Disc One: "No Greater Love" (1959)
Kaji (Tatasuya Nakadai) is a young man who is a pacifist and a socialist. He marries his sweetheart Michiko (Michiyo Aratama) despite the uncertainties in the future. Kaji agrees to work as a mining supervisor in an iron and ore mining site in Japanese-occupied Manchuria to avoid getting drafted to fight a war he doesn't believe in. Kaji becomes partly successful in reforming the working conditions in the mining site, although his ideas are often contested by his superiors. Things become more complicated when Chinese prisoners of war are forced upon the site by the Kempeitai (military police) to use as laborers. Kaji tries but fails to reconcile his humanistic theories with the realities of forced slave labor under Japan's Imperial system.

Disc Two: "Road To Eternity" (1959)
After the climactic confrontation with the Chinese prisoners caused Kaji to lose his exemption from being drafted in the military and the fact that Japan is losing the war which makes the country more desperate for military servicemen, Kaji is now a hardened idealist. Despite being trained to fight a war he doesn't believe in, Kaji proves himself a capable soldier and tries to implement his humanistic idealism to the treatment of other enlisted men who are being brutalized by the veterans. The film reaches its unforgettable climax as Kaji is sent to the front line to fight off the advancing Soviet army.

Disc Three: "A Soldier's Prayer" (1961)
The Japanese Kwantung army is shattered as Kaji, along with several survivors embark on an epic journey on foot through miles of forest, desert, and fields southward in the hopes of reuniting with his wife. After Kaji survives perils including starvation and untrustworthy allies, he gets captured by Soviet forces that echoes the treatment of the Chinese prisoners meted out by the Japanese in the first film. Kaji eventually becomes disappointed that communism which he hoped would be the catalyst for human liberation, seemed no different from the oppressive systems he had struggled against. Kaji escapes into the winter wasteland in the hopes of reuniting with his wife Michiko.

The Review:
Hailed as "One of the Greatest Films Ever Made", "The Human Condition" is one film whose experience may seem inspirational but it also proves utterly depressing. This trilogy embodies both the flaws and strengths of humanity as it unrelentingly brings the faces of morality and decency into opposing sides against the natural instincts of men. The film may also prove to be inspirational as love and decency seemingly tries to find a way to survive amid the bleakness of whatever situation fate may deal one into.

The First film is the longest film of the three as Kaji takes his theories to improve the working conditions of the mining site. This is Kaji at his purest form as he tries to bring his theories into procedure. This is also where the main protagonists are faced with moral dilemmas as they try to weigh the rights and the wrongs. I loved the scenes when Kaji begins to question himself for his own decisions and the more he gets deeper into the situation with the Chinese prisoners, the more difficult it gets for him to face his wife. Kaji manages the rations and rewards the prisoners with prostitutes. The film makes a powerful statement in pointing out the potential successes of working together as embodied by the Chinese, but mistrust and suspicion becomes the main opposition for two races to work together. It also bleakly portrays the two sides of human nature as there are those who would stand to profit or take advantage of any situation at the cost of others; as kindness and understanding may sometimes prove to produce mixed results.

The second part of the film portrays Kaji in the military, under suspicion because of his revolutionary ideas. The film exposes the politics in the military and the way, soldiers tend to mimic their superiors in the way they treat new recruits. In my opinion, this part is the most damaging critical indictment of the army. Kaji represents the reasonable side of the picture as he tries to protect the new recruits whose ages range from 40 years and above. At times, the majority of the Japanese authority are too willing to turn a blind eye to the problems faced by the new recruits as the veterans appear adamant in abusing them. The adage; "Survival of the Fittest" comes to mind, as Kaji is brought to the breaking point. Kobayashi also brings some visceral scenes of brutality and violence in this film. The Soviet advance into China brings both veterans and new recruits on the same side as they try to work out their differences.

"Road To Eternity" also defines the word courage. Kaji's main goal is to survive that may make him seem a coward in the eyes of some but inside, he is courageous enough to admit that this fight is meaningless. For Kaji and his allies, it becomes disgraceful to die in a war like a dog. Kobayashi may also be making a commentary against blind obedience and that the Japanese army were more occupied in believing in their ‘honorable' war, than facing reality that their goals may indeed prove to be unjust. For Kaji, fighting this battle is more for a fight for survival than fighting for his own country.

"A Soldier's Prayer" may well be the darkest and the most depressing movie of the three. While it does have its inspirational side, as it also exposes the strengths of humanity. Kaji finds reasons to hope, and to dream of freedom; in the hopes of reuniting with Michiko. This chapter also brings Kaji face to face with his morals as he is oftentimes forced to make decisions for the good of the many rather than the needs of the few. Children and old people have no place in this world, as the group is faced with starvation. This chapter also brings the consequences of being on the losing side of the war, as Japanese refugees are left aimless, hungry as the women are raped and abused, not just by Soviets but also by the Japanese themselves. There is a very disquieting sequence as a young girl retains of hope of reuniting with her parents despite being raped by the soldiers of the Red Army. She finds those hopes dashed when she becomes victimized by the very soldiers who were supposed to protect her. I found it hard to see some Japanese women offer themselves up as sex slaves to survive, at least until they can find male protection.

I suppose Kobayashi wanted to make a commentary on the manner that people tend to look out for themselves. It was real disturbing to see the Japanese prey on their own countrymen, most specifically in the POW camp. It was quite sad to see the Japanese prisoners become more abused by their fellow countrymen than by their own captors. Kaji and Terada would take food scraps to add to their rations, reported as sabotage by their Japanese superiors. Kaji tries to stay true to his own unwavering beliefs, but it is the evil done by his own countrymen that pushes him over his limits. Anger, envy, greed and pride are the film's main themes as the prisoners of war become faced with a situation worst than those experienced by the Chinese in the mining camps. Worst not because of the hardships, but made worst because of the fact that it is the Japanese abusing the Japanese.

Kaji is superbly portrayed by Tatsuya Nakadai. The man embodies the pride that one takes from himself, that pride slowly fades when forced into situations that makes him question his own soul. Education and principle are indeed virtues but one would never know just how one can react to a dilemma until faced with one. It is difficult to stay true to oneself when faced with a truly testing situation. Michiko embodies the soul of the Japanese wife; true and faithful. However, the film brings a certain question as to her true whereabouts. Did Michiko manage to escape or did she fall prey to the tests of the flesh?

"The Human Condition" is Japanese cinema at his best. It is very difficult to sit through the film due to its very depressing themes but one has to also see that sometimes from such desperation, courage and honor may still be born. Masaki Kobayashi bravely brings the questions of humanity into exposition; in the face such trials, can courage and hope still prevail?

A raw indictment of its nation's wartime mentality as well as a personal existential tragedy, Kobayashi's riveting, gorgeously filmed epic is novelistic cinema at its best.

Highest Possible Recommendation! [5 Stars]

Sang Hyun (Song Kang-Ho, The Host, Memories of Murder) is a Catholic priest who volunteers in a local hospital. He provides last rites when necessary as well emotional support to its patients. Father Hyun is well-respected but he secretly suffers from emotions that can be defined as doubt, as he witnesses the dark world around him. Yet, he cherishes life, so he volunteers to take part in an experiment to eradicate the lethal EV virus, which is a threat to every Caucasian and Asian male. Father Hyun becomes stricken with the deadly virus and a blood transfusion is ordered up for him to save his life; in turn he becomes the first survivor of the deadly virus and some folks begin to regard him as a saint. But soon after his new lease on life, Hyun finds out that the blood he had received is infected and he is now living as a vampire that only the consumption of human blood can stave off the virus.

Father Hyun struggles with his new found carnal desire for blood, and now also, his faith is put to the test when a childhood friend's wife, Tae-Ju (sexy Kim Ok-Vin) comes to him to escape the life she knew all her life. Sang-Hyun is now overwhelmed with his desires of the flesh, as he plunges deep within the world of carnal and sensual desires that brings him in intimate terms with the Seven Deadly Sins...

Park Chan-Wook is one clever director in creating a new take on the vampire lore that blends the elements of the Seven Deadly Sins; Gluttony, Sloth, Lust, Greed, Pride, Wrath and Envy. The vampirism as seen by Park's rendition does have similarities to the established myths about vampires; vulnerability to sunlight, superhuman strength and speed, with a strong need for human blood--curiously this vampire does not grow fangs. The need for human blood is necessary to stave off the virus that somewhat touches on the sin of Gluttony. Lust and Envy is represented through Father Hyun's desire for Kang-Woo's (Shin Ha-Kyun) wife. Pride is represented when Hyun allows himself to be seen as a "Saint" at first. Sloth when he gains lesions and when he has to live in a dirty basement. Greed for life as he becomes afraid of dying and hungry for companionship. Wrath as Hyun is led to murder and he is brought face to face with the consequences of his actions. Vampirism becomes seen as the ultimate root of evil in the eyes of Father Hyun, but in some ironic manner, it all frees him of his inhibitions.

Song Kang-Ho is one VERY versatile actor. The man has played different roles throughout his career and he is clearly the right man for the role of Father Hyun. Hyun becomes a compelling character as we see him torn between the need to survive while avoiding the need to kill. "God feeds even the birds in the sky", so Hyun resorts to slowly drinking the blood for comatose patients in the hospital (but never killing them) and people who wish to commit suicide. He also tries to overcome his lustful thoughts by hitting his thighs to overcome an erection. Curiously, Hyun becomes more aware of himself when he became a vampire; he realizes exactly who he is as he finds himself leaving the Order. Tae-Ju is one imbalanced woman who is manipulative of any situation. She seduces the kindly priest and manipulates him into believing that she is an abused wife; she is a woman torn between her reliance on her husband and the need to be free (as symbolized by her constant running at night). The sex scenes between Kang-Ho and Ok-Vin are quite erotically creepy at times, and very graphic; comparable to some Japanese pink films.

The film's takes up a darkly satirical tone that becomes weirder and darker as the film progresses, yet, it also becomes funnier, more bizarre and grittier. There is one very bizarre scene when Hyun and Tae-ju is having sex, with a vision of Tae-ju's dead husband sandwiched between them to bring the guilt of the murderous deed into exposition. While the first half of the film brings the weaknesses of the flesh with Hyun's character, the second half progresses in bringing its consequences. Hyun is overly obsessed with sexy Tae-ju as he would do whatever it takes to be with her, even though he is aware that she is somewhat imbalanced, she is all he has and he turns her; much to his regret later. While Hyun would avoid killing a human for his need, Tae-ju becomes drunk with power, as she doesn't mind killing at all. It is a testament to Park's skills as director as the plot revolves around his characters; that somewhat touches upon certain definitions of being a monster as well as how you wield certain abilities, with the definition of being human coming full circle in the screenplay. I loved the way Father Hyun began to atone for his sins one by one. He also gets rid of his "Saintly" image by letting himself be caught with a woman that led to him becoming scorned.

It is hard for me to find flaws in the script, the metaphors and symbols are executed masterfully; even the supporting characters are significant vehicles in fleshing out the main protagonists. I suppose if one wanted to nit-pick, one may say that the paralysis of Tae-ju's mother-in-law (played by Kim Hae-Sook) felt a little forced to generate some humor. Also, it can be argued that Tae-ju's character isn't as well written as Father Hyun's. Still, these flaws are very minor as Park Chan-Wook successfully brings us to a world full of darkness and very GRIM humor with an atmosphere that resembles a fable and excellent cinematography to match. "Thirst" isn't a comedy, but it is funny in a way that is both creepy and gloomy at the same time. The film also has a good share of blood and some gore, and yes, quite a good number of nudity and sex. (It is also the first mainstream Korean film that features male full frontal nudity)

"Thirst" is ultimately a success. Park Chan Wook was able to come up with a beautiful film that is full of elegy, while exploring the flaws of the human mind, that treats vampirism as a cause for the realization of one's carnal desires in incorporating a Catholic overtone. I really loved the manner in which Park executed this original vampire film that BOLDLY dares to be different. It is not a horror film per se, but its horror elements come from the Fears of making the wrong decisions.

Definitely lyrical, darkly satirical, often Ironic and so erotically sexy, yet, so engagingly beautiful with compelling characters, Park Chan Wook's "Thirst" is destined to attain a large cult following.

Highly Recommended! [5- Stars]

See this before Hollywood massacres it with a remake.

"KABEI: OUR MOTHER" (2007) is a melodrama based on the real life story of Kayo Nogami, a strong woman who lived during wartime Japan. It is a nominal tear-jerker and is a compelling look at her life, her trials and her strengths.

Nogami Kayo (Yoshinaga Sayuri) and her husband Shigeru (Bando Mitsugoro), affectionately called "Kabei" and "Tobei" (a variation of the Japanese words o-KA-san for mother and o-TO-san for father) by their daughters, form a humble and happy family in 1940's Japan. Everyone in the family has their "pet names", and their daughters' names, Teruyo and Hatsuko, abbreviate to Teru-bei and Hatsu-bei. Shigeru is a scholar and he wrote several essays that are a little controversial and may be deemed as "rebellious" by some due to their non-conformity. One evening, Shigeru is arrested for political reasons and what authorities call "thought-crimes". Kayo is left to attend to the family's needs with the war looming in the Pacific. In these difficult times, Shigeru's frazzled, kindhearted student, Yamasaki Toru (Todanobu Asano, "Ichi The Killer"), shows up at Kayo's doorstep to offer his aid. Yamasaki develops a strong bond with Kayo, her daughters and their aunt, Hisako (played by beauteous Rei Dan). Kayo stands us a pillar of silent strength through the family's years during war and strife, taking each challenge one by one and overcoming each one through her spirit. But not even a woman of Kayo's strength can anticipate where her heart lies and destiny would lead.

Director Yoji Yamada's approach to the film is very subtle but it never relents on its narrative and emotional impact. The social effects of war are represented in the film, but Yamada represents this through the situation itself and through his characters rather than from a point of view. The direction avoids registering any disapproval of the war and it brings its characters into exposition rather than its historical context. The effects of one's opinions, on what is seen and heard, is subtly touched upon by the script as well as some changes that may affect regular people. Some characters do express their disapproval of Japan's war-fueled nationalism, and the film unfolds in a manner that demonstrates the cost on the civilians during war.

