Thursday Movie Picks: Non-English Movies

2018 Blind Spot Series: Fist of the North Star

2017 Blind Spot Series: Akira

A Timely Blogathon: Gun Woman

Thursday Movie Picks: Movies Based on a Graphic Novel/Comic (Non-Superhero)

Cold Fish

Directed by Sion Sono.

2010. Not Rated, 145 minutes.

Cast:

Mitsuru Fukikoshi

Denden

Asuka Kurosawa

Hikari Kajiwara

Megumi Kagurazaka

Tetsu Watanabe

Right at the beginning we’re told Cold Fish is inspired by true events. Yeesh. Our trek into the bizarre begins when troubled teen Mitsuko (Kajiwara) is caught shoplifting. When her dad Nobuyuki Shamoto (Fukikoshi) and step-mom Taeko (Kagurazaka) come to get her, they meet store-owner, the fun-loving Yukio Murata (Denden). He’s an exotic fish dealer, same as Shamoto, only much more successful. Instead of calling the cops, Murata offers to give Mitsuko a job and to let her live in a dorm, of sorts, with the other girls that work for him. Since things aren't exactly great between any combination of the three members of the Shamoto household, and Murata and his wife Aiko (Kurosawa) seem harmless enough, Mr. Shamoto agrees. Besides, Murata drives a shiny red Ferrari. As expected, he’s not all he cracks himself up to be. Sure, Mitsuko is a cute young girl and that’s the road my mind traveled in trying to figure what Murata is really up to. That ain't it.

In rather short order, things turn down a dark road. Murata traps Shamoto into a shady business deal that includes making him an accomplice to murder, among other things. Don’t worry. That’s only the beginning. Eventually, we get into adultery, rough sex, domestic violence, more murder, rape, exhibitionism, more murder, and lots and lots of fun with really bloody corpses. A great deal of it is in shocking detail. After this, you’ll no longer have to imagine how to properly dispose of a body and not leave any evidence. To call this movie morbid is selling it way short.

That said, things seem to be coming to a logical conclusion. However, just when we think its coming to an end is when it really flies off the rails. The problem is the point that it appeared we were working toward is rendered completely moot. What promised to provide some form of social commentary through its extremes opts to become a gore-fest enamored with its own pools of blood.

Until now, the only movie I’d seen by director Sion Sono was the fabulously disturbing Strange Circus. As weird and twisted as that movie is, it all works. The story and its visuals somehow both manage to be simultaneously repulsive and compelling. Eventually, it all comes together in a “wow” moment. I couldn't believe what I just saw, but I loved it. Cold Fish is a cruder, and amazingly, more baffling film that reaches for the same qualities possessed by SC but never quite gets there. It just keeps pushing the envelope until it flies off the table then pushes some more. The ending is something far beyond cynical, seemingly just for the sake of being so. To its credit, though, even with all the grotesque and simply distasteful visuals you can’t take your eyes off CF. You may cringe and cover your face, but will probably still watch through parted fingers. This is not a movie you’re likely to forget.

Battle Royale

Directed by Kinji Fukasaku.

2000. Rated R, 122 minutes.

Cast:

Tatsuya Fujiwara

Aki Maeda

Taro Yamamoto

Masanobu Ando

Kou Shibasaki

Chiaki Kuriyama

Takeshi Kitano

The youth of Japan have gotten so unruly that drastic measures have to be taken. Each year, one class of ninth graders is randomly chosen and forced to compete in “Battle Royale.” If you’re at all familiar with professional wrestling you’ll have a vague idea of what’s going on here. The difference is the stakes are considerably higher. The “lucky” class, 43 students in this case, is taken to a classroom on a deserted island where they learn that all but one of them will die over the course of the next three days. They are sent out of the classroom, one at a time. Each is given a bag that includes food, water and a weapon. What each gets for a weapon is completely random, ranging from automatic assault rifles to a pot lid. Their objective is to be the last survivor within the allotted time frame. To ensure there’ll be lots of killing going on each kid is fitted with a necklace that can be remotely triggered to explode. If a sole survivor hasn’t been identified at the end of 72 hours then all of the necklaces will be detonated. A few of the regular cliques from school stay together, each trying to figure a way out of this mess. Some go it alone, trying to avoid the others as much as possible. Of course, several of them become hunters of their classmates.

