Symbol

Challenges many of the most basic philosophical assumptions about god, heaven, and hell. If you ever wondered about your own impact on others and your ability to do good works.. Or wondered if god could evolve eventually, there is so much to chew on. Imagery as diverse as clowns, Mexican wrestling, and the symbols of Japanese culture flutter as butterfly wings with the strobe and flicker of film infecting NOT only as genius can from the other side of the planet. The layering of thought and ideas is very satisfying compared to typical American films. I am not surprised that all but one of the reviews even gave an accurate summary. This can be a complex film, but not necessarily. A creative child couldn't help being charmed by the poetic surface of action and color. A stunning treat.

It's very difficult to review this movie. I don't know if it's dumb or brilliant. It's definitely hilarious, ridiculous, entertaining and above all, unique and original. As i was watching the first hour, i decided to not recommend it even though it was kinda interesting. However, the last 15-20 minutes were almost breathtaking. I think that the ending is beautiful. I guess that there are deep messages here, but i can't decipher them. That's the reason i don't rate it higher, because there is a strong possibility that the director is just messing around and there is no hidden wisdom here. In any case, this was fun and enjoyable. There are some boring scenes but overall, i liked it. Watch it if you like weird comedy/drama/fantasy movies and make your own judgement.

A Japanese movie that stars off in Mexico. No you heard/read me right. And yes this is the movie you wanted to see or were pushed to see by your friend. The latter is true for me. And this movie defies quite a few rules and is anything but simple to categorize. While its crazy ideas may either delight you or annoy you, this is a crude mix of fantasy and sci-fi that is difficult to put a finger on (no pun intended).

The comedy that ensues is mostly non verbal and while the main character seems stupid at times, he is also able to figure things out quite quickly other times. And therefor the flow of the movie seems a bit interrupted at places. If you are annoyed by that, maybe you should stop watching. Though you would miss out on an ending that is even more difficult to describe then the movie itself. It is definitely a trip and something you have to do voluntarily, otherwise you might be angry at yourself/your friend recommending this.

I cannot say watch this, but I cannot tell you not to either. I know that quite a few people were delighted by the (physical) humour, never even thinking about the layers that this movie builds. And that is a way to enjoy the movie, if you can. I had problems with the simple little things that were "off" (in the wrong sense) as written above. The big idea behind ... I liked that one. I just think there could have been an even better way to do that ...

I'm baffled. You meet this kind of movie only very rarely.

It defies attempts to categorize it. It destroys your preconceptions of what a "special" movie might be. There's slapstick and there's nonsense and there's meta babbling, except its wordless meta babbling. Also there's angel penises, like a lot of them. Seriously, this movie weirded me out.

In itself the story moves in a pretty straight line. Well, two straight lines. There's the wrestler plot, and there's the white room plot. The wrestler plot is utterly forgettable and, frankly, quite boring. It just functions as the opposite of the white room. One of many incarnations of what opposite could mean in this case.

The white room plot centers on a man trying to get out of the white room. Simple right? Pressing the angels penises (You heard me!) reveals certain, seemingly random, objects. In combination they might lead to an escape. Here the movie really shines. Through sometimes silly, sometimes clever trial and error means the protagonist starts coming up with an escape plan. I found myself thinking along with him (and normally being way ahead of him and getting frustrated with him... JUST USE THE POT!!!).

In the end the two story lines meet to give the audience a bigger picture. The ending still came as a surprise, although, in hindsight, it makes complete sense. It leaves only one question, but I came up with an answer immediately. I think thats how its supposed to be. Not everyones answer will be the same, but there will be one. Perfect example of closure without closure.

Watch this if you like to see special things, don't finish watching it if you're bored after the first white room scene. It probably won't be the movie for you.

9/10

I subtracted one star because the effects in the final scene were so crappy that they really distracted me from fully enjoying the ending but that's probably just me and other people working in that field themselves. Nothing to cry over really.

How can I explain such a simple yet complex film such as Symbol? It's not easy, but I'll give it a try.

Symbol see-saws between two stories and is shown in three chapters which are labeled Education, Implementation and Future. There's the story of an out-of-shape Mexican wrestler known as "Escargot Man" as he prepares for a title fight in some tiny dusty little village. And simultaneously, there's the story being told of a Japanese man who awakes to find himself in a large, all white rectangular room with no doors or windows.

Just how are these two stories connected? The answer is an existential journey into the energizing and inventive script of Matsumoto. For those who have seen his first feature Big Man Japan, in where a solitary middle-aged man periodically transforms into a giant to defend Japan from an array of monsters, you might have a little clue as to what you're getting into with Symbol. Let me assure you right now that Symbol is definitely its own monster, and perhaps one that will make both fans and newcomers to Matsumoto's work say WTF.

Perhaps the best film I could compare Symbol to would be Stanley Kubrick's sci-fi masterpiece, 2001: A Space Odyssey. Yes, it's a bold comparison, but an apt one as well. Just substitute Kubrick's towering monolith and epic wormhole sequence for Hitoshi Matsumoto's room full of baby penises and a penis wall climbing ascent into the future and you're basically looking at the same film.