The film's main circumstance comes from the sacrifices of its main characters, and they are defined through such acts of courage. Kayo is often faced with fights she cannot win, but she stays her course, staying silent and subservient to avoid further confrontations with authorities. The script, co-written by Yamada (along with Haramatsu Eriko and Teruyo Nogami), keeps its focus around its human traits, which is why it remarkably succeeds in establishing a subtle anti-war message that is entrenched in its characters. It also shows the changes that happen within one individual, and how one's life experiences can affect one's outlook either for the better or for the worse. The screenplay is definitely against the Japanese government's handling of the war, but when it expresses its message through its characters, they are portrayed in a manner that is quite effective. The characters sidestep the temptation of becoming political mouthpieces by letting the situation and the way they deal with their trials speak louder. Every director should take notes from Yamada, he allows his characters and their hardships to define their story rather than relying on any overdone speeches dressed up with sugar-coated emotion--such approaches are so overdone in Hollywood.

At first impression, "Kabei: Our Mother" may seem like a regular story as to how one woman defied the odds and fights the good fight. Kayo is a very sympathetic character in the film; as she is confronted with certain things that made an impact in her family's life. The war, unjust authority figures, and the hardships brought about by certain situations are nicely exposed. The first thought would be to feel sympathy and respect since Kayo is forced into a situation that she has to overcome illness and her situation grows worse as the film goes on. The film's point is brought into fruition, but the viewer has to remember that while Kayo takes on pressing emotionally extreme matters based on an unavoidable circumstance, she also confronts the burdens of her personal desires, needs, hopes and dreams all for the sake of duty, responsibility and motherly love. This was exceedingly represented in the scenes with her spiteful father, and her scenes with daughters.

The acting is phenomenal. Yoshinaga Sayuri bears her soul for the film, her acting is awe-inspiring; look into her eyes, you will see a woman exhausted to the limit but you see that she does the best she can, neither complaining or expressing her pain. One note-worthy scene is Kayo's first visit to her husband, as she witnesses the boils brought about by filthy surroundings. Yoshinaga Sayuri portrayed her character with finesse and powerful dramatic impact however simple the scene may be. As emotionally charged the film was, The film doesn't forget to have a very subtle sense of humor; Todanobu Asano is entertaining with his occasional deadpan humor and the black sheep uncle also had his moments to pitch in some comedy. Yamada also manages to keep things simple; the film has very strong emotional scenes, but never for one minute did he succumb to become dangerously close to becoming too drenched in sentimentality. The direction kept its shots simple, with the occasional close-ups and slow pans to express emotion. The film's cinematography is also beautiful but nothing too elaborate. The set designs are nicely done and accurate; with colors leaning towards Earth colors.

The film's powerful significance come from its portrayal of sacrifices, and its strong humanity makes "Kabei Our Mother" a worthwhile film. It portrays its characters with strong depth with a touch of understandable regret hidden within. The film's final scene delivers a overwhelming conclusion in exposing Kayo's choices--even those born of love and duty are not reaffirming of traditional values or even redemptive in nature. Usual tear-jerkers rely on expected emotion, but Yamada takes us by surprise by avoiding such mainstream expectations. The final scene does not affirm any positive views and doesn't make it seem like all of Kayo's sacrifices were necessarily worth it. There's a quiet, powerful, bittersweet theme attached that while no one is to blame, everyone is responsible--sometimes the honorable choice isn't necessarily the correct one to fit life. Sometimes, situations change and people change, and we carry a burden of regret that we cannot share until our end; it's what makes "KABEI: OUR MOTHER" an accomplished, compelling work in cinema; it is marvelously glorious yet so terribly sad. Potentially inadequate with decades of regret and unpredictably uplifting--sometimes that's the way life plays out.

HIGHEST POSSIBLE RECOMMENDATION! [5 Stars]

In the 1930's, the Chinese province of Fo Shan is a thriving place of martial arts schools, with various sects of different styles. Fo Shan is said to be the place where the famous Wong Fei Hung learned his art and therefore this place has a reputation. Ip Man (Donnie Yen) is a very accomplished martial artist but he keeps to himself, maintains a low profile and quietly spars with friends at home. But after an acknowledged victory over a fighter from the Northern quarter, Master Jin (Fan Siu Wong), Ip Man becomes an instant hero in Fo Shan. Time passes and in the late 1930's, following the Japanese invasion, Ip Man's property was confiscated by the Japanese army and his family is forced to live an abject existence. One day, general Miura (Hiroyuki Ikeuchi), a fanatical practitioner in Karate, witnesses the skills of this Wing Chun master. The general becomes obsessed with Ip man, and demands that the Chinese style of Wing Chun be taught to the Japanese army. But Ip man refuses and instead challenges Miura to a duel. Ip Man has to uphold the benevolence of his art and protect Chinese dignity. The battle for national pride is about to begin….

The one thing I know for sure is that Ip Man is indeed Bruce Lee's first teacher in Hong Kong for many years, and that Ip man was indeed asked to teach the Japanese; the rest of the significant historical details in this biopic is a little questionable. Yip and screenwriter Edmond Wong does get some details right, but please keep in mind that this is an action film first and foremost--it is hardly a historical drama. The action direction by Hong Kong legend Sammo Hung is indeed amazing, and it is the film's main draw. The story has the usual elements of honor, family, loyalty and pride and offers very little that is fresh--but this doesn't mean that it made the film any less exciting.

There is very minor characterization involved. The film has three acts, and the first has Ip Man's status in the Fo Shan province. He is a business man and he doesn't teach his art, there are hints that he used to compete, but he decided to keep a low profile because of his wife, Cheng (played by Lynn Hung). His relationship with his wife and son is somewhat estranged at times because of his love for sparring--she throws a tantrum whenever he fights; Ip Man is a humble man, and shows his wife the respect due her. The second act portrays the effect of the Japanese invasion on the people of China, and on the life of Master Ip and his family--which leads to the film's min encounters. While Donnie Yen may indeed lack the necessary acting ability to portray him dramatically--he sure has the presence of a highly trained martial artist. Director Yip did the right thing in focusing more on fights than dramatic impact. There are also some touches of social commentary seeing as how some Chinese prey on their countrymen and they only look out for themselves.

As I've said, Sammo Hung's action choreography is indeed phenomenal and it sure helps when you have a cast of real-life martial arts practitioners and action-honed actors such as Yen, Louis Fan and Hiroyuki Ikeuchi, who holds a Kuro Obi in Judo in real life. Sammo Hung maintains a nice balance between finesse, realism and downright brutality--the fights are very intense and very focused. It is a mix of the usual wire-fu and occasional acrobatics. Highlights include, Ip Man taking on 10 Japanese fighters in one time, the fight between Fan Siu Wong and Yen is quick but exciting, complemented with some subtle doses of humorous cracks. The fights are exquisitely shot, with multiple camera angles in a perspective view to close ups, so you can see all the hard-hitting action. There are also times when an opponent is thrown in the camera's view and I thought this added a lot of style and intense attitude. Wilson Yip and company knows how to shoot fight sequences and their skill proves the film's showstopper.

The action encounters are nicely placed and Wilson Yip needs to be credited for maintaining an excellent pace with its balance between action and drama. While this film is historically inaccurate, for the most part, it does succeed as an action film--a very well done at that. The film does ultimately fail as a character-driven, true-to-life biopic. Donnie Yen's "Ip Man" is more about his capabilities as a fighter than who he really was as a man, which is no doubt due to fact that it wanted to maintain a China-friendly film. The film's structure more of a popcorn action film than an emotional biopic of a man who made his mark in using his fists to unite the Chinese people. It plays too fast and free to fully realize the film's potential as a "based on true events" type of deal.

Despite some flaws in the script, and the filmmakers relying too much on the audiences' good beliefs rather than developing Ip Man as a man than as a caricature of a folk hero; (no doubt an attempt to match Wong Fei Hung in "Once upon a Time in China" and Huo Yuan Jia in "Fearless") to portray him as an inspirational role model/saint. "IP MAN" is a truly exciting film which is just full of action and the energy it exudes is just so much fun to watch. I am rather very interested in seeing as to what Wilson Yip and Donnie Yen would bring "IP MAN 2", which would hopefully show more of his experiences in Hong Kong (which may include his time with Bruce Lee). Of course, by that time, I've read that Wong Kar-Wai's version of "IP MAN" will be released and will hopefully have more historical significance as well as action thrills.

Still, this film comes with a "Highly Recommended" rating from me, it does rule as martial arts action film. [4 ½ Stars]

Note: The original language of the film is bi-lingual, with both Cantonese and Japanese spoken.

Daigo Kobayashi (Masahiro Motoki) is a cello player whose dream is shattered when the orchestra he is playing with goes broke. Left with no choice but to sell his prized cello, Daigo together with his wife Mika (beauteous Ryoko Hirosue) returns to his hometown to live in his mother's old house. In need of a new job, Daigo responds to an ad in the local paper for a job in "Departures", thinking that it may be related to travel. But much to his surprise and dismay, Daigo discovers that he had applied for a profession as an 'Encofineer'; a man who performs the delicate and traditional Japanese ritual of preparing the bodies of the deceased for the departure to the next life--it pays quite well, and without even thinking about it, he accepts without even giving his wife the details of his new job.

Daigo is at first repulsed at the idea of touching the dead bodies but Mr. Sasaki (Tsutomu Yamazaki) carefully trains him and in time Daigo gets used to the job. He begins to find the delicate work to be rewarding when he experiences the joy and appreciation of the family members who had been left behind. However, Mika finally discovers his "disgusting profession" and asks him to quit but he refuses, which leads her to leave him. Even his childhood friend Yamashita (Tetta Sugimoto) advises him to find a better job.

Fate has a way of putting things back together, as Mika finally returns with the news that she is pregnant. But Daigo's joy may be short lived as his past slowly catches up to him...

It is not often that we become privy to a film about the beautifying of corpses, director Takita takes on the grim subject matter and gives it a commercial charm and appeal. The direction is quite meticulous in exposing the world of the mortician as we become witnesses to the Japanese customs and traditions as to how they deal with their dead. Takita shows that the profession demands a certain amount of sensitivity as we see the different reactions of those left behind by the deceased; some are angry, some are funny, most are overwhelmed by grief and some are curiously joyful. In Daigo's profession, there are no religious affiliation; they do what they do to preserve the memory of the deceased, remembering them as the way they used to be and not who they are in the present.

It is a safe bet that a premise such as this may be unusual even for Japanese audiences and one of the film's key to success is the way it executes its grim subject matter through some doses of subtle humor in the film's first act. Writer Kundo Koyama and the direction by Takita meticulously eases the premise into the audience, as we were privy to Daigo and Sasaki's encounter with an extra "thing" to a supposedly female corpse. We see Masahiro Motoki's deadpan humor as he becomes repulsed by his first job, and just how he eventually becomes comfortable with his new career. Takita cleverly illustrates the short moments in the ceremony that our morticians get to know the deceased quite intimately.

After everything sinks in, then the emotional scenes begin to take hold, as we learn more of Daigo's childhood, his problems with his wife's disapproval of his new job and his anger towards his father who had left him while he was a child to run off with a younger woman. Now this is a commercial film and we know that eventually people close to Daigo will eventually come to respect what he does for a living, it is a little predictable but the journey with which the film gets to where it wishes to go is well-played that the screenplay becomes somewhat of a melancholy with a rhythm that just looks so beautiful. Mika (played by Ryoko Hirosue) is just so lovable as the diligent wife; she is just so full of love and trust that her character represents the goodness within the Japanese woman. It was touching to see Daigo perform a ceremony in his wife's presence and director Takita carefully manipulates the camera work to show pure emotion. Takita also injects some sequences that are beautiful to awaken the emotion (sort of serves as a vanguard) as we see Daigo playing the cello on a hill as if he was reaching out again to his dreams. The film also has beautiful cinematography and emotion-inducing score to match its otherwise simple but grim premise to keep the film running at a brisk pace.

The film has two significant scenes that seemed to induce quite a few sniffles, they were injected to give a twist that plays a significant part in Daigo's life. The first one does provoke a lot of emotion; it is full of tear-inducing sequences that can definitely touch its audience. However, it does feel a little overlong that the second twist may lose some of the narrative impact to the inexperienced viewer. The two twists do work in unison in the screenplay but some may argue that Takita was working too hard to induce emotion working one twist right after the other. I didn't find anything wrong with it and I thought it stuck to its sensibilities in reflecting just how life can sometimes throw you in for a curve.

The performances are quite good, Motoki (who won best actor in Japan) and Hirosue has some dynamic chemistry between them and the supporting characters made up of Sasaki, Yuriko (co-employee played by Kimiko Yo) and the woman (Kazuko Yoshiyuki) who runs a bath house plays their own significance in the script. I loved the way Yamazaki played Sasaki, it was like a cool and quiet boss as he always seemed to say "its fine."

Despite some flaws in the screenplay that the film came dangerously close in becoming too sentimental, "Departures" is easily one of the best commercial films to come out from Japan. The last act will leave an impression that no matter how we see ourselves and others, death sometimes is the one thing that can bring a family together. The film's biggest ace would have to come from its ability to induce the proper emotion at the right minute with such simplicity. Such critical acclaim will no doubt raise the film to unreasonable expectations, and while it may not change the face of Japanese cinema, it is not pretentious and never hides behind its beautiful visual style. The way to approach this film is with tempered expectations, so that the film can touch you in its journey that is both surprising and pleasurable.

Highly Recommended! [4 ½ + Stars]

A two-bit bumbling crook named Tae-Goo "The Weird" (Song Kang-Ho, Sympathy for Mr. Vengeance) robs a train only to unintentionally make off with a Quing Dynasty treasure map. Everyone wants this map; the Japanese army, the Korean independence group as well as a lot of shady characters. On Tae-goo's tail is a relentless killer named Park Chang-Yi "The Bad" (Lee Byung-Hyun, A Bittersweet Life) who is also after the map and has a seemingly personal reason as to why he wants Tae-Goo's head on a plate. In hot pursuit for both of them is a bounty hunter named Park Do-Won (Jung Woo-Sung, The Restless) who can do nicely with the bounty for Chang-Yi's capture or the treasure itself. Now, these three men are on a collision course--who would win out in the end?

