Akira Kurosawa’s Dreams | Blu-ray & DVD (Criterion)

Akira Kurosawa’s Dreams | Blu-ray & DVD (Criterion)

Akira Kurosawa’s Dreams | Blu-ray & DVD (Criterion)

RELEASE DATE: November 15, 2016

Criterion Collection presents the Blu-ray & DVD for Akira Kurosawa’s Dreams.

Unfolding in a series of mythic vignettes, this late work by Akira Kurosawa brings eight of the beloved director’s own nighttime visions, informed by tales from Japanese folklore, to cinematic life. In a visually sumptuous journey through the master’s unconscious, tales of childlike wonder give way to apocalyptic visions: a young boy stumbles on a fox wedding in a forest; a soldier confronts the ghosts of the war dead; a power-plant meltdown smothers a seaside landscape in radioactive fumes.

Interspersed with reflections on the redemptive power of art, including a richly textured tribute to Vincent van Gogh (played by Martin Scorsese), Akira Kurosawa’s Dreams is both a showcase for its maker’s imagination at its most unbridled and a deeply personal lament for a world at the mercy of human ignorance.

Disc features:

  • New, restored 4K digital transfer, supervised by cinematographer Masaharu Ueda, with 2.0 surround DTS-HD Master Audio soundtrack on the Blu-ray
  • New audio commentary featuring film scholar Stephen Prince
  • Making of “Dreams” (1990), a 150-minute documentary shot on-set and directed by Nobuhiko Obayashi
  • New interview with assistant director Takashi Koizumi
  • New interview with production manager Teruyo Nogami
  • Kurosawa’s Way (2011), a fifty-minute documentary by director Akira Kurosawa’s longtime translator Catherine Cadou, featuring interviews with filmmakers Theodoros Angelopoulos, Bernardo Bertolucci, Clint Eastwood, Alejandro G. Iñárritu, Bong Joon-ho, Abbas Kiarostami, Hayao Miyazaki, Martin Scorsese, Julie Taymor, Shin’ya Tsukamoto, and John Woo
  • Trailer
  • New English subtitle translation
  • PLUS: A booklet featuring an essay by film critic Bilge Ebiri and Kurosawa’s script for a never-filmed ninth dream, introduced by Nogami

Pre-order Akira Kurosawa’s Dreams from Amazon.com today!

Posted in Asian Titles, DVD/Blu-ray New Releases, News |

Dragon Chen is all action in the new ‘Ultimate Hero’ Trailer

"Ultimate Hero" Chinese Theatrical Poster

“Ultimate Hero” Chinese Theatrical Poster

Dragon Chen (aka Chen Star), the martial artist who paid homage to Bruce Lee in movies like Jeet Kune Do and Nunchucku, is back in Lei Cui’s Ultimate Hero, an upcoming actioner he’s once again helming (with the aid of co-director Lei Cui).

In Ultimate Hero, Chen takes on a gang of arms smugglers in Africa. Martial arts sequences, explosions, car chases and shoot ’em up scenes – it’s all there, so we’re all there. The film is getting a Chinese release on August 19th, but if it pops up in North America, you’ll be the first to know.

Media: Teaser | 1st trailer.

Updates: Watch the film’s latest action packed trailer.

Posted in News |

Violent Cop | Blu-ray & DVD (Film Movement)

Violent Cop | Blu-ray & DVD (Film Movement)

Violent Cop | Blu-ray & DVD (Film Movement)

RELEASE DATE: October 11, 2016

Film Movement Classics presents the Blu-ray & DVD for Violent Cop, a 1989 crime/thriller directed by and starring Takeshi Kitano (Beyond Outrage).

Azuma is a cop who plays by his own rules: He batters suspects, beats confessions from criminals, and plants evidence. He’s a vigilante force the department quietly supports as long as he gets results, but when a volatile drug case results in the death of a colleague, the hair-trigger cop goes rogue as he matches wits with an equally impulsive assassin. | Trailer.

Pre-order Violent Cop from Amazon.com today.

Posted in Asian Titles, DVD/Blu-ray New Releases, News |

Boiling Point | Blu-ray & DVD (Film Movement)

Boiling Point | Blu-ray & DVD (Film Movement)

Boiling Point | Blu-ray & DVD (Film Movement)

RELEASE DATE: October 11, 2016

Film Movement Classics presents the Blu-ray & DVD for Boiling Point, a 1990 crime/thriller directed by and starring Takeshi Kitano (Outrage).

Boiling Point is the story of a passive gas station attendant and benchwarming minor-league baseball player Masaki (Masahiko Ono), who finally rebels against the yakuza. When the local crime boss embarks on a campaign of beatings aimed at Masaki’s coworkers and baseball teammates, Masaki buys a gun, and falls in with a gangster (Takeshi) who has his own score to settle with the yakuza. | Trailer.

Pre-order Boiling Point from Amazon.com today.

