Assassination Classroom: The Movies | Blu-ray & DVD (Funimation)
RELEASE DATE: August 7, 2018
On August 7, 2018, Funimation will be releasing the Blu-ray & DVD for Eiichiro Hasumi’s Assassination Classroom: The Movies (read our review), which includes Parts I & II of the Live Action films
The killer manga comes to life in this two-part movie series. Join the students of Class 3-E as they learn to become proper assassins and try to kill their teacher. But he’s no ordinary instructor—he’s a tentacled creature with a thirst for destruction! And while they train to take him out they quickly learn there’s more to Koro Sensei than a will to kill which could put a damper on their mission.
AKA: The Pay Up Director: Jesse V. Johnson Cast: Scott Adkins, Louis Mandylor, Vladimir Kulich, Tony Todd, Michael Paré, Rachel Brann, Selina Lo, Sean Crampton, Rachel Brann, Alexa Bondar Running Time: 96 min.
By Paul Bramhall
There’s something undeniably satisfying about watching the collaborations of a director and star who you know work well together, and now 3 titles in (in less than 2 years), this seems to very much be the case for Jesse V. Johnson and Scott Adkins. After a rough (but redeemably entertaining) start with 2017’s Savage Dog, the pair hit their stride with the follow-up, a comic book adaptation which was a passion project for Adkins, in the form of 2018’s Accident Man. Adkins co-wrote the script for Accident Man along with Stu Small, and Small is also the co-writer for The Debt Collector, this time sharing a co-credit with Johnson himself. Could this trio be the modern-day incarnation of the Iron Triangle?
When I interviewed Adkins in January of the same year The Debt Collector was released, he explained that the script for it had been around since 2001 (under its original working title The Pay Up), but Johnson had felt it was never the right time to make it until now. This is the audiences good fortune, as Johnson’s output during the 00’s was fairly abominable, a celluloid wasteland filled with such curiosities as Mark Dacascos playing a secret alien agent, and Don ‘The Dragon’ Wilson as an electronically enhanced soldier. Indeed, sometimes it’s best not to look back. As a director, the British stuntman began to find his footing in more recent years, helming the likes of the Dolph Lundgren and Steve Austin actioner The Package, and the tragically mistreated gangster flick The Beautiful Ones.
While fans of Adkins have long held his collaborations with director Isaac Florentine on a pedestal, I daresay that if his work with Johnson continues to be of the quality reflected in both Accident Man and The Debt Collector, that pedestal may have some strong competition. In their latest collaboration Adkins plays the master of an MMA dojo in L.A., a school that’s lack of students has left him financially hard up, and facing the constant threat of a rival school pressuring him to sell up. The opening almost feels like a modern remake of a similar sequence in No Retreat, No Surrender, only instead of Jean Claude Van Damme appearing on the scene, we get Korean Australian martial artist David William No (Blindsided: The Game) and two of his lackeys. Like in Accident Man, Adkins is able to utilize his British accent, and offers to sort them out just “like a kung fu movie”, and we’re treated to fantastic 3 vs 1 brawl straight off the bat.
His money troubles lead to him being reluctantly recommended to become a debt collector for an agency run by the morally ambiguous Vladimir Kulich (Savage Dog), and he soon finds himself paired with a grizzled and world-weary alcoholic, played by Louis Mandylor (The Quest). That’s the last we hear about Adkins’ dojo, so despite The Debt Collector setting itself up as a tale of a martial arts school being saved from the clutches of the bad guys, proceedings head in a distinctively different direction. I’d speculate that the opening could well have been a modification to the original script once Adkins and his considerable martial arts talent came onboard, but whatever the reason, thankfully the dojo’s disappearing act doesn’t serve as a detriment to the plot.
Instead, we get what could best be called a 2018 version of the 90’s buddy movie, set on the sun-drenched streets of Los Angeles. This is the first time for Adkins to share equal billing with a co-star (at least, one who’s on the same side as he is), and Mandylor’s grizzled veteran collector is the perfect foil to the fresh-faced Brit. It could well be argued that the large bulk of the movie is basically a series of vignettes, with Mandylor showing Adkins the ropes as they cruise around L.A. suburbia in a gas guzzling Coupe de Ville, armed with a piece of paper listing the names and debts of those they need to visit. One of the biggest strengths of Johnson’s latest is the chemistry shared between his leads, with Adkins’ eagerness to earn some quick cash and Mandylor’s devil may care attitude providing the perfect balance.
It feels strange to dedicate part of a review for a Scott Adkins movie to his acting, but it’s worthy of mentioning that his acting in both Accident Man and here is a world apart from many of his more recent efforts. Visibly more comfortable speaking in his own distinctly British accent, his banter and delivery are enough to make you wish he’d go back and remake some of his lesser efforts as a British character, rather than an American one. However the other main character in The Debt Collector is L.A. itself, with its sticky climate, sun soaked suburban streets, and shady bars all adding a certain feel to the picture that, had it been shot anywhere else, simply wouldn’t be the same. It’s fair to say that L.A. is just as important to the final product as Adkins’ and Mandylor’s presence.
The most fun is had from watching the pairs visits to the various debtors. Armed with a scale of 1-10 to anticipate the level of violence they can expect from each visit, with 10 being the most moderate and 1 being psychotic, Mandylor views his pairing with Adkins as a chance to let someone else do the heavy lifting for a while, leaving him to tangle with various angry customers. Needless to say within the first 30 minutes, Adkins is already limping around with a bloodied face and tattered suit, having been shot at, dragged along by a moving car, and thrown through a wall. His exasperation at exactly what the job entails is palpable, and never anything less than hilarious, as it quickly becomes apparent almost everyone in L.A. has a bodyguard (who acts as a prerequisite to get through), and nobody is going to cough up without putting up a fight first.
For those clocking in for the presence of the British star, which I imagine would be many, it’s these fights with provide Adkins with his action quota for the lean 95 minute runtime. Frequent Johnson collaborator Luke LaFontaine is on fight choreography duties once more, having last worked with the pair on Savage Dog, and delivers a series of satisfyingly scrappy encounters. From a run-in with 2 burly bruisers within the confines of a small office (which includes a subtle nod to Game of Death), to a throwdown against a raging kitchenhand, the impact of every hit and blow is captured with a skilled lens. LaFontaine has done a great job at adapting Adkins style to the nature of the story, and while he comes across just as versatile and hard hitting as in his most well-known ventures, it’s a relief to see the gratuitous flying kicks have been dialled back. The fights here are brutal and effective, and it suits the tone of The Debt Collector perfectly.
