Reviews

It seems that Director Nam Ki-Woong must have been watching Tsukamoto's Tetsuo films when he wrote and directed Teenage Hooker Became a Killing Machine. Which plays as a low-budget homage to Shinya's 1989 Cyber-punk classic with a bit of the famous Korean revenge style type flicks mixed in. Just as in Tetsuo, Nam opts more for visuals and atmosphere than a coherent plot line. Which is not necessarily a bad thing though... you don't watch films named "Teenage Hooker Became a Killing Machine" for the plot.

But the plot goes something like this (as best I could tell). So-Yun Lee plays a teenage hooker who is mentored by her teacher (Dae-tong Kim). Their relationship is not a platonic one, and after long her teacher impregnates the nameless high school girl. In order to avoid controversy, the Teacher kills the girl's baby and then enlists his brothers for a immensely disturbing murder scene involving a double-handled saw! Anyway, Teenage Hooker is then rebuilt (by whom is unclear) into a mechanical Killing Machine. After her first mission, the girl goes on a revenge spree going after her murderers and the sadistic Teacher.

As mentioned, the plot is truly insignificant. The real reason you watch films like this is for the brilliant visuals and the exploitational aspects. Both of which Teenage Hooker has plenty of. Shot in a multitude of grainy hues, the film seems to straddle the line between art and trash. Some scenes are exquisitely crafted, which is quite an accomplishment considering the extremely low-budget nature of the film. It seems to be shot on digital video, but what it lacks in production values it makes up for in imagination.

While I enjoyed the film on various levels, mostly for the visual nature and the shear ambition of Director Nam Ki-Woong's vision, the film has one crucial flaw. It's not long enough. At it's 60 minute run time, including a very long-and bizarre-opening credit roll, Teenage Hooker doesn't have enough time to expand on the theme's it produces. Some scenes seem a bit rushed and I wished the filmmaker would have lengthened the film a bit in order to let the revenge storyline gel in the viewer's brain.

Teenage Hooker is what it is though and maybe I was expecting to much. But what it is, is a fun, trashy, and visually arresting flick worthy of a view. Especially if you take into factor the low production value's (most other director's wouldn't have done half as good a job with twice the money) Director Ki-Woong did a good deed bringing this bizarre vision to life.

Sayaka is the new tenant of the fated Apartment 1303. After moving into her new apartment-which she got at a discounted price (sound familiar?), Sayaka kicks things off with a party. After visiting the "Tatami room," she entertains her guests by eating dog food off the floor and donning a motorcycle helmet(?), she then leaps off the thirteen floor, plunging to her death.

Sayaka's sister Mariko (Noriko Nakagoshi), is puzzled by her sisters sudden suicide. After some extremely long grieving scenes, Mariko decides to do some detective work. She quickly finds out that Sayaka was the fifth woman to die in the apartment, all of who died under similar circumstances. Her journey leads her to the apartment as well as a detective (Arata Furuta) who-for once-believes Mariko's story. Independently, the two set out to unravel the mystery of Apartment 1303 while trying not to become it's next victims.

After watching the first few opening scenes in this movie, I thought this might be good. It seemed as if the director was doing kind of a parody of J-Horror. The death of Sayaka seemed to be ringed with campy overtones. From the goofy faces the characters made to the way things were overacted just a bit, to the weird death scene. Alas, it was not to be, besides the opening and a few scenes toward the end (which kind of reminded of Sam Raimi's Evil Dead 2... in style only) 1303 then degenerates into the typical J-horror flick, riddled with genre cliché's.

Yes, this film has them all; scary dreams, phone calls from dead girls, a grudge type curse, a long haired vengeful ghost, and of course, the obligatory creepy little girl. Everything in this film is a mix of previous Asian horror films as Director Ataru Oikawa brings nothing new to the genre. I wish he would have followed the goofy beginning to it's logical next step (A spoof movie of Asian horror would be great if done right) but Oikawa instead elects to follow paths already forged out in J-Horror.

Bottom Line- For genre fans only. Same old song and dance.

First off, I must say that I made the mistake of watching the Election films out of sequence. I say unfortunately, because after seeing Election 2 first, Election seems a bit of a disappointment. Both films are gangster epics that are similar in form. And while Election is an enjoyable piece of cinema... it's just not nearly as good as it's sequel.

In the first Election installment, we are shown the two competitors for Chairman; Big D and Lok. After a few scenes of discussion amongst the "Uncle's" as to who should have the Chairman title, they (almost unanimously) decide That Lok (Simon Yam) will helm the Triads. Suffice to say this doesn't go over very well with competitor Big D (Tony Leung Ka Fai) and in a bid to influence the takeover, Big D kidnaps two of the uncles in order to sway the election board to his side. This has disastrous results and heads the triads into an all out war. Lok is determined to become Chairman but won't become official until he can recover the "Dragon Head Baton", a material representation of the Chairman's power. The current Chairman, Whistle (Chung Wang) has hidden the baton somewhere in mainland China and the race is on to see who can recover it first.

Much of the film is devoted to the recovery of the Baton. As both aspiring leaders search for it they must dodge cops and opposite sides, which leads into one of the stand out scenes in Election, which involves an underling named Jet (Nick Cheung), a machete, and lots of bad guys. Nick Cheung's presence is attention grabbing to say the least... I wonder if this influenced director Johhnie To in any way while making the second Election, as he does deliver more of Jet's character in the sequel.

While Nick Cheung gives a scene stealing performance, I must not fail to give due to the rest of the film's actors. Election has a great ensemble cast with well thought out performances that are both subtle and impacting. Simon Yam is his usually glorious self and the film also benefits from heavyweight HK actors like Louis Koo, Tony Leung Ka Fai, and the under-appreciated Suet Lam. There really aren't any weak links in the acting and one could easily believe that they're watching real gangsters.

Although the performances are great, one of the most impressive things about Election is Johnnie To's eye for the camera. There are some truly striking shots in the film and it goes without saying that To definitely knows how to frame his shots, as the viewer is treated to a series of innovative and quite brilliant camera placings and angles. All of which makes Election, above all, a great looking film.

My issues with the film arises mostly out of the shear amount of characters involved in Election. It gets a bit hard to follow because the film is so full of characters that aren't integral to the plot. While the sequel opts to focus more on the two candidates, the first Election offers the election process as a whole with tons of Uncles, underlings, and police officers crowding the storyline. Maybe the film would have worked better if it would have been a bit longer with more time dedicated to the inner workings of the Triad, or if Director Johnnie To would have funneled down the necessary elements and expounded on them more.

