It’s not ‘Raid 3,’ but this new Indonesian flick is so ‘Gangster’!

"Gangster" Theatrical Poster

"Gangster" Theatrical Poster

Are you looking for more Indonesian-imported action after seeing The Raid and The Raid 2? If your answer is yes, then you’ll want to check out this new trailer for Gangster, an upcoming martial arts film directed by Fajar Nugro (Refrain).

It’s not quite The Raid 3, but there’s definitely enough hand-to-hand (and foot-to-foot) brutality to win your interest! Gangster stars Hamish Daud (Supernova: The Knight, the Princess & Shooting Star) and The Raid saga’s very own, Yayan Ruhian. | Watch the 1st trailer.

Updates: Check out the 2nd trailer (via FCS). There’s currently no sign of a U.S. release date, but we’re pretty sure Well Go USA is getting their wallets ready!

Posted in News |

From Vegas to Macau II (2015) Review

"From Vegas to Macau II" Chinese Theatrical Poster

“From Vegas to Macau II” Chinese Theatrical Poster

AKA: The Man from Macau II
Director: Wong Jing
Co-director: Aman Chang
Cast: Chow Yun-fat, Nick Cheung, Carina Lau, Shawn Yue, Angela Wang, Michelle Hu, David Chiang, Kimmy Tong, Philip Keung, Wu Yue, Jin Qiaoqiao, Kenny Wong, Derek Tsang, Connie Man, Rebecca Zhu
Running Time: 110 min.

By Paul Bramhall

The 2014 Lunar New Year movie From Vegas to Macau was far from perfect. It featured a droll performance by Nicolas Tse, an irritating Chapman To, and a wasted action role from Philip Ng. However it also had its pluses, the biggest of which was Chow Yun Fat returning to a Wong Jing directed gambling flick for the first time since Return of the God of Gamblers, made a whole 20 years earlier. Chow, who spent most of those 20 years starring either in Hollywood productions which should have been beneath him, or cardboard cutout period epics from the mainland, couldn’t have had a more welcome return to the world of Hong Kong movies. While From Vegas to Macau was very much a hit and miss affair, just seeing Chow doing his thing front and center in a Hong Kong movie was enough to make it enjoyable.

Wong Jing, never one to let go of a winning formula, sure enough embarked on throwing together From Vegas to Macau 2 in time for the 2015 Lunar New Year. With the original relying almost solely on Chow’s charm, while I like him just as much as the next guy, the prospect of watching another 100 minutes of Chow hamming it up and little else would be stretching even his biggest fans patience. The second installment also does away with most of the supporting cast. Nicolas Tse, Chapman To, and Philip Ng are all gone. Unfortunately so is Jing Tian, who was one of the high points and had good chemistry with Chow. Thankfully though, the new cast ensures none of them are likely to be missed. From Vegas to Macau 2 surrounds Chow with plenty of local Hong Kong talent in the form of Nick Cheung, Shawn Yue, Carina Lau, and even Shaw Brothers legend David Chiang gets a worthy role.

The sequel is also noteworthy as being the Shaw Brothers studio return to feature length filmmaking. Sporting an updated logo for the new millennium, the glossy opening credits provide a worthy accompaniment to the legendary studios come back. It also brings me great relief to say that so does the rest of the movie. From Vegas to Macau 2 does a lot to rectify the faults of its predecessor, and it does so in the way you’d expect a HK Lunar New Year movie to – more action, more spectacle, and more wacky comedy. It should be noted that reviewing any Lunar New Year movie comes with a certain amount of caveats, these productions are never intended to be judged as serious movies, rather they’re supposed to be raucously fun, star filled slices of entertainment for local audiences to enjoy during the New Year festivities.

Previous examples of Lunar New Year productions include the Aces Go Places series, many of the My Lucky Stars movies, Millionaire’s Express, and into the 1990’s most of Jackie Chan and Stephen Chow’s movies were released to coincide with the Lunar New Year. Cohesive storytelling, well developed characters, and if the movie is going to be remembered a few months later are all entirely disregarded when it comes to this genre. Their goal is to entertain, and with this in mind, they should also be reviewed from this perspective.

On the basis of the above, there’s not a lot to dislike about From Vegas to Macau 2. From the moment it starts a breakneck pace is set up of out there humor and random actions scenes, and neither really let up for the duration of the run time. Relaxing with wine on a boat is disturbed by pistol wielding female assassins on jet skis and flyboards (imagine a water powered jet pack, here the first time I’ve seen them used in an action movie), a huge robot with a machine gun arm decimates the interior of an apartment, and gold plated cards are thrown to disarm the enemy. Viewed as a legitimate piece of cinema, From Vegas to Macau 2 is completely stupid and illogical. Viewed as an entertaining way to spend 100 minutes of your life, you could do a lot worse.

It almost feels like a review would be incomplete without a brief plot summary, but really, here the plot is so thin (even in comparison to its predecessor!) that it’s hardly worth mentioning. In a couple of lines though, the evil organization D.O.A. is back, and they have their sites set on Nick Cheung, a former employee who stole a ton of their cash. He’s now on the run with his child daughter, however Interpol are also on his tail, led by Shawn Yue, playing a character who happens to be Chow’s godson. Yue asks Chow to help, and through a series of events Chow ends up buddied up with Cheung in Thailand, which leads to various comedic situations and action. Okay, that was three lines.