Outside of the action Johnson demonstrates a keen sense of wit. Mandylor’s character, apart from being revealed to be a former amateur boxer, is also explained to be a washed-up action B-movie star. In one of the funniest scenes, he visits a store that has a poster of one of his old movies where he played a ninja, which leads to plenty of ribbing from Adkins over his role in such a production. The joke of course being, that 2 of Adkins most popular titles are Ninja and its (vastly superior) sequel. For those paying close attention, the store also has a poster of Johnson’s own 2009 movie, Charlie Valentine, displayed in the window. It’s a nice touch. Johnson also plays with some interesting imagery, with intermittent shots of cows gradually being led to the slaughter scattered throughout the runtime, serving as a metaphor for the predicament Mandylor and Adkins eventually find themselves in.
The predicament at hand doesn’t reveal itself until 50 minutes in, and is one which could be said to represent the main plot, when a morally dubious client, played by the “Candyman” himself Tony Todd, enlists the agencies services for a questionable collection. Events unfold to what many will consider a surprisingly unexpected finale, as Mandylor and Adkins do their best Butch Cassidy and the Sundance Kid, in a sequence which shows Johnson’s commitment to his vision. Perhaps the biggest strength of the collaborations between the director and star is that, as a stuntman himself Johnson knows exactly how to use Adkins, but he also isn’t afraid to cast him on the basis that he’s an actor that fits the role. But hey, this is the opinion of someone who puts On the Run in their top 3 Yuen Biao movies.
Filled with gravelly voiced tough guys, conversation on the importance of moderating a headbutt, and toothpicks to the face, The Debt Collector feels like a throwback to the unapologetic macho flicks of yesteryear, and that’s a compliment. Needless to say, Johnson’s latest may be indebted to the slices of cinema that influenced it, but it pays it back in spades, interest included.
Sometimes it’s easy to forget, what with all the superheroes flying about, that kaiju are having a moment of resurgence right now, with Godzilla in particular enjoying a new period of fan appreciation. 2014’s Hollywood Godzilla was a box office smash and helped convince Toho to revive the monster in its native Japan, resulting in the highly successful Shin Godzilla in 2016. Since then we’ve had the 2014 Godzilla enter into Legendary’s new connected film universe with Kong, dubbed MonsterVerse, and Toho has launched a Godzilla anime trilogy.
While kaiju fans await the return of Legendary’s Godzilla in next year’s Godzilla: King of the Monsters and work our way through the anime trilogy, there has been little word about how or when Toho would bring Goji back to the screen following Hideaki Anno’s Shin Godzilla. Well, we have our first official word on that today, as Gormaru Island has translated Toho’s Godzilla chief executive Keiji Ota’s remarks about the future of Godzilla for the studio.
Godzilla will now have two connected film universes, one in America and one in Japan. Ota compared his plans for Godzilla to what Marvel is doing with its movies: “The future of the series and its forwarding developments are very conscious of the method of “shared universe”. Godzilla, Mothra, King Ghidorah, etc. could all share a single world view much like a Marvel movie where Ironman and The Hulk can crossover with each other. It is said that each movie can be a possible film production where any one of them could lead a film of their own as the titular character.” One could make the point that Toho’s kaiju roster was one of the first connected film universes back in the 60s, as Godzilla, Mothra, Rodan, and Varan all appeared in their own movies before crossing over into monster bouts with other kaiju.
Now, some disappointing news for fans of Shin Godzilla: the Toho Godzilla connected universe series is a new jumping-off point, and will no relation to Shin Godzilla. The lingering final shot of that 2016 film will seemingly go unanswered and forever haunt the dreams of kaiju fans everywhere who wonder about the possibilities of what writer/director Hideaki Anno had at the store. However, fans should not be totally surprised by this development, as co-director Shinji Higuchi expressed some reservations about where and how the series could continue with an indestructible Shin Godzilla as its star, and Anno’s involvement in a sequel was never certain. Says Keiji Ota: “”Shin Godzilla” was a huge hit, but instead of thinking of doing the obvious idea of making a “Shin Godzilla 2“, instead think about a world that can be used for a long time, I’d rather make a World of Godzilla. For example, in the year when Mothra was featured, commercialization centered around Mothra. Commercialization is not limited to just figures, but also from daily necessities to apparel, games and so on. There are various things, so I would like to use Godzilla steadily.”
Toho and Legendary have a deal in place that basically says that both studios cannot have a live-action Godzilla appear on screen within the same year. Because Legendary’s Godzilla: King of the Monsters and Godzilla vs. Kong are slated for 2019 and 2020, the earliest a Toho Godzilla could ever appear was 2021. Though no plans are currently announced for future MonsterVerse films beyond Godzilla vs. Kong, additional sequels seem likely. Provided Legendary’s MonsterVerse and Toho’s new universe both continue pulling in large audiences, it’s possible that the two studios could trade off back-and-forth custody for Godzilla for many years to come.
On August 28, 2018, MVD Marquee Collection will be releasing the Blu-ray for 1997’s Blast(read our review), a Die Hard meets Under Siege knock-off. In this one, the hero taking on terrorists isn’t a cop or a cook… he’s a janitor!
Just before the Olympics competition begins, a deadly team of terrorists mounts a precision attack on the swimming complex, holds the womens’ swimming team hostage and unknowingly traps a janitor (Linden Ashby, who portrayed Johnny Cage in 1995’s Mortal Kombat), within the sprawling compound. The terrorists wire each competition venue with deadly fission explosives and the uplink to a global satellite to announce their plans to a stunned international audience.
From Executive Producer Tom Karnowski (Star Wars: The Last Jedi) and cult movie writer/director Albert Pyun (Cyborg), Blast features an all-star cast that also includes Andrew Divoff (Wishmaster), Rutger Hauer (Blind Fury), Yuji Okumoto (The Karate Kid II), Vincent Klyn (Cyborg), Tim Thomerson (Near Dark) and Shannon Elizabeth (American Pie).
Korea is obsessed with suffering. That is a strong statement but one that is justifiable if you are a fan of South Korean cinema. North Korean cinema could indeed be the subject of its own article with both Kim Jong-un and his father being huge cinephiles, but the films are hard to find and my knowledge of its intricacies is lacking, so I will just stick to the cinema of the South. Of course like any film producing nation South Korea releases a wide range of genres from romantic comedies to historical fiction, however what they have become famous for are hard hitting dramas, revenge pictures and horror. I would argue that horror elements run through the majority of their most famous films and it is what has made them popular with western audiences ever since Oldboy (2003) made everybody take notice of this weird, wonderful and powerful film industry. But what is it about the culture of South Korea that causes them to produce films that regularly contain suffering, revenge and torture and why do so many people enjoy these themes when the majority would agree they are abhorrent.
