American Cinematheque is proud to present A Genre of One: The Cinema of Bong Joon-ho, a complete feature retrospective of Bong Joon-ho’s work two decades in the making.
The series will take place at both the Egyptian Theatre in Hollywood and the Aero Theatre in Santa Monica from Oct. 30 to Nov. 2, 2019. Co-presented with the Korean Cultural Center, Los Angeles, as it celebrates 100 years of Korean cinema, the internationally renowned writer/director will showcase his work and participate in an in-person Q&A at both venues.
Bong Joon-ho’s Parasite has pushed boundaries, becoming the first Korean film to win the Palme D’Or at the Cannes International Film Festival. It set several box office records in the U.S. since its opening just this past Friday, including the highest per screen average of 2019 and ranking as the 17th highest per screen average of all time (8th highest among all live-action films). Parasite earned the title highest per-screen average for a foreign language film of all-time. The film has already amassed over $90mm worldwide.
In conjunction with the complete retrospective of Bong Joon-ho’s feature films, the Korean Cultural Center Los Angeles and the American Cinematheque are proud to present a twelve piece exhibit in the Shield’s Gallery of the Egyptian Theatre featuring the works of South Korean artist Jung Jae Hoon (aka Zibezi), whose original painting “Parasite” is featured prominently in Bong Joon-ho’s latest masterpiece. In recent years, Zibezi, a self-proclaimed “outside artist,” has made a major splash in the intersecting worlds of art and fashion, and has created over 100 artworks that attempt to “draw a new world out of existing forms and frameworks.” His online gallery and store can be found on his website.
Director: Lee Sang-Geun Cast: Cho Jung-Seok, Yoona, Ko Du-Shim, Park In-Hwan, im Ji-Young, Hwang Hyo-Eun, Lee Bong-Ryun, Bae Yoo-Ram, Yoo Su-Bin, Kim Kang-Hoon, Lee Dong-Hwi Running Time: 103 min.
By Paul Bramhall
Much like every other film industry in the world, South Korea may not check-in to the disaster genre that frequently, but when it does it tends to go all out. Whether it be big blockbuster FX showcases such as Hauendae and The Tower, overwrought melodrama’s like The Flu and Deranged, or topical thrillers that tap into the fear of nuclear fallout like Pandora, there’s a certain unspoken checklist that needs to be ticked off each time. Top of the list are usually an ensemble cast, the requirement for each member of said cast to give their tear ducts a workout at some point, and likewise for their ability to scream or shout at the top of their lungs.
Korea’s fondness for melodrama tends to make their disaster flicks a love them or hate them affair, as the emotions on show are usually expected to match the spectacle of whatever the disaster is in question. That is, over the top, loud, and not always entirely believable. Which brings us to 2019, and debut director Lee Sang-geun has opted for the disaster genre as his calling card. The simply titled Exit goes for a different approach than what we’ve seen with Korea’s previous disaster movies though, in that it frames its disastrous events through the lens of being a comedy. It’s always a challenge to put a new spin on a genre that’s full of established (and I daresay expected) tropes, so I was curious to see what Sang-geun had up his sleeve.
Exit casts Jo Jung-suk (The Drug King) as a 30-something unemployed loser who still lives at home with his parents. Beaten down by a steady flow of rejections for jobs he’s applied for, a nagging sister, and being turned down for a date by his indoor rock climbing club crush, the world seems to be conspiring against him, and to make matters worse he needs to attend his mother’s 70th birthday celebration. The celebration takes place in the uniquely Korean setting of a celebratory hall. Korea is full of these purpose-built venues, which usually come with glorified names referring to themselves as castles and alike, and are essentially buildings comprised of numerous large rooms to host celebrations in. It’s revealed that it was Jung-suk that chose this particular venue, and it becomes clear why when it turns out his crush from the rock climbing club is working there, played by Im Yoona (Confidential Assignment).
