Review: Takashi Yamazaki’s freshman effort, JUVENILE, was a special effects laden summer hit that innocently weaved popular science fiction with children’s adventure into a very commercial package. JUVENILE contained more than three hundred CG enhanced visuals, the most in Japanese film history at the time of its release. Though, Yamazaki’s latest venture, RETURNER, not only boast more special and CG effects, but was even a larger success during its run due to the fierce advertising hype and newly revamped action super star, Takeshi Kaneshiro.

Coincidentally, RETURNER implements the same ideas and themes from JUVENILE (invading aliens, time travel, saving the planet, friendship and trust), except in a more mature, graphic manner, yet still keeping the light touches of mainstream friendly filmmaking. This time around, energetic gunplay and stylized posing charge the action sequences, giving bursts of charismatic octane to Kaneshiro as he dazzles in acrobatic, trench coat wearing form. After all, he is the driving force of this film, a movie that, while superficial on the surface, is definitely a fun and visually pleasing genre voyage.

Ann Suzuki returns from her girlie teen role in JUVENILE to a more blossomed and vibrant role. She is equally spunky and precocious in her portrayal of Millie, the messenger from the future who forces Miyomoto to work with her by attaching a small explosive, the size of an adhesive, to his neck. There is a sparkle about her that keeps RETURNER dainty on its toes. A particular scene that comes to mind is when Miyomoto takes Millie on a shopping spree and a facial before they decide to do some reconnaissance work simply because of her futuristic lackluster wardrobe. It is a ridiculous and hilarious scene that should not be taken seriously, and though, it is so out of place, it almost makes sense in the blithe context of RETURNER.

Second to Kaneshiro, though, is Goro Kishitani as Mizoguchi, the uber supreme of badass villains. It is interesting because Mizoguchi seems to be been a very stereotypical scoundrel in retrospect, but all the subtle nuances of his luminous performance truly brings Mizoguchi to states of nitrous cool; the smoking and the walking is what does it every time for me. And when he gets angry, he pounds the closest underling with his elbows and knees; so yakuza typical it’s funny.

While there are a few snowdrop doses of gun battles, fans of action may leave RETURNER wanting a little bit more. However, that may be exactly what makes those sequences so enjoyable and appreciative as they are not overwhelming, but consisting of enough elegance and poise to create some inventive scenes. The effects of the bullets zipping through the air, leaving cindering mists of white smoke in its trails are one of many of CG effects that add zest to RETURNER.