Come with me on a journey through the history of Korea and the human psyche!
Choi Min-sik and Kang Hye-jung in Oldboy.
Like China, Korea had its own Three Kingdoms period starting in 37 BC with the Goguryeo Kingdom, eventually uniting and becoming the Korean Empire in 1897; however this was short lived as the Japanese took over in 1910. This is a major event in defining Korean culture, it was a suppressive and brutal occupation, which forced Koreans to speak Japanese and denied their culture just as it was becoming strong. This lasted until the end of World War Two, but stability was then dislodged again as the country split into the north and south in 1948. Only two years later the Soviet backed North invaded the South and a pointless war ensured which nobody won but over a million people died and many cities were destroyed.
Japanese anime often depicts dystopian futures, largely influenced by the fact they are the only country to have experienced an atomic bomb, whereas South Korea experienced a long period of upheaval and suffering throughout the 20th century, that undoubtedly flavours their own entertainment. This is the beauty of film, it has to be influenced by something so another countries history and culture oozes out of the screen for all to see. National pride is a large part of Korean culture, after being badly damaged by the aforementioned events, it has been slowly restored as South Korea has become rich and prosperous, up there with Japan in producing state of the art electronics.Yet that pain and suffering is still there, bubbling beneath the surface.
These themes erupted from beneath the surface in 2003’s Old Boy which sees a man locked in a cell by an unknown entity for 15 years and then suddenly released. He then sets out on a path of vengeance to find out why he was imprisoned in the first place. The film quickly gained cult status for a brutally realistic hammer fight in a hall way, our main character eating a live Octopus and its shocking ending. Western audiences were captivated by the intricacies of the revenge plot against our main character Dae-su who discovers that he went to the same school as his captor and had told classmates of the incest happening between him and his sister, resulting in her suicide. Not only was Dae-su imprisoned for 15 years but it is revealed (***spoilers ahead***) that he has been tricked into having a sexual relationship with his own daughter. Such revenge is brutal, meticulous and shows a culture obsessed with honour and an imagination for darkness.
Song Kang-ho in Sympathy for Mr. Vengeance.
Western audiences certainly had a taste for it too as it gained cult status on DVD, this is also due to the fact that Old Boy is an extremely well made and affecting drama; director Park Chan-wook (now the most famous of the South Korean auteurs) teases superb performances from all the actors, the fact they were unknown to audiences outside of Korea certainly helped the authentic nature of it all. The film is also incredibly tense and has great brooding and dark cinematography, which matches the tone. The Korean language also plays its part, it booms out the characters mouths with a harsh quality making you take notice, and like Japanese it can also sound poetic and alluring.
Old Boy was also released at time in America where subtitles had become the preferred option as people sought an authentic foreign film experience moving on from the hilariously dubbed classic Kung Fu films of the 70’s. Before audiences could recover it was announced that Park Chan-wook was working on a Vengeance Trilogy with Sympathy for Mr. Vengeance 2002 actually released a year earlier but only catching audience’s attention after the emotional hit of Old Boy. With an increasing amount of predictable Hollywood blockbusters the question was: what would he come up with next?
The Vengeance Trilogy is not a conventional trilogy as they are three different films with their own story lines but share a revenge template. Sympathy for Mr. Vengeance is actually more comedic in tone and I would describe it as a serious of silly mishaps, which result in horrible consequences. The story of a deaf mute man who kidnaps a young girl to pay for his sister’s kidney transplant, starts off charming and even ‘cute’ in places but gets increasingly disturbing as accidents and missteps cause a spiral of death and revenge. While not as popular with audiences in the UK and US and a failure at the South Korean box office, it still enjoyed cult status as part of a disjointed trilogy.
“Sympathy for Lady Vengeance” Korean Theatrical Poster
Lady Vengeance (2005) was more popular domestically and is darker than the other two (if that is possible!) as it is entirely focused on the revenge plot of Lee Geum-ja who has been wrongly imprisoned for a child murder and when released on good behaviour vows vengeance on the real killer, an eerily nasty school teacher played by Choi Min-sik who was the star of Old Boy, yet his familiarity doesn’t detract from his performance. South Korean cinema was now officially on the map.
Apart from the skilled craftsmanship of these films why was the darkness so alluring to people? Human nature is a funny thing and we are often most fascinated by what scares us. It is why there are so many documentaries, TV programmes and films concerning serial killers, Nazis and homicide detectives. Very few people would want to experience the actual horrors of these subjects but the ideas contained within them are fascinating. What drives people to commit horrific acts and more importantly can a ‘normal person’ be driven into vengeance or murder?
These questions have been explored by all sorts of media since it began, as it is a part of all our nature. There are also no solid answers that have been found by Science or Religion; does evil exist, are some people born more susceptible or is violence and destruction in us all? Big questions I know! South Korean cinema does not necessarily try to answer them but it does discuss them in a unique and intelligent way presenting the audience with a well thought out scenario that crucially: is hard to predict.
Lee Byung-hun in A Bittersweet Life.
Well, you could gesticulate; of course the Vengeance Trilogy would contain suffering and torture this doesn’t make South Korean cinema full of it! All countries explore dark themes of course; the French gave us a nine minute rape scene in Irreversible (2002), Britain produced the horribly realistic Scum (1979) and Australia gave us a general sick feeling from, scarily based on a true story Snowtown (2011), yet when myself and many others started to explore South Korean films in other genres the same themes kept appearing, as portrayed in the following movies, that are all recommended of course. Starting with tense detective thriller The Chaser (2008) (suffering, torture, unhappy ending) martial arts bloodbath City of Violence (2006) (Suffering, childhood trauma and as the title suggests bloody violence) monster flick The Host (2006) (family suffering, elements of torture and an unhappy ending) and gangster poem A Bittersweet life(2005) (torture, violence and an unhappy ending).
Then of course there is the ode to suffering I Saw the Devil (2010) directed by Kim Jee-woon,which incorporates all these elements for an epic and brutal ride that you will need to watch the entire Disney back catalogue to recover from. The story of an elite police officer whose pregnant wife is murdered by a serial killer again played by Choi Min-sik takes you on his journey of despair and revenge as he decides to hunt and abuse the serial killer, setting him up for a final nasty and humiliating death instead of simply arresting him. It contains all of the above elements but adds cannibals, sexual assault and importantly the concept of honour. As discussed this is a key aspect of Korean culture, which is reflected in their filmmaking.
For a country denied its honour for so long, preserving it is paramount. So why would anyone want to watch this unfurl? Again it’s a brilliantly acted and produced movie but more importantly it makes you confront aspects of life that are inescapable. Tragedy can happen to anyone and when it does, who knows how you would react. The world also contains elements just as dark as those seen in I Saw the Devil (2010) and it is important to remember that and try to make sure you never become part of it, but understand why it happens. Even more significant than that, it makes you appreciate your own life so much more!
