The modern Japanese drama tends to be emotive. Even when they aren’t good, they succeed in making the viewer care for the characters.
Turn is, ostensibly, a Japanese Groundhog Day. Only not funny. Where Groundhog Day was about Bill Murray interacting with people with no consequence, the character stuck in turnover in Turn is alone. She spends about fifteen minutes with no character interaction.
A character alone is a difficult proposition. She doesn’t have a dog and she doesn’t have a ball with eyes on. She makes some comments–really forced ones for a while–but the first twenty minutes are hard to get through. Without some voiceover, which would have done Turn a great deal of good, you feel too much like you’re watching a movie. It’s hard to identify. The character is a preschool teacher and her experience could have been turned into story for her charges. Turn also provides one with a lot of opportunities to conceive a superior remake (or adaptation, as it’s based on a Japanese bestseller).
The characters and their performers are likable. There’s the unexplored relationship between the woman’s mother and her sort of suitor. A relationship, I suppose, left for a better film. It’s a fantastic situation, so getting me to care about it–especially considering the film has two principle and two supporting actors–is hard. A film that nullifies itself with its ending has to be careful not sacrifice all that the characters have struggled to achieve. Honestly, Turn was never going to be higher than a one and a half, but when it cut itself off, when it made those struggles secondary to resolving the fantastic situation, it dropped–immediately–to a one. Then the movie ends moments later. It’s not even a twist ending–it’s predictable after a certain point–and Turn manages to suffer most of the downsides of the twist ending.