Carina Lau also stars as a love interest for Chow, and fans of Taylor Wong’s 1987 flick, Rich and Famous, will no doubt get a kick out of the fact that scenes from the movie, which also starred Chow and Lau as a couple, are used to explain their back story. Despite all the comedic shenanigans, Chow and Lau’s relationship is surprisingly heartfelt, and serves an important part in the finale, delivering some welcome emotional weight to close out proceedings. The same applies to Nick Cheung’s relationship with Yolanda Yuen, and despite their scenes together being remarkably brief, they effectively convey a worthy level of emotion. Although arguably it shouldn’t feel earned considering all the hijinks surrounding such scenes, the quality of their performances somehow make it work.

From Vegas to Macau 2 really excels though when it comes to the action, and it crams in a lot of it. From a raid on a safe house in Thailand 30 minutes in, which contains a fantastic mix of live explosions and stunts, combined with some nice use of GoPro shots, to a Muay Thai match that has one of the most unlikely pairings you’ll ever see – a 60 year old Chow Yun Fat vs. Ken Lo. The match is played for laughs, and provides plenty of them, as Chow hilariously cramps up when trying to throw a kick, and uses stalling tactics which bring to mind Stephen Chow in the finale of Love on Delivery. For those looking for some real toe to toe action though, Shawn Yue gets to briefly throw down a couple of times against Wu Yue, one while handcuffed that sees Wu also agree not to use his hands, and the other in an airplane cabin not dissimilar to a scene in The Transporter 2.

The action is all complimented by the onscreen pairing of Chow and Cheung. Both are great actors, and here they bounce off each other well, whether it be backing each other up in a dodgy Thai casino, or surrounded by a group of hungry crocodiles. From Vegas to Macau 2 is interestingly the second time Cheung has found himself confronting crocodiles while in Thailand, the first being Benny Chan’s awful 2013 action flick The White Storm. The chemistry between the two unintentionally makes the movie a few notches better than it would be had it been another actor left to play Chow’s foil (Nicolas Tse we’re looking at you).

Throw in a bunch of on the mark jokes that reference everything from Donnie Yen, Lost in Thailand, The Walking Dead, Unbeatable, and even Korean drama He Who Came from the Stars, and From Vegas to Macau 2 not only captures the spirit of those 80’s HK ‘everything and the kitchen sink’ movies that we love so much, it genuinely feels like one. For those who have seen the original, the closing couple of minutes wrapped up with an interesting cameo, and the sequel does the same. While last time a few people were left scratching their heads, this time it’s a safe bet that with the closing shot, anyone who counts themselves as even a casual fan of Hong Kong cinema, will most likely be left grinning from ear to ear.

Paul Bramhall’s Rating: 8/10

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

Monk Comes Down the Mountain (2015) Review

"Monk Comes Down the Mountain" Chinese Theatrical Poster

“Monk Comes Down the Mountain” Chinese Theatrical Poster

AKA: The Monk
Director: Chen Kaige
Cast: Wang Bao Qiang, Aaron Kwok, Chang Chen, Lin Chi-ling, Fan Wei, Yuen Wah, Vanness Wu, Wang Xueqi, Danny Chan, Lam Suet, Dong Qi, Tiger Hu Chen
Running Time: 123 min.

By Paul Bramhall

Up until recently Shaolin trained actor Wang Bao Qiang’s choice of roles did little to show off his physical talents, from his debut in the 2003 drama Blind Shaft, to starring in the hugely popular comedy Lost in Thailand in 2012. Bao Qiang’s luck changed though in 2014, in which he got to bust out his kung fu repertoire not once, but twice, against current action king Donnie Yen in Iceman 3D and Kung Fu Jungle. The 2015 production Monk Comes Down the Mountain rightfully generated a lot of excitement amongst fans of martial arts cinema, as it’s the first movie which casts Bao Qiang in the starring role of a kung fu movie.

Based on a novel by martial arts writer Xu Haofeng, who is also credited as a screenwriter for The Grandmaster, the kung fu loving demographic weren’t the only ones to get excited, as it was also announced that Chen Kaige would be directing. Kaige has long been an ambassador for Chinese cinema, his most well known work, Farewell My Concubine, famously walking away with the Palme D’Or at the 1993 Cannes Film Festival. Since then Kaige has worked steadily, with his last movie before making Monk Comes Down the Mountain, Caught in the Web, being submitted as the Chinese entry for the Foreign Language Oscar. While his latest work may seem like a drastic departure, it’s worth noting that Kaige turned his attention to commercial filmmaking before, with the 2005 fantasy wuxia, The Promise.