Bottom Line- All in all, this is a wonderfully brutal film with a great cast, excellent direction, and leisurely pacing that packs a punch. It's just a little more complicated than it needed to be.

Shinobi No Mono opens quite simply with a meeting of a garrison of ninja's. Oda Nobunaga (Tomisaburo Wakayama) is ravaging the countryside in a quest for total control of Japan. Fearing his onslaught will mean the demise of the ninja, two rival garrisons attempt to send assassins to dispatch the warlord. The Momichi and Fujiyachi garrisons send their two best students to complete the assassination; Guemon (Raizô Ichikawa) from the Fujibayashi clan, and Yohachi from the Momachi clan. Determined not to be bested by the other clan each Shinobi attempts to kill the evil Nobunaga as quickly as possible.

Having never seen any of the series but being familiar with many Samurai movies from the same era, I found Shinobi No Mono to be very similar in form to the traditional Chambara formula... albeit a bit more action packed. However as with most early Chambara, the film features a complicated plot, well-developed characters, and striking imagery courtesy of cinematographer Yasukazu Takemura.

The big draw of Shinobi No Mono is the martial arts and the film delivers in that aspect. Being one of the first Ninja movies, the film is packed with fight scenes and cool ninja tricks. Shuriken's are thrown, gunpowder ignited, and grappling hooks are used in ways they weren't intended. The film is particularly interesting because it helped create quite a few modern day movie cliché's.

For instance, there is a scene where Guemon tries to dispatch a target by sneaking into his attic, drilling a hole in the roof, dropping a string down, and sending poison down the line in an attempt to land it in the sleeping target's mouth. This scene was later imitated in numerous films including George Armitage's 1997 black comedy, "Grosse Point Blank." Other than that, many of the newer breed of ninja movies feature a lot of the same "secret ninja moves" that were made known in Shinobi No Moni.

My only complaint is that sometimes the plot feels needlessly complicated. If your familiar with other films from this era you shouldn't have a problem following the film. But if you're not, you'll probably have to pay close attention because the plot intricacies come fast as the betrayals, set up's, and alliances pile up.

Bottom Line- Interesting and complicated seminal ninja film that's as fun as it is action-packed.

As I'm writing this review I keep asking myself, "Why should I like this film?" The plot line is hopelessly jumbled, the humor awkwardly rendered, some of the characters are just plain annoying, and the action leaves much to be desired. When looked at from a rational perspective, this film is a mess... but, it's a strangely compelling and enjoyable mess.

Featuring a Chinese and American Cast, a Brazilian Director, and shot on location in Singapore, One Last Dance is the story of a kidnapping gone wrong. "T" (deliciously acted by Francis Ng), is a hit-man who is assigned to take out a gang of thugs lead by Ko (played annoyingly by Joseph Quek) who have kidnapped a tycoon's son. T is given his marks through small red envelopes called "lisees" which contain the name(s) of his next victim. Along the way T falls for the beautiful Mae (Vivian Hsu in a thankless role), not knowing she's the sister of Ko. When Ko's name shows up in one of T's Lisees, T faces a hard decision.

To be sure there are a lot of things to like about One Last Dance. Francis Ng is mesmerizing as the disenchanted hit-man and helps save this production from its numerous faults. Harvey Keitel is good even though he's not given much to do. Also of note in a positive light, is the film's cinematography and soundtrack, competently filmed and masterfully scored, featuring Pakk Hui's amazing song "Broken Orange" (seriously the song is worth watching the film alone) which nestles its way inside your brain and refuses to come out for days.

On the negative side, the film's humor is uneven and often irritating. One wishes they focused more on Francis Ng's character other than Joseph Quek, who attempts to provide the film with a dose of humor but misses the mark more often than not. Another annoyance is the films use of computer generated blood, which, quite simply, looks terrible. Not to mention the irregular plot. I know this film is meant to be "pieces of a puzzle" and as much as I admire the ambitious attempt it seems to needlessly clutter the production. Most people will need a second viewing to pick through all the overlapping and seemingly unrelated scenes to piece together the time line and plot.

For all of it's faults, I still came away really liking One Last Dance. It's definitely an original piece of work, is entertaining, and features some scenes of true cinematic beauty. I just wished it was a better film.

If I was asked to describe Ebola Syndrome in one word, it would have to be; hilarious. "What?" You might be thinking, "How can you describe a movie that features dismemberment, cannibalism, animal mutilation, self-mutilation, rape, gratuitous nudity, racial slurs, autopsy dissections, and an infamous masturbation scene with pork meat, as hilarious? How? Because in spite of all the nastiness featured in Ebola Syndrome, it actually resembles a gross-out comedy, than a horror film. That's not to say the the film doesn't have it's share of edgy, disturbing violence... it's just done very comically. And better yet, it works damn well.

Anthony Wong reprises his psycho/rapist/killer role again for another outing with director Herman Yau. Along with Danny Lee, these two were behind the much more serious and darker "Untold Story." Drawing comparisons between the two films seems inevitable because they are very similar in plot and both feature Anthony Wong doing what he does best... acting like a raving maniac. But while Untold Story is a dark and mean monster of a film, Ebola Syndrome is it's more light-hearted cousin.

Kai(Anthony Wong)is a psycho, who flees Hong Kong after brutally murdering the family of his employer (all of which happens before the opening credits) to take a job in South Africa working as a chef in Chinatown. Ten years pass, and Kai finds himself stuck in a dead end job with no way out. After visiting a local Zulu tribe to purchase pigs, Kai gets infected with the lethal Ebola Virus. But Kai is "one in ten million" and instead of dying he becomes a carrier for the disease. Shortly after an argument ensues at his work, Kai ends up murdering his employer and his wife, chopping up their bodies, and feeding their Ebola infected bodies to customers as "African Pork Buns (Notice any similarities)." After finding his employer's cash stash, Kai decides to return to Hong Kong; but not without a trail of bodies along the way.

