230 reviews from pterosaur

Junk Food
Junk Food is a slice of life drama broken into three visually distinctive chunks. The first part is like a home video, the second is regular film stock and the third is pseudo-documentary. It's not as if the three visual styles elucidate the story at all. In fact, they just sort of confuse the process and muddle it up. And, speaking of stories, there really isn't one. Junk Food follows several unconnected people throughout the business of their day which ranges from ordinary to murderous. The common element is that all of the characters are outsiders in their respective worlds either through nationality, crime, drug habits or blindness. The sum of its parts equals a very disjointed ensemble story where none of the pieces fit together all that well. I didn't dislike Junk Food but, odds are pretty good that, sooner rather than later, I won't remember anything about it. It's just that forgettable.

Shinjuku Triad Society
The first entry in Miike's Black Society trilogy is my least favorite of the three. But, of the three films, it is the most recognizably Miike with elements like rape, violence, brutal beatings, arterial spray and a little homosexuality thrown in for good measure. In an attempt to keep his younger brother from entering a life of crime, a cop gets mixed up in a battle between the Japanese Yakuza and the Taiwanese Triad all centered in the seedy Shinjuku district of Tokyo. Both he and his brother are really just trying to fit into a jingoistic society where they are outsiders of mixed racial heritage. Shinjuku is not the best of Miike but it certainly is very much his film. If you like this movie, also watch the other two films in the trilogy, Rainy Dog and Ley Lines.

Ley Lines
Ley Lines is the last, but not least, film in the Black Society Trilogy. Like Rainy Dog, this film is much more character-driven than you'd expect from Miike. Don't get me wrong, it still has plenty of typical Miike in it including violence and prostitution but, it's really more of a coming of age tale than a hardcore gangster flick. As with the other films in the trilogy, Ley Lines deals with the influx of foreigners into Japan. Its characters are outsiders in a world that doesn't want them. Ley Lines and Rainy Dog are my favorites of this trilogy and I would recommend watching either of them.

Rainy Dog
The worst father in the world is saddled with a mute child who may or may not be his son in the second film in Miike's Black Society Trilogy. Unlike the first movie, Shinjuku Triad Society, which is mostly violence and action, Rainy Dog is more of a character study. Yes, it has plenty of violence, the main character is an assassin after all, but it also has a lot of heart. All of the movies in the trilogy are individual, stand-alone films. The only relation they have to each other is the gangster underworld and the fact that the main characters are foreigners. This trilogy is really about fitting into a society that views you as an outsider. If you like Rainy Dog, I also recommend seeing the third film, Ley Lines.

Pterodactyl
Out of respect for my extinct brothers and sisters, when this steaming pile of cinema found its way into my cable lineup, I felt compelled to watch. Or rather, to have it on in the background as it is too painful to watch. As usual, humanity shows its ignorance, intolerance and superior fire-power in the face of the unknown. All my ptero brethren wanted was a tasty meal of human flesh. Instead, they get hunted by some of the worst actors in film history. And, once again, the extinct flying reptile is on the losing side of history. This narrow-minded, anti-pterosaur bigotry will not be tolerated. Why can't we all just get along?

Ong-Bak: The Thai Warrior
First things first, Tony Jaa is amazing. Acrobatic, strong, smooth and everything else one could hope for in a martial arts master. My only real issue with Ong-Bak is the continual use of slow-motion replays. Yes, the stunts are bloody amazing. And, yes, it's nice to see them in slow motion so you can stare slack-jawed at your TV saying how did he do that? However, is it really necessary to show 3 or 4 replays of every single feat from different camera angles all in slow-motion? Probably not. The chase scene through the streets is the most blatant offender of this overworked device. But, aside from that, Ong-Bak is a great vehicle to display Jaa's obviously superior fighting ability. For what it is, Ong-Bak is at the top of the list of modern martial arts masterpieces that I would recommend seeing.

The Tattooed Hit Man
Maybe it's the fact that the Instant Watch version is dubbed, and badly at that or, maybe it's just that I've seen so many of these types of Yakuza films that it felt like I had seen this movie before. Either way, The Tattooed Hit Man is barely worth mentioning. I will say in its defense is that, if it is ever released on DVD in Japanese with subtitles, it might be a pretty good film. Bunta Sugawara is excellent as a hit man on the edge and there's even a tiny cameo from Takashi Shimura. Until such time as this movie is released with subtitles, I would recommend watching Street Mobster with Bunta Sugawara in a similar role instead.

Real Fiction
Visually, Real Fiction is unlike Ki-Duk Kim's other films. It is missing the surreal and serene natural settings and grandeur of scale that most of his other films have. Real Fiction was shot in real time with multiple cameras and no retakes. The result is a film that looks very low budget. Visuals aside, Real Fiction is simply badass. I would only recommend it to viewers who appreciate adult-oriented films containing graphic violence and twisted head games. It certainly has its share of sex, random brutality and gushing blood. After seeing this film, Ki-Duk Kim earned a place as one of my favorite Korean directors. If you like Real Fiction, I highly recommend Bad Guy and The Isle both of which are also twisted beyond belief.

Bad Guy
I wasn't sure what to expect from this film and it blew my preconceptions away. Bad Guy is one of the most disturbing films I've seen. It is painfully uncomfortable to watch at times and there are certain scenes that will positively make you squirm. Bad Guy is like a twisted, bizarro universe film noir in the sense that an ordinary girl is swept up in circumstances beyond her control. And, boy, what circumstances they are. I'm not going to go into the story because it's really one that you should let unfold for yourself. I will say that it is entirely graphic with rape, violence, obsession, brutality, gushing blood and almost every other thing a family-oriented film is not. Be prepared for an emotional ride and watch at your own risk.

The Isle
A twisted tale of obsession and beauty combined to form this eerie love tale. It is a story of people on the edge who are bound together in a silent and strange floating world of isolation. The Isle is not quite as disturbing as Bad Guy, at least not in the same way, but it has moments of violence, creepiness and some rather shocking scenes involving fish hooks and fish. If you are vehemently against animal cruelty if film, you'll probably want to take a pass. This film is a beautifully shot, both above and below water, and its female lead gives an outstanding performance without saying a single word. Recommended for people who enjoy unusual, surreal and beautiful films. If you like Miike's Audition, you'll probably like this film too.

Postwar Kurosawa: Disc 3: Scandal
The recently released Post-War Kurosawa set includes several films that are not available on dvd elsewhere. Scandal is one of them. It stars a very young Toshiro Mifune, who had already perfected his bewildered head scratch, and the wonderful Takashi Shimura as his run-down lawyer. The story leaves a bit to be desired but it still has plenty of Kurosawa's typical philosophical dialogue and themes like the scene in the bar when everyone starts singing and wishing for a better life. I wouldn't emphatically recommend Scandal but, as a Kurosawa and Mifune fan, it is essential viewing. If you haven't taken advantage of it, I would recommend watching all of the films in the Post-War Kurosawa Box Set (No Regrets for Our Youth, One Wonderful Sunday, The Idiot, I Live in Fear).

Yumeji
The third and final movie in the Taisho trilogy is my least favorite of the three. Suzuki's beautiful imagery is about the only thing I can gush about with Yumeji. Like the other two films, the pace is rather slow but almost painfully so with this one. The story is rather succinct at first but then it veers off the path into the area of the absurd. Other than the era in which the movies are set, they are not connected and can stand alone as individual pieces. If you've made it this far into the Taisho trilogy, Yumeji is worth watching but do so at your own risk. If you're going to watch any film in the trilogy, I would recommend Kagero-Za.

The Orphanage
I made the mistake of watching The Orphanage by myself late at night. By the end, my heart was racing like I just ran a marathon. This film is one of the spookiest, skin-crawly, pulse-pounding ghost stories I've seen in quite a long time. Guillermo del Toro (producer) and Juan Antonio Bayona have made a brilliant film full of heartbreak, revenge, mystery and sheer creepiness. The acting, score, cinematography and an ending you don't see coming elevate this film above the typical horror flick. If you like excellent ghost stories, The Orphanage delivers on every level.

Samurai Spy
Based, in part, on truth, Samurai Spy embellishes on historical fact by creating a new character, Sasuke Sarutobi, a spy for the fundamentally neutral Sasada Clan in the peacetime power struggle between the Takeda and Toyotomi Clans. Samurai Spy is more of a complicated, political espionage film than a traditional samurai movie. Sasuke and the other heads of the opposing spy networks are more ninja in their actions than samurai. The historical setting and plot are pretty complex and, unless you have a good knowledge of Japanese history from the early 1600's, it's likely to leave you a little confused at first. Basically, all you need to know is that Sasuke is reluctantly dragged into a battle between the clans for a rogue spy, Koriyama Tatewaki, who defected from the Takeda Clan. Everything else will become clear as the film moves along. If you like espionage or suspense films, Samurai Spy will not disappoint.

My Blueberry Nights
I was a little fearful that my favorite Chinese director would get swallowed up by the Hollywood system upon making his first film in the US. I should have known that Wong Kar Wai could never be squeezed into one of Hollywood's cubby holes. This film is every bit as much a Wong Kar Wai film as any of his others, even if it is shot in the US with Hollywood actors. The wide-open spaces of America seem to strangely fit with his inherent style of filmmaking. While, My Blueberry Nights is no Chungking Express, it has all the sentimentality, philosophy and beautiful imagery that any Wong Kar Wai fan can appreciate, even though Christopher Doyle, his long-time cinematographer, is nowhere to be found. My Blueberry Nights is a fervent tale about heartbreak, loss and letting go wrapped with a love story bow.

Hana
Hana is surprisingly funny, quirky, touching and entertaining. It is not a samurai film in the traditional hack and slash sense. In fact, there's really no sword play in it at all. Hana centers more on the traditional samurai Bushido code of honor and the pointlessness of it in a world of peace. Soza, a low ranking samurai of questionable swordfighting abilities, is reluctantly charged with the task of finding his father's killer and thus gaining honor and money through vengeance. He moves to Edo (now Tokyo) and establishes himself in a slum of row houses reminiscent of Kurosawa's The Lower Depths. The setting has that same sense of degradation and community. Over the course of three years, he comes to understand and care for his neighbors and begins to question the code of honor by which he is supposed to live. Even though Hana is a period piece, aspects of it mirror modern day Japan. Through the dying world of the traditional samurai, Hana reflects the loss of traditional values in modern Japan.