Posted in Asian Titles, DVD/Blu-ray New Releases, News |

Deal on Fire! New World | Blu-ray | Only $7.95 – Expires soon!

New World | Blu-ray & DVD (Well Go USA)

New World | Blu-ray & DVD (Well Go USA)

Today’s Deal on Fire is the Blu-ray for Park Hoon-jeong-I’s New World, starring Lee Jung-Jae (Big Match), Hwang Jung-min (The Unjust) and Choi Min-sik (The Tiger: An Old Hunter’s Tale).

New World follows an undercover cop who’s caught between the gangsters’ power struggle and a police crackdown. This acclaimed gangster flick from Park Hoon-jung, the writer of I Saw the Devil, is often compared to such classics as The Godfather and The Departed. At only $7.95, find out if it lives up to the hype.

Order New World from Amazon.com today!

Posted in Deals on Fire!, News |

Godfather’s Daughter Mafia Blues, The (1991) Review

"The Godfather’s Daughter Mafia Blues" Chinese Theatrical Poster

“The Godfather’s Daughter Mafia Blues” Chinese Theatrical Poster

Director: Fung Hak On
Cast: Mark Cheng Ho Nam, Yukari Oshima, Alex Man Chi Leung, Dick Wei, Ken Lo, Wong Yu, Leung Kar Yan, Tai Bo, Anthony Carpio, Chan Daat Gong, Benny Lai Keung Kuen, Chow Kong, Chu Tau, Mark King, Foo Wang Tat
Running Time: 91 min.

By Paul Bramhall

The Godfather’s Daughter Mafia Blues, besides having a title that resembles a Bob Dylan song gone wrong, rarely seems to get mentioned when fans discuss early 90’s Hong Kong action cinema, yet at the same time also manages to be a title that everyone has heard of. In many ways it could well be down to the fact that it’s a difficult production to categorize. The few reviews that are floating around on the net reference it as a ‘Girls with Guns’ flick, seemingly based on nothing more than it featuring Yukari Oshima and it being from 1991, however once watched it becomes apparent it has little in common with said genre. A better description would be to call it a Triad thriller, which just so happens to have some stellar martial arts talent in front of the camera, who duly oblige in showing that talent off at various points throughout the runtime.

The man in the director’s chair is the late great Fung Hak-On, recognizable from several kung fu classics, most notably as the villain from Sammo Hung’s Warriors Two. Hak-On may have been more well known for his roles in many of the most popular kung fu movies of the golden era, however The Godfather’s Daughter Mafia Blues was actually the fourth (and last) time for him to direct a movie, so he was certainly no stranger to being behind the camera.

Proceedings open with an introduction to a pair of fish farmers, played by Mark Cheng and Benny Lai. Cheng was marketed as the next big leading man by Cinema City throughout the mid-80’s, but for some reason he never really clicked with audiences, and by the early 90’s was mostly starring in lower budgeted productions such as this one. His presence in The Godfather’s Daughter Mafia Blues could also be explained by the fact he married Yukari Oshima shortly before it started filming, so the pair came as a package deal (they’d also appear together in Win Them All, Kickboxer’s Tears, and Hard to Kill). Lai on the other hand is best known as the mute adversary that Jackie Chan faces off against in the finale of Police Story 2. He spent part of his career as a member of Chan’s Stuntman Group, and has a filmography that mostly consists of parts as a thug or gang member, so this production was a rare opportunity for him to play a significant role.

A chance encounter with some gangsters results in them crossing paths with a Triad leader, played by Alex Man, who takes them under his wing and puts them to work in one of his hostess bars. Man has plenty of issues of his own though. His Triad leader is an honourable and old-school guy, who’ll do anything to keep the peace (it’s quite possible Gareth Evans had his performance in mind for Tio Pakusadewo’s role in The Raid 2), however when his Japanese counterpart dies, the latter’s aggressively ambitious son wants to buy out the business from under him. The son is played by super kicker Ken Lo, perhaps most famous for being Jackie Chan’s bodyguard from 1980 – 2010 (not to mention their legendary fight to close out Drunken Master II), who’s ably assisted by his head henchman, played by the director himself, Fung Hak-On, who also takes on action choreography duties.

For those reading that want to check out The Godfather’s Daughter Mafia Blues as Yukari Oshima fans, you’re probably concerned that she hasn’t even been mentioned yet. Actually, Oshima does have a large part, which as the title suggests is that of Man’s daughter. However she doesn’t appear until just over 20 minutes in (she’s been in Japan studying karate), and to see her in action you’ll have to wait until the 50 minute mark. However this isn’t detrimental to the movie at all, and her character fits in perfectly with the events that are taking place. As the daughter of a Triad leader, her role as a young and playful martial arts fanatic is very different from the no-nonsense characters she often embodies, but when she finds out that Lo is trying to undermine her father, she also knows how to get down to business.