The secret of Ebola Syndrome's success is that it's not afraid to go completely over the top. Combined with genuinely funny humor, the film manages to be one fun ride. Anthony Wong gets to deliver a multitude of great lines with dead-pan nonchalance while he's ruthlessly dismembering or raping one of his many victims. I guess you have to have a dark sense of humor to get this film, and it's not for the squeamish- the autopsy scene is truly disgusting- but if ultra-violence is your thing, Ebola Syndrome delivers a wildly entertaining and sadistic ride.

Bottom Line-If you like extreme cinema seek this out. A blissfully disturbing fun time.

"Be careful what you wish for... it may come true."

As overused and clichéd as this saying is, it really does match up nicely with the main theme from Johnnie To's Triad Election, the second in the Master Director's Election series. After chronicling Lok's rise to power in the first Election, To and the gang team up for part two. This time Lok (Simon Yam) is the godfather who is seeking an unheard of second term. Jimmy (Louis Koo) is the newcomer who needs the chairman position to secure a building project in mainland China that will make him rich.

Election 2 tells a story which is based on an actual event which occurs in China. Every two years, the Chinese mafia has a democratically held election to decide who will become the chairman. As in any election, a fair amount of foul play is involved, all the more so in Election 2 because the candidates are gangsters who are jockeying for control of the Hong Kong underworld.

The performances are the film's greatest attribute, Election 2 features a great ensemble cast as well as one of Simon Yam's greatest performances (and he's had a lot of roles) as the understated evil chairman. Yam is so charismatic the viewer begins to forget how conniving and deceitful his character is. Louis Koo is also fairly sympathetic in his business man turned gangster character, who as the film progresses, starts to resemble Lok more than himself.

Magnificently scored, Triad Election's music would seem to be more fit for a horror film than a gangster flick. That being said, it works. Melodic guitar riffs and a mournful Cello help highlight the truly horrifying depths a man can reach in pursuit of his goal. And there are some disturbingly brutal scenes in this film, culminating in an ending that is both brilliant and haunting.

But the true allure of Election 2 (Triad Election) is following Jimmy's (Louis Koo)transformation from a somewhat reputable business man into an all out ruthless gangster. This is the center-point of the film, and it's what makes Triad Election great. The focus is on character development, not on action (although, Election 2 has it's share of it). In style and form, the film more closely resembles Coppola's Godfather films than an HK action flick. So don't be expecting non-stop action scenes from Election 2, the real fireworks come from the two leads interactions and the treachery that ensues.

Bottom Line- A must have for Asian Cinema Fans as well as anyone who digs gangster flicks.

After watching multiple horror flicks from Thailand, I was very skeptical of Monthon Arayangkoon's The Victim. The success of Thailand's The Shutter has bred a list of copycats trying to imitate the success of that Asian horror classic. Some with good results, some with terrible outcomes (Ghost Game comes to mind). The Victim is neither a great film nor a bad film... but is entertaining and original enough to be a worthy use of 100+ minutes of your time.

The story centers on Ting, a wanna-bee actress, who one day inadvertently secures a job with the local police working as a actor in crime scene re-enactments. After successfully completing a few jobs, Ting is asked by police departments countrywide to assist with their re-enactments. Ting becomes well-known and is also looking at television acting, until a famous crime rips through the headlines. A woman named Meen, who is also Thailands runner-up for Miss Universe, is missing and presumed dead. After an short investigation the husband is accused of the crime. Ting knows that this high profile case will either make or break her as an actress and decides to study the life of Meen throughly and intimately. Unfortunately, she becomes too involved as strange occurrences start to pile up, Ting soon finds out she may be more connected to Meen than she ever thought possible.

One of the greatest selling points of The Victim is that the film was actually shot on location using real crime scenes and the reenactments are also based on true crimes. This helps give the film a bit more creepiness and scores major points in the originality factor(although the film itself does surrender to a few prevalent Asian horror cliché's). Also of note, is that the film's credits feature actual ghost sightings caught by the camera's during the filming.

Another strong-point of The Victim is in it's disturbing imagery. The film elects to take the road of the creepy atmospheric visuals, which are very indicative of Asian horror. There are a few "scary" moments in the film but those pale in comparison with the bloodily beautiful imagery in (for instance) the bathtub scene or the hallway scene (those who have seen this will know what I'm talking about). Monthon's direction in this aspect is spot on and this is one of the major reasons that I can recommend this film.

My major complaint about The Victim is how it seems to want to be too many things at once. A detective story, a romantic love triangle story, and a horror film. There's also a complete change in the film fifty minutes in which results in a MAJOR plot twist that will leave the viewer asking, "...What!?". The plot twist is so unexpected that it almost brings the film to a crashing halt. After which it sputters and coughs like an old engine until the last third of the film where it picks up again and finishes strongly (but also predictably).

Bottom Line- Asian Horror fans should dig this. Clichéd and disorganized, but plot wise it's different enough to be entertaining. It's also accessible to the average viewer, but this ones really for the fans.

An argument could be made either way for Say Yes and either side would have legitimate points for loving/hating this film. I however, loved it. On the one hand, Say Yes is a overly melodramatic, silly film. On the other hand it's also a ultra violent, blood drenched, tension fest featuring a delightfully twisted villain.

The film starts out rather slowly, telling us the story of Jeong-Hyun (Ju-hyuk Kim), a writer who just secured a publisher, and his beautiful wife Yoon-Hee (Sang Mi Chu). To celebrate their anniversary the couple decide to take a trip to Sokcho to see the winter beach. The romantic getaway is rudely interrupted by local psycho "M", a hitchhiker who terrorizes the couple. M (played wonderfully by Joong-Hoon Park) physically and mentally tortures the couple until the couple finally fight back. Which results in the inevitable disturbingly violent conclusion.

The story does bare some similar plot points with 1986's The Hitcher but is not a re-make. It's more of a revision of Robert Harmon's classic film and it works well. Frankly, the film is more reminiscent of the old HK thrillers with exploitational violence and disturbing twists and turns. Director Sung-Hong Kim decided to play around with the formula and produced a film which is (all fault's aside) fun, disturbing, and suspenseful at the same time.

The couple's performances are adequate, but M is the real reason to watch this film. Joong-Hoon Park is excellent as the calmly evil, psychopathic killer. His antagonist role holds the film together and after the first hour was up I wanted something seriously bad to happen to him. Simply put, M is a cold-hearted bastard and Joong-Hoon did a damn good job playing him. The couple's performances are decent, save a few overly melodramatic romance scenes that are in danger of becoming sappy. But they are played fairly straight out and you care enough about them to root for them.