Saiyuki
I've had a few discs from this series in my saved section for what seems like years. The good news is that, at least for the time being, it is available on instant watch. The bad news is, it's dubbed. But, if you want to see it at all, it's really the only option since it doesn't look like they'll be getting the missing discs any time soon. As for the series itself, Saiyuki is a lot of fun. Thankfully, it is a lot more adult-oriented than I was expecting with adult language and themes. Four disparate characters set out on a journey to save the world. As is typical with this type of anime, the characters have different abilities and temperaments, and, of course, end up arguing most of the time. The plot and even the characters are reminiscent of a lot of other anime but I happen to really like these types of series. If you like quest anime, you can't go wrong with Saiyuki. The series continues with Saiyuki Reload, Saiyuki Reload: Gunlock and Saiyuki: The Movie: Requiem, none of which are missing discs at the present.

The American Nightmare
The American Nightmare is certainly not the most exciting documentary on horror I've ever seen. In fact, the soundtrack (by Godspeed You Black Emperor) is one of the most interesting things about it. But, if you've been living in a cave for the last 40 years and have no idea where to start with the fundamentals of horror, this would be a good place to get some ideas. It briefly covers Night of the Living Dead, Dawn of the Dead, Halloween, The Last House on the Left, The Texas Chainsaw Massacre and Shivers including interviews with each director. While it's not as insightful as I had hoped, I suppose it is worth watching if you are a die-hard fan of these films.

Kagero-za
Part two of Suzuki's Taisho Trilogy is also set in the mid 1920's with plenty of loose morals and more ghosts than its predecessor. As always with Suzuki, this film is beautifully shot with certain scenes that will positively blow your mind. Admittedly, the story is bewildering, to the point that I'm not entirely sure I understand the statement Suzuki is trying to make. And, unfortunately, there's no interview in the special features like there usually is with this outspoken director. Watching Kagero-za is like strapping yourself in for a strange ride through someone else's dream. With the ineffable Yoshio Harada as comic relief and Yusaku Matsuda in a brilliant performance as the male lead, Kagero-za is a nice follow up to Zigeunerweisen.

If You Were Young: Rage
With If You Were Young, you can see the roots that eventually led to Battle Royale. Both stories feature young people trying to overcome a system that is oppressive and hopeless. This film is about a group of under-educated 20 somethings who concoct a plan to buy their own dump-truck. By doing so, they can gain independence and free themselves from the petty crimes and terrible jobs that make up their irredeemable lives. The premise is alright but the over-acting and overly-dramatic way in which it was filmed prove the inexperience of its filmmaker. If You Were Young is not Fukasaku's best early work. But, if you're curious to see the progression on a topic by a filmmaker from his early days until one of his last films, this film would make a nice preamble to Battle Royale.

Tokyo Zombie
The hairstyles of its stars, Tadanobu Asano with a gigantic afro and Sho Aikawa with a shiny bald head, pretty much sum up what you can expect from this film; over the top silliness. Full of almost intentionally bad special effects and more zombies than you can count, Tokyo Zombie is a spectacular addition to the zombie spoof genre. If you are expecting a gory horror film, you will be disappointed. It is much more of an offbeat comedy. Starting with the all too familiar zombie epidemic scenario, Tokyo Zombie adds some of its own really creative and wholly original ingredients to the mix, i.e. how electricity is produced in a post-apocalyptic world. If you liked Shaun of the Dead, you should also enjoy Tokyo Zombie. Just thinking about this film puts a smile on my face.

Bukowski: Born into This
I was hesitant to watch a documentary on my favorite contemporary American author for fear that it might destroy my appreciation of his work. Thankfully, my fears were unfounded. Born into This is a glimpse into the life of Charles Bukowski over the course of 7 years. It reveals his dedication to his craft and his sheer determination, his heartache and tragedy, his loves, losses and his foul temper. A realistic picture of a destructive, albeit lovable, artist emerges from it all. The Bukowski in this film is simply an animate version of what you get in his books. If you are a fan of Charles Bukowski, this documentary is essential viewing. If you're not familiar with the subject matter, I would recommend picking up one of his books. It doesn't really matter which one; they're all worth reading.

Last Exile
Sometimes, when watching anime, the thought strikes me that I'm a fully-grown adult watching cartoons. That's usually when I know that a series isn't up to snuff. With Last Exile, I was so swept up in the story that I didn't even notice. The plot has the essential elements of a quest anime; an unwitting main character, a very evil and all-powerful villain, and a world that needs saving. Last Exile has pretty good all-around character development so you get to know almost everyone in the series. It also has its fair share of both comedy and tragedy. Overall, I thought it was a very addictive, really satisfying series. Not to mention that the animation is simply beautiful.

Zigeunerweisen
Part horror film, part art film and part folkloric tale of love and conscience, Zigeunerweisen has a little bit of everything. The first film in the Taisho trilogy stars Yoshio Harada as an irresponsible ronin-type savage who wreaks chaos, destruction and unrequited love everywhere he goes. The only stable part of his life is his henpecked best friend, Toyojiro Aochi, played by film director Toshiya Fujita in his first starring role. Zigeunerweisen is packed with Suzuki's signature visual aesthetic. The only downside to this film is that it does move rather slowly. Part of that is due to that fact that a lot of the film is conspicuously missing any sort of score. Set in the Taisho period from the 1910's through the mid 1920's, even the costumes display this clash of old and new as some characters are clad in traditional Japanese garb and some in modern dress. The Taisho era is called Japan's roaring 20's and was instrumental in the makeup of modern Japan. Coincidentally, this was the era in which Seijun Suzuki was born. Zigeunerweisen is not going to be understood or liked by the masses. But if you are a Suzuki or Yoshio Harada fan, it's definitely worth viewing.

The Machine Girl
Nikkatsu Studios has a long and storied history of bringing violence, torture and gallons of gushing blood to the big screen. It's nice to see that the tradition lives on with The Machine Girl. Not for the timid, this film is all about chainsaw campiness and decapitated limbs. With its flashy cinematography, some not so subtle special effects and a fairly standard, killing for vengeance plot, it fits nicely alongside any of the goriest horror flicks. The Machine Girl isn't about terror. It's more of an homage to the best of gore and over the top splatter is what it delivers to the highest degree. If you like your gore with a side of camp, The Machine Girl is a fun little ride.

Black Rose Mansion
The synopsis for this film is basically correct except there is nothing film noir about it. Black Rose Mansion is a melodrama through and through. The beguiling vixen who seduces all of the men in this film is actually played by a man and not very convincingly at that. I kept hoping that there would be some sort of explanation for this odd casting choice worked into the film. Alas, no. Everyone goes about their business of hopelessly falling in love with her while playing deaf, dumb and blind to her gender. The key to the mystery is that Black Rose Mansion was intended as a follow up to Black Lizard which also stars Akihiko Maruyama in drag. Black Lizard actually is a noirish film based on a story by Rampo Edogawa and starring our friend Maruyama in a much more intelligible role. Sadly, that film is not available here, yet this one is. Black Rose Mansion is only worth watching if you are a die-hard Fukasaku fan as he co-wrote and directed this regrettably unfulfilling film. I hovered between 2 and 3 stars but, even if they had cast a woman to play the part of the woman, I probably still would not have liked this film.

Portrait of Hell
The Japanese love working their superstitions involving ghosts and karmic retribution into films as often as possible. Portrait of Hell is another folkloric Japanese story brought to life with some pretty unconvincing special effects and a plot that requires total suspension of disbelief. Personally, I love this superstitious quality of the Japanese culture. I find it fascinating that an advanced society could really believe the things they do. Portrait of Hell is not the best of these types of films but, it's story is almost interesting enough to overcome the visuals. In my opinion, with Tatsuya Nakadai as the lead, you really can't go entirely wrong. If this film had had a lesser star at the helm, I wouldn't have liked it at all.

In the Realm of the Senses
Watch as two people meet and fall into some sort of self-propelling, codependent relationship, burning with the indescribable passion of a thousand suns. Watch as they slowly tear each other to pieces and wreck like a head-on train collision, shattering into a million pieces. In the Realm of the Senses is so very much not for everyone. It is entirely graphic with loads and loads of full-frontal nudity as the least of its pervy offenses. I've seen actual hardcore porn that seems tame in comparison to this film. I think it achieved most of its notoriety for its sex scenes rather than for its substance. Still, In The Realm of the Senses is emotionally powerful. Perhaps it is a little too resonant for my liking; it was almost painful to watch. While it's not as good as I had hoped, it was an interesting, albeit vaguely disturbing, take on the destructive capability of something resembling love.

Party 7
Packed full of Japanese humor, Party 7 is delightfully wacky. It's not nearly as nonsensical and utterly bizarre as Ishii's Funky Forest but, then again, what is? It falls more on the Shark Skin Man side of his films. Party 7 has the Katsuhito Ishii brand of subtle humor, interesting sets, strange characters and costume design, and a simply unusual story line. With the great Yoshio Harada as Captain Banana and Tadanobu Asano as a twerpy misfit malcontent, Party 7 tosses some of Japan's best contemporary actors into roles and circumstances you would never dream they'd agree to. From the opening credits, this movie is silly and fun but you have to be a fan of that typically Japanese offbeat humor to get this movie and find the funny. If you like this movie, I also recommend Shark Skin Man and Peach Hip Girl also by Katsuhito Ishii.

Blackmail Is My Life
Blackmail is My Life is yet another skillful anti-hero film from Kinji Fukasaku. In post-war Japan, four people unable to survive on legitimate work stumble upon a way to earn a living through blackmail. Like most of Fukasaku's work, this film is a compelling take on shades of morality. The protagonists are neither good nor bad but are merely exploiting people who are more corrupt than they are themselves. Beautifully composed with a nod to Seijun Suzuki (the characters repeatedly whistle the theme from Tokyo Drifter), Blackmail is My Life is not the best of Fukasaku's early films but it is still well worth watching if you are a fan of 60's Japanese crime dramas.

