# 映画『踊る大捜査線』最新作批評!!織田裕二演じる青島が走り続けることになった経緯を邪推『オデュッセイア』『我々は宇宙人』『ドラマなふたり』『負けへんで』など秋映画の感想回!!

- Show: みなみかわと大島育宙の炎上喫煙所
- Published: 2026-10-12
- Canonical: https://podc.club/en/episode/1645972214_9f43ef4d794d.html
- Audio: https://anchor.fm/s/f4dc0df8/podcast/play/127313791/https%3A%2F%2Fd3ctxlq1ktw2nl.cloudfront.net%2Fstaging%2F2026-9-12%2Fb186e4cd-d8d2-87d4-b406-e910706e1e27.mp3
- Source: Edited from a machine transcript of the first 30 minutes of the episode. Not an official summary.

Ikuhiro Oshima took his fourth-grade son to see the latest Odoru Daisosasen (Bayside Shakedown) film and came away with a scorching review: absurd character logic, a hero who does nothing but run, and a line about AI that gets its premise completely wrong. Later in the episode, he and Minamikawa pivot to Christopher Nolan's Odysseia, praising its visceral creature sequences as some of the most striking filmmaking either has seen recently.

## What this episode answers

### What prompted Oshima Ikuhiro to see the new Odoru Daisosasen film with his son, and how did the two of them behave inside the theater?

His son got hooked on the Odoru Daisosasen franchise through a marathon streaming event tied to the new release, and since the boy already loved mysteries and investigations from following Detective Conan, it was a natural fit. The only free slot during Silver Week was the 8:20 a.m. screening, which the two attended alone — Oshima's wife and younger son had zero interest.

### Who was the character Oshima felt most sorry for in the new Odoru Daisosasen, and what was that character's role?

Massu (Masuda Masayoshi) drew the most sympathy: he plays a 21-year-old who is the son of Masuda Seigi, a Harvard graduate who skipped grades but is completely useless in practice and ignored by everyone because he is young. Oshima dismissed the setup as 'a gag manga the moment a 21-year-old is placed there.'

### Why do the two hosts speculate that the scenes of Aoshima (Oda Yuji) endlessly running were never stopped?

Oshima speculates that the atmosphere on set was nothing but 'Let's do our best, Fuji TV' and 'It's great because it's Odaiba,' and that no one on the crew ever felt able to ask 'Why is he running?' — comparing the resulting chaos to Mitani Koki's film Radio no Jikan (Welcome Back, Mr. McDonald).

### How did the two criticize the handling of deceased actors and characters, and what was wrong with the line 'there is truth even inside AI'?

Oshima criticized the treatment of deceased actors and characters as operating on the assumption that 'dead people are interesting,' with zero sense that disrespecting them causes backlash, calling it the work of someone who 'hasn't watched a single minute of news.' On the AI line, he argued the premise is simply wrong: nobody claims there is zero truth inside AI — the only debate is about how to use it carefully.

### What scenes in Christopher Nolan's Odysseia left the biggest impression on Oshima?

He was most struck by the scene in which the witch played by Samantha Morton turns humans into pigs — calling it an obvious attempt to surpass the opening of Spirited Away — and by the Cyclops, whose depiction felt too raw and physical to read as CG.

## Article

## A Father-Son Trip to the Movies — Watching Odoru Daisosasen Together

Oshima Ikuhiro's (大島育宙) son, a fourth-grader, fell for the Odoru Daisosasen (踊る大捜査線) franchise through a marathon streaming event timed to the new film's release. He had already been hooked on Detective Conan for its crimes, suspects, and investigations, so the franchise was an immediate fit. Oshima himself has vivid memories of his father taking him to the cinema as a child, and he described the reversal — now being the parent — as deeply moving. The only opening during Silver Week was the 8:20 a.m. screening; the two went alone, as Oshima's wife and younger son declared themselves completely uninterested.

