Maria's B-Movie Mayhem: Haunted DVD (Code Red)
RELEASE DATE: September 20, 2011
It began the day they installed that telephone booth in the Cemetery! They dared defy the curse of a hundred years! This 1977 flick will make you never want to use a pay phone again! Sorry, no trailer.
Warner Japan's "Paradise Kiss" is the studio's latest hit.
Variety reports that the Studio arm finds success in film production.
In June, Warner Japan released its 10th local production to pass the ¥1 billion mark, “Paradise Kiss.” Based on a hit comic by Ai Yazawa about an exam-stressed high school girl who finds a new life and romance with a crowd of teen fashionistas, the pic is forecast to finish with $18.5 million.
“Films in development have been rewritten to eliminate content that evokes the tragedy, while local writers and directors seem for now to have shifted focus to more uplifting human dramas,” says Warner Japan topper William Ireton.
Read full article here. – Thanks to Tony F. for the heads up!
Joe Lew and Bruce Lee in the late 1960s.
On July 18th Joe Lewis had an operation to remove a brain tumor from his left temporal lobe. He is expected to have a complete recovery but will go through a normal rehabilitation period.
Joe Lewis gained fame for his karate matches in the 1960s and 1970s. He has twice been voted the greatest fighter in karate history, and has attained the titles of “United States Heavyweight Kickboxing Champion,” “World Heavyweight Karate Champion,” and “United States National Black Belt Kata Champion.”
In the late 1960’s, Lewis studied privately with Bruce Lee. Hong Kong cinema historian Bey Logan notes that Lewis was the original pick for the villain Colt in Way of the Dragon, but because of a “falling out” between the two, Lee picked Chuck Norris instead. Instead, Lewis had a mildly successful film career, starring in cult movies such as “Jaguar Lives” and “Force: Five”. The latest film he’ll be appearing in his “Kill ’em All,” which will be released in 2012.
Trailers: Jaguar Lives! | Force: Five (clip)
“Knockabout” Theatrical Poster
Director: Sammo Hung
Cast: Yuen Biao, Lau Kar Wing, Sammo Hung, Leung Kar Yan, Lee Hoi San, Mars, Wong Kwong Yue, Karl Maka, Peter Chan, Ho Pak Kwong, Billy Chan, Johnny Cheung
Running Time: 104 min.
By HKFanatic
1979’s “Knockabout” represents the first starring role for one of the Three Dragons, Yuen Biao. The opening credits even state “Introducing Yuen Biao.” Behind the camera, Sammo Hung – one of Yuen’s fellow pupils at the Peking Opera School – served as director. It probably goes without saying that “Knockabout” is a must-see film for fans of either actor. Its 92 minute runtime is filled to the brim and overflowing with martial arts action.
Okay, I’ll be honest: the story isn’t that great. And the first hour is on the slow side. Yuen Biao and Bryan Leung (who also starred in Sammo’s “Warriors Two” and “The Victim”) play two penniless bums looking to make some easy money. They’ll cheat, rob, bribe, or steal just to get their hands on a few silver coins. As a result, they’re not the most likable characters in the history of Hong Kong cinema. Things change when they run into a seasoned kung fu master, played by Lau Kar Wing, who promptly kicks their asses after they try to scam him. The two buffoons realize the error of their ways and throw themselves at Wing’s feet, begging the “Sifu” to teach them his amazing kung fu techniques.
Sammo himself also plays a part in the story as a beggar with great martial arts skill who may or may not be more than he seems. Several plots twist later and this film follows a similar formula to many Hong Kong flicks: the story goes from light and goofy to “deadly serious” by the end. The last 30 minutes of “Knockabout” feature some of the finest training scenes I’ve ever witnessed – Yuen Biao was in the shape of his life at the time and his sheer athleticism blew me away.
The final fight scene features Yuen and Sammo teaming up to fight a common foe; this brawl stretches across at least three locations and seemed to run a good 15 minutes. I lost track of how many times my jaw hit the floor. You can’t beat it when Yuen and Sammo combine their strength; they’ve got to be one of the best fighting duos of all time. In “Knockabout,” they also practice some Monkey-style martial arts, complete with real chimpanzee sound effects, which looks damn cool and had me rolling with laughter.