Kim Jee-Woon's "The Good the Bad the Weird" is an extremely well-made film and is a highly entertaining genre-busting affair. This chaotic period similar to the wild west in America, a Machuria-set "kimchi" western (as opposed to "sukiyaki") is a melting pot of all things awesome about westerns and looks like a homage to Sergio Leone's "spaghetti westerns". There's a train heist, lots of shoot-outs in a small town and cool characters. You'll see bits and pieces of "The Good the Bad and the Ugly" (so obvious with the film's title), "A Fistful of Dollars" and even Miike's "Sukiyaki Western Django". The film has a very large budget and it shows, the film is exquisitely shot and the superb style and camerawork reminded me of Ryuhei Kitamura (Azumi). Director Kim definitely knows his stuff in style and with the film's intriguing concept, Asian and Korean cinema fans have reason to see this film, and it is definitely something that a "solid" Asian film fan just can't miss.

The film's set designs and architecture maintain some of that "dynasty-era" Korean period but it does have a strong touch of the old west. It has some rather creative touches; there is some swordplay, knives used with brutality, there's a big guy with a huge hammer, a "sleeping Buddha" under construction, rifles with telescopes, motorcycles and jeeps, saloons and more--all these contribute to the film's "mixing of genres" style. Director Kim also seems to be having a lot of fun with the film, as he never forgets his touches of humor to help the film's pace and his stunning camerawork which proves to be the film's showstopper. Explosions and gunfire are aplenty; highlights include a very cool town gunfight and a very long chase sequence with the ensembled cast supported by dozens of extras. I've read that Kim actually had cameramen hanging on wires to shoot the desert scenes--Kim Jee-Woon's talent shines through.

The action scenes are very exciting and exquisitely executed. It looks like director Kim took some pointers from Ryuhei Kitamura because they are just so full of "coolness" that can make action scribe John Woo a little jealous. Kim also avoids the use of CGI in the action and depends mostly on elaborate stunts and old-fashioned camera trickey; there is minimal use of CGI enhanced effects but only in the film's set designs. Ok, so some scenes required a large suspension of disbelief, I rather found Jung Woo-Sung's Do-Won's skills with a gun a little too over-the-top especially when he engages a large number of the Japanese army. He never even gets grazed by a bullet so either Do-Won is unbelievably good or these guys just supremely suck. But hey, this is a minor complaint, after all I don't think this film was meant to be taken seriously and more of a homage film. Hey, please take note that Kim doesn't hold back with the blood--and the way he executes it kept the film from having too much of that "comic bookish" feel. There is also a legend of a certain "Finger chopper" that gives some surprises and I felt that the screenplay played its cards well.

Song Kang-Ho's Tae-Goo arguably steals the show and proves to be the film's most interesting character--the actor also proves as to why he is one of South Korea's most sought after performers. The man can act in almost any film I've seen that further cements his reputation in versatility. Lee Byung Hyun does have the most intense presence onscreen, his character along with Song Kang-Ho's Tae-goo are the kind of characters that can elevate the film into "cult status". Jung Woo-Sung's "the Good" character feels a little too cool and lacks precision, but the actor does do the best with what he has. Still, the three popular actors mesh very well and has dynamic chemistry. Oh, the women are also great-looking and serves to titillate the male audience.

"The Good, The Bad, The Weird" is a very polished film that lived up to my expectations. The film's plot isn't too deep, but the film's "wow" factor is just so incredibly impressive that I can look pass the very simple plot which makes it essentially a chase film. It is a solid film, that exudes popcorn entertainment but its characters do carry much of the film's weight. It may be little too pre-occupied in becoming captivated with itself but its small flaws aren't really worth to nitpick. The film is an action-packed affair that action junkies will never become bored--as for the rest, they can find something else to like in the film--its characters, style and performers will definitely impress. I'm happy to say that Kim Jee-Woon's film lived up to the hype.

Highly Recommended!

Note: I own the 3-disc Korean region-3 release, which has both the theatrical uncut Korean version and the International version, which may arguably be a better paced, leaner film. The Korean cut has more development to Tae-goo's character and some extra scenes in the end. Luckily both versions are available in the Korean DVD release.

Continuing the saga of "Romance of Three Kingdoms", prime minister Cao Cao (Zhang Fengyi) is set to unleash a massive military invasion of the kingdoms of Shu and Wu, who had formed an allegiance to defend themselves against his massive forces. What happens is a battle of wits, manipulations and for strong morale. Cao Cao's forces dwarf the forces of the Wu leader (Chang Chen). However, with his viceroy Zhao Yu (Tony Leung) and Shu general Liu Bei (You Yong) with his chief strategist Zhuge Liang (Takeshi Kaneshiro), would never yield to Cao Cao's superior forces. The final battle is about to begin, and the freedoms of the Wu and Shu kingdoms are at stake.

John Woo has never been a complex storyteller and while the film does have his usual signature in elements of sentimentality and brotherhood, it doesn't dawdle. "Red Cliff 2" moves incredibly quick, and goes straight to military strategies and action with momentum. Woo dispenses further development of the story and goes straight for the throat. At the film's opening act, you will see Cao Cao employing his form of ancient biological and psychological warfare in sending the corpses of those soldiers who died from Typhoid fever, to infect the soldiers of his rivals. The rest of the film is a prelude to the final battle as Sun Xiang-Shang (Vicky Zhao) infiltrates Cao Cao's camp to spy on the opposing army. There are cool military strategies exhibited by Zhao Yu and Zhuge Liang--their efforts to pull off their false intelligence and their cunning ways to turn the tide served up exposition for the mutual admiration our two heroes have for each other. I was amused with Liang efforts to gain a 100,000 arrows as with Yu's manipulations to plant distrust among Cao Cao's ranks.

The film does serve up some doses of humor and while I think it did hamper the tone a little, I thought it was fun to see. Sun Xiang-Shang's exploits displays the strength of the Asian woman as with Yu's wife Xiao Quiao (played by Chinese model, Lin Chiling). Lin Chiling's performance proved quite impressive as she carries most of the emotional burden--this is her first major film, and I hope to see more of the beauteous actress. Woo gives the Xiao Quiao character to be served up as a sort of a "Helen of Troy", that Cao Cao has lustful feelings for her and is the hidden motivation behind his acts of aggression against the Shu kingdom. This motivation wasn't really fully confirmed but it gave Lin Chiling is chance to generate the needed emotions and the price of war. Tony Leung, Takeshi Kaneshiro, and the rest of the star-studded cast played their roles well. They are rightfully cast, Hu Jun plays a more machismo laden portrayal as Zilong Zhao than even Andy Lau in "Three Kingdoms". Zhang Fengyi adds a lot of compelling charisma to his antagonistic character--sure, much of the screen time goes to Leung and Kaneshiro's characters, but Fengyi knew how and when to grab attention; he proved an even more effective and compelling presence than in the first film.

For a Chinese epic film to succeed, it must have a truly rousing battle sequence and "Red Cliff 2" doesn't disappoint. Certain military strategies are laid out carefully, weather proved to be the deciding factor in its outcome. The battle is very long and goes full speed after the 70 minute mark. The Shu and Wu forces have everything to lose and they cannot afford to make mistakes. They carefully execute their battle plans, that includes precise timing, the use of fire, wave after wave of manpower. It was quite thrilling to actually see real people running around instead of the CGI-generated army. The battle is bloody and intense, I was impressed with the film's execution in the naval battle--they used a lot of fire and burned a lot of props. I do think that some of them were CGI-generated environments but one would be hard-pressed to notice. They were wonderfully shot with the use of multiple angles.

The siege on Cao Cao's camp is also the film's most exciting point. The fights then change from the bloody massive fights to focus back on the film's heroes and their individual efforts. Tony Leung, You Yong, Ba Zhen Za Bu, Hu Jun, Chang Chen and Zhang Jingsheng take the lead as they assault Cao Cao's stronghold. Alright, the action sequences were a lot stronger and unseats those seen in "Three Kingdoms". Hu Jun steals the show as the warrior Zilong Zhao, and Leung looked a little awkward with the action sequences. Some parts of it would require a large suspension of disbelief (some machismo is so strong that a half dozen arrows couldn't down one warrior) and some elements proved overly dramatic. Well, you are watching a John Woo film so expect the usual histrionics to display coolness in movement.

Purists of the novel will undoubtedly be a little turned off with the liberties it took from the source material, but one has got to remember that this is a film, meant for entertainment purposes and never for a history lesson. The direction is more energetic and solid this time around, and the performances of the cast is even better. The actors and actresses felt more comfortable with their roles and looked as if they were almost born to play their parts. Much of the film's weaknesses would come from Woo's clichéd elements and its diversion from the source material, but hey, I think the end product was still highly entertaining. The first film was the initial set up and "Red Cliff 2" is the pay off. I do think that the two films would be better edited together--dispensing much of the first film's overdone dialogue; Now that would be a real great, rousing Chinese epic! John Woo's "Red Cliff' series is indeed a grand expensive film but thankfully, with this climactic finale, it feels that it expressed his more personal touch. Not really a big John Woo fan, but I'm glad to have seen what may be his best film yet!

Oh, the white doves do have an intricate part in its storyline. (You can't see a John Woo film without the doves!)

Highly Recommended!

A cop turned pimp named Jung-Ho (Yun Seok Kim, the fantastic “Tazza the High-Rollers“) is in a financial bind. He runs a door-to door masseuse company and he had lost a lot of money when some of his top call girls started running out on him after he had given them financial support--or so he believes. After a “client” rejects some of his other girls, he sends Mi-jin, who also has a daughter, (beauteous Seo Yeong-Hie) to attend to the needs of client # 4885. Being a former cop, Jung-Ho connects the dots and concludes that his girls started disappearing after meeting with this client; he assumes that he is a rival flesh trader and informs Mi-jin that she needs to text him upon arrival on # 4885’s home. When Mi-jin herself fails to report and disappears, Jung-Ho is caught in a situation that he must find the truth about this client--named Young-Min Ji (Jung Woo-Ha); who for whatever reason confesses that he had killed 12 people to the police. But where is Mi-jin? Jung-Ho is becomes obsessed in making his own investigations.

The film unravels as a cat and mouse game, and rather than having it between the police and the killer, the game is played by two very unlikable characters. Jung-Ho is an antihero and Young-Min is a psychotic killer, that detail is revealed early on in the film. What makes the film enthralling is the fact that the script effectively takes its time and fleshes out the two main characters. The film focuses on the heart of the investigation by the police and Jung-Ho and the proceedings prove quite riveting. The film is based on a true event and I am certain that certain elements have been added to make it more exciting, but since the film is based on actual case files, I think it would be safe to assume that it is close to the real story.

“The Chaser” is full of effective twists and turns. The film is full of edge of your seat thrills, pulse-pounding action, immersive characters and there are also some touches of black humor to help the film’s 2 hour running time. The incident occurred when the Seoul mayor had been assaulted by an angry mob in a local marketplace, so expect the cops being torn between political pressure and the sense of urgency to find the evidence. The police wants to get Young-Ji behind bars and Jung-Ho is on the race against time to find Mi-jin--dead or alive. Mi-jin’s daughter also proves an effective plot element as you will root for Jung-Ho with just one look at this child.

The film has a finely-honed cast; Yun Seok Kim and Jung Woo-Ha does share dynamic chemistry even though they’re hardly together in one scene. The killer is definitely your usual bad guy but what made his character compelling is how the film slowly unravels his motivations and the antagonist proves every bit as psychotic as other iconic serial murderers. Psychopaths have no knowledge of right or wrong, decent or indecent. Ji-Young Min is imbalanced and the viewer will know this from the start, what happens next is the film’s main strength as it delves into his twisted mind.

Asian films are rather uninhibited when it comes to violence against women and this film displays a graphic amount of this element. The film does have its share of bloody and brutal scenes, the torture and mental anguish experienced by Mi-jin will be felt by the viewer. While we have definitely seen more graphic sequences especially in films by Takashi Miike, director Na came close, but he also exhibited some restraint in these scenes. Korean actress Seo Yeong-Hie does an outstanding job however limited her screen time may be. The film is quite terrifying and disturbing, and also very sad, the bleakness in its premise is portrayed throughout--but it also contains a certain warmth when you consider everything.

I have done my best to avoid giving spoilers except for giving some hints on the film’s characters and what exactly you are in for. The film has an abundance of twists and turns, and you’ll have to experience it to truly enjoy the film. Complemented by the awesome acting skills of the two leads, (most especially Yun-Seok Kim) and a very empathetic victim, the film is gripping. What I really liked about “The Chaser” is that it pulled no stops in displaying the ineptitude of the local police force and the arrogance of authority figures; the general public had been shortchanged as this film would portray. This incident had angered a lot of the Korean people and I am certain that you would feel the same way I did.

“The Chaser” is a riveting, entertaining experience and well worth the expensive price tag of the region-3 Korean release. The only fault I could find is that some may think it is overlong but its 2 hour run time will go by very quickly. You just have to see it before Hollywood remakes this film and becomes butchered by American filmmakers, Asian remakes very seldom works.

HIGHLY RECOMMENDED! [4 ½ Stars] Note: There has been talk that the U.S. remake has Leonardo DiCaprio in mind--hopefully he’ll play the killer? It is planned to be released sometime late next year.

At an isolated dojo headed by Sensei Eiken Shibahara (Shinya Ohwada), three students: Giryu (Akihito Yagi), Taikan (Tatsuya Naka) and Choie (Yuji Suzuki) train relentless under their master’s instructions. One day, when military officers threaten to ousts them from their own school, the encounter leaves Choie badly wounded with Taikan and Giryu taking up the challenge. Giryu defeats the commanding officer without throwing a single punch that led the officer to commit Seppuku. After their master’s death, the trio was hired to train military soldiers since the two both displayed impressive prowess. But fate interferes when Giryu becomes wounded by the officer’s vengeful children and he becomes separated from the group. Taikan becomes influenced by the ways of the world while Giryu befriends a kindly family. Fate has played them in opposing hands and an inevitable showdown is poised to bring the traditional Giryu against the corrupted Taikan--just who is truly deserving of the KURO OBI?