Unfortunately the celebration is interrupted, when the disgruntled employee of a chemical company parks a tanker full of toxic gas directly in front of the hall, and releases it into the air. The gas kills anyone who it comes into contact with, causing a whole business district in Seoul to scramble to the rooftops, including Jung-suk, his family, and Yoona. Thankfully the government deploys rescue helicopters to start airlifting the stranded groups, but by the time one reaches the venue it quickly reaches capacity, leaving Jung-suk and Yoona to fend for themselves. If Exit was any other genre, the direness of the situation would no doubt be the trigger for some overbearing histrionics. However this is a comedy, so instead it becomes an entertaining vertical chase flick, as Jung-suk and Yoona call upon their rock climbing skills to keep one step ahead of the slowly rising gas, while at the same attempting to figure out an escape plan.
It’s fair to say that never has such a niche hobby as indoor rock climbing been given its time to shine like it has here, but likewise, the way Sang-geun turns Seoul’s 4D cityscape into a vertical game of life and death is a joy to watch. Neon 3D signage, a huge crab attached to the side of a building, and random design elements that are there for no other reason than the architect probably thought they looked cool, are all incorporated into the pair’s efforts to avoid the ever rising gas. While these scenes suitably crank up the levels of tension, Sang-geun extracts the biggest laughs out of the smaller, more relatable details that we rarely think about, but somehow all know. Jung-suk and Yoona come across a ridiculous amount of locked rooftop doors, and after heroically clambering up several flights of stairs, to constantly fall down at the last hurdle because the door to the rooftop is locked becomes a source of frequent amusement.
The same issue also happens to be the main contributor to Exit’s most entertaining scenes, as it means our two leads constantly have to think on their feet and problem solve as to how they’ll get higher with a limited number of options. Sang-geun shows a distinct understanding that the real entertainment in watching a disaster movie comes from watching characters figure out how they’re going to save themselves, more so than the disaster itself, and Exit smartly uses it moderate budget on the process rather than the spectacle. Over the course of the runtime drones, exercise equipment, and even the ventilation fans in a Korean BBQ restaurant all factor in to either help or hinder Jung-suk and Yoona on their mission to avoid the gas.
It’s arguably Exit’s dedication to its concept which is its biggest strength. Sang-geun has created a lean little disaster movie, clocking in at just 100 minutes (a Korean movie under 2 hours, it’s a miracle!), and it never strays from its core concept. There’s no villainous corporate bad guy making morally dubious decisions behind the scenes, there’s no tragic backstories told in flashback, and there’s not even any time for a budding romance to blossom. This is just two likeable characters, attempting to stay one step ahead of a slowly rising poisonous gas cloud, and the fact that no fat is attached to the narrative makes its brisk pace and good intentions easy to digest. We don’t even spend that much time on why the employee who released the gas was so disgruntled, he’s simply a plot device to kick-start the fun, and Sang-geun seems to realise that it’s not important for the audience to know every last detail.
Ironically the movie which kept on springing to mind while watching Exit, was Ryu Seung-wan’s 2008 production Dachimawa Lee, which was a riotous send-up of the tough guy action flicks that used to dominate 70’s Korean cinema. As it turns out, Sang-geun was an assistant director on that very movie, which explains a lot, as both the tone and look of Exit call to mind Seung-wan’s more light-hearted work.
Also like Seung-wan, Sang-geun proves here that he knows how to work to actors strengths. Jung-suk made a strong impression with his break-out role in 2012’s Architecture 101, which was followed by an equally strong turn acting alongside Song Kang-ho in The Face Reader the following year. Lately though his role choices have been underwhelming, with forgettable turns in the likes of Time Renegades and Hit-and-Run Squad. His role in Exit plays to his strengths, and there’s a likeable chemistry shared with former Girls Generation member Im Yoona, who’s limited range is also utilised well.
If anything, the only real barrier to Exit being successful internationally is just how uniquely Korean it is. There are several distinctly Korean elements incorporated into the narrative, from throwaway details such as Jung-suk’s sister visiting their parents purely to pick up some kimchi, to more significant details like his race to get to a train station so he can access more gas masks. It’s perhaps a little known fact outside of Korea, but all of the train station platforms in Seoul come equipped with a cupboard containing gas masks, in the event that North Korea should ever attack (in which case train stations also double up as bomb shelters). It struck me while I was watching, that had I never visited Korea myself, I’d probably have no clue as to why he was so eager to get to an abandoned train station.