Of course as mentioned we all share a fascination with such topics but the South Koreans have had a unique history that was made them free and willing to explore these themes more deeply than other countries. If you’re new to these movies I have either appalled or intrigued you, perhaps both, which I think is the strategy of directors like Park Chan-wook who made his English language debut with the vampire themed Stoker (2013) or Kim Jee-woon who did the same with bloodier than usual Arnie actioner The Last Stand (2013). This shows the crossover appeal of these directors and their movies, proving that we are all deviants, willing to indulge in a slice of violence, suffering and the dark side of humanity; but when it comes to realising it on screen the South Korean’s are the experts.
Director: Kim Yong-Wan Producer: Han Dong-Hwan Cast: Ma Dong-Seok, Kwon Yool, Han Ye-Ri, Choi Seung-Hoon, Ok Ye-Rin, Yang Hyun-Min, Kang Shin-Hyo, Lee Kyoo-Ho, Bae Myung-Ho, Kim Dong-Hyun Running Time: 108 min.
By Paul Bramhall
In 1987 Sylvester Stallone famously headlined the arm wrestling movie Over the Top, having agreed to star in it believing that, in all likelihood, nobody would watch it. He was wrong, of course, as despite its ludicrous premise of attempting to make arm wrestling look cinematic, it is in fact a title in Stallone’s filmography who even causal film fans are familiar with. Despite Over the Top’s unexpected journey into the realms of pop culture, it’s safe to say that the lack of any other arm wrestling movie appearing in the following 20 years, is probably as good a sign as any that one was enough. Until now. More than 20 years since the Cannon Films magnum opus, in 2018 the South Korean film industry has revived the cinematically ignored sport to bring us Champion.
Not to be confused with the 2002 biopic of boxer Kim Deuk-gu, which shared the same name, the most recent incarnation serves as a starring vehicle for one of the most recognizable faces in Korean cinema, Ma Dong-seok. An imposing presence onscreen, Dong-seok’s stocky and muscular frame has seen him in a variety of entertaining roles over the years. For myself he first registered as Lee Byung-hun’s oversized hammer wielding henchman in 2008’s The Good, The Bad, The Weird, and since then his popularity has grown significantly. The finale of Veteran literally pauses just so he can make a cameo appearance, and he steals the show in Train to Busan as a protective husband, partial to punching zombies in the face. While Dong-seok has headlined movies before, they’ve usually cast him as psychotic killers, such as 2013’s The Murderer and 2015’s Deep Trap.
However it was Kang Yoon-sung’s 2017 action flick The Outlaws that finally learnt to balance his imposing physicality alongside his playful personality, utilising his penchant for comic timing just as much as his action chops. In Champion director Kim Yong-wan also proves to be a good match for Dong-seok’s talents, and despite diving straight into some arm wrestling action within the first 5 minutes, it soon becomes clear that he has a broader story to tell beyond who has the strongest bicep. Champion marks Yong-wan’s sophomore full length feature, having previously helmed the similarly sports themed Return Match in 2014. In the time in-between he’s mostly worked in the world of Korean TV drama, and Champion’s themes certainly have overtones of the material often explored in such dramas, but Yong-wan proves capable of elevating the material to make it work as a movie.
Proceedings open in an L.A. nightclub, where Dong-seok works as a bouncer. Playing a Korean adoptee that was raised in the States, as the only Asian in his community things were tough, until as a young man (in perhaps the biggest self-referential wink to the audience this year) he watched Over the Top, and became inspired to become an arm wrestler. So yes, Champion deserves some credit for not shying away from acknowledging its obvious source material. However in a tournament that took place several years ago he was unfairly disqualified (mentioned in a throwaway line about doping and racism), and since then he’s been stuck in a rut working unfulfilling security gigs in nightclubs and supermarkets. When his Korean friend offers him a chance to travel to Seoul and take part in an arm wrestling tournament, he decides to take it, and seize the opportunity to see if he can re-connect with his biological family.
Yong-wan, who also wrote the screenplay, seems to have custom made the role specifically for Dong-seok. As a young man he did indeed spend time living in the States (Ohio specifically, which is also referenced in the movie as being where his character grew up), and feeling out of place turned to working out, piling on his considerable mass before becoming a personal trainer. Due to this history, Dong-seok delivers the considerable amount of English dialogue his character has with aplomb, avoiding the pitfalls that many of his contemporaries have fallen victim to. In fact as an adoptee, he’s portrayed as being more comfortable speaking English than in Korean, which also leads to numerous other culturally contrasting moments of humour, which hit the mark with amusing regularity.
The decision to make Dong-seok’s character a US adoptee is an interesting one, as despite the massive number of Korean adoptees spread across the world, they very rarely make appearances in their biological countries film output (on a side note, for those interested I’d strongly recommend checking out Danish Korean adoptee Malene Choi’s docu-fiction The Return – specifically about the subject). Spurred on by his friend, played by Kwon Yul (The Admiral: Roaring Currents), Dong-seok attempts to track his birth mother, only to stumble across a sister he never knew he had, played by Han Ye-ri (Sea Fog), and her 2 children. The relationship that forms between them becomes the heart of Champion, with the sub-plot of how both his friend and sister are heavily indebted to a bunch of loan sharks, connected to an illegal gambling syndicate (involving, you guessed it, arm wrestling), acting as the framework that ties it all together.
There’s no doubt that those looking for a sports drama of bicep curling heroics will come away from Champion disappointed. There is a heavy dose of arm wrestling action, however it’s there to propel the plot forward, rather than it being the plot. One scene teases at the potential to go into the different techniques used in arm wrestling, but it’s quickly glazed over in favour of watching Dong-seok attempting to make American style burgers for his niece and nephew. However this works in its favour, and the frequently telegraphed heart-warming moments are balanced out by the macho posturing the presence of the loan sharks regularly prompts. One part even features Yul being beaten up on a neon drenched rooftop, decked out in a trench coat that’s clearly a homage to a similar scene in A Better Tomorrow.
The reason behind Champion’s success is largely due to the chemistry shared by the core group of characters. The kids constantly referring to Dong-seok as a ‘beast’ is reminiscent of the self-depreciating humor Sammo Hung would often inflict upon himself in his own movies, and Dong-seok himself is able to strike that similar balance between vulnerability and bad assery. Yul and Ye-ri stand out as the most fully developed supporting characters, both struggling with their own personal issues, and adjusting to the new dynamic the presence of Dong-seok brings to their lives. The story may play out following the genres traditional formula a little too closely, but it’s delivered with such sincerity and good will that you’d have to have a heart of stone not to enjoy the ride.
