The most popular ninjas?

Posted on July 11, 2016 by Barey Gusey
"9 Deaths of the Ninja" Theatrical Poster

"9 Deaths of the Ninja" Theatrical Poster

Ninjas have long been part of Japanese folklore, in fact folktales surrounding ninja activity date back as far as the 14th century. Ninjas burst onto the scene in Western culture in the 1960’s thanks to James Bond movie You Only Live Twice. We’ve compiled a list of some of the most popular ninjas.

10. Miho from Sin City
Many film fanatics watched A Dame to Kill For especially for Miho’s return. It’s unclear whether she is actually a ninja, however, her tendency to rely on stealth, evasion, and counterattacks to outwit enemies suggests that she may be a female ninjutsu practitioner. Miho’s skills therefore can afford with the kunoichi title.

9. Grey Fox of Metal Gear Rising

There are several films based on the deviances of CIA but Metal Gear Sword is something special. Frank Jaeger, or Grey Fox as he’s better known is a child solider turned mercenary turned CIA experiment. A hard time on the battlefield, not to mention away from it, Fox’s dealings with the CIA end with him having several cybernetic enhancements, including a metal exoskeleton. The ninja meets a tragic end, shockingly at the hands of Solid Snake, whom he had a mixed relationship with.

8. Marvel’s Elektra

Like Miho, Elektra Natchios is a highly skilled ninja. The Frank Miller creation is a Greek assassin turned ninja after training from none other than Ninja Turtle Raphael. Although Miller may be a fan of ancient Japanese weaponry, Daredevil was pretty uninspiring, and definitely one of the poorer of the Marvel series. That said, the Netflix post-creation of Daredevil has been rather successful in comparison, Jennifer Garner Elektra puts on a pretty good display that the original Elektra would be proud of.

7. Storm Shadow from G.I. Joe

Storm Shadow’s involvement in assassin activities is inherited, his family have rich history in said industry. Shadow has been a member of the Cobra and G.I. Joe, however, he realised he warned to create his own Ninja Force and shunned their brainwashing tactics to pursue his own destiny.

6. Ruy Hayabusa of Ninja Gaiden

Ruy Haybusa’s story sits a bit deeper than the background of your average ninja. He’s on a mission to avenge his dead father. He is now an ultimate dragon warrior, not to be messed with having progressed from an old-school arcade game. Ninja Gaiden also has its fair of humor, as Hayabuda’s arch nemesis Yaiba Kamikaze’s potty mouth adds some light humour to the series.

5. Scorpion from Mortal Kombat

Mortal Kombat is undoubtedly a popular series and Scorpion can take the accolade of being the most popular fantasy ninja of such a series. The ninja turns into a bitter spectre hell-bent on revenge for those responsible on the downfall of his clan and the tragic death of his family.

4. Raven of Tekken

Whilst Raven may not be Japanese, that does not prevent him from possessing the skills required to be a top ninjutsu practitioner. The incredible skill and accuracy of Raven allows for perfect execution of his enemies. The way he wields his two kunai which is attached to a rope is a sight which is a joy to behold by fellow ninjas and ninja fanatics.

3. Jubei Kibagami from Ninja Scroll

Jubei Kibagami is a wandering ninja who is troubled by his past. The ninja, armed with a katana must battle his personal demons as well as inhuman monsters. Tough whilst a lot of ninja’s wish to defeat their enemies or seek vengeance, Kibagami just wishes to be left alone in peace.

2. Naruto Uzumaki from Naruto

Konohagkure’s very own hero, Naruto Uzumaki lets you know he is there and is dubbed the Noisy Ninja. His nine-tailed fox Kurama sealed inside his spirit not only gives him extra energy for his taijutsu or fighting techniques but also the edge over his rivals. Like foxes, Uzumaki is efficient, hunts his enemies and knows how to survive in tough environments.


1. Teenage Mutant Ninja Turtles

You guessed it, how can these guys not be our favorite? Even if you’re not into ninja type films or series, you more than likely grew up watching this loveable quarter. Their love for pizza and want for justice was so easy to relate to, for kids and adults alike. Trained in the sewers of New York City, the Teenage Mutant Ninja Turtles started a revolution on the ninja scene. The 80s and 90s hit brought bo-staff, nunchaku, sai daggers and katana swords and embedded them into the ninjutsu world.

Posted in News |

Midnight After, The (2014) Review

Posted on July 6, 2016 by Kelly Warner
"The Midnight After" Chinese Theatrical Poster

“The Midnight After” Chinese Theatrical Poster

Director: Fruit Chan
Cast: Wong You Nam, Janice Man Wing San, Kara Hui Ying Hung, Simon Yam, Sam Lee, Chui Tien You, Lam Suet, Vincci Cheuk Wan Chi, Fiona Sit Hoi Kei
Running Time: 124 min.

By Kelly Warner

I haven’t seen a whole lot of director Fruit Chan’s work, but I’ve seen enough to know that the man doesn’t pull punches and is fully capable of shocking an entire audience full of people. Take Three Extremes for example, an anthology horror film featuring three shorts from a few of Asia’s most extreme filmmakers including Chan-wook Park (Oldboy), Takashi Miike (Audition), and Fruit Chan (Made in Hong Kong). As a fan of both Park and Miike, I was stunned to find that the less well-known Chan had actually delivered the most unflinching thriller of that anthology. His short film Dumplings (which he later made into a feature length film) is horrifying. It’s the sort of horror story that, upon eventually revisiting Three Extremes, I may actually skip Chan’s entry because it disturbed me so much. So, it was with some dread that I wandered into the world of Fruit Chan’s 2014 horror film, The Midnight After.

The Midnight After is based on an online novel written by the Hong Kong author, Pizza (to any writers out there: don’t worry about your silly sounding pen name. This Pizza guy did just fine). The original story was called Lost on a Red Mini Bus to Tai Po. Apparently it was something of an interesting success story for young Mr. Pizza, as the novel was first published on a forum as a serial and then later put to paper for bookstores. The story can be likened to multiple speculative fiction sources, from The Twilight Zone to The Mist, but perhaps the most obvious of which can be picked out from the work’s original title; Lost. Like the ABC hit, a group of strangers boards a vehicle (a bus instead of a plane, in this case) and, before they reach their destination, finds themselves in a world that doesn’t make sense.

The bus goes into a tunnel and when it comes out, the streets are empty. In the city of Tai Po, the lights are on but nobody’s home. Realizing that something is amiss, everyone calls their loved ones via their cell phones, but they can’t get anybody to answer. Even the police don’t answer the phone. Group dynamics begin to break down and people split up, intent on searching the city by themselves or in smaller groups, with the understanding that they will meet up again in the morning. During their search, each member of the group is simultaneously contacted over the phone, only to hear a screeching signal coming from the other line. When they meet up again later, they sort out the facts: the city is deserted, a man in a gas mask was spotted once, and this all has something to do with an old David Bowie song. Oh, and people have a tendency to spontaneously combust or suddenly turn into stone, which is strange but also not the strangest thing you’ll see in this movie. All the characters have different reactions to these troubling events. Most characters in the movie are archetypes, like the hotheaded former athlete (Kill Zone 2’s Simon Yam), a tech expert (Contagion’s Chui Tien You), a mysterious young woman (Nightfall’s Janice Man), an angry bus driver (Trivisa’s Lam Suet), and an underachiever who’s both our most relatable and our most suspicious character (Gallants’ Wong You Nam). Though the characters are written broadly, each actor brings a lot to the ensemble, selling both the fear and the absurdity of their situation.