The Promise was considered to be an interesting choice for Kaige, and the final product is frequently referred to as rather uneven, and in some cases, quite silly. Having watched Monk Comes Down the Mountain, it’s safe to say that his second venture into the world of mainstream martial arts themed cinema also suffers from the same issues, while unfortunately also being frequently irritating. The movies faults are present in spite of having a significant amount of support behind it, with the picture marking the second time Hollywood studio Columbia Pictures have ventured into the Chinese market (the first being Jian Wen’s Gone with the Bullets).

The main problem is that Monk Comes Down the Mountain presents us with a simple story, but makes the mistake of presenting it in a very childish manner. Bao Qiang plays a monk in an impoverished temple, who in the opening scene fights a group of other monks to win some food, in an incredibly cartoony and wire-work heavy sequence that involves tickling and excessive gurning. Having won the fight, the abbot casts him out from the temple for being too cocky, and hence he ‘comes down the mountain’ and into the real world to learn about life. Bao Qiang’s monk will put a lot of people off in the first 30 minutes, he’s annoyingly naïve and manically laughs at everything, and his 10 feet into the air somersaults over moving cars set to circus style music are more grating than endearing.

Thankfully his character does develop, and soon he’s taken in by a pharmacist played by Fan Wei. When Bao Qiang learns that Wei’s wife, played by Lin Chi Ling, is cheating with his eccentric younger brother, portrayed by Vaness Wu (sporting a bizarre Vanilla Ice haircut), it triggers a chain of events that lead to Bao Qiang setting off on a path of revenge, forgiveness, and redemption. This translates onscreen to him going from place to place meeting a variety of different characters, some of whom have good intentions, and others not so much.

The Monk Comes Down the Mountain crams in a lot of big Chinese names into its cast. Although it’s worth noting that despite Aaron Kwok and Chang Chen sharing top billing with Bao Qiang, Kwok doesn’t appear until an hour into the movie, with Chang Chen only showing up in the final 30 minutes. If you were interested to see the movie as a fan of either, it’s worth adjusting your expectations accordingly. Surprisingly, the two characters who get the most screen time outside of Bao Qiang are a dastardly father and son duo played by kung fu legend Yuen Wah and Jaycee Chan.

It’s hard to tell, but there seems to be a heap of meta-references going on with the relationship between Wah and Chan, which appear to be referencing the real life tumultuous relationship between Jackie Chan and his son. Wah is a kung fu master who wants people to respect Chan, but is frustrated at his offspring’s lack of martial arts talent. One extended sequence in the movie revolves entirely around Chan taking drugs, which leads to his face becoming deformed and him performing all kinds of drug influenced silliness. In another scene he’s busted smoking a joint, and when not doing either he nervously flicks at his nose as if he recently snorted something. Coincidence that at the time the movie was released Chan had recently been arrested in China for drug use? It seems unlikely, but it also does the movie no favors, as the references stick out too obviously.

The playful nature of the movies opening is soon discarded to focus on some clumsily delivered kung fu intrigue. It turns out Kwok and Chen have mastered the Ape Strike, however Wah feels that the technique was stolen from him before he had a chance to master it, so has vowed to get the kung fu manual back and kill the pair. While the prospect of seeing some Ape Strike kung fu sounds pretty exciting, the name is deceiving. In a strange back-story, it’s explained that only apes can look at the sun and capture it within their eyes, which allows them to move at almost superhuman speeds. For the person who masters the Ape Strike, they’ll also be able to move at superhuman speed. But wait, what’s the real connection to apes, and where’s the strike!? There is none.

This of course leads to the movies biggest problem of all – the action. Handled by Ku Huen Chiu, who was also the action director for Stephen Chow’s entertaining Journey to the West: Conquering the Demons, and backed up by the same effects company responsible for the likes of The Matrix Reloaded, the action here is the antithesis of ‘less is more’. There isn’t a single grounded fight in the whole 2 hour runtime of The Monk Comes Down the Mountain, with every one of them requiring the participants to fly at least 10 feet off the ground. Even basic walking and running is wire assisted, and it all lacks any kind of sophistication or grace.

Wire-work always splits opinions down the middle, and I confess I’m someone who doesn’t mind it. Done in the correct way wire enhanced moves do exactly what they’re intended to do – enhance the action. However here Huen Chiu seems to have no understanding of how space and impact affect a viewer’s reaction and investment to the scene. Where’s the danger in a fight if you’re going to have someone doing Hulk style jumps to the other end of a field? What’s the difference between a light tap with a sword and a roundhouse kick if they both send the person on the receiving end flying/floating into the distance with equal power? There’s no sense of spectacle or awe in any of the moves, and by the time Chen jumps as high as a cloud in the finale it’s difficult to care.

I blame the Ape Strike. Thanks to its powers Aaron Kwok effectively plays a Jedi, able to beckon objects into his hand from a distance via telekinesis, and Chen is Neo, able to move so quick he can dodge bullets, and even getting a multiple-Agent Smith style fight scene a la The Matrix Reloaded. Huen Chiu even manages to massacre a traditional Peking Opera performance, in a scene which has Chen in full Opera makeup throwing CGI tables across the auditorium like boomerangs, before stacking them on top of each other.

