So our Rookie (Gingle Wang) hasn’t been dead terribly long as other ghosts would describe it, and isn’t terribly familiar with the big business that the haunting and urban legend celebrity ghosts perpetuate. When the offerings at a ghost’s grave or shrine begin tapering off and especially if they stop, for any reason or none at all, the ghost in question has 30 days to either obtain an official haunting license or glitch out of existence, basically forever. And for some reason, our Rookie isn’t ready to do that just yet. 

The rivalry between the two main celebrities of our ghostly world, Catherine (Sandrine Pinna) and her haunted hotel versus Jessica (Eleven Yao) and her horde of fakes, is just like the smiling poison you’ll see between live celebs on any reality TV show today. Catherine has her tried and true methods that work most of the time, while Jessica seems intent on trying out a bunch of new methods to take her haunting mythos worldwide, though neither of our lady poltergeists are impressing the Chairghost (Di-yang Huang) terribly much at the moment. And our Rookie is trying rather desperately to follow in either of their footsteps, inevitably resulting in hilarious if not pathetic shenanigans. 

Like any rookie out hunting a job, our Rookie attends a ghostly seminar and performs miserably, but she manages to meet Catherine’s self-proclaimed manager Makoto (Chen Bolin), and gets taken back to the hotel for some professional haunting lessons from the legend herself. Spectral hijinks ensue, as Catherine and Makoto try so very hard to find a talent, a haunting niche, something that can give our Rookie recognition in the ghost world so she doesn’t go poof forever! 

The problem is, is that our Rookie just doesn’t seem to be good at, well, anything. Like any ghost, she actually has unfinished business and that’s why she’s still stuck on this earthly plane, but the how and why of her death, and the very real rage and sorrow she still feels because of it, is something we the living can actually all relate to as well. As she dutifully dons schoolgirl garb and Jack Skellington makeup to repeat her chosen phrase, “I hate this world!”, our Rookie is building her own urban legend to rival even Catherine and Jessica, but even in this she feels herself a fraud. Makoto and the others helped her basically put this whole thing together, and while it might save her spectral butt from glitching out, it doesn’t address her personal grievances, which is kinda the whole point of ghosts. 

The leading ghosts are about to compete in a ghost-off for the Golden Ghost Awards, its all being dead-broadcast amongst the dead talents society and the competition is totally fierce, yo! But even as she gamely tries to continue the urban legend she began with help, our Rookie finds herself realizing that she doesn’t have to be declared special or hugely popular, to deserve to continue to exist. No, her death wasn’t fair at all, and to make our Rookie continue to struggle for acceptance, recognition, and to be seen in the afterlife, isn’t fair at all either. No wonder that even in the beginning, our Rookie had decided to use, “I hate this world!” as her catchphrase. 

Full of heart and sympathy for the struggles of recognition that both the living and the dead can totally understand, Dead Talents Society boasts plenty of jump scares and ghostly gore but from an adorably jaded behind-the-scenes point of view! 

In the lonely, crowded city of Mumbai, a pair of female Nurse roommates struggle with repressed desires, societal expectations, and the eternal weight of reality that crushes human dreams. 

So Prabha (Kani Kusruti) and Anu (Divya Prabha) are Nurses who work at the same hospital, more often than not having to deal with obstetrics (the baby stuff) and female-centric healthcare in a far-too-large populace that doesn’t seem to care about their women, or children. Prabha is prim and mildly older, admonishing the younger trainee Nurses to get over their complaints about the stink of afterbirth as soon as possible, where younger free-spirited Anu is willing to risk getting arrested for giving birth control pills surreptitiously to a desperate young mother with too many children already. 

Prabha has in theory a husband who, almost immediately after tying the knot, took off to Germany for a job, and of course she hasn’t heard from him in more than a year. When her husband sends her the gift of an expensive rice cooker, Prabha’s apparent numbness to the whole situation cracks open and she finds herself inundated with feelings again – abandonment and sadness of course, but also at the very least resentment in the holding pattern she’s stuck in, and a desire to be free, to decide what Prabha wants, even among the debilitating responsibilities of the day-to-day existence she leads with Anu. It doesn’t help that the hospital boasts a good man, the good Dr. Manoj (Azees Nedumangad) in fact, who’s been gently trying to court Prabha for some time now. 