Indeed rather than really having a main character so to speak, The Godfather’s Daughter Mafia Blues comes across very much like an ensemble piece. All of the main players get plenty of screen time for us to get to know their characters, as does Dick Wei, who plays the long serving enforcer to Man’s Triad leader. Much like Benny Lai, Wei also spent much of his career in one dimensional villain roles, and was happy for his feet to do the talking for him, which always did so very efficiently. However his role here is one that has a welcome depth to it, and without going into spoiler territory, it’s his decision that ultimately sends the Triads and Yakuza on the path to an inevitable confrontation. I’m not sure if it was intentional, but considering the role gave him a rare chance to show off some acting chops, it’s especially ironic that his character gets a line where he asks, “I act well don’t I?”

When it comes to the business of Triad and Yakuza rivalries, the plot certainly doesn’t shy away from getting nasty. In one particular scene, Lo attempts to lure the Madame’s away from Man’s hostess bar to work in his instead, with the promise of a higher wage. However when one of them insists on being loyal to Man, Lo pays a young teenager who wants to be a gangster to throw a cup of acid in her face. Scenes like this ensure that the story is taken seriously, and it never digresses into comedy or other such hijinks, that HK cinema of the era is frequently guilty of doing.

The action itself is one of those rare occasions in which it serves to further the story, rather than just being stand-alone set pieces. Cheng had the moves when it came to screen fighting, even though his career ultimately didn’t follow a path where he’d get to use them that much, but here he gets ample opportunity to break them out. The choreography is a unique mix of the hard hitting kickboxing style, which would become synonymous with 80’s – early 90’s modern day HK action flicks, blended with some occasional old-school flourishes, such as a shape thrown here and there. A highlight sees Oshima taking on both Ken Lo, Fung Hak-On, and a group of their lackeys single handedly in a gym, which incorporates plenty of prop usage reminiscent of Jackie Chan.

Eventually proceedings build to a satisfying finale that sees most of the last 15 minutes being taken up with action. There’s some satisfying vehicle work on display, of which there are a couple of impact shots that’ll make you question how the stuntman on the receiving end of them survived. Events culminate with Dick Wei having to face off against two opponents, and a closing bout that sees Cheng and Oshima teaming up to take on Lo and Hak-On respectively. It’s a great fight, even if it’s a tier below the best work of all involved, however considering the context it takes place in and the budget that was being worked with, it undeniably delivers. Throw in plenty of smashed glass tables and collateral damage, with a suitably gruesome finishing move, and for fans of both old school and new wave action, The Godfather’s Daughter Mafia Blues arguably exceeds the sum of its parts.

All things considered, Hak-On’s last movie in the directors chair captures a moment in Hong Kong cinema that we’ll likely never get back. Sure, movies can still be made about Triads and Yakuza facing off against each other, but had the movie been made today, it would likely be at least 10 minutes longer, as we’d no doubt have to watch the police arrive on scene and arrest the surviving members. Because China needs to remind us that crime doesn’t pay. As it is, The Godfather’s Daughter Mafia Blues doesn’t have a single police character in it, everyone is either a Triad or a Yakuza, and what goes down takes place between them and no one else. While it’s not perfect, Hak-On has directed a coherent and engaging tale of gang rivalries, which doesn’t feel the need to pad its runtime with such distractions as comedy and romance, and that’s to be applauded. The fact that we get a healthy dose of HK style action on top, is merely the icing on the cake.

Paul Bramhall’s Rating: 7/10

Posted in All, Chinese, News, Reviews | Tagged , , , , , , , , |

One reason why Bollywood shouldn’t do martial arts movies…

Posted in News |

Attack on Titan: Part 1 | Blu-ray & DVD (Funimation)

Attack on Titan: Part 1 | Blu-ray & DVD (Funimation)

Attack on Titan: Part 1 | Blu-ray & DVD (Funimation)

RELEASE DATE: October 4, 2016

Funimation presents the Blu-ray & DVD for Shinji Higuchi’s live-action adaptation of Attack on Titan.

Attack on Titan (read our reviews for Part I and Part II) takes place in a strange, quasi-medieval world in which giant humanoid creatures named Titans appear and threaten the lives of everyday people. Civilization’s only line of defense against the Titans are teenage soldiers who traverse the Titans’ massive bodies using powerful grappling hooks. | Part 2 is also available.

Pre-order Attack on Titan: Part 1 from Amazon.com today!