It’s a shame that Bao Qiang’s ascension to top star of a movie is paired with Kaige’s descent into mediocre filmmaking. Given the right material, both men are capable of greatness, however in this instance, perhaps they both should have stayed on the mountain.

Paul Bramhall’s Rating: 4/10

Disclaimer: Monk Comes Down the Mountain was shown on China IMAX screens in 3D. However here in Australia, it got a cinematic release in 2D, which is how I watched it.

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

Deal on Fire! Tarantino XX Collection | Blu-ray | Only $57.99 – Expires soon!

"Tarantino XX: 8-Film Collection" Blu-ray Set

"Tarantino XX: 8-Film Collection" Blu-ray Set

Today’s Deal on Fire is the Blu-ray set for the Tarantino XX: 8-Film Collection.

Tarantino XX includes Reservoir Dogs, True Romance, Pulp Fiction, Jackie Brown, Kill Bill Vol. 1, Kill Bill Vol. 2, Death Proof and Inglourious Basterds.

The set also features 2 discs with 5 hours of bonus material, highlighted by a critics’ retrospective on Tarantino’s groundbreaking catalog of films and “20 Years of Filmmaking” that contains interviews with critics, stars and other masters of cinema.

Order Tarantino XX from Amazon.com today!

Posted in Deals on Fire!, News |

‘Jian Bing Man’ will battle Van Damme in the U.S.!

"Jiang Bing Man" Theatrical Poster

There’s another project Van Damme is lending his name to called Jian Bing Man, a Chinese production starring Da Peng (who is also directing), Ada Liu (Badges of Fury) and Yuan Shanshan (One Day).

According to TB, Jian Bing Man is the story of a young man from a poor family earns his living selling jianbing (or Chinese pancake) and suddenly becomes a hero, presumably because he sells the best Chinese crepes in town.

So who does Van Damme play? We have no idea. But who knows, maybe he has a beefy role as the film’s bad guy, a la Enemies Closer!

Updates: 1st trailer for Jian Bing Man (no English subtitles), which, unfortunately, does not feature Van Damme. The film has a domestic release date in China set for July 17, 2015. More trailers should be popping up soon, so stay tuned! | Latest trailer, featuring Van Damme towards the end.

BREAKING NEWS: Variety reports that Jian Bing Man will get a limited theatrical release in North America on July 24, compliments of Magnum Films. A Blu-ray/DVD release will soon follow. Stay tuned!

Posted in News |

R.I.P. Yu Cheng-Hui: Martial Artist and Film Star

"Heroes Returning to the East" Chinese Theatrical Poster

"Heroes Returning to the East" Chinese Theatrical Poster

Media outlets are reporting the death of Chinese martial artist and film star Yu Cheng-Hui (aka Yu Cheng Wai), who died at the age of 75 on July 4.

According to SC36: Yu was born in China’s Shandong province on August 16, 1939, and began studying martial arts at the age of 11. Yu spent 14 years recreating the thought-to-be lost art of the “Double-Handed Sword” movement, a technique which was lost after the Tang Dynasty.

Yu has left behind a three decade-long body of film work, including Shaolin Temple (1982), Kids From Shaolin (1984), Martial Arts of Shaolin (1986), Heroes Returning to the East (1993) and The Legend of Bruce Lee (2008). His final role was in Gordon Chan’s The Four III (2014).

Our condolences go out to Yu Cheng-Hui’s family and friends.

Posted in News |

Stray Cat Rock: Delinquent Girl Boss (1970) Review

"Delinquent Girl Boss" Japanese Theatrical Poster

“Delinquent Girl Boss” Japanese Theatrical Poster

AKA: Alleycat Rock: Female Boss
Director: Yasuharu Hasebe
Writer: Hideichi Nagahara
Cast: Akiko Wada, Meiko Kaji, Koji Wada, Bunjaku Han, Yuka Kemari, Hanako Tokachi, Yūko Shimazu, Yuka Ohashi, Miki Yanagi, Toshimitsu Shima
Running Time: 80 min.

By Kelly Warner

After Roger Corman’s 1966 outlaw biker film The Wild Angels (which starred Peter Fonda pre-Easy Rider) became a surprise hit in Japan, Japanese studios were quick to cash in and make similar films. One such popular film was Toei’s Delinquent Boss from 1968. The Nikkatsu film studio saw Stray Cat Rock: Delinquent Girl Boss as their way to jump in and compete with Toei’s product. Unlike most films with copy-cat origins, Delinquent Girl Boss successfully started a series that ran for five films (spread out over just two years) and is fondly remembered as one of the country’s best film series of the 1970s.

In Delinquent Girl Boss, Nikkatsu basically took a bit of everything that was working for them at the time and threw it all together. We get a yakuza action movie plot infused with rock & roll, 70s counterculture, violent youth, girl power, and a dash of ‘pinky violence’ to top it all off. It’s not an original movie – at least not on the surface – but it’s an entertaining mix.

