a Tokyo both fantastic and chillingly conceivable, a slow invasion has
taken place. In plain sight, a species never imagined by mankind has
risen up to threaten the populace. Humanoids, called “ghouls” have
decimated entire prefectures across Japan’s capital. A lone government
agency of elite ghoul hunters called the CCG are the only barricade
against the complete annihilation of Tokyo’s population. Even those
areas considered “safe” aren’t without incident, as the creatures feast
on the flesh of regular folk for their main sustenance.
despite the danger, life goes on, and a Tokyo bookworm falls in love.
Ken Kaneki is so entranced with a bespectacled young lady he’s never
spoken to, that like any good stalker, he’s found out what coffee shop
she frequents, and has set up camp to simply watch her come and go.
When their chance meeting reveals her as a fellow bibliophile, the quiet
and unremarkable Kaneki cannot believe his luck when pretty Rize agrees
to go out with him. Sadly, good literature is not the only thing she’s
happy date ends with a twist on a goodnight kiss, or as Rize might call
it, “dessert.” She sinks her teeth deep into Kaneki’s neck, and the
only fooling around that will be had that night is the ghoul toying with
her terrified food. Her superhuman strength and powerful, tentacle-like
appendages make mincemeat out of Kaneki, and all looks quite lost until
- as with all very bad witches - a house falls on Rize (Some
construction beams, really). That first date was the last day of
Kaneki’s life as he knew it.
waking in the hospital, it isn’t long for Kaneki to feel that outside of
the aches and pains of being hurled through the air, impaled, beaten and
eaten, something’s a little different. Could it be his sudden repulsion
to everyday foods, or is it the luminous red eye surrounded by a
completely black sclera looking back in his mirror that gives a clue?
There’s also these weird skin tags that pop out of his back when he
feels threatened - kind of like those whip-like tentacles of Rize’s.
Actually, they’re exactly like those whip-like tentacles of Rize’s.
Dragged around by a ravenous hunger and no way to fill it with anything
that will stay in his stomach, after some more painful, ghoul-related
misadventures, Kaneki, in search of answers, finds his way back to the
coffee shop where his nightmare began,.
Antique, Yoshimura, the kindly café owner reveals that all his staff and
most of his customers are indeed ghouls, and like it or not, Kaneki is
now one, too. At this haven for peace-loving flesh-eaters, he shows the
boy the joys of coffee - the only human comestible ghouls can withstand
- but warns him that no matter how Kaneki might wish it, the hot
beverage is no substitute for the nourishment of human flesh.
everyone is as hospitable to this new, helpless ghoul. Despite having
saved his life, Touka patently loathes Kaneki. The young female ghoul
resents the fact that he got to live any part of a normal, life without
fear of being hunted or exterminated. Much of their interaction is
touch and go with Yoshimura gently nudging the girl to help Kaneki find
his feet (and tentacles).
they haven’t tracked him as a new player on the scene, there’s also the
constant threat of the CCG, in particular the ace ghoul investigators,
Mado, and his protégé, Amon. The elder obsessed with the eradication of
the creatures he sees only as dangerous vermin to be obliterated without
mercy, and the junior in awe of his senpai’s massive ghoul body count.
Mado’s totals are in part due to the weapons he employs; quinques, which
are made out of kagune - the organs that create the dangerous
protrusions that eject from the ghoul’s backs in times of attack. These
kagune are harvested from the corpses of Mado’s kills. Mado is
essentially using the ghoul’s own defenses to kill them. While looked
at as a nut by most in the CCG for his single-minded zealotry, Mado is
on a mission to rub out one particular ghoul and everyone associated
with him. That path eventually leads him and Amon to Kaneki.
Kaneki’s commitment to intense training to become stronger and
self-sufficient has made him – and his kagune - a force to be reckoned
with; albeit one that he can’t fully control. While Kaneki deals with
the reality that he now must eat human flesh to survive; will he be able
to retain his humanity while keeping control over the feral, animalistic
urges that becoming a ghoul hybrid has ignited in him?
GHOUL being made into a live-action movie was inevitable, being one of
the most popular and sensational manga and anime titles in a currently
pale field. As a fan of both its graphic and animated forms, I was
apprehensive that I would experience a live-action adaptation as rancid
and unforgivable as the pair of ATTACK ON TITAN films released in 2015.
Luckily, my worry was happily misplaced. While not perfect, TOKYO GHOUL
is a rollicking ride that doesn’t disappoint die-hard fans, or those
simply looking for a fun night at the movies.
start off with the things TOKYO GHOUL fans will want to know; the good
and occasionally not so great, with minimal spoilies:
begins with Kaneki: I know that casting actors far older their
characters is nothing new, still, Kubota Masataka looks very much more
like his actual 29 years, than Ken Kaneki, baby-faced college freshman.
Kubota does radiate a kind of lonely, awkward innocence signature to
human Kaneki, and when the ball gets rolling, conveys the emotional heft
of the conflicted character turned inhuman, even if he does snivel and
cry awfully much. Not just cry, I mean great, heaving, gulping,
bust-a-blood vessel sobs.
