What’s special about this film version is the casting of four Japanese female pop singers from Hello! Project in the main roles, all of whom do extraordinary jobs. Yo-Yo Girl Cop follows a trouble-making girl with a complex past. We find her racing against the clock to discover a timebomb and who exactly these terrorists are and put a stop to their evil plan. She constantly finds herself in situations where the only option is to fight her way out.
When one sees that a movie is about yo-yo combat, one expects, well, yo-yo combat, not 90 minutes of people strapping bombs to themselves, then regretting it after someone sets a timer remotely. The whole story made no sense whatsoever. The acting is a little bumpy at the very start of the movie but by the end everyone has hit their stride. There a lot of funny parts too, like the scene in the mall where Saki uses her yo-yo for the first time.
This is a film that is supposed to grab hold of your attention with its action and excellent cinematography rather than make sense at every point of the story. The Japanese cinema has become explosively action oriented in the post Kurosawa era. The best part of the new film is the ending. The fight is almost as good as anything from the old movies with a new twist added. Now, there’s nothing particularly groundbreaking in terms of the general storyline or dramatic elements, but they do provide a series of effective anti-climaxes that taunt the viewer into doubting the existence of a grand finale.
The opening hour may seem weak at first, but is much better following a repeated watch because the viewer – now aware of the grand finale – can appreciate the build-up even more so. Make no mistake about it Yo-Yo Girl Cop requires a suspension of belief, but that’s one of the reasons it’s such a fun experience. No doubt, this is one of the dopest movie concepts ever. Throw into account the the outrageous, over-the-top, and frequently cheesy premise, and you have a fun time at the movies.