Let's get this straight though. Say Yes is one wild and bloody ride. There are some truly sadistic scenes in this film leading up to a very shocking-and bloody-conclusion. If brutal violence is your thing then check this out. If not, just be warned the last half of the film is extremely violent and disturbing. But this is one of the reason's why I loved it.

The film does have some minor faults and one glaring one. First off, the major fault is that the couple truly make some stupid choices. I think most people wouldn't behave like this in similar situations. I had to dispel my sense of belief a few times during the film, thinking to myself, "No one would do that!" Aside from the main issue, my other gripe with Say Yes was that the film builds up to a climax that happens too early. The film's logical conclusion point comes thirty minutes from the end. Although irritating, the ensuing blood-bath that follows helps make up for it.

Bottom Line- Overall a satisfying thriller. Good suspense, a great villain, and loads of bloody violence save the film from it's faults.

Macbeth is one of the most frequently told stories in cinema and has been translated many times in numerous theater and celluloid settings. Originally written by William Shakespeare in the early 1600's, Macbeth tells the story of betrayal among royalty and one man's quest for power. Director Geoffrey Wright (Romper Stomper) tries his hand at updating Macbeth by setting it in the contemporary Melbourne underworld. A film where the characters substitute swords for guns (ala Baz Luhrman's Romeo and Juliet) and royal vassals for gangsters, Macbeth is a gritty, violent, but critically flawed film.

Macbeth (Sam Worthington)works for King Duncan (Gary Sweet). After being elevated to the Thane of Glamis by The King (as was prophesied to Macbeth by three witches), Macbeth starts setting his eyes on the throne. One night the King comes to stay at Macbeth's house and Lady Macbeth (Victoria Hill) talks him into killing The King to assume power. Macbeth kills his master and then assumes his crown. But success has it's downside, as Macbeth soon finds out, when he has to go to hideous lengths to protect his murderous secret.

OK, first things first. The film's major fault is Sam Worthington. His portrayal of Macbeth is in a word... boring. I honestly didn't care about Macbeth while watching the film. I had more sympathy for Victoria Hill's Lady Macbeth because she bothered to act at least. Worthington sits sullen and wood faced throughout the entire film. I felt like he was doing his best impression of Johnny Deep's George Jung character from Blow... but without the charisma. I have never seen Worthington in a film before so I'm not sure if it was his or the Director's fault, but either way the glue that should have tied everything together into one cohesive unit is weak.

The dialog is good, but when matched up to the Geoffrey Wright's Australian Gangster Motif seems a bit out of place. Frentically paced action sequences mixed with long Shaksperian musings creates pacing conflict within the film. I understand that this is Macbeth and that the director wanted to use the original dialog intact. But hard, fast action scenes following a three minute soliloquy tends to get annoying if not a bit pretentious.

The camera-work is highly stylized, and for the most part, it works well. One thing that I found annoying was how the camera would slowly jostle back and forth, almost constantly. I don't mind shots like that it's just overdone. It's passes beyond the realm of being cool and stylish and instead becomes irritating. Other than that, the art direction and cinematography is fairly well-done.

For all of the good qualities Macbeth possesses; stylish direction, Shakespearian dialog, a strong soundtrack, supernatural nude witches(the weird sisters), and good helpings of brutal, bloody violence. All of these strengths are forgotten when one considers Sam Worthington's uninspired portrayal of Macbeth. The role of Macbeth was essential for tying everything together and in this respect Geoffrey Wright and Sam Worthington failed miserably, making Macbeth a forgettable foray into Shakespeare.

The City of Horisoto is in bad shape. It's full of gamblers, thieves, prostitutes, smugglers, drug addicts, and Yakuza. At the center of this are three bosses who each control different aspects of the Hirosoto underworld; specifically Bosses Taju, Saibei, and Nadahachi. Magistrate Dora-Heita is dispatched by his lord to clean up the City... and possibly the local government as well. The only problem is Dora-Heita is infamously known as a drunken, debauched, samurai with unusual tactics (to say the least). Will he be able to clean up the City or is he just-as his reputation suggests-a philandering, gambling, drunkard?

Although produced in 2000, Dora-Heita is truly a product of the late 60's. Written by the "Four Musketeers" (Akira Kurosawa, Kon Ichikawa, Keisuke Kinoshita and Masaki Kobayshi) in 1969, and directed by the last surviving member of the troop, Kon Ichikawa. The film's script sat around for 30 years until Kon decided to commit the text to celluloid. For those reasons, the film closely resembles 60's Chambara in form and tone. Those familiar with Kon Ichikawa and Akira Kurosawa will know what to expect, and they won't be disappointed.

But for those who aren't familiar with the works of Kurosawa and Ichikawa I will elaborate.

Dora-Heita is a slow but correspondingly paced samurai epic. Don't be expecting a non-stop slaughter-fest or you'll be disappointed. The film actually only features one true sword fight(which is incredible) and if your only in it to see the obligatory blood splatter from sword strokes... than this isn't your film. In fact, Dora-Heita doesn't even enter the City until the film hits its 45 minute mark.

Dora-Heita's true allure is in its direction, dialog, plot, and acting. Kon Ichikawa's direction is excellent and typical of early Chambara. Kurosawa fans will be especially delighted to catch shades of the late masters great repartee throughout the film. The plot is also reminiscent of Kurosawa's dual masterpieces Yojimbo and Sanjuro, (although Dora-Heita isn't on the same level as those masterpieces). And Koji Yakusho is great as the cryptically competent Magistrate Koheita (a.k.a. Dora-Heita). On top of everything, the film has some pretty funny comedic elements to it too, I found myself chuckling throughout at Koheita's exploits. Add all these qualities up and you have a very fun and involving film.

The film does have some minor faults. The plot might be a little too much like Yojimbo for it's own good. Some scenes run on a little long, and sometimes the dialog becomes a bit superfluous.

Bottom Line- Not an outright Masterpiece, but a damn fun two hours.

What do you get when you combine an idealistic country bumpkin, two sets of professional thieves, and a long train ride (with more than it's share of surprises along)? Well if it's awesomely directed, acted and filmed, it's probably Feng Xiaogang's A World Without Thieves, a slow paced but rewarding film.