The loan sharks on the other hand don’t fare so well, with little else to do than provide evil laughter and show up to intimidate the stall owners who owe them money. While their portrayal is completely 2 dimensional, in the context of the story it works. Champion ultimately feels like a family-friendly film to be enjoyed by all ages, and to that end the fact that the bad guys are basically there to be bad and nothing more fits in with the overall feel. For the finale Dong-seok has to face off against Lee Kyu-ho for the second time in as many years, the first being the previously mentioned The Outlaws, a man mountain and one of the few performers out there capable of dwarfing Dong-seok when stood side by side. As an arm wrestler recently released from prison, with a passion for breaking his opponent’s hands, he does just enough to introduce the element of danger required for any finale in a sporting movie to be effective.
At the end of the day Champion is a generic tale of overcoming the odds and rediscovering what it means to have a family, and while it’s one that we’ve seen done any number of times before, when it’s done well such stories still deliver the feel-good factor and give us that fuzzy warmth inside. Anchored by Dong-seok in his most distinctive role to date, Champion does exactly that, and furthermore does so unapologetically. For that, it can’t be faulted.
A sequel to Mikael Håfström’s Escape Plan, the 2013 prison/action flick starring Sylvester Stallone and Arnold Schwarzenegger, is making its way to Blu-ray & DVD on June 29, 2018.
In the follow up, titled Escape Plan 2: Hades, Stallone reprises his role as security expert Ray Breslin, who uses his skills to test out the reliability of maximum security prisons. Unfortunately, Schwarzenegger will not be turning.
Escape Plan 2: Hades is directed by Steven C. Miller (Marauders, Extraction) and written by Miles Chapman (Escape Plan, Road House 2: Last Call).
Even though Escape Plan 2 hasn’t even been released, post-production for Escape Plan 3: Devil’s Station is in full effect. Directed by John Herzfeld (2 Days in the Valley), Escape Plan 3 will once again have Stallone and Bautista headlining. Featured new cast members include Max Zhang (SPL 2, Ip Man 3), Harry Shum Jr. (Crouching Tiger, Hidden Dragon II) and Russell Wong (Contract to Kill). John Herzfeld (2 Days in the Valley) is directing.
A Trailer for Escape Plan 2 is expected soon. But if you want to dive in head first, you can pre-order the film at Amazon.
Nikkatsu was always fond of mixing genre tropes from American movies into their films (sometimes they admitted it was less a case of influence and more a copy and paste job). Usually we think of American gangster films as the main influencer on what Nikkatsu was doing with its action movies, but the western was another genre that they occasionally took notes from in an attempt to recreate Hollywood style in Japan. Seijun Suzuki’s 1961 effort The Man with a Shotgun is a neo western set in Japan without working in stylistic postmodern revisionism like, say, Sukiyaki Western Django. It’s set in a woodland village overrun with gun-toting hoodlums that might have found its savior when a gunslinger in a cowboy hat strolls into town.
Samurai movies often operate similarly to westerns (which is part of why you see Seven Samurai and Yojimbo remade as westerns in the States), but rarely do you see an actual Japanese western. What’s interesting about Man with a Shotgun is that, with the exception of the weirdness in seeing these western themes play out in rural Japan, it’s actually a fairly honest, straight shooting film. No goofy tongue in cheek. Hideaki Nitani plays the titular Man with a Shotgun, a drifter named Ryoji who makes his money hunting (though we never actually see this in the movie) who wanders into a mountain village hoping to take advantage of its relatively untouched wilderness. He gets more than he bargained for, though, when he’s immediately jumped by thugs in the woods. Ryoji fights them off singlehandedly. This impresses the thugs who say that their boss likes to test all the new blood that come wandering into town. The first sign that there is a nefarious crime element in these here woods.
Ryoji is quite the character. He has a belt of shotgun shells around his waist, tucks his trousers into his boots, wears gloves and a hat nearly at all times, and carries his shotgun with him everywhere. It’s a testament for much costume design can do for a character without the actor ever needing to speak. But Nitani (Tokyo Drifter) is a more than capable actor and, for the most part, keeps the role from getting lost in camp. I mean, he grabs an accordion and sings for a bit, so there’s still some camp, but he manages better than most. He walks into the film like John Wayne as a do-gooder with a dark past and makes quick work assessing how the village operates. He’s the white hat gunslinger and quickly makes enemies with the local black hat, a roguish thug named Masa (Smashing the 0-Line’s Yuji Kodaka). But there are worse men than Masa, and they all work for a wealthy mill owner. The mill owner employs most the village and, for secret reasons, has enlisted nearly every roughneck who passes through town to be one of his enforcers. The pathetic, lone lawman of the village (Voice Without a Shadow’s Toshio Takahara) does what he can to keep order but he’s more ridiculed than respected. And when that sheriff starts looking too deep into the death of a loved one, he’s injured by one of mill’s thugs, leaving a void where the law used to be.
Ryoji the drifter steps up to wear the badge while the sheriff recovers, but the people in town are slow to throw their trust behind him. To complicate matters, the suspicious mill owner hires the blackhat Masa to sort out ‘justice’ on his own. But unknown to Masa, the wealthy mill owner has ulterior motives. Man with a Shotgun’s second half is so full of betrayals and reversals it’s insane. At some point, you give up trying to keep track of who’s on what side of things and just hope the favorite characters make it out alive in the end. The film does surprise the viewer in terms of what characters you end up rooting for, though. Ryoji is likeable and cool but it’s the rogue Masa and the sadsack sheriff that I came to enjoy the most. By the end, Masa becomes an unlikely hero (though remains an enemy to Ryoji) and the sheriff grows a spine in his attempt to save his town.
More characters wield guns in this movie than the usual Japanese film. This feels like a natural extension of the western themes, as the lone gunslinger wanders into the town run by well-armed crooks. About the only thing Suzuki doesn’t accurately translate are the drawn out standoffs, but some of this feels intentional. In one scene, Masa and Ryoji are going to duel for the right to be sheriff. Then the duel is downgraded to a fistfight. Then the fistfight is canceled in favor of a more traditional passing of the torch from the previous sheriff to the next. It’s like the director is purposefully eschewing your expectations of the genre conventions.
In the film’s final act, we learn that more people are connected in this town of nobody’s than we ever could’ve predicted. And after the film’s true villains reveal themselves, it’s up to an unlikely trio to see that justice is served. It’s fun and not too complicated. You can sense they might’ve been trying to complicate things with all the backstabbing in the plot, but this comes across more as an eagerness to entertain and fill every scene with some sort of unexpected new development.