“Black Belt” is a thinking man’s martial arts film. The screenplay by George Ilda is a lush impressive breeding ground for melodrama and with Shinichi Nagasaki’s (A Tender Place) direction taking a more somber, novelistic approach to its story; the film explores the tensions of Karate. The film is an expression of the spirit of Karate, and Director Nagasaki has opted for a more character-driven approach in place of dazzling and unrealistic martial arts displays, for which he is to be commended. I am in total awe when a director instead goes for the spirit of a concept rather than just show how cool fight sequences can look.

The cast, Tatsuya Naka and Akihito Yagi are Black Belt holders themselves and they look very natural. Now, don’t mistake my earlier comment that the film is lacking in the number of fight sequences; there are quite a great number of fight scenes that display the beauty of Karate. Although the film focuses more on its characters and while the film’s plot is a bit simple, the action and fights are nicely placed to keep us entertained. The fight sequences themselves are a form of character development. As I’ve said, martial arts is a form of self-expression and so the film capitalizes on this idea. The action is there to build the characters‘ credibility, and it feels necessary to get to the film’s resolution. Unlike most martial arts films that have the story revolving on the action scenes, in this film, the action revolves in its plot.

The fight sequences by Fuyuhiko Nishi are smooth and VERY realistic. Most martial arts fans always see the choreography of the fights as a film’s major selling point, and this film delivers; the fights are AWESOME to see and more impressive as it avoided the use of wires and extravagant stunt work. I have never witnessed such well-choreographed fights since I saw real live competition. The camera work stays at a distance so you can see the movement between the fighters. The fights are hard-hitting and looks quite real, they aren‘t overly long and excellently paced. These characters are supposed to be lethal weapons but no one said they were emotionless. The fighters in this film feel very human, you see their concentration in their eyes and they can feel pain. The magic is that they manage to overcome the pain.

From the film’s opening act, you see the depths of Giryu, Taikan and Choei’s soul. Taikan is a young man who revels in competition and violent encounter to find the art’s meaning. Choei is the weakest student, but he is level-headed and truthful to himself which is why he was chosen to pick their master’s successor after his death. Giryu is very traditional, Shibahara’s teachings are similar to a religion to him and he would rather die than to stray from his teachings. “Karate is not to throw a punch or a kick, never attack, instead defend against an opponent’s attack--parry and stave off the opponent. This way you can reach perfection” as quoted by Sensei Shibahara.

While the film is quite predictable, the direction is very solid and the script is sharp. I called this film a Martial Arts melodrama because it focuses on its characters but let me once again make it clear that action fans won’t be disappointed. The absence of CGI and wirework in its fights are the film’s biggest strength and simplicity is its expression. The final encounter is shot in black and white perhaps to emphasize the clash between the Yin and the Yang, or to remind us that Karate is an ancient art that existed for hundreds of years.

“KURO OBI” is a beautiful film, it is definitely a thinking man’s film. The film set out to express the soul of Karate and director Nagasaki has achieved what he wanted to do by carefully measuring his approach. The film’s simple plot may be its Achilles’ heel but as with Karate, simplicity is often the most effective approach. After all, throwing too many punches can hurt a fighter himself, as can pitching too many ideas can hurt a film. “Black Belt” is solid, and nicely executed.

What is really worth fighting for? The goal is not for competition but the battle for enlightenment. Black can never look dirty, and a fighter must be pure. The Belt represents willpower. “From Strength will come compassion, from compassion, strength will emerge”

Highly Recommended!!

Sun-Woo (Lee Byung Hun, "J.S.A.") is an impeccably dressed enforcer for a notorious crimelord called Kang (Kim Yeong-Chul). Sun-woo is instructed to watch over his mistress Hee-Soo (Sin Min-Ah, "Volcano High") to find out if she’s making whoopee with another man. His orders are crystal clear: if he catches her cheating on Kang with another man, he is to contact Kang at once or finish them off himself.

The plot takes off when Sun-Woo does catch her with her boyfriend and he decides to let them both live. This gesture of pity and goodwill brings a world of pain onto Sun-Woo as the entire organization sets its goals to punishing him for his “act of betrayal”. Beaten, bloodied and kicked out of the gang, Sun-Woo survives the brutal ordeal. Hee-Soo convinces him that he had made the right choice, and Sun-Woo embarks on a brutal, bloody trail of vengeance from which no one is likely to survive. But a strange fact remains; Sun-Woo has been a faithful servant to Kang for years, why would he suddenly have a change of heart? Love and lust had nothing to do with it.

“A Bittersweet Life” is a beautiful, wholly engaging cinematic masterpiece. It blends the “hardboiled cool” of classic film noir with highly stylized action reminiscient of a John Woo film.

Before Sun-Woo decides to ignore his boss's orders we watch as he slowly comes to an epiphany. However, we're not quite privy to the depth of this realization until the final scene of the film, in which everything that has come before soon makes simple, perfect sense. The film becomes a visceral, wall-to wall action film when Sun-Woo goes against Kang; the carnage goes to overdrive. Nice touches, like a quiet moment wherein Sun-Woo placidly savors a slice of chocolate cake before ‘going to work’, adds a load of style, at the same time sets a moody atmosphere.

As brutally, violent this film is, it’s quite refreshing that the filmmakers didn’t lose their sense of humor. Interestingly enough, it contains a variety of comic moments interspersed throughout all the blood and gore. "A Bittersweet Life" can be oddly funny at times with its share of cleverly paced moments of black humor.

Lee Byung-Hun does a convincing job inhabiting the character of Sun-Woo. The actor brings a certain depth to his anti-hero role, which is an achievement considering that a fully-realized characterization of Sun-Woo hampered by the fact that his motivations must not be revealed until the ending. Even so, Lee conveys a sense of the character’s life, even if it isn’t something readily apparent by the script. Viewers will have to also take into account that the film is a (Sun-Woo's) character study of a person who lived most of his life in the shadow of violence which in turn may make one an empty shell. The things that most people may take for granted may be considered so "fulfilling" to someone with Sun-Woo's life.

IN CLOSING: "A Bittersweet Life" is a visual and aural feast for its audience. Beautiful as it is, some folks may find it superficial. Thankfully, that actually seems to be based on how the film is constructed, as everything is meant to build towards the film’s conclusion in which the TRUE motivation behind Sun-woo’s quest for revenge is revealed. Quite visceral, sometimes lyrical and even comical, “A Bittersweet Life” is a complete cinematic experience and contains a climax to bring it to a “bittersweet” close. To sum it up, it is terrific.

HIGHLY RECOMMENDED!! (4 ½ stars)

I am a fan of Ryuhei Kitamura, I loved AZUMI, VERSUS, THE MESSENGER and even ALIVE.

First of all, let me give you a history of ARAGAMI THE RAGING GOD OF BATTLE (aka: Aragami:duel). This film was shot as a challenge/wager with the director of 2LDK, the rules being: shoot and finish the film in 7 days, 2-3 actors, one room and 1 character has to die. I heard Kitamura actually wrote this while he was shooting Azumi.

The story is about 2 wounded samurai who fled to a remote temple fleeing from unseen enemies. They are greeted by a mysterious woman before losing consciousness. One samurai dies while the other samurai (TAKAO OSAWA, SKY HIGH) wakes healed from all wounds. He is greeted and fed by the lord of the temple (MASAYA KATO, Fighter in the wind). Afterwards, he is told that he is in fact a Tengu, or an Aragami who rules that mountain and feeds on human flesh for sustenance. the so-called lord of the temple has been waiting for a worthy opponent to kill him in single combat because he has lived too long.

SPOILER ALERT: It is said that if you are fed human liver and depending on who cooks it, like the mysterious, nameless woman, (Kanae Uotani, who is beautiful, THE MESSENGER, SKY HIGH) a human being may become almost immortal. Also, it was never proven, but the lord of the temple also stated that he is famous throughout the land with the name of MIYAMOTO MUSASHI (the greatest swordsman in Japanese history) There is also a great cameo appearance by the character (TAK SAKAGUCHI) in versus, if you look closely, even the katana sword in Versus was used by one of the combatants. I guess Kitamura intended this as well as make use of Props from his other films.

The film is well-done. No conversation is wasted, and it is well-acted. There is a lot of great chemistry among the actors, hence, for a 79 minute film, it is never boring, and the sword fight at the end is among the best I've seen. Forget Anakin vs. Kenobi, this can be the fight of the year.

I would advise watching it in original Japanese dialogue, it maintains the effect and excitement as it was intended to be.

I highly recommend ARAGAMI if you are a samurai/adventure fan, or if you specially like Kitamura's films. I bought it w/out renting it, and I was glad I did!! Like Masaya Kato says: "Things aren't always what it seems" . People expected a weak brainless film for a movie shot in 7 days, but this film is better than most of the films made in a year.

Enjoy!! Aragami wins over 2LDK in my opinion.

Now if only Hollywood directors will do a challenge movie made in 7 days...

Much of the film takes place during World War II and is set in Japan. The first half of the film follows the adventures of a young Choi Bae-Dul (Yang Dong-Geun), whose desire to become a pilot takes a side-winding nose dive when death and humiliation destroy his dreams. He stows away in a freighter to Japan to become an aviator. Choi Bae-Dul has experienced many hardships as a Korean in Japan, much of it is discrimination. After experiencing a devastating humiliation at a marketplace, he is tagged as the "pant-wetter" and he is aided by a fellow Korean who trains him in the martial arts. Things aren't as simple for a Korean in Japan, and when his master is killed by the Yakuza during a melee, Choi becomes more resolved in learning KARATE. Greatly influenced by the tales of the samurai warrior, Miyamoto Musashi, he embarks on a training regiment in the mountains to develop his own unique form of Karate. Choi Bae-Dul, now in top physical condition, travels all around the country, roams around by foot, train or whatever to reach his destination; his goal is to challenge and defeat opponents of different styles and origins.

Having been based off a manga, "Fighter In The Wind" is a more stylized and glossy portrayal of the real-life experiences of Choi. It is definitely more of a popcorn action film, abandoning any elements of a docudrama in place of romance, action, and subtle melodrama to create an entertaining experience. The film uses an almost "cardboard template" of Chinese martial arts films such as "Fist of Legend". A young Choi is humiliated, taken in by a martial arts master and when he is killed, young Choi becomes even more adamant in his practice of Karate using the life of Miyamoto Musashi as his guide in this journey. Choi's tribute to his master would be to avenge his death by proving that a Korean can be the best fighter in the world.

"Fighter In The Wind" may not be a real biography but it does capture the spirit of the achievements of Choi Bae-Dul. While the film may not be 100 % accurate, it does carry a certain amount of sentimentality that gives the story an epic-like atmosphere that makes it almost larger than life. It successfully re-enacts his humanity, myths and legends. Director Yoon Ho-Kang is able to blend the hard-hitting martial arts action with the story of young man who overcomes racial oppression through the use of his fist, achieving brotherhood and friendship through combat. The film also brings certain matters of pride into exposition; the Japanese masters hates the fact that a Korean is being compared to Miyamoto, Japan's greatest swordsman by the media. It is most interesting that the Japanese folk who doesn't know Choi show nothing but contempt towards the young man, while those who get to know him, develop nothing but fondness, respect and adoration towards him.

The media is shown in the form of comedic radio announcers, that chronicles Choi's journeys and triumphs much like a cheering chorus in Greek times. It was quite clever for the direction to show qualities of an epic film through its soundtrack while maintaining the subtle feel of a comic book. The first half of the film is more bent on its melodramatic elements, then it makes more of a comic-like transition as we see Japanese teenagers imitating Choi, his mannerisms and unkempt look--even his worn out, white Karate Gi looks identical to the one Ryu wears in the "Streetfighter" video games. His training montage also proves to be the film's major selling point. This cartoon-like transition is strange, but doesn't hurt or strengthen the film in any way.

Yoon Ho-Kang is able to display some hard-hitting KARATE action with the use of quick editing tricks, some use of slow-motion; he keeps the movie at a brisk pace. The thing I loved about this film is that no wires, CGI were used in its extensive fight choreography. It is well-staged, realistic and a bit brutal, although not as hard-hitting as Tony Jaa's "Ong-bak" or "TOM YUM GOONG". The fights aren't long or well-drawn out with its action shots but it is a fitting testament to the description of this Karate master as I have elaborated in my opening paragraph; "one strike, certain death". Choi encounters practitioners of Kendo, Ninjitsu, Karate, Judo, Kung Fu from different dojos as he fights his way to supremacy; if Choi gets to you, it was over.

Korean actor Dong-Kun Yang does an excellent job in his portrayal of Choi Bae-Dul while Masayo Kato (Aragami) develops a unique kind of chemistry with Yang as Choi's life-long rival from the times during the war as to the final fight to determine who is the best in Japan. Beauteous Aya Hirayama plays Choi's love interest. One might say that the woman is Choi's anchor in life, she keeps him human and she makes him want to be truly worthy of her love.

Despite some minor flaws such as minor displays of smugness, director Yoon Ho-Kang is able to make a credible re-telling of the life of a man who has been hailed as one of the best fighters in the world. He does a superb job in blending and putting everything together. This popcorn action film may not bring all the facts of Choi's life into exposition but nothing gets in the way of its excellent storytelling. "Fighter In The Wind" is one of the best martial arts films to come along and the film is definitely better acted with superior storytelling than most recent films of this genre. The music/soundtrack also fits the film and makes it feel more intense while instilling an epic-like melancholy. All the elements complement each other to give us a very entertaining action film.

The film is able to express emotion without overdone sentimentality, definitely dramatic but never becomes a sissy, with awesome fight choreography to balance its melodramatic elements; the film manages to adapt the needed screenplay to tell the story of a man who challenges the world and triumphs. Of course, no one can tell an accurate film about a man in a measly two hours. "Fighter In The Wind" makes for a winning attempt though. It is grand storytelling at its best; you will be amused, touched, and awed with the martial arts sequences.