The plot is simple and familiar but it plays out in an interesting way. Meiko Kaji (Lady Snowblood) plays Mei, the boss of a girl gang. Mei’s girls are at war with a motorcycle gang, who it turns out is backed by a powerful yakuza family. Mei’s in love with Michio (Koji Wada), who is trying to prove his worth to the yakuza by asking his boxer friend Kelly to take a fall and make the gangsters rich. Kelly (Ken Sanders, Massacre Gun) is understandably conflicted. He wants to do right by his friend, but he doesn’t want to sell himself out and throw a fight. All of this is fairly standard crime movie stuff. But what’s interesting is that everything is riding on the decision of Kelly, a supporting character. Whatever Kelly does will decide the fate of everyone else in the film. I liked that. Most of the time the storyline of the boxer and the mob is seen from the boxer’s perspective, here the scope is wider.

I also enjoyed the depiction of the girl gangs. The women here are fully capable of taking care of themselves. Early in the film we see two female gangs square off. They don’t look like much at first, but then the knives come out and it’s just as tough and bloody as similar sequences in male-led films. One action sequence later in the film depicts the women coming to the rescue of a kidnapped male friend. It occurred to me how incredibly common it is to see a man rescue a woman but how rare it is to see those gender roles reversed in such a situation. In a lot of ways, Asian cinema was ahead of Hollywood when it came to female action stars. As far as Japan went, I think part of this is can be traced to the fact that women went to the movies much more than the men did. In the 1970s Meiko Kaji became the biggest female star in Japan and it was because of her action roles, not comedies and dramas as would be the norm for an actress in Hollywood.

Despite being considered a series, the Stray Cat Rock films are only loosely connected to one another through themes and actors. Repeat stars Meiko Kaji, Tatsuya Fuji, and Bunjaku Han play characters with different names and motivations in each film. It’s Kaiji that holds the films together and has made the series a cult classic that lasts. So it’s interesting that in Stray Cat Rock: Delinquent Girl Boss, Kaji plays second fiddle to singer and first-time actress Akiko Wada.

It’s clear from the very beginning that this was meant to be Wada’s movie. Japanese studios (Nikkatsu in particular, I think) were known for producing star vehicles that not only showed young talent being cool on screen but also showcased their singing abilities (see: Tokyo Drifter). The reason was not only to help launch a rising star, but also so they could keep selling records of the songs from the movie. Akiko Wada is a good singer and the film lets her sing a song whenever the action has slowed down for a minute. I’m less certain about her abilities as an actress, however (she only acted sporadically after Delinquent Girl Boss). While clearly meant to be a star vehicle for Wada, it was Kaji that the audiences connected with. The film helped make Kaji a star and it seems like it all happened by accident.

Working with a small budget, Nikkatsu allowed director Yasuharu Hasebe some creative freedom with the film. Hasebe shows more experimentation here than he did in earlier films like Retaliation and Massacre Gun. He slants the camera at odd angles, giving us a skewed view of the performers. He uses interesting editing techniques, sometimes showing a close-up on one actor and a wide shot of a second actor in the same frame. He even plays with colorful graphics from time to time. At times I was reminded of the more playful and experimental films of Nagisa Oshima. Thankfully style does not overwhelm substance, it merely adds to it, making it a fun movie for film buffs as well as an entertaining action movie for general audiences.

Stray Cat Rock: Delinquent Girl Boss was released in May 1970 and was a huge success. Production immediately went underway on a follow-up. The sequel Stray Cat Rock: Wild Jumbo premiered in August that same year, just three months after the original. It boggles the mind. This may not be a film for newbies to the genre, but for fans of Nikkatsu’s action movies and star Meiko Kaji I think it hits the mark. I’m looking forward to checking out the rest of the series.

Kelly Warner’s Rating: 7/10

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

World of Kanako, The (2014) Review

"The World of Kanako" Japanese Theatrical Poster

“The World of Kanako” Japanese Theatrical Poster

Director: Tetsuya Nakashima
Cast: Koji Yakusho, Nana Komatsu, Satoshi Tsumabuki, Joe Odagiri, Fumi Nikaido, Hiroya Shimizu, Hiroki Nakajima, Ai Hashimoto, Asuka Kurosawa, Miki Nakatani, Hitoshi Hoshino, Mahiro Takasugi, Jun Kunimura
Running Time: 118 min.

By Paul Bramhall

While Japanese mainstream filmmaking has arguably been in a creative slump for a long time, there remains a few directors out there who are worth watching. Sono Sion, Miike Takashi, and Takeshi ‘Beat’ Kitano are all names that immediately spring to mind. While Tetsuya Nakashima may not be as much as a household name as the others, he’s certainly no less worthy of inclusion. His movies Kamikaze Girls and Memories of Matsuko quickly developed a cult following thanks to their hyper edited music video aesthetics and quirky pop culture style, however in 2010 he had a change of pace with Confessions. The story of a grieving school teacher looking to seek revenge on those responsible for the loss of her daughter, it was arguably his most mature work. While it still maintained his unique editing style, Confessions left a lasting impression because of its content rather than its style.

In 2014 Nakashima unleashed The World of Kanako, which is based on a book by Akio Fukamachi. While in Confessions Nakashima was presented with the problem that the actress he’d had in mind for the lead initially turned it down, here he must have got a sense of déjà vu, as the studio the movie was originally pitched to, the legendary Toho Company, flatly refused to make it. Thankfully he had success elsewhere, and The World of Kanako bursts onto the screen like a raging bull from the word go.