If you can make it through “Knockabout’s” admittedly lame first act, full of bad jokes and Karl Maka mugging for the camera, you’ll be rewarded with some of the best action of the Golden Harvest era. Really, if you like any of the stars involved – Yuen Biao, Sammo, Bryan Leung, or Lau Kar Wing – you can’t go wrong here because they all get their chance shine. And by “shine” I mean kick profuse amounts of ass. Kung fu fans, this is a must see!
HKFanatic’s Rating: 8.5/10
Straw Dogs Blu-ray (MGM)
RELEASE DATE: September 6, 2011
Before you see the remake, see the original classic on Blu-ray! An American mathematician, disturbed by the predominance of violence in American society, moves with his wife to an isolated Cornish village. He finds that primitive savagery exists beneath the most peaceful surface. After his wife is raped, Hoffman’s character seeks revenge.
Directed by Sam Peckinpah (“Wild Bunch”) and starring Dustin Hoffman (“Straight Time”) and Susan George (“Enter the Ninja”). Check out the awesome trailer here.
The Blu-ray will feature 1080p video, a DTS-HD Master Audio 5.1 soundtrack, and supplements will include a theatrical trailer and TV spots.
“Bodyguards & Assassins” Chinese Theatrical Poster
Director: Teddy Chen
Cast: Donnie Yen, Leon Lai, Nicholas Tse, Tony Leung Ka Fai, Hu Jun, Edison Wang, Fan Bing Bing, Eric Tsang, Simon Yam, Wang Xue Qi, Zhou Yun, Mengke Bateer, Che Kim Fai, Jacky Chung, Cung Le, Li Yu Chun, Gary Mak, Philip Ng, Michelle Reis, John Sham, Dennis To
Running Time: 139 min.
By HKFanatic
Donnie Yen continues his quest to remind global audiences that Hong Kong is number one when it comes to action with 2009’s historical epic “Bodyguards & Assassins.” Though fans should probably be aware that Donnie only has a supporting role in the film and he didn’t choreograph the fight scenes himself. This may explain why the action doesn’t quite live up to the standards of “Ip Man” or “Legend of the Fist: The Return of Chen Zhen.” Regardless, this is definitely a film that fans of Hong Kong cinema should seek out.
“Bodyguards & Assassins” is a labor of love from director Teddy Chan (“Purple Storm,” “The Accidental Spy”) that has seen a long road to completion. The film spent nearly a decade in development and had to endure the SARS crisis. It cost around 23 million US dollars to make and involved the no doubt expensive construction of sets replicating Hong Kong harbor circa 1906. These sets were later re-purposed and used by Donnie Yen in “Legend of the Fist.” Considering its time spent in development hell, it’s a triumph that “Bodyguards & Assassins” made it to the big screen at all and, not just that, went on to win Best Film at the 2009 Hong Kong Film Awards.
If you’ve seen Takashi Miike’s 2010 samurai epic “13 Assassins,” you’ll find that “Bodyguards & Assassins” has a similar story structure. Both films fly in the face of traditional action movies where three acts allow for fight scenes at different intervals. “Bodyguards & Assassins” spends an hour or so setting up its plot and establishing the characters, and then delivers at least 40 minutes of non-stop action. Personally, I wouldn’t mind if more genre films followed this template. It allows enough time for character development so that when the action arrives the audience actually cares about who’s involved and what’s at stake. And for the die-hard action junkies, it’s nearly an hour of uninterrupted combat once things do kick into gear.
“Bodyguards & Assassins” takes place in 1906, just a few days before the arrival of real-life political revolutionary Dr. Sun Chen into Hong Kong. If Dr. Sun can meet with representatives of the Chinese territories in Hong Kong, he will be able to spark a revolution to overthrow the corrupt Qing Dynasty. Of course, the Empress won’t stand for this and dispatches numerous assassins to end Sun’s life. The film then follows the plight of those charged with keeping Dr. Sun out of harm’s way during his brief time in Hong Kong.
The cast is star-studded and that’s putting it mildly. Wang Xueqi (“Warriors of Heaven and Earth”) is the closest the film has to a main character but also look for Donnie Yen, Tony Leung Ka-Fai, Nicholas Tse, Leon Lai, Fan Bing-Bing, Eric Tsang, and Simon Yam. Whew. I don’t think I’ve seen a cast this huge since the “Infernal Affairs” trilogy wrapped up. I was really impressed with Wang Xuegi’s performance; he’s the audience’s anchor during the first hour of the movie but unfortunately he’s not given much to do once the action starts.