Highly Recommended! [4- Stars]

250 years ago, Soetsu, a kindly moneylender is murdered by a samurai named Fukami and his lifeless body disposed of in the Kasanegafuchi (Kasane's plunge), the pool of water that snakes around and legend has it that those who sink in the water will never surface again. Some 25 years later, in a chance encounter; Fukami's son, Shinkichi (Kikunosuke Onoe) meets a wealthy and beauteous if older woman named Oshiga (Hitomi Kuroki) who is also the daughter of Soetsu. Shinkichi becomes smitten by Oshiga and she returns his feelings. The two begin to live together but strange things begin to occur. Then one day, after a lover's quarrel, Oshiga had fallen ill and due to the stress of taking care of his loved one, Shinkichi develops an attraction to a comely young woman named Oshisa. On the night of Oshiga's demise, she leaves a note for Shinkichi " If you ever re-marry, I will haunt your new wife to the grave..." Shinkichi has doomed any woman who dares to fall in love with him.

KAIDAN is a well constructed ghost story with some "borrowed" elements from Kwaidan's "Woman of the Snow" and "Black Hair". The film is about slow-build ups and restrained suspense; and to be honest is quite successful in what it set out to do. The thing I liked about the film is that it doesn't rely on cheap scares and the film's script is more a period piece that avoids the usual formulas set with haunted technological devices or objects, and while there is a ghost in this film, the reasons behind the haunting is quite credible. No, if you are looking for images on a mirror, or shadowy figures floating around, then you came to the wrong film. While it does have scenes with minor use of CGI and extreme spooky close-ups, the film feels like an old-fashioned horror film reminiscent of "Kwaidan" and "Onibaba". How creepy can a staring baby be? Very much so.

The film is structured as a character-driven melodrama with elements of karma and existential fatalism. Shinkichi is viewed as an attractive young man, no wonder so many beauteous women become smitten by him. In his younger days, he also easily becomes attracted to women and the film delves into the ironic fact that Shinkichi should reconsider remarrying as he undoubtedly would bring ruin to any woman who would love him. The film presents the terror of actually falling in love again and all the film's twists and turns are effective enough to keep me interested. It creates fear and terror in its systematic approach. We get to explore some bits of Japanese folklore and one very effective device this film has is the feeling of dread--you will definitely feel that the film will only get worst before if it EVER does get better; and that feeling is quite a delight if you ask me.

There is also an abundance of cuts in the film that symbolizes ruination. The old adage; "Hell hath no fury like a woman scorned" would come to mind and will serve as the film's most effective selling point. While I was pleasantly surprised with its old-fashioned horror elements, the film is not perfect, it did have its share of flaws. Some ideas were presented but weren't given closure as with Shinkichi and Orui's baby. Osono, Oshiga's sister, is also underdeveloped; you see her in the first act and her "chance" second meeting with Shinkichi felt a little too convenient. Shinkichi's father-in-law's mistress, Oshizu seemed like a simple plot device to get the film to its intriguing last act.

Regardless of its faults, "KAIDAN" is a very effective piece of Japanese horror. It is an old-school type of horror film that will make you absorb its experience and the more familiar you are with ritualistic details from Japan, the better you'll like it. The film focuses all its energy and momentum in its last 40 minutes and even displays some bloody samurai hacking and slashing. "Kaidan" is very abundant in context, and nicely presents the balance between redemption, obsession and destruction. The film is evenly paced, it outlasts most Asian Horror films and it never overstays its welcome.

HIGHLY RECOMMENDED! [4+ Stars]

A preteen schoolgirl named Mitsuko (played by Rie Kuwana) is pushed into a world of sex, voyeurism and abuse by her father Gozo (Hiroshi Ohguchi) who is also her school principal. In the beginning, Mitsuko was merely forced to watch her father have sex with her mother, Sayuri (Masumi Miyazaki) while hiding inside a huge cello case. But as time passes, Mitsuko and Sayuri switch places. Sayuri begins to envy Mitsuko as the other woman as Gozo forces the two to watch while the other has sex with him alternatively. This disgusting behavior, twisted relationship and forbidden sex has provoked a major collapse in psyche...

"I was sentenced to death at birth; or maybe my mother was to be executed and we switched places."

Sion Sono's "Strange Circus" is a film that defies proper descriptions. It is neither an art house film, nor is it a horror film; it is a bizarre amalgam of both that truly pushes the envelope. The movie is indeed horrific in ways that seem very real because truth be told, thing like this does happen. "Strange Circus" is the most graphic, highly disturbing film I've ever committed myself to watch....twice. (The first time was in April, 2007) My first review didn't do the film justice, I was so shocked that such a theme would be explored in Japanese cinema so vividly. Themes of incestuous sex, sexual and child abuse, beheadings and decapitations, orgies and sick sexual depravation are strong in the film's screenplay. Still, Sion Sono's "Strange Circus" deserves to be seen, it is brilliantly shot and despite its very disturbing themes, it is an excellent movie.

The film begins as we become privy to Mitsuko's mental torture. It is the kind that upsets a person to the core. Aside from Mitsuko's mental anguish, her mother Sayuri also experiences extreme torture of her psyche. One may ask as to how a mother can allow such an act to occur, but trust me, Sono will put everything together. The way the film's first half is structured is similar to a narrative that feels episodic, it is as if Mitsuko herself is writing a journal. The film is quite cryptic in a way and would no doubt alienate some viewers. Its narrative is full of sequences that may make one question which is real or not, and as soon as you think you have it figured out, Sono warps you into another possibility. The sex scenes are very graphic and borders on being plain porn. Thankfully the scenes of Mitsuko's molestation happen off camera, with some hinted at symbolisms to make its point.

Sono sidesteps the notion that there are innocents in the film. Sure, it is easy to sympathize with Mitsuko as we witness her plight but as soon as begin to develop the tiniest bit of empathy, it becomes replaced with confusion and utter disgust. Gozo may well be one of the most despicable characters I've seen in cinema. His admission that what he and Mitsuko did was wrong, was a way to express his knowledge that what he did was evil, and he was afraid that they may be found out. Gozo is a sex addict and would have sex with any woman. Throughout her life, Mitsuko is mentally tortured and used. First by her father and then attacked by her own mother. A strong argument may be raised that the movie is about the hallucinations of the older Mitsuko that she is writing a story now as a handicapped writer Taeko. But Sion Sono's film is just as mind-bending as one by David Lynch. This is where Yuji comes in, to explain and to reveal the horrifying answers.

Masumi Miyazaki plays multiple roles--as Sayuri, even as Mitsuko and then as Taeko. Her performance is just mesmerizing, her sex scenes are just disquieting but at the same time, undeniably erotic. Miyazaki bears her soul for her role and expresses every piece of needed emotion meant for the scene. "Strange Circus" is a success because of Masumi Miyazaki, she just does what is needed to be done. Her performance is truly impressive and to think that the actress took a long time off from acting (for 11 years) before this performance. Sono presents considerable visuals and symbols to balance the film's disturbing themes. The film is beautifully shot, with a nice execution in style.

The film's screenplay is the type that makes you want to look away, much like witnessing a really bad car accident but for some reason, you just can't look away. The film would be able to induce whiplash, brought upon by its last act. The end of the film is just too riveting and gripping that it may be worth the price of admission. It is a form of non-linear storytelling that may prove confusing to some, yet, so rewarding to those who are into brilliant filmmaking. It is just plain confusingly horrifying. Also, the film has a good share of blood and gore in the film's last act...it involves a chainsaw.

"Strange Circus" is no doubt a film not for everybody. Heck, I would go as far as to suggest that it is not a film that would appeal to most people. While I cannot deny its bold ambition, I can't really say I liked or enjoyed the film. If this had been released in theaters, it would earn the dreaded NC-17 rating. Sion Sono's "Strange Circus" is rightfully named. It is grotesquely gripping and disturbing at the same time. It provokes a gritty disgust while enticing you with its narrative.

The film is of such disturbing nature that only the most timid recommendation may be given. You may hide in a corner and suck on your thumbs now. [4+ Stars]

Jiro (Koide Koisuke) is a nerdish working student who meets a mysterious, beautiful young woman (bikini model Haruka Ayase, Ichi) on his birthday in November, 2007. The two spend the evening together and before the night is over, she leaves for the night; leaving Jiro to reminisce about her for an entire year. One year later, Jiro meets his mysterious dream girl once again to find out that she is the "Cyberdyne Model 103" sent back by Jiro himself from the future to avert a tragedy that paralyses him. The two form a strange bond as Jiro slowly begins to develop feelings for his synthetic companion. (Who can blame Jiro since this cyborg is the hottest thing I've ever seen!) She also becomes a minor "secret" celebrity as she uses her tech-enhanced powers to stop certain disasters before they happen. Jiro's happiness may well be short-lived as things begin to unravel that reveal his friend's true purpose.

"Cyborg She" or "Cyborg Girl" is one film that borrows heavily from themes established by "The Terminator" and "The Back to the Future" movies. The results are mixed, and truth be told, its science of time travel may be a little too unexplored. However, director Kwak Jae-Young's style of storytelling is very energetic, witty, charming and unpredictable. The man is in familiar territory as he is the same director who directed the Korean blockbuster hit "My Sassy Girl". The man avoids the usual stereotypical trappings of a romantic comedy and focuses instead on sci-fi elements and time travel mythos. Kwak's inventive touches at humor and superb storytelling techniques are evident in the film as he serves up a satisfyingly fun film.

Now this is a Japanese film so expect a touch of certain thought-provoking themes such as heart and soul. The Cyborg herself is a learning computer and in time, it will develop its human characteristics. Just what makes a human? Is it the way we were born or the way we live and experience life. According to Kwak, our actions and experiences are what makes us human; the question is: Is it because of mere programming or is does a machine develop a soul? Besides this, "Cyborg She" establishes its own science in the laws of time travel. It may become a bit difficult to follow as the story unravels but not to worry, Kwak manages to explain everything and puts it all together in the end. This thematic film successfully sidesteps the clichés of romantic comedies and manages to give the viewer quite a few surprises. Sure, it borrows from movies such as "Ghost In the Shell", "A.I." and "The Terminator" but the storytelling is solid enough that I was quite pleased with its execution.

The visual effects are also quite impressive. I loved the scenes of the earthquake set to destroy Tokyo. You can literally feel the city breaking apart and the scenes were able to express the fear and the loss after such a disaster. The scenes whenever the Cyborg utilizes her superhuman abilities are also top notch. The film has mild displays of violence and blood but none so graphic that may turn off mainstream watchers. The time travel effects resemble those seen in Hollywood movies made of similar nature.

Now, I may be giving the impression that the film has its bleakness to it but it merely serves as a balance to the film's endearing nature. There are quite a lot of scenes that I found genuinely amusing that I almost laughed myself silly. I loved the scenes when she eats, accidentally gets drunk and frightens Jiro's professor. The way Haruka Ayase just exudes that innocence much like a child and warm charisma even though she is playing a cyborg. Oh, she even does the "robot" dance moves when she finds herself in a club with Jiro. Ayase is definitely able to create a likeable, stiff artificial being. The love story between her and Jiro does start off simply enough, in an awkward fashion but their controlled performances give viability to their romance. Koide Koisuke is also charming as the nerdy Jiro, in a manner that is definitely Otaku/anime-like. The film is largely a success because of its performers.

Much as I hate romantic comedies, "Cyborg She" is a wild blend of action, sci-fi fantasy elements and inventive humor that will undoubtedly charm its way to its viewers' heart. The viewer is given time to form an attachment to its attractive leading lady and invest in the romance that develops between the two leads. The loopy time travel thing may be a little hard to follow, but I know enough about the physics of time travel to buy into what the film is trying to say. Some folks may nit-pick its time travel mythos but this is not what the film is all about. It is about experiences that affect the past, present and the future or that the past, the present and the future affect each other. It is a love that transcends time.

Highly Recommended!

The award-winning, blockbuster Spanish horror film "REC" had already been remade for U.S. audiences under the nom de plume "Quarantine". I have seen both horror films, and I have decided to focus on reviewing the original film rather than comparing the two. Directed by Jaume Balaguero, "REC" is a film that adapts the first person, POV style shaky camera style that was first adapted by "Blair Witch Project" and later on also in "Cloverfield" and even Romero's "Diary of the Dead". The film has the B-grade movie feel, but the director made it work. After all, what better way to emulate realism with a DV camera than for the movie to look very unpolished and rough around the edges? I'll get right to the point, I enjoyed "Quarantine" but "REC" is a lot better.

A television reporter named Angela Vidal (sexy Manuela Velasco) and her cameraman, Pablo (Pablo Rosso) is covering a local fire stations in Barcelona for a TV show called "While you're Asleep". Things seemed very uneventful, Angela is just hanging out with some local firemen, Alex and Manu (Ferrah Terraza) until the station receives a call to an apartment building where screams have been heard. The TV team tags along with the firemen and meets up with local police officers. Once there, they find an old woman seemingly frightened and attacks one of the policemen. Suddenly, Angela, the firemen and all the tenants of the building become trapped inside the building by a Hazmat crew and they have been isolated from the outside world. Things go from bad to worse as things go out of control as the tenants become mysteriously infected that makes them violently feral. Angela and Pablo may not survive the night...

"REC" has the type of plot that is very simple and follows established groundwork for zombie films such as the "28 Days Later" franchise. A supposed virus that causes violent behavior isn't really original but the film's execution is very strong in generating suspense and claustrophobia. I am not really a big fan of the shaky POV style camera work but director Balaguero does pay attention to the smallest details as to how this style should be executed. There are some gaps in the camerawork, some sound being unrecorded and the camera does take certain shots that make the viewer feel that Pablo is indeed running for his life. When it comes to terror, "REC" does not disappoint, the camera does feel like it is a significant part of the film rather than a gimmick.

The film's style feels very rough and edgy. (Quarantine was polished and beautified) The film looks very simple and stays close to realism. The apartment looks very normal until the lights go off--then we see how the direction takes over in the horrifying sequences. The film is nicely paced and a little short at 79 minutes but I thought this was a clever move. The film is essentially a chase film with Angela, Pablo and Manu running for their lives with no way out, the outside world have no intention of helping for fear of a pandemic. Its short runtime makes the film leaner, more intense and faster-paced to generate the scares that it never lets up. The film has the recommended doses of BLOOD and Gore which are perfectly timed and placed. As for its plot, "REC" downplays any solid explanations as to the source of the virus until the final act where it gives hints to the cause with a hidden laboratory. "REC" strongly states that "we're not sure what is going on.." and yes, any solid answers as to the virus will somewhat remain a mystery and lack solid closure. Is it something demonic or something biological?