As entertaining as Exit is, there’s also no doubt that it’s a slight effort, with no higher ambitions other than to entertain for the 100 minutes that it’s onscreen. Whether you’ll remember it the next day is debatable. However what can’t be denied is that Sang-geun has shown a talent for breathing new life into a well-worn genre, and done so in such a way that makes it feel unique and fresh. If there was ever such a thing as an urban comedic take on Cliffhanger, then this could well be it, and that’s as decent a hook to sell a move on as any. Resisting any temptation to deviate from its purpose to create a few laughs and thrills along the way, Exit may feature a frustrating number of locked doors, but hopefully it’ll open a few for Sang-geun.
“Master Heaven: The Greatest Fighter” Theatrical Poster
First time director Park Hyun-chul is going in feet first with Master Heaven: The Greatest Fighter, a South Korean martial arts film that releases domestically this month.
According to HC, here’s a hint of what you can expect from the film: The Wind Fighter’s master, Master Heaven’s legend begins. The master of Karate and Choi Bae-dal’s master, Cheon Seung, is Joseon’s greatest fighter. The legend that was never recorded is about to begin.
Master Heaven: The Greatest Fighter stars Im Seung Joon (Legend Hero), Kwon Dong-won (Bad Papa) and Suh Dam-hee (Shin Ma-jeok).
Don’t miss the film’s action-packed Trailer below:
We’ll soon be seeing Bianca Brigitte Van Damme (Welcome to the Jungle, 6 Bullets), daughter of JCVD, in The Murder of Nicole Brown Simpson (aka The Haunting of Nicole Brown Simpson), where she’ll be playing the role of Detective Leigh.
Inspired by true events, The Murder of Nicole Brown Simpson follows O.J. Simpson’s ex-wife Nicole Brown Simpson in the last days leading up to her tragic death on June 12 1994, as seen from her point of view.
The upcoming film, due for a release later this year, is headlined by Mena Suvari (American Beauty) as Nicole, Taryn Manning (8 Mile), Nick Stahl (Terminator 3) and Gene Freeman (Legion Maxx) as O.J. Simpson.
The Murder of Nicole Brown Simpson is directed by Daniel Farrands (The Amityville Murders), who is also behind the recent The Haunting of Sharon Tate (this guy obviously found his niche).
Don’t miss the Trailer for The Murder of Nicole Brown Simpson below:
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This November, celebrated Hong Kong filmmaker Johnnie To (Three, Fulltime Killer, Office) returns with Chasing Dream, a tale that centers on a tough MMA fighter and a beautiful aspiring singer (via AFS).
Chasing Dreams is written by Johnnie’s frequent collaborator Wai Ka Fai, who is perhaps best known for helming 1995’s Peace Hotel. Co-writers include Ryker Chan (Blind Detective) and Tin Shu Mak (Kung Fu Jungle).
If you’re looking for a Korean Gangster Movie that’s in the same vein as New World and Gangnam Blues, look no further than The Faceless Boss, a gritty crime thriller from director Song Chang-Yong (Oh! My God: Returns).
Kwon Sang-Gon (Chun Jung-myung) is a gangster who wants to have a cool life. He becomes a gang boss and expects to reap the rewards of the top position. He soon realizes his life is a living hell, filled with conspiracies and betrayals (via AW).
The film also stars Lee Shi-ah (Lucid Dream), Jin Yi-Han (Break Away), Lee Ha-Yul (The Heaven is Only Open to the Single!), Kwak Hee-Sung (My Sassy Girl series), Kim Do-Hoon (Gate) and Kim Young-Jae (Heart Blackened).
The Faceless Boss hits domestically on November 21, 2019. Don’t miss its Trailer below:
Henry Golding is undoubtedly hot property in Hollywood and the movie world right now. The British-Malaysian actor looks set to melt hearts in upcoming festive romantic comedy Last Christmas, but he is also edging towards becoming an action star after being linked to a role in new GI Joe spin-off Snake Eyes and his involvement in Guy Ritchie’s latest movie The Gentlemen.
However, while Golding undoubtedly has plenty of projects on the go – and rumors about James Bond won’t go away either – his breakout role in Crazy Rich Asians continues to be the gift that keeps on giving. In fact, it was recently confirmed that the movie’s enduring popularity means that Golding will soon pop up in the world of gaming.
