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“Honeko Akabane’s Bodyguards” walks the fine line between manga art direction and reality, bringing some fun along with it. [Fantasia]

By Douglas Davidson on July 21, 2025 • ( 1 )

Trigger Warning: An extended introduction sequence includes frequent brief flashing effects that may be difficult for photosensitive viewers.

What does it mean to be a hero? Stories from around the world and throughout time try to navigate this question. Few explore it as frequently as shōnen stories out of Japan, a genre of manga aimed at adolescent boys through young adult men which features elements of action, adventure, and fantasy. Though quite popular right now with One Piece, Sakamoto Days, and My Hero Academia (the former a long-running series and the latter having finished its run), shōnen goes back to 1895 and is part of a rich history of Japanese storytelling. It makes sense, then, given the current global popularity of shōnen stories to see some make the leap from the page to the screen. Originally released August 2024 in Japan, Honeko Akabane’s Bodyguards (赤羽骨子のボディガード), directed by Junichi Ishikawa (A Strange House) and adapted by Hiroyuki Yatsu (As the Gods Will), is having its North American premiere at Fantasia International Film Festival 2025, bringing its special brand of high school romance, comic hijinks, and action set pieces alongside it.

Raul Murakami as Arakuni Ibuki in HONEKO AKABANE’S BODYGUARDS. Photo courtesy of Fantasia International Film Festival.

Honeko Akabane (Natsuki Deguchi) is a typical high school senior, balancing rigorous studies in pursuit of becoming a lawyer like her parents and daily dance practice in order to win an upcoming dance competition. What she doesn’t know is that there’s a $100 million bounty on her head and agents are trying to attack her at near every opportunity. Her ignorance is due to the fact that her father, her biological one, Mr. Jingu (Ken’ichi Endô), the head of Japan’s national security, has hired Honeko’s longtime childhood friend, Arakuni Ibuki (Raul Murakami), as a secret bodyguard. But as threats start to arise from too many places for Arakuni to manage on his own, a secret is revealed: Honeko’s entire class is comprised of bodyguards, selected for their unique talents. By their powers combined they have a shot at maintaining Honeko’s innocence to the threats of the world while keeping her safe, but a threat from the past may be too much for even Honeko Akabane’s bodyguards to manage.

If anything in the above summary sounds different from what you know about creator Nigatsu Matsamitsu’s Akabane Honeko no Bodyguard, do keep in mind that this is the premise for this live-action iteration. Having not read the manga, I couldn’t tell you if the film is comic accurate or applies adjustments in order for the narrative to fit in an initial theatrical release. This matters only in the sense that what follows will be a review of the film and not of the adaptation.

L-R: Raul Murakami as Arakuni Ibuki and Hikaru Takahashi as Togeya Nei in HONEKO AKABANE’S BODYGUARDS. Photo courtesy of Fantasia International Film Festival.

Honeko Akabane’s Bodyguard is strangely the case for and against manga adaptations. It absolutely nails the look and energy of what one expects from a manga adaptation, but sometimes going 100% generates an unease that makes the action harder to believe as reality. In essence, there’s a tightrope to walk in live-action because the rules of it, manga, and anime are very different. For instance, the hairstyles of the bodyguards are positively striking, evoking the presumed pen strokes of Matsamitsu — from high hair with spiked tops to big pink pigtails to flowing locks that frame the face. On paper, these looks create defining styles that enhance each character; however, here, they appear more like cosplay, giving off a facsimile impression rather than something more rooted in reality. The costuming is by no means cheap, with each piece intended to capture the feeling of what readers are used to, but there’s a reason studios like Marvel didn’t go straight for comic-accurate with each film — sometimes it looks odd in the more grounded elements. There’s also the trouble of managing 23 characters as bodyguards, creating space for each one of them, which comes off as more heavy-handed here, whereas they are more likely to be given space to breathe in the source material. (This is my singular concern for the rumored My Hero Academia adaptation because Class 1-A is too big to give everyone deep screentime in a single film, but I have faith in filmmaker Shinsuke Sato (Kingdom series).) What this *does* allow for, however, is an assurance that the world of this story is less real and, therefore, more prone to hopeful excess and heroic victory. It creates a foundation for what would otherwise be plot holes or bad story design (just how unaware can Honeko really be?) in a reality-anchored story to be viewed as on the same wavelength and natural. This also creates a safety net for audiences unsure if the threats being faced can be overcome, a critical factor in most shōnen tales, an element that separates the most dire moments of My Hero Academia or Demon Slayer from Jujutsu Kaisen.

Where this works the best is the arrival of Tao Tsuchiya’s Massachika who, while stylized in a similar stiff suit with a different color scheme as the bodyguards, commands attention and balances the large performances common in manga, like elongated facial reactions and heightened vocal delivery (conveyed through artistry, grammar, and punctuation in print; physical performance in live-action), while also finding a place for something real in between. The way that Tsuchiya brings Massachika to life honestly elevates the film between the actor’s ability to make the action sequences believable and striking that balance between humor and honesty as the moment calls for it. This isn’t to imply that the other actors, especially Murakami (Honey Lemon Soda) and Deguchi (Drawing Closer), slouch off, but this is a case of a supporting performer improving them upon their arrival and stealing the scenes in the process. For his part, Murakami is believable as the typical shōnen lead, full of optimism and courage despite overwhelming odds, managing to make the otherwise saccharine dialogue palatable and convincingly portraying someone who can fight against bomb-wielding enemies with confidence yet struggles to express his feelings toward the girl he likes. Deguchi has the thankless job of portraying someone who’s tough, smart, and yet also oblivious, which she does without the audience questioning beyond the usual scope of incredulity. Nevertheless, in a film with a large ensemble, its Tsuchiya’s performance that stands out the most.

A scene from HONEKO AKABANE’S BODYGUARDS. Photo courtesy of Fantasia International Film Festival.

As a standalone feature, Honeko Akabane’s Bodyguards is a fine time. The narrative arc is a mite predictable, surprises are few, and portions of the action are shot as if to hide what the actor can’t do, but, in terms of making a believable recreation of a young adult action rom-com shōnen, it’s no Dragonball Evolution (2009). You can have a good time with this regardless of your emotional investment in either the series or the characters and, should a follow-up get made, it would likely be an equally comforting watch. Sometimes, that’s all we need from our stories.

Screening during Fantasia International Film Festival 2025.

For more information, head to the official Fantasia International Film Festival Honeko Akabane’s Bodyguards webpage.

Final Score: 3 out of 5.