Okay, where do I start…? The hero of this installment is Kenji, a middle-aged, one time rock star now working as a convenient store manager. After attending a school reunion and talking to some old classmates, he finds out that a religious cult called “Friends Group”- growing nationwide phenomenon, is using his childhood gang’s crudely drawn logo (an index finger pointing up with an eye in the middle of the hand). What’s more, some suspect that Ebola-like virus that hit San Francisco and London is somehow related to the cult’s activity. After the suspicious death of Donkey (former classmate), Kenji and circle of friends are reminded that there are eerie similarities between what’s been going on around the world and The Book of Prophecy; a sketch book where their younger selves scribbled a childish vision of future destruction and mayhem, portraying themselves as heroes saving the world. They are busy trying to remember what disasters they concocted in that fateful sketch book and figure out amongst their childhood friends who this cult leader, “The Friend”, turned out to be while the world is falling apart around them. The prophecy reads the world will end in 1/01/2000 by a giant robot coming out of the ground in Tokyo (this is a “period piece”). Will the prophecy be fulfilled or our heroes save the day? Or is it some sinister grand plan and Kenji and Co. is just pawns in a game?

Unabashedly nostalgic, 20th Century Boys plays out like nostalgia driven middle aged cartoonist’s wet dream. The sepia toned flashbacks - from its title (by T-Rex, 20th Century Boy) to a mom-and-pop candy stores to toys to 1970 Tokyo Expo, the film is a time capsule full of memorabilia. In contrast, the present (or the year 1999) is uninteresting and drab. The scope of the series is mind bogglingly huge. The number of subplots and supporting characters are staggering. With the constant flashbacks and the alternate world setting, 20th Century Boys reminds me of two recent American movies: Zach Snyder’s adaptation of Watchmen graphic novel, and Richard Kelly’s ambitious mess Southland Tales. While all three of them deal with the end-of-days scenario, Yukihiko Tsutsumi’s rendition has a sunny disposition and chaotic nature similar to the latter (both complete with musical interludes). Nothing seems to be too desperate or serious, as the film supposedly turns darker in tone. Its Hello Kitty aesthetics might be faithful to its source material but that doesn’t mean it makes a good movie. But it seems to me the film plays out like it is on auto pilot with no flair to speak of. Where did 6 billion yen - the supposed budget for trilogy - go? Sure the CGI is at the end is fairly well done, but there is no cinematic playfulness or suspense. It also lacks the biting cynicism of Watchmen, that winking smugness that grownups can appreciate. I’m pretty sure the fans of the manga will get a kick out of every character and every line and will bark at many of the elements that were omitted in the original cut which was 3 hours long. In all honesty, I’m not sure I’d like to continue watching the series.

Review by Dustin Chang