New slot
Released in 2018, Crazy Rich Asians was based on the novel of the same name by Kevin Kwan and proved to be a huge success with audiences across the globe. The film is estimated to have made more than $238 million at the worldwide box office, with experts claiming that it is one of the highest-grossing romantic comedies in recent years.
In October, it was confirmed that Aristocrat had partnered with Warner Bros Consumer Products to launch a slot game based on the movie. Launched at the Global Gaming Expo in Las Vegas, the title features both audio and visuals from and inspired by the big screen success – which means Golding is likely to feature heavily.
The launch makes it just the latest Warner Bros movie to be adapted into a game by Aristocrat, as the company’s portfolio also includes experiences based on the likes of Mad Max: Fury Road and Westworld.
A common trend
While adapting a romantic comedy into a slot game may seem like a bit of a curveball, such trends are more common than many may realize. A host of different films have been adapted into offline and online slots in recent years, from the likes of Terminator 2: Judgement Day and Ted to even Bridesmaids.
Taking such a step with popular movies also makes more sense when you consider how both slots and casino gaming, in general, are big business at the moment. While land-based casinos remain very popular, online casinos are also a major way that people access such gaming. Sites like Manekichi offer a range of different games, from online slots to live casino experiences where classics like roulette and blackjack are hosted by a real-life dealer through a video link.
According to research, the global gambling market is expected to reach revenues of more than $525 billion by 2023, with more and more people being drawn into betting and playing casino games.
Hugely popular
Henry Golding’s career is going from strength to strength and the fact that he looks set for a prominent role in the new Crazy Rich Asians slot game is undoubtedly further evidence of his huge popularity.
With an intriguing number of new movies on the horizon, it will be fascinating to see whether his future roles go on to have the same impact that his turn in Crazy Rich Asians has had.
On December 10th, 2019, Kino Lorber will release the Blu-ray & DVD for 1992’s Aces: Iron Eagle III, an actioner directed by veteran 007 filmmaker John Glen (For Your Eyes Only, Octopussy, A View to a Kill, The Living Daylights, License to Kill).
Aces: Iron Eagle III stars Louis Gossett Jr. (An Officer and a Gentleman), Rachel McLish (Raven Hawk), Paul Freeman (Raiders of the Lost Ark) and Sonny Chiba (Soul of Chiba, Kill Bill Vol. 1).
Veteran Air Force pilot Charles “Chappy” Sinclair (Louis Gossett Jr.) is drawn into international intrigue when Anna Morales (Rachel McLish), the sister of a recently deceased friend, asks for his help. Anna reveals that her brother died at the hands of Gustav Kleiss (Paul Freeman), an ex-Nazi who runs a drug ring in Peru and is holding her father hostage. Sinclair enlists a number of his air-show buddies to join the mission, and they depart for Peru to take on the ruthless criminal.
Features and Specs:
Image Gallery
Theatrical Trailer
Optional English SDH subtitles for the main feature
Today’s Deal on Fire is the Blu-ray for Belly of the Beast, starring the one, the only Steven Seagal (Cartels, Contract to Kill).
Directed by popular Hong Kong filmmaker Ching Siu-Tung (Duel to the Death, The Raid), Belly of the Beast is about an ex-CIA agent’s quest to find his kidnapped daughter leads him on a trail of political intrigue, corruption, danger and betrayal; he will stop at nothing to save her.
The film also stars Byron Mann (The Corruptor), Monica Lo (Naked Weapon), Tom Wu (Kick-Ass 2) and Sara Malakul Lane (Kickboxer: Retaliation).
Director: Jang Jae-Hyon Cast: Lee Jung-Jae, Park Jung-Min, Lee Jae-In, David Lee, Jung Jin-Young, Hwang Jung-Min, Jin Seon-Kyu Ji Seung-Hyun, Yoo Ji-Tae, Moon Sook, Ok Joo-Ri Running Time: 122 min.
By Paul Bramhall
I’m not sure if there’s something in the air, but the South Korean film industry has been cranking out a steady stream of evil ass-kicking Christians in recent years. From Kim Yoon-seok and Kang Dong-won in 2015’s The Priests, to Ahn Sung-ki and Parks Seo-joon in 2019’s The Divine Fury, and now Lee Jung-jae and David Park can join the ranks thanks to their roles in Svaha: The Sixth Finger. If we keep going at this rate, soon there’ll be enough characters for a Korean Christian themed version of Avengers.