In the opening, we meet a male and female couple who are professional thieves named Bo Wong (Andy Lau) and Li Wang (Rene Liu). After an argument about Li leaving the profession, Bo kicks her out of the car. Walking into town, Li meets a naive orphan named Dumbo(Baoqiang Wang) who happens to be carrying his life's saving of 60,000 dollars with him in his carry-on bag. Li and Fu quickly become friends, when Bo re-enters the story. The three decide to take a train ride where they meet another set of professional pickpockets. Dumbo soon finds himself in the middle of two set's of scheming thieves, his only protection is the sympathetic thief Li Wang. But is she enough to save the lamb from the wolves?

The film's first 20 minutes is actually the best shot and most emotionally affecting part of the film, it actually called to my mind the better works of Zhang Yimou. The opener also features some brilliant work by Photography Director Zhang Li. The shots of mainland China's mountains and are incredibly shot and framed. Unfortunately, after the characters enter the train, we loose the beautiful landscape shots. The film than turns into a war of thieves complete with (what I'll call) Pickpocket Kung Fu, a series of dangerous contests, double crossings, and all kinds of out-right deliciously scandalous behavior.

Although, shot a bit too-closely for my tastes, the action scenes are well-done, but they seem to be a bit out of pace with the film's beginning feel and overall themes. The competition scenes where actually much more satisfying than the film's martial arts. I wished the director would have featured more of the pickpocketing tricks and less of the razor-blade Kung Fu. Luckily, the sum of the whole is greater than it's parts and overall AWWT makes for one of the most satisfying films I've seen in years.

The characters also help make this film what it is. Andy Lau is excellent as the devious but likable Bo. Rene Liu is also great as the Yin to Bo's Yang. Her Character is played pretty straight forwardly but is convincing as the only real character in the film that could be called a decent person(other than Dumbo). Everyone plays holds their weight in the film, actually the only weak link-in terms of acting-is Baoqiang Wang as the naive countryman. His performance isn't bad but seems to be a bit over-done (is anybody really that innocent?).

On a inconsequential side note, I understand the concept of Andy Lau's need to disguise himself (being a wanted man and all). But why did the director feel the need to dress him in that horrible wig? I actually applauded and cheered approximately 70 minutes into the film when Bo looses his hairpiece in the wind.

Bottom Line- A World Without Thieves is an all around good time. It has it's share of minor faults but is overall a great film.

A small town in Japan is facing a serious crisis... the curse of the Kuchisake Onna (a.k.a. The Slit Mouthed Woman). A facially disfigured spirit of a woman who sports a huge pair of scissors and an immense hatred for children. After an opening which features the legend of the Slit-Mouthed woman being told through several sets of characters. The film wastes no time and goes right into the children's abduction. The only thing standing between the spirit and innocent children are two teachers at the local elementary school; Ms. Yamashita and Mr. Matsuzaki. As the list of children whom have disappears begins to lengthen, the two teachers set out to solve the mystery of the Kuchisake Onna.

Slit-Mouthed Woman is not necessarily a "bad" film. The plot has a dose of originality and the premise is great. Also, some of the scenes involving the spirit and the abducted children are truly horrific and harrowing. However, the delivery is stilted, and the film has two major faults (as listed below).

Kuchisake Onna is plagued with (in my opinion) the worst horror cliché in the book. Anytime the Slit-Mouthed Woman appears, the films protagonists stand around, frozen like rabbits in car headlights, seemingly incapable of running, or defending themselves. In 2007, this type of lackluster horror formula is played out. Especially considering that the Kuchisake Onna can't be killed, it would have been much more fun to watch the film's characters give the demon some serious beat-downs... but alas, all they do is scream and try their best to look terrified (while the viewer does their best not to look bored).

My other major reservation about Kuchisake Onna, is that I was struck with the feeling that Director Kakesu Shuichi just might have a deep seeded hatred of women. Because the film's female characters-including the ghost-all have one thing in common... they beat the holy hell out of their children. The film's misogynistic tomes seem to come out of nowhere and the female characters (while not beating their children) stand idly by while the Kuchisake Onna steals children from under their noses. My question is, "Where's the Motherly instinct?" I couldn't help but feel that most women would go frantic if placed in similar situations, risking life and limb to protect their offspring... but not in this film.

To be sure, the film has some redeeming qualities (I did enjoy how the film played the plot straight out, instead of throwing in the gratuitous plot-twist) but when coupled with the faults mentioned above, Kuchisake Onna stands out as an average J-Horror entry at best. One wishes that the director would have made the female parts more interesting, willful, and less fiendish. It would have made the film a lot more interesting.

Bottom Line- Average J-Horror entry with some major faults.

After following the first two installments of the Mikogami Trilogy and becoming used to the trilogies story and themes, Slaughter in the Snow (although a good film) is somewhat of a disappointment. In the first two films we watch Jokichi dispatch with two of the three men who killed his family. Part three strays from the path and becomes a slightly different animal. While the themes stay the same, Slaughter in the Snow deviates from the formula and never returns.

The third installment starts out similarly to the previous two. Jokichi is wandering when he comes across a man and woman who are to be killed by members of the Tozu gang. Of course, Jokichi intervenes to save the life of the woman (doesn't he always), which lands him into a heap of trouble with Boss Tozu. This time around however he's not alone. Windmill Kobunji is also quarreling with the Tozu gang because of a woman (go figure) and who has also taken a job for Kunisada Chuji (one of the three who murdered Jokichi's family) to kill Jokichi. However the two seem content to put off their rivalry and partner up in the meantime until they can get clear of Boss Tozu's territory.

Unlike the first two films, Slaughter in the Snow elects to follow both Jokichi's and Kobunji's altercations with the Tozu clan. Kunisada is mentioned, but never actually appears in the film. I personally wonder if the director meant to leave a piece of Jokichi's vengeance unrequited, or just couldn't secure the financing for a fourth film? Anyway, the film suffers(and benefits?) by having two main protagonists; Jokichi with his blood-stained sword and Kobunji with his deadly throwing knife. Both are excellent and their interactions as both enemies and allies help bring a breath of fresh air into the trilogy.

Slaughter in the Snow may not be the most action-packed in the trilogy, but it's definitely the bloodiest. Blood sprays out more often and more gratuitously then in the first two films. The choreography is excellent as always and the knife throwing scenes are quite entertaining. There aren't any major flaws in the film's action... although, I have to say, all the kicking of snow gets a tad bit ridiculous.

