Memorable, crazy movie

It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

In truth, there is barely enough story here to make a film.

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.

Let's be clear the Death Note movies were works of art and mostly loyal to the original material, the performances were fantastic and they delivered on every front.I was deeply concerned about this L themed spin off for a number of reasons, primarily because it's very existence felt like a cash grab.Immediately it felt like it was part of the franchise, integrated into the last film and following on nicely.Of course if the movies had followed the original material this movie for obvious reasons would never have been possible.Trouble is now it was entirely L's story and could he carry a film by himself? Honestly, no. And that's a shame because bringing L into other cases could in itself be brilliant and worthy of an entire television show but somehow, someway it simply didn't work.L himself was great, the actor once again knocks it out of the park but is dropped into a non-Death Note themed story that simply isn't worthy of him or the franchise.Thanks to him and the general quality of the film it's still quite good but isn't as smart as we've come to expect from the series and just not that great.Add a team of interesting characters with L and I stand by this being perfect for a television show but as a movie it just doesn't stack up.The Good: L is perfect once again Is following on from the events of the main movies The Bad: Story is very bland Not as well written as the Death Note movies Isn't particularly intelligent Things I Learnt From This Movie: Even when provided with an excellent lead a movie can still fall flat

Death Note is one of the few anime films that I actually like. After seeing the film and having heard prior reviews of the films, and I was happily shocked. Although it doesn't carry the same format as the original story, it has its own interesting twists and turns with L becoming more like a James Bond like character in his last 23 days of life before dieing because of the death note. There is cameos of some of the previous characters in the series, including Ryuk, and has appearances of characters from inside the anime and manga series that many fans have been waiting to see such as Near. The whole plot revolves around a new arch villain known as K trying to wipe out the human race and become the new gods of the nature world. Along the way L inherits two children, through various circumstances, who give him a new outlook on life. Although its different, give it a chance and be astounded. Over all its a great movie and has been highly under rated.

This film uses the setting of the Death Note films, but lacks what made Death Note so fascinating: an intricate, constantly-changing storyline involving extremely intelligent enemies and their intellectual warfare. L change the WorLd feels kind of like a Godzilla film in which Godzilla is nowhere to be seen and Mothra appears for a few seconds at the beginning. I can't help but feel that it probably would have actually been a better movie if it were not Death Note-related.Naomi Misora, Watari, Misa and Ryuuk were given cameos, but nothing much was really done with their characters and the film would hardly be any different if they never appeared. Furthermore, what happened to Kira's influence on the world?! Right after burning the Death Notes, we see L helping solve various murder cases, and the main antagonists belong to an organization that must have been planning their attack while Kira was quite active. Not a single mention of Kira's influence is made, and it seems entirely as though the writers forgot that crime was supposed to have gone way down because of people's fear of Kira.Apparently the film's acting was praised in Japan, but anyone who speaks English will be pulled out of the film by the entirely emotionless (and quite frequent) English dialogue. I'm guessing that most of the actors didn't know what they were saying and were just pronouncing the sentences syllabically.Numerous opportunities for connections with Death Note were thrown away. The only two throwbacks (aside from the early cameos) were a villain with a scar similar to Mello's and the fact that, at the end of the movie, L names the boy he's been taking care of Near. "Near is a good name," he says. Of course, L change the WorLd's Near looks and acts nothing like the Nate River of the series. When L was trying to figure out the meaning of the letters "MK", I was hoping (and expecting) them to stand for "Mihael Keehl", but there wasn't even a passing reference to the name for fans to recognize.A couple of moments in the film that were supposed to be serious made me laugh out loud. The first was when L tried standing up straight with triumphant music playing... and several loud spinal cracking noises. The second was when L leaps from the stairs into the airplane in slow motion.I do consider L change the WorLd worth seeing for Death Note aficionados, but I don't think most fans will feel it lives up to anything else in the franchise.