Much of the film's strength would have to come from the lead characters. The film does have some rather less than impressive characters; an Asian couple, a homosexual super, an intern from a hospital, and much of their developments come from the interviews Angela performs while waiting around. These are your everyday normal folk, people we wouldn't pay attention to when we walk down the street--they look very real and a little silly, much like the folks we see everyday. Manuela Velasco looks, talks and behaves like a reporter; much of her emotions come from a reactionary performance and Velasco certainly pulls it off--the viewer will have no problems feeling sympathy towards her character.

"REC" is the type of horror film that is smart, simple and plays on all its strengths that it manages to make the simplicity of its plot a main part of its direction; along with its rough and edgy claustrophobic atmosphere. While it does have no involving subtext and engaging characters, the film is incredibly tense, that the direction manages to bring about chills and thrills that all its suspense would come from its fast-paced build-up that uses that genuine feeling of helplessness. The final act of the film also serves up the incredible reward as you become privy to one of the freakiest images ever seen on " make believe" POV camera". This Spanish horror film may not be offer anything groundbreaking, but it certainly is solid, competent and entertainingly freaky!

Highly Recommended!

A young man named Tien is orphaned when his family is murdered by a rival noble. Tien is found by a group of slave traders, and for some reason, the leader of the Pha Peek Krut Pirates, Cher Nung takes pity on the boy. Nung notices the young boy's fighting spirit. The boy is trained in all manner of fighting and grows up (this time played as Tony Jaa). Now a highly skilled fighter and has overcome many tests of manhood, Tien is appointed second in command of the pirates. But there is an innate anger within Tien, he hungers for revenge. He seeks out the killers of his family but there is more to things that meets the eye. Tien must now fight for his life alone.

Granted, the plotline in Jaa's previous films weren't works of ingenuity and this film is quite the same. The plot in "Ong-Bak 2" is pretty routine and unimaginative. The details of story are shown in flashbacks, and quite honestly, there was effort in making an intricate storyline, but the execution is very weak. The film's narrative stumbles and there are plot holes aplenty; certain parts of the film felt too rushed no doubt to meet its deadline. There are a few attempts at an effective twist, but it felt more like a throw-away detail since none of the characters involved were fully developed. Some characters come and go, and I failed to connect with the protagonists.

There are certain familiar characters that show up, there is the "Crow Ghost" introduced by Dan Chupong in "Tabunfire" who uses some razzle-dazzling martial arts with the use of explosives, there is a touch of mysticism (with a blind shaman and a fanged woman), ninja-like fighters, a samurai swordsman, a practitioner of kung fu, there is a jiu-jitsu master, an Arab warrior -- the film does have a lot of potential and this group of pirates is a large assemblage of warriors; the problem none of it felt relevant because of the lack of development. The characters while colorful appeared to be a mere attempt at style than a part of its storyline. Tien also has a love interest, but it never goes anywhere. The film has a lot of cool elements but it's narrative needed to be more cohesive.

Thankfully, the film's action sequences are as impressive as Jaa's previous films. There is a lot of swordplay, hard-hitting punches and bone crushing kicks to satisfy the action junkie. Tony Jaa still maintains his "no wires" style as he performs his own acrobatic, jaw-dropping stunts which had proven to be his signature. There are some minor use of wires utilized by some of the stuntmen but none too elaborate. His previous films feature his prowess in the moves of Muay Thai and kickboxing, and in this film, Jaa displays several different styles. Jaa makes use of a Tai Chi sword and a katana, some Gong Fu, a dose of Jiu-jitsu and even some moves from Jackie Chan's "Drunken Master". I suppose that this was meant to be an exposition that Tien's character is well-versed with martial arts from China, Japan, and Thailand. It is a nice touch as Tien is trained to become the most dangerous fighter in this period.

The cinematography is quite decent and well engaged in showing all the bone-crushing action. The scenes mostly take place in the jungle, and unlike the original "Ong-Bak" and "Tom Yum Goong", the set ups for the action is pretty routine and may prove repetitive to some. The action is quick, intense and bloody brutal at times, maybe more brutal than the original. The film does have a gloomy atmosphere and delivers most of the plot with a straight face. However, it may have too much of a serious tone, and Tien appears to be obsessed with one emotion; anger. Much of the film's screenplay are minor set ups for Jaa to show his skills as a martial artist and not as an actor. I know this film flies high as an action film but the lack of emotions tend to dull the narrative impact of the fight scenes. The climax also ends in a cliffhanger and I thought it was rather unsatisfying.

"ONG-BAK 2" is the type of film that stays aloft due to the number of action sequences and just how impressive they are; on this regard, it doesn't disappoint. Sometimes we need a pure action film and this film is one of those bone-crushing, stylish, hyper-kinetic action films that action fans would talk about because of its fight sequences and never because of an intricate storyline. There is some ambition this time around in presenting an in-depth plot but it was abandoned in favor of action. The climax does prove a little too empty and unsatisfying, but it does have enough action to hide its many flaws. No acting, no wires, and no emotions--Jaa and Rittikrai does deliver in terms of excitement in its display of martial arts action in the form of Tony Jaa!

Highly Recommended!

A court maid is found dead that very much looks like a suicide in the palace grounds. Chun-Ryung (Jin-Hee Park) is the palace medic/nurse who performs the autopsy which leads her to suspect foul play and even murder. With a sense of justice and hunger for the truth, Chun-Ryung delicately attempts to unmask the deception. But soon she confronts the sinister past; full of secrets that has been kept hidden by those who have more power than anyone can expect.

“Shadows in the Palace” has been billed as a horror film, so naturally, I was first led to believe that the film is another bid to display a vengeful white-faced ghost. To my surprise, the film focuses more on the mystery surrounding the murder of Wol Ryung (Yung Hee-Seo) and the political intrigue behind it. This is a very impressive move by the director to go in this approach since I rather thought that the film does succeed in becoming a taut, gripping thriller than to be one of the usual fare of Asian horror. While there are hints of supernatural elements in the proceedings, and they are quite creepy at times, the massively growing secrets that Chun-Ryung is entangled in proved much more interesting. The investigation sequences are quite gripping enough as one secret after another are slowly revealed, that it does actually add credibility to the build-up of its supernatural elements.

The film’s main premise is the internal workings of the king’s palace and the women who work there; chambermaids, courtesans, concubines are all revealed as conniving women who would resort to anything to maintain or ascend to their position of power. The hidden secret is actually the film’s main strength as the film also becomes a cerebral thriller that is quite involving and I had to rewind a couple of times to keep up with the dialogue at times. Also, the interesting characters also complement the atmospheric and sometimes seductive proceedings of the film. Seems like almost all the characters have a secret that more or less can be a reason for seeking redemption. The most sympathetic characters of all is Wol Ryung (Yung Hee-Seo), and Ok-Jin, the mute court maid (Jung-eun Yin), because in a way they are both victims of authority figures in their own twisted way. Beautiful Sae Ah-Yun (Blood rain) plays Mistress Hee-Bin, a King’s concubine who has given birth to the heir to the throne; Hee-Bin is full of layers and layers of secrets that serves as the film‘s main twist. The film’s heroine Chun-Ryung carries more of the film’s burden and thankfully actress Jin-Hee Park is up to the challenge. Which brings us to the performances of its cast; all have given superb performances, that makes the film’s screenplay very strong.

One other thing about the film is its excellent cinematography that has a darker tone than “the King and the Clown”. The film also has scenes of torture that is both self-inflicted and administered as punishment. There is quite a bit of blood and gore but not the type that would repulse viewers. Those scenes actually assist in promoting the film’s dark premise. While there is a vengeful spirit suggested in the film, the way it was executed was very clever that it relied on the slow build-up, and not to cheap clichés. It was a very nice touch, to put the mystery and the dramatic elements as the central focus of the film.

Overall, I found “Shadows in the Palace” a very rewarding experience. The film does deliver a taut and gripping thriller with the character’s development relying the “slow reveal” as the heroine stumbles around to unlock the secrets. As such, viewers will have to pay extra attention to the flashbacks so they won’t be lost in the sequences. The film does deliver a very effective climax that closes with an exclamation point. Full of intrigue, underlying mystery and individual surprises, combined with excellent set designs, elaborate costumes and atmosphere, the film proved very worthy of my time.

Highly Recommended! [4 Stars]

If you think you are ready for “TOKYO GORE POLICE” then you have another thing coming. Once you see the film’s opening act of dismembered full frontal nudity with lots of blood and gore, you may get the idea that you are in for something very unusual. So, Do I have your attention yet??

In a far distant future, Tokyo’s police force has been privatized and they are locked in constant combat with a group of genetically enhanced killers called “Engineers”. These genetically modified super-murderers can bio-infuse their open wounds with weapons, turning self-mutilation into combat form. Ruka (Eihi Shiina, "Audition") is the daughter of the police chief’s murdered right-hand man, is now the police corporation’s top engineer hunter. With cold-blooded efficiency, she cuts through the psychotic engineers and leaves them very dead. Nothing can keep her from her duty--that is, until she encounters a mysterious engineer called the “key man” and she learns the truth behind her father’s death.

“Tokyo Gore Police” is the directorial debut of Yoshihiro Nishimura, the same man who is responsible for the effects and make up for “Machine Girl”, the man who brainstormed with Sion Sono for “Strange Circus”; and if those two films are any indication, you can imagine just how outrageous and chaotic this film can get. I am at a loss for words, this film had left me almost speechless. Nishimura definitely pulled out all the stops in his debut film, but unlike “Machine Girl” which felt almost like a humorous, gore-riddled stunt show, “Tokyo Gore Police” manages to execute everything with a straight face and what you will get is something no one would expect. The film is a thematic affair, and the film is very dark--in a very pleasant way.

Amid all the brutality, dismemberment, blood and a whole lot of GORE, the film has a commentary on the excesses of society that may lead to its collapse. The TV commercials give a hint of the film’s current popular culture with the products they sell. Apparently, suicide and self-mutilation is the “in” thing amid the teens, and video game consoles such as the Wii have games that allow the player to mutilate and kill within the comfort of one’s own home. The film also borrows the element from “Robocop” regarding the idea of a corporation that runs a city’s police force. The police force’s uniform bears a resemblance to ancient samurai armor and western elements. (except for Ruka, who wears a sexy uniform--somewhat dominatrix style). The self-mutilation idea may have been lifted from Cronenberg via “Existenz” and the film’s look and feel is definitely anime-inspired; the imagery may have a little bit of a “comic bookish” atmosphere.

The film definitely has a lot of things to say and it would be very easy for the viewer to shut off his brain and let the violent (if campy) imagery just wash over him. The film has its share of outrageous and oddball characters--there’s a freaky bondage club, there’s a snail woman (who may be a Yokai character), there‘s even some hinted S & M. Then if we begin to talk about shocking images and gore, then nothing to this day may equal “Tokyo Gore Police”. Blood just drops like a strong rainfall; there’re boobies that spew acid and ones with teeth, one man has literally a cannon for his male genitalia, a huge deathtrap of a female genitalia, organic bullets, knives, blades, brains being cut open, penises being bitten off--you name it, this film has it. The film is remarkably INSANE.

The action scenes are quite reminiscent of “Machine Girl”, but dare I say, it does succeed where the former failed. A bazooka and splattering blood are used to propel, oneself that adds somewhat to its silliness and outrageousness. These are not negative comments, but the film lives and stays aloft on this style. There are some uses of slow-motion in the action, and it is not so much how hard-hitting it is, as how bloody and gory one action scene may get. The film’s tone takes on some serial killer elements to a cautionary tale of fascistic paranoia and withheld aggression, with some competitive subtle quips about China and Japan.

The film’s plot may not be complex, and the screenplay isn’t without its flaws. Some of its elements may seem a little tiresome after awhile, but it does display director Nishimura’s potential as a filmmaker. Keep in mind that this is his first directorial assignment, and it is no fault of his that some of the film’s storytelling is unrefined and feels a little convoluted. Eihi Shiina is very fitting as the film’s lead. The woman is as cold and emotionless as in “Audition”. However, Shiina exhibits a particular type of sex appeal that is both frightening and alluring. Ruka’s character is a woman sworn to her duty and manages to shut off almost everything in this chaotic Tokyo. Her past is told in flashbacks (as with most of the film’s character developments) and her one link to order and sanity is her relationship to a kindly bar owner (Ikuko Sawada).

“Tokyo Gore Police” wasn’t exactly what I expected, but boy, it was one fun ride. It was far more than I wanted to see or prepared myself for. The film is definitely NOT FOR EVERYONE. The film delivers its outright silliness and “campiness” with a serious tone; that while it may seem funny--once you take it in, it is a lot DARKER and bizarre than at first impression. This type of film just doesn’t give nary a smile nor a thumbs up to the audience--you know why? Because of all the cut-off limbs and dismembered body parts, the film probably had everything torn away in PURE bloody fashion.

Again, watch it if you dare….

Recommended timidly but a HIGHLY recommended rating to fans of blood and gore.

Note: There is a very strong hint that this is Yoshihiro Nishimura’s first installment of blood and gore.

Sung Dynasty period. Simon Qing (Lam Wai Kin) is the son of a famed sexologist named Simon Tate (Chui Siu Keung). Upon reaching adulthood, he becomes a handsome, good for nothing womanizer and well endowed. Qing knew about the drugs and techniques that can maximize carnal pleasures. Once he reached the proper age, his father hired a voluptuous harlot, Violetta (curvaceous Kaera Uehara) to teach him the act of lovemaking. Henceforth, Simon embarked upon a life of womanizing. Upon his travels, he meets a virgin nun named Moon (sexy Hikaru Wakana) when Qing was stricken with fever and sought shelter in Moon's nunnery. There, Moon's curiosity was awakened and she was seduced by Qing to abandon her post and be taken home to become his wife. However, after his father passed on, Qing could not be satisfied with one woman. He often has sex with the prettiest women in the region and earned himself a reputation as a playboy. He has sex with the head of a brothel (played by Yui Morikawa) and encounters a young slave girl named Lotus which aroused his curiosity because of her small feet. Years passed, Qing encounters Lotus again (this time played by arousing Serina Hayakawa), she is now a young woman who had reached sexual maturity and much to his dismay, Lotus is married to a repulsive dwarf named Wu Da-Lang (Ng Chi Hung). Qing becomes obsessed with Lotus and plans to have her by hook or by crook..

