ShangLuda Admirable film.

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

Claudio Carvalho In Tokyo, the dysfunctional friends Nimura (Jô Odagiri) and Mamoru (Tadanobu Asano) work in a laundry of towels in part time. Nimura sees a bright future only in dreams, and Mamoru is adapting a venom jellyfish in fresh water. Their boss likes them and gives a bonus and proposes a full time work for them. Mamoru kills the boss's family in a attack of rage without any reason and he is sentenced to death. Nimura keeps the jellyfish and releases it in a canal of Tokyo. Meanwhile, Mamoru's father comes to Tokyo for the funeral of his son, and Nimura stays with him, while the jellyfishes threatens the population of Tokyo.I bought the American DVD "Bright Future" full of expectations of an intriguing movie, based on the recommendation on the cover to fans of David Lynch and Luis Buñuel. The person that wrote this remark must be kidding! It is ridiculous the comparison of this senseless, pretentious and boring mess with the films of these two great directors. Just because the story does not make any sense, it does not mean that we, fans of David Lynch and Luis Buñuel, will enjoy any crap. In the end, I have never reach the target where director Kyioshi Kurosawa aimed and I found this flick a pure waste of time and money. My vote is three.Title (Brazil): Not Available

David Kyoshi Kurosawa is becoming one of my favorite current filmmakers, and the further he gets from conventional horror and shock, the better I think he is.Deeper meanings mingle with absurdist humor, and the kind of chance occurrences that enliven the fiction of Paul Auster and Haruki Murakami also figure heavily in Kurosawa's films; cinematically, everything from Lynch or Fellini to Don Siegel can be a touchstone for further exploration.BRIGHT FUTURE is like an improved CHARISMA - more refined, less loony, and considerably more poetic, but K Kurosawa's many concerns - trashing of the environment, a sense of depersonalization (and discreet nihilism) in younger/future generations, the erosion of a society's cohesiveness (especially when that erosion originates within, and not from some external source) - are handled very well - the last shot offers his darkest humor, with the cross-generational understanding becoming something quietly heroic evoking certain past masters of Japanese film. A sense that - if younger generations have drifted towards a nihilism that could destroy them or you, it is balanced by an equally withering take on the older generations that somehow let them down; this film in many ways visualizes the idea of getting over it, and moving on with life (after presenting some of the consequences for not doing so).Tadanobu Asano's presence here is somewhat hyped (definitely on the DVD cover), undoubtedly due to his ascendant global stardom, but his performance is eclipsed by co-stars Joe Odagiri and Tatsuya Fuji, who both deliver dynamic performances of great range and control.Mysterious, poetic, open to many interpretations, and one of Kyoshi Kurosawa's finest.

disgruntledwren The high vote I gave this movie is partly relative--there just isn't much on the shelves these days that isn't tiresome (so I tend to gravitate towards anything that isn't a sequel or remake). So if this film is guilty of anything, it's guilty of being delicate and intelligent. The characters are so subtle they almost escape one's grasp but this isn't a loss and shouldn't deter anyone from watching it. I enjoy thinking back on it now and pondering Yuji, the main character, and his relation to the jellyfish.It is also worthy to note that the visuals aren't overly stylized--they were incredibly detailed and balanced. I liked that I felt increasingly familiar with their world the further the movie went. That must have been very hard to pull off since most movies that re-use scenery like that turn out repetitious. The backgrounds here seem lived in, and judging from the part of the behind-the-scenes that I watched it was filmed in realistic locations.Asano is interesting in this one, not that he usually isn't, but his character seemed far more complex than I expected with each new line of dialog. This movie and the careful construction was so nicely stacked like a house of cards I was almost afraid to breathe in case I would miss something.

sallyfifth Akarui Mirai has a lot going for it. Somewhere in the mess of metaphor and "art for art's sake" is a good story with a strong message and good images. Unfortunately things get typically nonsensical with the lesser Kurosawa behind the camera. Ok, that's harsh, but why can't this guy find a way to tell his story coherently AND make use of the positive aspects of his style. I like art-house movies, I like esoteric Japanese dramas, I like quirky filmmaking, but I don't like this movie. It's the type of movie I dislike most in fact, it's a badly made film pretending to be a good one. I trusted it, and it basically took me for a ride to nowhere and left me there. I admit, the movie has it's moments, the lyrical beauty of the Jellyfish, one of the movie's most powerful images, are wonderful. The performance of the leads is good. There's some humor sprinkled here and there, but for what reason? I couldn't read the tone of the movie... Is this a fariytale? Is it a drama? There's just so much jammed onto that screen, and yet nothing. It's basically a bunch of nice ideas, presented in an incredibly lifeless manner. I can't imagine who would find any of this fulfilling?