Stylistically, Suzuki isn’t trying many crazy new things here. The most visually striking scene is a bar room brawl (another western staple), in which every saloon patron splashes the fighters with their beer during the bout. The screenplay by Yoshikazu Ishii and Takeo Matsuura gives nearly everyone in the large cast a scene of note. Hideaki Nitani, who is often the supporting player in many a Suzuki film, seems to enjoy the chance to play center stage. His character is larger than life but he is up to the challenge. Yuji Kodaka is so much more interesting here than his work as the hero journalist in Smashing the 0-Line and plays Masa in an interesting gray area. Toshio Takahara is endearing as the pitiful sheriff. And Izumi Ashikawa (I Hate But Love) has some good dramatic moments in her role as the sheriff’s relative who wants to defend his honor but also finds herself falling for Ryoji.
This isn’t the sort of movie that’s going to win over new members to the Seijun Suzuki fan club. But for those already in the club, it’s lots of fun to see the director trying his hand at a Japanese western. The Man with a Shotgun is slight entertainment, but it’s never slacking or taking your viewership for granted. It’s good fun and easy to recommend to curious viewers.
Kelly Warner’s Rating: 7/10
About this release: The Man with a Shotgun is available in the Arrow Video box set, Seijun Suzuki: The Early Years Vol. 2 – Border Crossings: The Crime and Action Movies. The other films included in the box are Eight Hours of Terror, Smashing the 0-Line, Tokyo Knights, and The Sleeping Beast Within. It’s another strong set by Arrow. None of these films have been available before on DVD in the States and a few haven’t even made it to DVD in Japan, so it’s a real treat to be able to see these uncovered gems. They all look and sound good. Strangely, the newest film in the set, The Man with the Shotgun, features the most wear on its print. Extras include a 49 minute Tony Rayns feature where he discusses the five films, Suzuki’s early years as a director, the stars in the film and how they figured into Nikkatsu’s Diamond line. It’s a good, easily watchable piece with nice bits of history for fans. Jasper Sharp lends a scholar commentary track to Smashing the 0-Line and that’s also definitely worth a listen. Sharp calls Smashing the 0-Line his favorite of the set and Rayns also spends a good time talking about it. My favorite is Eight Hours of Terror. My least favorite is Tokyo Knights, which really feels like it would’ve fit better with the previous set of Suzuki’s early films as it is more of a ‘youth movie’ to me. Everything in between is an entertaining B-movie that shows Suzuki growing in his early years as a filmmaker. This set, far more than Early Years Vol. 1, gets a hearty recommendation from me for fans of classic Japanese cinema and Seijun Suzuki. It is a limited edition so if you have your heart set on owning a copy, it’s best not to wait too long.
Indonesian director Timo Tjahjanto (who is also prepping his anticipated actioner, The Night Comes for Us) of the “Mo Brothers” directing duo (Killers, Headshot) has released the Trailer for his upcoming horror film, May the Devil Take You (or Sebelum Iblis Menjemput).
We’re not sure what’s going on regarding to the film’s plot, but judging from what we’ve seen, fans of Tjahjanto’s Macabrewill be 100% satisfied (if you haven’t seen Macabrewe can’t be friends).
May the Devil Take You stars Chelsea Islan (Headshot), Pevita Pearce (Buffalo Boys), Samo Rafael, Hadijah Shahab, Ruth Marini, Karina Suwandi and Ray Sahetapy.
Without further ado, here’s the Trailer for May the Devil Take You:
Seijun Suzuki was a contract studio director for Nikkatsu. That meant that he made the films they told him to, with little time for pre-production, rewrites, or creative decision making. 1961 alone saw the release of six Suzuki directed films for Nikkatsu – SIX! Suzuki often complained about not getting better projects from the studio heads. Suzuki’s contemporary Shohei Imamura (Pigs and Battleships) had hit the scene at approximately the same time as Suzuki but Nikkatsu quickly started giving Imamura the prestige projects. This bothered Suzuki. Over time, he started to go rogue, adding style and weirdness to the otherwise cookie cutter screenplays in an attempt to turn a B-movie into a gonzo work of art. But despite his attempts to add his creative touch to otherwise subpar material, sometimes a bad script will only ever be a bad script.
In Tokyo Knights (aka The Lost Cufflinks), Koji Wada plays a teenage hero also named Koji. Everything about the film makes it appear to be a star vehicle for Wada: he charms the girls, he avenges wrongs, he sings, he dances, and he plays piano like a boss. He’s basically perfect and that’s one of my main issues with the film. At the start of the movie, Koji is just returning from school in America so that he may take over the family construction business following the death of his father. The company’s day-to-day will be run by Mr. Mishima (Nobuo Kaneko) until Koji is done with his school in Japan. On Koji’s his first day of Catholic school in Tokyo every student club seeks to have him join – because they instantly know that Koji’s good at everything he tries! Boxing club, fencing club, rugby club, you name it, Koji can do it (with this focus on the importance of school clubs I’m reminded by, of all things, Wes Anderson’s Rushmore). Koji settles on music club, which is overseen by a comic relief American music teacher who has this “aye yai yai” attitude in every scene.
Things don’t really get going until Koji visits the spot where his father died; a cliff face overlooking the ocean, where his company was doing new construction. He wonders how his dad could’ve accidentally fallen to his death there. Then he spots the strange cufflink in the grass at the cliff’s edge and soon learns that this cufflink is worn by all the upper echelon of the Tokutake Syndicate, the rivals to Koji’s family business. He makes it his mission to figure out the truth, all the while beginning to suspect that perhaps Mishima (who is now dating Koji’s mom) is involved with some backroom deals with the rival Tokutake group.
It’s like the writers vaguely remembered doing Hamlet in school, shrugged their shoulders and said, That’s a story. Mishima, who I guess is Claudius to Koji’s Hamlet, is the most interesting part in the film. Played by Nobuo Kaneko, he’s the only character that’s not 100% black or white, but operating somewhere in the gray area and moving in whatever direction suits him at the time. The rest of the cast is as obvious as can be, from the perfect hero to the scheming villain in Tokutake.
There comes a point half-way through the film where Tokyo Knights dips into absurdity when Tokutake’s goons storm Koji’s school. All the various school clubs come out to oppose the thugs and protect their school grounds. Kendo dudes chop necks, fencing kids swing swords, boxing boys throw punches, and the Tokutake goons tuck tail and run. It’s a fun, bizarre sequence, but it really feels out of place in a film that otherwise feels rooted in reality. Other fun (and odd) moments come up in the musical sections of the film, where Suzuki apparently encouraged his cast to ham it up as much as possible. A nightclub singer takes his microphone off the stage and begins singing directly to the camera. A dance scene, focusing on Koji and his girl Yuriko (Mayumi Shimizu), is overtaken by the extras dancing around them trying to draw the audience’s eye. These are the moments when you most feel Suzuki’s guiding hand at work and they’re the most out of place scenes in the film.
