The idea of clocking out from work feels like a universal fantasy, one I often have after a long week of screenings. For the protagonists of Baby Assassins: Nice Days, the highly effective yet perpetually awkward assassins Chisato and Mahiro, this fantasy is about to become a reality.
We meet them as they arrive in the sunny coastal city of Miyazaki, their minds set on a simple, perfect goal: celebrating Mahiro’s birthday with some high-quality local beef. Played with infectious energy by Akari Takaishi and Saori Izawa, the pair embodies a very modern type of work-life imbalance. Their mundane concerns ground their extraordinary profession in a relatable reality.
But their vacation is cut short when a final assignment is intercepted by Kaede Fuyumura, a ruthlessly efficient freelance killer. Their guild, feeling slighted, cancels their time off and gives them a new target: the man who just upstaged them. The film quickly shifts from a relaxed buddy comedy to a tense, focused chase narrative.
Friendship Under Fire
At the center of the Baby Assassins series is the wonderful chemistry between its leads, a dynamic that feels refreshingly authentic in the action genre. Chisato is a whirlwind of cheerful chaos, while Mahiro is her quiet, sleepy anchor. Their established odd-couple pairing moves beyond simple tropes, presenting a genuine, lived-in friendship that feels rare.
This film deepens that connection by taking them out of their familiar Tokyo apartment, a setting that defined much of the first two movies’ “hangout” feel. Placing them in the new environment of Miyazaki tests their partnership in fresh ways, forcing them to rely on each other without their usual comforts.
This installment marks a significant evolution in the series’ narrative structure. The earlier entries ambled along with the pleasant, episodic rhythm of a hangout movie, where plot was secondary to character interaction. Here, the storytelling is more focused and propulsive. The film retains its signature humor, which still surfaces in their deadpan conversations about haircuts and food, but it’s now set against a backdrop of genuine peril.
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This added weight makes their bond feel more essential, a quiet source of strength in an increasingly dangerous world. This structural shift reflects a maturation of the series, showing confidence in its characters to support a more demanding plot. It challenges a common trend in independent cinema to favor mood over momentum, successfully merging its slice-of-life charm with the tight pacing of a classic thriller.
A New Grammar for Gunfights
I grew up watching the kinetic genius of Jackie Chan, where every prop and piece of the environment became part of the fight. Director Yugo Sakamoto and action director Kensuke Sonomura seem to be channeling that same spirit of innovation, crafting a physical language that feels entirely new.
The action in Nice Days is a stunning display of microbudget ingenuity, a potent counterargument to the idea that bigger budgets yield better spectacle. The choreography is built on blistering speed and close-quarters combat, blending acrobatic gun-fu with intricate knife work in sequences that are both brutal and beautiful.
The technical execution is what sets these sequences apart from mainstream action fare. In an era dominated by rapid cuts and shaky cameras meant to manufacture intensity, Sakamoto’s direction is a breath of fresh air. The camera is a dance partner, moving with the performers in long, fluid takes that allow us to appreciate the breathtaking stunt work without distraction.
This clarity shows a deep respect for the performers’ physicality. Each protagonist has a distinct style that speaks to her personality. Chisato is fluid and balletic, a dancer dealing in death. Mahiro is more grounded, a powerful mix of a boxer and a breakdancer whose awkward social energy translates into an unpredictable and effective fighting form. The action here becomes a storytelling tool, revealing character through motion and making every punch and parry feel meaningful. It’s a return to a classical form, where the human body is the ultimate special effect.
An Enemy Worthy of the Fight
A story is often only as good as its villain, and in Kaede Fuyumura, this film finds a truly memorable antagonist. Played with a quiet intensity by Sosuke Ikematsu, Kaede is much more than a simple obstacle for the heroines. He is an obsessive perfectionist, a killer who tracks his performance in a journal and views his work with an unnerving seriousness.
His entire identity is his job, making him a perfect foil for Chisato and Mahiro, who fight to protect the life they have outside their work. This contrast gives the film a thematic richness, exploring what it means to find purpose when your profession is destruction.
The film thoughtfully gives Kaede a compelling backstory through well-placed flashbacks, a narrative choice that deconstructs the cool assassin archetype. We see his clumsy beginnings and witness his transformation into a person addicted to the thrill of the kill, making his present-day skill feel both earned and tragic. This character depth elevates the conflict beyond a simple good-versus-evil narrative. His presence is what fuels the movie’s darker tone and raises the stakes to a personal level.
The final confrontation carries a surprising emotional weight because the filmmakers have invested in his perspective, subverting the traditional villain monologue in favor of a moment of startling vulnerability. Kaede provides the sort of formidable challenge that forces the protagonists to confront their own limits, making their struggle and survival feel earned.
Baby Assassins: Nice Days is a Japanese action-comedy film released in Japan on September 27, 2024. It is the third installment in the Baby Assassins film series and was filmed primarily in Miyazaki Prefecture. The film had its world premiere at the New York Asian Film Festival in July 2024, where it won the Daniel A. Craft Award for Excellence in Action Cinema. As of August 26, 2025, a digital release was announced for the United States, but it may also be available on various streaming platforms such as Apple TV, Plex, and Prime Video, depending on regional availability.
Full Credits
Director: Yugo Sakamoto
Writers: Yugo Sakamoto
Producers and Executive Producers: Yusuke Suzuki, Masaaki Uchino
Cast: Akari Takaishi, Saori Izawa, Sôsuke Ikematsu, Atsuko Maeda, Atomu Mizuishi, Tomo Nakai
Director of Photography (Cinematographer): Moritada Iju
Editors: Yugo Sakamoto
Composer: Theodore Shapiro
The Review
Baby Assassins: Nice Days
Baby Assassins: Nice Days is a masterclass in independent action filmmaking. The film confidently evolves the series' formula, trading some of its quirky hangout charm for a tighter, more dramatic narrative. This new focus is anchored by the wonderful chemistry between its leads and elevated by a truly memorable villain. Featuring some of the most inventive and technically precise fight choreography in recent memory, the movie is an electrifying experience. It confirms the series as a vital force in modern action cinema, delivering visceral thrills with a surprising amount of heart.
PROS
- Exceptional and innovative action choreography with clear, kinetic cinematography.
- Strong central chemistry between the two lead characters.
- A compelling, multi-layered villain who effectively raises the narrative stakes.
- A successful tonal evolution toward a more focused, dramatic story.
CONS
- The shift to a more serious, plot-driven structure might alienate fans of the previous films' lighter, "hangout movie" feel.
