Charlene Choi bares all for Herman Yau’s Cat III flick ‘Sara’

Posted on February 18, 2015 by JJ Bona
"Sara" Chinese Theatrical Poster

"Sara" Chinese Theatrical Poster

Herman Yau (Taxi Hunter, Untold Story, The Legend Is Born: Ip Man) is returning to his Category III roots with a new psychological thriller titled Sara. In the film, Charlene Choi (Kung Fu Dunk) plays a woman whose dark past comes back to haunt her when she encounters an underage prostitute in Thailand.

According to Jaynestars, the film’s poster – which shows Choi’s nude body resting in a bathtub full of bloody water – was shot while the movie was being filmed: “The photographer snapped photos candidly, so it appeared more natural. We did not purposely do a photo shoot just for the movie poster. The results were good, as the mood of the photos really matched the sentiment of the movie,” said Choi.

Sara also stars Simon Yam (As the Light Goes Out) and is produced by Chaptan To (Infernal Affairs 2). The film will get its Chinese domestic release in April of 2015.

Updates: Watch the film’s trailer now.

Posted in News |

Colt is My Passport, A (1967) Review

Posted on February 17, 2015 by Kelly Warner
"A Colt is My Passport" Japanese Theatrical Poster

“A Colt is My Passport” Japanese Theatrical Poster

Director: Takashi Nomura
Cast: Jo Shishido, Chitose Kobayashi, Jerry Fujio, Akiyoshi Fukae, Zenji Yamada, Hideaki Esumi, Jun Hongo, Akio Miyabe, Toyoko Takechi, Kojiro Kusanagi, Ryotaro Sugi, Takamaru Sasaki, Asao Uchida, Zeko Nakamura
Running Time: 84 min.

By Kelly Warner

In the 1960s, the Japanese studio Nikkatsu was cranking out action films at a rapid pace. They were often made fast and cheap, but they were also wildly inventive, and gave rise to talents like Seijun Suzuki, Joe Shishido, Koreyoshi Kurahara, and Toshio Masuda. Today, I want to shine the spotlight on one of the lesser known action movies of the period: A Colt is My Passport, a film that’s just as cool as its title suggests.

Joe Shishido plays a hitman tasked with killing a rival yakuza boss. After completing the assassination, he and his partner (Jerry Fujio) attempt to escape the country, but the bad guys have all the airports covered. Joe and Jerry are told to hideout in a truck stop outside of town while things cool down. However, while waiting there, his boss makes nice with the son of the recently murdered rival, and an alliance is formed. In order to ensure friendly relations, Shishido must be killed, and his boss is all too willing to give him up.

Made the same year as Branded to Kill, some fans are quick to point out that the two movies share some interesting similarities. Both Nikkatsu films star Joe Shishido as a hitman that’s being hunted. Both feature an assassination attempt that is nearly foiled by a small creature in the crosshairs (butterflies for Branded, a small bird for Colt). And both have a quirky energy to their action sequences – the action is equally visceral and humorous. But beyond these similarities, they’re two very different movies. Suzuki’s film was a trippy nightmare way ahead of its time. Nomura’s film is more of a celebration of the genre, with stark black and white photography, hardboiled film noir dialogue, doomed romances, and a brilliant, bloody finale.

Joe Shishido is excellent as the hitman Kamimura. The actor has played more complex characters and given more showy performances, but he appears perfectly at ease here. At this point in his career, Shishido was adept at playing these sort of roguish antiheroes, and this should go down as one of his finest films thanks in no small part to his steely screen presence.

The director Takashi Nomura is something of an unknown name in film history. A glance at his IMDb filmography shows that he primarily worked in TV since the 70s. From what I can gather, his only other notable film was the 1961 western Fast-Draw Guy, which also starred Shishido. It doesn’t surprise me that Nomura made a western at some point, as we see many elements of the genre show up in A Colt is My Passport. The film’s score uses a harmonica to create the feel of a Spaghetti Western. Also, at about the half-way point, Jerry Fujio picks up a guitar and sings us a tune, and one could imagine the scene working just the same around a campfire. And the action-packed finale which finds our hero at the designated place as gunmen appear from out of a dust cloud in very similar to the imagery of various westerns. Beyond these nods to the western genre, Nomura’s style is less flashy than his Nikkatsu colleagues of the time. But I’m not complaining. A Colt is My Passport is the only Nomura film I’ve ever seen and it’s a great one.