In the later section of the film, Koji briefly dons a Noh devil mask and sorts out justice as a teenage superhero. There are some nice visuals in these parts, but I’d ceased to care by then. On some level, I don’t think Suzuki cared much either. Seijun Suzuki was fond of saying how his movies made no money and made no sense. I personally never thought they ‘made no sense’ – they were just weird and surreal. You may not understand the why of some of his films but you get the how and the where. Tokyo Knights has some scene and editing structure that doesn’t make a lot of sense, though. The film language is a bit jumbled, as characters talk to people off-screen and we assume we know who they’re conversing with because of the previous shot, but we are wrong because it’s actually a third person that was not in the previous shot. Tokyo Knights feels like a halfhearted effort from the director.
When you go deep diving into the filmography of a favorite director, you’re hoping to uncover hidden gems that deserve to be considered alongside the artist’s fan favorites. But you run the risk of finding some true duds, too. I’ve now found my least favorite Seijun Suzuki film in Tokyo Knights, a colorful but dull crime movie featuring an obvious mystery and a hero who can do no wrong. Pity the poor fool who loved Branded to Kill and decided to watch Tokyo Knights as their second Suzuki film. The whiplash will be severe.
Martial arts action star and 11-time World Kickboxing Champion Don “The Dragon” Wilson (Martial Arts Kid, Death Fighter) is back in writer/director Dominik Starck’s The Hitman’s Agency, which is now available to watch on Amazon.
The Hitman’s Agency stars Everett Ray Aponte (Atomic Eden) as Lucas Kane, a professional hitman who uncovers the corruption of his own agency by interrogating the greatest hitman to have ever lived.
The film also stars Erik Hansen (The Countess), Volkram Zschiesche (Arena of the Street Fighter), Wolfgang Riehm (Ultimate Justice) and Don “The Dragon” Wilson’s Traditionz T-shirt.
AKA: Lady Cop in Fury Director: Sonny Chiba Co-director: Casey Chan Cast: Sibelle Hu, Sonny Chiba, Chin Kar Lok, Song Lei, Ken Lo, Shogo Shiotani, Masashi Ishibashi, Masaru Matsuda, Gam Biu, James Ha, Lee Fat-Yuen Running Time: 91 min.
By Paul Bramhall
Let’s face it, 1992 was a great year for Asian action cinema. Jet Li and Donnie Yen faced off in Once Upon a Time in China II, John Woo unleashed the heroic bloodshed masterpiece Hard Boiled, and Jackie Chan and Michelle Yeoh teamed up for Police Story III: Super Cop, to name just a few. In the same year, the booming V-Cinema trend in Japan would collide with Hong Kong’s Girls with Guns genre, the result of which would become Fighting Fist. Japan’s V-Cinema was at its most popular during the early 90’s, a DTV genre mainly aimed at males, which mostly focused on quickly produced action and gangster flicks. The Girls with Guns genre on the other hand, did exactly what it says on the tin – deliver movies with ass-kicking females, usually encompassing plenty of machine gun fire, pyrotechnics, and a healthy dose of fight action.
Fighting Fist is one of the few Japan/Hong Kong co-productions which came out of this era, and notably marked the sophomore directorial feature from karate legend Sonny Chiba. As a director, Chiba had gone all in on his debut, a movie called Yellow Fangs made 2 years prior. Telling the true story of a murderous bear that terrorized a mountain village in 1915, Chiba cast his protégé Hiroyuki Sanada as the lead tasked with hunting the bear, and lavished a sizable amount of his own savings to produce it. Sadly, Yellow Fangs tanked at the box office and almost made Chiba bankrupt, which resulted in him spending most of the 90’s within the V-Cinema genre, and occasionally dabbling in American action B-movies.
For Fighting Fist he’s joined by co-director Casey Chan on the Hong Kong side. Their collaboration would mark the first time for Chan to direct, having previously served as assistant director on The Twin Bracelets from the year prior. It’s safe to assume that it was likely Chan that handled the relatively small segments set in Hong Kong, and Chiba directed the bulk which is set in Japan. While Chan stays completely behind the camera, Chiba can’t resist the temptation to also take a small role in front of it. With a screentime clocking in less than 2 minutes, the Street Fighter plays a superintendent who sends an agent to Hong Kong in order to kill a gangsters brothers and son, believing that it will lure the gangster out (rather extreme I know). His scenes bookend the movie, however most distributors tend to use Chiba’s image when promoting Fighting Fist.
The agent he sends to Hong Kong is played by Shogo Shiotani. A dead ringer for a more youthful Hiroyuki Sanada, Shiotani was a member of the Japan Action Club (that Chiba had to sell off post his Yellow Fangs failure), and clearly has the moves. Shiotani would also appear in Jingle Ma’s Japan set Tokyo Raiders in 2000, however just a couple of years later he tragically committed suicide at just 35, having suffered from depression over the failure of a tokusatsu series he featured in. Once he arrives in Hong Kong, his pursuit of the gangster’s family sees him come on the radar of a pair of HK cops after the same guy, of whom are played by Sibelle Hu and Chin Kar Lok.
This is basically were Fighting Fist’s coherency goes completely out of the window, as the script throws together some of the most unconvincing character connections ever witnessed. It turns out Shiotani and Kar Lok both used to go to karate school together back in the day, and that Kar Lok’s sister (played by Song Lei from The Blade) receives flowers from Shiotani every year on her birthday (because they’re in love!). However after both Hu and Kar Lok witness him massacring the gangsters family members (in a boxed off candle lit area of a warehouse of all places), everyone hightails it across to Japan to track him down. This includes, significantly, a Chinese broadsword wielding Ken Lo (complete with hidden blades in his shoes), playing an assassin whose sole purpose is to kill Shiotani as revenge.
Interestingly there are 2 cuts of Fighting Fist, the Japanese version, which is the one being reviewed here (and which notably has everyone dubbed into Japanese), and the Hong Kong version.* The differences boil down to the Hong Kong version having a more extended fight between Kar Lok and Ken Lo, and the Japanese version containing more gore. The gore certainly stands out in Fighting Fist, sometimes making it feel like the Category III version of a contemporary HK actioner. It’s not so much a spoiler as it is a warning to say that for fans of Kar Lok, this one isn’t worth clocking in for. Not too far into Fighting Fist he has his ear graphically sliced off by Lo’s bladed boots, before the rest of his face is slashed to pieces. He eventually turns up at the police station completely dismembered, his severed head and limbs spread out over a table top.
