Mystery films often succeed or fail based on the strength of their central puzzle. While memorable characters and polished performances certainly help, audiences ultimately invest in the hope that the investigation leads to a satisfying conclusion. Black Showman largely accomplishes that goal. Although it stumbles with uneven acting, underdeveloped characters and a climax that occasionally asks viewers to suspend too much disbelief. That said, it’s an engaging mystery that at least airs on the side of being a bit unpredictable that makes for an enjoyable watch, although not one with much replay value.

In terms of plot, Black Showman follows Mayo, an engaged young woman who returns to her rural hometown following the murder of her father, Eiichi, a beloved schoolteacher. Waiting for her is her uncle Takeshi Kamio, a former Las Vegas magician whose career has cooled after returning to Japan. Together, the pair begin investigating Eiichi’s death, uncovering hidden secrets involving his former students and Mayo’s now-grown classmates, many of whom have gathered for a class reunion. Set in a quiet town recovering from the COVID-19 pandemic, the mystery is further shaped by the success of the hit manga “Cyber Brain Labyrinth”, with the individual behind it being one of Mayo’s former classmates. With a town eager to capitalize on this, and having a failed attempt during the pandemic, this adds motives for a long list of suspects.

Now, the film’s greatest strength is its central mystery. There is an impressively large roster of suspects that includes a sake merchant, advertising executive, construction company owner, banker, IT entrepreneur, hotel employee and others. The screenplay gives nearly every one of them a believable motive. A particularly clever visual device introduces each suspect in slow motion before transitioning to an old yearbook photograph, immediately connecting the adults of today with Mayo’s memories from her school days.

Several smaller details help enrich the story. The revelation that one of Mayo’s middle school classmates died years earlier adds another layer to the mystery, while Eiichi’s touching habit of preserving every student’s graduation essay becomes a nice reflection of his character… although also a bit predictably this also works as an effective plot device.

Not every subplot proves worthwhile, though. Mayo’s fiancé, Kinta, receives surprisingly little spotlight despite being connected to a storyline involving an anonymous accusation from a former lover. That accusation isn’t something light either, but rather that Kinta’s mysterious lover got pregnant he felt he didn’t want to stay in the relationship and it ended in an abortion. It’s a pretty heavy accusation… if true. However, because the subplot is never properly resolved and ends on a cliffhanger, it ultimately distracts from the central murder investigation.

The climax is similarly a mix of strengths and weaknesses. Takeshi’s decision to impersonate his late brother during the reunion in Eiichi’s former classroom does create a memorable setting for the final reveal. The sequence carefully eliminates each suspect one by one before arriving at the true culprit, complete with a satisfying fake-out that keeps viewers guessing. Unfortunately, I will say the ending is ludicrous. Essentially the murderer runs off after the reveal and the cops arrive to arrest them. However, the magician stops the officers from immediately pursuing them, allowing the culprit to retreat deeper into the old school. Going to the roof, the culprit attempts to take their own life… only to jump onto an inflated device below that the magician hid under a huge amount of leaves. First, very messed up to have them go through with attempting suicide, since clearly the magician expected them to do this. Second, incredibly risky… I mean there was nothing stopping them from jumping off the roof in any number of directions rather than using one specific area where the small fence was broken. Although both protagonists ultimately try to convince the culprit that suicide is not the answer after the fact, the sequence becomes increasingly contrived the more you think about it.

While the mystery is strong, the character work is less successful. Mayo and Takeshi never develop much emotional chemistry despite sharing most of the film together. They function effectively as investigative partners, but their uncle and niece relationship never becomes especially compelling. Takeshi himself is also a somewhat difficult protagonist to embrace. He is frequently arrogant, abrasive and inconsiderate toward those around him. Although the film occasionally acknowledges these flaws, it often seems to expect audiences to find his behavior charming when it instead borders on frustrating. The screenplay does make an effort to explore Takeshi’s complicated relationship with his late brother through a lengthy conversation by the riverside. While the exposition feels forced, really a text book example of a exposition dump, it successfully provides emotional context for the investigation.

In respects to the other characters, the film’s enormous cast ultimately works against it. With so many potential suspects to juggle, most supporting characters never evolve beyond their role in the mystery, leaving the overall character development feeling rather thin.

As for the acting, the performances are somewhat inconsistent. The standout is the actress Kasumi Arimura portraying Mayo, whose emotional breakdown upon learning of her father’s death feels completely genuine. Her grief is convincing and gives the opening act considerable emotional weight. Masaharu Fukuyama playing magician Takeshi Kamio, meanwhile, is intentionally larger than life. Much of his exaggerated behavior stems from his background as a stage magician, with numerous scenes built around elaborate tricks designed to impress or confuse those around him. These moments can be entertaining, although a few sequences, such as deducing a PIN number from someone’s eye movements, stretch believability more than the film probably intended. The supporting cast ranges from competent to underwhelming. Inspector Kogure, in particular, often comes across as overly theatrical, making some of the investigative scenes feel less natural than they should.

On a side note, one distracting aspect throughout the film is Takeshi’s wig. Whether it was a deliberate choice to emphasize the character’s refusal to accept his age, he even dislikes being called “uncle”, or simply an unfortunate production decision, it is surprisingly noticeable.

Looking at the music in the film, Naoki Sato once again demonstrates why he remains one of Japan’s finest film composers. Best known internationally for Godzilla Minus One (2023), as well as scores such as Space Battleship Yamato (2010) and Always: Sunset on Third Street 2 (2007), Sato provides Black Showman with a soundtrack that complements both its lighter moments and dramatic revelations. The score offers variety, from the energetic music accompanying Takeshi’s samurai-themed Las Vegas performance at the beginning of the film to more restrained orchestral pieces that underscore the investigation. While this may not rank among Sato’s most memorable works overall, one violin-driven theme during the mystery’s final revelations stands out as particularly beautiful and leaves a lasting impression. It’s enough to make the soundtrack worth seeking out on CD. For those curious to hear the theme, it’s track 15 that you can sample from this site.

Overall, Black Showman never quite reaches the heights of a really good mystery film, but it delivers an entertaining investigation anchored by a compelling central puzzle. The emotional opening, creative use of magic throughout the detective work and satisfying reveal outweigh shortcomings such as uneven performances, limited character development and an overly contrived finale. While it may not be a film that demands repeat viewings, Black Showman succeeds as an enjoyable mystery that keeps audiences invested until its final reveal. For those traveling, and curious, this film at the time of writing this was available for viewing on international flights from United airlines, which is how I saw it.