Plot so thin, it passes unnoticed.

Most undeservingly overhyped movie of all time??

Although it has its amusing moments, in eneral the plot does not convince.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

The overall of this movie is really good. You can really get into the movie and can even feel it. The story is quite smooth and make sense. The location they selected was quite nice especially the light house of both in Hokkaido,Japan and Canada. But the very disappointed scene for me is the ending. I saw others review and I think most of them feel the same as mine. The ending scene is too rough just Sae and Kohae stand in front of each other and say "Okaeri" and "Tadaima" Which mean "Welcome back home" and "I'm back" the meaning of this is OK but after this I expect to see some romantic scene such as hug. Because the ending is just they stare at each other and end. Few more things that need to be improved is to make some scene more emotional. To let the audience get into more of the characters. Others than that, I love this movie!!

After watching a lot of Japanese romances, finally this one managed to touch me. All it takes is a simple script, beautiful acting and beautiful Hokkaido landscapes.Sae lives in a small town in Hokkaido, she is hardworking and ambitious, trying to get into a university in Tokyo. She meets Kohei, a local boy who is training to be a fisherman. Even though their backgrounds are very different, they fall in love. The circumstances separate them and they have to struggle to keep their love alive.For me, the best part of the movie was the beginning, when Sae and Kohei meet and gradually fall in love. It was innocent and sweet, a beautiful portrait of two teenagers in love. As the story continues, the plot either progresses too slowly, or has some far-fetched twists (like the almost-meeting in Canada), so the film is mostly kept together by the performances.Tôma Ikuta gives a brilliant performance as Kohei. Sweet and lovable, hopelessly in love, a child facing adult decisions and responsibilities. He makes you smile and he makes you cry. Yui Aragaki was cute too, but definitely overshadowed by Ikuta.I can't say it was flawless, but if you are a fan of Japanese romance, or even just romance actually, this is a must-see. And be ready for some tears and lots of "oh how cute..."!

There are many reasons why Hanamizuki is considered a must-see film. 1. It is directed by Nobuhiro Doi, director of great romance films and series such as Be With You and Nada Sou Sou. 2. It is starred by Ikuta Toma, Aragaki Yui, and Mukai Osamu. OMG!!! >0< 3. It is based on the most beautiful song of the same name by Hitoto You. ... and so on.I almost screamed out of joy when knowing that it would be released in Thailand at Apex and House cinemas and managed to get some tickets to the Thailand film premiere at last.Hanamizuki tells a tear-jerking love story similar to Be With You and Nada Sou Sou (but not as much tear-jerking as the two Doi's previous films). The film is sad, but I found it encouraging rather than depressing. Kind of encouraging people to be true to love. Toma, Gakky, and Osamu have all delivered such great performances. So talented and natural as they are, fans will not be disappointed. The scenery in the film were also very well-chosen. On the other hand, the plot of the film is a bit too 'soap opera' and has pulled down the film somewhat, pity.All in all, the film is definitely worth watching for the brilliant Toma & Gakky, just don't expect too much of the plot. ^^*Notice* Please continue watching the end credits to see various nice pics.

The lines seems to have been drawn in genre terms in contemporary Japanese cinema. Many are attracted by the package of young starlets and hit pop music. Others are repelled by the heavy-handed plot contrivances and schmaltzy dialogue. You make your choice and either pay up or walk away.Two young lovers 'meet cute' on the train, but find educational, social and class differences pulling them apart as time goes on.My foot is firmly in the latter camp, but I can't help feeling the lightweight scripts and low-key catharsis are a shame, as there is much to admire in Hanamizuki, namely the performances by the two leads. Yui Aregaki (Sae) gives a reigned-in performance as the ambitious girl from small-town Hokkaido, her admirable restraint hinting at greater strength and complexity. Tôma Ikuta as Kohei finds family and social circumstances pile against his chances of walking his own path, or more pertinently walking a path with Sae. Ikuta is charismatic and looks like he could hold his own if given stronger fare to work with.As it is, sappy sentimentality and lazy coincidences once again pile up to sink a J-film. Why are people always just 'turning up' in these films? Sae's Mum turns up at her apartment in NYC. Sae herself 'turns up' at a hometown wedding. She turns up again at the lighthouse Kohei is visiting. Kohei turns up in the Canadian town Sae was born in on the EXACT day she chooses to visit. Would a little cause-and-effect be unwelcome? Even at the end, Sae just turns up, and eventually, so does Kohei. Not even a cuddle. Go figure.There is a demographic for this film and I am clearly not in it, but neither are the vast majority of overseas audiences, and that is ultimately damaging. Japanese society in many areas is developing a Galapagos phenomenon, the notion of separate evolution. For a cinema that used to produce to universal acclaim, that is a tragedy.