Honestly, one of the best performances here is from Nicholas Tse. I know Nicholas used to get a lot of grief for being a pretty-boy pop star turned actor (and crashing his car in the news didn’t help) but I think this is a standout role in his career. His character has an intense, brotherly relationship with Wang Xuegi’s son, played by Wang Bo-Chieh. This leads to a lot of emotional scenes during the climax of the film since Wang Bo-Chieh serves as Dr. Sun’s decoy for the assassins. I have to say Tse’s onscreen anguish seemed genuine, even if it was over the top.
Great actors giving great performances in a Hong Kong action-drama with slick production values and numerous martial arts battles. What’s not to like? Well, the action is not quite up to par for a Hong Kong film. The fight scenes are over-reliant on wire-work and Teddy Chan isn’t shy about it as characters make impossible “Matrix” leaps through the air. Some action sequences are plagued by frantic camerawork and rapid editing, which doesn’t help the audience follow the action at all. The drama of a climatic battle between Leon Lai and about fifty assassins is undercut by poor camera angles and frequent cutting to other actors observing the fight. The use of computer-generated blood, blades, and arrows didn’t exactly sell me on the reality of the film either.
That said, the chase and fight scene between Donnie Yen and MMA fighter Cung Le is worth the price of admission alone. In our first glimpse of Cung Le, we see him from afar as he tears down a busy public street like a bull: people, objects, animals, all sent flying as they get caught in his warpath. It’s a fantastic introduction to the character that makes him see larger than life. And that jump kick he lands on Donnie – damn! I don’t think I’ve ever feared for Donnie’s life before. Again, I just wish their battle wasn’t so reliant on wirework.
I went into “Bodyguards & Assassins” expecting to be blown away by the action. Instead, I found myself more invested in the characters and their heroic mission. For a Chinese movie, there is a surprising amount of talk about “democracy” and the opening of the film even gets away with quoting Abraham Lincoln. Of course, I’m sure the word “democracy” means something a lot different to the Chinese. Still, this movie seems primed to appeal to Western audiences despite the usual jabs at British colonization, so it’s a shame that we aren’t seeing its release until 2 years later.
If you’re a fan of Hong Kong cinema, be sure to catch “Bodyguards & Assassins.” The martial arts may not be up to Donnie Yen’s usual measure of quality but the characters and their struggle prove to be emotionally absorbing, which is more than you can say for the average action movie.
HKFanatic’s Rating: 8/10
Robotech: The Complete Series DVD Deluxe Collector's Set (A&E)
RELEASE DATE: October 18, 2011
There’s two kinds of people in this world: those who like “Robotech” (The U.S. adaptation of “Macross”) and those who like “The Super Dimension Fortress Macross” (original Japanese language series) – I happen to love them both equally. I’ll take Hikaru Ichijyo or Rick Hunter, I don’t care. Both versions had an enormous impact on my childhood and my appreciation for this series still holds strong to this very day.
As a child, Transformers, Voltron an G.I. Joe did the job; but with Robotech, there was a sense of realism and attachment to its heartfelt themes of love, friendship, war and death; not to mention, some of the coolest transforming mecha designs ever!
The following is the official press release for A&E’s upcoming Robotech: The Complete Series DVD Deluxe Collector’s Set (featuring ALL NEW extras), as well as the separate sets: First War: Macross aka The Super Dimension Fortress Macross, Second War: Robotech Masters aka: Super Dimension Cavalry Southern Cross and Third War: The New Generation aka Genesis Climber Mospeada:
A sweeping science-fiction anime epic, ROBOTECH was set at the turn of the millennium, when a mysterious spacecraft crash-landed on a South Pacific island. The secrets of alien knowledge aboard this vessel were unlocked, leading to the development of “Robotechnology” and the creation of a vast arsenal of robotic “mecha” to defend the Earth against the alien threats that would eventually strike, attempting to lay claim to the mysterious power source known as “protoculture.” Told through the eyes of characters caught in a successive series of three extraterrestrial invasions, the saga was the first anime series that many fans had seen, and is often credited with the explosion of anime fandom that continues to grow in the U.S. today.
The cornerstone of a blockbuster franchise that has spawned dozens of movies, books, toys, video games and comic books, ROBOTECH was originally licensed from Japan’s Tatsunoko Studios, adapted from three different series and re-edited and re-dubbed into English. Because ROBOTECH hailed from three completely different anime series, Harmony Gold joined them into a cohesive narrative by splitting them into three distinct chapters, each representing a different generation of the saga: THE MACROSS SAGA (36 episodes), THE ROBOTECH MASTERS (24 episodes) and THE NEW GENERATION (25 episodes). These are also informally referred to as “The First Robotech War,” “The Second Robotech War” and “The Third Robotech War” respectively.