The film begins as a creepy look at a silent sort of apocalypse, like the world’s moved on and left our group behind. And like the characters of Lost, the bus passengers have all sorts of big theories, some of which may sound familiar to fans of the show (most notably, what if we’re all dead?). But by the time the nerd of the group jumps on a table and starts singing Space Oddity with a broom for a guitar and a toilet scrubber as a microphone, the audience realizes that all bets are off. Things are now allowed to get really, really weird. And they do! And for the most part, it’s an immensely satisfying experience, mixing comedy, sci-fi, and horror to great success. But, like Lost, The Midnight After poses more questions than it is willing to answer.

The film ends before solving the majority of its mysteries. It’s frustrating, because up until that point I was happy to be along for the ride. Then, it felt like it’d been a ride to nowhere. It just ends, leaving you hanging. Imagine if Lost got cancelled half-way through the series. And believe me, I’m not someone that needs all questions answered by the end… but answering one or two of the big, lingering questions would’ve been nice. Is a Midnight After sequel forthcoming? I hope so.

The Midnight After has some politics on its mind, most of which will go over the head of Western viewers (including myself at times). Comments about the next Chief Executive and metaphors for leaving Hong Kong are somewhat lost in translation. Allusions to Fukushima, a disaster I think we all know something about, also don’t make that much sense in the greater scheme of things. One can’t help but think that the film likely means more to a domestic audience than it ever could to someone like me, watching it half a world away.

Some issues aside, I enjoyed The Midnight After. It’s clever science fiction with a wicked sense of humor. Hong Kong doesn’t make many of these sorts of movies, something that one of the characters from the film seems fully aware of when she exclaims, “Hong Kong doesn’t do sci-fi!” Well, maybe they should. Science fiction is one of the best genres for expressing anger against events that appear beyond our control. That seems to be what Fruit Chan has done here, making a flashy and crazy film by which to sneak in some comments about Hong Kong and the current state of things. I may not have understood all of the politics in play but I enjoyed my time with these characters in the weird, abandoned world they occupy.

If there’s a sequel—and there better be!—I’m going to be one of the first in line.

Kelly Warner’s Rating: 7/10

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

Inside Men: The Original (2015) Review

Posted on July 4, 2016 by Paul Bramhall
"Inside Men: The Original" Theatrical Poster

“Inside Men: The Original” Theatrical Poster

Director: Woo Min-Ho
Cast: Lee Byung-Hun, Cho Seung-Woo, Baek Yoon-Sik, Lee Kyoung-Young, Kim Hong-Fa, Jo Jae-Yun, Bae Sung-Woo, Kim Dae-Myung, Jo Woo-Jin, Yoo Jae-Myung
Running Time: 180 min.

By Paul Bramhall

Based on a web-comic by Yoon Tae-ho, who was also responsible for the web-comic behind the excellent Moss, when Inside Men hit Korean cinema screens in 2015, its tale of political corruption strongly resonated with audiences, making it one of the most successful movies of the year. The news that director Woo Min-ho had shaved 50 minutes off the movies original 3 hour run-time, in order to have a wider theatrical distribution, soon had fans requesting that the director’s cut should also have a chance to be seen on the cinema. It was a request that quickly gained momentum, and by the end of the year, the full 3 hour version was also given a theatrical run, under the moniker of Inside Men: The Original.

For full disclosure, I’ll confess to not having seen the trimmed down theatrical version of Inside Men, so I’m unable to do a comparison of the two. Having watched Min-ho’s original vision in its entirety, there’s something about human nature which leaves me with no inclination to watch a version with any of the wonderfully dark story forcibly left on the cutting room floor. With that being said, when I first came across the production, despite featuring an impressive amount of talent in front of the camera, the news that it was being directed by Min-ho was enough to make me give it a pass all together. Prior to Inside Men, Min-ho’s filmography consisted of 2 titles – Man of Vendetta and Spy – a pair of movies which were both painfully misguided and equally painful to watch. With Memories of the Sword already taking the 2015 prize at proving that a talented cast in front of the camera, doesn’t make up for a lack of talent behind it, I wasn’t going to hold my breath.

Thankfully though, it turns out that while in some cases an excellent cast can get dragged down to the level of a poor director, the flip side of the coin is that a (so far) poor director can be elevated to the level of his excellent cast. This is very much the case with Inside Men, as the end product is one that sees everyone involved working in synchronicity with each other. The cast is somewhat of a reunion for actors Jo Seung-woo and Baek Yoon-sik, who worked so well together as the student-mentor team in Choi Dong-hoon’s entertaining 2006 caper flick Tazza: The High Rollers. Lee Byung-hun rounds out a trio of main characters, here in his 3rd movie of the year after appearing in Terminator: Genisys and the previously mentioned Memories of the Sword.

The plot for Inside Men I dare say is difficult to do justice with in words, for fear of making it sound dull. It revolves around a slush fund that was set up by a pair of conglomerates, to bankroll the presidential campaign of a sleazy congressman, and Seung-woo plays a seemingly incorruptible prosecutor who’s about to get his hands on a document which prove the existence of the fund. However before he can, it ends up in the hands of a gangster, played by Byung-hun. It’s revealed that Byung-hun has a history with a politically influential journalist, played by Yoon-sik, and as a favor he passes on a copy of the document to Yoon-sik, should he ever decide to break the story. However when the congressman catches wind that Byung-hun had possession of said document, Byung-hun wakes up to find himself tied to a chair in a brightly lit room, which ends in a rather graphic encounter with a saw.

Spanning a 2 year period, Inside Men pulls you in from the opening minutes, which has Byung-hun decked out in a white suite, sat in a darkened room about to detail his story to a journalist. It almost feels like a film noir, as he launches into a monologue revolving around Jack Nicholson’s character in Roman Polanski’s Chinatown, and how he relates to the characters predicament. Indeed while both Seung-woo and Yoon-sik are essential to the story, Inside Men feels very much like Byung-hun’s show. His small time gangster has a sense of reckless bravado and comical timing which quickly endear you to his character. In a year which saw Byung-hun embattled from local media in Korea, it was a ballsy role to take, especially considering some of the scenarios have a level of overlap with reality, most glaringly when, at one point, he’s accused of having inappropriate relations with a member of a K-pop group.

Whatever the case, Inside Men put Byung-hun’s career firmly back on track. As a gangster who has a love of old Hollywood classics, and even goes so far to run a casting agency as a front to his more dubious activities, he quickly becomes the heart of the movie. Similar to how Chow Yun Fat’s role in A Better Tomorrow had many Hong Kong youths chewing on toothpicks, here Byung-hun hilariously minces a classic line, declaring to Seung-woo “Let’s drink Maldives in the Mojito”, a line which could be heard everywhere in Korea after the movie’s release. For viewers who’ve been wanting to see him in a role similar to that which put him on many peoples radars in the first place, as the enforcer in Kim Ji-woon’s A Bittersweet Life, Inside Men grants them their wish. There’s a familiarity to his character, that of a gangster who isn’t completely bad, seeking revenge on those that did him wrong despite being in completely over his head, however it’s never a familiarity that feels stale.