But it’s not all perfect. For whatever reason, exciting car chases are a rarity in Japanese cinema. The car chase in Colt is strangely polite by Western standards. Thankfully it ends in a splendid way, but I can’t say that the sequence is one of the film’s finer moments. Also, Colt doesn’t spend much time with the villains, so sometimes the viewer may get confused as to who is who in the yakuza family dynamics. I’m not exactly wishing that we had more of the villains in the film, but I do think that they could’ve been more defined and memorable.

Some will find issues with the film’s crazy finale. I’m not one of those people. Shishido and his enemies are given a day to plan for how best to kill one another. The bad guys opt to use an armored car with bulletproof windows. Meanwhile, Shishido digs a grave in the middle of a patch of dirt and… I won’t spoil what happens next. Suffice to say that it may stretch believability just a tad, but it’s so energetic and cool that I personally count it as the film’s best scene.

A Colt is My Passport is available on DVD in the Nikkatsu Noir box set from the Criterion Collection’s Eclipse line. Unlike most Criterion releases, the Eclipse Series is completely devoid of special features. The only supplement is a short essay from Chuck Stephens printed within the case. Also included in the Nikkatsu Noir box is I Am Waiting, Rusty Knife, Cruel Gun Story, and Take Aim at the Police Van. It’s a great set of films – A Colt is My Passport being my favorite of the five.

When you look for lists of the best Japanese crime films, you’re going to see a lot of the same names repeated over and over. Titles like Battles without Honor and Humanity, Shinjuku Triad Society, Hana-Bi, Branded to Kill, and Pale Flower. Names like Kinji Fukasaku, Takashi Miike, Takeshi Kitano, and Seijun Suzuki. You’re not likely to hear A Colt is My Passport mentioned on such lists. And that’s too bad. Gritty, cool, lean, and mean — A Colt is My Passport is just about everything I ask for from an action film of the period. It’s one of the most underrated and underseen yakuza films currently available to Western audiences. I highly recommend it.

Kelly Warner’s Rating: 8.5/10

Posted in Japanese, News, Reviews | Tagged , |

Deal on Fire! The Assassins | Blu-ray | Only $4.99 – Expires soon!

Posted on February 17, 2015 by JJ Bona
The Assassins Blu-ray & DVD (Well Go USA)

The Assassins Blu-ray & DVD (Well Go USA)

Today’s Deal on Fire is the Blu-ray for Zhao Linshan’s The Assassins (aka Bronze Sparrow Terrace or Bronze Sparrow Platform). This period actioner stars Chow Yun Fat (Let the Bullets Fly) and is written by the screenwriter behind Zhang Yimou’s Hero.

The Assassins focuses on Cao Cao (Chow Yun Fat), a prominent warlord who became the head of the central government in China towards the end of the Han dynasty. The film explores areas of military tactics, love, and the relationship between father and son. It also depicts two assassination attempts on the warlord.

Order The Assassins from Amazon.com today!

Posted in Deals on Fire!, News |

The Happiness of the Katakuris | Blu-ray & DVD (Arrow Video)

Posted on February 17, 2015 by JJ Bona
The Happiness of the Katakuris | Blu-ray & DVD (Arrow Video)

The Happiness of the Katakuris | Blu-ray & DVD (Arrow Video)

RELEASE DATE: June 16, 2015

Arrow Video presents the Blu-ray & DVD for 2001’s The Happiness of the Katakuris, directed by Takashi Miike (New Graveyard of Honor).

It’s the “The Sound of Music meets Dawn of the Dead“! The Katakuris are a family trying to run a peaceful country inn but with a lack of guests there is much excitement for their first visitor, until they wind up dead! As each guest in turn dies in strange circumstances the family agree to hide the bodies but will the coverups come back to haunt them. Watch the trailer.

Pre-order The Happiness of the Katakuris from Amazon.com today!

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

Lust of the Dead 4 | DVD (Tokyo Shock)

Posted on February 16, 2015 by JJ Bona
"Lust of the Dead 4" Japanese Theatrical Poster

"Lust of the Dead 4" Japanese Theatrical Poster

RELEASE DATE: March 1, 2016

Tokyo Shock presents the DVD for Lust of the Dead 4 (aka Rape Zombie: Lust of the Dead 4), directed by Naoyuki Tomomatsu (Vampire Girl vs. Frankenstein Girl).

