You're under arrest!

Ao no SP: Gakko nai Keisatsu Shimada Ryuhei, which translates literally as Blue SP: School Police, Ryuhei Shimada, is a Kansai TV co-production that aired in 2021 as part of its “Tuesday 9pm drama lineup” as well as on its affiliate channel, Fuji TV. K Factory is the other production house involved in co-producing this drama which is given the title of School Cop on Netflix for worldwide distribution.

The drama is adapted from the book, School Police, written by Mitsugu Sasaki. The screenplay is co-written by Tetsuya Oishi (Iryu Sousa series), Junpei Yamaoka, and Soichiro Kojima while Masahiro Kunimoto, Takeshi Shirakawa, and Takashi Takahashi serve as co-directors. The score is composed by the prolific Kanno Yugo (Nihon Chinbotsu: Kibo no Hito, Hyochakusha, Koi wa Deep ni). The Japanese 4-member piano-rock band, SHE’s provides the upbeat theme song, Oikaze.

Based on the premise of local law enforcement introducing the school police system in public junior high schools on a trial basis. Ryuhei Shimada, a detective from the Tokyo Metropolitan Police Department's Investigation Division 1, volunteers as the first school cop for this initiative where he becomes assigned to Akamine Middle School.

What I Liked

The story provides a balance between episodic procedurals that focus on students and teachers - usually involving trouble with the law - and the overarching mystery of why an experienced Division 1 detective would volunteer for this school police program. The storytelling is mostly lighthearted but does get somewhat serious and emotive, particularly towards the second half, with a mix of satire and bits of social commentary infused into the plot.

What I initially thought would involve mainly the garden variety kind of school problems eventually morphed into more serious issues such as sexual harassments and assaults, racism and authority abuse. Even GL is briefly addressed in one of the episodes. The unexpected presence of wide-ranging themes certainly keeps the plot interesting and thought-provoking to a certain extent.

This drama is headlined by Fujiwara Tatsuya who plays the titular role of Shimada Ryuhei to perfection. Out of the box and slightly unhinged, this school cop employs a variety of unorthodox and most likely illegal methods of investigating and solving crimes. I do not completely disagree with his approach which turns out to be effective and efficient most of the time. My second time seeing the actor, there is an appealing uniqueness to his portrayal that embodies entirely the concept of the anti-hero, which his character truly represents within the context of the story. And he’s absolutely fun to watch.

There is no question that the production is clearly moderately budgeted, and that the technical execution is nothing to write home about. Nonetheless, the production design appears decently rendered while the one aspect that impresses me the most is the action choreography. The fight sequences depicted in several episodes are quite stunning and feature some pretty slick moves by the ML. They may not look as polished as bigger budget dramas but I appreciate the raw edge of the physicality involved which adds to the sense of realism.

What Fell Short

The individual cases presented are very quickly resolved while the disturbing nature of certain issues are generally glossed over without further in-depth exploration. I suppose this is more of a personal wish to observe the issues being fleshed out because the episodic format rarely allows sufficient time and space to let the sub-plots breathe and expand.

Aside from the ML, Maki Yoko plays the FL homeroom teacher, Asamura Ryoko. I thought her performance was somewhat lacking in terms of her articulation of the characterization. There are brief flashes of emotional intentisy here and there but overall she appears rather subdued.

Final Thoughts

School Cop is a light and easy watch that’s entertaining, provocative and well paced with a compelling performance by Fujiwara Tatsuya. At only 10 episodes and available subbed on Netflix, this is one production that’s well worth the binge.