Indeed as much as Byung-hun is hell bent on going after those who were behind his unfortunate encounter with a saw, so Inside Men as a whole seems to be hell bent on delivering a condemning indictment against Korean society. From the corporate conglomerates and media outlets that fund politicians behind closed doors, down to the level of Seung-woo’s prosecutor who can’t get a promotion due to his lack of family connections higher up, Min-ho’s script takes a merciless swipe at all of it, and does so with conviction. There’s an underlying feel of seething hatred that permeates throughout Inside Men, a hatred at the greed and corruption that have led to more than one tragedy in Korea during recent times, and that hatred often manifests itself in sudden bursts of violence throughout the run-time.

Despite Byung-hun and a handful of his cohorts being the only fully fledged gangsters in the movie, their portrayal often feels like we’re watching the best of a bad bunch. It’s the politicians and media that are framed as the real gangsters, a feeling which is enforced further through Jo Young-wook’s pulsating electronic score, occasionally recalling scenes from Takeshi Kitano’s Outrage. The only difference being of course that in Kitano’s movie, the characters are gangsters. Inside Men also draws another, all be it superfluous, similarity with Outrage, in that there’s barely a single female character in the whole movie. What female presence there is, usually comes in the form of a chorus line of naked girls in a karaoke room, set to partake in whatever debauchery their customers demand, or an ill-fated wannabe actress. However even this in itself is a criticism of the circles that Inside Men takes place in, the lack of female roles glaringly apparent from the word go.

The 3 hour run-time builds up to a satisfyingly constructed payoff in the finale, one that’s not earmarked by violence and bloodshed, but rather takes a chance by assuming we’re invested in the characters enough to see them deliver revenge in their own way. That they do, and perhaps most telling of all, when the credits roll, it doesn’t feel like 3 hours have gone by at all. Inside Men effortlessly marks itself as one of the best movies to come out of Korea in recent years, being all at once a political thriller, gangster flick, and a revenge fuelled drama. After a couple of misfires, Min-ho proves that as the expression goes, third times a charm, and while it’s certainly a big ask, here’s hoping his next movie is at least on par with what he’s pulled off here. If I could give the director one piece of advice, it would be to stay angry, it seems to suit him.

Paul Bramhall’s Rating: 8.5/10

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

Deal on Fire! Curse of the Golden Flower | Blu-ray | Only $6.55 – Expires soon!

Posted on July 4, 2016 by JJ Bona
"Curse of the Golden Flower" Blu-ray Cover

"Curse of the Golden Flower" Blu-ray Cover

Today’s Deal on Fire is the Blu-ray for Curse of the Golden Flower, directed by Zhang Yimou (Jet Li’s Hero).

It’s a tale of drama, revenge, romantic intrigue – and of course – martial arts action, as choreographed by the great Ching Siu-tung (Duel to the Death).

Curse of the Golden Flower stars Chow Yun-Fat (The Postman Strikes Back), Gong Li (2046) and Jay Chou (The Viral Factor).

Order Curse of the Golden Flower from Amazon.com today!

Posted in Deals on Fire!, News |

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

Posted on July 3, 2016 by JJ Bona
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)

RELEASE DATE: August 9, 2016

Park Hoon-jeong, the director of The New World, is back with Well Go USA’s Blu-ray & DVD for The Tiger: An Old Hunter’s Tale, which stars Choi Min-sik (The Admiral: Roaring Currents, Old Boy).

The Tiger: An Old Hunter’s Tale (read our review) is set in the final days of the Joseon era, when Korea was under Japanese rule. Min-sik will play a local hunter who’s given the task of hunting down the last tiger in Korea.

Much like The Admiral: Roaring Currents and Ode to my Father, this looks to be plugging into the current trend of Korean patriotism, as Min-sik’s characters main motivation seems to be to not let the tiger die at the hands of the Japanese.

Pre-order The Tiger: An Old Hunter’s Tale from Amazon.com today.

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

Swift Knight, The (1971) Review

Posted on July 1, 2016 by Matthew Le-feuvre
"The Swift Knight" Chinese Theatrical Poster

“The Swift Knight” Chinese Theatrical Poster

Director: Jeong Chang Hwa
Producer: Runme Shaw
Cast: Lo Lieh, Yau Lung, Chan Shen, Wong Hap, Margaret Hsing Hui, Chin Han, Fang Mien, Chai No, Tung Lam, Wong Chung Shun, Fan Mei Sheng, Hsu Yu, Mama Hung, Lau Kar Wing, Lee Pang Fei, Ou-Yang Sha Fei, Shum Lo
Running Time: 81 min.

By Matthew Le-feuvre

Up to his much lamented death in 2002 from heart failure, former stalwart, international cult icon and introspective celebrity, Lo Lieh will be fondly remembered in martial arts film circles for being cast as perennial miscreats, anti-heroes or unsympathetic characters. Yet, beyond all the demoniacal frowning, sadism and (the) obligatory mocking guffaws, there was so much more depth and refinement to this late star than critics would dare like to admit.

Overworked, underpaid and definitely underrated, Lieh’s frenetic career could almost be perceived as a dereliction of his true creativity in spite of kickstarting the whole “Kung Fu craze” in the West with the enormously influential King Boxer (1972) – better known as Five Fingers of Death – essentially, the first Hong Kong import from the prestigious Shaw Brothers to be marketed and distributed by Warners. Sadly, Lieh never received the credit he was due. He was just another stock-actor in a field of many, defined only as ‘a number’ until executives kept reanimating him like some contractual golem – submissive and robotic to the commands of a studio director (whose sole objective was to be on budget for an expedited release) – and even then, Lo Lieh was constantly overshadowed by the princely leads of David Chiang, Ti Lung and Fu Sheng. These were a handful of reasons why other contemporar­ies such as Chi Kuen Chun (not to be confused with fellow traditionalist, Chen Kwan Tai) couldn’t wait to escape their legal agreement(s) with the Shaws’.

However, there was a time when Lieh illuminated the jade screen as a hero of chivalrous magnificence, expressing a quiet charm, grace and spiritual enigmatism that was far more appealing in (polar) contrast to his iniquitous behaviour on offer within the narrative of stapled classics: 36th Chamber of Shaolin (1978), Mad Monkey Kung Fu (1979) and Dirty Ho (1979) for instance, as well as the creme dela creme of ethnic prejudice (as) allegorized through the representation of fighting styles; this of course is Wang Yu’s seminal trendsetter, The Chinese Boxer (1970). In it, Lieh apes with cocksure barbarity, as he struts, chops and fly kicks his way through an echelon of brave, but inexperienced mainlanders, leaving behind a pyre of broken bodies while his Japanese accomplices specialize in eye-gouging and dismemberment. Surprisingly, this was a far cry from Lieh’s previous excursion into the mindset of heroic patriotism or, contrarily, self sacrifice in the aid of the exploited.

Here, snarls aside – before Lieh took up the quentessential ‘vill­ian’ mantle full-time – pictures shot and essembled in a similar vein to The Swift Knight (1971) feel innocuous, formal and yet idiosyncratic compared to The Chinese Boxer, and future incarnations such as the demented Chao Chin from The Human Lanterns (1982) or the odious Pei Mei (believed to be a joint catalyst behind Shaolin’s inital destruction). Lieh, naturally, reveled in his portrayal for Lau Kar Leung’s master­piece Executioners from Shaolin (1977). He later reprised this role for his own version or remake, depending on one’s own perspect­ive. It was a challenge indeed for the Indonesian-born star, but the result, otherwise generally titled in certain territo­ries as Clan of the White Lotus (1980), apparently thrilled packed houses into a frenzy as open mouthed audiences marveled at Gordon Liu’s desperate attempts to find the secret of Pei Mei’s alternating life-force.