Sexy babes vs. lustful zombies hungry for human flesh… what else is there to say? Lust of the Dead 4 stars Yui Aikawa (Lust of the Dead 1-3), Asami (Prison Girl), Megu Fujiura (Tokyo Train Girls: Private Lessons), Aya Kisaki, An Koshi, Momoha, Takeshi Nakazawa, Yûya Takayama and Miho Wakabayashi. Watch the trailer.

Pre-order Lust of the Dead 4 from Amazon.com today!

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

City War (1988) Review

Posted on February 16, 2015 by Z Ravas
"City War" Chinese Theatrical Poster

“City War” Chinese Theatrical Poster

Director: Sun Chung
Cast: Chow Yun Fat, Ti Lung, Norman Chu, Tien Niu, Lee Ka Ting, Lo Lieh, Teresa Carpio, Michael Chow, Ricky Yi, Mary Hon Lut Lee, John Ladalski, Robin Shou
Running Time: 92 min.

By HKFanatic

City War will likely always hold a fascination for Hong Kong movie buffs, as it’s a vintage heroic bloodshed films featuring the fan favorite pairing of Chow Yun Fat and Ti Lung, reunited just a year after A Better Tomorrow II. If only City War could live up the hype and expectation that will no doubt surround it upon first viewing. But the truth is that the movie is just not very good.

Like many Hong Kong films of its era, the tone of City War is wildly uneven. The first hour or so of the movie bounces back and forth from frivolous comedy to steamy romance, as Chow Yun Fat grins and dances his way through the script as a young but high ranking cop with a thing for the ladies. Ti Ling merely smolders with rage in the background, hissing through clenched teeth about injustice in the system and how Hong Kong has gone to the dogs, AKA the Triads.

Their somewhat happy co-existence is shattered when a top Triad gangster (played by a scene-stealing Norman Chu) gets out of prison after a 10 year stint and sets his sights on our heroes. From there, the script dovetails out of nowhere into pitch-black tragedy.

By the end nobody’s smiling for the camera and City War wants us to take it very seriously. The story predictably builds to a climactic shoot-out in a warehouse-like location, which would be all well and good except that the action choreography ends up being a disappointment. City War was directed by Shaw Brothers veteran Chung Sun (The Avenging Eagle). This was Sun’s one attempt at making a more contemporary kind of Hong Kong film towards the end of his career but unfortunately he doesn’t seem particularly adept at handling blood-spurting action.

Plenty of bad guys are riddled with bullet holes but the staging lacks the style and ‘oomph’ of a filmmaker like John Woo. The ending battle would have benefited from the kinetic flair, judicious use of slow motion, and respect for spacial choreography that Woo displays in his finest works. In comparison, the action in City War comes across as choppy and overly edited. Another Chow Yun Fat film – Tiger on Beat – at least went for broke with its ending by embracing madcap, chainsaw-swinging physicality.

A limp ending might not be such a disappointment if the rest of City War gave us a reason to care. But the script seems written on the fly, Ti Lung is sadly underutilized, and Chow Yun Fat’s natural charisma is almost wasted in a role where he has nothing much to do but romance a gangster’s girl until it’s time to get revenge. If you’re anything like me, you’ve probably been eager to view this film just to witness an ’88 pistol opera pairing of Chow Yun Fat and Ti Lung. Sadly, the movie I pictured in my mind was a lot more entertaining than this. There are plenty of similar titles I can recommend viewing over this (Tragic Hero, Dragon Family, even Flaming Brothers). I’d only suggest making time for City War once you reach the bottom of your ‘heroic bloodshed’ checklist. Come on, I know you’ve got one.

HKFanatic’s Rating: 6/10

By JJ Hatfield

The movie has barely begun before action explodes on the screen. A cop is chasing a shoplifter and they end up in a restaurant where the criminal holds a woman employee hostage. The bad guy is also holding a really long bladed knife to the poor woman’s throat and blood is dribbling down her neck. With the cop, Ken (Ti Lung) not making much progress the hostage negotiator, Dick, (Chow Yun- Fat) is called in to deal with and diffuse the standoff. It’s almost a good cop – bad cop situation except nothing was planned and there is nearly a fight between the two.