Posted in Asian Titles, DVD/Blu-ray New Releases, News |

Undaunted Wudang, The | aka Wu Tang (1983) Review

"The Undaunted Wudang" DVD Cover

"The Undaunted Wudang" DVD Cover

AKA: The Wu Tang
Director: Sun Sha
Writer: Xie Wen-Li
Cast: Lin Quan, Zhao Chang-Jun , Li Yu-Wen, Ma Zhen-Bang , Tang Ya-Li, Yang Yong, Zang Zhi-Guo, Mao Ying-Hai, Zhao Qiu-Rong, Sun Jian-Ming, Xu Chang-Wen
Running time: 94 min

By Matija Makotoichi Tomic

The importance and the historical significance of Shaolin Temple and its monks is well known so it’s no wonder a lot of kung fu movies are Shaolin themed. However, if you’re interested in watching more movies about Wudang, that’s something else. While watching kung fu films you’ve probably seen guys with long hair tied up, with swords on their backs and possibly with huge yin-yang symbol embroidered on their clothes; chances are you were looking at a Wudang priest or swordsman. But when it comes to Wudang as a martial arts school and their philosophy, there aren’t that many movies on the subject. Strange perhaps since Wudang is often refered to as the largest center of martial arts in the country next to Shaolin Temple.

Wudang was named after the Wudang mountains located in Hubei province in central China. Wu means martial, and Dang resistance which describes the defensive role the mountain had at one moment in the great history of China. On the top of the mountain, amongst it’s beautiful scenery lies a huge taoist complex with numerous temples, palaces, pavilions and shrines. It is considered the historical and spiritual home of internal martial arts. While Shaolin monks are buddhists and their kung fu is “external”, Wudang practicioners are taoists, and their art is “internal” which means the emphasis is on the spiritual and mental aspects as well as the use of chi. Such skills are defensive by it’s nature and help build one’s inner strenght. Among better known styles originating from the Wudang school are Tai Chi, Bagua and of course, the famous Wudang sword style.

Words of the narrator introduce us to the plot: in the late 19th century China was considered sick and feeble so many countries sent their best fighters there in order to prove their superiority. Among them was Japan sending their judo champions to challenge chinese kung fu experts to a tournament. During a fight Chinese master Chen gets killed leaving his daughter Xue Jiao to seek revenge.

The Undaunted Wudang is technically not a kung fu, but a wushu film. Even though wushu is faster, softer and more fluid, I personally prefer kung fu. Wushu seems like a performing art, a skill that lacks real fighting quality which is a thing many accuse wushu of, stating it is a competitive sport rather than a method of self-defence that can be applied in combat. There is a division between traditional kung fu and modern wushu but there are masters accomplished in both methods proving a wushu player can be traditional. One such is Zhao Changjun, one of the most decorated wushu champions ever, an all-around National Champion of China for ten consecutive years, a record nobody has broken so far. His only true rival was Jet Li who took the title from him in 1978. but eventually made Zhao Changjun dominate throughout the 80’s. As they say in wushu circles, 70’s belonged to Jet Li, but the 80’s belonged to Zhao.

In 1983, while still dominating the national and international wushu events, Zhao Changjun turned to acting and the first movie he stared in was The Undaunted Wudang. Alongside him was the brilliant Lin Quan showing great potential in what turned out to be the first of only three films she stared in. She is said to be a former wushu champion but the only info I got on her is that she is (or was) working as an instructor at the Wushu and Arts Center in Kowloon. These two are reason enough to watch this movie because their skill is really outstanding. The two weren’t however participating in directing action, the duo responsible for that is Ma Zhen-Bang and the one-time actor/action director Han Ming-Nan, both having their roles in the movie, as the Head Priest of Nanshan and the Chief of the guards. The action they delivered is fantastic, fights are fast and intense with truly impressive set of skills which include acrobatics and weapons fight. Choreography is almost entirely without fantastic elements and has up to several fighters performing at the same time, often in long shots which really deserves ones admiration due to the speed and complexity displayed.

In the second half of the movie when Xue Jiao leaves for the mountains in order to train with the High Priest, we are led to the very heart of Wudang. It’s a real treat seeing the inside of the taoist complex and witness the authentic Wudang through beautiful training sequences and the principles on which their martial arts is based on. We’re getting some priceless shots of group training by Wudang practitioners in front of the real Purple Cloud monastery. Their performance is slow and soft, sort of like practising tai chi with a sword, unlike Xue Jiao’s sword demonstration which is fast and explosive. Her training includes practising punches on wooden blocks while her teacher is demonstrating the basic of all Wudang styles on a yin-yang ball (a big round rock actually), explaining the transformation and redirection of energy during opponent’s attack and using the same in defeating him.

Some of the Wudang spirit can be experienced in the 1983. kung fu classic Shaolin and Wu Tang, and partly even in its sequel Shaolin and Wu Tang 2 – Wu Tang Invasion (1986). Recently, Wu Dang (2012) captured some of the beauty the taoist complex and the nature surrounding it emanate with, though the movie itself is bad and the action by Corey Yuen ruined with the excessive use of wires and effects. Although The Undaunted Wudang may be only an average Mainland China martial arts product, worth watching and interesting to fans mainly for the action and the skill displayed, if you’re interested in the beauty, the martial arts and the philosophy of Wudang, this is as far as I know, the best you’ll find.

