Sho Aikawa Movies

A nebbish father and schoolteacher finds the courage to face both his personal issues and a horde of invading aliens after assuming the guise of an unpopular television superhero in maverick Japanese director Takashi Miike's warmhearted comedy. Nice guy Shinichi (Sho Aikawa) just can't seem to find the respect he so readily deserves: he's cuckold at home, his son is constantly harassed by bullies, and is teenage daughter is always willing to sell her body to the highest bidder. In order to escape from his depressive reality, Shinichi frequently slips into his private room and dons his patchwork Zebraman costume. As a child Shinichi loved Zebraman, and despite the fact that six episodes of the series ever aired the nobility of the character has stuck with the Shinichi well into adulthood. One night, while Shinichi is prowling the streets in his Zebraman costume, he comes across the frightful Crabman - a perverted villain with crab head and a dangerous pair of scissors. Already in character, Shinichi acts on his Zebraman instincts and effectively employs the Zebraman back kick. Later, Shinichi strikes up a friendship with handicapped transfer student and fellow Zebraman fan Asano, and begins to develop feelings for the boy's pretty and kindhearted mother. Suspecting that an alien takeover may be at hand when a horde of squishy extraterrestrial invaders begin possessing the locals and claiming the lives of young girls, the fledgling superhero leaps into action. While at first Shinchi bumbles in his attempts to keep the town safe from these strange beings, it doesn't take long for him to develop the confidence that will allow him to truly take on the persona of his childhood hero and fully realize his Zebraman powers. ~ Jason Buchanan, All Movie Guide

As one of the most cutting-edge Japanese filmmakers, Kiyoshi Kurosawa once again wraps a lowbrow, much-maligned genre -- in this case horror flicks (which were the rage in Japan at the time of this release) -- around some decidedly highbrow philosophical concepts. At the film's outset, Michi (Kumiko Aso) and her cohorts at a rooftop nursery cannot get ahold of their co-worker, Taguchi (Kenji Mizuhashi), who has an important floppy disk. When she ventures over to his apartment, she finds him pale, listless, and unusually quiet -- that is until he suddenly hangs himself. While the suicide is disconcerting, what really freaks Michi out is that Taguchi's body seems to dissolve into the wall, leaving a sickly black stain. Meanwhile, college slacker Ryosuke Kawashima (Haruhiko Kato) logs onto the Internet for the first time even though he is not particularly fond of computers. Instead of stumbling into a porn site or a chat room, he finds himself in a most peculiar site -- he just sees ghostly images of other people going about their everyday life. Then the computer prompts him, asking, "Would you like to meet ghosts?" Even though he eventually pulls the plug, the machine still on occasion springs to life. He eventually consults a comely computer maven named Harue (Koyuki), who is also utterly baffled. As more and more Internet users seal themselves into their rooms with red duct tape and melt into black splotches, Kawashima and Michi independently come to discover that the Internet has become portal for an increasingly crowded afterlife. As Tokyo becomes increasingly depopulated, Kawashima and Michi cross paths. This film -- which also features cameos by Kurosawa regulars Koji Yakusho, Jun Fubuki, and Sho Aikawa -- was screened at the 2001 Cannes and Toronto Film Festivals. ~ Jonathan Crow, All Movie Guide

When oddball auteur Kiyoshi Kurosawa received an eccentric offer to make two films in two weeks, on a low budget and using the same cast, the result was the cinematic equivalent of fraternal twins. Though both Spider's Gaze and Serpent's Path are gangster films about the desire for revenge, and both films feature a protagonist named Nijima played convincingly by Sho Aikawa, the two films are completely different in tone and plot. Nonetheless, they seem freakishly interlocked in ways that defy the conventionally linear relationship of a sequel, as each of these enigmatic, absorbing films elucidates and alters our understanding of the other. Spider's Gaze concerns Nijima, a white-collar worker who one day finds the man responsible for his young daughter's brutal rape and murder. He tortures and interrogates the man, who maintains his innocence, before killing and burying him. He returns to his ordinary life feeling listless and hollow, until he meets an old high school friend who introduces him to his hapless band of hired killers. His skill in the assassination business catches the attentions of a bigger crime boss. For reasons that remain opaque, Nijima is assigned to investigate his friend, which ultimately results in a bloody confrontation. In spite of its grisly subject matter, the film is remarkably light and filled with loopy details, such as mobsters training on rollerblades and a fossil-obsessed godfather, that recall the absurdist flourishes of Haruki Murakami novels or Seijun Suzuki films. This film was screened at the 1999 Toronto Film Festival as part of the Director's Spotlight. ~ Jonathan Crow, All Movie Guide

Veteran filmmaker and perennial iconoclast Shohei Imamura directs this darkly comic tale about love, redemption, and a man's beloved pet eel. The film opens with Takuro Yamashita (Koji Yakusho), a seemingly normal salaryman, learning that his wife might be having an affair. When he catches the couple in flaganto delicto, he freaks out and brutally stabs them both to death. Eight years later, Yamashita is released on parole into the care of a Buddhist priest living in rural Chiba prefecture. Far away from his former life, yet still plagued with memories of his crime, Yamashita decides to start anew by opening a barbershop on a quiet road next to a canal. Though inward looking and self-conscious, he eventually befriends a bumptious but good-hearted day laborer, and a construction worker who's obsessed with UFOs. His most fateful encounter though is with a woman named Keiko (Misa Shimizu), who he discovers unconscious following a suicide attempt. Looking to put a few of her own demons to bed, Keiko decides to stay in this sleepy corner of Japan and help her savior with his barbershop. Initially against the idea -- she bears a striking resemblance to his dead spouse -- he eventually agrees and even grows to like having her around. This film won the Grand Prix at the 1997 Cannes Film Festival. ~ Jonathan Crow, All Movie Guide