But the major reason why I felt disappointed in this film is not because of the film's action or characters, It's just a very unsatisfying conclusion to a trilogy. It feels as though their should be a fourth film... but unfortunately that never happened. The film itself is very well-done... but it just doesn't deliver the payoff that the first two films promise.

Bottom Line- Slaughter in the Snow is an entertaining Samurai movie, but just doesn't deliver what the trilogy promised.

At first glance, Graveyard of Honor might seem to be a somewhat typical Takashi Miike Gangster Flick, with the director's patented ultra-violence and Yakuza chaos. And on that level this film works... but peer beneath the surface and you'll find that Graveyard of Honor is actually a very intricate study of a man's unhealthy obsession with self-destruction.

Rikuo Ishimatsu (Goro Kishitani) is a bartender, who while working one day inadvertently saves the life of Yakuza Boss Sawada. Out of appreciation for Rikuo's heroism, Boss Sawada inducts him into the gang and gives him "uncle" status. This leads to resentment for Rikuo among the other underlings in the gang. All is fine though, until one day when Boss Sawada decides to go to the dentist. Rikuo shows up looking for the Boss but is taunted by Yukawa, who refuses to tell him where the boss is. Angered, Rikuo nearly kills Yukawa with a harsh blow to the head. This and other events (I don't want to give too much away) lead to Rikuo's exile and eventually end up driving him into a cycle of self-destruction.

Graveyard of Honor is a hard film to watch. There are no "good" guys in this film. There are no light-hearted scenes, heart warming moments, or any black humor to lighten up the film. Just a lot of mean people making bad choices and paying for their mistakes in horrible ways. For example Rikuo, the film's protagonist (antagonist??), rapes women, does heroin, and shoot's and stabs people... and this is not fun violence but disturbing, horrific, violence. Amazingly, Director Takashi Miike and actor Goro Kishitani somehow finds a way to make his character somewhat sympathetic.

OK, let's cut to the chase. If your not put off by extremely bleak, unsettling, negative, and depressing films, than Graveyard of Honor should be in your DVD player... right now. Filmed stylishly, scored masterfully (the jazz score for this film is incredible), and featuring the brilliant and hypnotic performance of Goro Kishitani as the amoral Rikuo. This film is arguably Miike's greatest Masterpiece.

Bottom Line-If you haven't seen this and aren't easily upset by graphic depictions of the ugly side of life, find this and watch it as soon as possible. You won't be disappointed.

P.T.U. is not the type of film that springs to mind when someone mentions a "feel-good" film, it's also not really an "action" film. What it is, is a slow paced, dark, gritty, and perilous journey through Hong Kong's night life. Complete with gangsters, cops, dirty cops, and the Police Tactical Unit (PTU) run by a charismatic Simon Yam.

To be exact, P.T.U. is pretty much Johnnie To's take on film's like Lock, Stock, and two smoking barrels. But this time the focus is less on gangsters and more on law enforcement agents. Also, unlike Lock, Stock, PTU is virtually humorless, and more on the depressing side. It's not a completely original concept, but in the hands of Johnnie To it manages to entertain. Mind you, it's not as bleak as other recent films to come out of Hong Kong (Dog Bite Dog comes to mind) but is definitely not a film one would describe as uplifting or funny.

Seargeant Lo Sa (played brilliantly by Suet Lam) is having a bad day. After eating at a local diner he walks outside and finds a "punk" keying his car. Angered, Seargeant Lo chases to culprit straight into an ambush. He awakens in an alleyway beaten, bloody, and missing his police issue revolver. Not wanting to lose a promotion he's up for, Seargeant Lo enlists the help of Mike Ho (leader of the PTU played by the always awesome Simon Yam) to help him find his gun before the night is over. Over the course of the night, Seargeant Lo finds himself stuck in the middle of two warring gangs, while also being investigated by a pesky CID inspector. On top of all that, he must desperately recover his lost revolver before the morning.

Those who are familiar with Johnnie To's direction (and like his films) will love this flick and the slow paced punch that it packs. PTU is shot with an almost noir feel, although it's technically in color. The cinematography is beautiful and meshes perfectly to capture the film's dreary moods, juxtaposed with shot's of gloomy cityscapes, streets, and alleyways, PTU leaves it's mark artistically.

In PTU, the performances are good all-around. Simon Yam is great as a calm, reserved, leader of the PTU who sticks his head out for Seargeant Lo. Ruby Wong is also good as Leigh Cheng leader of the C.I.D. unit although she's not given much to do. Lastly, Suet Lam is perfect for the role of the bumbling Seargeant who looses his gun and starts a sequence of events which leads to the film's ultra-violent ending. After seeing Suet in many films with smaller supporting roles (Dog Bite Dog, Election 2) it's nice to see him casted for a major role, and he does a good job of it.

PTU is a good all around film but has it's share of faults; chiefly the film's score. I don't know what Johnnie To was thinking when he scored the film with 90's guitar rock. The score was way to lively and jubilant for the films dark mood and slow pacing. It nearly ruined a few parts for me because it takes the edge of some of the dramatic scenes. Other than the score, Ruby Wong is underused and the film tends to slow down in certain points. Fortunately, the films opening scenes and violent conclusion help to make up for these issues... although the film needs a new score either way.

Bottom Line- PTU is a must for Johnnie To fans. New-comers will also find it entertaining and accessible due to it's re-cycled plot. A good film, just short of a masterpiece but really need a new score.

The Fearless Avenger is the second in the Mikogami Trilogy. In the first installment, we met Jokichi (Yoshio Harada) a drifter turned family man, only to see his dreams die with his new family. Three men were responsible for this; Kaiun Chogoro, Kunisada Chuji, and Boss Kyubei, all of which are powerful bosses. The trilogy breaks up Jokichi's thirst for vengeance into three parts, for three bosses.

This time around, we find Jokichi on the dusty trail, wandering through nameless towns, in search of the three men who wronged him. He has one thing on his mind... vengeance... bloody, murderous vengeance. On one of his stops, he hears of a meeting of the eight bosses of Kanto, a meeting which Kaiun Chogoro will be attending. A meeting Jokichi is dead set on crashing. And he does, and while he makes a negative impact among the rulers of Kanto, Jokichi also makes an unlikely ally; Boss Juzaburo. After being thrown off a bridge, Jokichi makes the acquaintance of Umezo of Yoshiro, who in turn, sets him up with a job for Boss Juzaburo. His task? Escort the daughter of Juzaburo to the aforementioned estate. On his way, Kokichi has to deal with assassins, loose ends from the first film, and a random assortment of murderers, rapists, and quite possibly Boss Chogoro.