Aside from featuring all 85 half-hour episodes of the original series (re-mastered from original elements for this release), ROBOTECH: THE COMPLETE ORIGINAL SERIES also includes over ten hours of bonus programming:
– The Making of Robotech Documentary – NEW to DVD
– Robotech Music Videos – NEW to DVD
– Robotech Overview – NEW to DVD
– Alternate versions of select Robotech episodes – NEW to DVD
– Robotech: The Movie supplementals (including several sequences NEW to DVD
– Macross Original Pilot – 70 minute extended version – NEW to DVD
– Promotional reel of Robotech Launch in China – NEW to DVD
– Over an hour of deleted scenes
– Robotech: The Sentinels (with optional audio commentary)
– Robotech: The Sentinels promotional video
– Macross Original Pilot – Parts 1, 2 and 3
– Mospeada Original Pilot – Part 1
– Original opening and closing animations
– Galaxy of the Stars – Harmony Gold promotional reel
– Toy Commercial and Videogame presentation reels
– International clips for all three Robotech Wars
– A vast stills appendix containing character bios, model sheets, pre-production art, comic – book covers, and merchandise galleries
– And much, much more!
Voted #34 on the “Top 100 Animated Series of All Time” by IGN.com, ROBOTECH will also be released day-and-date in several additional configurations. THE FIRST ROBOTECH WAR (THE MACROSS SAGA; 5 discs), THE SECOND ROBOTECH WAR (THE ROBOTECH MASTERS; 4 discs) and THE THIRD ROBOTECH WAR (THE NEW GENERATION; 4 discs) will also be available for fans both new and old.
"The Ring 2" Japanese Theatrical Poster
AKA: Ringu 2
Director: Hideo Nakata
Writer: Hiroshi Takahashi, Koji Suzuki
Cast: Daisuke Ban, Kyoko Fukada, Kenjiro Ishimaru, Nanako Matsushima, Katsumi Muramatsu, Miki Nakatani
Running Time: 95 min.
By Numskull
STOP!!!
Read this review ONLY if you have already seen Ring 2, if you have seen Ring and want to know more about the sequel before you see it (or decide whether or not to see it), OR if you don’t object to a few minor spoilers (in the second and third paragraphs AFTER this one, anyway). Though I have refrained from giving anything really major away here, I will NOT be held responsible for some reader blithely absorbing this review from start to finish and THEN saying “Damn you Numskull, you ruined Ring 2 for me! I’ll see you in HELLLLLLLL!!!!” Got it? Good.
Ring 2 is the second and more highly regarded film based on the novel “Spiral”, Koji Suzuki’s follow up to his 1991 publishing phenomenon, Ring. The other, Rasen (Spiral), was released back-to-back with the first Ring film and was directed by Joji Iida. Audiences preferred Hideo Nakata’s treatment of Suzuki’s writing, and he directed this other rendition of Spiral in an effort to duplicate (no pun intended…bad in-joke, I know…) his prior success. Did he? Nope. Sorry.
Ring 2 is a sequel in the truest sense, continuing and elaborating upon the story of its predecessor rather than simply rehashing it. Many of the original cast members reprise their roles, though the distribution of spotlight is now quite different. This time around (another bad pun…bloody hell), Ryuji’s assistant/younger girlfriend Mai, whose role in Ring was only marginal, takes center stage as the impetus for an in-depth investigation of the tragic life and even more tragic death (a revelation in the film’s first couple of minutes is perhaps its most horrifying moment) of the mysterious Sadako. Her curse now seems to be reaching out farther than ever before, with both Reiko Asakawa’s young son Yoichi and the teenage girl Masami (who was placed in a mental hospital following the first film’s opening scene) exhibiting unbridled psychic powers (“powers” being a somewhat less than apt term in Masami’s case) and other bizarre behavior, especially muteness (or at least an unwillingness to speak).