As you might imagine, this is a graphically violent movie. Though there are geysers of blood spraying from the unfortunate it’s still not as gory as some other Japanese horror and/or manga style flicks. That’s logical since the focus isn’t on violence as much as it is on adolescence. We concentrate more on how the kids react in an extreme situation. It is remarkable to see how some attack their predicament head on while others withdraw from conflict and some try to detach themselves from their reality all together. From time to time flashbacks give us tidbits about why some of them behave the way they do and/or why they’re viewed in a certain light by their classmates. Many of the performances are very good and the script deciphers for us who the heroes and villains are. Expectedly, there are even some twists to that dynamic. When the picture is complete it reveals itself to be a serious parable about growing up and the survival of the fittest mentality that governs most student bodies.

However, Battle Royale does fall short in some areas. We’re never given a clear indicator as to why this program was started. There is only the vague blanket statement that the youth no longer respects adults. I understand respect is huge in Japanese culture, but I need a little more to go on. We’re never shown or really told about any rash of heinous acts by teenagers. We see what seems to be an isolated incident of the sort that occasionally happens in schools. Still, it’s nothing that would come close to justifying these means. With very few exceptions, none of the kids here seem to be the type you’d cross the street to avoid. Another concern is how the flashbacks are used. They don’t have the effect they’re intended to. It seems the director knew this and tacked on a few more at the very end that work better and should’ve been shown earlier in the movie.

BR combines it’s thrills with some sharp commentary. As noted, the whole thing functions as a metaphor for growing up. In that vein, it works brilliantly as a steroid enhanced, weaponized version of high school. On the other hand, some interesting concepts are brought up but rendered irrelevant by the plot’s execution. There are others, but mainly I’m referring to the “Danger Zones”. They’re set up and explained but nothing ever comes of them. Still, the human drama is intriguing and the camera doesn’t flinch in the face of violence. I’ve seen this on a number of lists of the best movies of the decade (2000-2009). I wouldn’t go that far, but it is an ambitious effort well worth your time as it predates similarly themed best-selling novel The Hunger Games by eight years and the movie that followed it by twelve. Be warned though, this is most certainly not PG-13’d for mass consumption.

13 Assassins

Directed by Takashi Miike.

2010. Not Rated 141 minutes.
Cast:
Kôji Yashuko
Gorô Inagaki
Takayuki Yamada
Mikijiro Hira
Masachika Ichimura
Hiroki Matsukata
Ikki Sawamura
Arata Furuta
Tsuyoshi Ihara
Masataka Kubota

There’s been peace for quite some time in 19th century Japan. However, the looming promotion of Lord Naritsugu (Inagaki) threatens to bring back “the age of war”. He’s a member of nobility about to ascend into greater power by virtue of the family he belongs to. Unfortunately, he’s also a homicidal psychopath making victims of peasants all across the land. To stop his reign of terror, Sir Doi (Hira) hires Shinzaemon Shimada (Yakusho), a samurai, to assassinate Lord Naritsugu. Since the lord is well guarded at all times, Shimada recruits a number of other samurai to help until their numbers reach 13. Even so, they face long odds as the lord routinely travels with about 70 men defending his person. Our heroes have their work cut out for them and they’re more than willing to die for the cause.

Director Takashi Miike is known for going over the top, often at a relentless pace. He usually offers us a string of delightfully disgusting visuals. 13 Assassins does this, but in much different manner than he normally goes about things. The storytelling is wonderfully patient for first two acts then completely goes for broke during a third act solely consisting of an extended battle scene.

Early on, we meet and learn a bit about our principles. We watch Shimada go through the recruitment process. We also meet Hanbei (Ichimura), a samurai who is head of security for Lord Naritsugu and no less willing to die to do his job. He gets wind of the assassination attempt and fills us in on how great a warrior Shimada is. One of the great samurai codes is firmly established: whether one lives or dies, he must do so honorably and in complete loyalty to those he serves. During this portion of the movie we’re intrigued but little happens in the way of action. Most of what does cements in our minds that Lord Naritsugu is thoroughly and irredeemably evil. The things he does to those powerless to stop him are beyond appalling. To tell you that you will hate him is understating things by quite a bit.