From a colorful and retro opening credits sequence, which immediately brings to mind the distinctive pulpy style of a 1960’s Nikkatsu noir (only with expletives like Go to Hell! spliced in at regular intervals) to the introduction of Koji Yakusho’s character, The World of Kanako grabs you by the throat immediately. Yakusho has been acting since the late 70’s, however is likely most recognizable as the leader of the 13 Assassins, in Miike Takashi’s 2010 remake of the same name. I use the term ‘most recognizable’ very loosely, as here he plays a disheveled former detective who’s reached rock bottom. A suspected schizophrenic manic depressive who’s both violent and sexually abusive, Yakusho is like a hellish hybrid of Kim Yoon-seok’s detective turned pimp from The Chaser, Takeshi Kitano’s Violent Cop, and Anthony Wong’s pill popping Bobby from Beast Cops.

When he receives a phone call from his ex-wife, in which she reveals their daughter Kanako hasn’t come home for several days, some kind of base parental instinct makes him crawl out from under the rock he’s been living under, and make an attempt to find her. The World of Kanako is a bold movie in that its central character that Yakusho portrays is completely unlikable, however to both his and Nakashima’s credit we remained glued to the screen in a desire to follow him down into the depths of his investigation. There’s a reference to falling down the rabbit hole from Alice in Wonderland in The World of Kanako, and it quickly becomes clear that we’re going to go down a rabbit hole which is very deep indeed.

Unlike his previous movies, here the hyper editing style has a specific link to the character we’re watching. The rapid cuts, and almost hallucinogenic nature of the images, play like a visual representation of the effect the prescribed pills Yakusho takes have on his brain. A perfect example is the recurring dream like perfect image that he keeps having, of what looks to be his former life with a happy wife and daughter in their family home. However at some point during the movie he wakes up in a drunken stupor, and we see the image he’s been having up until this point is actually a commercial for a new housing development that’s been playing on TV. Smart touches like this ensure Nakashima keeps the audience on their toes while watching.

It’s not long before both his ex-wife, and we as the viewer, begin to regret unleashing Yakusho back into the world, as soon he’s rampaging through Saitama beating people half to death, sexually assaulting women, and offering drugs to teenagers in an attempt to find the whereabouts of Kanako. But the more he uncovers, the more we realize that perhaps the apple doesn’t fall far from the tree, as Kanako increasingly becomes a figure that represents someone not entirely different from her father. The concept of hereditary insanity has been touched on before in the likes of Park Chan-wook’s Stoker, but whereas that movie used suspense and sudden outbursts of violence to convey its message, The World of Kanako goes for a more direct approach. The world the characters are living in here is one of a depraved nightmare, and Nakashima keeps us right in the thick of it throughout.

Kanako herself is played by newcomer Nana Komatsu, who delivers an effective performance that balances the fine line between innocence and psychosis. We learn of who she is in flashbacks to 3 years earlier, that see her develop a relationship with a bullied classmate while grieving for her boyfriend that committed suicide. To go into any more detail about her character would really involve going into spoiler territory, but for those who got a kick out of movies like Miike Takashi’s Audition, there should be enough in The World of Kanako to strike a similar chord, although it should be noted that no razor wire or needles are used here.

That being said, The World of Kanako at times becomes an extremely gruesome affair. Yakusho himself starts the movie in an already disheveled white suite, his face covered in a constant layer of sweat, and as events progress both the suit and his face gradually become more and more dirty, bloodied, and ripped. The arrival of Jo Odagiri as a corrupt cop, and a gang of yakuza, leads to a number of scenes which are borderline shocking in their level of violence and bloodshed, which for some will most likely be too much.

As you can easily tell, The World of Kanako is far from a happy movie, however it is an energetic one. The fast paced editing and plot is constantly thrust forward by a selection of tunes that would make Tarantino proud, both western and Japanese. The narrative structure is also thrown out of whack at several points, mixing up scenes and playing with time, which makes it difficult to stop watching even if you wanted to. Nakashima has created a thoroughly unpleasant world here, filled with repugnant characters and their victims, however he constructs it in such a way that for the 2 hours that we’re there, it’s hard to leave.

The final scenes take place in a snow covered landscape, not dissimilar to the way OldBoy comes to a close. However unlike in that movie, in which the unbroken white landscape represents a chance to start over, here it represents a blank canvas for Yakusho to get lost in his own insanity even further. For the audience, The World of Kanako provides a rabbit hole to fall into, but thankfully, unlike the characters within it, at the end of the 2 hours for us the fall is over.

Paul Bramhall’s Rating: 8/10

Posted in All, Japanese, News, Reviews |

The Blind Swordsman: Zatoichi | Blu-ray (Lionsgate)

The Blind Swordsman: Zatoichi | Blu-ray (Lionsgate)

The Blind Swordsman: Zatoichi | Blu-ray (Lionsgate)

RELEASE DATE: September 8, 2015

No need to pay $60 for this out-of-print movie, because Lionsgate is bringing the Blu-ray for The Blind Swordsman: Zatoichi back to life! Directed, written, co-edited, and starring Takeshi Kitano (Beyond Outrage), this is one film you’ll want to watch or revisit!