This may sound ridiculous, but Ring 2’s biggest downfall is its excess ambition. What made the first film so great was its relative simplicity. Here, too many characters get involved and too much explanation is attempted. Too much science, not enough fear. Horror is most effective when it’s intimate. For example (and for a good plug into the bargain), my favorite short story is The Willows by Algernon Blackwood, which an old friend of mine, who grew up on horror of every sort and was nicknamed “Anti-Christ” in high school, read with wide-eyed abandon on my recommendation and subsequently declared “creepy as hell.” Reason being: it has only two principal characters, in such dire circumstances that any hope of assistance or salvation is practically inconceivable. As you read its forty- or fifty-odd pages, the foremost thought in your mind is something along the lines of: “These guys are fucked.” In my opinion, that aura of hopelessness and isolation is what gave The Blair Witch Project such potential; unfortunately, that particular film drops the ball in a big way on account of its format (squabbling kids recording themselves doing, paradoxically, nothing AND everything when anyone with a thimbleful of common sense would turn the fucking cameras OFF and concentrate on getting back to civilization so they don’t have to wipe their asses with leaves anymore).
That sense of intimacy, that air of personal and immediate dread, is what is sorely lacking in much of Ring 2. It shows us that Sadako’s curse is, potentially, a much more widespread problem than first thought, and that, in and of itself, is a solid enough premise. But with the way that the story is presented, we, the viewers, just don’t give as much of a damn as we should. Gone is the urgency of Asakawa’s desperate search for long-lost secrets in the first film. Gone is the sympathy we felt for the protagonists the last time as the melodrama unfolds in a manner which misses, by a discouragingly large margin, the mark previously set (admittedly, a hard act to follow). Gone is…quite simply…the fun of it.
Hideo Nakata’s talent as a director is still readily apparent, and the basic concept of the series is still intriguing. The film is not bereft of spine-tingling moments, but those of the first one were better and more numerous. Ring 2 has a fair amount to offer those who loved Ring and crave more, more, MORE, but it isn’t required viewing. The first movie is the best in the trilogy (not counting Iida’s contribution, which I haven’t seen) and can stand on its own.
Numskull’s Rating: 6/10
"Ring 0" Japanese Theatrical Poster
AKA: Ringu 0: Happy Birthday
Director: Norio Tsuruta
Writer: Koji Suzuki
Cast: Yuki Nakama, Kumiko Aso, Daisuke Ban, Chinami Furuya, Masami Hashimoto, Kazue Kadokae
Running Time: 99 min.
By Numskull
Here we have both the last and the first installment of the highly successful Ring sequence, rewritten for the screen by creator/novelist Koji Suzuki and directed by Norio Tsuruta, a newcomer to the series. Taking place three decades before the events of the other two films, it illustrates the latter days of Sadako’s life before the tragic fate to which she is doomed comes to pass. You could say it’s “more human” than the others, with Sadako (ably played by Yukie Nakama) getting the spotlight and finally being portrayed as a person, rather than a faceless, malevolent entity whose very name induces tremors of fear.
Sadako is a shy, quiet girl with burgeoning psychic powers…a comparison to Stephen King’s Carrie is just begging to be made…who joins a theater group to try and overcome her social inhibitions. She becomes involved in a bizarre love/lust triangle with Mr. Shigemori, the director, and Toyama, the sound guy, and arouses a great deal of suspicion when the troupe becomes plagued with nightmares and other unexplained phenomena. Additionally, the widow of one of the reporters from the disastrous exhibition of Shizuko’s (Sadako’s mother) mentalism back in the ’50s is on Sadako’s trail with more than mere curiosity on her mind. If you think you know where the story is headed…you’re probably right.
As the climax draws near, the often mentioned, rarely seen Dr. Ikuma confirms a shocking secret about Sadako…and by “shocking” I mean “absurd”. The loss of credibility that this moment causes is made worse by the blithe, straightforward manner in which it is presented. Its significance becomes clear after a bit of reflection on the series as a whole, but it’s still worthy of a resounding “What the F*CK?!?” and I say the movie would be better off without it. Pity…were it not for this, I would have rated Ring 0 as considerably better than Ring 2. As it is, it’s still the sequel’s superior, but the first Ring remains undisputed king of the hill. (Actually, seeing as how this is a trilogy, I COULD say it’s the…yeah, you guessed it…the Lord of the Rings…but that would be pretty weak, even for me.)
Norio Tsuruta is a reasonably good director, and this film’s musical score stands out much more than those of its predecessors (although the first one is the only one with an ending credit song that doesn’t suck). Perhaps most importantly: novelist Koji Suzuki, creator of the whole series, wrote the screenplay, so you can bet your ass that the events in the film are faithful to his ideas.