Matija Makotoichi Tomic’s Rating: 6.5/10

Posted in All, Chinese, News, Reviews | Tagged , |

Cityonfire.com’s ‘The Tiger’ Blu-ray Giveaway! – WINNERS ANNOUNCED!

The Tiger: An Old Hunter’s Tale | Blu-ray & DVD (Well Go USA)

The Tiger: An Old Hunter’s Tale | Blu-ray & DVD (Well Go USA)

Cityonfire.com and Well Go USA are giving away 3 Blu-ray copies of The Tiger (read our review) to three lucky Cityonfire visitors. To enter, simply add a comment to this post and describe, in your own words, this video.

We will be selecting a winner at random. Be sure to include your email address in the appropriate field so we can contact you for your home address. Additionally, you must ‘Like Us‘ on cityonfire.com’s Facebook by clicking here.

The Blu-ray for The Tiger will be officially released on August 9, 2016. We will announce the 3 winners on August 11th.

CONTEST DISCLAIMER: You must enter by August 11th, 2016 to qualify. U.S. residents only please. We sincerely apologize to our non-U.S. visitors. Winners must respond with their mailing address within 48 hours, otherwise you will automatically be disqualified. No exceptions. Contest is subject to change without notice.

WINNERS: Ben, Jo and Bharat D.

Posted in News | Tagged |

Don “The Dragon” Wilson joins Juju Chan in ‘V-Force’

"Ring of Fire" Theatrical Poster

“Ring of Fire” Theatrical Poster

Don “The Dragon” Wilson (Ring of Fire, Bloodfist) will be appearing alongside Billy Zane (Titanic), Juju Chan (Crouching Tiger, Hidden Dragon: Sword of Destiny), Keith David (The Thing), Michael Rooker (The Replacement Killers) and Bruce Dern (The Hateful Eight) in V-Force: New Dawn of V.I.C.T.O.R.Y.

Directed by Frank E. Johnson (Shannon’s Rainbow), V-Force: New Dawn of V.I.C.T.O.R.Y. tells the story of four young women who gain extraordinary powers and are guided by an older mentor to become super heroes.

We’re not sure how much screen time Wilson will be getting, but there’s always these other “Dragon” films to look forward to, including White Tiger, Enter the Fist and the Golden Fleecing, Paying Mr. McGetty, Showdown in Manila and the recently released Martial Arts Kid.

V-Force: New Dawn of V.I.C.T.O.R.Y. is currently filming in Oregon, as reported in this behind-the-scenes look at the film. We’ll keep you posted as we hear more.

Posted in News |

Sadako vs Kayako | aka The Ring vs The Grudge (2016) Review

"Sadako vs Kayako" Japanese Theatrical Poster

“Sadako vs Kayako” Japanese Theatrical Poster

AKA: Ring vs Ju-On
Director: Koji Shiraishi
Cast: Mizuki Yamamoto, Tina Tamashiro, Aimi Satsukawa, Masahiro Komoto, Masanobu Ando
Running Time: 99 min.

By Paul Bramhall

Starting any review of Sadako vs Kayako might as well begin with a recap of the two titular horror movie franchises that they’re a part of.

As the cursed spirit of the Ringu series, this installment notches up Sadako’s twelfth onscreen appearance (soon to be thirteenth, with the 2016 release of the Hollywood production Rings). Based on a novel by Koji Suzuki, Sadako initially appeared to terrify viewers in a 1995 Japanese TV movie, entitled Ringu: Kanzenban, however the character didn’t really catch on until the release of director Hideo Nakata’s 1998 adaption, Ringu. Between 1998 – 2000 there was another Japanese interpretation on the original novel (Rasen), a direct sequel, also helmed by Nakata, a prequel (Ringu 0), a Korean version (The Ring Virus), and a Japanese TV series (Ringu: The Final Chapter). Hollywood then attempted to reinterpret the character for western audiences with a re-make in 2002, which was followed by a sequel in 2005 (interestingly, also directed by Nakata). Then all went quiet on the Sadako front, until 7 years later Japan decided to revive the black haired spirit for the social media generation, with the disastrous efforts that were Sadako 3D and its sequel, both directed by Tsutomu Hanabusa, released in 2012 and 2013 respectively.

Kayako, as the equally cursed spirit that haunts the Ju-On series, almost matches Sadako for screen appearances, but not quite. There are eleven movies in the Ju-On series, with Kayako featuring in nine of them. Director Takashi Shimizu was behind the initial entries, which began with the DTV feature Ju-On: The Curse in 2000, and was followed up by a sequel in the same year. With Japanese horror becoming popular, Shimizu went on to make the theatrically released Ju-On: The Grudge in 2002, which was also followed up with a sequel the following year. Like Ringu, Hollywood decided to remake the latter entries, which were released as The Grudge and The Grudge 2 in 2004 and 2006 respectively, also both directed by Shimizu. For those wondering, yes, he’s basically made two of his movies three times over. There was a third Hollywood sequel in 2009, and during the same year two Ju-On movies unrelated to Kayako were released in Japan (White Ghost and Black Ghost). Much like Sadako, Kayako reappeared in Japanese cinemas after a several year absence with the release of 2014’s Ju-On: The Beginning of the End, which was swiftly followed by Ju-On: The Final Curse a year later, both directed by Masayuki Ochiai.