In an empire ruled by fear, the people’s only hope is the ultimate weapon: Zatoichi (Kitano) – a blind, nomadic samurai whose sword has made him a hero and whose courage has made him a legend. | Watch the trailer.

Pre-order Zatoichi from Amazon.com today!

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

Blunt Force Trauma | DVD (Alchemy)

Blunt Force Trauma | DVD (Alchemy)

Blunt Force Trauma | DVD (Alchemy)

RELEASE DATE: October 6, 2015

Alchemy presents the DVD for Blunt Force Trauma (aka The Effects of Blunt Force Trauma), written and directed by Ken Sanzel (The Replacement Killers).

Two duelists wearing Kevlar vests stand in opposing circles; face each other, draw, and shoot. The one left standing in the circle wins. John (Ryan Kwanten), a talented young shooter seeks the ultimate duel with the champion, Zorringer (Mickey Rourke), while Colt (Freida Pinto) seeks revenge for the death of her brother. | Watch the trailer.

Pre-order Blunt Force Trauma from Amazon.com today!

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

Cityonfire.com’s ‘Cross’ DVD Giveaway! – WINNERS ANNOUNCED!

Cross | DVD (Well Go USA)

Cross | DVD (Well Go USA)

Cityonfire.com and Well Go USA are giving away 3 DVD copies of Simon Yam’s Cross to three lucky Cityonfire visitors. To enter, simply add a comment to this post and describe, in your own words, this classic trailer!

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 DVD for Cross was officially released on June 23, 2015. We will announce the 3 winners on July 21, 2015 and ship out the prizes immediately.

CONTEST DISCLAIMER: You must enter by July 20, 2015 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: Chris Lane, Mathew A., and Bill N.

Posted in News | Tagged |

‘Raid’ star Iko Uwais joins Wahlberg and Rousey in ‘Mile 22′

"The Raid 2" Japanese Theatrical Poster

"The Raid 2" Japanese Theatrical Poster

Mark Wahlberg (The Big Hit) and director Peter Berg (The Rundown) are in negotiations to re-team for Mile 22, an action movie co-starring UFC’s Ronda Rousey (The Expendables 3) and Iko Uwais (The RaidThe Raid 2).

According to THR, Mile 22 tells the story of a CIA agent (Wahlberg) stationed in Indonesia who is tasked with transporting an informant to an airport 22 miles away. While en route, they must battle a bunch of bad guys who plan on taking them out before they reach their plane.

Following 2013’s The Lone Survivor and the upcoming oil-explosion disaster flick, Deepwater Horizon, Mile 22 will be Wahlberg and Berg’s 3rd collaboration together. Stay tuned for more updates!

Posted in News |

100 Yen Love (2014) Review

"100 Yen Love" Japanese Theatrical Poster

"100 Yen Love" Japanese Theatrical Poster

Director: Masaharu Take
Writer: Shin Adachi
Cast: Sakura Ando, Hirofumi Arai, Miyoko Inagawa, Saori Koide, Shohei Uno, Tadashi Sakata, Yozaburo Ito, Osamu Shigematu, Toshie Negishi, Ruka Wakabayashi
Running Time: 113 min.

By Martin Sandison

As well as being a beautiful and cultural place, my home city of Edinburgh, Scotland has one of the longest-running film festivals in the world, this year being the 69th. This time the festival has been one of the best in my memory, with a varied line up and many nations represented. The festival has always had a substantial Asian cinema representation, and this year was no different. Previous entrants have included Oldboy, Motorway, Life Without Principle and Hero.

100 Yen Love looked to be a good one to watch, and I wasn’t disappointed. Star Sakura Ando appeared in one of my favourite Japanese movies Sion Sono’s Love Exposure at the tender age of 22, and her performance is one of the most memorable things about that film. From then on she appeared in numerous television series and films, notable ones including Takashi Miike’s For Love’s Sake (his over the top musical based on a Manga), and Nao Kubota’s Homeland, the first commercial Japanese film set in Fukushima since the nuclear crisis. One of three films Ando made in 2014, 100 Yen Love represents her as an actress at the top of her game. The movie is a great vehicle for her talents, and manages to shine in many other aspects. Director Masaharu Take balances these aspects with a great eye and ability as a story teller.

At the beginning of the film Ando’s character is an early 30’s slacker who is living with her family in Tokyo. She has so many arguments with them that she decides to move out, and finds an apartment and a job in a shop. Every day she walks past a boxing gym, and eventually strikes up a relationship with one of the boxers, Yuuji. In the end she decides to take up boxing herself, and the film ends with her first professional fight. Not a boxing film per se, the movie is really a character study with boxing as a means of redemption for Ichiko. Along the way there are comedic touches, disturbing moments and intensely choreographed boxing scenes.

