Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Twilightfa Watch something else. There are very few redeeming qualities to this film.

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

ramkoil I read some of the reviews for this movie before watching it. One review stated that this movie is a feminist movie. I almost decided not to watch the movie having read that absurd review. I don't watch movies because it pushes an agenda specially a hateful agenda like feminism. I watch movies such as this because they are entertaining, heart warming and show human emotions. Luckily I put this review to the writer's stupidity and narrow mindedness and watched the movie. It is a good light movie both entertaining and character driven. Just a small note that men and women equally need each other and are complimentary. It is OK for a woman to need a man and want a man. It is not weak it is human nature that should not be ignored.

clf-97830 For those into the sublime existence that is the female flesh and skin, this film presents a gorgeous single mother and a beautiful teacher. We know that not all Japanese women look this sublime because there is a main character who is not pretty and also two Japanese female customers arrive, look at the single mother and wonder out loud how pretty she is. Then there is the older woman who also marvels at the single mom's body.With that said, the two women are beautiful knock-outs, super thin, shapely legs and it is an element of fantasy that they are both single. How is that even possible?? The woman separated from her father at childhood returns to where she last met him and makes a home for herself. Things go well with the business she sets up for herself, but on a personal level things are different matter. The story holds your attention and not just because of the feminine skirts, dresses, shorts and hair. I say watch it.Available on DVD from buy.com

Kicino Was very lucky to see it at the Asian Film Festival and heard the director talk about the production process. Initially I did not realize it was directed by Chiang Hsiu-chiung, a Taiwan female director who also directed the award-winning documentary Let the Wind Carry Me. This movie looks very low budgeted and quite feminist. All main characters were women and children. For the limited male characters, they do not seem to have nice characters. I also did not realize it is inspired from a true story: a female coffee brewer Yuko decided to go back from Tokyo to her hometown in Ishigawa Noto Peninsula near Kanazawa and continue her small business. The director told us the actual coffee shop was not far away from the one in the movie. Though the director and the original coffee brewer Yuko only communicated through simple English, they stayed at each other's homes in Japan and Taiwan to know more about each other. No wonder the director said the Japanese media said there are some similarities between the director, Yuko and the main actress Hiromi Nagasaku. In the movie, Hiromi Nagasaku plays the role of Misaki Yoshida, a Tokyo woman who has a strong love for coffee. After her father went missing for seven years, the notary told her that her father is legally dead and she has to inherit his debt and a small boathouse in his hometown. Separated from her father since she was four, Misaki decided to move back to her home town while waiting for her father to come back since she believes he is still alive. While she is transforming the boathouse into a café, she befriends with two children, Arisa (Hiyori Sakurada) and her younger brother Shota (Kaisei Hotamori) who live nearby and whose single mother Eriko Yamasaki (Nozomi Sasaki) is not always home as she has to work in Kanazawa. Misaki shows a strong and composed sense of confidence. The whole movie has a sense of comfort and hope though the tempo is a bit slow and the art direction a little pretentious. But the cinematography is beautiful. Perhaps in that rural coastal town whenever you put up your camera the scenery is pretty.There are not a lot of dialogues but the actors, even children, seem to be conveying lots of emotions. The director does not speak a word of Japanese but the actors are very professional and perceptive, thus able to deliver what she wants. Amazing. It is quite a feminist movie because it is the female who is stronger in the movie. All of them take the initiative to reorganize their lives, though they have spent/wasted a long time waiting for a man. That, to me, is comforting.

euroGary Most Japanese films that make it to the West seem to involve lots of tattoo-laden yakuza, buckets of blood and few female characters. But 'The Furthest End Awaits' is quite different - it's a Japanese chick-flick.When her father, who disappeared in a fishing accident eight years before, is declared legally dead, Misaki inherits his dilapidated boathouse. A popular coffee merchant in Tokyo, she moves her business to the remote community where her father lived. In this she proves herself not much of a businesswoman, as apparently the only other inhabitants of the town are irresponsible single mother Eriko, her two children, her thuggish boyfriend, and the children's teacher. At first resenting her children's fascination with the kindly Misaki, Eriko saves her from a rape attempt (very restrainedly filmed by female Taiwanese director Chiang Hsiu Chiung) and the two become fast friends. For Eriko's children, having to cope with the consequences of their mother's erratic lifestyle, this is very good news.With its soap operaish plot, two-dimensional characters, small castlist and saccharine storyline of easy redemption (Eriko's sudden blossoming into a responsible mother), this has very much the feel of an American TV movie. As Misaki and Eriko respectively, Hiromi Nagasaku and Nozomi Sasaki (who has a splendid pair of legs) carry the movie competently, with Nagasaku's tomboyish mode of dress, especially, a far cry from the kimono-wearing or schoolgirl-dressing women often featured in Japanese films seen in the West.