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Man from Reno was a surprising delight! I'm not usually a lover of mystery movies or film noir, but Man from Reno was both serious and whimsical. I know that I like a movie if I keep thinking about it afterward, and Man from Reno gave me lots to think about: the beautiful cinematography, the intricate plot itself, and the characters. I thought that one of the strongest points of the film was the character development, as well as the actors' portrayals. Man from Reno does a lot in one film by including English and Japanese dialogue, as well as an elaborate story; however, I was left fulfilled and didn't feel like the film tried to take on too much. This movie is a great blend of fun and mystery and I would recommend it to any of my friends or family.

Ever see at these film festivals these badge wearers with the lanyards, the premium seating, eyes bugged-eyed from all the darkness, the concentration? How could someone see that many movies in so concentrated a time? And why? Here's your answer, one of those utterly joyous discoveries deep in the festival catalog that makes everything - the expense, taking off from work for a week, the fatigue - completely worth it. Brighter movie minds than mine can comment on things like the movie antecedents at work here (there are a ton!), to how this movie compares with Dave Boyle's earlier efforts, etc. What I can relate is that coast-to-coast smile that came over me as the movie found its gear (early) and then just held for an hour and a half as it propelled forward with one crackling and comedic plot twist after another. Standout and surprisingly deep performances from Auoko Fujitani and Pepe Serna (so, so good to see him in a role where he gets the time and physical space to really round out his character), the whole cross- cultural noir thing, and these gorgeous wanders around old San Francisco. I've seen some great films here at the Philadelphia Film Festival thus far, but at the mid-way point this one is shaping up as the clear take-away memory. Why would someone want to see four films in a day in pursuit of that hard-to-convey sensation of those beautiful and magical connections between ideas, storyline, casting and portrayals? This is why. Here's hoping this charming and well-built movie finds the larger audience it so richly deserves.

A mystery outside of San Francisco brings together small-town sheriff Paul Del Moral (Pepe Serna), Japanese author Aki Akahori, and a traveler from Reno who soon disappears, leaving behind his suitcase and a trail of questions.

According to Pepe Serna, director Dave Boyle is a Mormon who spent his missionary time in Australia, immersed in Japanese culture. He has read numerous crime novels, both in English and Japanese, and already by his early 30s has had a string of Japanese-inspired films that get critical acclaim.

This a great one, blending small town sheriff and Japanese crime author. They make a great team, and one could imagine this being a series of films. It stands out as being the biggest starring role of Serna's career, as well as being a film where he was not just a "token Chicano". After decades in the film business, appearing in dozens of great films, it is nice to see him finally get a bit of respect and recognition.

My wife being from Reno the movie title caught my eye. I had absolutely no clue what it was going to be about. I didn't read any reviews before watching it, just saw it was a mystery/crime and that's the kind of movies I like so I gave it a shot. I didn't regret it. It's a good movie but you for sure have to stay alert every second because you might miss something because of the many twists. I might even have to watch it a second time to get more answers. The mix of Japanese and English worked very well. To me the two stars of the movie are Ayako Fujitani and Pepe Serna. Very good performances both of them. Surely worth a watch or even two to get everything.

Director Dave Boyle is largely known for two things: character-driven comedies and an interest in (and understanding of) Japanese culture. While work such as "Big Dreams Little Tokyo" and "White on Rice" used the former to good effect, his latest film "Man From Reno" capitalizes on the latter in the context of a modern-day noir. In two separate narratives that inform one another, veteran character actor Pepe Serna and Japanese actors Auako Fujitani and Kazuki Kitamura all give career-best performances in parts that afford them time and space to do more than what's usually asked of them. Serna grounds his small-town sheriff with a matter-of-factness and dedication that hints at a great understanding of the character; Fujitani crackles with intellect as a mystery novelist a little too eager to live out an adventure similar to those about which she writes, and Kazuki Kitamura is finally given a role that acknowledges and maximizes his mischievous charm. Set and shot in the Bay Area of California, "Man From Reno" is a clever, noirish mystery that plays as part procedural, part character drama. Director Dave Boyle takes a major step out of his comfort zone with the film and the payoff is immediate. If you're a fan of snappy, believable dialogue and plot twists, this one's for you.

An old sheriff of a small town is smart but not smart enough and gets continually outwitted by a murderous con man in the big city. Hmm where have we seen this story before?