The second act consists of strategizing. The good guys devise a plan to track and trap the lord. The bad guys try to anticipate what’s coming and make countermoves. Back and forth the advantage swings. It’s an interesting chess match that comes oh so close to wearing out its welcome. We can feel the outburst of action coming but Miike holds off as long as can. Just Every time it seems confrontation can no longer be avoided something causes a delay. The assassins themselves can barely take it. Like us, they’re itching for battle. They have a job to do, if only Shimada will let them do it.

As if sensing how close the audience is to restlessness, Miike finally brings us to the tipping point: that moment when a violent showdown is not only inevitable but imminent. Even though the bad guys numbers have almost tripled, our heroes have no choice but to spring into action. Simply put, all hell breaks loose. By hell I mean roughly 45 uninterrupted minutes of what we came for: samurai action. It’s an ambitious decision to put almost all of your action at the end of the film. Here, it pays major dividends. That’s because even though we came for the swordplay, we stay because of the characters, their strict code of ethics, the game of hide and seek the sides play with each other and of course, we really hate Lord Naritsugu. We’re earnestly rooting for our heroes.

13 Assassins has been compared to Seven Samurai. Indeed, it was inspired by the classic and some have even called it a remake. Some of the personalities of the good guys feel as if they were taken directly from Kurosawa’s film and the style is reminiscent of it, as well. Like SS, most of the action is backloaded to the latter portions of the film. Though it’s not quite as patient as SS which stretches to well over three hours, 13 Assassins is a very restrained effort more fit for today’s audiences shaving more than 60 minutes off of the former’s runtime. It’s remarkable that it comes from Miike, a director not known for self-control. Holding back the action and giving us plenty more intriguing things in its place draws us in is an ambitious decision that pays off. When we finally get to the battle, it’s made so much better by the fact that we actually care who wins.

MY SCORE: 9/10

Tokyo Gore Police

Directed by Yoshihiro Nishimura.
2008. Not Rated, 110 minutes.
Cast:
Eihi Shiina
Itsuji Itao
Yukihide Benny
Jiji Bû
Ikuko Sawada
Cay Izumi
Mame Yamada

Sometimes you read the title of a movie and know you’re in for a wild ride. When your suspicions are confirmed within the first two minutes, you have a decision to make. Do you hit the stop button and end the madness now? Or do you subject yourself to what you know will be completely bonkers. If you keep going, you do so echoing the sentiments of legendary basketball coach Bobby Knight: if being raped is inevitable, you might as well enjoy it.

Okay, it’s not even remotely close to rape. However, it is something most normal people wouldn’t call entertainment. Note that I’ve never once claimed to be normal. What it is, is arguably one of the most ridiculous and without queston the most ridiculously bloody movie I’ve sat through. I don’t mean bloody like the English might say. I mean just plain old bloody. The slightest laceration sets off a geyser of bodily fluid. It literally sprays in all directions, by the gallon. It even seems to be raining blood in one scene.

There is a story, here. At some point in the future Tokyo’s police force has been privatized much like Detroit’s in Robocop. In general, crime in Tokyo isn’t nearly as widespread. Instead, most of the PD’s efforts concentrates on catching and killing “Engineers”. No, we’re not talking about any type of engineer you’ve ever heard of. Here, Engineers are a special breed of criminal. They basically try to kill anyone they come into contact with and keep killing until they themselves are dead. They’re not easy to kill. When wounded, whatever part of them has suffered the damage transforms into some sort of weapon. For instance, when the first Engineer we meet loses his arm, it grows back with a chainsaw attached. Seriously. And you’ll just have to see for yourself what happens when one guy’s penis is bitten off. Yup, I said bitten off. You did notice that this movie isn’t rated, right?

We focus on Ruka (Shiina). She’s the best “Engineer Hunter”. It stands to reason she’s so good at her job because she likes killing. Just ask that poor guy on the subway train. I would tell you what happens there, but that would deprive you of the joy of being surprised. You see that? I wrote that like you might actually watch it. Go ahead. I dare you.