The film begins with a recap of the previous film, which is fine. But then the film launches into the opening credits, which is the same as the opening of the first film. Which helps create some small plot holes. For instance, the opening features a limping Jokichi, which doesn't make sense when followed by the second part shows a Jokichi who walks just fine. It doesn't help the film's continuity and just shows the viewer how low the film's production values are. But truly, this is a insignificant gripe for a 70's Samurai Film.

In truth, the plot is truly unimportant. Most of the trilogy's plot is set up in the first installment. This is not to say that The Fearless Avenger is mindless. No, it definitely has a sense of direction but the director didn't really focus on developing the plot as much as he focused on the action scenes and choreography. Which, could be either a positive or negative depending on the viewer. Personally, for me, I didn't mind... I don't exactly watch 70's Samurai Flicks for the plot development.

As far as action scenes goes, The Fearless Avenger has plenty of them. There's a bit more action in the second installment than in Trail of Blood. And it's also a bit bloodier than the first, which is fine with me. Although, it still doesn't reach the level of exploitation that the Lone Wolf and Cub series attained. The blood sprays and severed limbs are in there, just much more sporadic. In terms of action, one of the things I love about this trilogy is that it's almost impossible to tell when Jokichi will decide to unsheathe his sword. Sometimes I think, "He's pointlessly outnumbered, he won't dare attack." And then I'm pleasantly surprised, as he draws his sword and proves me wrong.

Oh, and by the way, if you happen to be a woman in medieval Japan and you come across a guy named Jokichi. Stay well away, it seems as if every woman Jokichi knows of loves in this trilogy is destined to a brutal death or rape... or both. It almost becomes a rule and makes the trilogy a bit predictable at times.

Bottom Line- Samurai Fans will love it. While the film has some issues and is plagued by low production values, the main focus is on well done action sequences, which The Fearless Avenger has plenty of.

The 70's were a turning point in Japanese Cinema. For the time being, the large, epic, slow-paced, Chambara Films that were popular in the 50's and 60's were replaced by a new breed of Samurai Films that were exploitative, action packed, and very bloody. And while I love the samurai epics of past era's, I have to say, I also love the good old trashy/bloody samurai films of the 70's. Trail of Blood is one of these films.

The first entry in the Mikogami Trilogy tells the story of Jokichi of Mikogami, a drifter and master swordsman, who during his travels happens to meet an employee of an inn named Okinu. Okinu is obsessed over by a local Yakuza gang leader named Kyubei, an evil man who tries to force himself upon the defenseless Okinu. Luckily, Jokichi is there and as he stands up for the innkeeper, he simultaneously makes an enemy out of Kyubei. Jokichi and Okinu decide to flee together and eventually end up starting a family in the countryside. Years pass without incident, until one day when Jokichi ventures into town only to be spotted by his enemies. After being kidnapped and tortured, Jokichi returns home to find his wife and child murdered. Infuriated, Jokichi sets out to avenge his family.

Trail of Blood has to be one of the darkest, serious, and utterly brutal films I've seen in awhile. For example, on top of losing his family, the film's protagonist is beaten, tortured, tormented, urinated on, and also loses two of his fingers in a very brutal scene which is not recommended for squeamish viewers. The whole film is full of evil men doing terrible things; attempted rapes, murder, torture, betrayals. Trail of Blood has all these things in spades. Our only hope in this film is that Jokichi will take out as many of these tyrants as possible... and he does... in style, no less.

Although this film has a decent-but familiar-revenge plot, most of the film is filled with wall to wall action. Jokichi is an utterly fierce and no nonsense character. Don't go into this expecting any light-hearted comedic scenes to balance out the mean spiritedness inherit within the film, there aren't any. The film's fight scenes are choreographed well and while I'd describe this film as "bloody", it's still not any where near as bad as the Lone Wolf and Cub series. Blood sprays out intermittently and isn't a constant throughout the film.

Obviously, the film's main focus is action, and because of this the film suffers from a few weaknesses. Little time is paid to character development but this isn't such an unforgivable sin for an action movie. One thing I noticed though, is that during certain battle scenes, it seems that the corpses (that should be)littered throughout the battle field seem to disappear?!?! Yes unfortunately, Trail of Blood does suffer from some poor editing and has some minor continuity issues.

Bottom Line- Trail of Blood has its share of faults, but is still a fun entry into early 70's Chambara.

After seeing thousands of Asian films, the tendency for the average viewer is to become jaded. How many revenge movies can one see until the premise get's old? How many Asian "shocks" does it take before being the jolts become normal? That being said, every once in a while, a film comes along that rejuvenates my faith in Asian cinema. A film that takes the simple and tired old formula and spins it into a masterpiece of epic proportions. A Bittersweet Life is one of those films. A masterwork of Korean Cinema that doesn't fail to impress even the most jaded viewer and at the same time, doesn't leap into a formulaic revenge flick.

The story is simple, Kim Sunwoo is an enforcer for a Korean Mob Boss Mr. Kang. One day, Mr. Kang announces that he'll be leaving for a few days and asks Kim if he'll watch over his mistress while he's gone. Mr. Kang suspects that his mistress has taken another lover and asks Kim to watch over her, and if he happens to catch her in the act, to immediately call him or "take care of them". Kim eventually does catch the mistress cheating with another young man. Instead of following his boss' wishes, Kim decides to let them go. When the boss comes back and realizes he's been lied to he tries to have Kim killed. He is unsuccessful and soon all hell breaks loose.

A Bittersweet Life is a masterpiece of contemporary Korean Cinema, on par with that of Park-Chan Wook's Oldboy and Bong Joon-ho's Memories of Murder. The central reason for this, would obviously be Kim Ji-Woon's expert direction. Just as he revitalized the Korean Horror genre with a Tale of Two Sisters, he does so with the Korean Gangster flick in A Bittersweet Life. Kim Ji Y also does an excellent job bringing Kim Ji's vision to life and many of the shots in the film border on breathtaking. In particular, the shots filmed in the rain, of exiled Sunwoo, surrounded by a cloud black umbrella's held by Mr. Kang's syndicate are incredible.