For some fans, this was the pinacle of Lieh’s repertoire. After that, the inevitability of typecasting would take precedence over the luxury of personal choices, and nostalgic recalls of Lieh in his heyday would be confined to the ebbing memories of plaudits old enough to be around at a time when Wu Xia was dominant, experimental and downright exhilarating. The Swift Knight, although again ‘essembled’ in that habitual manner we’ve all come too appreciate, lovingly encapulates all these qualities regard­less of a patent script, carbon sub-characters or an over familarity with (studio constructed) bamboo forests, isolated taverns, bustling gambling houses or elaborate palace interiors where a corrupt sovereign determines the fates of the working classes. Evocatively, all these nuances are – if one deeply observes – innumerably recycled to the point of being a requis­ite necessacity.

The Swift Knight is directed by future Lo Lieh collaborator, Jeong Chang Hwa (King Boxer, The Association). This Korean-born filmmaker, unlike the prolific Chang Cheh, wasn’t interested in the theme of brotherhood per se or political metaphors. Instead, his target was to pepper the human senses through simple story­ telling, less complex action choreography (despite the inclusive tools of wire-work and trampolines) and minimal dialogue; especially from Lieh, who tends too convey his character’s soul through expressionless glares and slow-eye movements. When confronted, he erupts into a balletic dynamo, scything through a barrage of inferior antagonists with ease and majestic presence. His sword, truthfully and quite literally, becomes an extension of himself, eventhough Lieh’s motives are primarily somewhat ambivalent, largely because the screenplay centres around the Prince Regent’s drastic search to eliminate his half brother/sister, Qin Rue and Xian Qin (Margaret Hsing); heirs apparent to the throne.

Interacting with the sibblings (each incognito as lowly peasants), via a shared providence, is Lei Fan (Lieh) aka ‘the swift knight,’ a wanderer who embezzles tax funds from magitrates to finance his solitary lifestyle; a vagabond named Lu Xian Ping (Chin Han), who’s actually a secret service general dispatched to find the heirs and safely deliver them to the Emperor; and a discredited guard (Fan Mei Sheng). Their paths intertwine while pursued by the Prince’s loyal Assassin, Zu Pao, a relentless brute posing as part of an imperial envoy. However, his identity is exposed along­with the Regent’s inimical ambitions to seize power. It all becomes a deadly race against time, and numerous foes, as the once incongruous trio unite to restore a semblance of political harmony under Xian Qin’s rule.

Verdict: Mixing romance with political intrigue, The Swift Knight richly deserves to be catagorized into that niche of signifi­cant landmark pictures: The One Armed Swordsman (1967) or Have Sword will Travel (1969) continually springs to mind for the majority. Sadly, The Swift Knight, unwillingly, for some critics fits into that mould in “Not quite being a classic!” Nevertheless, there is still enough breathtaking imagery: particularly the opening credits of Lei Fan striding across open praries; nocturnal rooftop encounters; as well as kinetic swordplay sequences, featuring Lieh’s almost supernatural deployments against Zu Pao’s impaling projectiles.

Matthew Le-feuvre’s Rating: 7.5/10

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

Redemption | aka Hummingbird (2013) Review

Posted on June 30, 2016 by Zach Nix
"Redemption" Japanese Theatrical Poster

“Redemption” Japanese Theatrical Poster

AKA: Hummingbird
Director: Steven Knight
Cast: Jason Statham, Agata Buzek, Vicky McClure, Benedict Wong, Ger Ryan, Youssef Kerkour, Anthony Morris, Victoria Bewick, Danny Webb, Sang Lui
Running Time: 100 min.

By Zach Nix

British actor Jason Statham is mainly recognized as an action star in cinematic circles due to his appearances in such action franchises as the Transporter series, the Crank series, The Expendables series, and even standalone films like The Killer Elite, Safe, and Parker. However, people need to remind themselves that Statham got his start not as an action star, but as an actor in Guy Ritchie’s witty and gritty crime comedies Lock, Stock, and Two Smoking Barrels and Snatch. He began his career playing confident and cockneyed wise guys in character driven British productions, not ass kicking brawlers in action heavy blockbusters. However, all it took was The Transporter, a French/Chinese co-production, and Statham became more or less the last successful international action star of the post 2000s.

Statham is and always will be a great action star, but the true, or at least original Statham, is the dramatic Brit who works within British productions underneath British filmmakers. Case in point: 2013’s Redemption (a.k.a. Hummingbird). This under seen and nearly forgotten London based crime drama is not only a return to form for Statham the actor, but also one of his very best films, bolstered by one of his greatest performances under the helm of writer/director Steven Knight (Locke). While a few storytelling flaws permeate the picture, Knight’s directorial debut is otherwise a thoroughly engrossing crime drama that consistently surprised me every step of the way.

Statham plays Joseph Smith, an ex-Special Forces soldier who abandoned his post in Afghanistan. He now resides in London as a homeless drunk, leaving behind his previous life and responsibilities in order to avoid being arrested for going AWOL. When he and his bunkmate, Isabel, are attacked one night, Joseph crawls into an apartment, only to discover its owner to be on vacation for the rest of the summer. Joseph takes advantage of the opportunity, thereby cleaning himself up and taking on the identity and bank account of the man who lives there. As Joey emerges from hiding, his summer slowly but surely becomes eventful, as he bonds with Sister Cristina (Agata Buzek), a good-hearted nun who provides food for the homeless, becomes a drug runner and money collector for the Chinese mob, and seeks vengeance on the death of Isabel. All of these various plot threads collide over the course of the picture as Joseph’s morals and beliefs are put to the test.

One of Redemption’s greatest assets is its premise, which is undeniably interesting and engrossing. On the surface, Redemption is simply a tale of, well, you guessed it, redemption, as a homeless man cleans himself up and turns his life around whilst facing the sins of his past. It’s also neat to watch a protagonist’s turnaround come along with the perks of an abandoned apartment that they accidentally stumbled upon. Talk about some luck? However, what makes the film so compulsively watchable and unpredictable is that it goes places that you wouldn’t expect and covers far more ground than expected. Redemption is not just the story of Joseph’s redemption, but also the story of Cristina’s inner conviction with her own morals, faith, and past sins. Redemption is just as much Joseph’s picture as it is Cristina’s, as both she and Joseph go hand in hand with each other as flawed humans who try to live one life whilst escaping the realities of another. It doesn’t matter that one is a bone breaking gangster and the other a flawed religious nun, they both admire one another’s ambitions and bond over their similarities. On top of that, the film also tackles themes regarding war related PTSD, substance abuse, revenge, and human trafficking. While Knight may bite off more than he can chew by tackling so many issues within one film, albeit a short 100 minute long feature, he is to be commended for providing so many complex layers within a surface level “redemption” story.

Knight is a great writer and director, as evident by both Redemption and his latter film Locke. He clearly has an eye for broken and flawed characters whom are also redeemable and relatable, thereby making them all the more realistic and interesting as protagonists. He also seems to enjoy playing within the neo-noir genre, imbuing both dramatic and criminal aspects within his character driven pieces. Another aspect of Knight that shines is that he understands the power of planting seeds early on within a picture to bring back later on to great effect. For example, Joseph discovers that the man who owns the apartment he stumbles upon will not return until October 1st. This date is brought up again later on when Cristina purchases a ticket to the farewell show of a ballet on none other than October 1st. The characters point out that this information is fate, but it’s also careful planning on Knight’s part as a filmmaker, as he crafts a saga that lasts an entire summer and builds anticipation until one fateful date.