If that’s not enough incentive then think about some of the other visuals you’re missing out on. There’s the woman who’s lower half transforms into what resembles an alligator’s head, the guy who pulls the skin off the top half of his own head, the woman stuffed in the cardboard box that’s only big enough for a few of my kid’s toys. Actually, she’s not stuffed at all, but piled there. Yeah, you kinda have to see it to understand. Believe it, or not, I left a lot out.

Bringing this out of the constant stream of gross-out moments for a minute, there is an interesting dynamic to the writing. Again borrowing from Robocop and even a little from The Warriors, TGP uses a string of wacky commercials and a hyped up dispatch lady to not only provide comic relief but also creates an element of satire that runs through the film. Whether or not it is sharp social commentary I probably need to know a lot more about contemporary Japanese culture to say. Some of it is universal and works just fine.

If you’re looking for something totally outrageous, this is the movie for you. It’s live-action anime with one visual after another you may never forget. I’ve read reviews that say this movie isn’t good or bad but exactly what it tries to be: perverse, bizarre, gory, silly and a number of other adjectives. I prefer to say it the way you’re used to me saying. It’s so bad, it’s awesome!

MY SCORE -10/10

Audition

Directed by Takashi Miike.
1999. Rated R, 115 minutes.
Cast:
Ryo Ishibashi
Eihi Shiina
Jun Kunimura
Tetsu Sawaki
Miyuki Matsuda
Renji Ishibashi

Seven years after his wife has died, Aoyama (Ryo Ishibashi) wants to marry again. When he tells this to his friend Yoshikawa (Kunimura), who happens to be a flimmaker, the two decide to hold a fake movie audition to help him find his very own leading lady. Of course, the woman he falls head over heels for, Asami (Shiina), has some serious issues. Occasionally, a great ending can elevate a movie beyond the sum of it's parts. Such is the case, here. What happens over the last thirty minutes or so has to be seen to be believed, though you'd find yourself brave for stomaching certain portions of it. It's both psychological and gory, making it all sorts of unsettling. And you will come to fear "this wire". On the surface, it's reminiscent of but even more twisted than Misery. Dig deeper and it proves to be more complex, as well. That's because it can strangely be seen as both a feminist and anti-feminist film. On the pro side of that ledger, it might be construed as a warning for all us simplistic, hedonistic guys given to objectifying and/or idealizing women. Conversely, our villain is a female completely dependent on the singularly focused love of men to determine her self-worth. The two sides of this coin create an intriguing horror flick.

However, Audition is not without problems. The first deterrent for many will be how slow the first two-thirds of the film move. Secondly, there seems to be no solid basis for our hero's instantaneous love. To be fair, he actually becomes smitten with her even before meeting her in person, which is fine. The problem is she's undeniably creepy the first time he lays eyes on her and behaves oddly and depressed throughout, doing nothing to sustain his initial infatuation. The effect is we don't get what it is about her that he likes so much. Of course, he may be into withdrawn, fragile emo chicks but we never get that indication. Then, we get to that finale and most of that is forgiven, so there.

In all, it's a solidly creepy movie we think is a bit more reserved than the director's other movies (Takashi Miike is best known for directing what's basically a live-action and ultra-gory anime, Ichi the Killer). Of course, in the end it really isn't...well, maybe a little. Subtitleophobes beware: we're speaking Japanese.

3 Extremes

Strange Circus

Directed by Shion Sono.
2005. Rated R, 108 minutes.
Cast:
Masumi Miyazaki
Rie Kuwana
Mai Takahashi
Hiroshi Ohguchi
Issei Ishida
Tomorrowo Taguchi
Fujiko

Strange movies have a certain way with me. They’re a reminder that film can be akin to abstract art, creative and open to interpretation. Movies that explore the grotesque are also highly intriguing to me. They tap in to our subconscious fear and sadism. Though we may cringe, we can’t stop watching. Strange Circus is a strange movie that explores the grotesque.