Perhaps then, much like Freddy Kruger and Jason Voorhees eventually ended up facing off against each other, it’s not such a surprise that a movie has been created which pits the two spirits against each other. While the concept sounds ridiculous, after all both series best entries rely more on a foreboding sense of dread rather than imaginative kills or jump scares, the fact that Koji Shiraishi was announced as director was a sign that this could be an interesting movie. Shiraishi has worked almost exclusively within the horror genre, and is the man behind such titles as The Slit Mouthed Woman (which he manages to work in a reference to in Sadako vs Kayako), and perhaps most notoriously, Grotesque, which was banned from distribution in the UK. When Shiraishi is on form, he’s a director who knows how to balance horror, both visceral and psychological, with fleshed out characters and drama.

Within the first 15 minutes of Sadako vs Kayako, it becomes apparent that this isn’t going to be one of those movies. In fairness, the blame can’t be put entirely on Shiraishi. The whole idea for a movie which sees the infamous pair facing off started as an April Fool’s joke, and eventually became a reality after momentum gained from fans demanding to make it happen. So what we have here is a movie which was supposed to be just a joke. What’s left is a lot of unintentional campiness, more contrived situations than you can shake a stick at, and characters who are so idiotic you actually look forward to the horrible death that they have coming to them.

The plot takes the form of two separate storylines that run in parallel. One focuses on a pair of university students, played by Mizuki Yamamoto and Aimi Satsukawa, who attend the lecture of a mythology teacher who’s obsessed with meeting Sadako. After listening to him explain how the original cursed video tape is considered lost, the two friends visit an old electronics store to try and find a VHS player, as Satsukawa wants to transfer her parents wedding video footage onto DVD. Of course they find an old VHS player to purchase, and what are the chances, the original video just happens to be inside the player! (Not only that, it’s then revealed that the part-time staff member just so happened to check that exact VHS the day before, to make sure it was working, and is soon throwing herself off the top of a storage unit). Yamamoto and Satsukawa innocently decide to watch the video, and in one of the movies few clever moments, Yamamoto misses it due to playing with her smartphone. Satsukawa, on the other hand, is left with the phone call signifying that she has 2 days before she dies, and is understandably quite upset about it.

Meanwhile, in the other storyline a family move next to the house that Kayako resides in, which the high-school attending daughter, played by Tina Tamashiro, finds herself inexplicably drawn to. And that’s really it for the Kayako storyline. For those who are watching Sadako vs Kayako as more of a Ju-On fan than a Ringu one, they may understandably feel as if they’ve gotten short thrift. Indeed for most of the runtime the production feels like Sadako’s show, as the script struggles to setup any meaningful narrative for the daughter, other than the fact that her classmates tell her she’s living next to a haunted house, and she feels tempted to go in.

The introduction of a powerful spiritual medium, played as a kind of Mr. Vampire-lite by Masanobu Ando, is what really sends the camp level of the movie soaring. Ando can be considered the only bona fide movie star in the production, with memorable roles in the likes of Takeshi Kitano’s Kids Return, Kinji Fukasaku’s Battle Royale, and Miike Takashi’s Sukiyaki Western Django. Here though his twirling hand gestures, meant to convey the Japanese equivalent of Taoist magic, make him come across as more of a holiday resort magician, than someone who has a chance against a pair of undead femme fatales. Don’t even get me started on his wisecracking blind sidekick, played by child actress Mai Kikuchi, who turns in the least convincing portrayal of a blind person you’ll ever see. When Satsukawa becomes crazy and decides to upload the cursed video onto the internet (apparently for the first time, so the events of the two Sadako 3D movies seem to be being ignored), Ando realises that they have to stop the ‘curse outbreak’ before the whole world sees the video, concluding that the way to end it once and for all is to pit evil spirit against evil spirit.

So we’re setup for the confrontation that the title promises. However to get there involves a ridiculous amount of silliness. After making such a big deal of how it’s impossible to find a VHS player at the beginning of the movie, there are at least three separate scenarios as the movie progresses in which VHS players just happen to be readily at hand. On top of that, when strands of black hair start randomly appearing, the overall feeling is that the place they’ve turned up in is just in need of a good clean, rather than building up any sense of dread. The inescapable fact is that, for those of us who are familiar with the Ringu and Ju-On movies that have come before, Sadako and Kayako simply aren’t scary anymore. Both series rely on a sense of foreboding dread to build up their scares, however at this point the filmmakers have to rely on cheap jump scares and creative character deaths. Basically, they’ve become the Japanese equivalent of Freddy Kruger and Jason Voorhees.

