Name: Once Upon a Crime
Genre: Fantasy, Comedy, Crime
Released: 2023-09-13T00:00:00+00:00
Cast: Kanna Hashimoto, Yuko Araki, Takanori Iwata, Natsuna Watanabe, Yumi Wakatsuki

The royal ballroom glittered under the chandeliers, but Little Red Riding Hood wasn’t there to dance—she was on a mission. Yuichi Fukuda’s Once Upon a Crime (2023) opens with this intriguing subversion of expectation, plucking fairy tale characters from their familiar roles and dropping them into a crime mystery that’s as whimsical as it is perplexing.

Fukuda’s film is a blend of fantasy, comedy, and crime genres, starring Kanna Hashimoto as Little Red Riding Hood and Yuko Araki as Cinderella. The premise is simple yet engaging: while at the royal ball, Little Red finds herself entangled in a mystery that she must solve before midnight strikes. This setup allows Fukuda to play with audience expectations, offering a fresh take on well-worn stories.

Hashimoto shines as Little Red, bringing a blend of curiosity and determination to the role. Her performance is a highlight of the film, grounding the fantastical elements in a relatable humanity. Hashimoto’s portrayal of Little Red is nuanced, balancing the character’s youthful innocence with a growing sense of agency. She’s not just a passive participant in the story; she actively drives the narrative forward, making her a compelling protagonist.

Araki’s Cinderella is equally compelling, far removed from the passive princess trope. Araki imbues Cinderella with a sharp wit and resourcefulness, making her more than just a damsel in distress. The chemistry between Hashimoto and Araki is palpable, making their partnership the emotional core of the film. Their dynamic is one of mutual respect and support, a refreshing departure from traditional fairy tale narratives.

The supporting cast adds depth and humor to the narrative. Takanori Iwata as Prince Gilbert provides comic relief with his bumbling charm, while Mirei Kiritani as Tekla offers a subtle but effective performance that hints at darker undercurrents. Natsuna Watanabe as Anne and Yumi Wakatsuki as Margot contribute to the ensemble’s dynamic, each bringing unique perspectives to the mystery.

Fukuda’s direction is visually engaging, with vibrant colors and clever set designs that enhance the fairy tale atmosphere. The film’s use of lighting is particularly noteworthy, casting dramatic shadows and highlights that underscore the tension and suspense. A standout sequence involves a chase through the castle gardens, where the camerawork is fluid and dynamic, capturing the frantic energy of the scene.

The sound design is equally impressive, with subtle cues like the ticking of a clock or the rustle of a dress serving as effective narrative devices. The film’s score complements its visuals, blending orchestral elements with modern beats to create a soundtrack that’s both whimsical and suspenseful.

However, Once Upon a Crime falters in its execution of the plot. While the premise is engaging, the narrative feels piecemeal at times, as if Fukuda couldn’t decide whether to prioritize character development or mystery. The pacing is uneven, with key revelations feeling rushed and secondary characters introduced too late to make a significant impact.

The film’s blend of genres—fantasy, comedy, crime—is ambitious but not always successful. Moments of genuine suspense are undercut by comedic beats that land with varying degrees of success. Some jokes hit their mark, like a witty exchange between Little Red and the prince, but others fall flat, disrupting the narrative flow.

The film’s themes of identity and subversion are compelling, exploring what happens when fairy tale archetypes step out of their prescribed roles. This exploration is particularly relevant in today’s cultural landscape, where traditional narratives are increasingly being reexamined and reinterpreted. However, these themes are not always fully developed, leaving the film feeling somewhat superficial at times.

Once Upon a Crime is a film that will appeal to fans of fairy tale adaptations and mystery genres alike. Its unique premise and talented cast make it a worthwhile watch, despite its narrative shortcomings. The film’s strengths lie in its performances and visual storytelling, which offer moments of genuine charm and intrigue.

Comparisons to other fairy tale adaptations are inevitable, but Once Upon a Crime carves out its own niche with its blend of comedy and crime. While it may not reach the heights of more polished productions like Into the Woods, it offers a fresh perspective that sets it apart from the crowd.

The film’s target audience is likely to be fans of lighthearted mysteries and fairy tale reimaginings. Those looking for a more traditional mystery might find the film’s comedic elements distracting, while those seeking a straightforward fantasy adventure may be disappointed by the crime plot. However, viewers who enjoy a blend of genres and a subversive take on classic stories will find much to appreciate in Once Upon a Crime.

In terms of technical execution, the film is well-crafted but not groundbreaking. The cinematography is visually appealing, and the performances are strong, but the script could have benefited from tighter editing and clearer focus. The film’s pacing issues are a notable drawback, as they detract from the overall viewing experience.

Despite its flaws, Once Upon a Crime is a film with genuine potential. Fukuda’s vision is clear, and his ability to assemble a talented cast is evident. With a more focused script and tighter editing, this could have been a standout entry in the fairy tale adaptation genre.

In conclusion, Once Upon a Crime is a film of bright spots and missed opportunities.