Miyamoto (2019) (DVD) (English Subtitled) (Hong Kong Version) DVD Region 3
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YesAsia Editorial Description
|Product Title:||Miyamoto (2019) (DVD) (English Subtitled) (Hong Kong Version) 男人真命苦 (2019) (DVD) (香港版) 男人真命苦 (2019) (DVD) (香港版) 宮本から君へ Miyamoto (2019) (DVD) (English Subtitled) (Hong Kong Version)|
|Also known as:||從宮本到你 / 從宮本到你 劇場版 从宫本到你 / 从宫本到你 剧场版|
|Artist Name(s):||Ikematsu Sosuke (Actor) | Aoi Yu (Actor) | Iura Arata (Actor) | Pierre Taki (Actor) | Sato Jiro (Actor) | Matsuyama Kenichi (Actor) | Furutachi Kanji (Actor) 池松壯亮 (Actor) | 蒼井優 (Actor) | ARATA 井浦新 (Actor) | 瀧正則 (Actor) | 佐藤二朗 (Actor) | 松山研一 (Actor) | 古館寬治 (Actor) 池松壮亮 (Actor) | 苍井优 (Actor) | Iura Arata (Actor) | 泷正则 (Actor) | Sato Jiro (Actor) | 松山研一 (Actor) | 古馆宽治 (Actor) 池松壮亮 (Actor) | 蒼井優 (Actor) | ARATA 井浦新 (Actor) | ピエール瀧 (Actor) | 佐藤二朗 (Actor) | 松山ケンイチ (Actor) | 古舘寛治 (Actor) | 星田英利 (Actor) | 一ノ瀬ワタル (Actor) Ikematsu Sosuke (Actor) | Aoi Yu (Actor) | Iura Arata (Actor) | Pierre Taki (Actor) | Sato Jiro (Actor) | Matsuyama Kenichi (Actor) | Furutachi Kanji (Actor)|
|Director:||Mariko Tetsuya Mariko Tetsuya Mariko Tetsuya 真利子哲也 Mariko Tetsuya|
|Writer:||Mariko Tetsuya Mariko Tetsuya Mariko Tetsuya 真利子哲也 Mariko Tetsuya|
|Subtitles:||English, Traditional Chinese|
|Place of Origin:||Japan|
|Picture Format:||NTSC What is it?|
|Sound Information:||Dolby Digital 5.1|
|Region Code:||3 - South East Asia (including Hong Kong, S. Korea and Taiwan) What is it?|
|Package Weight:||120 (g)|
|Shipment Unit:||1 What is it?|
|YesAsia Catalog No.:||1092144058|
導演 / 編劇 真利子哲也
剛步入社會的三無青年宮本浩（池松壯亮 飾），雖然懷有滿腔正義，卻對生活毫無期待。直到遇見中野靖子（蒼井優 飾），寂靜如水的生活終於被激起浪花！為保護備受前男友騷擾的靖子，廢青宮本即使被折磨到傷痕累累，但仍然堅決守護心愛的靖子。
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YumCha! Asian Entertainment Reviews and Features
Editor's Pick of "Miyamoto (2019) (DVD) (English Subtitled) (Hong Kong Version)"
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July 31, 2020
Oftentimes when TV dramas get a feature film sequel, the film starts out with some kind of recap or introductory context for viewers who don't know or don't remember the events of the TV drama. Mariko Tetsuya's Miyamoto does no such favors for its audience.
Based on Arai Hideki's 90s seinen manga about a stationery salesman, the film plops audiences right into the midst of the eponymous hero's seemingly mundane yet overwhelmingly messy life. A roughed-up-looking Miyamoto (Ikematsu Sosuke, at his jittery best) is going through the ritual of visiting the parents to inform them of his planned marriage with girlfriend Yasuko (Aoi Yu), who is expecting. This disorienting feeling of being dropped into the middle of a story without a primer is deliberate and will apply even to those who watched the 2018 TV drama, because the story isn't being told chronologically.
Mariko Tetsuya has mostly made his name with subversive works about anti-social characters. His most high-profile film prior to Miyamoto was 2016's Destruction Babies, which followed a group of troubled teen rebels as they went on a senseless rampage of random violence. When I watched the Miyamoto kara Kimi e TV drama, I marveled at how Mariko managed to infuse the entry-level salaryman's tale with the same type of off-kilter and volatile intensity, minus the beating people into pulp. Well, Miyamoto the movie has the beating people into pulp part, too. Only here, the protagonists are the victims of senseless violence.
As in the TV drama, Miyamoto is hot-headed, manic and awkward, yet blusteringly sincere about his feelings and shortcomings. He and Yasuko seem to be headed towards better days, but a sudden, shocking and terribly realistic moment of sexual violence hurls their lives and relationship into trauma and turmoil. Miyamoto is infuriating and harrowing for stretches as the protagonists hurt and get hurt while confronting their anger and helplessness before toxic abuse. There's a lot of yelling and screaming going on throughout, and Miyamoto's impassioned desperation snowballs into alarmingly bloody and visceral fighting. This film pulls no punches with its punching.
Both for the TV drama and the film, Mariko Tetsuya really nails the volatile tone and intensity of Miyamoto and its hyper-emotional yet emotionally stunted hero. As I really enjoyed the TV drama's old-school depiction of the humdrum but meaningful challenges of being a salesman, I was a bit disappointed that the salaryman's woes aspect of Miyamoto's world didn't carry over to the film. Instead though, Mariko Tetsuya was able to let loose from TV restrictions into more extreme cinema territory of brazen violence and manic fury.