It’s an excessively brutal end to a character, and is more reflective of the Japanese influence than anything HK was cranking out at the time. Needless to say, Kar Lok is given plenty more to do in the likes of Operation Scorpio and Martial Arts Master Wong Fei Hung, both of which came out during the same year. His early exit understandably gets Sibelle Hu riled up, and she soon finds herself Japan bound in a black PVC number, pre-dating Trinity by a whole 7 years. I couldn’t decide if I found it distasteful or not, but Fighting Fist incorporates a scene when Hu’s character reveals how she was once burnt, at which point she takes off her gloves to reveal the very real scars she suffered on the set of 1989’s Devil Hunters. In the movies finale she suffered the brunt of an explosion which went off too early, encasing her, Moon Lee, and Ray Lui in an unforgiving fireball.
Despite the fact that Fighting Fist throws the likes of Sonny Chiba, Chin Kar Lok, Sibelle Hu, Ken Lo, and Shogo Shiotani onscreen together, there’s a disappointing lack of action. Chiba and Hu in particular get zero to do on the action front, and Hu could be argued to at least be the co-lead (she’s also the character who the HK title references). Action director Ho Wing-Cheung only choreographed 5 movies, the last of which was Fighting Fist, and it’s fairly apparent to see why. Shiotani’s initial raid on the warehouse is a great example of how camera angles can work against selling a kick or a punch, and he uses the annoying step-printing technique that staggers the frame rate. The two main fights both take place between Shiotani and Lo, the first at the hour mark which is more of a chase in and around a warehouse, and a finale which is so short it’s almost funny.
The final showdown between the pair is particularly painful, as not only is it remarkably short, it’s also step-printed to the point that it resembles little more than a series of incomprehensible stills. Still, Lo’s demise is one that manages to raise a smile. Prior to the abrupt end, Shiotani briefly provides some excitement when he turns into a machine gun totting, karate-gi wearing one man army to take on a warehouse full of lackeys. However even typing it, I feel it somehow still manages to sound more exciting on paper than it actually plays out onscreen. Even with the introduction of an old-school style karate master, who teaches Shiotani the “arrow thrust” (a technique that will cause the recipients internal organs to explode 3 days later), proceedings rarely feel anything other than a slog.
Despite Chiba being an electrifying presence in front of the camera, based on Fighting Fist, it’s unfortunate to say that same level of energy wasn’t able to be transferred behind it. Featuring a wasted cast, a plodding pace, lacklustre action, and a level of coherency usually reserved for a Godfrey Ho cut ‘n’ paste flick, it’s a relief to say almost all involved would go onto work on far superior productions. At one point, the old karate master mentions that one technique of delivering the fatal blow, is to thrust your fingers into the opponent’s bowels. Despite such a description making me wince, I feel inclined to say that such an attack maybe less painful to endure than having to sit through Fighting Fist a second time.
Paul Bramhall’s Rating: 3/10
* The version viewed for this review is likely the one most are familiar with – the 2008 Rarescope release that was paired as a double feature with Soul of Chiba. As with many Rarescope releases, it states on the sleeve that “these films have been lost for many years and these recently discovered prints are the only known surviving elements available.” This is not true for Fighting Fist, and for those curious to check out the Hong Kong version, it’s relatively easy to track down on DVD under the title of Ba Dao Sha Xing, which was released in Cantonese with English subtitles by Hong Kong distributor Wide Sight in 2003.
The Amityville Horror meets Apocalypse Now? That’s the vibe we’re getting from Abishek J. Bajaj’s supernatural thriller, M.I.A.: A Greater Evil. This upcoming Thai-US-UK co-production is written by Peter Alan Lloyd and stars Valerie Bentson (Bad Genius), Lamou Vissay (Truy Sat), Mark Matula, Sarah Ball and Sahajak Boonthanakit (Hard Target 2).
When a group of college students embark on an expedition looking for gold in the jungles of Vietnam, their dreams unravel when a detour leaves them lost and wandering. Tensions mount, as echoes of the Vietnam War follow their every step through the battle-ravaged jungle. Will they find a way out, or will they become the latest victims of a savage and bloody war?
Updates:M.I.A.: A Greater Evil is now available to watch on iTunes and Amazon. Don’t miss it!
Real money online slots are very thrilling. They are probably the most thrilling form of entertainment available. Get Out is an Oscar-winning horror movie that is really giving real money safe online casino games a run for their money as the most thrilling form of on-screen entertainment.
Getting In
At the beginning of the movie, it gives you time to get to understand the characters. The story moves very slowly in the beginning as the director takes his time to draw you in. As the characters develop their fears, instabilities and false senses of security are revealed.
It is at this early stage of the horror that the director manages to disarm most of the viewers. Those that remain are the hardcore horror movie fans. The only thing that will keep these fans expecting the worst is the too perfect set-up where everything seems to be staged.
At this stage of the movie, the story begins to give basic indicators that there is trouble in paradise. Small occurrences, almost unnoticeable begin to take place. This is when the hook sinks in and you realize that it is too late. You are dragged into the movie with the credits roll being your only hope of escape. Have you ever try the best sa online casinos to play movie related games?
Even though you know full well that the thrills are about to begin you can no longer resist reacting. You will be fully emotionally and subconsciously committed to the movie. And then BANG, your heart is racing as your mind tries to GET OUT.
Movie Spoiler
This is not the kind of horror in which a lot of elaborate special effects where used. Rather the movie is also classified as a low budget movie. The film’s creators used a great story to power the movie to success at the Oscars.
The story told in this movie is one which strikes a chord with many people. There is such a large knowledge gap in the topics explored in the movie. This creates a premise to tap into the audience’s fear of the unknown.
South Korean filmmaker Kim Yong-Wan is taking a cue from Sylvester Stalllone’s 1987 film, Over the Top, for his debut feature, Champion(read our review).
The super charismatic Ma Dong-seok (The Outlaws, Along with the Gods), who practically stole the show in Train to Busan, headlines this inspirational story about an average guy who dreams of becoming an arm wrestling champion.
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Korea is obsessed with suffering. That is a strong statement but one that is justifiable if you are a fan of South Korean cinema. North Korean cinema could indeed be the subject of its own article with both Kim Jong-un and his father being huge cinephiles, but the films are hard to find and my knowledge of its intricacies is lacking, so I will just stick to the cinema of the South. Of course like any film producing nation South Korea releases a wide range of genres from romantic comedies to historical fiction, however what they have become famous for are hard hitting dramas, revenge pictures and horror. I would argue that horror elements run through the majority of their most famous films and it is what has made them popular with western audiences ever since 
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