Leading the charge is Jang Jae-hyeon, who returns to the director’s chair with his sophomore feature Svaha: The Sixth Finger. Jae-hyeon’s debut was The Priests, and in the 4 years that have passed since, he wrote the script for the Im Dae-woong directed House of the Disappeared. That movie, perhaps unsurprisingly, featured a priest attempting to get to the bottom of a murder mystery that takes place in a haunted house. For his second time both directing and handling writing duties, Jae-hyeon looks to combine the more traditional priests from his debut, with the mystery angle that he introduced in his most recent script.
For a guy who was able to cast Kim Yoon-seok in his debut, Jae-hyeon proves that his stellar casting choices were no fluke the 2nd time around, enlisting Lee Jung-jae as his lead. This is the first time for Jung-jae to headline a movie since 2017’s under-seen Warriors of the Dawn, having only appeared on the big screen in the intervening years as a special appearance in Kim Yong-hwa’s Along With the Gods franchise (The Two Worlds and The Last 49 Days). Here he plays a pastor who can best be described as a cross between Mulder from The X-Files and Philip Marlowe. Running a kind of private detective agency for religious groups, Jung-jae and his apprentice (played by David Lee of Swing Kids) investigate religious organisations that are fronts for either cults, pyramid schemes, or various other types of scam.
His latest focus is a newly formed Buddhist group that worships the Four Heavenly Kings (for those wondering, yes, the same Four Heavenly Kings from the latest entry in the Detective Dee series). It turns out Jung-jae doesn’t only limit himself to investigating Christian groups. Or at least that’s what I assume, actually we don’t see him investigating any for the duration. He is close with the local Buddhist monks though, and comes armed with a seemingly encyclopaedic knowledge of Buddhist practices, which are enough to make him suspicious of this latest groups intentions. All we know as an audience, is that they’re somehow connected to a teenage girl that we meet in the opening, played by Lee Jae-in (I Can Speak). Jae-in has a demonic twin who everyone believed would die shortly after her birth, but 18 years on and the twin is still alive, locked in a solitary room behind the kennels of the dog farm that she lives on.
The opening sets up a suitably foreboding sense of horror, both thanks to some in utero cannibalism and a grizzly birth scene, however as Svaha: The Sixth Finger settles into its narrative it becomes clear its more interested in being a noir styled mystery than it is a straight-up horror flick. The biggest frustration that we encounter as the viewer, is around the opaqueness of exactly what that mystery is. Considering the narrative starts with the horrific premise of a demonic sibling that’s been locked up and neglected for the past 18 years, there’s a disproportionately small amount of time spent on this particular element of the plot. Instead, most of the runtime is dedicated to Jung-jae’s investigations into a mysterious monk who allegedly achieved enlightenment, and may be responsible for reincarnating the Four Heavenly Kings in the present day.
Jae-hyeon throws a lot of elements together in his latest, to the degree that the mix of Christian and Buddhist practices is the least confusing aspect of everything that’s been thrown into the blender. We also get shamanism, sacrificial suicides, a lot of talk about reincarnation, ghostly visions, and at one point there’s a literal elephant in the room. Reflecting on my thoughts around The Priests, the same weaknesses are on show in Svaha: The Sixth Finger, the main one being the ideas that Jae-hyeon had in his head have struggled to come across as fully formed once committed to the screen. The most glaring example of this, is that Jung-jae and Jae-in (who plays both twins) never actually meet, which somehow feels like an obvious oversight. One is the main character, and the other at the center of the events he’s investigating, so as an audience we expect them to connect at some point, but it never happens.
Perhaps Jae-hyeon thought the presence of Yoo Ji-tae would be enough to mitigate the lack of such a meeting. Ji-tae is one of the most recognizable faces from many of the early Korean Wave classics, thanks to roles in the likes of Attack the Gas Station!, Old Boy, and Into the Mirror, and this is the first time for him to share the screen with Lee Jung-jae. For fans of Korean cinema like myself, I admit it was kind of cool to see two veterans of Korean cinema sharing screen time together, and Ji-tae plays a pivotal role in the plot which I wasn’t expecting. They even get to share a scene with that elephant I mentioned earlier (yes, there really is an elephant in the movie. No Tony Jaa though).