Another of the film's big strengths is the score. The film's music features Spanish-inspired guitar pieces, techno, pseudo classical violin pieces, and jazzy/salsa influenced guitar riffs and all work perfectly with the film ever changing moods. Indeed, the film's music is almost as important to the whole package as Byung-hun Lee superb performance.

And speaking of Byung-hun Lee, he really is the glue that holds the production together. Towards the beginning of the film he plays the role of Sunwoo as a very quiet and subdued, almost pathetic (except for when he has to kick some major ass, which he does in style) but an event about halfway through the film hardens him and he is resurrected into a monster of sorts, one hell-bent on revenge for his former boss.

Oh, and who could forget the action? A Bittersweet Life is full of hard, brutal action (the kind I love so much). The film's action is spread liberally throughout the film, unlike much of the other Korean Gangster films which usually only have spattering of violence here and there. Jung Doo Hong's action scenes are no nonsense. There's no flashy Kung-Fu sequences, just brutal realistic fights and gun-play (although, some of it is a bit over the top). The last 20 minutes of the film features a balls to the wall finale, as Sunwoo singlehandedly takes on the entire syndicate in a sequence strongly reminiscent of Brian Depalma's Scarface.

Bottom Line- A Bittersweet Life is an unabashed masterpiece of Korean Cinema.

The year is 1860 and Japan is in a very unstable place. A time when the 300 year rule of the Shogunate was drawing to a close, an event which would simultaneously bring Imperialism to Japan and cause the death of the Samurai age. This is the setting of Samurai Assassin, a highly complicated, and character driven Chambara film that is shot in brilliant black and white. It also features one of Toshiro Mifune's best performances, as well as an astounding ending battle sequence that's just too cool for words.

Mifune plays Niiro Tsuruchiyo, a master-less samurai who joins forces with the multiple clans against the Lord of Hikone, Sir Li Kamonnokami Naosuke. Li is the right hand of the shogunate and brought upon himself the wrath of the Satsuma, Mito, and Choshuu provinces after making an unpopular choice for the appointment of the 14th shogunate. Many critics arouse after the controversial appointment, and Li initiated the Ansei Purge to quiet critics of his choices. This in turn, lead to an assassination plot hatched by the three provinces in order to remove Li from his position of power. Here enters Mifune, who wants to help the clans, in order to become a samurai of the Mito house. If that's not enough, the clans have their own problems too trying to weed Li's spies out of the plot. Which results in a film full of intrigue, espionage, underhanded dealings, and of course assassinations. If all this sounds complicated...it's because it is.

Looking past the intricate plot of Samurai Assassin and the film is basically a detailed character study of Mifune's Niiro. Much of the film deals with his mysterious past and is told through flashbacks, both as first hand accounts and through investigative processes headed by the clan who is trying to distinguish the followers from the spies. This serves as both a negative and a positive for Assassin. While it helps develop Mifune's character (and he's excellent as always), it also slows the film to a tedious pace. Also hidden in Niiro's past is a long story of forbidden love. The films first hour concerns itself mostly with these issues, while the second half slowly builds to an incredibly brutal finale.

Bottom line- Samurai Assassin takes it's time to get where it's going, but when it arrives at its destination it redeems the films minor shortcomings. The finale is a brutal scene filmed in swirling clouds of snow and features an dizzying, blood soaked, action packed conclusion sure to satisfy any Chambara fan.

In the 1860's Japan was facing great political change. The 300 year rule of the Shogunate was changing hands for the new Imperial Japan. A time of revolution and war. This is the setting of Red Lion, a film which equally balances drama, slapstick humor, romance, and a decent amount of bloody samurai action.

Mifune Toshiro plays Gonzo, a former peasant and current member of the Imperial Restoration Force, who one day convinces his commanding officer to borrow his red lion wig so he can ride to his hometown village to prepare the residents for the coming of the new Imperialism. Once there he finds things are not as easy as they seemed. In order to collect land taxes owed to the Shounate, the deputy official has began taking wives and children as forms of payment. On top of that, there's an underground still fiercely devoted to the Shogunate rule. Gonzo becomes ensnared in the treachery between multiple groups as well as the Imperial army, who rule may be just as oppressive as the Shogun's.

Mifune is great (as always) as the stuttering, clumsy Gonzo. His role in Red Lion serves as a great demonstration of his range as an actor. In past films, the majority of Mifune's roles were usually similar. He played the nameless way-ward drifter, serious and also a major bad-ass. While he's still as bad as ever, in Red Lion we get to see the more comedic range of his acting... which he pulls of perfectly. His part is the heart and soul of Red Lion. Although, the film does feature great ensemble acting. In particular, Etsushi Takahashi is great as the cryptically evil Hanzo (a role which traditionally would be more suited for Mifune) and Minori Terada is perfect as the innocent but jaded Sanji.

One of the film's strong points is that it's not predictable. I was surprised by some of the twists in the plot. After watching so many samurai films the formula tends to get repetitive. Red Lion is not a film that follows suit; friends become enemies, enemies become friends, and allegiance's are questioned, all in ways that are a surprise to the viewer and which resolve in a way that is quite unexpected but pleasing.

The comedic aspect of the film works quite well (in most cases) and I found myself continually smiling and occasionally laughing. Some viewers may not find Red Lion funny because the humor is distinctly Japanese. But those familiar with Japanese cinema-in particular Toshiro-will find Mifune's performance as Gonzo hysterical.

Red Lion's score, direction, and cinematography are typical of the genre. Beautifully filmed landscapes, intricately detailed sets and costumes, and of course a loud stirring score. Okamot Kihachi's direction is spot on, and coexists perfectly with the performances. There really aren't any major faults with this film, and it's an all around good time.

Although, Red Lion is one of Okamoto Kihachi's masterpieces it has it's share of small faults. Some of the humor seems a bit forced and a few of the dramatic scenes are a bit overdone, though most of it works very well. That being said the last thirty minutes of this film are incredible, and redeem any minor faults of the first hour and a half.

Bottom Line- Mifune and Okamoto team up for an incredibly fun two hours. Red Lion a masterpiece of 60's Japanese cinema and is simultaneously funny, sad, unpredictable, and altogether a damn good time.