...mostly, it's because I love the way it made such excellent use of its distinctive medium to portray the creeping danger its aging protagonist must face.
Wise words from Jeffrey Overstreet: "If there's been anything lacking on the big screen in recent years, it's fun. And this may not amount to more than the sum of its genre-crazy parts, but it felt like seeing a glorious big-screen rendition of one of the stories I wrote when I was a kid. And for that, I'm grateful."
I don't think I appreciated the precision (and power) of Kon's manipulations the first time I saw this one...And I surely did not recognize just how emotionally resonant it was, or that its resonance (and relevance) would increase over the years. That's true of all his works, really, since the question(s) of how we live out our "multiplicity of lives" grow(s) keener as technology progresses(?)
It's not a great film, really. But it's a great film for a Friday night after a long work week; a twisty-twirly time-travel movie disguised as a flashy and (at least occasionally) clever thriller. (Or is it a flashy-yet-sometimes-clever thriller disguised as a twirling, twisting time-travel movie? I can't quite recall...)
If you've got a moment, take a look at this video clip of a (recent?) rehearsal featuring violinist Daishin Kashimoto, conductor Sir Simon Rattle, and the members of the Berlin Philharmonic. On the surface, it seems pretty straight-forward, but the backstory detailed in this Classic FM blog post reveal that there's more going on here than meets the eye (and it's fantastic).