"Sex and Chopsticks" is a softcore flick full of gratuitous and vigorous sex scenes that even includes some girl on girl action, REAL full frontal female nudity and comedic sequences. It doesn't match up with "Sex and Zen" or "Chinese Torture Chamber" when it comes to artistic quality but it does stand on its own as a flick full of silly dirty humor, martial arts action and decent production values. The film starts out as a comedic "sexual awakening" for our young Simon Qing, as he father teaches him to master his body and mind. Qing masters the techniques of doing push-ups and writing with his male member as well incorporating the mental disciplines of the "Tao of Sex". It was quite intriguing as Qing becomes "oversexed" and he would treat himself in almost every way possible, much of it is exaggerated and meant to amuse the viewer and none of the scenes are offensive. Then once you see Violetta who is played by luscious Japanese AV- actress Kaera Uehara, you will feel a very strong titillating sensation when you see all the full frontal nudity and the film goes into silly comedic overdrive.

I found it quite curious that all the women are played by Japanese AV-idols such as Kaera Uehara, Yui Morikawa, Hikaru Wakana, and Serina Hayakawa in a Hong Kong production. I suppose all the bad publicity that a skin flick would generate was avoided by Chinese actresses but hey, I think this was a blessing in disguise. Without these voluptuously sexy Japanese women, I doubt we would see a lot of full frontal nudity. I also found it quite amusing that aside from Moon, the nunnery's women were all played by young boys and the headmaster is played by an old man. I hardly saw any Chinese actresses except maybe for the occasional passer-bys and Madame Wang who served as Qing's godmother. Also, Yui Morikawa plays dual roles as Qing's mother and a brothel Madame--which is so weird but I suppose this was meant as a very subtle commentary?

The sex scenes are long and very erotic, and rivals the titillation factor of Japanese "Pink films". Lam Wai Kin is a veteran in these types of films and he really looked like he was having a ball with his role. Unlike Chiu Siu Keung (who looked liked he didn't want to touch Morikawa in his only sex scene), Lam Wai Kin looked very comfortable with all the nudity and fornications; and the women really looked like they were really getting into the simulated sex scenes and facial expressions genuinely reflected enjoyment. Familiar prosthetics and tools were used in this flick that I am sure will be recognized. Wires were used in some of the sex scenes as a form of enhancements, dancing and even "combat by sex". These elements will definitely be appreciated by fans of "Sex and Zen". Hey, the film even serves up some sequences of decently choreographed martial arts action.

"The Forbidden Legend: Sex and Chopsticks" isn't a very good movie if you look at it from an artistic standpoint. But if you look at it as a silly caricature of an oversexed playboy, it is a lot of fun to watch and it never gets boring. I found myself snickering quite a number of times with some of the goofy exaggerated sex scenes. I was a little surprised that the film went for a different tone in the last act and became a disquieting commentary about one's obsession; it lost it's sense of humor and became a commentary on licentious and immoral behavior. I guess Qing's lack of morals were meant to give it some touches of drama but such an approach felt inappropriate here.

Despite its downright silliness, a weak plot and some major flaws in direction (one isn't here to watch it for brilliance), "Sex and Chopsticks" does what it meant to do. It serves up a lot of comedy, dirty humor, and is a great excuse to bring an overabundance of full frontal nudity and very vigorous sex scenes. The film is not to be taken seriously and meant purely for guilty pleasure. Fans of "Hanzo the Razor", "Chinese Torture Chamber" and "Sex and Zen" should definitely give this one a watch. The film is a HOOT but it needed more chopsticks!

Recommended timidly. [3 ½ Stars]

Suzuran High school has a reputation as being the most notoriously chaotic, brutal schools in the nation. The students spend little or no time at all trying to get an education and spends most of their time organizing their gangs and fighting for supremacy as to who would rule the school--currently, a student named Tamao Serizawa (Yamada Takayuki) is the closest to achieving that goal, being called "Hyaku Jyu Oh" or "King of the hundred Beasts". Now, a transfer named Genji Takaya (Shun Oguri), the son of a yakuza lord has his eyes set on becoming the ruler of Suzuran to gain fame and his father`s respect. He befriends a bumbling yakuza henchman, Takajiri Ken (Yabe Kyosuke, Dead or Alive) and begins his journey in assembling a gang--using his fists to prove himself (to Izaki and Chute), and helping Maki (leader of a 2nd year gang) to meet chicks. The final showdown is about to begin...

Takashi Miike's direction is full of forward momentum, that it never lets up on its wicked energy to immerse the viewer. The film is highly entertaining and while its main premise is very simple, Miike manages to pull out major depth in his expression of just how the power structures of the gangs work which is basically analogous to feudal warfare, that includes sought after alliances--in this regard friendships are tested, where masculinity and fighting ability are the two factors that a young man can prove one's worth. Miike is a master of visuals and movement, and this film is just so full of eye-catching, awesome style. The film is at times full of outrageousness and black comedy, but he manages to let his characters grow on the audience by inserting some needed emotions in some of the film's sequences.

The characters are quite interesting and the director even gives them somewhat of a mythic personality and machismo. Maki is a dim-witted gang leader (no doubt due to the beatings he suffered) whom Genji manages to befriend by setting him up on a date. He sweats and reaches an orgasm when he sees a chick so he could never hook up. Izaki is the calculating and brutal leader (played by Takaoka Sousoke) who Genji impresses with his sheer guts and fighting spirit. Serizawa and Genji feel like they are two sides of the same coin. They have formed allegiances to become the "top dog". The script by Fudo Shugo also introduces a mythic legend about a school kid so tough that he doesn't need alliances; called the "Rinda-Man", who is said to be on another level to brutality.

Aside from the film's characterization, much of the film's main strength would have to come from the hyper-kinetic fight sequences. Keep in mind that this is Takashi Miike and no way would he shoot a super-choreographed fight. Ok, the fights may look very much "manga-inspired" and has somewhat of that anime feel--with the sounds and impact of the blows almost comic bookish. However, the action gets more brutal and bloody, and does have a touch of realism the longer we go into the film. The fights are nicely shot, with cool macho posturing and fun butt-kicking attitude in the sequences. The film did manage to keep its direction tight and solid to keep me intrigued as to who would win in the end.

The film is fun to watch and has the character skids from the comic book surface in the second half. Granted the story isn't really all that complex, it is quite very typical of other manga books in store shelves and isn't going to win any awards. The screenplay does seem to draw influences from other manga adaptations about gang wars from "Be-Bop High School", Sakigake! Otokujuku and even Walter Hill's "Streets of Fire". Genji's love interest, Ruka Aizawa is also underdeveloped and her character seems like only a device for breath-taking beauty Meisa Kuroki to show her talent as a J-pop star. The punk rock band, GINJIROU also provides some "punk rock" entertainment that complements Kuroki's hip-hop R/B performances. There is also your typical brotherly man-love between Ken and Genji that offers up a subplot with the Yakuza. It may be cliché for films of this kind but it does succeed in displaying its emotions.

Takashi Miike's "CROWS ZERO" is a film with a plot that offers little surprises but what made this film special is its strong energy in its momentum and over-the-top entertainment value. The film's characters are quite cartoonish, but they do have a tone of seriousness about them that provides balance. These pretty boys pretty much beat each other to a pulp, but it is not to the extent of brutality that is disturbing. There are no teachers in this film and the cops barely made an appearance--this is NOT a film to be taken seriously and if you do, it would be your fault. Miike's direction and visual manipulations are slick, cool, and full of outrageous style--it almost resembles a comic book video. This is Miike on his mainstream mode but he doesn't forget to pitch in some cultural prestige which makes it special. The film is reason enough for Western fans of the Japanese medium (anime, manga, bishonen heroes, video games) to rejoice and I am pretty sure fans of the comic won't have reason to complain either. For its male target audience, it is sure to be a hit! Rinda-Man is COOL!!

Highly Recommended! [3 1/2 Stars]

Saya (Jeon Ji-Hyeon) is a 400 year old half human, half-vampire who was sired by a human demon/vampire hunter and a vampire mother. Raised and trained to become a hunter by a man called Kato, Saya is now the chief operative of a secret organization who hunts vampires called the 'Council', in her quest to seek out the most powerful vampire, Onigen--also said to be one of the oldest of the vampires. Saya is sent to go undercover at a U.S. air force base located in Japan. Saya is a loner and likes to work alone, but as fate would have it, she forms an uneasy friendship with a girl named Alice after she saved her from other demons. Saya is determined to kill her way to find Onigen, but now it seems like the hunter has become the hunted...

When Bill Kong announced the live-action rendition of "Blood the Last Vampire" and decided to shoot the film primarily in English rather than Japanese, I was excited. The film had experienced several hurdles before it went to production, but hey, I guess this is what happens when American filmmakers invest in the making of a film. The film's backdrop takes place during the 1970's with the shadow of the Vietnam War looming in Japan. The film follows the plot and tone set by the anime series, as shape-shifting demons and vampires are living among the human population, they are everywhere and Saya is on the road for vengeance as the most powerful vampire, Onigen (played by Koyuki, Last Samurai) is the one who had killed her father centuries ago. The film is a story of vengeance and redemption, and the script by Chris Chow does remember to explore the depths of Saya's soul; yes, Saya is a vampire with a conscience, raised by humans with some very human emotions and sensibilities.

Much of Saya's background is told in the form of her own narration. I was quite pleased that although Saya looks like someone in her early twenties, she acts like a mature, experience-rich woman. Nicely portrayed by Jeon Ji-Hyeon, Saya is a vampire whose soul is torn between the human world and the demon world. She is at odds with herself, and one may say that her hatred for Onigen is the one catalyst for her to hunt down her own kind. Saya is half human, therefore she can walk under the sunlight, all the more having the same strengths and weaknesses as her full-blooded brethren. Saya still feeds on blood, but she hasn't murdered anyone for them. It does open a small plot hole as to how and when she stopped aging, or if she ages rather slowly but I was willing to overlook this minor gap. The direction by Chris Nohan does also capture the mood, the tone and the atmosphere of the Japanese anime. The film also features several scenes that are reminiscent of the anime film; the film's opening act carries a lot of nostalgia for its fans as well as the scene in the file room. Some kill scenes and death scenes look like they came from the anime.

Now, granted, this is an action-fantasy film; so does "Blood the Last Vampire" deliver in the action sequences? Yes and No. Yes: There is a lot of action and the fight choreography by Corey Yuen is pretty stylish, cool and intense at times. The use of the usual wire-fu is inherent in the film's fights. There is a lot of slashing and dicing done by lovely Jeon Ji-Hyeon. The film's fights are full of cool posturing complete with moody stares; it does have a similar attitude to its source material. The fights have that usual bone-crushing impact and stylish swordplay. No: As cool as the film's fight sequences were, they aren't really very different from those seen before and offers very little that is fresh or inventive. The camerawork needed to hang back a little so the viewer can see the moves; I don't mind the occasional slow-motion as long as it is done right, but the editing had a few missteps that there was a scene with a truck on the cliff that Saya is seen with her sword then Alice tosses it to her--Flawed editing truly hurts an action film.

The film has its share of blood and gore, but most of them were CGI-enhanced. I thought this ruined the film's tone, the anime had the signature Japanese arterial spray-blood splattering effects, why did the filmmakers resort to cheap CGI? The film's fights would have felt more faithful to the anime if it utilized red ink and prosthetics. Also, the CGI-generated monsters look very cheap and rather fake; a clear indication of its limited budget. The final encounter between Saya and Onigen may also seems a little underwhelming, but keep in mind that there is an implied twist; Onigen wants Saya to embrace her demonic background. The encounter does look nifty, that seems to take place in a dream-like plane of existence but I thought it was a little too short. Koyuki is so beautiful as the evil Onigen.

The film does have its share of weaknesses in the screenplay, it may prove to be downright predictable. The film does establish the links between Saya and Onigen, and you can see the twist from a mile away. I suppose that the direction didn't put too much foreshadowing in its delivery; that any secrets is meant to be as such. I just found it a little hard to believe that the so-called twist wasn't found out within 400 years. Also, Saya's friendship with Alice felt a little too forced. Alice (played by Allison Miller) obviously was only meant as a plot device to establish some human friendship. Saya is handled by an elder named Michael (Liam Cunningham) and he was a little underused, but I thought Kato (Yasuaki Kurata) added a lot of needed depth to the film's story. The `council' itself is a bit more fleshed out as a group of different individuals with different beliefs. The question does become asked; after Saya has killed most of the demons and vampires--what is to become of her? She is what she hunts, although she isn't without a conscience and a soul.

Overall, the film does have some missteps, but it did do a lot more things right than wrong. "Blood the Last Vampire" will no means become a classic; I did believe that while it should have been better, I was very thankful that the film wasn't a failure. The action scenes does have its share of weaknesses, but they were acceptable and better compared to those done in "Catwoman" and other Hollywood action flicks with this type of budget. The CGI-enhanced monsters and blood effects hampered the film's fight sequences and I wished for the traditional red ink. The film does fulfill the needs of the main character's development that Saya became one compelling individual. Plus, Jeon Ji-Hyeon does look convincing as a vampire-hunting school girl. The film is aimed towards fans of the anime, it does capture the mood, the tone and the attitude of the source material.

I was just happy that U.S. filmmakers didn't massacre the anime's spirit, that this Americanized version carried enough of the Japanese style and attitude.

Recommended!