Last but certainly not least, the ending of Ring 0 is, “at a glance”, quite sad; however, in light of the entire series, “quite sad” doesn’t even begin to cover it. When you consider the details disclosed in the opening moments of Ring 2, the conclusion of this movie surely qualifies as one of the most horribly depressing endings in recent memory. That is simply a comment, not a complaint; the fact that the “gimmick” of these films is never-ending is crucial to its effectiveness. Still, the impact will be felt long after the crappy, mood-killing credit music has finished.
Numskull’s Rating: 6/10
“The Ring” Japanese Theatrical Poster
Director: Hideo Nakata
Cast: Nanako Matsushima, Hiroyuki Sanada, Rikiya Otaka, Miki Nakatani, Yuko Takeuchi, Hitomi Sato, Rie Ino, Masako, Yoichi Numata, Yutaka Matsushige
Running Time: 91 min.
By Numskull
“Frolic in brine, goblins be thine.”
Doesn’t make much sense sitting up there all by itself, does it? Well, it may not make much sense after watching the movie, either, but it’s still kinda catchy, I think. Certainly not the only aspect of the film that stays with you afterwards.
Ring’s plot device…a strange video tape (the content of which is perhaps the most chilling part of the whole film) which condemns those who watch it to an inexplicable death…may sound like unbearable camp of the first water, but it makes for a very solid, very serious thriller that doesn’t need to rely on blood, guts, knife-wielding sociopaths, and half-naked teenage girls wearing (and taking off) designer clothes to ilicit a strong response. Instead, there is a thick atmosphere of dread, and a healthy yet plausible dose of the supernatural. Ring’s horror ranges from nerve-jangling jolts to eerie, quietly disturbing imagery and doesn’t relent until several minutes after the closing credits. Make no mistake: this is not a film that will be easily forgotten.
We follow investigative reporter Reiko Asakawa (Matsushima Nanako) on her quest to unveil the truth behind the curse of the video and its mysterious origin. She uncovers facts, to be sure, but the truth? Ah, now, that’s something different. Part of what makes Ring so effective is that it laughs in the face of conventional, “neat little package” film making philosphy. Enlisting the aid of her ex-husband Ryuji (Sanada Hiroyuki), she must work under a deadline which is rather more severe than is typical while working for a traditional newspaper: she is doomed to die one week after watching the tape, as with all of its other victims, unless…
Hmm…I think I’ll just leave it at “unless”.
With a film such as this, it is even more important than usual to avoid venturing too far into spoiler territory, so I’ll say little more about its actual events. I didn’t much like the “out of the blue” nature of the ending, though it DOES make sense, and it’s still a quite effective conclusion (and I use that word loosely…).
(The following paragraph is for people who have already seen the movie or who won’t be bothered by a partial spoiler; all others should skip it. Don’t worry, it won’t hurt my feelings.) It seems to me that there is one rather brazen flaw in the movie towards the end. When Ryuji descends into the well to look for Sadako’s body, the water comes up to his shoulders when he reaches the bottom. The circumference of the well looks to be less than ten feet. Now, I ask you: how much space does a young woman’s corpse take up? Instead of wasting all of that time removing the water with Reiko dumping the buckets, couldn’t he have just groped around until he found Sadako? Hell yes…he could have done it in mere seconds. But instead, the film tries to squeeze out even more suspense, hoping that nobody will notice the stupidity of Ryuji’s and Reiko’s plan. I hate to say this, but…DUH!!!
The novel Ring, upon which this film is based, was a huge success in Japan, and author Koji Suzuki followed it up with a sequel, Spiral, and a prequel, Loop, both of which were also adapted for the big screen (in fact, Spiral was filmed TWICE, and the screenplay for Loop was written by Suzuki himself). Since it is highly unlikely that these books will be translated into English (if they didn’t do it for Crouching Tiger, Hidden Dragon, they won’t do it for this), I can’t comment on the accuracy and fidelity to the printed page that the films show, but the first Ring film, at least, is highly recommended.
Numskull’s Rating: 8/10
“The Ring” Theatrical Poster
Director: Gore Verbinski
Cast: Naomi Watts, Martin Henderson, David Dorfman, Brian Cox, Jane Alexander, Lindsay Frost, Amber Tamblyn, Rachael Bella, Daveigh Chase, Shannon Cochran
Running Time: 115 min.
By Numskull
This is a remake. Hence, the source material should be taken into consideration before it is discussed.
