The VFX-heavy YIN YANG MASTER ZERO presents itself as an exhilarating roller coaster, topped with all the bells and whistles, but the ride itself may not be enjoyable for everyone. Although director Shimako Sato attempts to breathe new life into the historical characters, the high-fantasy elements and big budget do most of the heavy lifting in keeping the audience’s attention. That said, the visuals are stunning. The film features vivid colors and well-integrated special effects, along with dragons that, excuse my crude language, are cool as hell. Whether it exceeds the critical acclaim of its 2001 predecessor, ONMYŌJI, is debatable, but it offers a fresh take on Abe no Seimei’s origin.
The film follows Abe no Seimei and his dim, but well meaning friend, Hiromasa of Minamoto, as they attempt to solve the mystery surrounding the death of another onmyōji apprentice. Unlike other narratives, Shimako Sato’s Abe no Seimei lives in a world that has very little actual supernatural phenomena. Rather, as her Seimei puts it, it’s all about the power of the mind– people believing so strongly in something that it eventually manifests into reality. This Seimei’s power seems to lie more in hypnotism and suggestion whereas other iterations clearly have mystical powers from the get go. Sato’s more realistic approach to this world makes the story much easier to follow and understand in comparison to the 2001 ONMYŌJI as viewers do not need to have a strong grasp on the magic system nor do they need background knowledge regarding Japanese folklore and traditions. In terms of story, YIN YANG MASTER ZERO offers a much more linear experience that is likely to resonate with more Western audiences.
Similar to other iterations of his character, Seimei is haughty and rather pompous. He knows he’s the best and isn’t afraid to show it but has no interest in rising through the ranks of the Onmyodo Bureau. However, this is where all similarities cease as Sato’s Seimei is not the fox-like onmyōji audiences have come to expect. This version of Seimei is much younger and haunted by the murder of his parents, resulting in a character that is more visibly withdrawn and aloof compared to the charming and mischievous 2001 Abe no Seimei played by Mansai Nomura. Sato’s Seimei doesn’t smile or fool around and is more cunning than mischievous. This characterization is interesting on paper but ultimately boring to watch. Because Seimei is more closed-off for most of the film, he doesn’t express many facial emotions. Kento Yamazaki’s acting fits well when considering what Seimei has gone through, but isn’t as entertaining to watch as Nomura’s Abe no Seimei.
That said, the chemistry between Kento Yamazaki’s Abe no Seimei and Shota Sometani’s Hiromasa is a highlight of the film. The duo shares wonderful rapport, and their comedic moments help ease the tension between scenes. Any time the pair is on screen, the film instantly becomes more compelling and enjoyable. Their characters perfectly complement one another, with Yamazaki’s stoic swagger playing off Sometani’s dim-witted but genuine nature. They are definitely stronger together than apart, and I may be more partial to the bond between these two than their 2001 counterparts, if only because their interactions made me laugh more.
If there’s one thing that stood out about YIN YANG MASTER ZERO, it’s its use of VFX. It’s honestly outstanding, but considering that the film was made by the same team that did Godzilla Minus One, it’s hardly a surprise. You can really tell that this is where a good chunk of the budget went. There’s this one scene where the seasons change and it’s one of the prettiest things I’ve seen on screen. And again, no spoilers, but there are two dragons here and they looked totally sick–easily one of the best parts of the film.
YIN YANG MASTER ZERO may not resonate with everyone, and that’s okay. Some may be partial to the 2001 version, some to this one, and others to neither. But as someone who adores Japanese folklore, I applaud Shimako Sato for her bold choices and fresh takes, even if they didn’t always quite stick the landing for me.
3/5 Stars
Kaitlyn Kim was born and raised on the island of O’ahu and is a currently a senior at the University of Hawai’i at Mānoa studying Cinematic Arts and Business Management. When she was little, she had a deep love for storytelling in all of its forms, but specifically in film. As a screenwriter, she is deeply passionate about telling unconventional and personal stories across all sorts of genres. She has recently become more involved with HIFF, serving as a part of their Student Advisory Committee and, briefly, as their Events Production Intern. In her free time, she enjoys reading cheesy YA novels and play farming video games like Harvest Moon.
The HIFF ONLINE CREATIVES & CRITICS IMMERSIVE (HOCCI) program supports sustainable film criticism in Hawai’i through mentorship and paid career opportunities for Hawai’i-based AANHPI critics. The mission of HOCCI is to broaden diversity in film criticism across the Pacific and use influencer branding strategies to spark career opportunities. The 2024 HOCCI is supported by Critical Minded, a grant-making and learning initiative that supports cultural critics of color in the United States.