Although Redemption is clearly a crime noir, its focus is not placed on drug deals and bursts of violence, but instead more so on the relationship between Statham’s character and Polish actress Agata Buzek. Statham and Buzek’s scenes are so beautifully performed and shot that one won’t even wonder when the next action scene or violent beat down will occur, as the two actors command all attention. Many of Statham and Buzek’s scenes are shot in very long takes, which makes their conversations and friendship all the more believable, and extremely adorable as well. Seriously, these two actors are the heart of the film. Statham has never shone brighter than here, giving truly one of the best performances of his career. And Buzek, who was previously unknown to me, gives a beautifully gentle and nuanced performance. Although both characters experience significant arcs that are immensely gripping, it’s a shame that Knight was not able to stick the landing of his film’s finale, as it somewhat brings his characters back to square one.

As I stated before, Knight weaves numerous plot threads together that eventually build to an inevitable finale where Joseph’s morals are tested. Unfortunately, these threads produce nothing more than a rather lackluster conclusion that pales in comparison to its build up. Without going into spoilers, it’s clear that Knight was trying to deliver an ending similar to the ones found within Gran Torino and Taxi Driver in which the protagonist sets their well being aside in order to stand for a greater cause or to send a message to society. However, the emotional climax of the film fails to be nearly as satisfying or affective as it should have been, as Knight seems to rush the story to a point that unsatisfactorily places his characters seemingly back at square one, all but making the eventful summer in London a somewhat wasteful one. You may see the ending differently than me, but that was simply my gut reaction to it all.

That major narrative criticism aside, Redemption is nothing but technically stellar, boasting both incredible cinematography and bone crunching action scenes to boot. Lensed by Chris Menges, the film is lush as can be with a neon blue, pink, and purple color palette that makes the film look positively extravagant. Menges and Knight also make affective choices as to where to place the camera and when to move it during scenes, such as the previously discussed dialogues between Statham and Buzek. As far as the film’s action scenes come, they are few and far between. After all, this is a crime drama first and foremost. That being said, the very few fights that occur are positively bad ass and viscerally affective, from an early beat down where Statham confronts a group of a drunk patrons at a restaurant to his eventual vengeance against two gangsters responsible for killing his old friend Isabel. To be honest though, the viewer will be so invested in Statham’s journey that they won’t even wonder when the next fight will occur, as the story will be enough to please them.

After spending the first portion of this review discussing Statham’s career as an actor, I personally believe that Redemption is the perfect blend of both his action and dramatic sensibilities. Statham shows off immense vulnerability here as a flawed and wounded character whom one wouldn’t normally associate with the rest of his action centric characters. Even though it comes as a shock seeing Statham act for such long periods of time instead of beating down enemies within the film, it should be a reminder that Statham possesses the magnetism and charisma of a good actor, not just a physical action star. When he does bust out the chops though, his experience from his martial arts centric pictures shows, bringing a welcome believability to his action scenes. If anything, Redemption should prove that Statham has the complete package, in that he can both act and kick ass. Although Statham’s action career has been far from perfect (i.e. Transporter 3, The Killer Elite, Parker), Redemption ironically redeems the actor of all past sins, once again placing him atop the pedestal of the previous generations’ reigning action stars.

As far as Redemption comes as a film, and not just as a Statham vehicle, it’s quite superb. Although I pointed out that the film flounders towards its finale and tackles a tad too many sub-plots and themes, it’s mostly affective and admirable in its ambitions. Somewhere within this very good crime drama is a great movie, positively even one as great as the somewhat similar Taxi Driver or even Clint Eastwood’s swan song Gran Torino. But alas, I’ll settle for the very good drama that it is, as it completely engrossed me from start to finish. I thank it for introducing me to Agata Buzek, who is an excellent actress, and for confirming that Steven Knight is a great filmmaker to look out for. All in all, Redemption is a stupendous crime saga, and a great reminder that checking out under seen or smaller films can sometimes result in the most pleasant of discoveries.

Zach Nix’s Rating: 8/10

Posted in All, Asian Related, News, Other Movies, Reviews | Tagged |

Interested in a ‘Snow Girl and the Dark Crystal’ sequel?

Posted on June 29, 2016 by JJ Bona
"Snow Girl and the Dark Crystal" Theatrical Poster

"Snow Girl and the Dark Crystal" Theatrical Poster

A sequel to Peter Pau and Zhao Tianyu’s 3D fantasy Zhong Kui: Snow Girl and the Dark Crystal is officially in the works. There’s currently no info on who’s returning, but we’ll keep you informed as we learn more (via AFS).

The first film – starring Chen Kun (Young Detective Dee), Li Bingbing (Detective Dee & the Mystery of the Phantom Flame), Winston Chao (The Soong Sisters), Yang Zishan and Bao Bei’er – was released last year by Well Go USA as Snow Girl and the Dark Crystal.

City on Fire’s Kyle Warner criticized the original for its heavy reliance on substandard CGI to tell the story (read the full review).

Stay tuned for more updates regarding the sequel.

Posted in News |

Murder Unincorporated (1965) Review

Posted on June 29, 2016 by Kelly Warner
"Murder Unincorporated" Japanese Theatrical Poster

"Murder Unincorporated" Japanese Theatrical Poster

Director: Haruyasu Noguchi
Cast: Jo Shishido, Yoko Yamamoto, Kon Omura, Yumiko Nogawa, Eiji Go, Daizaburo Hirata, Hiroshi Cho, E.H. Eric, Kanbi Fujiyama, Tonpei Hidari, Hiroshi Hijikata
Running Time: 85 min.

By Kyle Warner

Before the Nikkatsu logo even hits the screen, one of Murder Unincorporated’s characters directly addresses the audience. “Hey, you!” he shouts with a snarl. “If you don’t laugh when you see this movie, I’m going to execute you!” So… that’s a first! And since I’m alive to type this, that means I laughed. Sometimes I felt stupid for laughing, because this is one dumb movie, but oh well. I figure laughter is a fine indicator that a comedy’s doing its job correctly.

You must understand one thing about Murder Unincorporated before we go any further: this film is out of its damn mind. Apparently conceived by highly-caffeinated madmen, the film’s comedy is mostly made up of dumb slapstick and screwball madness, styles of comedy that have fallen out of favor with modern audiences. While I certainly would prefer a clever script over slapstick comedy, that doesn’t mean I dislike slapstick and screwball hijinks on screen. But just the same, a movie like Murder Unincorporated can’t help but feel a little dated today.

In the film, the legendary assassin Joe of Spades has returned and marked a criminal syndicate for death. The criminals immediately call the assassin agency, who send dozens of weirdo assassins over to audition for the job of protecting the clients and killing Joe of Spades. Some of these assassins are pretty normal but most of the others are cartoony caricatures, each with their own peculiar methods of killing. One man is a baseball nut, one kills with poetry, another claims to be the grandson of Al Capone, one is 006 (the boss of 007)… they’re all crazy idiots and they’re somehow viewed as the best of the best. The situation actually would’ve made for a good action movie setup even without the comedy, but Murder Unincorporated has zero intention in playing things straight.