Kanto Wanderer
While Kanto Wanderer isn't as visually distinctive as some of Seijun Suzuki's films, his style is apparent. Typical of the films he made for Nikkatsu Studios, he was given a relatively flavorless script full of thematic bits and pieces. As usual, Suzuki took those well-traveled 1960's Yakuza scenarios and made a beautiful film with sublime cinematography and excellent performances. However, the story itself does leave something to be desired. In the end, it makes you wish the film focussed more on the main plot instead of several incongruous sub-plots which are never fully resolved anyway. While I really liked Kanto Wanderer, I wouldn't recommend it as a starting place for moviegoers interested in Seijun Suzuki or the Yakuza genre in general. Suzuki made much better films even this early in his career. I would recommend Youth of the Beast or Gate of Flesh from the same time period.

Cops vs. Thugs
This story may seem a little familiar; two friends, a yakuza gang boss and a cop, try to maintain their friendship while being true to their professions. They are at odds with a corrupt system of politicians, police and gangsters while remaining loyal to each other. No matter how much they try to insulate themselves from the outside world, in the end, they are still on different sides. Neither the cop nor the thug, the politicians nor the police are uncontaminated by corruption. While the plot may not be altogether original, the performances lift Cops vs. Thugs above the typical genre film. Kinji Fukasaku is the undisputed master of 70's yakuza films.

Pistol Opera
Like all Seijun Suzuki films, Pistol Opera is visually engaging to the point of being beautiful but, it is too complicated and convoluted for a film. This probably would have worked better as a play in a little independent theater where people who appreciate elaborate sets and costumes go to watch an art form rather than to be entertained. While Pistol Opera does have a story with some incredibly cool moments and even a few rather lyrical monologues, it just isn't enough to carry the film. The bulk of it leaves you wondering where it's going, if anywhere. I'll still give it 3 stars because of its dazzling imagery and Suzuki's uncanny ability to put together the most perfect shot possible but, unless you are in film school, I'd recommend watching pretty much any other Suzuki film instead.

Slaughter in the Snow
The third and final film in the Mikogami series should find Jokoichi seeking vengeance from the third yakuza boss who killed his family. It starts off that way but, soon gets sidetracked. Kunisada Chuji, the boss that Jokichi is looking for, sends a hired killer after him instead. There, the plot gets hijacked from the story of first two movies and focuses on the character of the assassin, his story and his eventual relationship with Jokichi. While the plot in this film is not entirely in keeping with the other two films, it does contain just as much swordplay, gushing blood and half-naked ladies. It even throws in some knife throwing for good measure. With its scene swipes that consist of swirling treetops and groovy music, Slaughter in the Snow seems much more 70's than the other two films if that's possible. Although it's not the finite ending Mikogami fans might hope for, I'm content to rank Slaughter in the Snow alongside the other two films. Kazuo Ikehiro directed all three movies even though his directing credit is conspicuously missing on this page.

The Fearless Avenger
The second film in the Mikogami trilogy finds Jokichi hunting for one of the two remaining yakuza bosses responsible for killing his wife and child. Always hot tempered and quick to act, Jokichi rushes into a meeting of the 8 district rulers alone and woefully unprepared. Not surprisingly, the attack is unsuccessful. He then gets sucked into yet another trap perpetrated by his enemies. Regardless of the lack of foresight and planning by our fearless protagonist, these films are jam packed with action, sword-fighting and even a little martial arts. Without having to spend as much time on exposition, the second film clips along at a faster pace than its predecessor. Although, the story leaves a lot to be desired, The Fearless Avenger is a great supplement to The Trail of Blood. If you made it this far, be sure to watch the third film, Slaughter in the Snow.

The Trail of Blood
The first film in a trilogy finds Yoshio Harada as a drifting samurai, Jokichi Mikogami, who finds kinship with a prostitute he helps save from a yakuza boss vying for her attention. For three years, he quits the gangster life and finds happiness as a family man and a craftsman only to be reluctantly drawn in again. When his bucolic family life is destroyed, he learns the names of the three vengeful and jealous yakuza bosses who are responsible. Jokichi will stop at nothing to exact his revenge. The story is pretty formulaic for a samurai film but, Yoshio Harada breathes new life into the wandering samurai seeking revenge character. The fact that the story is spread out over three films gives the viewer the luxury of back story and allows an emotional investment in the characters and their circumstances. If you like Trail of Blood, make sure to watch the other two films in the trilogy, The Fearless Avenger and Slaughter in the Snow.

Johnny Belinda
Of the multiple awards for which this film was nominated, the only one actually given was to Jane Wyman for best actress. She gives an inspired performance as a deaf mute. Her world is broadened when a kindly doctor played by Lou Ayres takes an interest and, for the first time in her life, she is able to communicate. At the time this movie was made, Wyman herself was in a dissolving marriage with Ronald Reagan due to the strain on their relationship from having just lost a child. Her personal circumstances are apparent in the film. When you think about Wyman's ability to impart emotion and depth of feeling for a character without saying a single word, it is truly amazing.

I Remember Mama
I Remember Mama is a heartfelt movie about a quirky family of Norwegian immigrants to San Francisco in the early 1800's. Irene Dunne gives an excellent performance as the warm, buzzing center of the familial hive. Told in flashbacks from the perspective of the eldest daughter, it is essentially a coming of age tale. The story touches on financial difficulties, birth and death, but mostly, on the support system and interaction of the family. The part of Mama was originally offered to Greta Garbo because she actually was a Scandinavian immigrant but she had long since retired. So, the part was offered to Irene Dunne who would accept only if one of the directors on a short list she provided was given the job. As one of the pinnacle roles of her tremendous career, I Remember Mama is essential viewing for any fan of Irene Dunne.

Sergeant York
If this story wasn't based on actual events, one might be inclined to believe that it is overly stereotypical and contrived. But, the fact that it was based on the real life of one of the most celebrated soldiers in WWI, adds another dimension of complexity and heart to the story. Gary Cooper is utterly fantastic as the backwoods, naive farmer reluctantly conscripted into a war half a world away. York starts off the war as a conscientious objector and ends as a decorated war hero. Sergeant York is not a war film per se. There are scenes that take place on the battlefields of WWI but, most of the story is set in the hills of Tennessee. Really, it is a story about one man who was made remarkable by the circumstances of his life.

Since You Went Away
There were basically two kinds of films produced during WW2; those that made viewers forget the harshness of daily life with frivolity and laughter, and those that reinforced the sacrifices made by every American during the war. Since You Went Away is definitely in the latter category. It is a simple story of the family left behind by a man who serves his country. This wartime melodrama is full of propagandizing American patriotism and pride. With a superb cast including Claudette Colbert, Jennifer Jones, Joseph Cotten, a blustery Monty Woolley and a teenage Shirley Temple, Since You Went Away will tug at your heartstrings. Watching it over 60 years later, it does seem to drip with sentimentality. But, if you are looking for a film that really gives a sense of the home lives and attitudes of average Americans during WW2, there are few better examples in cinema than Since You Went Away.

School Rumble
Really cute little series full of gags and goofs. Set in the tumultuous high school years with more unrequited love triangles than you can count, School Rumble is relatable to anyone who ever went to high school anywhere at any time. Unfortunately, this is all of the anime that exists for this series (so far) although the manga is still going strong. In the extra features, it's hinted that there might be more to the series forthcoming but, at this point, these 6 discs are all that is available. School Rumble will definitely leave you wanting more.

Goyokin
Goyokin is a near-perfect samurai film. Tatsuya Nakadai plays Magobei Wakizaka, a samurai who leaves his clan, including his wife, because he disagrees with the corruption spearheaded by his best friend and brother in law. In order to spare himself from killing his friend and destroying his clan in the process, Magobei chooses to exile himself. But the accord is broken and he returns to his clan in the name of honor. This is a dream part for Tatsuya Nakadai. Nobody could have done it better. I suppose it's only natural to compare Goyokin with Sword of Doom and, while there are similarities, the character Nakadai plays in Goyokin is more nuanced and has much more depth. Both the story and the execution of it are gripping, suspenseful and hauntingly beautiful. I debated whether to give Goyokin 4 or 5 stars but, honestly, I can't think of any reason why it doesn't deserve 5.

Kill!
Kill! is a parody of the samurai genre. Don't worry, it was intended as such. Kill! incorporates all of the most commonly used devices in samurai films. It has down and out ronin, trickery, betrayal, corruption of power and, of course, swordplay. Tatsuya Nakadai and Etsushi Takahashi are brilliant as they bounce back and forth off of each other. I found myself laughing out loud at the subtle humor, clever dialog and physicality of Nakadai in this film. It's quite a switch from his typically brutal, brooding type of role. If you haven't seen a samurai film before, Kill! would not be the place to start. It takes a base-level knowledge of the genre to be in on the joke. But, if you are a fan of samurai movies, I highly recommend this film. Just don't take it too seriously.

Ronin Gai
Towards the end of the Tokugawa era, the merchant was king and earning a living as a proper samurai was nearly impossible. The noble samurai class, prohibited from earn a living through trade, was basically useless. Ronin Gai tells the story of four ronin whose lives end up briefly intertwined. The plot centers around a brothel whose prostitutes are being murdered right and left. There's not much swordplay in this film; it's much more character-driven. Most of the fighting takes place at the end in a very haphazard manner. Ronin Gai is really an exploration of the depravity of the era. It is peppered with subtle humor and Shintaro Katsu and Yoshio Harada give wild, blustery performances. If you are a fan of samurai films, it's worth watching.

Time Slip
G.I. Samurai a.k.a. Time Slip might have been a good movie but for the preposterous premise and the shocking lack of martial arts on the part of Chiba. Complete with bad 70's effects, a squad of peacetime soldiers is mysteriously thrown back in time to the warring clans era. They soon formulate a plan to start a war of their own in order to shock the gods of history so much that they will send them back to their own time. Honestly, I'm not making this up. It also has an overwhelmingly loud and goofy soundtrack that flares up at the most inconvenient times just to remind you how terrible this movie really is. But, in its defense, it does have some spectacular action sequences with lots and lots of gushing blood that occasionally distract you from the plot. It also has excellent picture quality and good English subtitles. Unfortunately, time travel movies have a tendency to be just plain silly and Time Slip is no exception.