It all works out and the two cops can work together well but Ken is short tempered whereas Dick is more mellow and kicked back in his white polyester suits. He likes the finer things in life including beautiful cars and beautiful ladies, not necessarily in that order. However he is always on the look out for clues and really does take his duty seriously.

The viewer should remember this film was made in the 1980s Hong Kong Triad/Crime/Heroes With Guns setting. After the hostage situation things do seem to drag as Dick does his dazzling disco which seems to be more groping than dancing. But do watch and pay attention as it does have relevance. Dick Lee and Ken Chow hold different values in their hearts but they are both truly good men who have become good friends.

Ken is a family man and nothing means more to him than his wife and children. One of the reasons he became a cop was to help make the world, or a portion of it, safe for his loved ones. Ken has a difficult time trying to understand Dick’s flamboyant ways and Dick can’t imagine being tied down with a family. Nevertheless a deep bond develops between them and Dick becomes a friend to the whole family.

Things turn deadly serious when Ken discovers a vicious criminal Ted (Tsui Siu-Keung) is about to be free and on his own after being taken down ten years earlier as part of a major gangland force. Ken was heavily involved and has received threats to him and his family. All this time Ted hasn’t forgotten his revenge and has everything in position. He has no intention of letting those miserable years go unpaid.

In desperation to protect his family Ken nearly ends up off the force. Dick tries to calm him but he cannot know what it feels like to have your family in danger. No one will believe Ken’s fears are real, after all he has arrested many powerful gang criminals before and nothing had happened.

This film helped to re – energize Chow Yun Fat’s career as well as to bring back the excitement and bullet ballets of the great director John Woo. “A Better Tomorrow’ changed many things for a lot of people in the industry, I believe for the good. Ti Lung is always reliable and in some films, even this one, he comes across as very believable. Ti Lung And Chow Yun Fat have been in numerous films together and usually it is Ti Lung with the calmer head. But this time it is family.

I wasn’t impressed with the the direction by Chung Sun. It was adequate but the third act might have used a bit in the earlier part of the film. Once the insane shooting finale begins it’s balls to the wall and … don’t want to say too much. Chung Sun is better known for his work with the Shaw Brothers earlier films in the 1970s and early 1980‘s with movies such as “Human Lanterns”. Hoskin is credited with the story and there are no less than five action choreographers! Trust me, they were needed with this much action taking place!

The finale involves Ken and Dick and a whole bunch of bad asses trying to kill each other in ballistic excess but great action!. That shouldn’t be a spoiler when these two are on the screen. They do have a special chemistry that shines through the role or character!

The massive action is quite good. The fights are filmed in a fashion that allows the viewer to see what is happening. The story line even brings in a special assassin (Robin Shou Wan Bo) in a very brief cameo. Action fans will not be disappointed. This is good solid entertainment. If you feel a bit restless early on do not worry. Your patience will be rewarded!

JJ Hatfield’s Rating: 7.5/10

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

Hungry Ghost Ritual (2014) Review

Posted on February 14, 2015 by oneleaf
"Hungry Ghost Ritual" Chinese Theatrical Poster

“Hungry Ghost Ritual” Chinese Theatrical Poster

AKA: The Ghost Festival
Director: Nick Cheung
Cast: Nick Cheung Ka Fai, Annie Liu, Carrie Ng Ka-Lai, Cathryn Lee, Lin Wei, Eric Chen
Running Time: 82 min.

By oneleaf

One of the most recognized names in Hong Kong cinema today is Nick Cheung (That Demon Within), an award winning actor with a chameleon-like ability that’s applied to any role thrown at him. It’s not surprising that one day Cheung would step behind the camera and direct a movie himself, which brings us to his directorial debut, Hungry Ghost Ritual, a film that he co-write with Adrian Teh.

While promoting Hungry Ghost Ritual, Cheung revealed that the film was sort of an accident: when a group of investors approached him with a detective project, to which he “jokingly” told them “maybe I’ll star in a horror film instead.” To his surprise, and perhaps dismay, the investors reworked the project into a horror film and approached him again. This time, out of respect for the investors – as well as not going back on his word – Cheung reluctantly agreed to not only star, but also direct the film. The project eventually materialized into Hungry Ghost Ritual.

