The Tokyo International Film Festival has more in common with its mega-corporate Coca-Cola sponsor than it might like to think, as both are in the business of churning out factory-line products. The festival’s hyped-up opening and closing films, Robert Zemeckis’s The Walk and Tetsuo Shinohara’s Terminal, are both as equally cloying as a can of soda pop. Apparently this comes as no surprise to those familiar to the business sensibilities of the festival, but for cinephiles, the films produce the miasmic feeling that they were conceived by some number-crunching algorithm.

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