This movie is interesting for its Japanese-American half and half formulation, including the reading of subtitles for much of the movie as the actors speak Japanese. That part was fun and the lead actress really does an excellent job.

Without spoiling, I found the ending to be as unsatisfying as I did NCFOM. Some call this 'film noir' but I call it 'film frustration'. Also what was the point of the Sheriff's daughter who starts out like she's going to be a main character and then slowly fades into obscurity?

Interesting enough to give it a 6 but couldn't do better given the final result.

Just seen on big theatre screen. Excellent, well done suspense story, and should have had wider distribution except... 1) After the pre-title powerful open the movie drags due to far too much mostly dull character development (with a lot of just talk) that should have been cut. 2) The end goes on and on and on; the there are too many scenes that could have been handled more rapidly or the scenes cut down in length. There is a feel of a whole bunch of "false endings" before the movie finally ends. It's a shame, because this movie was definitely was ripe for much bigger theatre distribution. Still, be sure to catch it if you can, especially on a big theatre screen.

I didn't expect much from this as I'd never heard of it before, but the photographs of the posters caught my eye so I thought I'd give it a go. This production from noted Japanophile Dave Boyle, however, really surprised me. I'm a huge fan of noir films, and I was curious how this American-Japanese bilingual film's take on the elusive genre would turn out. I was pleasantly surprised!

The characters seem quite sweet in their way. You've got the Japanese mystery author who is hiding from her fame and missing her dead sweetheart. Then you've got the friendly old sheriff, wise yet not grizzled, differing from the stereotype of a hardboiled detective in that for all his years of experience he's not jaded or glaringly cynical. He's just good at his job. Not to mention he's got his perky young daughter on his force, working smartly in this cute kind of partnership for the meantime until she overpasses him and joins the FBI.

Yet despite the cosy vibes, there's this ever-real threat. Our writer-sleuth is essentially playing Nancy Drew, yet she's facing serious danger and menace from some dodgy people. People go missing, thugs stalk her in the shadows, and you're never sure what to make of all this. Is this a cosy mystery or a Hammett-esque thriller?

This uncertainty really gets played with as the fil twists and turns in the darkness, and honestly the way it turned out bumped this film at least a star higher than I would've rated it otherwise.

There's mystery upon mystery as the crime at the heart of the story broadens in scope and becomes something larger than you thought. It's classic noir but with some cosy sweetness between characters that few noirs have, without compromising the thrill of the seedy, dark moments. I was really impressed with how it all came together, and I've found that I haven't stopped thinking about it since.

Greetings again from the dark. It's been awhile since we have seen a turtle movie that didn't also feature pizza and nunchucks. While it's true that the endangered exotic turtles in director Dave Boyle's neo-noir potboiler don't live in the sewer or wear masks, they do play a key role in his multiple-plot murder mystery co-written with Joel Clark and Michael Lerner.

This nifty little web of clues and McGuffins centers on mystery writer Aki (Ayako Fujitani) and a small town Sheriff (Pepe Serna), and starts with a foggy night on a nearly deserted road. From there we get murders, turtles, a night of passion, deceit, paparazzi, secrets, and a rich Brit and his burly henchmen. And if that's not enough, there is a professional impostor who takes identity theft to the extreme.

With the back and forth between English and Japanese dialogue, the film has the feel of a foreign film, yet it's filmed mostly in San Francisco. The use of mood lighting and atmospheric sets add an element of intrigue. Heck, even one small hotel room gets used over and over for a variety of scenes. It's a fun movie to watch and play along with.

Ms. Fujitani and Mr. Serna are both excellent in their roles, and support work comes courtesy of Kazuki Kitamura (The Raid, Killers), Hiroshi Watanabe (Letters from Iwo Jima), Rome Kanda, and Derrick O'Connor (Lethal Weapon 2). This was a favorite on the film festival circuit last year, and despite the use of a couple of false endings, it is one most fans of mysteries will enjoy.

An expertly crafted throwback to film noir with the unique twist of being dual language. I was fortunate enough to see this during the LA Film Fest and immensely enjoyed following the twists and turns of the story. It begins with an enigmatic man and separately, a crime fiction novelist that seemingly have nothing to do with each other and only deepen into other mysteries as the film progresses. Hidden secrets about the characters come to light and slowly the two stories begin to interweave with each other. Well written, directed and acted it was definitely a stand out on the film festival circuit and the location of San Francisco serves as another character within the film.