The title of the film alludes to an ancient Chinese rite, still practiced in certain parts of the world today, called “The Hungry Ghost Festival.” Ancient Chinese folklore has it that July is the month where the gates of hell open up and hungry ghosts roam the earth in search of food. Lanterns are lined on roadsides to illuminate their paths and food offerings are placed to placate these ghosts’ hunger.

Hungry Ghost Ritual opens with an old woman squatting in front of her house burning incense – with food offering neatly piled in front – while her grandchild watches in astonishment as little hungry ghouls roam the street looking for food. This promising introduction sequence was an interesting concept, but unfortunately, the rest of the film is a floundering mess.

Cheung plays Zhong Hua, an entrepreneur returning home from Malaysia after a failed venture with his wife. Zhong is trying to reconnect with his estranged father, Xiaotian (Lam Wai), and his hostile half-sister, Jing Jing (Cathryn Lee), after a lengthy absence. When Xiaotian is hospitalized, Zhong is reluctantly forced into the spotlight to take over his father’s Cantonese Opera troupe.

The introduction of Zhong into the world of Cantonese opera would normally serve as a perfect vehicle for the script writers to introduce the audience to all kinds of ghostly manifestations and back story. There is, of course, the occasional apparition that appears from time to time, such as ghoulish possessed characters able to perform ridiculous contortions (almost laughable at times); objects suspended in mid-air and falling for no apparent reason; and an opera performer hoist in the air and flailing around aimlessly. While amusing to watch, the aforementioned sequences add nothing to the flow of the poorly scripted film. Even sleuthing footage of phantasm from Zhong’s cameras placed outside his sleeping quarter, failed to provide a good “scare” or add more clarity to the confusing plot.

Cheung’s directing leaves the audience wondering what direction (no pun intended) the film is taking. Is Hungry Ghost Ritual a horror movie or a drama with ghostly elements? The relationship between Zhong and his father is a thematic element that was touched on but never explored in depth. This arc would have provided more depth to the sparsely thought out script. Moreover, the back story of Xiaotian’s past – which would help explain the strange occurrences at the opera troupe – wasn’t properly depicted and leaves a lot of questions unanswered.

Normally an accomplished actor, here Cheung seems unsure and at times totally befuddled by his surroundings. I’m wondering if he’s acting in character as Zhong or is it the real-life Cheung seeping through as he is clearly having difficulty making this film. Life imitating art?

Cheung’s directing appears out of focus, poorly paced and everything seems choppy and unstructured. During press conferences, Cheung modestly acknowledged that his direction for Hungry Ghost Ritual was just “OK,” and in later directing projects, he would not act, so he can solely focus directing.

The only bright spot in the Hungry Ghost Ritual is the splendid performance by the seasoned Carrie Ng (City on Fire), as a lead veteran opera performer from Xiaotian’s past. Additionally, it’s a shame there wasn’t more screen time for Annie Liu (Shamo) – Zhong’s love interest – which no doubt would have made the film a bit more interesting.

At the end of the of the day, “directing” and “starring” is clearly something Cheung is unable to deal with.

Not recommended.

oneleaf’s Rating: 4/10

Posted in Chinese, News, Reviews | Tagged , |

Hector Echavarria ‘Enters the Dragon’ in ‘Duel of Legends’

Posted on February 13, 2015 by JJ Bona
"Duel of Legends" Theatrical Poster

"Duel of Legends" Theatrical Poster

Argentina’s Hector Echavarria (Chavez Cage of Glory) is back with Duel of Legends, an Enter the Dragon-esque tournament flick that has the 90s written all over it. The film also stars Cary-Hiroyuki Tagawa (Tekken 2: Kazuya’s Revenge) and Quinton ‘Rampage’ Jackson (The A-Team remake).

Duel of Legends revolves around Dax (Echavarria), a martial arts expert who was brought up by Shaolin monks. His deadly kung fu skills are put to the test when he gets himself involved in a Kumite-like tournament that’s connected with human trafficking.

Duel of Legends has an expected release date sometime this year. Until then, here’s the trailer.

Posted in News |

Loren Avedon and Jalal Merhi are back with ‘Risk Factor’!

Posted on February 13, 2015 by JJ Bona
"Risk Factor" Promotional Poster

"Risk Factor" Promotional Poster

Martial arts stars Loren Avedon (No Retreat No Surrender 2) and Jalal Merhi (TC 2000) are back in Frank A. Caruso’s Risk Factor, an ultra low-budget film that was shot in 2011 and edited in 2013.