Street Mobster
Before the opening credits are over, you will know whether you're going to like Street Mobster or not. It is a pretty brutal account of Japanese thugs featuring gushing blood, rape and plenty of violence. Bunta Sugawara plays an exceedingly hotheaded street punk who just got out of jail after 5 years and is looking to carve out a piece of the Yakuza territory for himself. He will stop at nothing to get it and bow to no one. The basic premise of the movie reminds me a lot of Sympathy For The Underdog which was also co-written and directed by Kinji Fukasaku the year before Street Mobster was released. Noboro Ando who plays the boss that takes Sugawara under his wing was an actual Yakuza gang boss before becoming an actor and the scar on his cheek is real. If you like ultra-violent 70's Japanese films, Street Mobster is among the best of the era.

Fighting Elegy
Set in 1930, Fighting Elegy has elements of satire regarding the militaristic and conformist attitude of young Japanese men but, essentially, it is a coming of age tale. With tons of fighting, humor and plenty of masturbation references, Fighting Elegy is a really entertaining story of one boy's clumsy teenage years. The awkwardness of Kiroku as he's trying to figure out who he wants to be as a person and come to terms with his emerging sexuality while trying to stay in line with authoritative doctrine makes this movie all the more painfully realistic. Anyone who's ever gone through adolescence should be able to relate. To tamp down his desire, Kiroku's only outlet is violence. He winds up entangled with some fringe gangs only to fall out of favor with them. In an effort to elude trouble, he moves to the country where he eventually wreaks even more havoc. The only issue I have with this film is the rushed and unresolved ending since the events in the film only cover the first half of the novel on which it was based.

Soul of Bruce Lee
Based on the fact that this is a new release, I was hoping that the transfer would be pretty clean and the audio wouldn't sound like it was recorded in a barrel. Alas, my expectations may have been too high. Soul of Bruce Lee also has some choppy editing sequences as if they are missing some frames here and there. Regarding the film itself, a young Sonny Chiba is out to get his former brother for killing their master in order to take over the master's underground drug trade. Chiba hooks up with a narcotics officer whose long-lost brother is also a drug mule from Hong Kong. Admittedly, the plot is a little bewildering. Meanwhile, Chiba has fixed himself up a self-electrocution outfit (it's on the cover of the dvd) to try to make himself a stronger martial arts master. Full of wire stunts, slow motion fighting sequences, a cast rounded out by Etsuko Shihomi, the enormous Bolo Yeung and even some fighters who take on the spirit of the monkey, Soul of Bruce Lee at least has some good martial arts. Despite the fuzzy print, poor sound quality and incomprehensible title, Soul of Bruce Lee is an unintentionally entertaining piece of kung fu cinema history.

Samurai Assassin
Set at the end of the Edo period, while Japan's shores were already threatened with foreigners like Commodore Perry's American Black Ships, Samurai Assassin is a fairly historically accurate tale of a small set of events that contributed to the end of almost 300 years of Tokugawa rule. Certainly, the events of Samurai Assassin were only a small part of the Tokugawa downfall. Really, the end of the peaceful, xenophobic Edo Period was inevitable. Samurai Assassin's story is one of deceit and a vicious circle of Shakespearian magnitude. Toshiro Mifune plays a down and out ronin looking to become a full-fledged samurai by killing an important lord. What he doesn't realize is that, by killing the daimyo, he is setting off a chain reaction leading to a new government wherein the samurai class is completely obsolete. There's another, even more brutal twist regarding Mifune killing the lord but you'll have to see that for yourself. If you are a fan of samurai films or Japanese history, Samurai Assassin is well worth your time.

Samurai Rebellion
The Japanese do love their tragedies. Samurai Rebellion is an epic drama full of heartbreak and conspiracy. Based in part on truth, the story highlights the cruelty and absolute power of the Daimyo ruling class where even people were considered property. Samurai Rebellion is more like Japanese folklore rather than factual historical record. Toshiro Mifune is wonderful as the henpecked husband turned outspoken leader of the Sasahara family when he is moved by the love of his son and the wife who is forced upon them. Once again, Mifune is pitted against Tatsuya Nakadai in a battle to the finish. I hadn't seen this film in a while. Watching it again and seeing the full range of emotion, history and context presented in this film, I upgraded it to a 5-star rating.

Funky Forest: The First Contact
A rambling assortment of basically unconnected vignettes that swirl around together in their own unusual little universe. Complete with bizarre musical aliens, dance and musical numbers, some butt jokes and lots of phallic symbols, Funky Forrest is absolutely hypnotic. There are parts of it that are hilarious and other parts that make you wonder what they were thinking when they made them and what point they are trying to make. In fact, I'm not entirely sure there is a point other than to put some really interesting visuals and concepts on the big screen tied together with a wonderful soundtrack, several different forms of animation and some of Japan's best contemporary actors. If you are a fan of oddball Japanese movies, this is the film for you. Just don't strain your brain trying to figure out what it all means.

The Reivers
A movie starring Steve McQueen and written by William Faulkner? Too good to resist. Unfortunately, neither McQueen nor Faulkner are at the top of their game in the Reivers. Faulkner wrote this coming of age tale based on his own experiences. Granted, I haven't read the book but, I would surmise that it is a lot better than the movie. McQueen plays the irresponsible charge of a rich Southern gentleman who takes his only grandson on an unsanctioned trip to Atlanta to learn him a few things about life. In the process, they stay at a brothel, have the family automobile traded for a racehorse and wind up in jail thanks to McQueen's even more irresponsible childhood friend. There are some warmhearted and even funny moments in this film but, overall, it doesn't quite measure up to my expectations. If you are a fan of Faulkner or McQueen, it's worth a watch but there are much more worthwhile coming of age tales out there.

Sympathy for the Underdog
After serving 10 years in prison, Gunji finds his Yakuza clan has fallen apart and his territory has gone to a large syndicate from Tokyo. Koji Tsuruta is perfectly cast as Gunji, the aging, outlawed yakuza. Gunji is cool as ice with courage to spare as he and only six of his former brothers set out to conquer the Okinawan underworld. Set in the years following WW2, this film scrutinizes the chaos of Japanese society under American occupation. Sympathy For The Underdog is aptly named as, in the end, you do find yourself hoping that this band of hardened anti-heros attains their goal. This was the last Fukasaku film with the highly popular Japanese actor Koji Tsuruta and, sadly, the only one available here. By the way, Fukasaku died in 2003 so it might have been a little difficult for him to make a movie in 2005. This film is from 1971.

Gate of Flesh
Set in the years immediately following WW2, this film is a scathing attack on the American occupation and the decline of Japanese culture cause by it. With plenty of sex, violence, bondage and torture, Gate of Flesh tells the tale of 5 prostitutes and a man who ends up briefly enmeshed in their lives. Strangely, the most brutal violence is actually woman on woman. The surreal, theatrical soundstage set made up of burned out buildings adds another dimension of degradation to the film. It would be an entirely different film without it. Filmed with classic Suzuki cinematography, including severe camera angles and color washes (each girl has her own color), Gate Of Flesh is a miraculous film given that it was completed in less than a month.

Love with the Proper Stranger
I don't know how I missed this gem but I'm glad I happened to catch it. I'm really not a fan of romantic movies but I was drawn by McQueen and Wood. Love With A Proper Stranger is definitely a movie of its era. Although it does cover some topics that are still relevant in certain segments of society to this day such as abortion and unwed mothers. It's fairly formulaic in the sense that you know how it will end. But, considering when it was made, it is definitely a unique take on the romantic comedy. Love With A Proper Stranger is heartwarming, heartbreaking, quirky and funny. McQueen and Wood positively sizzle.

Quicksand
Mickey Rooney as a successful ladies man capable of committing crimes? At first, it's a stretch. At least the smarmy, skirt-chaser part of it. But, the way that Quicksand ramps up the crimes committed makes it realistically believable. It's as if this particular set of circumstances could happen to anyone, like setting off a chain of dominos. That every-man quality is what makes this film a successful noir. Quicksand wouldn't necessarily be one of my highest film noir recommendations but, it fits perfectly into the genre.

The Hitch-Hiker
William Talman is absolutely perfectly cast as the lazy-eyed, sociopathic killer Emmet Myers. He will kill anyone who gets in his way including Edmond O'Brien and Frank Lovejoy who happen to give him a ride. Myers takes them on a wild ride into Mexico in a bid to secure his freedom. Every second of their captivity, you're hoping that they will find a way to escape. What makes this film great is that it is a realistic depiction of what would probably happen to two average people given the circumstances. Their desperation at being held prisoner at gunpoint in a desolate foreign land is almost tangible. Directed by the great Ida Lupino, The Hitch-Hiker plays into every driver's nightmare.

The Strange Love of Martha Ivers
Barbara Stanwyck is among the best film noir leading ladies. Her role in The Strange Love of Martha Ivers is the type of part in which she shines. Vulnerable yet, tough as nails, Stanwyck gives a tour de force performance as the sheltered heir to a vast fortune. Martha Ivers has found a way to effortlessly manipulate everyone around her. That is, until Van Heflin unintentionally wanders back into her life. Rounding out the cast are a very young Kirk Douglas and the Bacall-esque, Lizabeth Scott. The Strange Love of Martha Ivers is full of good performances, a generous amount of tension, imperfect characters and all the other things that make film noir excellent viewing even to this day.

Death Note
I really didn't think I'd like this series. And, indeed, after the first few episodes, I nearly gave up. But what kept my interest was the fact that the protagonist, a seemingly normal high-school boy, is really an anti-hero. It's not until a few episodes in that his challenger, L, the real protagonist, even makes an appearance. Death Note has your typical good guy/bad guy battle of wits which, honestly, seems a little forced. It's as if they thought of the end result of the episode first and then added how they got there as an after thought. All in all, it's not the best series I've seen but, it has definitely piqued my interest enough to queue up the next disc whenever that become available.