Midway through the film, Oshima glanced sideways and found his son playing a quiet game with his hands — testing whether his thumb and ring finger could touch. Rather than scolding him, Oshima gently wrapped the small warm hand in his own. The boy also made two toilet trips. After the credits, father and son talked at high energy all the way home, though Oshima's critical verdict was far less warm.

## Reviewing the New Odoru Daisosasen — Multiple Layers of 'Pitiable'

Oshima called it 'the film that messed with my head the most in the past two or three years.' His 'pitiable ranking' put Massu (Masuda Masayoshi) at number one. The actor plays a 21-year-old who is ostensibly Masuda Seigi's son: a prodigy who skipped grades through Harvard, yet completely inept in practice and dismissed by every senior around him. 'The moment a 21-year-old is placed in that position, it's already a gag manga,' Oshima said flatly. A new character named Shuri-san fared similarly in his estimation.

The scene in which Aoshima (Oda Yuji) comes up with a plan — apparently involving 'being infected through the screen' — was described only as 'poison' and 'I closed my eyes,' leaving Minamikawa visibly shocked without Oshima spelling out the details.

## Criticizing the Script and Direction — 'A Project That Looks Like AI Wrote It'

Oshima's harshest words were reserved for the film's handling of deceased actors and characters. He argued it operates on the assumption that 'dead people are interesting,' with no awareness that approaching them disrespectfully causes public backlash — 'not even one millimetre of that understanding.' He described the filmmakers as people who 'haven't watched a single minute of news.'

A line of dialogue — 'there is truth even inside AI' — received a pointed rebuttal: 'Nobody is saying there's not a single grain of truth inside AI. The only thing anyone says is to be careful about how you use it. The premise is simply wrong from the start.'

On Aoshima's endless running, Oshima theorized that no staff member ever mustered the courage to ask 'Why is he running?' and that the entire shoot proceeded inside a bubble of 'Let's give it our all for Fuji TV' and 'It's great because we're at Odaiba.' He compared the outcome to the unstoppable creative chaos of Mitani Koki's Radio no Jikan.

Yamamoto Takahiro's Oda Yuji impression cameo was assessed as 'a killer of impressionists — standing next to the real person, nobody looks alike.' Matsushita Kohei, appearing for the first time in a world that already contains the existing cast and Oda Yuji, was praised for radiating an 'always been here' ease. The idea of Uozumi-san as a former-cop YouTuber was also called a 'good fit for the character.' Oshima still noted that the man in the seat next to him was in tears, adding: 'That's equally valid. He's watching while reliving his own life. I have no intention of taking away anyone's right to find meaning in it at that quality level.'

## High Praise for Christopher Nolan's Odysseia

The conversation shifted to Odysseia (オデュッセイア), directed by Christopher Nolan and starring Matt Damon, running just under three hours. Oshima stayed riveted to the end; his wife, sitting beside him, fell asleep eight times. He compared its scale to Troy (starring Brad Pitt) and Gladiator, and appreciated that both men and women are portrayed as strong and 'thoroughly in the wrong' in equal measure.

The scene he praised most passionately was the witch — played by Samantha Morton, best known as the Precog in Minority Report — turning humans into pigs. 'You could feel the determination to surpass the opening of Spirited Away,' he said, noting the texture felt almost tangible. The Cyclops sequence was equally overwhelming, its depiction too visceral and physical to read as CG. 'I never expected Nolan to go this grimy,' he admitted. He described Zendaya's ubiquity in current cinema by comparing her to what 'a cute Yumi' would be in Japan — someone appearing in film after film across wildly different contexts.

## Takeaways

- Oshima's verdict on the new Odoru Daisosasen is one of exhausted sadness rather than outright anger — 'Massu is pitiable' and 'nobody stopped Aoshima from running' were the defining failures.
- The film's AI dialogue ('there is truth even inside AI') was dismissed as a fundamental logical error, and its treatment of deceased cast members was called the work of people who have not engaged with public discourse at all.
- Nolan's Odysseia earned strong praise for Samantha Morton's pig-transformation scene and the raw physicality of the Cyclops, with Oshima drawing a direct parallel to the opening of Spirited Away.