Risk Factor follows Alex (Merhi), a retired CIA operative who is lured back into the game by a femme fatale (Elise Muller). Things get complicated when Alex’s former partner (Avedon) gets involved.

In the 90s, Avedon and Merhi – along with stars like Don “The Dragon” Wilson and Cynthia Rothrock – dominated the straight-to-video scene with films like King of the Kickboxers, Ring of Fire and Tiger Claws. Their titles were hit or miss, but it was always exciting to see their faces on VHS box covers.

Updates: According to carusofilms.com, Rick Factor will soon be released on iTunes. Until then, be sure to catch the film’s latest trailer.

Posted in News |

Cityonfire.com is ‘Raiding the Rock Vault Charity Concert!’

Posted on February 13, 2015 by JJ Bona

Cityonfire.com and Frank and Beanz Doggie Apparel are proud to be sponsors of the Raiding the Rock Vault Charity Rock Concert in Las Vegas, Nevada!

Raiding the Rock Vault is joining the One Billion Rising global campaign to end violence against women, rise for justice and promote gender equality with an exclusive Raiding the Rock Vault show on Feb. 13, 2015. Proceeds from this one-night-only performance will benefit the Cultural Arts Training Foundation of Las Vegas.

For tickets and information, click here!

Posted in News |

Graveyard of Honor (2002) Review

Posted on February 12, 2015 by Z Ravas
"Graveyard of Honor" DVD Cover

“Graveyard of Honor” DVD Cover

AKA: New Graveyard of Honor
Director: Takashi Miike
Cast: Narumi Arimori, Yoshiyuki Daichi, Hirotaro Honda, Harumi Inoue, Renji Ishibashi, Goro Kishitani, Takashi Miike, Ryosuke Miki, Yasukaze Motomiya, Mikio Osawa, Daisuke Ryu, Harumi Sone, Shun Sugata
Running Time: 131 min.

By HKFanatic

“A Yakuza without honor isn’t worth sh*t.” So says a Yakuza Godfather towards the end of Graveyard of Honor, and the entire movie puts this notion to the test against a terrifying new breed of gangster that is without honor or any recognizably human emotion, portrayed by lead actor Goro Kishitani (The Returner) in a terrifying performance.

The story begins when a lowly dishwasher (Goro Kishitani) saves the life of a Yakuza Godfather in the middle of a gangland-style hit. Almost overnight, Goro find himself inducted into the Yakuza and appointed to a top position in the Godfather’s crime family. Only too late does the Sawada Family realize they’ve placed a mad dog at the head of their table – Goro doesn’t care about Yakuza tradition or rules, and he’ll kill anyone who so much as rubs him the wrong way. While Goro has a few allies among his gangster brethren (a superb Ryosuke Miki), it isn’t long before he’s pitted himself against the entire Yakuza.

The film itself is a remake of a 1975 film from Kinji Fukasaku, the director of Battle Royale, but Takashi Miike (13 Assassins) takes to the material as if it were own. Despite working on a low budget, Miike delivers a visually interesting film via superb camera placement and some gloriously long takes even when a lot of action is unfolding onscreen. Graveyard features the kind of over-the-top violence that has become something of a signature for Miike, although it’s not taken to the manga-esque levels of movies like Ichi the Killer.

AnimEigo offers the film in a 2-Disc DVD set, lavishing the film with the kind of respect and care you wish all distributors would lend their top class Asian films. Subtitles are well-translated and easy to read, and come in an optional two different colors. The second disc is reserved for Special Features, such as interviews and footage from the premiere, for those interested in exploring supplemental content. Fans of Graveyard of Honor couldn’t ask for a better release than what AnimEigo has given us here.

With Graveyard of Honor, Takashi Miike is able to meld the traditional Yakuza film – featuring plenty of brutal stabbings and gunfights – with the kind of decadent, heroin-fueled downward spiral you’d associate with a rock star. It’s a grim journey as our lead character lacks anything you’d call empathy, but the result is one of the most satisfying and memorable films of the director’s prolific career. Even if you feel like you’ve seen most of what the Yakuza genre has to offer, Graveyard of Honor is well worth seeking out.