Just finished watching "Man From Reno." I first learned about the "Man From Reno" from Kickstarter when I choose to become a supporter of the movie back in August 2013. Director/Writer Dave Boyle promised supporters a gripping film noir movie about a Japanese crime writer and a small town sheriff whose paths crossed when they are independently, but unknowingly investigating two strange disapperances miles apart from each other. Aki Akahori is a highly successful mystery writer in Japan who skips out on her latest publicity tour for her newest novel because she feels like a fraud. Aki flees to San Francisco where she vists some of her old friends, where hints of her past are revealed. Her disapperance is causing a media sensation back in Japan, and is boosting sales of all her novels. Aki does contemplate committing suicide by slitting her wrists in the bathtub; but fate intervenes. Meanwhile Sheriff Paul is trying to locate the whereabouts of "The Running Man" - the man he accidentally hit with his car on a foggy night and who later fled from the hospital after stealing a change of clothes. Aki meanwhile meets a handsome stranger and has a one-night affair with him. He disappears the next morning, leaving behind only a suitcase with clothes and a head of lettuce. Aki tries her best to track him down Aki's and Paul's paths cross when both realize that they are looking for the same man and Paul tracks her down to her hotel. Dave Boyle has filmed a love letter to the gritty film noir movies of the 1930s and 1940s with "Man From Reno." "Man From Reno" is an intense and absorbing movie that has unexpected twists and turns; with a payoff that is chilling when you realize how easy it would be easy to commit the "real" crime. "Man From Reno" is not, sadly available on DVD yet - I got my DVD in advance because I was a Kickstarter supporter of the movie. If you are a lover of film noir, I STRONGLY urge you to see "Man From Reno" on the big screen if it plays in your area. STRONGLY AND HIGHLY RECOMMENDED! FIVE STARS!

This movie has a very promising start. A veteran sheriff squints through his windscreen as he drives down a mist-shrouded road. Suddenly, he strikes a pedestrian hard who collides with the windscreen and rolls off. Then he struggles to his feet and runs away. The film then descends into a confusing mêlée of American and Asian characters, subtitles and a strange and often baffling plot involving exotic pets and various unbelievable situations. For instance, would an attractive young lady really open her hotel door to admit an evil-looking character to use her phone, simply because he was of the same race as her, therefore presumably trustworthy? The acting can only be described as sluggish and underplayed to a torpor-inducing point. It was very consistent but not in a good way. By the way, could anyone explain why in a couple of scenes the (admittedly very decorative) female lead was shown toying with a cut-throat razor? My main gripe, though is that this movie is too slow and complex to really work well.

Man from Reno was my first foray into the films of Dave Boyle, and from what I hear, it is quite different from what he has previously made. But if any of his other films do resemble this one, I will definitely make the effort to seek them out. Man from Reno felt at once like a throwback to great 1940s noir mysteries like The Big Sleep, while also being remarkably relevant in 2015. The opening scene - driving through fog so thick you can't see three feet in front of you - sets the tone for the rest of the movie; the plot twists and turns so much it's nearly impossible to keep up with all the new information, but it still manages to stay coherent enough that you stay on the edge of your seat, trying to grasp whatever details may stick. And through all this, a set of richly developed characters connect with you, keeping you invested in their story, even if you may not fully understand it. I left turning over the details of the movie in my head and will continue to do so for some time - hopefully a second viewing will reveal much of what I missed the first time around!

Strange casting that goes from brilliant to poor choices. Failures in location and basic background work is distracting. No new ideas in the mystery story telling realm. A swing and a miss at the chance for a great ending. Sad use of the few good actors in the film and way overuse of the miscasted talent.

Waiting until the end will only leave you more dissatisfied.

Wardrobe at times is laughable. I'm guessing even on this small budget they couldn't borrow better clothes/uniforms.

Music was OK.

Read the goofs. Explains a lot.

Too obvious there was no technical advisor on set. It would have been too easy to get some free advice from a retired cop looking to get his foot in the door to the movie business.

Saw this movie listed on Netflix. Well, clicked it, read the story line, not too sure, but what the heck I can turn it off. Wondered if it were a Japanese film? Seemed like a strange beginning, then bang the story begins. Let me say before going any further, the three leading actors were excellent. Their acting just took me into the story. I watched, listened and wondered where this story would go next. And it flowed and flowed and flowed. There was a mystery, another mystery upon mystery flowing toward the climax. My rating would have been higher, but for what I thought the ending had some questions that weren't answered. This film is well worth watching for its story line, acting, mystery and directing. It also demonstrates great films can be made without big stars and budgets. My rating is really 8.5.