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Lost and Found

In a nutshell, this show is about a group of SK soldiers who committed an unspeakable act way back in 1997, then covered up the whole incident with a blatant lie and moved on with their lives (those who survived anyway). Fast forward to the present day, the cover up resurfaces to bite them in the ass. Add in a couple of story arcs regarding a revenge plot aided by rabies mutation, a NK defector baby who grew up to become a SK soldier that happens to be romantically linked to a conscripted dog handler, both of whom get drafted into a Special Forces’ team filled with team mates serving various hidden agendas, for searching the source of mutated rabies infection. This is set in a sleepy village full of generic countryside folks except for an ex-commando housewife with very lethal skill set and a troubled past, situated right next to the DMZ. All this transpires amidst an underlying political conspiracy during the SK Presidential elections. Sounds convoluted? That’s because it really is.

The premise of Search is certainly not new and bears very close resemblance to the 2016 SK movie, Musudan. The main differences being the fleshed out romantic entanglement, involvement of military combat canines, the presence of a highly skilled civilian and the inclusion of the politics. This drama might as well have been designated the sequel to the parent story.

This is a typical OCN drama that deals with a dark subject matter. It’s generally well made with visibly high production values and reasonably good acting by the main cast. I found the show relatively entertaining for the most part over the course of only 10 episodes. There were some really good moments that were off set by certain things that could have been done better.

The Positives
The main cast comprising Jang Dong Yoon (the “pretty girl” in Tale of Nokdu), Krystal, Yoon Park, Lee Hyun Wook, Moon Jung Hee (Vagabond’s Jessica Lee) and Yoo Sung Joo acted their roles well enough, with the script they were given. Yoon Park and Hyun Wook’s portrayal of complex multidimensional characters with questionable allegiances and motives were particularly intriguing. It’s never easy depicting conflicted “semi-antagonists” as opposed to protagonists or outright villains. Krystal did a good job playing a strong and smart female soldier (technically KCST), and I always appreciate strong FL characters being depicted in dramas.

The action sequences, including the confrontation and shootout with the NK border patrol, the hunt for the “target” and the subsequent set-up of the ambush, as well as the search and rescue of a missing person, were well executed with military precision, via the coordinated use of dramatic BGM, frantic pace, (surprisingly) steady camerawork and the sheer display of firepower by the soldiers.

The scenes involving the extremely gorgeous military dogs (Dutch Shepard breed, if I’m not mistaken) Leo and Mac were fantastic and refreshing to see. Most of the time, they steal the scenes from their human counterparts.

The Negatives
For a drama this convoluted and running at only 10 episodes, there were moments where boredom seeped in. The plot and sub-plots were not that complicated to follow but felt dragged out more than was necessary. There was even time for some fillers and goofy humour in between the action and dramatic events. Apart from some induced scare moments, the momentum from the intensity of chasing the target(s) wasn’t evenly sustained throughout and hence sorely lacked any prolonged sense of suspense.

The characters weren’t sensibly written. I could accept the ridiculous storyline and go with it for entertainment sake but the unrealistic portrayal of the SK military is quite annoying. No doubt a conscript is not part of the regular personnel, but repeated insubordination and blatant disregard for the chain of command, and worse still, the tolerance of it makes the so-called Special Forces a joke, even if it’s fictional. Many people have been conscripted for military service and nobody behaves in such a manner, because it is simply not tolerated and tantamount to court martial. Worse case scenario, such indiscipline might even cause irreparable harm during any military op.

SK has one of the most technologically advanced weaponry and combat-ready forces operating in one of the most volatile borders in the world. Instead, in addition to the earlier mentioned insubordination, we also have personnel who wear make up while on active duty in a combat situation, the CO and his deputy frequently debating operational decisions in front of the entire team before/during/ after an op, equipment that either doesn’t function or breaks down in the middle of an op, border guards who fail to prevent a 7 year old kid (at least, that’s what I think her age is) from walking right into the DMZ, among other observations. If the military really was this inept, NK would have no problems launching a successful invasion. But then again, the NK soldiers in this show were depicted as even more incompetent, so I guess that evened out the odds after all.