HKFanatic’s Rating: 8.5/10

Posted in Japanese, News, Reviews | Tagged , |

First trailer for Guy Ritchie’s ‘The Man from U.N.C.L.E’

Posted on February 11, 2015 by Jeff Bona
"The Man from U.N.C.L.E" Theatrical Poster

“The Man from U.N.C.L.E” Theatrical Poster

Due for release on August 14, 2015 is Guy Ritchie’s The Man from U.N.C.L.E. remake, which is based on the hugely popular 1960s television series of the same name.

Henry Cavill (Man of Steel) stars as Napoleon Solo opposite Armie Hammer (The Social Network) as Illya Kuryakin. The film also stars Hugh Grant, Elizabeth Debicki, Alicia Vikander and Jared Harris.

Set against the backdrop of the early 1960s, at the height of the Cold War, The Man from U.N.C.L.E. centers on CIA agent Solo and KGB agent Kuryakin. Forced to put aside longstanding hostilities, the two team up on a joint mission to stop a mysterious international criminal organization, which is bent on destabilizing the fragile balance of power through the proliferation of nuclear weapons and technology.

The duo’s only lead is the daughter of a vanished German scientist, who is the key to infiltrating the criminal organization, and they must race against time to find him and prevent a worldwide catastrophe.

Updates: Watch the first trailer.

Posted in News |

Duel | Blu-ray (Universal)

Posted on February 11, 2015 by JJ Bona
Duel | Blu-ray (Universal)

Duel | Blu-ray (Universal)

RELEASE DATE: May 5, 2015

Universal presents the Blu-ray for Steven Spielberg’s 1971 debut feature, Duel. Dennis Weaver (Cocaine: One Man’s Seduction) stars as a traveling salesman waging a desperate battle for survival after he is mysteriously singled out.

Praised for its deft use of relentlessly mounting psychological tension, Duel features one of the most uniquely terrifying “characters” in movie history: a massive, roaring, 40-ton truck with sheer menace. Watch the trailer.

Pre-order Duel from Amazon.com today!

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

Kazuaki Kiriya strikes Hollywood with ‘The Last Knights’

Posted on February 11, 2015 by JJ Bona
"The Last Knights" Theatrical Poster

"The Last Knights" Theatrical Poster

Japanese filmmaker Kazuaki Kiriya (Casshern, Goemon) makes his Hollywood directorial debut with The Last Knights, a period actioner that centers around a fallen warrior who rises against a corrupt and sadistic ruler to avenge his dishonored maste.

The Last Knights stars Clive Owen, Morgan Freeman, Cliff Curtis, Aksel Hennie, Dave Legeno, Ayelet Zurer, Shohreh Aghdashloo, Giorgio Caputo, James Babson and Peyman Moaadi. It also features a string of well-known Asian actors/actresses that include Ahn Sung-ki (Musa), Tsuyoshi Ihara (Ninja) and Park Si-yeon (Marine Boy).

Lionsgate is releasing The Last Knights on April 3, 2015. Until then, here’s the trailer (via FCS).

Posted in News |

Genghis Khan: To the Ends of the Earth and Sea (2007) Review

Posted on February 9, 2015 by Kelly Warner
"Genghis Khan: To the Ends of the Earth and Sea" Japanese Theatrical Poster

“Genghis Khan: To the Ends of the Earth and Sea” Japanese Theatrical Poster

Director: Shinichiro Sawai
Cast: Takashi Sorimachi, Rei Kikukawa, Mayumi Wakamura, Ken’ichi Matsuyama, Yoshihiko Hakamada, Eugene Nomura, Go Ara, Takahiro Araki, Kachiwo Endo, Yusuke Hirayama, Naoki Hosaka, Sosuke Ikematsu
Running Time: 136 min.

By Kelly Warner

Thirty minutes into Genghis Khan: To the Ends of the Earth and Sea I came to realize that I was not watching a historical epic. Instead, this movie is a biopic about a man who lived a historically epic life. And all in all, that’s not such a bad thing. We’ve seen plenty of historical epics over the years, and we’ve seen a couple about Khan, so maybe a different approach to the subject should be welcomed. The film’s shortcomings as a historical epic could be forgiven… except that it’s not a very good biopic either.

So often I found myself trying to reason with the movie. I’m not asking for much, oh great Khan, just give me something to make the next two hours feel like they are worth my time. Thing is, I don’t think Genghis Khan cares much for the audience. The film plays out like a history lesson that’s being told by a professor who’d rather be anywhere else but here. There’s a distinct feeling of disinterest to the production.