Stepping in and out of the mix is Jo Shishido (Danger Pays), who seems awfully interested in the particulars of the hitmen’s jobs. We can naturally assume that Jo Shishido is Joe of Spades (the actor’s own nickname was ‘Joe the Ace’, after all) but the film plays things pretty close to the chest in regards to the story’s central mystery. The only clue the hitmen have for identifying Joe of Spades is that the killer has a mole on the sole of his foot—which, as you may expect, leads to many zany mishaps.

Shishido may dominate the poster artwork and be the most recognizable face in the film, but he’s not really the star of the picture. In a film full of idiots, Kon Omura’s Konmatsu is King. The comedian Omura (Gamera vs. Guiron) was apparently well-known in Japan at the time but remains mostly unheard of in the West. A rubber face and impeccable comic timing make him the star of Murder Unincorporated, here playing bumbling hitman Konmatsu as someone so daft that even the other idiots in the room are left awestruck by his bold stupidity. Sure, sometimes Omura’s Konmatsu is annoying to the extreme, but I dare say that if you can’t like his character, then you probably won’t like the film.

Director Haruyasu Noguchi, who’s responsible for one of Japan’s worst one-off kaiju films Gappa the Triphibian Monsters, was certainly not one of Nikkatsu’s best talents but he’s made something fun and fairly unique here. Fast-paced and quirky, it’s an entertaining little diversion.

It’s always difficult to figure whether a screwball comedy is going to appeal to a large audience. Even the Marx Brothers’ Duck Soup, often considered the reigning screwball masterpiece, isn’t for everyone. If I were to try to narrow down what Murder Unincorporated resembles, I’d say it’s something close to Masahiro Shinoda’s Parade of Killers and Jun Fukuda’s Ironfinger, with some of the braindead goofiness found in a Wong Jing picture. If you like any of those things I just mentioned, this movie might be for you. Certain other audiences will view this film like it’s an annoying kid acting out for attention, and that’s understandable. Murder Unincorporated isn’t the sort of thing I want to watch all the time, but my first viewing was an enjoyable one.

Kyle Warner’s Rating: 7/10

About this release: Murder Unincorporated is the third film of Arrow Video’s new Blu-ray/DVD release Nikkatsu Diamond Guys Vol. 2. Murder Unincorporated is packed onto one Blu-ray disc with the two other films, Tokyo Mighty Guy and Danger Pays. It’s an amusing collection of films, showing a sillier side of Nikkatsu that’s remained largely unseen by Western viewers. Danger Pays is my favorite from the set, and without a doubt has the most replay value of the three films. All films look and sound good on Blu-ray. The package includes a booklet with new writing from Japanese film experts Stuart Galbraith IV, Tom Mes, and Mark Schilling.

For special features we get trailers for the films, promo galleries, and two video essays by Jasper Sharp that look at Diamond Guys Jo Shishido and Akira Kobayashi. The video essays total about 20 minutes and are an enjoyable, informative look at the stars and how their careers grew at Nikkatsu. It’s a nice release for three obscure pieces of classic Japanese cinema.

The films are full of energy and quick-witted charm, with colorful characters and likable star turns from Jo Shishido, Akira Kobayashi, and Ruriko Asaoka. There’s no word of a Nikkatsu Diamond Guys Vol. 3 yet but I’m hoping it’s in the works, because I’d love to see more of the lesser-known films by these stars. If you’re interested in this DVD/Blu-ray, you should know that it’s a limited release of 3,000 copies. The release is region free.

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

‘Lone Wolf and Cub’ English language adaptation awakens

Posted on June 29, 2016 by JJ Bona
"Lone Wolf and Cub: Baby Cart at the River Styx" Japanese Theatrical Poster

"Lone Wolf and Cub: Baby Cart at the River Styx" Japanese Theatrical Poster

After four long years, an English language, live-action adaptation (in other words, remake) of Koike Kazuo and Goseki Kojima’s manga Lone Wolf and Cub: Final Conflict is back from the dead.

The upcoming Lone Wolf and Cub film is being produced by Steven Paul (Tekken: Kazuya’s Revenge) of SP International Pictures. “I have been a huge fan of the property for many years and can’t tell you how excited I am to have the opportunity to embark on this journey,” Paul told Variety.

So far, no details have emerged regarding potential directors, stars or writers for the project.

Back in 2012, it was reported that Kamala Films had secured the rights to Lone Wolf and Cub: Final Conflict with plans for Fast Five director Justin Lin to tackle the property. David and Janet Peoples were attached to write the script (the duo have films like Blade Runner, Unforgiven, 12 Monkeys to their credit).

In the past, Lone Wolf and Cub was adapted into four stage plays, a TV series, and most popular of all, a samurai film anthology released in the West as Shogun Assassin. Sam Mendes’ gangster film, Road to Perdition, was also said to be heavily influenced by Lone Wolf and Cub, according to Novelist Max Allan Collins.

Stay tuned for more updates regarding the Lone Wolf and Cub English language adaptation.

Posted in News |

Mozu: The Movie (2015) Review

Posted on June 28, 2016 by Paul Bramhall
"Mozu" Japanese Theatrical Poster

“Mozu” Japanese Theatrical Poster

Director: Eiichiro Hasumi
Writer: Go Osaka, Kosuke Nishi
Producer: Mamoru Inoue, Akira Morii
Cast: Hidetoshi Nishijima, Takeshi Kitano, Teruyuki Kagawa, Yoko Maki, Yusuke Iseya, Tori Matsuzaka, Hiroki Hasegawa, Fumiyo Kohinata, Sosuke Ikematsu, Atsushi Ito
Running Time: 116 min.

By Paul Bramhall

Takeshi ‘Beat’ Kitano is easily one of the most recognizable faces in Japanese cinema, directing a number of movies that are rightfully considered masterpieces. When he acts, it’s usually also in his own productions, so whenever news emerges that Kitano is set to appear in a movie other than his own, it draws plenty of interest. From an eye-patched hitman in Gonin, to the teacher in Battle Royale, to a raging Korean immigrant in Blood and Bones, all are roles which once seen, are difficult to imagine anyone other than Kitano playing. 2015 then was rather special, as it didn’t just provide one movie with Kitano in a role being directed by someone other than himself, but two. One was the dark drama, While the Women are Sleeping, while the other came in the form of a spin-off movie from a popular TV mini-series, Mozu – The Movie.

Interestingly, main actor Hidetoshi Nishijima is also the star of While the Woman are Sleeping, and has worked with Kitano before, featuring in his 2002 production Dolls. In Mozu – The Movie Nishijima and Kitano are pitted against each other, as Nishijimi plays the role of an exhausted cop still trying to get over the recent death of his wife and child, believed to have been murdered on the orders of a mysterious figured called Daruma, played by Kitano. Unfortunately the movie does itself no favors, thanks to providing precisely zero information for those that haven’t seen the TV mini-series (which itself was based on a book, written by Go Osaka). All we get is an opening which see’s Nishijima moodily sat in a semi-lit bar, one in which he’s the only customer, as he drunkenly drops in and out of consciousness while thinking about his murdered loved ones.