After watching Love Exposure, Ando’s wonderful portrayal of a girl who is at first manipulative and twisted, but some how ends up lovable was a joy to behold. 100 Yen Love manages to see her handle an even more complex character with similar aplomb, navigating the twists and turns of the plot. I was discussing the film with a guy who did the post-film Q & A with Ando and Take, and he thought every character in the film, even Ichiko, had very few redeeming features. I would disagree, as Ando creates a picture of Ichiko as a misunderstood and pure hearted girl who never stops fighting.

The film is littered with memorable scenes; Ichiko trying to eat the toughest steak ever cooked while crying, numerous scenes between Ichiko and a homeless woman who she gives discarded food, Ichiko beating the crap out of her A-hole boss after she’s had some boxing training, and of course the riveting boxing scenes. Ichiko’s transformation from slacker to boxer is fist-pumping stuff, and as the narrative is so coherent everything fits in to place.

Director Take really comes in to his own with this film, which is a complete change of pace from his previous one Unsung Hero, a great effort in the Chambara genre. That film had a pretty high budget and a traditional style, whereas 100 Yen Love is low budget and modern Japanese style. Take proves in the action department he is a versatile director, as Unsung Hero includes large scale battles, whilst 100 Yen Love’s final fight is up close and personal. Apparently the fight was shot over a 16-hour period, and the action was pre-choreographed. A problem with a lot of the films we love is that the narrative is just a means to include as much action as possible, sacrificing character development; in 100 Yen Love there is so much investment in the protagonist that by the end that fight pay-off creates a strong emotion in the viewer. This is assisted by close-in angles, fluid editing and crunching sound effects, so you can really feel the heat of the battle. The use of slow motion during a crucial part of the fight also had me in raptures, as Ichiko finally uses her killer left hand.

The obvious touchstone for 100 Yen Love is the classic boxing biopic Raging Bull, however the approach to character and narrative is very different when comparing both. The latter is a picture of a violent, volatile man who progresses in the ring but destroys his life out of it. 100 Yen Love portrays Ichiko as a girl who by the end wants to better herself, and boxing gives her this outlet. In the end the movie does follow a classic underdog story, but leaves enough room for originality and quirkiness so that it transcends this archetype.

A problem that is apparent from the earlier parts of the film is that most of the main characters apart from Ichiko are pretty nasty pieces of work, and it is difficult to find positives in their depiction. Yuuji himself treats Ichiko like dirt, and uses her for his own ends. Ichiko’s sleazy co-worker is perhaps the worst out of the lot, a real first class idiot.

However these are but minor faults in a movie that has heart, emotion, style and great acting. I can’t wait to see where star Ando and director Take go next.

Martin Sandison’s Rating: 8/10

Posted in All, Japanese, News, Reviews |

Showdown in Little Tokyo | Blu-ray (Warner)

Showdown in Little Tokyo | Blu-ray (Warner)

Showdown in Little Tokyo | Blu-ray (Warner)

RELEASE DATE: July 21, 2015

Warner presents the Blu-ray for 1991’s Showdown in Little Tokyo, directed by Mark L. Lester (Commando, Class of 1984).

This martial arts action-comedy pairs Dolph Lundgren (Skin Trade) and Brandon Lee (Legacy of Rage, The Crow) as L.A. cops against a gang of Japanese drug dealers, headed by Cary-Hiroyuki Tagawa (Tekken 2: Kazuya’s Revenge). The film also stars Tia Carrere (True Lies), Toshishiro Obata (The Hunted) and Philip Tan (Kung Pow: Enter the Fist). | Watch the trailer.

Pre-order Showdown in Little Tokyo from Amazon.com today!

Posted in DVD/Blu-ray New Releases, Martial Arts Titles |

‘SPL 3′ (aka Sha Po Lang 3, Kill Zone 3 or whatever you want to call it) is happening!

"SPL 3" Teaser Poster

“SPL 3” Teaser Poster

Following SPL 2’s box office success, the possibility of an SPL 3 was inevitable – in fact, it’s in stone! According Twitchfilm, producer Paco Wong (Zombie Fight Club) announced that the next installment in the SPL franchise, titled S.P.L 3: War Needs Lord, has already been green-lit.

The original SPL (aka Sha Po Lang) – helmed by Wilson Yip (Bio-Zombie), which was released in North America under the title Kill Zonehelped provide a boost to Donnie Yen’s and Sammo Hung’s popularity before they collaborated again three years later on 2008’s Ip Man. Even with a Category III rating (essentially the Chinese equivalent of the NC-17), SPL proved successful in Hong Kong theaters.

The sequel, SPL 2, directed by Soi Cheang (Accident), starred Tony Jaa (Skin Trade), Wu Jing (Wolf Warrior), Louis Koo (Flash Point), Simon Yam (Cyprus Tigers) and Zhang Jin (Rise of the Legend). Despite the absence of Yen, SPL 2 was both a critical and financial success.

For SPL 3, Soi Cheang (The Monkey King) and producer Wilson Yip (Ip Man 3) are returning as director and producer, respectively. There are currently no additional details at the moment, but we’ll be sure to keep you informed. For now, be sure to read our review for SPL 2.

Posted in News |