Surprisingly, the physical casting of both Touka and Rize gave us
plainer than imagined actresses, considering the graphic characters’
ardent fan followings, but Yu Aoi as Rize manages to be creepy enough.
However - and I’ve never said this about a Japanese manga adaptation -
more sexiness would have helped. After all, when we meet her in the
comics, she is nude and draped in a pile of bodies of the victims she’s
binged on. Rize of the comics is a bombshell, with several powerful
guys obsessed with her for different reasons, which brings a lot of
trouble to Kaneki’s door. None of that is alluded to. Maybe next time?
central part of source Touka’s character to be angry at the arrival of
Kaneki, but the lack of the background we receive compared to the manga
and anime, just makes her gratingly rude and insufferable. Touka’s only
balancing aspect is her unexplained affection toward a human female
friend who cooks homemade meals for her, blissfully unaware of what
Touka would really like to nibble on. The tsundere – or tough/bossy
girl – character doesn’t work so well for those who might never have
read the manga, or know Touka’s motivations, which are not clear here.
She’s pretty much a lazily-written rage doll; which doesn’t benefit the
character, or her actress. That said, Shimizu Fumika does put over
Touka’s vicious, high-speed combat action convincingly.
Yo perfectly portrays Ghoul Investigator Mado’s fanatical obsessiveness
and cold-blooded hatred for ghouls, along with the character’s creepy,
anti-social weirdness, but opposite to Kubota and the ladies, under a
gray fright-wig, the actor’s too young and handsome. Still, this Mado
is blunt and awful; dazed from sleeplessness and unwilling to see the
ghouls as feeling, thinking beings. He’s uses the cruelest methods to
gleefully dispatch the “rats.” There is one amusing point that shows
his misguidance early on, when a young investigator asks whether humans
and ghouls can possibly marry, Mado holds up the sprinkled donut he’s
munching and says, “Can you love this?” Obviously, the answer is, yes,
because donuts and I have been in a committed relationship for years. I
love donuts more than everyone.
Nishiki, Yomo, Hide and Amon are perfect, as is our fleeting glimpse of
Irimi. Each one looks and acts like s/he came right out of the manga. Koma,
played by Kabuki actor Bandō Minosuke II is mysterious and creepy,
though not quite as sylphlike as his manga counterpart. I will never
not picture J-rocker Miyavi in this role, but Bandō adds his own layer
to the quirky, ambiguous character.
the child ghoul on the run, might be a little older than originally
written, but actress Sakurada Hiyori does amazingly well with the
character’s otherworldly maturity and optimism after the murder of her
beloved father, and her own terrifying circumstance. She and Kubota‘s
Kaneki are adorable together, with the bond between them utterly
believable and even better presented than in the original work.
arrive toward the end OF TOKYO GHOUL, we see aspects of Kaneki’s powers
and gestures that any fan of the source will notice right away, and say
“Hey, why is he doing that? It’s way too early in the story for that to
happen.” It feels as if some things were morphed together, perhaps as a
way of hedging bets as to how the film would be received after the
ATTACK ON TITAN disasters, but the creators should have had more faith.
There will and should definitely be a sequel.
chapter focuses more on the turning of Kaneki into the half-ghoul he has
unwilling become. He must learn not only to accept who he now is, but
how to cope with the daily travails of living in plain sight as
humanity’s greatest threat. Of course, with any good superhero (or
supervillain, depending on your perspective) origin story; he also
must learn to become stronger to save himself and those he comes to care
for, after seeing firsthand the horrors of the CCG’s threat to the
However, the manga is unusual, because it’s a back-to-back (-to back?)
origin story about the same character, set at the start of an all-out
war between the CCG and the ghouls, but this film only gives us about
half of that, with some interesting characters cut out. Knowing some of
the byzantine subplots that develop much, much later in the series, and
how bloated the character list eventually becomes; this was probably a
wise decision on behalf of the filmmakers.
there is a still a very important part of Kaneki’s story to tell, and
despite the care taken to make this adaptation faithful to the source (and
including inside hints and references for the hardcore followers),
the omission might leave fans unsatisfied, but I’ll be excited to see
how far they go in the inevitable sequel.
the film’s performances and fight choreography are top notch, the
challenge must have been to believably present the kagune; the
projectile ghoul weapons wielded by both human and superhuman alike.
These vary from pretty cool, as with Touka’s sharp, shattering,
blood-splattered wings, and Hinami’s mother’s wide, protective
butterfly-like ones; to somewhat cheesy, as with the Doc Ock-ish
variations of Mado’s Fueguchi quinque, and Amon’s grand Doujima, which
looks like a giant gyro spit.
better than the awful ATTACK ON TITAN, and faster-paced than the
acclaimed RUROUNI KENSHIN adaptations, TOKYO GHOUL slashes by with a
great balance of action to story. While it is indubitably and
essentially another superhero flick, it stands out with an equal amount
of heart and thrills that leaves us wanting more.
on the sequel. I’m cracking my knuckles waiting for chapter two.
Lady Miz Diva
October 15th, 2017
© 2006-2022 The Diva Review.com