Sword of the Beast
Sword of the Beast has your typical ronin protagonist with his own set of values that differ from his clan. Although, highly moral, Gennosuke, the ronin still plays by his own rules. He has no qualms about shedding honor and going on the run when it comes to dying for his deeds yet, he's still a very honorable character. He saves the wife of another samurai when that samurai was willing to let her die and kills the attackers of the woman who was hunting him in the name of vengeance. Most films in this genre never explain how a protagonist became a ronin but leave the viewer to take it at face value. The interesting thing about this film is that it gives the back story as to how and why Gennosuke transitioned from the position of retainer to hunted ronin. Although often overlooked in favor of more familiar films, Sword of the Beast has its place in 60's samurai cinema.

Time Machine: The True Story of the Bridge on the River Kwai
A horrifyingly realistic glimpse into the actual events that spawned a glossy Hollywood movie. I had always liked the movie Bridge on the River Kwai but, like most people, I had no idea just how inaccurate it really was. First of all, there was more than one bridge along the 250 mile long prisoner-built railroad and, the bridge in question, didn't even span the main river but, a tributary. Replete with interviews with actual survivors of the Japanese railroad construction, this documentary is a heartbreaking look at at the very real circumstances hundreds of thousands of POWs had to endure, the bridge being just a small part of the overall horror. If you like the Hollywood movie, this documentary should be required viewing.

Gaslight
A very trusting Ingrid Bergman puts on an overly dramatic performance as a housewife bullied into thinking she's going crazy by her husband, Charles Boyer. It takes a persistent Joseph Cotten, who's more of a stalker than a detective, to prove that she's not losing her mind. Gaslight is a remake of an English production made 4 years earlier without such notable stars as Bergman and Boyer (also available here). This is not Bergman's best performance. She's a little heavy-handed with the "woe is me" attitude. But, broadly speaking, Gaslight fits nicely into the melodramatic, made during WW2 drama category.

Look Back in Anger
Richard Burton and all of the people surrounding him bring life to this former stage play. Like Burton himself, his character cannot shine alone but needs people to reflect his tirades. His wife, his friends all taking what he has to give like moths to a flame. Each of them irrevocably changed by coming into contact with this bullheaded, selfish and yet, still somehow human and very fallible character of Burton's. The vulnerability and insecurity shines through his rough and impenetrable defenses. Look Back In Anger is an intense psychological exploration of relationships wrapped in a 1950's Rebel Without A Cause package.

The Sword of Doom
Tatsuya Nakadai is one of the great actors of 60's samurai cinema. You get a preview of his capabilities in Yojimbo. But his heartless character in that film has got nothing on Ryunosuke Tsukue in The Sword of Doom. Nakadai plays the most sociopathic samurai ever. Squaring off against the great Toshiro Mifune amongst others, Ryunosuke manages to destroy the lives of all those around him. The Sword of Doom has seemingly disparate characters that all become intertwined as the film progresses. Even though Mifune's role isn't all that beefy, he has some great fighting sequences. Particularly one where he takes on multiple opponents in the snow as Ryunosuke looks on in amazement. The only problem with this film is the precipitous ending due to the fact that Sword of Doom was intended to be the first film in a trilogy which, sadly, never came to fruition.

Back to Bataan
Typical of movies made during WW2, Back to Bataan is chock-full of guts and glory. It is positively dripping with patriotic sentiment complete with several scenes of real American POWs like a newsreel. Wayne is his usual embodiment of the walking, talking American hero. Anthony Quinn plays yet another nationality as the head of the Filipino rebellion and grandson of a great Filipino patriot. Taken in context, it's not surprising that this film not only bolsters America's fighting spirit but, the helpfulness of the Filipinos and their yearning to gain independence. Out of context, some 60 plus years after its propagandizing mission is over, Back To Bataan seems very time-worn and overly aggrandizing. But, if you're curious to see how America represented the fight in the Philippines during WW2, this is your movie.

Blind Woman's Curse
Blind Woman's Curse is an interesting combination of Japanese folklore and superstition, Yakuza culture and B-rated horror movie. Ostensibly, it's a Yakuza film but, for seemingly no reason, although not entirely unwelcome, it throws in a macabre carnival and some horror scenes including black cats licking excised skin. It also has its share of gushing blood, reincarnation, bizarre comedic interludes and sword fighting sequences. I don't think Teruo Ishii's mind was entirely on making this film. It seems rather disjointed. It is not the best nor worst of his films. For what it is, Blind Woman's Curse is entertaining.

The Professional: GOLGO 13
In addition to the horrible smooth jazz soundtrack, The Professional: GOLGO 13 has some of the most dated 80's computer graphics ever. The opener is all CGI and there's a part in the middle where they add in a CGI helicopter scene for no real reason other than the fact that it was new technology and they wanted to show off. Aside from that, the story actually holds up really well. Even better than the live-action Sonny Chiba version. But that is primarily because they worked directly off of the original manga and the Chiba movie did not. Golgo 13 has some animated sex scenes (at least 3 that come to mind), plenty of violence, explosions and action. Until another version of the anime becomes available, watch the Chiba live-action version and Queen Bee.

Ichi the Killer: Episode Zero
Interesting concept but, the live-action movie is still better. This is intended to be the prequel to the movie explaining how Ichi became the way he is. Unfortunately though, there's nothing really new here. A lot of the material used is actually covered in the movie. But, if watching the movie for the 500th time just isn't enough, Ichi The Killer: Episode Zero is a nice, little, 46 minute compliment. If you haven't seen the live-action movie or didn't think it was the best thing since sliced bread, don't bother watching the anime.

Underworld Beauty
The visuals alone make Underworld Beauty a worthwhile film. Shot in black and white, it has the striking appearance of a Film Noir. The deep contrast between light and dark makes you sit up and take notice of the cinematography even if you normally don't pay attention to such things. Typical of Nikkatsu Studios and Seijun Suzuki, the story is exceedingly simple yet never completely transparent. There are some plot holes on which I won't elaborate for the sake of spoilers. The most interesting thing about Underworld Beauty is the inherent goodness of Miyamoto and his ability to avoid the greed to which nearly everyone around him succumbs. It always amazes me what Suzuki was able to produce with so little time and money.

The Quiet Family
The Quiet Family is a superbly original black comedy. The cast is excellent with stand-out performances from Min-Sik Choi and Kang-ho Song. South Korea isn't exactly known for producing black comedies but this one has some really funny moments, even with the language barrier. It does get a little gory which is not unusual considering the subject matter but, no more than your average American film. The only downside is that it does tend to lag in parts but, overall, it is a funny and original movie. If you like The Quiet Family, you should also see Takashi Miike's whimsical remake, The Happiness of the Katakuris (also available here).

Tattooed Life
Tattooed Life is not Seijun Suzuki's best work but it is still an interesting film with one of the coolest samurai-type fighting sequences ever. Typical of Suzuki films, it has plenty of curious camera angles, stylized color washes, day-glo sets and a relatively simple plot. Like Toyko Drifter, Suzuki's sense of design and proportion is apparent. His aesthetic is effortlessly integrated into the movie as a whole. The performances are great even if the younger brother is so ridiculous at times that you really just want to smack him upside the head. Overall, Tattooed Life is another valiant effort by Suzuki to turn a B-rated Yakuza movie into a beautiful piece of cinema.

Hanzo the Razor: The Snare
If you made it to the second film in the Hanzo the Razor trilogy, you should already have a general idea of what's in store for your viewing pleasure. The second film finds Hanzo once again trying to get himself out of trouble for his justified lack of respect for his superiors. Hanzo takes on another corrupt government official involved in currency devaluation, prostitution, gambling, theft and extortion. The Snare also deals handily with class inequality, poverty and abortion with the requisite amount of bondage and torture. Hanzo is like a warped and twisted Robin Hood fighting for the poor. With with his not-so-trusty sidekicks, Devil-fire and Viper, Hanzo saves the day again leaving a trail of dead bodies and love-sick women in his wake.

Hanzo the Razor: Who's Got the Gold?
The third and final chapter in the Hanzo series has just as much action, gushing blood and half-naked ladies as its predecessors. Hanzo's up to his usual tricks of torturing females and himself while not tolerating any guff from his superiors. Taking a page from Kurosawa's Hidden Fortress and The Scooby-Doo Show, this time, Hanzo is after stolen treasury gold. Who's Got The Gold? covers the tricky subjects of embezzlement, loan-sharking, modern warfare, royal orgies, bribery and vengeance. Can Hanzo and his cowardly companions, Viper and Devil-fire, sort out the mystery of the lady ghost at the lake? Zoinks! They would have gotten away with it too if it wasn't for that meddling Hanzo.

Sister Street Fighter
Everyone knows karate in Sister Street Fighter, even the ballerinas. An evil mastermind who smuggles heroin-soaked wigs into the country is keeping a Shorinji Kempo master hostage. Meanwhile, his sister, Sister Street Fighter herself, is hell-bent on rescuing him. But the drug lord keeps a stable of martial arts masters like a stamp collection, including Hammerhead with his gaggle of bucket-headed goons, a blowgun-wielding madman complete with mohawk, cape and shield, and the female Thai boxing group, Amazon Seven. With the help of the house of Shorinji, including Sonny Chiba, can Sister Street Fighter rescue her brother in time? The plot is just as silly on film as it sounds on paper, if not sillier. The whole film plays out like a Saturday morning cartoon come to life, only with a lot more gushing blood and exposed entrails courtesy of Chiba. Off-kilter camera angles, pulsating lights and groovy music add to the heavy 1970's atmosphere. I just wish it wasn't dubbed. By the way, this film was originally released in 1974, not 2004.

Alien 3: Collector's Edition
I know I'm in the minority on this but, after Alien, this is my favorite of the trilogy (I don't count Resurrection). Alien 3 has got all the suspense, tragedy and dripping, vengeful aliens we've come to know and love. Once again, Sigourney Weaver is woefully unarmed as she and a band of rag-tag criminals are in a fight to the death with their nemesis, the H. R. Giger-designed alien. Ripley is to Alien 3 as Sarah Connor is to Terminator 2; sheer badass. With her shaved head and commanding presence, you can see why she's the only one to survive alien attacks time and time again. Lance Henriksen makes a far too brief appearance as the Bishop II robot who has definitely seen better days. Directed by David Fincher, his style of filmmaking is apparent. Dark, gritty and suspenseful, Alien 3 is not as good as the original but, it is definitely entertaining.