This is an exceptional piece of cinema in ways obvious and not so obvious.

It can be especially appreciated by native Californians, although that's not necessarily a prerequisite to enjoy the film.

The plot captures your interest from the opening scenes of a driver carefully navigating his way through fog on a lonely road, but hitting a pedestrian in spite of his caution. To the surprise of both the audience and the driver, who stops and gets out of the car to assist, the victim gets up and runs away, disappearing into the fog.

True to the film noir tradition, this is just the first in a whole series of mysterious occurrences, some of which are eventually resolved, and some which are not. This keeps the viewer guessing not only during the film, but after he/she leaves the theater. Your attention is focused all during the film, although a few of the less important plot points are so convoluted, you never do figure them out.

Never mind, there is great beauty in the film, thanks to carefully thought out direction by Dave Boyle and the extraordinary skill of the cinematographer, Richard Wong. In shot after shot, the collaboration of the director and his cinematographer results in images perfectly composed. The cinematographer, who is based in San Francisco, obviously has a great feeling and appreciation for both interiors and exteriors of this exceptional city. Even more impressive to this native Californian is his feel for the state's subtle beauty outside of its famous urban areas.

There are the icons familiar to all: San Francisco's Victorian architecture, fascinating waterfront, hilly skyline and impressive bridges. Less familiar are the sparsely-populated areas of the California countryside, with rolling hills, winding roads, and occasional trees. The muted color palette and quiet beauty in these areas of the state may not have the majesty and impact of San Francisco or Yosemite, but they can have their own unique appeal just the same. It's obvious that the cinematographer and director understand this and wisely included some of these kinds of scenes in their opus.

They also maximize the beauty of their lead actress, Ayako Fugitani, not only with the cinematography, but also in collaboration with the individual responsible for her elegant attire, costume designer Irene Chan. Ms. Fugitani's affluent chic look is evidence that great care and thought went into in how she was to be presented. And of course her expert hairstyling and make up work was icing on the cake. My guess is that she has never looked better since she began her acting career two decades ago.

Welcome also is the humanity of the portrayal of the sheriff by veteran actor Pepe Sema. His sincerity and smooth professionalism – over 40 years as an actor - is reflected in his work in this film.

Also admirable - and unusual - is the attempt to accurately portray two complete different cultures, Japanese and American, in the same film without relying on stereotypes or preconceived ideas that the audience might have. The director's previous work has involved having a foot in both cultures, and this film demonstrates how well he has honed his expertise.

Speaking of expertise, the film, which was shot digitally on a modest budget, but doesn't look like it, is a terrific example of how today it is possible to make a film with superb production values because excellent tools are more accessible than they ever have been in history of filmmaking. You don't need a studio and the associated overhead. The tools for capture - cameras, lenses, and lighting - are so good and so portable, they can literally be used anywhere under any conditions. And you can work with minimal crew, which minimizes the risk of disruption when working on location.

It's the same story with post-production, where filmmakers spend far more time refining their story than they spent shooting it. The editing capability of the computers and software available today is phenomenal, even if you only have a modest budget. Just ask the director, who has been editing professionally for years.

The film noir efforts of 70 years ago still stand up well when it comes to the storyline, but when it comes to the production values . . . well, you really appreciate all the progress that has been made since. "Man from Reno" is a superb example of that progress.

I look forward to seeing more work from this director and his team of very talented collaborators.

Film Noir, which often united the darker impulses of America post- WWII with an exhausted, disillusioned Europe, showed the world was both smaller and larger than mere borders. Dave Boyle's new noir Man From Reno is both a step back into the contained yet expansive world of San Francisco and an up-to-the- minute dispatch from the lonely land of singles. The brilliant Pepe Serna is the aptly named sheriff, Moral, whose calm demeanor and intelligence inspires confidence. The cast, down to the bartenders, are living in this world and the darker places of the psyche. But it is talented Ayako Fujitani as the lionized author whom we want to know better. She carries her secrets like a true detective--close to vest. Secrets and dark alleys abound but the characters carry the story. This one's a keeper-- years from now it will double-bill with The Maltese Falcon at our land-marked neighborhood movie palaces.