This statement is no more evident than when Sadako makes her trademark crawl out of the TV, and the scene cuts away before she’s even finished, a move which should be considered sacrilegious for any fans of the long haired ghost. But the whole movie is indicative that the threat of Sadako is simply not a big deal anymore. The professor who’s obsessed with meeting her watches the video on purpose, and as soon as his phone rings he excitedly picks it up yelling “Sadako! Sadako, is that you!?” It’s honestly hard to tell if the scene was going for parody, or expecting to be taken seriously, but I have a bad feeling it’s the latter. Another scene feels like the script for Alien has been adapted for vengeful spirits, as one character witnesses Sadako creeping up on another from behind a jammed door, and starts yelling “Move! Get out of there! Move!” I was half expecting a motion sensor to make an appearance.

With that being said, there are some worthy moments amidst the mediocrity. An exorcism scene is particularly fun, as it crams in some creative deaths, including a fantastic head butt, delivered by an exorcist who becomes possessed by Sadako. The appearance of Toshio also delivers a couple of jump in your seat moments, however in an almost 100 minute runtime, they come few and far between. At this point in both of the series, we’re used to the fact that smart protagonists have been replaced by weakly characterised victims, who’s main job is to scream and look terrified, and Sadako vs Kayako doesn’t change any of that. Unfortunately it doesn’t even have a conclusion, as after a frustratingly short face off (which begs the question if the movie’s title is even appropriate), Shiraishi decides to hit us with a surprise ending that involves what can best be described as a CGI take on the finale of John Carpenter’s The Thing (tentacles included), and a cliff-hanger ending. It leaves little doubt that we can expect a Sadako vs Kayako 2, but what’s less certain is if there’ll be anyone that wants to watch it.

Paul Bramhall’s Rating: 5/10

Posted in All, Japanese, News, Reviews | Tagged |

Exclusive: New U.S. trailer for Sammo Hung’s ‘The Bodyguard’

The Bodyguard | Blu-ray & DVD (Well Go USA)

The Bodyguard | Blu-ray & DVD (Well Go USA)

Well Go USA will be releasing Sammo Hung’s The Bodyguard (aka My Beloved Bodyguard) on VOD on August 2; then to Blu-ray & DVD on September 6, 2016.

It has been over 17 long years since Sammo Hung has directed a movie (since 1997’s Once Upon A Time in China and America), but now, the Hong Kong legend is back – both as star and as director – in The Bodyguard, which was previously known as Old Soldier.

The Bodyguard (read our review) features a cast of well-known names that include Zhu Yuchen, Li Qinqin, Feng Jiayi, Jacqueline Chan, Andy Lau, Hu Jun, Feng Shaofeng, Eddie Peng, Song Jia, Tsui Hark, Karl Maka, Dean Shek, Yuen Biao, Yuen Qiu, Yuen Wah, Yuen Ting, Yuen Po, Tony Leung Ka Fai and Song Jia.

The Bodyguard follows a retired bodyguard (Hung) who has settled in the dark and unknown corner of the world where China, Russia and North Korea meet. Suffering from the beginnings of dementia, the bodyguard is befriended by a young girl whose life is threatened when her father (Lau) falls in with the local crime world. When the girl and her father disappear, the bodyguard must call upon his long forgotten skills to save the life of his young friend.

Check out the film’s new U.S. trailer below:

Posted in News |

Steven Seagal to bring back Nico from ‘Above the Law’?

"Above the Law" Japanese Theatrical Poster

"Above the Law" Japanese Theatrical Poster

The man, the myth, the mystique that is Steven Seagal started with 1988’s Above the Law, his gritty debut feature by director Andrew Davis (The Fugitive). The film put Seagal on the map in the late 80s/early 90s and from that point on, his movies would get bigger, louder and more successful for the next 4 years or so.

Just recently, the Exit Wounds star “officially” tweeted the idea of bringing back Nico Tuscani (his character from Above the Law). Of course, this tweet most likely means nothing, but we couldn’t help to make a post about it. With the resurgence of titles such as Samurai Cop 2Kickboxer: Vengeance and xXx 3, anything is possible, right? Just don’t be expecting Davis to return to the director’s chair – expect someone like Keoni Waxman (Force of Execution), Seagal’s frequent filmmaker of choice of recent times.

If it doesn’t happen, fans still have a mountain full of pending Seagal films to look forward to that include AttritionChina SalesmanContract to KillCypher, Gunfighter, End of a GunDeadly Arsenal and Four Towers. His latest completed films include Code of Honor, The Asian Connection and Perfect Weapon.

If an Above the Law sequel materializes, you’ll definitely hear from us.