While I confess to enjoying the sight of Jung-jae running around in his trench coat like a 2019 Korean version of Humphrey Bogart, it’s impossible to deny that the characterisation across the board is weak. Supporting characters especially are given short thrift, from David Park playing Jung-jae’s assistant, to Jung Jin-young (Gangnam Blues) as the police chief investigating the same case. In fact the police force as a whole are made to look pretty incompetent as proceedings progress. From being introduced as a full-on task force when we first meet them in an encounter with Jung-jae, which I hoped would lead to them working together (it didn’t), they barely show up again unless some police information is required to propel the plot forward.
Despite this, there’s enough deep voiced chanting and slick visuals to keep Svaha: The Sixth Finger in the realms of being a pleasant distraction. The narrative is cluttered, and Jae-hyeon takes too long to begin tying the different threads together for the audience to be invested in what’s going on, however it’s definitely never dull. This is most likely because the ideas being presented feel original and fresh, meaning that at no point does it feel like we’re watching an inferior version of another horror flick.
If anything, the vibe that Svaha: The Sixth Finger most calls to mind is that of The Wailing. There aren’t many supernatural tinged Korean productions since the success of Na Hong-jin’s 2016 masterpiece that don’t draw this comparison, with everything from thrillers like Seven Years of Night, to straight-up horrors such as The Mimic, bearing its influence in some way. However while in most instances the comparisons tend to relate to the visuals and cinematography (never have I seen shamanism so prominently displayed in Korean cinema since The Wailing was released!), in Svaha: The Sixth Finger Jae-hyeon draws more on the themes and scenarios to incorporate into his tale. While the influence is there, to his credit it doesn’t feel derogatory, and I actually enjoyed the way it used a similar reveal thanks to how it was effectively executed.
If Svaha: The Sixth Finger didn’t provide you with your required evil ass-kicking Christian fix, then fear not, at the time of writing Bae Sung-woo is next up to put on a dog collar and go head to head with a demon in director Kim Hong-seon’s Metamorphosis. They keep on coming! For all of its failings though, I admit to finding Jae-hyeon’s sophomore feature an enjoyable watch. This year we’ve had a dose of God powered MMA (The Divine Fury), so why not a film noir influenced mystery that can only be solved with some divine intervention as well? A few too many inexplicable moments in the plot, and a focus which is sometimes out of tune with where it should be, stop Svaha: The Sixth Finger from being a strong recommendation. But as a supernatural mystery flick with sprinkles of horror scattered on top, the attempt at an original premise is an admirable one, the finished product just needs a bit more polish.
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Fear and Loathing in Las Vegas (1998)
Fear and Loathing in Las Vegas is one of the traditional releases in cinematography. The movie is based on a well-known novel that displays the life of Hunter S. Thompson – a popular writer and journalist. The main role in the movie belongs to Johnny Depp which does an amazing job. He is in the company of lawyer Samoan who follows him on Las Vegas journey.
2. Casino (1996)
This is another casino movie with Las Vegas-style. The film is directed by Martin Scorsese who made a tremendous job by bringing casinos closer to the public. The main protagonist of the release is Robert De Niro while the movie depicts two sides of Las Vegas – both cruel and glamourous.
3. Casino Royale (2006)
Casino Royale represents one of the highly recommended movies for casino enthusiasts. The movie follows the previous release from 1967 and targets young generations. The main character of the movie is Daniel Craig who works as a secret agent. Daniels’s mission is to prevent terrorist leaders to make high profits from Texas Hold’em tournament.
Online casinos in France are not completely liberal. According to France Gambling Act, the state allows three gambling activities including poker, sports betting and lottery.To try your luck just go – jackpot city casino en ligne en français.
4. Ocean’s Eleven (2001)
Ocean’s Eleven is a unique heist release that depicts one of the most glamorous casinos in the country. The movie is stunning as it gathers some of the leading cinematography names including Brad Pitt, George Clooney, Matt Damon, and Julia Roberts.
George Clooney plays the role of Danny Ocean who is responsible for the organization of the biggest casino heist. For this purpose, Danny collects a group of professional burglars who prefer taking huge risks.
