...pretty good small film. Never mind in what type of family you belong, growing is such a different animal and the way you construct your life depends on the relation with people that at some point leaved a mark in your life. Here we have a somewhat cold young woman that lives like nothing is so important, just only "lives". The last frame of the last scene is what this film is all about and leaves me in sadness. but life goes on...

DOG IN A SIDECAR (SAIDOKÂ NI INU). Viewed on Streaming. Subtitles = eight (8) stars; cinematography = five (5) stars; film-to-digital transfer = three (3) stars. Director Kichitaro Negishi channels a familiar theme by showing what happens when a sheltered, inhibited grade-school girl (SG) unexpectedly encounters her (or at least her mother's) exact opposite (in the guise of a free-spirited young women who is "too old to be her sister and too young to be her mother") . Using a flashback, Negishi relates how a now part-time realtor spent her vacation some 20 summers ago when the girl's mother abandoned her children and loser husband (who sells used cars that are mostly stolen and re-plated) and was "replaced" by the husband's mysterious (and well-financed) girl friend (GF) who one day abruptly just shows up to cook a meal. The GF quickly bonds with the SK and pulls the latter out of her shell by introducing her to life in the real-world (most of which she had been missing out on). The Director also uses this same theme as a thread that runs through his tale: the GF seems also once to have been a withdrawn little girl (which is why she bonds so expertly) and the now realtor (prior to the flashback) is shown helping a shy grade school girl overcome her hesitations. Regrettably, all good things come to an end. The mother returns (to the field of marital battle) and the GF is kicked out after the two literally butt heads (the mother is knocked out!). Acting especially by the two female leads is simply delightful to watch. Yûko Takeuchi cast as the GF is not only stunning to look at but hilarious to watch with dynamic facial expressions that are usually the hallmark of a stage-trained actresses (which she is). Kana Matsumoto plays the SK who is acting (very effectively!) about 10 years younger than she really is (which may account for the lack of typical scene stealing by a child actor since she is not!). Cinematography (semi-wide screen, color) is so-so. Color and lighting are fine with many tracking shots that do not become distractions. But some scenes seem a bit out of focus at least initially. Film-to-digital transfer has problems and may have added to poorly focused scenes. Panning is jerky due to inept domain conversion. Subtitles are fine. A movie that leaves the viewer wishing it had been a bit longer! Highly recommended. WILLIAM FLANIGAN, PhD.

I saw this film at New York's Asian Film Festival this year and the emcee even called it a "chick flick", but one you should like. He was right, it is a pretty terrific one. It centers on the relationship between Yoko, who is about in her mid twenties and ten year old Kaoru, a quiet girl who needs someone to notice her. Yoko is the girlfriend of Kaoru's dad after his wife left (let me stop here and explain something that makes the story so much better: The film does not center on the relationship between Yoko and the father-if it did this film would have been terrible, because you wonder why someone Yoko's age would be with a 40ish shady used car dealer. Its never fully explained and it doesn't have to be. Instead its all about Yoko and Kaoru, thank goodness). The two actresses Yuko Takeuchi (Yoko) and Kana Matsumoto (Kaoru) are wonderful. They are both actresses to watch, especially Ms. Takeuchi. Yoko teaches Kaoru things like riding a bike, takes her to the beach and generally takes her under her wing. Yes, thats one of the definitions of a chick flick, and I loved it. Unless you do not like these kinds of films, I would highly recommend it. I really cared for the characters of Yoko and Kaoru and thats about the best endorsement for a film there could be.

The dysfunctional family drama is such an easily forgettable sub-genre that it is certainly a joy when a film like DOG IN A SIDECAR comes along, proving that you can make a thoughtful, entertaining film without insulting the audience's intelligence. Providing a strong foundation of strong acting, skilled direction and intelligent writing, this admittedly small but very rewarding film is excellent viewing, showing the ups and downs of a family in a way that never seems forced or contrived. Hana Matsumoto is extraordinary as 10 year old Kaoru, who suddenly has to get used to a new way of life when her mother walks out on her family. Things seem to get stranger when Yoko (Yuko Takeuchi, who is excellent)turns up on her doorstep, who has become her father's new lover. What could have been a typical family comedy/drama turns into something quite different, as director Kichitaro Negishi concentrates on the small details of Kaoru's new situation, making for a fresh, involving film. As we see Yoko and Kaoru's father's relationship develop, we can also see why Kaoru's mother left in the first place. DOG IN A SIDECAR is a subtle, natural film, and a complete charmer, showing you don't have to use hysterics and melodrama to convincingly portray a family who don't exactly fit the norm.