Go read my review for Ring in the Japanese section if you haven’t done so already.
I’ll wait.
Hmm hm hm hm hmmm…
Doo dee doo dee doo…
Damn, look at that. A hangnail. I hate these f*ckers. *clip* Ah, that’s better.
La la-la lee la-laaa…
Finished? Good. Be advised that minor spoilers lay ahead.
What we have here is a pretty faithful rendition that neither copies the original too closely nor diverts from it too wildly; I daresay it’s about as good as we could have reasonably hoped for. Naomi Watts and Martin Henderson assume the roles played by Matsushima Nanako and Sanada Hiroyuki in the Japanese film; both turn in decent but not spectacular performances. Young David Dorfman will no doubt be compared to Haley Joel Osment in The Sixth Sense even though his character and portrayal are much less emotional. Director Gore Verbinski taps the Hideo Nakata vein pretty well in terms of visuals, and generally keeps the tension level high.
At first, this film follows in the original’s footsteps quite closely, but as the story progresses, two major differences become apparent.
One: it’s longer, and not because it has a lot more detail. This is bad. The “time limit” aspect of the story means that a quick pace is preferable, but Verbinski and screenwriter Ehren Kruger instead take more time than necessary, thus weakening the desperation of the protagonist’s predicament. Normally, I’m one of the last people to adopt Weinsteinian “thinking” and say “less is more and shorter is better” but in this particular case, that’s true. Ironically, most of Rachel Keller’s seven days take up very little screen time, giving us the impression that she constantly drags her ass and accomplishes very little each day. Perhaps reducing the number of days that each of the tape’s victims is allotted would have tightened everything up.
Two: instead of psychic powers running in “HER” family, we get a subplot about horses going insane and killing themselves. Where this came from I don’t know, but sticking to the more straightforward formula would have made the supernatural aspects easier to swallow. Psychic powers ARE certainly at work here, but the horse business, in my opinion, is somewhat distracting and was not the wisest course to take.
Another minor gripe: near the very end of the film, she moves too fast and the “flicker” was a bad idea. If you’ve seen the original, you know what I mean.
There IS a bright side, though. This version circumvents the ridiculous plot hole which marred the original’s well scene. Glad somebody else noticed how stupid that part was.
Watching this in the theater was interesting since I was probably the only one there who knew what was going to happen (in a nutshell, at least). The three gabby assholes seated to my left were particularly audible in their preparations to get up and leave once they thought the end of the film was just a few (thousand) frames away.
“FOOLS!”, I thought.
And, sure enough, nobody expressed their surprise at a higher volume than they did when…you know…IT…happened.
Japanese version: nasty ending. US version: ominous ending. Both good.
And now for the part that really pisses me off: there are no credits at the beginning of this film (not even the title) and the “based on” credit (both novel and film) is strategically placed long after those single screen credits at the end have begun. Even the costume designer (no offense to the individuals in that trade) is listed before any recognition is given to the source material, without which, needless to say, the film would not exist. By the time the names “Koji Suzuki” and “Hideo Nakata” appeared, there were only three other people in the theater besides myself, and two of them weren’t looking at the screen. Even half-assed reviews for this movie (like this one!) will mention the fact that it’s based on a Japanese film, but considering how many Americans simply don’t read unless they absolutely MUST, I would bet that at least 50% of the people who see this thing will go into AND walk out of it thinking that it’s an original Hollywood creation.
I repeat: “FOOLS!”
And now, my two cents long since spent, I conclude. Goodbye, cruel world.
Numskull’s Rating: 8/10
City of Life and Death Blu-ray/DVD (Kino)
RELEASE DATE: October 25, 2011
Kino Video are preparing a Blu-ray release of Chinese director Lu Chuan’s powerful City of Life and Death. The film chronicles the notorious Nangking Massacre, during which approximately 300 000 soldiers and civilians were killed. In 2009, the film won Golden Seashell. Check out the trailer here.
Cape Fear Blu-ray (Universal)
RELEASE DATE: October 18, 2011
Universal Studios Home Entertainment has announced the Blu-ray release of Martin Scorsese’s Cape Fear. The 1991 thriller (a remake of the 1962 version) stars Robert De Niro, Nick Nolte, Jessica Lange and Juliette Lewis. Check out the trailer here.