We start the proceedings following Mitsuko (played by three different actresses, but somehow not at all confusing). When we meet her, she’s a twelve year old girl who leads a rather tortured existence. Her father is the well-liked principal of her school. However, that’s by far the least uncomfortable part of their relationship. At home, he has a cello case in his bedroom. He likes hiding her in it, forcing her to watch through the peephole he's cut out as he and his wife make love. When that’s not enough, he graduates to having sex with his daughter. Then…well, let’s just say it gets even more bizarre.

The question becomes is Mitsuko’s story real? After a while, we meet Taeko (Miyazaki), a famous wheelchair bound author and discover that we’ve been watching her upcoming novel unfold as she writes it. Or, are we? Is this piece of so-called fiction actually an autobiography? Where we go from here, took a twisted mind to conjure. By the way, director Shion Sono also wrote the movie and did an awesome job at both.

After we’re introduced to Taeko, we switch back and forth between her current, somewhat odd and mysterious life and Mitsuko’s developing tale. The two weave an unsettling tapestry of sexually charged but almost never sexy imagery. The act is completely perverted, stripped of intimacy and wielded as a soul stealing weapon. This is true horror. It eschews masked and/or deformed boogeymen for a real, at least seemingly so, flesh and blood monster. This monster doesn’t rack up a body count to shock us intermittently while using the stupidity of other characters as comic relief. This monster, well all of them as several are eventually revealed, just screws with our heads, relentlessly. Any laughs to be had are uneasy, at best.

In the lead role, Masumi Miyazaki is stunning. She actually winds up playing three roles. It only feels like one, until it suddenly doesn’t. You have to see it, to have even an inkling of what I’m talking about. In fact, the cast as a whole is remarkable. Perhaps, not to be outdone by any of them, cinematographer Yûichirô Ôtsaka turns in outstanding work. It can’t be easy making images so innately disgusting to us so beautiful to look at. This isn’t the gory, slasher flick type of disgusting we’ve become desensitized to. These are things that shake our core and bother us to even think.

If you want to see something very, very different, this is what you’re looking for. It’s often repulsive, but that’s part of its appeal. It never pulls punches. Whether, or not, you duck is up to you.

Yo Yo Girl Cop

AKA Sukeban Deka: Kôdo nêmu = Asamiya Saki
Directed by Kenta Fukasaku.
2006. Not Rated, 98 minutes.
Cast:
Aya Matsuura
Rika Ishikawa
Erika Miyoshi
Shunsuke Kubozuka
Riki Takeuchi
Yui Okada
Yuki Saito
Hiroyuki Nagato

Captured in New York after her visa has expired a teenaged Japanese female ruffian is deported. Once back home, a secret law enforcement agency makes her work for them in exchange for getting her mom out of a New York prison where she is awaiting trial on charges of espionage. She is tasked to pose as a student and find out who is behind a website deemed responsible for several deaths at one high school and features an ominously mysterious countdown. Based on a Japanese manga. This is just plain dumb fun. Of course, you should realize this when you read the title. If not, then surely you’ll understand when you figure out our heroine’s weapon is indeed, a yo-yo. Granted, if I had a yo-yo like the ones in this movie I would’ve ran my high school, but I digress. The writing is hokey with dialogue that feels lifted directly from the manga’s pages. We can tell who the ex-good guy is, too soon (hint: think yo-yo). And the fight scenes? I did say yo-yos play a prominent role, didn’t I? Besides that, they all start with one or more of the combatants striking a serious martial arts pose. Now, don’t get it twisted. Those are all good things. Yes, you will occasionally shake your head and say “what the hell?” Watching it all the way through may make you question your own sanity and judgment…and mine, but never mind. Just know that if you like cheesy martial arts flicks, emphasis on cheesy, this is for you…and me, but never mind. Oh, if that’s not enough we get treated to a catfight between two babes in slinky leather outfits. What’s not to love? No silly, there are no fetishistic thoughts about Asian lesbians running through my head. Nope, none. I promise…never mind. It’s so bad, it’s awesome! Oh, subtitleophobes breathe easy, it's a Japanese movie but the dubbed English version plays on the DVD by default.


MY SCORE: -10/10