REVIEW: Big Man Japan

After watching Shin Godzilla last week, I'm still on something of a kaiju kick. I recall once hearing of Big Man Japan on an episode of the Laser Time Podcast; described as a hilarious genre parody, I knew this was a film I would have to see. Naturally, I tracked it down and gave it a look, only to discover something that was not quite entirely what I was expecting.

The film is shot in the style of a mocumentary, following the titular hero, Big Man Japan (otherwise known by his civilian name, Masaru Daisato, played by Hitoshi Matsumoto). Possessing the uncanny ability to greatly increase his size and strength whenever he comes in contact with electricity, Daisato finds himself employed by the Japanese defense ministry. Like his father and grandfather before him, it is his duty to power-up and defend Japan from all manner of bizarre monsters. Unlike his predecessors, however, Daisato finds himself much less appreciated by both his employers and the general public; the collateral damage caused by his work tends to upset people, and the gig doesn't exactly pay well. The film explores his meager, lonely existence with almost sadistic glee, striking a tone that dips into the surprisingly unfortunate more than once.

It's a fantastic concept, to dissect the life of a super-sentai monster fighter as though they were an underappreciated civil servant. There's many different directions this story could go, but the film doesn't seem entirely willing to commit to one solid idea. This gives things a bit of an uneven tone; we get some genuine drama as we learn about Daisato's abusive father, but then we get to see him awkwardly try to keep two monsters from mating in the middle of a traffic jam. It generally succeeds at whatever it tries to do, but I can't help but get a sense of unevenness from the whole thing. Frankly, I would have liked to have seen the story unfold in either one direction or the other. Either play everything straight and have the humor result from the subtle contrast of a genuinely tragic story set against such an absurd backdrop, or go full-tilt with the silliness and make it a straight-up comedy. A stronger sense of tonal commitment definitely would have helped the pace, which I think can reasonably be described as "glacial".

The humor throughout the entirety of the first act is supremely dry and the plot doesn't really get going until a half hour in. There's some really clever ideas (such as how Daisato's agent sells ad space on his body whenever he has to go fight a monster), but it feels like the filmmakers didn't really do everything they could with this premise. To be fair, that could be a budgetary issue; for a Japanese indie film made a decade ago, the CGI and special effects all look surprisingly solid. The monster designs and concepts are all quite excellent as well; there's a really strong heart of absurdist humor at the center of this film. When it's allowed to shine, it's a veritable laugh-riot, so it's a shame that the rest of it feels so aimless and meandering.

That said, the pacing and general mood of the film does help to establish an atmosphere that really helps the viewer get into Daisato's headspace. He's laid-back and complacent almost to the point of being totally boring, but we still sympathize with his burden. His is a job that, frankly, no one should want; he can't travel, earns peanuts, and barely sees his estranged daughter. It's not exactly a pleasant mood for the movie to take, but it's certainly an effective one. I would have just liked to see more regarding Daisato's relationships with those around him. We get glimpses of his family life, but there's hardly any payoff. The drama is compelling but under-delivered and the comedy is an absurd delight when it's actually present. It's a film that seems it get in its own way frequently. With that said, the ending is one of the funniest things I've ever seen.

Big Man Japan is a film with a lot to think about. I can say objectively that it is well-made. It's an inventive idea with a lot going on beneath the surface. This isn't simply a movie about a superhero who kinda sucks at his job; there's plenty of subtext to explore in regards to the story and protagonist (and especially the ending). On paper, it is a good movie. The question, though, is would I recommend it. Frankly, I'm not entirely sure. Perhaps this is the sort of thing that improves upon sequential viewings, but I can't help but feel as though this missed the mark for me. It's definitely a niche sort of film; there's some bits of undeniable brilliance here, so if this seems like your sort of thing, then I say definitely go check it out. However, if you're not particularly big on Japanese monster movies or subversive dramedy, maybe give this one a pass.