Cape Fear
If you like the remake, you should see the original. This version of Cape Fear features two of the best actors of all time, Robert Mitchum and Gregory Peck. The way that Max Cady (Mitchum) stalks Sam Bowden (Peck) and his family by working his way around and within the law is enough to break even the strongest individual. You can actually feel the frustration of Peck's character trying to stay calm and strong for his family. Mitchum's portrayal of the maniacal stalker is so nuanced that it is completely believable. Cape Fear is every bit as tense and suspenseful as any of the best Hitchcock films from that era. You may find yourself screaming words of warning at your television.

Hanzo the Razor: Sword of Justice
Hanzo the Razor: Sword of Justice is a one of a kind Japanese exploitation film. I've never seen anything like it except maybe the other two films in the trilogy. Each by a different director, all with shocking scenes. Sword of Justice tackles some pretty serious subjects including assisted suicide, rape, torture and government corruption in a not so serious way. Hanzo strengthens his resolve with self-inflicted torture, particularly on the most sensitive part of his anatomy. This film is for adults only. Even at that, only a small segment of the adult population will find humor in it. If you have children under the age of 30 or so, make sure they aren't in the same house, let alone the same room when you pop this bad boy into your dvd player. Hanzo uses an interrogation technique on his lady prisoners that wasn't meant for little eyes and might result in some really awkward questions.

Big Bang Love, Juvenile A
Beautiful and haunting, Big Bang Love is unlike a lot of Miike films. Miike keeps surprising me with his depth of both vision and story. There aren't too many filmmakers today whose range of credits include gory horror films like Ichi The Killer and heartfelt dramas like The Bird People In China. Big Bang Love falls somewhere in the middle. Creating a universe of its own, its absolutely stunning visuals and out of sequence plot may cause some confusion at first. The story is more like a philosophical folk tale than a simple recounting of events. Big Bang Love is definitely a film that will stick with you.

Samurai Reincarnation: Makai Tensho
For an 80's chambara film, Samurai Reincarnation is among the best. It features two of Japan's greatest historical figures, Jubei Yagyu and Musashi Miyamoto, with plenty of historical inaccuracies and a supernatural plot. The film was based on the novel Makai Tensho (Resurrection From Hell) which is fiction based on fact. Directed by the great Kinji Fukasaku and starring the incomparable Sonny Chiba, Samurai Reincarnation has lots of action, a great cast and some goofy special effects to top it all off. If you're expecting a Kurosawa-grade film, watch Kurosawa. This film is by no means a factual historical drama or jidaigeki. But, if you like Japanese exploitation films, Samurai Reincarnation is pure entertainment. For another film where Chiba plays Yagyu, watch Shogun's Samurai also directed by Fukasaku.

Sansho the Bailiff
Like Ugetsu, Sansho The Bailiff is a Japanese folk tale come to life. The original story for this film was passed on through Japanese oral history for generations. It is a timeless story of justice and compassion in a world of slavery and class inequality. Expressive camera work, haunting visuals, excellent performances and a heartbreaking story all lend this film a sense of grand scale and immortality. It's as if the story you are watching is not just an actor's representation but, is actually a peek inside the world of ancient Japan. Sansho The Bailiff explains why Kenji Mizoguchi is considered one of the most respected directors in Japanese cinema. I highly recommend Ugetsu as well.

The Killer
As one of Yun-Fat Chow and John Woo's best Hong Kong films, it's a tragedy that this film is not available. The Killer tells the tale of a morally responsible killer (Chow) and his understanding, yet dogged adversary, a police detective (Danny Lee). Examining Woo's habitual themes of loyalty and brotherhood, the cop and the killer have a symbiotic, almost homoerotic, cat and mouse relationship. Full of Woo's trademarked slow-motion, double-fisted shooting scenes, this film is non-stop action with unexpected emotional complexity. The Killer is Woo and Chow on top of their game.

Story of a Prostitute
Seijun Suzuki took a cookie-cutter script and turned it into amazing film with depth, style and stunning beauty. Story of a Prostitute is more of an anti-military movie than anti-war. It plunges into the depths that the Japanese army were willing to take to save face in a world where real honor mattered very little. Based on an original story by Taijiro Tamura, it is the story of one woman's horrid existence as a result of war and at the hands of men. I'm always amazed with what Suzuki got away with in his films. Violence, brutality, nudity; it's all there. I suppose because this film was considered a B-movie, it was given more latitude. With brilliant cinematography, acting, directing, editing and the ever-present Japanese wind, Story of a Prostitute is a masterpiece.

The Memory of a Killer
The Memory of a Killer is essentially Christopher Nolan's Memento and John Woo's The Killer rolled into one. A contract killer who is literally losing his mind is pitted between powerful and corrupt politicians, and a detective who respects him as much as he reviles him. It is a psychological exploration of good versus evil and the gray areas in-between. Surprisingly tense with many twists and turns, The Memory of a Killer's intricate plot is rarely transparent. It does not disappoint. Although originally based on a novel, the remake rights have been acquired by Focus Features (Universal Pictures) so I'm sure there is yet another watered-down Hollywood version of a great foreign film in the making. Do yourself a favor and watch the original before it is turned into a forgettable Hollywood blockbuster.

Pecker
John Waters is the consummate example of rebellious auteur. The fact that he's managed to find success to the point that Hairspray was remade Hollywood-style is nothing short of amazing. His later works have certainly been toned down but, they still have that legendary Waters' underbelly. Full of double entendres and covered with layer upon layer of subtle and not so subtle humor, Pecker is one of my favorites. It covers the gamut of social commentary with a talking virgin Mary, homeless fashion and a big poke in the eye of New York's artist culture. It is essentially a tale of an artist overcoming the corruption of his vision by success and the influence of others. It is definitely a personal topic for Waters and he explores it with style. Uber-fans of Waters' early works may not appreciate this movie and your typical average American filmgoer is going to find nothing but offensive jokes and sick humor. But, if you can put all of that aside, Pecker is a delightful take on human nature. If you like this film, I'd also recommend Cecil B. Demented.

Ugetsu
Beautiful and timeless, Ugetsu is one of the most amazing classic Japanese films around. Rivaling Kurosawa in elegance and subtlety, it blends fantasy with reality like an Aesop's Fable or Grimm Fairy Tale come to life. Ugetsu is based on the Japanese folklore novel Tales of Moonlight and Rain by Ueda Akinari. It is a warning about how easily greed and desire can overcome the human spirit. This is the beautifully restored and translated version by the Criterion Collection. If you like Ugetsu, watch Sansho the Bailiff also by Kenji Mizoguchi.

Perhaps Love
I'm neither a fan of musicals nor romantic dramas and this film is both. But each genre is satisfactorily done in this strange and touching spectacle of a film. It's a reasonably simple story of a love triangle told as a movie within a movie. Perhaps Love seems to be a jab at the egocentric nature of the film industry as the main characters only care about themselves. The plot unfolds through flashbacks of the tirelessly vain characters trying to come to terms with genuine human emotions. The musical performances, for the most part, seem more like integral background rather than in your face singing and dancing. Perhaps Love is an imaginative take on just how much love and ego can mess with your brain.

Gemini
I wouldn't necessarily call Gemini a horror film in the traditional sense. It's more of a surreal psychological drama. Based on a novel by Rampo Edogawa, it is the strange tale of a doctor with a mischievous doppelganger whose appearance signals the gradual downfall of his staid and tranquil life. If you are a fan of bizarre Japanese films or Shinya Tsukamoto, I'd recommend this film even though it's not one of his best. Gemini has a tiny Tadanobu Asano cameo. It's such a small part that he's not even credited with a character name, just as "Revenger with Sword". If you like this film, I'd recommend Rampo Noir also based on the writings of Rampo Edogawa.

Duck, You Sucker
Directed and co-written by Sergio Leone with a score by Ennio Morricone, Duck, You Sucker is another great film from the spaghetti western master. It has a unique premise as it is set in the early 1900's during the Mexican Revolution, complete with an unseen Pancho Villa. As badass and cool as James Coburn is, it is Rod Steiger who really gives a stand-out performance as a Mexican bandit turned reluctant revolutionary. Even though it is not my personal favorite Leone film, it's still far and away better than most westerns out there. If you can manage to refrain from comparing this film to Leone's other movies, it is a quality western.

Bullet Ballet
If not for some disappointment with the plot that I won't go into for the sake of spoilers, Bullet Ballet was really close to a 5-star rating. Shinya Tsukamoto was the writer, director, cinematographer, editor and main character in this film. For style alone, it deserves 5 stars. But style on it's own does not make a good movie. While Bullet Ballet has a really interesting premise, it just fails to execute it all the way. Filmed entirely in black and white with Tsukamoto's trademark hyperkinetic camera movement, I would recommend it to Tsukamoto fans.

Graveyard of Honor
Typical of Miike films, Graveyard of Honor has the requisite gushing blood, violence against women and just plain violence in general. The story is not original although it might as well be as it seems tailor made for Miike. The ruthless character Ishimatsu (Goro Kishitani) is just as much of a selfish, quick-tempered a-hole as Tetsuya Watari's Ishikawa in the original Kinji Fukasaku version from 1975. Through the process of his rise and fall as a powerful yakuza kingpin, Ishimatsu systematically destroys everything and everyone he touches. Especially those who, for no good reason, care about him the most. What I love about both versions is just how antithetical the main character is to a typical protagonist. You have no choice but to tag along with this extremely unlikable character and see the world through his eyes. If you like this film, watch the original as well.

The Executioner
The Executioner is a rarity among Sonny Chiba films as it seems to be intentionally funny rather than just accidentally ending up that way. The Executioner is full of typically brutal Chiba fighting sequences, a hazy plot, plenty of naked women, and some almost funny one-liners and physical comedy. The copy that I have may win a prize for worst transfer ever. It's like they dug a reel out of a grimy basement, threw it on a projector without dusting it off and filmed it with a camera phone. And, to top it off, it's also dubbed into English. Hopefully, by the time NF has some DVDs available, it will be a better, cleaner transfer with the option of subtitles.