Genghis Khan: To the Ends of the Earth and Sea (AKA The Blue Wolf: To the Ends of the Earth and Sea) is a Japanese/Mongolian co-production. Though filmed on location in Mongolia and featuring thousands of Mongolian extras, the primary cast and crew is made up of Japanese talent and Japanese is the spoken language. The film tells the life story of Genghis Khan from birth to old age. We see him grow into a warrior, take on his rivals and deal with betrayal, and eventually try to unite the Mongols against China. (I cannot claim to know enough about Genghis Khan to tell you with any authority whether the movie is more fact or fiction, but it often feels overly dramatized.)

One of the first rules that any aspiring screenwriter is taught is to never use voiceover to narrate their story. Like most writing tips, there are a whole lot of ‘buts’ to this rule. It’s hard to imagine Fight Club, Fear and Loathing in Las Vegas, and Taxi Driver (among others) without their voiceover narration, which serves to elevate the films. However, too often voiceover is used as a crutch for bad writing. Instead of taking the weight off the story and letting things operate more smoothly, the crutch only brings more attention to the weaknesses of your screenplay. Such is the case here. Genghis Khan’s mother narrates much of the film. It would’ve been much better without this added component. At one point she tells the audience how her son gave no mercy to traitors… just minutes after Khan kills a traitor without mercy. Thanks, Mom. There’s even a moment where we see two armies ready for battle, and then the narration tells us that the battle lasted for days but things worked out in the end. Umm, I personally would rather see the battle instead of just being given the summary afterwards. Whatever.

I thought at first that maybe the movie wasn’t going to be too bad. It didn’t bring anything new to the table — almost every scene had been done better in other movies — but at least the story had some kind of flow to it. However, it quickly became apparent that not only was it repeating material seen in other similar films, but it was repeating scenes from earlier in this film. There’s an awful feeling of sameness to the movie as we move into the second half. Director Shinichiro Sawai wisely sets much of the film in the outdoors on Mongolia’s green hills, but he never manages to do much with the location. It’s a beautiful place, but everything begins to look the same after a while, and no images really grab you. In addition to a boring visual style, the drama often feels like it is on repeat. Even though the confrontations and the dialogue changes, every scene unfolds more or less the same. The characters speak overly dramatic dialogue, turn their back on each other, say something else, and then continue staring off into nothingness. It’s boring staging and terribly repetitive. Stepping into the role of Genghis Khan is Takashi Sorimachi (Fulltime Killer). Sadly, like much the rest of the cast, I can’t say many good things about Sorimachi’s performance here. Everyone is overacting. I don’t put too much blame on the actors, though, as I feel this is something the director should’ve tempered. Sorimachi, like basically everybody else in the cast (which includes Gantz’s Kenichi Matsuyama and Godzilla: Final Wars’ Rie Kikukawa), has been much better in other films.

After all the dull character drama, it comes as a relief when we finally get to a big action sequence. However, things don’t really get much better here. There are a lot of men and horses on screen, but the action is aimless, the music doesn’t fit, and the film features some of the most violent, relentless horse tripping I’ve ever seen. The action is so poorly staged and uninvolving that I was more than ready to get back to the tents for more moody dialogue-heavy scenes.

There’s a decent film in here somewhere, I think. Genghis Khan: To the Ends of the Earth and Sea obviously wasn’t a cheap production. The thousands of extras, the armor and weapons, a half-way decent cast, and a legendary character should’ve created a better film than the one we got. Actually, if you step back and strip away the individual scenes, you come away with a decent story. It’s a film about a warrior who became a legend… and though he was good to his people, he was often cruel to his family. In the film’s most striking scene we see a young Genghis murder his own brother because he refused to fall in line. Later in the film, when Genghis is old, he repeatedly sends his bastard son into dangerous lands, and we can only assume it’s because he hopes the boy will not return. However, when you consider the dull dialogue, the repetitive staging, and the formless action, you come away with a film that’s uninteresting and feels four hours long.

If you’re looking for a good film about Genghis Khan, my advice is to check out Sergey Bodrov’s Mongol and leave Genghis Khan: To the Ends of the Earth and Sea on the shelf.

Kelly Warner’s Rating: 3.5/10

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