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Shinji and Masaru spend most of their school days harassing fellow classmates and playing pranks. They drop out and Shinji becomes a small-time boxer, while Masaru joins up with a local yakuza gang. However, the world is a tough place.
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Contemplative, prestige, character-led and open-ended.
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Written by TMDB members; each links to the original. Not part of Taste Buds's numbers.
**Summary: 7/10: an unforced, wryly funny meditation on failure, and Kitano's most tender work, arguing that a life spent circling is not the same thing as a life wasted.** Two boys ride one bicycle in slow circles around an empty schoolyard. The film opens on that image and returns to it at the end, and everything between is an argument about whether failure is a destination, or merely weather. Takeshi Kitano made this film after nearly, accidentally killing himself. In August 1994 he put a scooter into a barrier in Tokyo and spent months recovering. *Kids Return* was the first thing he directed once he could work. Knowing that, the title stops being a title and becomes a question the director is asking himself with a camera: what does it mean to begin again from a position of failure, and is beginning again the same thing as going backward? The two boys are the answer, split in half. Masaru (Ken Kaneko) is the bully, the ringleader, all swagger and no interior; Shinji (Masanobu Andô) is the follower, softer, more talented, and easier to break. Masaru discovers boxing, gets humiliated, and quits for the yakuza. Shinji stays in the gym and turns out to be good. Their trajectories c
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Closest on the same fourteen dimensions, from everything scored on Taste Buds. Other media included when they land close.
Recommendations from TMDB. Opening one adds it to Taste Buds
Answer first; then see how everyone, and your circle, split.
“Does Ken Kaneko steal Kids Return from Masanobu Ando?”
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“Is the slow pace a feature rather than a flaw?”
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“Is this Takeshi Kitano's best work?”
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