5. The Gambler (2014)
The Gamblers is another popular casino movie for interested gamblers. The main character of the release is Mark Wahlberg or a literature professor. The professor is a gambling addict who loses a lot of money on blackjack games. At the end of the movie, Mark should compensate an enormous debt to dangerous people. The only possibility to pay the debt is looking for help from his student…
6. Hard Eight (1996)
Hard Eight is another classic release in cinematography. The main roles are reserved for Samuel L. Jackson, Philip Baker Hall, John C. Reilly and Gwyneth Paltrow. The movie features the story of a pro gambler who takes a rookie and teaches him the basics of ropes. Everything goes very well before he meets a woman character played by Gwyneth Paltrow..
7. Croupier (1998)
The main protagonist of the movie is Clive Owen who plays the role of Jack Manfred. Jack is a successful writer who looks for a job in a big casino. He becomes a croupier at the casino venue where he finds inspiration for a new novel. However, Manfred feels very uncomfortable in the new world where he doesn’t belong…Croupier movie depicts the dark side of the betting world where people struggle for existence in cruel reality…
Female Prisoner Scorpion – The Complete Collection | Blu-ray (Arrow Video)
RELEASE DATE: December 17, 2019
Arrow Video is back it with its ongoing storm of Japanese cult classics. On December 17, 2019, the company is releasing the Blu-ray set for the Female Prisoner Scorpion: The Complete Collection, which will include Female Prisoner #701: Scorpion, Jailhouse 41, Beast Stable and Grudge Song.
Note: The difference between this new set and the previous one (released in 2016) is the new set doesn’t include DVDs and has different main box art (click here for a visual).
Check out the press release below:
Starring the iconic and beautiful Meiko Kaji (Lady Snowblood, Stray Cat Rock) in a role that came to define her career, the four-film Female Prisoner Scorpion series charts the vengeance of Nami Matsushima, who assumes the mantle of “Scorpion,” becoming an avatar of vengeance and survival, and an unlikely symbol of female resistance in a male-dominated world.
Female Prisoner #701: Scorpion introduces Nami, a gullible young woman unjustly imprisoned, who must find a way to escape in order to exact revenge upon the man who betrayed her. The visually avant-garde Female Prisoner Scorpion: Jailhouse 41 sees director Shunya Ito and star Meiko Kaji re-unite as Nami and six other female convicts escape prison once more. The Gothic horror-inspired Beast Stable finds Nami branded public enemy #1 and on the run. She soon finds refuge with a sympathetic prostitute, but runs afoul of a local gang. The final film in the series, #701’s Grudge Song (from director Yasuharu Hasebe, Retaliation, Massacre Gun), shows a gentler side of Nami as she falls in with Kudo, an ex-radical suffering from physical and psychological trauma caused by police torture.
Spiritual kin to Ms. 45, Coffy and The Bride Wore Black, the Female Prisoner Scorpion is the pinnacle of early 1970s exploitation cinema from Japanese grindhouse studio Toei, and one of the greatest female revenge sagas ever told.
SPECIAL EDITION CONTENTS
Brand new 2K restorations of all four films in the series presented on High Definition Blu-ray (1080p)
Original uncompressed PCM mono audio for all films
Optional English subtitles for all films
Reversible sleeves for all films featuring original and newly commissioned artwork by Ian MacEwan
On November 5th, 2019, Universal Home Entertainment is releasing the Blu-ray & DVD for Undercover Brother 2 (aka Undercover Brother’s Brother), the sequel to 2002’s Undercover Brother.
This time around, martial arts star Michael Jai White (Triple Threat, Accident Man) takes over the role of “Undercover Brother,” who was previously played by comedian Eddie Griffin.
Way back in 2002, the brothers were hot on the heels of The Man, the leader of a racist, worldwide syndicate known as The Organization, but accidentally got caught in an avalanche of oppressive, white snow. Sixteen years later, they are discovered, thawed out, and as Undercover Brother remains in a coma, Lionel sets out to finish the job they started. With the help of The Brotherhood, an old foe, and an ethereal vision of Undercover Brother guiding him along the way, Lionel must take on an even more dangerous threat to the black community and the world – extreme “wokeness”!
Andrew HernandezonHigh Forces (2024) ReviewIt’s good to know of those titles. Autism (or bi-polar disorder for that matt…
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