in the film, "This one's a lout, he is stupid; this one is a lout, he is clever. The two louts plan together – a lousy job. Who will be more cunning? The fox or the raccoon? They join forces, but in the end, a third thief swindles them." A little on-the-nose, but fitting in this cinematic world. There are, in fact, two musical numbers in the film (one in which involves Shishido). Harumi Ibe's score consists of rollicking jazz-influenced bombasticism that is very appropriate to the perfectly-framed and colourful visuals of which Suzuki is never spare in providing. A fine film in the Suzuki canon, but may be a bit too unrealistic and silly for some more accustomed to Suzuki's darker works.
 | | Plump Revolution – Review Jul 4th 2013, 00:01 
This movie is fluffy and fun but seems a bit confused about what it is about. What saves it is the actors who are entertaining. It makes it worth watching if you have some free time and you have nothing more important to see or do. So a woman falls in love and is shot down. Seeing that she is a bit of a pain in the ass this is not surprising in it's self. But after she starts to find out (through investigation no less; creepy) that he likes woman with some meat on them she goes gusto eating. Then the movie goes off course. I'm not going to go in to all the reasons why (and there are quite a few of them) for those who want to watch the movie. The movie missed its mark completely with the one scene when the photographer asks his potential girlfriend to eat 20 steaks in one sitting just so she can earn his permission to date him. Perhaps it was intended to be the climax of this farce but I couldn’t get past how it seemed cruel and God awfully denigrating. What drew me to this film is the topic of modeling and fashion. From the beginning, I did enjoy the caloric intake of breakfast for a typical model. However, when I heard she was eating 600 calories per day, I was very surprised. Normally, a model would intake 1000-1500 calories per day depending on her metabolism and she would use her daily meals intake differently each time in order for her body not to reach stabilization or a plateau. The movie tries to talk about being true to yourself, no matter your size and you'll be happy. Ok. It's doesn't quite sell that point well. If you want something that has a plot that makes sense then this is not for you. However, if you don't mind a movie that is a ball of silliness then by all means take a look. 
The characters were very flat, not much depth to them to make me care, especially the photographer. Now that I think of it, he had very little screen time when you factor in how important he is to the model character. And how are we supposed to believe that a stuck-up skinny model suddenly gets an attitude adjustment just because she gains some weight? There was very little transition time for this, and I didn't buy it at all. All the characters could benefit from more background material, which there's a lot of potential for. It teaches you to love yourself and it doesn’t matter if you’re “plump” because you can still find love. Some parts were confusing and don’t make sense, but the storyline is good.
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