Breach
Besides the treachery of destroying countless lives over the course of 20 plus years, besides the sheer egotism and arrogance of needing to feel important, besides the hypocritical perversion in the face of his religion, Chris Cooper's character shows a willful disregard for separation of church and state. Hanssen was a government agent after all. As a representative of the government, you cannot force subordinates to pray as part of their job or show favoritism towards those of the same faith. Compared with all the other dastardly acts perpetrated by Hanssen, it seems like a minor complaint but, no one else has mentioned that so I thought I'd add my two cents.

The Bodyguard
Even for the typically low-quality genre of 1970's martial arts movie, this one is terrible. Starting off with a "Viva Chiba" chant and quite possibly the worst acting ever in a kung fu flick, it goes downhill from there. Chiba, a man on an anti-drug campaign, gets duped into helping a woman sell drugs. He may be a karate master but he's as sharp as a marble. The Bodyguard is quite obviously a star vehicle for Chiba after the success of The Street Fighter. If only they had given more thought to a story rather than Chiba's stardom, this film might have had a chance to actually be something worthwhile. I could go on and on about the stupidity of this movie but, suffice it to say, this is a dreadful film by both martial arts and good movie making standards. Not to mention the fact that it's dubbed. You might get a laugh out of it though which is why I gave it a 3-star rating.

Bullet Train
Sonny Chiba; train conductor and part-time welder. Don't be fooled by Chiba's top billing after Ken Takakura as his part is not nearly as big as you would think. He's really just a secondary player. Sonny removes his posterior from the conductor's chair precisely once to incomprehensibly weld the train as it's moving (they couldn't find someone else to use a blowtorch besides the driver?). The rest of the time, he just sits there, sweating profusely, as the action goes on all around him. Bullet Train is more of a typical 1970's disaster film along the lines of The Towering Inferno or Airport than it is a thriller. It is a relatively well-done drama but there are certain parts that stretch the boundaries of reality. Like its successor, Speed, a suspension of disbelief is required. This is one of several versions of this film available. If you can get your hands on the original uncensored Japanese version, it seems to be the best one. Look for a teeny, tiny part from Takashi Shimura as a high ranking official.

Yakuza Graveyard
Did Tetsuya Watari ever play a part in his early career where he didn't smack his girl before a love scene? If he did, it's not available here. With a nod to Dirty Harry, Watari plays the relatively complex character of a rebellious cop on the edge. He's forced to the side of the Yakuza by a series of events put in motion by a corrupt police force. Kuroiwa (Watari) is accepted at face value by the Yakuza as he never was by the police. Yakuza Graveyard is an interesting attack on Japanese xenophobia as it is littered with characters from other cultures including Kuroiwa himself. By the same director who brought you the utterly amazing Battle Royale and many other great films, Yakuza Graveyard is a gritty and gripping Japanese crime drama.

13 Tzameti
What an amazing concept for a film. 13 Tzameti is as original a film as I've ever seen. Unfortunately, its film school veneer tends to detract from its overall quality leading me to believe that it might have been more effective as a short. But, all things considered, for a first film, 13 Tzameti is nothing short of miraculous. From now on, I will pay close attention to anything from director Gela Babluani. 13 Tzameti is a must-see film for fans of the darker side of French cinema. It does get nerve-wracking and violent at times so, if neither of those things appeal to you, don't watch it. But, if you like dark thrillers, don't watch the trailer, just watch the film.

Tokyo Drifter
Tokyo Drifter is one of many stylish films Suzuki made in his prolific career. It was Tetsuya Watari's first starring role. In his white shoes and powder blue suit, Watari is the quintessential badass. With a fairly complex plot, interesting sets and fancy camera angles, Tokyo Drifter is a visually cool, somewhat violent film. I highly recommend watching the Suzuki interview in the extras. He has some really entertaining things to say about Watari and his own filmmaking process in general. Even at his advanced age, he's still rebellious, unstoppable and quite funny.

Branded to Kill
Rivaling A History of Violence, Branded to Kill has some of the most erotic marital love scenes ever. If only the main character's relationship with either his lover or the man who wants to kill him were as interesting as the scenes with his wife, Branded to Kill would have been amazing. As the No. 3 Killer, Hanada Goro is assigned a hit he can't go through with. He ends up falling for the target played by Anne Mari with amazing eyes and the emotional response and acting ability of a robot. The No. 1 killer is then sent to kill both Goro and his target. Rather than quickly doing the job like one would think the No. 1 killer would, he begins a cat and mouse game of psychological torture and an endurance test which soon degrades into unnecessary happenings and unintentional silliness.

When a Woman Ascends the Stairs
When a Woman Ascends the Stairs is a beautiful, dark drama in rich black and white which provides a glimpse into the after-hours bar scene in post-WWII Tokyo's Ginza district. It is a cynical story about a bar hostess, Keiko, also known as Mama, who is about to turn 30 which puts her over the desired age. Her options as a woman are limited to either getting married or opening a bar of her own. When a Woman Ascends the Stairs has an interesting viewpoint on a little-known facet of post-war Japan. The courage and integrity that Mama shows in order to navigate the Japanese male-dominated society make her a memorable character.

Eastern Promises
Eastern Promises was a lot better than I figured it would be. I'm not a huge David Cronenberg fan but I love Viggo Mortensen and Russian Mafia movies so I gave it a chance. It is a solid, gangster drama. In true Cronenberg fashion, he creates a little universe all to himself. I very much appreciate the fact that he didn't throw a useless love story in here. At least, not really. Eastern Promises is fairy graphic with full-frontal Viggo in an amazingly cool and violent scene in a bath house. Perhaps I've seen too many foreign movies, but I didn't think it was unnecessarily violent or explicit. The Russian dialog and accents are well done (granted, I'm not Russian so I wouldn't necessarily know the difference), and there are great performances from Mortensen and Armin Mueller-Stahl.

Sleepless Town
I rated this movie 4 stars because of a little montage in the middle. Nat King Cole's Unforgettable plays over shot after shot of the seedy underworld of Shinjuku including a stripper on a pole, a man violently vomiting, schoolgirls smoking, etc. The dichotomy of that little sequence alone made me like this movie. Sleepless Town is a surprisingly complex gangster movie in 3 different languages (none of them English) with multiple characters and motivations. The "love story" does get to be a bit much at times. Takeshi Kaneshiro seems unusually uncomfortable with his female lead. Half the time he's throwing her down and ripping off her clothes. The other half, he's awkwardly hugging her like a homophobe consoling a gay man. But, overall, Sleepless Town is a pretty convincing gangster film. Just when you think you have the story all figured out, it gets exceptionally twisty and turny towards the end.

Rashomon
It's a case of he said, she said, the dead man said. It finally takes a reticent Takashi Shimura to sort it all out. Even though I love this film and it's highly acclaimed by all, Rashomon is not among my absolute favorite Kurosawa movies. Personally, I think the message is a little heavy-handed, especially the ending. It clobbers you over the head with humaneness and morality unlike some of his more subtle stories exploring the same themes such as Ikiru or Red Beard. But, all things considered, it is yet another fine film from Kurosawa starring the supremely talented Toshiro Mifune and Takashi Shimura among others. Toshiro, especially, gives an outstanding performance in his typical wild, spirited way. Rashomon has beautiful, dynamic cinematography and fine performances all set to a unique Bolero-esque score. For 1950, Rashomon was years ahead of its time.

Sanjuro
How do you follow a movie like Yojimbo? With something easily as good, yet different, like Sanjuro. This film is far sillier and sassier than Yojimbo with Toshiro Mifune playing the cantankerous character to full-effect. Constantly thwarted by the incessant stupidity of the people he's helping, Sanjuro is basically on his own fighting a whole army in order to save someone he doesn't even know. While it doesn't have the depth of either story or visuals that Yojimbo does, Sanjuro is faster paced and more fun. Hollywood could take a lesson from Kurosawa on producing good sequels.

Yojimbo
Inspired by the Hollywood westerns of John Ford and the novel Red Harvest by Dashiell Hammett, Yojimbo was among the first action films of its kind. It spawned a host of films in various genres and countries. Kurosawa was fascinated by having two equally evil, warring factions opposed by someone who wasn't afraid to stand in the middle. That man could be nobody else but Toshiro Mifune. Kurosawa once said, what would take other actors lines of dialog to communicate, Mifune could convey with a single look. Seemingly morally dubious but always ready and capable of fighting for the little guy, Yojimbo is the ultimate samurai superhero.

Hell in the Pacific
Toshiro Mifune and Lee Marvin make formidable adversaries as they are stranded together on an island in the Pacific during WW2. With very little dialog and only two main characters, Hell in the Pacific is a testament to the power of simplicity in film. Toshiro shows off his tremendous skill as a physical actor as the only dialog he has in the entire film is in Japanese without subtitles. Hell in the Pacific is a wonderful exploration of the nature of humanity in the face of war and isolation. Make sure you watch the alternate ending to the film as they are both included on this disc.

Dark Blue World
Dark Blue World is essentially a love story wrapped in war. A love story between two friends and the same woman, and the brotherly bond between them which is strained as a result. Set during WW2, two ambitious Czechs set off to England to join the Royal Air Force. What they endure as a consequence of their service is much more than they expected and is fairly historically accurate. Dark Blue World is one of the few dramas that accounts the Czech struggle against both the Nazis and The Soviet Union. Beautifully shot with sweeping landscapes and well-done flying sequences, Dark Blue World examines the boundaries that are crossed in order to maintain some level of humanity in a crazy, war-torn world.

Three Days of the Condor
Syndey Pollack and Robert Redford team up again in this nail-biting thriller. Based on the book Six Days Of The Condor, this film seems every bit as relevant today as it did in the 70's. Robert Redford is a CIA operative whose whole world is flipped upside-down when he stumbles across a network that he wasn't supposed to know about. Three Days Of The Condor maintains tension throughout by revealing the plot, little by little, through the eyes of the main character. The only issue I have with this film is Faye Dunnaway's instant readiness to help Robert Redford. Regardless of romantic cliches, this film has excellent performances, an intelligent, consistent story with intrigue, suspense and a non-Hollywood ending. It is a must-see movie for political thriller fans.

