This was my second favorite Michael Keaton flick from the Eighties, "Beetlejuice" was the first. I always liked Keaton for his wisecrack manner and facial language, for me one of the best. Watching today the picture has lost some of it's vibe from three decades ago. Times change and tastes change, so I guess that accounts for most of my sentiment.
The culture clash between American and Japanese workers is at the heart of the story here, and how mid-level managers Hunt Stevenson (Keaton) and Oishi Kazihiro (Gedde Watanabe) direct their approach to work. Americans are industrious and competent, but by the Eighties, the demands of family life often took priority. Whereas for the Japanese, work is the defining characteristic of one's life and other considerations are not allowed to intrude. The picture seems to take a fairly well balanced approach in bringing each side over to the other's point of view.
I had forgotten most of the supporting players here. Mimi Rogers, George Wendt and John Turturro had modest roles supporting Keaton, and after a while I came to realize that a different name was used for Watanabe's character every so often, like Kazoito and Takahira. In his own inimitable style, Keaton called him Kazmania and my own personal favorite, Kazmonaut.
Well like the man said, it's not brain surgery. The ending of the picture seems to come together out of left field to reward the citizens of Hadleyville for pulling out a win in the fourth quarter like Hunt promised. It's a little convoluted and feels forced, but if you're a Michael Keaton fan, it ought to work well enough for you.
The culture clash between American and Japanese workers is at the heart of the story here, and how mid-level managers Hunt Stevenson (Keaton) and Oishi Kazihiro (Gedde Watanabe) direct their approach to work. Americans are industrious and competent, but by the Eighties, the demands of family life often took priority. Whereas for the Japanese, work is the defining characteristic of one's life and other considerations are not allowed to intrude. The picture seems to take a fairly well balanced approach in bringing each side over to the other's point of view.
I had forgotten most of the supporting players here. Mimi Rogers, George Wendt and John Turturro had modest roles supporting Keaton, and after a while I came to realize that a different name was used for Watanabe's character every so often, like Kazoito and Takahira. In his own inimitable style, Keaton called him Kazmania and my own personal favorite, Kazmonaut.
Well like the man said, it's not brain surgery. The ending of the picture seems to come together out of left field to reward the citizens of Hadleyville for pulling out a win in the fourth quarter like Hunt promised. It's a little convoluted and feels forced, but if you're a Michael Keaton fan, it ought to work well enough for you.