Playlist: Big Man Japan

Magnolia Pictures is far and away my favorite film distributor right now. Started in 2001 and now part of renegade NBA owner Mark Cuban's media empire, Magnolia has been responsible for parting the mainstream for some of the best indie and foreign films of the decade. As if that weren't enough, in 2007 Magnolia launched a new division, Magnet, that according to their press release, would specialize in the "wild, unquantifiable and uncompromised." Basically, some killer genre movies that we wouldn't be able to see otherwise (and may not have even been made.)

But, wait, it gets better. The following year, Magnet unveiled the Six Shooter Film Series.  to give a theatrical release to the world's best genre films. In their own words, the inaugural class gave a theatrical release to six films "from the vanguard of quality worldwide genre cinema. With each film hailing from a different country, the series aims to bring fans of horror, sci-fi, alternative comedy and Asian cinema a mix of the most intelligent, genre-bending titles available from around the globe." That's as pretty damn cool as mission statements get.

I was first drawn to Big Man Japan because it looked like possibly the goofiest movie ever. Directed by and starring popular Japanese comedian Hitoshi Matsumoto, it tells the story of an alternate Japan beset by actual attacks from city-thrashing monsters. Not traditional movie daikaiju, like Godzilla or Mothra, but freaky, human-like beasts that include, yes, a giant baby.

But the story is about the title character, Masaru Daisato, the latest (and possibly last) in a heroic line of men who can transform to gargantuan size when needed to defend their nation from monsters. Told in faux-doc style, we follow Daisato as he tries to cope with the burden of his "gift", his estranged wife and daughter, and fellow countrymen who have grown apathetic to him and his role in society. And this is the heart of the film and what lifts it beyond just a visual novelty.

I wasn't expecting the level of poignancy Matsumato achieves, not just in the scenes of Daisato's daily life, but during the mega-battles as well. It's billed as a comedy and it is, but one of those sneaky good comedies where the laughs blanket a deeper level of sadness.

Then there's the end. I have no idea what happens. Really. And it's pretty hard to explain other than to say during Big Man Japan's climatic fight with his arch enemy the movie suddenly becomes a different movie. Sort of. Again, I don't know. It's ridiculous.