Despite being inebriated, Nishijima happens to stumble across a traffic accident, which turns out to be a kidnap attempt of a diplomat from a made-up country called Penam, and her autistic daughter. He manages to save the daughter, and packs her off to his private detective friend, played by Teruyuki Kagawa. At the same time, an office building is held to ransom, involving low budget CGI explosions and terrorists screaming in an irritatingly high pitched fashion, seemingly to distract from the kidnap attempt. Some nonsense is also revealed about images of Daruma, the character Kitano plays, being inserted into people’s minds by a shady organization. Coherency and logic don’t appear to be high on the agenda for Mozu – The Movie, with none of what’s happening onscreen given much explanation or reason. Throughout all of this trauma, Nishijima remains completely poker faced, decked out in his uninspired salary man style white shirt and black tie, ensuring his character remains as uninteresting and dull as possible.

Events proceed in a way which see’s things going from bad to worse. The autistic daughter is effectively portrayed as a walking zombie, incapable of any type of human interaction or communicating beyond grunts and shrieks. Chocolate proved that it’s perfectly possible to have an autistic main character, and Jija Yanin imbued the role with plenty of nuance and personality traits, but not so here. In a scene which is particularly awkward, it’s explained that she’s mentally handicapped, and then in the same conversation, there’s a completely meaningless and throwaway line added in which a point is made of her only being half Japanese. Because of course, in a country were mental health is still a relatively taboo topic in mainstream media, it’s important to point out that such a character couldn’t possibly be 100% Japanese.

As a result of acting as her guardian, ultimately Teruyuki Kagawa’s own daughter gets kidnapped, and is whisked away to the fictional South East Asian country of Penam. Nishijima and Kagawa follow the abductors trail in hot pursuit, however when they finally land in the Penam, it turns out to be Manila in the Philippines. We’re not supposed to know that of course, but the hundreds of jeepneys driving down the streets, the road signs that have suburbs in Manila written on them, and just the general fact that people are speaking Tagalog, kind of give it away. Why they chose to pass off Manila as some made-up Asian melting pot is beyond me. It’s a city which is recognizable in much the same way Hong Kong or Kuala Lumpur are, but perhaps it’s portrayal as a safe-haven for criminal masterminds led the overly-sensitive Japanese studios to call it by a different name. Throughout all of this drama and country hopping, Nishijima’s facial expression has still yet to change, and he hasn’t once thought to change out of his white shirt and black tie combo.

Their jaunt in the Philippines at least allows the budget to afford some real explosions, and there’s even some hand to hand combat thrown in, but it all seems so lifeless and droll, that it’s hard to get excited about. The script doesn’t help, which takes itself far too seriously. Characters who’ve only been onscreen for a couple of minutes proclaim wince worthy lines such as, “Why do we do what we do?” Other times, it actually has characters explaining through dialogue what’s happening onscreen. In one scene Nishijima fires a gun into the air, in order to get himself arrested, knowing the corrupt cops will take him to their boss that he’s been trying to track down. This is exactly what happens, and when they drop him in front of the boss, he’s asked why he fired a gun in order to get himself arrested. Nishijima then explains that he wanted to get himself arrested, as he knew he’d be taken to the boss. Seriously, we know, it just happened onscreen, it’s like they mixed up script notes with character dialogue.

In between the dual running plots of attempting to rescue Kagawa’s daughter while protecting the autistic daughter of the diplomat (the plot point of Kitano’s image being inserted into people’s minds is never mentioned again), it’s revealed that the organisation behind the kidnap attempt is also the same one responsible for the death of Nishijima’s loved ones. What are the chances? It turns out that this organisation is seemingly the secret power that keeps Japan running the way it does, and they all report to a mysterious ‘Sensei’, who must be kept alive at all costs. The Sensei and Daruma of course turn out to be the same person, Kitano, who is shown to be a bald headed heavily scarred old man on his death bed, desperately in need of several internal organ transplants, of whom the autistic child is the closest match.

Despite the bulk of Mozu – The Movie taking place in Manila, I mean Penam, late in the movie the action eventually moves back to Tokyo. One of my biggest problems with the plot comes once proceedings re-locate back to Japanese soil, as an event takes place which effectively makes the whole Philippines set segment null and void. It would be a spoiler to go into any further detail, but as a viewer it’s incredibly frustrating when an event plays out that renders the past hour of what you’ve watched all but pointless. It feels like an insult to the audiences intelligence, and effectively means that an almost 2 hour movie could have been told in half the time, but then I guess they wouldn’t have been able to justify a feature length movie if that was the case.

The other big problem is Kitano, or should I say, lack of. Despite appearing so prominently on all of the promotional material for Mozu – The Movie, he clocks in a total screen-time of less than 10 minutes. During the Tokyo premiere of the movie, the man himself spoke up in his usual sardonic manner – “I went into the dressing room not knowing a thing. They had me wear a bald wig and made me up to look badly scarred. I was thinking they could have gotten anyone to do that.” Whether sarcastic or not, his remarks are on point, as his character appears for such a brief amount of the runtime, hardly conveying any impact at all, that it could just as well have been played by any other ageing Japanese actor. Needless to say, for those going into Mozu – The Movie for Kitano’s presence, it’ll be best not to bother.

However even with the expectations of a Kitano movie aside, there’s not much left to recommend. Everything about Mozu – The Movie smells like a quick cash-in on a popular TV series, a cash-in which successfully saw the many salary men and housewives who watched it put the movie at number one on its opening weekend in Japan. It’s a problem that plagues Japanese mainstream cinema, in that quick cash-in’s do exactly that – bring in the cash. There are plenty of other TV shows that have spawned feature length movies – SP: Security Police, Unfair, and Bayside Shakedown – to name just a few, and rarely do they stray far from their TV roots, often feeling like extended versions of a TV episode. However as long as there’s still an audience which will fill out the theaters, this kind of safe, unexciting, TV friendly cinema is here to stay.

Paul Bramhall’s Rating: 2/10

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

Cityonfire.com’s ‘Chronicles of the Ghostly Tribe’ Blu-ray Giveaway! – WINNERS ANNOUNCED!

Posted on June 28, 2016 by JJ Bona
Chronicles of the Ghostly Tribe | Blu-ray & DVD (Well Go USA)

Chronicles of the Ghostly Tribe | Blu-ray & DVD (Well Go USA)

Cityonfire.com and Well Go USA are giving away 3 Blu-ray copies of Chronicles of the Ghostly Tribe 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 Chronicles of the Ghostly Tribe will be officially released on July 5, 2016. We will announce the 3 winners on July 5, 2016.

CONTEST DISCLAIMER: You must enter by July 5, 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: Hank, Scott and Mathew A.

Posted in News | Tagged |

The East and West collide in Pan Anzi’s ‘For a Few Bullets’

Posted on June 28, 2016 by JJ Bona
"For a Few Bullets" Chinese Theatrical Poster

"For a Few Bullets" Chinese Theatrical Poster

The wild west just got a whole lot wilder according to For a Few Bullets (an obvious nod to Sergio Leone’s 1965 classic, For a Few Dollars More), an upcoming action-comedy by Pan Anzi (The Palace).

For a Few Bullet stars Kenny Lin (The Taking of Tiger Mountain), Zhang Jingchu (Mission: Impossible – Rogue Nation), Liu Xiaoqing (Mojin: The Lost Legend), Kenneth Tsang (Angel Terminators) and recording artist, Tengger.

According to SD, For a Few Bullets is about a professional thief who teams up with a special agent to protect a national treasure. | Trailer.

Updates: Watch the newest trailer (via FCS).

