A floating neon triangle of paranormal healing provides the film with its elaborate title. Kosuke Mikado (Jun Shison) has been seeing dead people for as far back as he can remember. His fate changes the day Rihito Hiyakawa (Masaki Okada) appears on scene, not only possessed with the same psychic abilities as Mikado, but willing to hire the lad on the spot at double his current salary as a book clerk. (The job description calls for light housework and performing exorcisms.) His first assignment is to track down the missing body parts in an otherwise perfectly stitched Frankenstein creation. (One could have done without director Yukihiro Morigaki’s intercutting a bloody crime scene with steaks sizzling on the griddle.) Next case, that of Erika Hiura (Yurina Hirate), a young woman capable of willing people to their deaths with words. The crimes lead to a part of Koto City that seems to breed random acts of killing, particularly among the shop owners. (Cops initially wrote the violence off as mobsters looking to set up storefront businesses.) It’s around here that confusion sets in and the film’s style and inner-logic begin to veer off course. In the case of the former that’s not such a bad thing. Though it may seem like little more than a paranormal take on the Hardy Boys, according to The Japan Times this falls into a relatively new genre in Japanese storytelling known as “boy’s love.” But other than an occasional psychic embrace between boss and employee and Mikado’s mom asking if there are any pretty girls for him to hook up with at his new place of employment, the film packs as much homoeroticsm as a Chiquita Banana commercial. (2021) — Scott Marks
This movie is not currently in theaters.