“Demon Warriors” Thai Theatrical Poster
AKA: Opapatika
Director: Thanakorn Pongsuwan
Cast: Somchai Kemglad, Shahkrit Yamnarm, Leo Putt, Athip Nana, Ray MacDonald, Kemapsorn Sirisukha, Nirut Sirichanya, Pongpat Wachirabunjong
Running Time: 106 min.
By HKFanatic
This is a movie I held off watching, largely because the DVD cover didn’t inspire much confidence. The cover blurb declared the movie was something like a “darker X-Men” but I figured it was just another cheesy Thai action flick in the vein of “Mercury Man.” Shame on me for writing off this movie before I even saw it because I found “Demon Warriors” to be immensely entertaining.
This film is from the director of the basketball-meets-Muay Thai flick “Fireball,” and features cast members from “Dynamite Warrior” and “The Tiger Blade,” and yet tonally it couldn’t be any further from any of them. There are no Thai sex jokes here, no wink at the camera moments or awkward edits from scene to scene. From its opening minutes, “Demon Warriors” presents a relentlessly dark and humorless vision of the world and pursues that vision without wavering. And the film is all the better for it.
The easiest way to describe “Demon Warriors” is a cross between TV’s “Heroes” and Clive Barker’s “Hellraiser” – or, even better, if you remember the obscure 1990 Barker flick “Nightbreed.” Then again, there’s not much that’s “easy” about this plot. The biggest criticism I’ve seen thrown at “Demon Warriors” is that the story is extremely difficult to follow, possibly due to the subtitle translations. There’s no denying the first hour of the film is overstuffed with voice-over narration trying to explain just what the movie is about. Fortunately, everything (kinda) makes sense during the last few scenes of the movie, but until then you might be wondering what the hell is going on and why every character seems to change allegiances so quickly.
“Demon Warriors” doesn’t take place in our world. Apparently those who commit suicide are sent a place between heaven and hell, not unlike purgatory. A “lucky” few are granted special powers in this purgatory but the powers always come with a price. Half the fun of watching the movie is discovering the different abilities the characters have and the toll it takes on them. The story begins with a young detective who is ostensibly the main protagonist; before the opening credits roll, he’s shot himself in the head and entered the next world. It’s there in this limbo that a war is being waged between humans and Opapatika (the mutants AKA the “demon warriors” of the title).
It gets even more convoluted from there but the movie mostly unfolds through voice-over exposition, languid philosophical conversations, and extremely violent fight scenes. The body count in this film is ridiculously high and there are characters who do things I’ve never seen before. Just imagine an immortal stabbed through the chest with multiple machetes, then pulling them right back out of his own body to amputate his attackers. That’s the kind of bloody, visceral scope of this film.
I need to mention that “Demon Warriors” is absolutely gorgeous. The movie doesn’t look like it was filmed in 2007 and I mean that as a compliment. All of the locations in this film have a real, lived-in quality – they’re damp, dirty, worn with age. “Demon Warriors” just has that authentic look I normally associate with Asian films from the 90’s. The director of photography, Decha Seemanta, has worked on numerous other Thai films, including “Chocolate” and “The Eye,” but he really outdid himself here. This is hands down the most beautifully photographed Thai action movie I’ve ever seen. The on-location shooting and repeated aerial/crane shots never failed to impress me. In fact, one of the main reasons the climax let me down was because the action is shot at night and suddenly the footage becomes dark and grainy, losing the luster of the earlier film.
Considering how low my expectations were, “Demon Warriors” blew me away. The plot may be a bit murky (okay, very murky) but it consistently entertains with its grim and bloody superhero fantasy. Again, the ending is not that great and the fight scenes in the first half of the movie tend to be better than those during the latter half. But I have to give Thailand a heap-load of credit for producing this darkly imaginative film, one that’s visually stunning and without a trace of their usual bathroom humor or anti-drug PSAs. To me, this is the kind of movie that their film industry should focus on making. If the idea of Clive Barker having an S&M fantasy involving the X-Men appeals to you, you should check “Demon Warriors” out too.
HKFanatic’s Rating: 8/10
Devil Dog: The Hound of Hell Blu-ray (Shriek Show)
RELEASE DATE: July 26, 2011
This eerie 70s horror gem pits a suburban family against a demonically possessed German shepherd whose hunger for human souls far exceeds that of the normal household pet. Although not above resorting to the usual throat mauling, the satanic psycho-pup s preferred method of attack is to supernaturally cause the deaths of various friends and neighbors, in a style reminiscent of The Omen. Check out the trailer here.
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