Episode 3 is a strange one - it is the only episode that attempted a flashback sequence to add to the dramatic effect. This is quite common especially in US sci-fi drama series which usually works well because it is written in a series episodic format (eg a story arc within an episode). The problem here is that the plot is serialized (the story arc covers more than just the one episode) and it attempted one flashback too many. The timeline kept flashing back and forth to the point everything was messed up and confusing as heck. I’m just glad this attempt was made in only one episode instead of the entire 10 episodes.

Overall
Despite feeling somewhat letdown by the weak script, illogically written characters and the predictable outcome, Search still kept me entertained especially once I stopped taking it seriously from episode 4 onward. The key lies in managing your expectations and suspending more than a modicum of disbelief while you’re watching this.

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Warning - Enter at Your Own Risk

I meant it in a tongue-in-cheek way, of course. But on a more serious note, do be prepared, both mentally and physically. Mouse is a drama that I had briefly dropped at episode 14, and then picked up again after 2 weeks of much needed respite when my brain had finally recovered from the blunt force trauma inflicted from attempting to make sense of it all (and after much encouragement as well as support from MDL friends to re-join this roller coaster of a drama).

Make no mistake, this is a roller coaster in every single sense of the term. It will fry your brain cells, toy with your every emotion, leaving you gasping for air at the end of each episode, right down to the grand finale. Watching this show isn’t as straightforward as simply observing the story unfolding - this production fully consumes you until your entire being is immersed into the layers upon layers and twists within twists amidst the convolution of interconnected nonlinear plots and subplots.

Without spoiling anything, these are the major aspects that I actually liked about it (when my mind wasn’t spiralling)...

The premise of the story about serial killing and the concept of scientific identification of serial killers through their genes (DNA) are original, refreshing and intriguing. Whether or not this is scientifically feasible, only the experts will know (I’ve been told it’s pure fiction). The plot moves at an extremely frenetic pace that’s punctuated by numerous backstories, side-stories and transitions between multiple timelines. This is essentially a “whodunnit” that gradually evolves into the “when, how and why” of it all. Everyone in the comments section and on Feeds (and possibly around the world who’s watching) definitely had fun and/ or stress postulating countless ever-changing hypotheses week in, week out!

Mouse is primarily plot-driven but the acting elevates the entire production to exceptional levels. For me the two main men have been incredible. Lee Hee Joon’s Ko Moo Chi is quite extraordinary where the range of emotions that this character conveys and puts us through is just remarkable. The highlights are many but his heart-wrenching and supercharged performance in episode 5 is certainly worthy of mention. As for the role of Jung Ba Reum, I can’t quite believe how this character is conceived and written. It’s insane when you think about it, really. The term multidimensional is an understatement. What even beggars belief is how Lee Seung Gi is able to bring to life this extremely complex work of fiction. No words of description will do justice to this portrayal because seeing is believing. Both of them are good value for 2022’s Baeksang nominations indeed.

No production is ever perfect and Mouse certainly has its fair share of flaws...

The elements of sensationalism in the screenplay. The screenwriter Choi Ran is certainly deserving of praise for the script on the whole but I couldn’t help feeling that the inclusion of more than a few instances of fake cliffhangers, false endings, shock-and-awe factors smack of exploitation and manipulation of viewership ratings. This drama is anything but subtle because exaggeration is the name of the game. For the most part, it works but sometimes you just feel annoyingly cheated and frustrated.

For me, the women in the show are not as compelling to watch as the men. Although credited as main roles, the characters of Choi Hong Joo and Oh Bong Yi are largely depicted as supportive in the development of the plot. Kyung Soo Jin’s portrayal is somewhat understated while Park Joo Hyun’s characterization has some room for improvement. I didn’t feel connected and invested enough with their characters which lack the extra dimensions that are present in the male leads. Both these two actresses are critically acclaimed award-winning professionals, (Park Joo Hyun recently won the best new actress at the 57th Baeksang) so perhaps the script didn’t focus enough on their characters for the portrayals to be fully fleshed out.