Updates: Well, it looks like there might be a grain of truth to the news we reported a week ago. Woodie Mister, partner of Seagal, states that he and the Aikido star are officially developing an Above the Law sequel (via Woody’s Twitter/FCS). Of course, nothing is 100% certain until production begins, but we have our fingers crossed.

Posted in News |

Exclusive: Interview with the visionary Nobuhiko Obayashi

Nobuhiko Obayashi

Nobuhiko Obayashi’s film House is rightfully regarded as one of the craziest and most singular films ever made, and I would say no other movie comes close to its beyond-surreal vision. Obayashi’s debut, made in 1977, would kickstart a career of eccentric, hilarious and visually wild films.

Obayashi was present at the Udine Far East Film Festival where they screened four of his films: House, Exchange Students, School in the Crosshairs and The Girl Who Leapt Through Time. I managed to secure a short, one-on-one interview with him, which was a joy from start to finish. Enjoy!


"House" Japanese Theatrical Poster

“House” Japanese Theatrical Poster

MARTIN SANDISON: You began your career in commercials and directed hundreds of them. So how did you begin your career in the film Industry?

NOBUHIKO OBAYASHI: My initial career in cinema began when I was three years old, with the tools that I found in my house. I studied how to make films myself. When I was a teenager I started to make some short films, in 8 or 16mm. So I became famous as a film artist. At that time In the United States, the underground movement happened. I became very friendly with the underground filmmakers. And then at that time in Japan, commercials were a way to start, and a producer came to me and asked me to make some TV commercials.

MS: To move on to your first film, House, the visual style you created is so interesting, and it is your signature movie. What inspired you to come up with this style?

Obayashi and Tomoyo Harada on the set of "The Girl Who Leapt Through Time"

Obayashi and Tomoyo Harada on the set of “The Girl Who Leapt Through Time”

NO: I have to say that House was the first work done by an Indie director, but doing a major film. So I thought that my work with House should be done the way other major films weren’t being done. Major films, as you know, want to have success, have a hit film. I personally have a vision, and I watched a lot of films from the beginning of cinema, even from Tomas Edison. Every critic said after seeing House that it was not a real film. Now, I think actually it was a very classical film. For this reason, for the title, I put The Movie: House! (laughter)

MS: Could you talk a little about the editing style of House? Because when I saw it I thought, “Wow! It’s so unusual!” I’ve never seen anything like this.

NO: For me, it was so natural, not unusual.

 

MS: Okay. Could you talk about the music in your films? You studied music. How important is it to the effect of your films; and who are your musical influences?

Eriko Tanaka, Ai Matsubara, Miki Jinbo, Kimiko Ikegami, Kumiko Ohba, Masayo Miyako and Mieko Sato of "House"

Eriko Tanaka, Ai Matsubara, Miki Jinbo, Kimiko Ikegami, Kumiko Ohba, Masayo Miyako and Mieko Sato of “House”

NO: Both music and film are the arts of time. The seven actresses of House were all unprofessional. So it was difficult to let them know how to play with words. So in that case I created the music before making the film. And during the film I played the music all the time so they could get involved. So listening to the music from major to minor, the girls in the film would act happy when it was major and sad when it was minor. To edit the scenes using the music was more effective than using only the words.

MS: It has been some time since you made a horror film, would you make another one?

NO: I don’t like zombie horror films. I don’t like the fast paced music in them. Film should be beautiful.

MS: Do you like contemporary Japanese cinema?

NO: Yes. I find it very interesting. I find the films made by young Japanese directors very interesting, like the films in this festival. They reflect real Japanese society. The history of film is only 120 years, so it is possible to see all the films created, and I would like to say to the young producers to see all of them. With their talent after studying the history of film they would be able to create more and more interesting films. Without knowing the music of Beethoven for example, musicians would not be able to create rock music.

Martin Sandison and Nobuhiko Obayashi hanging out at the Udine Far East Film Festival.

MS: Which are your favourite Japanese directors?

NO: All of them! Especially Ozu. He remains mysterious.

MS: Do you have a favourite Ozu film?

 

NO: Late Spring.

MS: Yes, I know it. To talk about your influences again, are you influenced by the early surrealist films, like the films of Luis Bunuel?

NO: Yes I like those films, but the most surrealistic director is Ozu.

MS: Interesting! Do you have a project you are working on now?

NO: Yes, I have a project to start in the autumn.

 

Nobuhiko Obayashi on the set of "House" with a young actress.

Nobuhiko Obayashi on the set of “House” with a young actress.

MS: And could you tell me about the project, or is it secret? (laughter)

NO: Nothing secret! But I don’t know what it will be! (laughter)

NO: It’s not interesting to do something I have done before. It is not me who creates the film, but the film creates me.

MS: Arigatou!

NO: Thanks very much! (in English)

Thanks again to Martin Sandison, Nobuhiko Obayashi and the great staff at the Udine Far East Film Festival. Vintage set photos courtesy of Ob’s House.

Posted in Interviews, News |