Living up to the excellence of Shusuke Kaneko's Death Note films was always going to be a daunting task. The makers of this film responded to this challenge by avoiding it.The film's prominent ties to its predecessors, most notably the inclusion of several characters and events from them, are entirely superficial, and I was left with the distinct impression that Nakata's primary desire was to make a bioterrorism thriller, with the Death Note movies and the character of L serving merely as convenient springboards.After going to the trouble of hiring several actors to reprise their roles, (Such as Erika Toda as Misa, Asaka Seto as Naomi Misora, and Shunji Fujimura) their characters are criminally underused. This is not just lazy, it is cruel. It's the equivalent of dangling food in front of a starving dog only to pull it away after only letting them lick it. Even the unperceptive viewer can tell these are blatant attempts to fake a connection which is essentially nonexistent.The sheer magnitude of neglected opportunities to capitalise on the wealth of plot and character established by the Death Note films is staggering. A event as stupendous as Kira's reign of death would have a lasting effect on society; the Death Note films show the beginnings of this, with people divided over whether his actions were right, and many supporting him to a religious degree. Yet in L: Change the WorLd, its almost as if none of it had ever happened. Life goes on as usual, with scarcely a mention of the monumental upheaval the world has just undergone. This also could've provided many interesting possibilities, such as the Kira cult becoming involved in the plot, or characters such as Misa and Ryuk playing new roles and continuing to develop. Apparently, Nakata couldn't care less.What's more, he can't resist falling back on his roots as a horror director, and is determined to scare the audience with the victims of the virus. Unfortunately, the result is corniness rather than adrenaline. The rest if the time, he's either plodding through the drama on autopilot, or inserting light comedy in a haphazard manner.The writing isn't much better. The script is brimming with trite clichés, yet is oblivious to this and makes no effort to put a fresh spin on them. It has some admirable aspirations, namely its attempts to explore L's human side, and capture the topical issues of terrorism and the Bird Flu/SARS scares in the same way that its prequels addressed justice and the death penalty, but in execution it fails. Overall, it largely plays like amateur fanfiction, overusing the surface strengths of the originals (namely L's eccentricity) while losing its deeper strengths. Interesting ideas are left to rot on a compost heap of generic characters, messy plotting, and lame attempts to emulate the excesses of the typical Hollywood action movie.To his immense credit, Kenichi Matsuyama lifts L above this malaise and squeezes a river of blood from the stony script in his typically witty and charismatic performance. Once again, he embodies the character down to his finest mannerisms, and makes like he just crept off the set of The Last Name. True, his English skills are modest, but this is actually believable; I met many Japanese people who spoke in this way during my time in Japan.Sadly, however, much the use of English throughout the film is reminiscent of the Heisei Godzilla series in its grating inanity. Also, the Japanese performances outside of Matsuyama range from decent, (Fukuda Mayuko as Maki) to downright cheesy. (Most of the villains) Even Erika Toda as Misa had none of the spark Kaneko drew out of her in the prequels during her brief cameo.Even Death Note veteran Kenji Kawai's score, while certainly not bad, is a far cry from his work on the previous films, though largely because he's mostly forcibly limited to low key background music and the long periods of sluggish silence Nakata so adores. He finally finds a chance to shine towards the end, where he provides two impressive pieces; an epic cue that accompanies L's arrival at the climax, and a melancholy piece that fits the fittingly touching conclusion nicely.Cinematography is also a step down, losing the smooth, rich clarity of the Death Note movies for a dry and altogether bland visual style.Thankfully it's not all doom and gloom; there's some good apples among the piles of rotten ones. As mentioned previously, the ending is suitably poignant, though the tears it almost brought to my eyes are due primarily to my love of and familiarity with the character. I also laughed aloud at several of L's displays of quirkiness, and flushed with joy at the rare but delicious moments of Death-Note-style "intellectual pwnage." The opening title sequence is slick and classy, capturing the feel of its predecessors wonderfully.The FX are strong for a Japanese film, and are actually slightly more advanced than those of the first two films. The destruction of the infected village is vivid and impressive, and the practical effects for virus's symptoms are mostly well done. Ryuk's execution via CGI during his brief appearance is about on par with his previous incarnations.But you know something's wrong when your counting the good moments rather than the bad ones.In the end, the film's highlights are like sweet chocolate chips in a bitter and mouldy cookie. It succeeds as fanservice and as cold commercial calculation, but fails as art, entertainment, or storytelling. It's an awful shame, because with the ingredients left by its marvellous predecessors, it could have been truly great.