And then there’s Anu and her sneaking around to try and find good places to be intimate with her boyfriend Shiaz (Hridhu Haroon). Which would be charming and sweet, except that Shiaz happens to be Muslim and even in the cosmopolitan slums of Mumbai, it’s still the Hindu parents who decide whom their children may be with, and marry. Anu knows perfectly well that her parents would never approve of Shiaz and so their need to find hidden doorways, alcoves, and even make-outs in the pouring rain are mildly tinged with the danger of getting caught. Rumors are starting to wing around the hospital too, and Prabha is made aware of the situation by gossiping busybodies, much to her silent disapproval. After trying to help her friend Parvaty (Chhaya Kadam), who was being forced out of her tiny apartment by the unfeeling legal system, nothing comes of it and Parvaty decides to leave Mumbai and take a small moving vacation to a beach town nearbyish, Prabha hatches a plan to try and divert Anu from her potentially disastrous actions. 

Ostensibly to help Parvaty with her life-changing move, both Prabha and Anu take a mini-vacation to the beach town, and there is a lovely moment when Prabha discovers some ancient-but-still-good alcohol among Prabha’s things and the three of them get tipply and dance. Immersed in her own loneliness, Prabha fails to realize Anu snuck Shiaz to meet her at the seaside town until she witnesses it with her own eyes, and Anu is far too concerned with finally closing escrow as it were with Shiaz to realize she’s been caught anyway. 

Genre: Action, Comedy, Family Drama, Sci-Fi

Director: Hideki Takeuchi

Starring: Mei Nagano, Takeru Satoh

Rating: Rating: 4/5

Hideki Takeuchi’s live-action adaptation of Cells at Work! isn’t just a film—it’s a joyful, genre-blending celebration of life, health, and humanity, all set within the microscopic universe of a teenage girl. In the Urushizaki household, high schooler Niko dutifully cares for her widowed father, balancing her own life with his well-being. But beneath her healthy routines, her immune system is waging an epic war against a torrent of invading pathogens. With Red and White Blood Cells working overtime, Niko’s survival—and her shot at teenage romance—rests on their shoulders.

In this inventive blend of biology and storytelling, Cells at Work! spins a wildly entertaining narrative that combines elements of action, family drama, and rom-com. The film’s core is Niko’s story, a heartfelt journey of caregiving, self-discovery, and young love, framed by an intense battle happening within her body. The inner world is vivid and action-packed, reminiscent of Inside Out with a Japanese twist, where every cell plays a role, and every pathogen is a villain in Niko’s quest to stay healthy for her dad and her date.

Mei Nagano, as a sprightly Red Blood Cell, exudes boundless energy and enthusiasm, perfectly capturing the eager determination of a novice at work. Takeru Satoh, known for his role in Rurouni Kenshin, takes on the role of a stoic White Blood Cell, providing a protective and understated foil to Nagano’s character. Together, they form an unexpectedly endearing duo, navigating the perils inside Niko with both humor and heart. Their chemistry is infectious, adding warmth and fun to the film’s high-stakes battles.

Director Hideki Takeuchi is known for bringing imaginative worlds to life, and he does just that with Cells at Work! By merging the high-concept world of anime with live-action, Takeuchi crafts a visually vibrant spectacle where the bloodstream becomes a battlefield. Each cell’s costume is designed with intricate detail, adding a touch of lavish cosplay that brings humor and authenticity to the film’s zany setting. Action scenes are thrilling and gravity-defying, making the body’s defense mechanisms feel like epic duels, while the humor—sometimes raunchy, often slapstick—keeps the tone refreshingly lighthearted.

Beyond the scientific antics, Cells at Work! is a tribute to the human body and the beauty of human connections. With scenes that celebrate caring for loved ones, cherishing youth, and the joys of teamwork, the film transcends its biological focus to speak to something universal. It’s impossible not to be moved by Niko’s relationship with her father, and by the dedication of her body’s “micro-heroes” who fight tirelessly to keep her healthy.

Cells at Work! is an absolute joy—a film that combines educational elements with heart, humor, and high-energy action. Hideki Takeuchi’s skill at blending genres is on full display, making it an unforgettable, entertaining ride that will leave audiences laughing, cheering, and maybe even wiping away a tear.

A vibrant, genre-bending journey through the human body, Cells at Work! is a spectacle for the senses and the soul. This lively adaptation is one that audiences of all ages can enjoy, learning a bit of biology along the way.