The technical execution, notably the editing and camerawork, could have been better. They become rather erratic, especially in the final third of the production where the cameras seem to be struggling to keep up with the increasingly frantic pace and sudden scene transitions alternating between the various characters’ points of view. To be honest, I think at this stage viewers just couldn’t care anymore and wanted the answers to be revealed as soon as possible.

Personally I struggled to keep up with the storytelling at times, which oscillated between coherence and hot mess. However, all things considered, I think Mouse has largely succeeded in giving viewers what it was designed to deliver - gripping plotlines, edge-of-the-seat thrills, mind-blowing reveals and much takeaway to ponder regarding the overall theme of violent crime prevention. As far as the ending is concerned, I’m actually quite pleased with the final outcome. After all that had transpired, it truly feels like a fitting closure for the characters involved. In truth, no amount of words will do justice to this spectacle because, at the end of the day, seeing is believing.

(Note - If you do decide to start this drama, remember to watch the 2-episode spin-off special, Mouse: Predator after completing episode 15 and before proceeding to the remaining episodes. This special production provides further "clarity" to the entire story)

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Unmasking the truth

A run down nursing centre that used to be a psychiatric hospital. Medical staff and patients being held hostage at gunpoint by a robber in a creepy clown mask. A young doctor still traumatised by the death of his fiancée and unborn child happens to be on shift duty. It’s all happening on one fateful night. But is there more than meets the eye?

This mystery thriller is an adaptation of the 2014 novel with the same name by prolific author and former medical doctor, Mikito Chinen. He has written many medical-themed books and Masked Ward is part of his Ward mystery series. He co-wrote the screenplay along with the director, Kimura Hisashi (TRICK series), Koyama Shota (Dragon Zakura) and Itaru Era. Yutaka Yamada (Imawa no Kuni no Alice, Kingdom) serves as composer while the 36th single from Japanese 6-member rock band UVERworld (Avalanche), AS ONE, is used as the theme song.

What I Generally Liked

The plot is rather layered and filled with unexpected plot twists that unfolds amidst a slowburn tempo fraught with a certain degree of suspense. The conclusion ties all the loose ends neatly and provides a satisfying closure to the entire story and each of its main characters.

The characters are decently written, particularly the main leads, Hayami Shugo and Kawasaki Hitomi. The film takes its time to explore their complex backstories which establishes their respective multifaceted characterizations. This process enables an emotional connection with viewers to buy-in their motivations in the story, as it certainly did with me. That said, I would have appreciated the supporting characters being more fleshed out, which unfortunately does not happen.

Personally I thought Kentaro Sakaguchi (Okaeri Mone) put in a fine performance in his portrayal of Hayami Shugo. He manages to convincingly embody the gradual evolution of the character throughout the film. Nagano Mei (Hakozume: Tatakau! Koban Joshi) showcases an intriguing depiction of Kawasaki Hitomi where she succeeds in conveying the duality of the character’s persona.

What Fell Short

From a technical perspective, the production doesn’t really impress. I would have liked to have seen more finesse in the cinematography to elevate the suspense and intrigue of pivotal scenes. Likewise the BGM which had so much room for improvement. On the other hand, the set design of the hospital setting does appear adequately presented.

The film lacks the eerie or sinister vibes to its atmospherics that would have heightened the sense of trepidation and tension that the narrative is trying to convey to viewers. A truly untapped potential there that points to a missed opportunity.

The logic behind some of the characters’ actions is questionable as well as the possibility of plot holes in the storyline. Without delving or spoiling the mystery too much, let’s just say that the hostage taker in this film is a lot nicer than most in real life.

Final Thoughts

I think the storytelling turned out to be a lot less powerful and provocative than it was intended to be, attributed mainly to the shortcomings or lack of quality execution in certain aspects of the production. As a one time watch, it was an interesting viewing experience but ultimately it could’ve been so much better.

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