Born Losers
Using the ever popular plot of biker gang terrorizes beach community, Born Losers is the first of the legendary Billy Jack movies. This shoestring budget B-movie was a box office hit and the Billy Jack movies became instant cult classics. Directed by and starring Tom Laughlin, there is actually a fair amount of sex and violence, including rape, in this film. Enough to get Born Losers banned in several countries including Sweden. Look for Jane Russell in a bit part as the weather-beaten mother of a teenage tart. Born Losers was followed by (The Legend of) Billy Jack, Trial of Billy Jack and Billy Jack Goes to Washington.

Superbad
If you are one of those people who complains about swear words, don't watch this film because the F-word will be the least of your concerns. Superbad was a lot raunchier than even I expected. I was amazed at what they got away with in the first 5 minutes alone. I've liked a lot of projects Judd Apatow has done. Superbad wasn't the best nor the worst of them. While it has some really funny moments, I was slightly disappointed with this one. Besides McLovin', it just wasn't all that memorable. But, if you like adults-only humor, Superbad is at least entertaining while you're watching it.

Shogun's Ninja
Good grief, is this movie ever cheesy. From the horrible soundtrack to the bad plot and all the ridiculous stunts in-between, Shogun's Ninja just may be the worst "historical drama" ever. I actually own this little gem as part of the Sonny Chiba Shogun Collection. They always throw one movie in there that you'd never want to see otherwise. I think my favorite part is the exaggerated sound effects. There's a sound for everything; swinging from a rope, shooting an arrow, jumping from a cliff, climbing a tree, etc. But, on the plus side, Sonny Chiba choreographed the fighting sequences and also stars as a bad guy. If you love Sonny Chiba martial arts spectaculars and have a sick sense of humor, Shogun's Ninja is hilarious.

Witch Hunter Robin
Pretty unique little series. Witch Hunter Robin has a fairly engaging story that starts to pick up speed towards the end. I watched the last 2 discs in the series straight through because, like a good book, I couldn't put it down. Unfortunately, I did see most of the resolution coming from miles away but that didn't stop me from watching it. It's not the best anime series I've seen but it's definitely good enough to watch. Japanese with English subs (yes, it has a voice dub track too).

Blade Runner: The Final Cut
Blade Runner has always been one of my favorite films of all time. So, naturally, upon hearing of another new version of it, I had to see it. The Final Cut is a beautifully restored and enhanced version of the film. It doesn't add any ridiculous new CGI scenes just because it can and there is no unnecessary filler. For years, I've preferred the Director's Cut to the Theatrical Version. It was the "belly full of killing" line that always sent me over the edge. However, I don't think I would appreciate the Director's Cut as much without first having seen the Theatrical Version. The Final Cut finally bridges the gap between the two. In the introduction, Ridley Scott says this version is now his favorite and I would have to agree. The Final Cut, may be just that; the ultimate version of this amazing film.

Kung Fu Hustle
Kung Fu Hustle is my favorite Stephen Chow movie. Shaolin Soccer has it's charms and you can clearly see how it was the the experimental precursor as far as special effects are concerned but, Kung Fu Hustle blows it away. It has a gloriously silly story with great effects that actually blend into the movie rather than just having CGI for CGI's sake. Stephen Chow has come a long way from his early films. He is a master of physical comedy and plays a great dim-witted leading man. Chow has managed to surround himself with some fine character actors too. If you're looking for a really entertaining comedy (in Cantonese with English subtitles), I highly recommend Kung Fu Hustle. Look for the sequel, Kung Fu Hustle 2, in 2008.

Lost and Found
Surprisingly great little movie. Takeshi Kaneshiro is endearing as a guy whose business is helping others find what they've lost which could include anything from a Scottish sailor to a flock of birds. Lost and Found has some elements of incoherence to it (the Scotland scenes for instance) but, overall, it's a very sweet story about the importance of life and the inevitability of death. It is not a tear-jerker but it will give you the warm and fuzzies.

Screwed
I own this film and I'm not entirely sure why. Let's just say, if I didn't already own it, I don't think I would buy it now. After an initial scene of rotting people writhing around on a beach with half-naked girls, Screwed works its way into a comparatively normal story where Tsube (Tadanobu Asano) is forced out of his apartment and separated from his girlfriend. He begins to obsess about her infidelity and unsuccessfully tries to commit suicide. Released from the hospital, he goes into the mountains to distract himself. At this point, the movie goes back to the tenor of the opening scene and takes a nosedive into the surreal. Screwed is the perfect example of a film that is not for everyone. In fact, I'm not entirely sure who it is for. I've watched it twice now and I'm no closer to figuring out what it all means. I've rated it 3 stars simply because it made me curious enough to watch it again.

Zebraman
Takashi Miike has created yet another universe full of rich characters and nonsensical storylines. If the live-action Teenage Mutant Ninja Turtle movies mated with Invasion of the Body Snatchers in an alternate, twisted universe, you might end up with something like Zebraman. Sho Aikawa is great as the ineffectual schoolteacher turned wannabe superhero who finds himself fighting little, green, puntable extraterrestrials to save the world from alien domination. Yes, it really is that ridiculous. You don't necessarily need to be a Takashi Miike fan to enjoy this movie, but a warped sense of humor and a love of Japanese zaniness are required. Full of wry humor and utterly entertaining to watch, Zebraman will put a smile on your face.

The Osterman Weekend
Sam Peckinpah, Rutger Hauer, Dennis Hopper, John Hurt; what could go wrong? The plot for one. The Osterman Weekend is one of the many cold-war propaganda films made in the 80's. Russian spies were theoretically everywhere and every American was potentially suspect, at least in the movies. The pulp-novel premise is interesting enough but, about halfway through the film, it all falls apart. The Osterman Weekend has a fine cast, a great director and some suspense but, overall, it fails. If you like Peckinpah, you should see it, because, sadly, this mess was his last film.

Rampo Noir
Admittedly, I haven't read the original story by Rampo Edogawa so I can't comment on the clarity of his vision as portrayed in this film. Rampo Noir is comprised of 4 short stories, each by a different director. The whole film is an interesting exercise in strangeness as only the Japanese can compose. The first three stories hold your interest, but it's really the fourth story, the one starring Tadanobu Asano, that will stick with you. I would not recommend this movie to anyone who isn't a fan of eccentric Japanese horror films. There isn't much by the way of blood-gushing gore but it does get thoroughly disgusting at times. The whole film will leave you wondering what the hell you just witnessed.

Brokeback Mountain
Being neither homophobic nor ignorant, I thought I'd give the big, gay Hollywood movie a whirl. I should have known better. Slow, boring, completely uninteresting, even the man on man "love" scenes were tedious and unbelievable. In the end, not only was I indifferent as to whether or not they got together, I was hoping for some sort of tragic tractor accident where both of them would go out Romeo and Juliet style. At least that way, SOMETHING would have happened in this movie.

Vital
Other than some visual similarities, Vital is very different from Tetsuo or A Snake Of June. It can be intense at times, but without the frantic movement of Tsukamoto's other films. Vital is a comparatively slow and restrained drama. It's not a horror film, there is actually very little gore, but there are moments of creepiness to it. Hiroshi Takagi is the type of understated, internally conflicted role in which Tadanobu Asano excels. In a quiet, deliberate manner, Vital deftly explores the connection between body and soul, past and present. Shinya Tsukamoto wrote, directed and edited this film. I'm sad to see that neither Vital nor Tokyo Fist are available on DVD.

Things to Come
This would be a hard movie to make today, let alone in 1936. Things To Come is a cautionary, change now or this is what the consequences will be type of sci-fi film. From the same author who wrote The Invisible Man, The War Of The Worlds, The Island Of Dr. Moreau and many others, this film was one of the earliest large-scale, sci-fi films made. Written and filmed long before WW2, it foretells of a hundred years of warfare. The special effects by today's standards are laughable but Things To Come was an ambitious project for the time. Regardless of whether or not H. G. Well's vision of the future was accurate, the overarching message that science and progress should prevail over warfare is still relevant.

The Departed
This movie would have been good had I not seen it already. I didn't realize that The Departed was a remake of the Chinese movie Infernal Affairs until I started watching it. Once I figured out how I already knew the plot before it happened, this movie just annoyed me. The only things added to the story are 50 unnecessary minutes and Jack Nicholson. For a faster and better version, watch the original. While the performances are actually pretty good, this remake just proves once again that creative thought in Hollywood is dead.

Champion of Death
The first in a trilogy supposedly based on the real life of martial arts legend Masutatsu Oyama, Karate Bullfighter a.k.a. Champion of Death is just plain ridiculous. Besides the fact that Sonny literally karate chops the horns off a bull, there's the ludicrous love story. I know if a man raped me, I'd follow him around the country like a love-sick puppy yelling "Oyama" from moutaintops as he turned me down once again in favor of karate. Then there's the long "Sonny on the farm" interlude before he takes on about a hundred opponents at once. Well, anyway, it's Sonny Chiba, it's the 70's and it's karate. We're not talking about brain surgery. If you like Sonny Chiba martial arts flicks, this one's good for a rainy Sunday afternoon and a laugh. Also check out the other two films in the trilogy, Karate Bearfighter and Karate For Life.

The Searchers
The Searchers is fairly unique for its time as it has a protagonist who's a real swine. You can't help but be appalled at the racism, sexism and stereotypes in this film. But, all things considered, Wayne gives an excellent performance, probably his best. The western genre is not one of my favorites nor John Wayne for that matter, but the Searchers is so much more than a western. The complexity of this film put it far and away above the typical gunfighter, cowboys and injuns shtick.

Rope
The amazing thing about Rope is that you know who gets killed, how and by whom in the very opening scene. One would think that because you know the exact details of the crime, the movie would deflate like a balloon. On the contrary, the suspense lies in whether or not the murderers will get caught. Based on a Patrick Hamilton play adapted by Hume Cronyn, Rope is filmed very much like a stage play with the entire movie set in an apartment. It is full of intelligent dialog, incredible tension and amazing camera shots. There is a scene when the maid is cleaning up around where the body is stored and the camera never moves for a few minutes. Back and forth to the kitchen she goes, every trip getting closer to the inevitable discovery of the murdered man, as the off-camera dialog continues around her. John Dall is perfect as the remorseless killer and Jimmy Stewart is great as the unwitting inspiration for the crime. Classic Hitchcock.