Posted in News |

Rampage 3: President Down | DVD (Sony)

Posted on June 27, 2016 by JJ Bona
"Rampage 2: Capital Punishment" Japanese Theatrical Poster

"Rampage 2: Capital Punishment" Japanese Theatrical Poster

RELEASE DATE: September 6, 2016

Sony Pictures Home Entertainment is unleashing the DVD for Uwe Boll’s Rampage 3: President Down (aka Rampage 3: No Mercy) on September 6, 2016.

In the first Rampage (2009), Bill (Brendan Fletcher) goes on a hometown killing spree. In Rampage 2: Capital Punishment (2014), Bill terrorizes a TV station. Now, he’s back for Rampage 3: President Down – and judging by the film’s title – Bill has once again upped the ante!

Boll (Alone in the Dark) has definitely made some horrendous movies in the past, but if you’ve seen any of the Rampage films – or even Assault on Wall Street – Boll has proven himself to be a competent “action” filmmaker (Note: if you call the Rampage franchise anything but an action film, then you’re taking it all too serious).

Let’s put it this way: If John Woo (Hard Boiled) is the master of the heroic bloodshed film, then Boll is the master of making flicks about people goin’ postal. I can honestly say that Boll’s aforementioned action thrillers are better than anything filmmakers like John Moore (A Good Day to Die Hard), Simon West (The Expendables 2) and Len Wiseman (Total Recall remake) are pumping out in theaters. Way better. And as a bonus, Boll has balls.

Don’t miss the film’s latest trailer – (the film’s first trailer is also available) and while you’re at it, seek out Rampage and Rampage 2. You’ll be glad you did.

Pre-order Rampage 3: President Down from Amazon.com today!

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

Danger Pays (1962) Review

Posted on June 27, 2016 by Kelly Warner
"Danger Pays" Japanese Theatrical Poster

"Danger Pays" Japanese Theatrical Poster

AKA: Danger Paws
Director: Ko Nakahira
Cast: Joe Shishido, Ruriko Asaoka, Hiroyuki Nagato, Arihiro Fujimura, Eiji Go, Bokuzen Hidari, Kojiro Kusanagi, Torahiko Hamada, Daizaburo Hirata, Toyoko Takechi, Zenji Yamada
Running Time: 82 min.

By Kyle Warner

Danger Pays is an odd little movie. It shifts from wacky comedy to violent action at the drop of a hat. You wouldn’t know it at first, but the opening credits theme song is a pretty good indicator of what to expect from the film that follows. While the lead singer treads into dark territory with lyrics like, “Who is going to kill me?” the chorus, which sounds like an office party doing a crazy business cheer, cries out, “Danger’s where the money is!” Right after that song, we get a violent carjacking before settling into screwball territory. Tonally, this film is all over the map, but in a strange way that becomes part of its charm. Danger Pays is willing to do just about anything to get a laugh, while also not sacrificing what Nikkatsu Studio’s did best, which was delivering fast-paced action movies. It’s a dark comedy wearing the unassuming suit of a mainstream caper.

When a government shipment of watermarked paper for the treasury department is carjacked by crooks intent on making counterfeit money, Tokyo’s underworld knows that Japan’s expert counterfeiter (Bokuzen Hidari) will soon be in high demand. Hoping to make some money as an unsolicited middleman to arrange the Expert’s services, conman Glass-Heart Joe (Jo Shishido) hurries over to the airport to swoop up the old counterfeiter as he returns to the country. However, Joe’s not the only one who had the bright idea to make a quick buck, as his rivals Slide-Rule Tetsu (Hiroyuki Nagato) and Dump-Truck Ken (Kojiro Kusanagi) also show up at the airport to pick up the Expert. It’s then that the crooks appear and abduct the Expert, thus beginning a game of give-and-take as everyone races to acquire the Expert’s services and make a big payday.

Danger Pays is a movie that’s just chockfull of colorful characters, ably performed by a likable ensemble cast. Slide-Rule Tetsu played by Hiroyuki Nagato (Shinjuku Incident) is obsessed with math and the odds of every situation, constantly referring to the slide-rule in his pocket for all his important decisions. The Kojiro Kusanagi (The Warped Ones) character Dump-Truck Ken is the brute of the antihero trio, at one point torturing a bad guy by threatening to crush him with his dump-truck’s hydraulics. Joe Shishido’s performance is one of the actor’s goofiest, but he also taps into a level of charm that’s usually reserved for Japan’s more suave leading men. As Glass-Heart Joe, Shishido’s performance is part Cary Grant, part Peter Sellers, and I think fans will get a kick out of it. (I did.)

There are a few other important players without whom the movie wouldn’t be the same. Bokuzen Hidari (Seven Samurai), an actor ‘gifted’ with one of the saddest faces in the world, is lovely in his comic role as the Expert. When the crooks force him to make the counterfeit plates for them, his only request is that his working space be a “messy, noisy, and erotic place.” Ruriko Asaoka (Tokyo Mighty Guy) is a delightful addition to the cast, here playing a high-strung judo aficionado who’s happy to be part of the action even though she’s inexperienced in the criminal underworld. I’ve often seen Asaoka in dramatic roles, but seeing her in this it’s clear that she has a gift for comedy, as she gives the film some of its best laughs. Even the film’s villain (Torahiko Hamada, The Thick-Walled Room) brings some laughs to the proceedings, despite being one of the only characters that plays things straight the whole time.

As noted, Danger Pays is not afraid to get tough and bloody. The opening carjacking has enough blood to warrant it an R-rating before the stars of the film ever show their faces. Later, the violence actually borders on becoming gross, as one gag has blood dribble out of a corpse’s mouth and drip down Ruriko Asaoka’s neck. It’s surprising how much violence they fit into this, a film which is otherwise quite silly. This strange shift in tone will bother some viewers. Personally, I thought it added something to Danger Pays’ arsenal, and helped set it apart from other comedies of the time. Despite the general goofiness, I consider it something of a dark comedy. These are characters obsessed with money and guns, they kill each other in order to get what they want, and all the while the film around them mixes gallows humor with the sort of screwball comedy that was so popular in the 60’s.

Of Japan’s great directors, Ko Nakahira remains one of the most difficult for me to figure out. His masterful debut, Crazed Fruit, remains his finest film. With Crazed Fruit, Nakahira is credited for helping to create the Japanese New Wave film movement, something of a parallel to French New Wave. After that stunning debut, though, the idea of what made a “Nakahira film” was impossible to determine, as he worked across basically all genres and even did a couple films for Shaw Bros. in Hong Kong. As an artist, he was something of a chameleon. Danger Pays and the late-career pink-action Rica movies are about as different from Crazed Fruit as you can get. Passing away too soon at age 52, Nakahira undoubtedly had many more strange and colorful films to share with us. Even so, much of his filmography remains largely unseen by the Western world, so there is still much to discover, and Danger Pays is a good example of such a discovery.

Danger Pays is an oddball of a film that’s not likely going to appeal to all viewers—it’s potentially too goofy for the hardcore action fans, and too violent for those just hoping for a silly comedy. Speaking for myself, I had a good time. The cast is fun and director Nakahira infuses his movie with boundless energy. The one thing you can never accuse Danger Pays of being is a lazy film. This film works tirelessly for every laugh and shock, so even though not all of it works there’s still something to admire about how hard it tries.

Kyle Warner’s Rating: 7/10

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