Only the second Miike film I could make it all of the way through, I doubt that I could watch THE GREAT YOKAI WAR again. Instead, I think I’ll rent THE NEVERENDING STORY in the near future as Miike’s flick seemed highly reminiscent of this kid’s movie. Apart from a few moments of self-reflexivity, I didn’t find much to entertain me in this bizarre monster movie. I can see enjoying it more if I were a few decades younger but, as a 33 year old, I was rather nonplussed by this drawn out classic good versus evil / messiah tale. The effects were good, especially the make-up effects, and the little kid lead (Ryunosuke Kamiki) didn’t annoy me. ‘Nuff said.

For many critics, it’s very tempting to lump hard-to-categorize cinema with films from the same country. In a way, Beat Takeshi does deal with some similar issues that Miyazeki/Gibrli Studios addresses in films: the old Traditional ways verses the Modern culture, history verses embracing the new, technology verses nature and ritual verses anarchy. What’s more confusing is that American viewers who aren’t familiar with Japanese culture and mythology may miss symbolism that Japanese Traditionals and international folklorists are familiar with in storytelling, thus missing the depth of The Great Yokgai War (see Peter Carey’s journey into Japan for a further explanation). However, there is an audience for this film. For those who loved the off-beat nature of The Happiness of the Katamuras (Beat), Tampopo, Monty Python films, Gilliam’s films, the puppetry films of the ’80s and Harryhausen’s creature features, this film is a must-have. While there are no common place symbols such as red gates, wells or kitsunes that frequently populate Japanese fantasy, this story is based in quirky product placement (post modern references to beer, anyone?) and swampy revelations with innovative, but traditional puppetry/CG work. Yes, it does posess some of the typical fantasy characters: a cute (but not in an annoying Disney way) poppet of a boy, a fuzzy creature that will make some viewers become obsessed with possessing a stuffed animal that looks like a sunekosur &, a wise & old guide, but somehow it works and the tongue-in-cheek attitude makes it rise to level of Time Bandits. The dialogue superb and in this way, Beat’s influences are more similar to say, Gilliam’s or Itami’s films than the corny dialogue that ruins otherwise impressive anime (ie. Howl’s Moving Castle).

By far, this is my favorite 2006 film so far (have yet to see The Prestige or Gilliam’s Tideland). Sadly, it looks like Miike’s latest release will suffer McKean’s & Gaiman’s Mirrormask’s fate in 2005 as one of the most overlooked and misunderstood films of the year.

If you enjoy this film, I highly recommend reading Murakami’s The Windup Bird Chronicle which deals with similar concepts and complexities and checking out Wolf’s Rain, one of the strongest anime series that incorporates Japanese folklore.

Best to know a lil about Japanese mythology, to understand this movie. Feels like it’s a step or two up from a Power Rangers movie in production value. Unlike corny movies made in America, the Japanese tend to take their acting seriously in their movies even the corny ones. If you know the folklore about the MANY Japanese spirits in this movie, you will have a big advantage over the casual viewer. The price is pretty steep, but if you are a diehard fan of Japanese live action and Folklore get it. Everyone else I suggest renting it first.