Goryeo Period. Korea is greatly influenced and politically manipulated by the Yuan Dynasty in China. The young Goryean King (Ju Jin Mo) has called upon young boys to be trained as "Kunryongwe" as his Royal guards and escorts. Among those selected was Hong Lim (In Seong Jo) who has become extremely close to the King and becomes the supreme commander of the elite. The King has kept Hong Lim as his personal confidant ever since they were kids, the two have also developed a sexual relationship much to the Queen's (Song Ji-Hyo) dismay. Meanwhile the bilateral relationship between Goryeo and Yuan hit a rocky road as Yuan officials threaten to put another of Royal blood to become the crown prince of Goryeo since the King has no heir. The King is unable to perform sexually with the Queen for obvious reasons. Desperate, the King gives Hong Lim a covert order to protect Goryeo's independence; Hong is asked to sleep with the Queen until she gives birth to an heir. The two reluctantly agrees, but a simple necessity begins to blossom to love and lust. Hong and the Queen threaten the very stability of the land...

"A Frozen Flower" will get the most attention from its homosexual angle but truthfully, the film has very little scenes of homosexual eroticism. I saw the uncut edition of the film which had one mild scene of homo-eroticism but other than that, the film settles into the heterosexual relationship between the bodyguard and the Queen while bringing forth the political intrigue that comes from the King's mad jealousy. The film also has a good number of action sequences that utilizes the usual Asian swordplay choreography and some of them were very nicely executed. The corruption and betrayal of Korean authority figures are also brought into play and the film does have an enthralling script that becomes more intense the deeper it goes into its main premise.

While it does sidestep the development of the relationship between the King and his bodyguard, (no doubt to be more "Korea-friendly") the intrigue developed by the situation is more than enough to keep the film moving. The political machinations to maintain power and the inherent betrayal by the ministers also play a part in the crux of the film. The film may have a controversial tone about it, but it will be remembered because of the numerous love scenes between Song Ji-Hyo and In-Seong Jo (A Dirty Carnival). I liked the way the direction played on emotions, showing some remorse in the part of the Queen in the beginning that as the they slowly became used to each other. The sex and nudity are gratuitous, the shots are kept compact with emphasis on facial expressions; to bring such emotions such as confusion, guilt, enjoyment, lust and finally love. You see the two become more comfortable with what they are doing, the actors looked good together and the love scenes are very graphic, but it is mild compared to Japanese films of a similar nature. Love is said to conquer all, and would forsake everything--this is where the film becomes darker as the two lovers become victims of the jealous King's ire.

The film's screenplay goes into overdrive as the King gives in to his fury and anger. Oh, this is no mere King, he is a highly-trained swordsman with skills that rival those in his elite personal guard. The first sparring between the King and Hong felt like a former lovers' squabble, that carried a lot of emotion. You can see the King's jealousy and Hong's confusion. Actor Ju Jin Mo is pretty gutsy to pull off this role, his expressions mirror those of a woman scorned; he becomes more and more unreasonable and quite mad. In-Seong Jo may feel a little too stoic for my tastes but I suppose one would act this way in the face of guilt and confusion. Song Ji-Hyo embodies that reserved eroticism; she looks very seductive in a restrained way. Not that she isn't as sexy as Yoon-Jin Kim (Lost) or Jung Suh (The Isle) but she exudes that different kind of sexual appeal, that type that is simple but nonetheless alluring. She looked real good in the sex scenes.

The set designs are very colorful and the cinematography very tight. The one thing I noticed is that the dungeons didn't look very authentic and felt very comparable to shows on television. The horseback sequences are also a little lacking. The action swordplay is good and not as good as those in "Shadowless Sword" and "the Restless"; but it does have blood and some gore. I guess this would be ok, since the film is more meant as a period drama with strong erotic elements than as a Wuxia film. The film also has some severed heads and sliced body parts, it also has a minor torture sequence that adds some visceral punch.

"A Frozen Flower" may not offer anything significant and fresh, but it is entertaining enough to satisfy fans of Korean cinema. The homosexual angle may provoke some controversy, but I thought it was handled well. The graphic scenes between Song Ji-hyo and In-Seong Jo will no doubt attract male viewers. The plot and the screenplay may not be perfect, it does have some holes and I felt that it held back in provoking viewer reactions. "Frozen Flower" was a little too safe although its ambition was there. While the film will not become an uncompromising classic, it is still worth a look.

Recommended!

Hounded by paparazzi everywhere he goes, actor Soo-ta (Ji-Hwan Kang) becomes increasingly agitated and frustrated, to the point that he critically injures his co-star during filming. With the filming stopped and his producers breathing down his neck, Soo-Ta feels responsible for making sure that the filming continues, but the problem is, no one wants to act with him because of his less than stellar reputation. Desperate, Soo-Ta recruits a real gangster, Gang Pae (So Ji-Seob) who he met a few nights ago while drinking in a bar. Gang Pae had childhood dreams of becoming an actor, in fact, he starred as an extra in a movie long ago. Gang Pae agrees to co-star in the movie, in one odd condition; all the violence in the movie will have to be real instead of choreographed.

The screenplay by Kim Ki-Duk weaves a very unpredictable path, director Jang Hun mixes in elements that come from a dark gangster movie, a movie within a movie, all around the concept of a study of two distressed protagonists which are shown very much alike even though the world they live in is entirely different. In the first act, the film does exhibit a idiosyncratic sense of humor, with plenty of subtle jokes. Gang-Pae is the Korean word for "gangster" while Soo-Ta is a play on the English word "star". Also, the name of the fictional director is "Bong", which is probably a play on director Bong who directed "The Host". Kim bad-mouthed that film's success as it became a blockbuster hit in Korea. Kim's other gangster film, "Green Fish" is also shown as minor snippets in "Rough Cut". Maybe Kim was trying to make fun of himself.

Now let's put aside the film's humor. The film does delve into the curious parallels in Soo-Ta and Gang Pae's life, how one is more based on fantasy and complications are mostly a result of one's fame. One is about the harsh realities of life, Gang Pae's gangster life that makes his existence very difficult. The film does have the tremendous potential to be too complicated, but thankfully the script is kept adaptable and pretty linear. One other thing I also noticed is that the film's screenplay became darker, more violent as the movie progresses, as the viewer becomes more privy to Gang Pae's life. The central focus are the two main characters' lives, although I have to say that Gang Pae takes center stage, and actor Ji-Seob So does manage to bring out a great performance.

The two actors do form a dynamic chemistry, but Ji-Seob So does slowly take over the film with this calm but intense demeanor, as the film becomes his movie. Ji-Hwan Kang does make for a good screen presence, but he felt a little overshadowed with So's performance. The two also has their love interests, Eun-Seon (played by Hie Jin Jang) is the reluctant girlfriend who hates being in the position of hiding. Mi-Nah (played by sexy Soo-Hyun Hong) is the exact opposite, she seems to be attracted to Gang Pae's grim appeal, and believes he's a man with a good heart stuck in a bad situation.

The film has its share of good fight scenes, but frankly they're not the film's showstopper. The final fight between Gang Pae and Soo-Ta was pretty good, and nicely shot. The climax does deliver on the emotions, and nicely brings ‘realism' into exposition. The film does have its share of weaknesses. It becomes a little too "tongue and cheek" on occasion, and while the groundwork of the character study is nicely laid out, it doesn't really address the duality between the two main characters. The script became a little distracted by its own digressions and the third act can make the occasional movie watcher scratch his head. Also, the film requires a large suspension of disbelief, since no ruthless, tough as nails gangster would do such a thing in real life. The film does make some hackneyed mistakes, that it swerved a little off its direction.

But despite some plot gaffs. "Rough Cut" does make its premise work, and the screenplay stays grounded enough to stay with its momentum. The great performances, and the identity issues combined with a few familiar "Kim" qualities, the film is entertaining enough to keep you interested. I admit, the film should have achieved more visceral and narrative impact, but nonetheless, "Rough Cut" wouldn't have much difficulty winning over its audience.

Recommended! [3 ½ Stars]

Ichi (Haruka Ayase) is a beautiful, blind musician who travels this Edo period Japan with her traditional Japanese guitar and a walking stick--well, a walking stick at first impression, but inside, she hides a razor sharp katana. Ichi may be blind, but she is also a skilled swordswoman. In her quest to find the man who helped bring her up, she comes across swindlers, rapists, gangsters who want to take advantage of her disability. Ichi fights back with her remarkable sword fighting skills. Sometime during her travels, she meets up with a cowardly, dishonored samurai named Touma (Takao Osawa, Aragami) who she ends up saving from angry gamblers affiliated with the Banki Gang. The pair unwittingly become entangled in a turf war between the Shirakawa and Banki clans battling for supremacy in a small inn town of Bitou. Ichi may find the answers she is looking for in the person of the leader (played by Shido Nakamura) of the Banki group of cutthroats--and the resolution of the conflict may reveal the fate of the man she is looking for.

“Ichi” is a film that is very commercial in its appeal. It has the charm to attract the younger generation as well as samurai aficionados, as well as electrify the male testosterone because of Haruka Ayase. This actress is beautiful, and although she barely wears any make up, and this role has wearing rags, her close ups are enough to add excitement and you can tell that she has a model-like statuesque figure. Ayase became well acclimated to the action genre after “Cyborg She” and she does have the presence that can grab attention.

The film may have the somewhat stereotypical themes of redemption, revenge and compassion as is quite familiar with jidai geki films, and I don’t deny that the film has certain weaknesses in its premise. I don’t mind stereotypical storylines, but film feels a little routine. Ichi was brought up by a Goze group of blind performers and she was exiled when she was sexually abused. The Goze faction of musicians are an odd lot, their rules are certainly fleshed out but I was left asking for the reasons as to why such rules would apply. Yes, “Ichi” does have a lot of emotions going for it, and her links to a certain blind swordsman does manage to entice our attention. The problem is, the film is filled with over-the-top characters that threatens to overshadow its tone. Director Sori is responsible for such anime hits such as “Vexille” and “Appleseed”, and you can see the costume designs by our villains look very anime-inspired. Also, the bumbling samurai played by Takao Osawa has his interesting qualities, I can buy his reasons for not wanting to use his sword but this fact overstays its welcome as there were times in the last act that I almost screamed “Draw your sword, dammit!” Of course there is a developing romance between Touma and Ichi, but the film doesn’t develop this too much.

Well, does “Ichi” deliver in its action sequences? Yes and no. Yes, the fights are very cool to watch and they are quite kinetic in its execution. There are also a very good number of them, Ichi is on display as she quickly dispatches her assailants with quick thrusts and stabs, complete with very nice posturing, “Ichi” provides great eye candy. There are also a significant use of slow motion to display Ayase’s moves--this would normally bother me, but I am willing to forgive its use this time around. Director Sori also doesn’t make Ayase’s character seem too invincible, Ichi does have her female vulnerabilities, as skilled as she is, she is a woman and has her limits. Ichi has a strong advantage when she fights in the dark, but may have more of a handicap when there are some loud noises. As for why I also said no, well, the fights may look cool, but they were lacking some credible impact in its narrative. The script hampers the action sequences, because while it does attempt to carry emotion, it doesn’t feel climactic. I guess the set ups were also too simple and they can be very routine.

The cinematography is quite gorgeous, and accompanied by a somber, moody score, the film does manage to impress me in the way it plays each scene. The film’s color palette leans towards the tone of Earth colors as with most jidai geki films and the atmosphere does resemble a Kurosawan samurai film, with the wind blowing dirt meant to signify a finale. The set designs are also good, they are very similar to Kitamura’s “Azumi”. Director Sori brought along his buddies responsible for “Ping Pong”, Shido Nakamura and Yosuke Kunozuka performed well, but it just felt like a step backward when compared to their previous film together.

Ultimately, “ICHI” won’t be one unforgettable jidai geki film, but the film does have its charm and the action scenes are good enough for “hack and slash” feature. Plus, there is the absolutely stunning Haruka Ayase who is just so damn attractive who roams around feudal Japan, slicing and dicing her way to her quest. The film closes in a manner that leaves it open for a sequel. Despite the film’s flaws, I found it quite entertaining. Don’t expect a film very faithful to its roots but just be along for the ride. This “Zatoichi” re-imagining will not make a dent on the classic status of Shintaro Katsu’s original but thankfully it is a good enough diversion.

Recommended! [3 ½ Stars]

Video/Audio: 1.78 ratio anamorphic widescreen. Nice clean transfer from Ikano Fielm (Malaysia). The film is sharp with restrained colors, favorable to earth colors. The 5.1 Dolby Digital track is strong and powerful. The English Subtitles are good but sometimes they scroll too fast.

A 29 year old widow named Noriko (Ryoko Asagi) lives with her senile father in law, Shukichi (Horyu Nakamura) on his farm. Shukichi believes that his favorite cow, recently deceased is still alive. Trying to keep him from further heartache, Noriko pretends to be his cow and lets him milk her--a satisfying arrangement for the both of them. However, Shukichi's daughter Mitsuko (Yumeka Sasaki) discovers the bizarre relationship and threatens to put an end to it.

Written and directed by Daisuke Goto, "A Lonely Cow Weeps at Dawn" is truly bizarre and honestly, a little disturbing. It uses the relationship between Noriko and her father in law to portray emotions and that feelings often sneak up when you least expect it. The film's narrative is quite simple and truth be told its message is very real. One may wonder as to why Noriko would subject herself to a humiliating position, but the film does make it abundantly clear. Hideo, Noriko's dead husband died at the same time as Shukichi's favorite cow. I suppose the two feel rather dependent on each other for comfort, and they feel alienated from others. Director Goto uses the "milking cow" metaphor to express the need for happiness and denial from hurtful truths.

Goto also incorporates a dose of a relationship that would be frowned upon--a doctor (Haruki Jo) is having sex with his nurse, Chiriko (Sakura Mizuki). The doctor is several years her senior and such a relationship will undoubtedly be frowned upon, but their blossoming relationship says a lot to people who should go with their heart and the hell with what people think. Shukichi and Noriko's relationship is much more complex, and no doubt be more condemned. People should just mind their own business I say.

This is a Japanese pink film and one wouldn't be hard-pressed to dismiss its narrative because of the truly graphic sex scenes. The sex scenes are gratuitous and the nudity is strong. The infamous hand over the female crotch area appears to be the signature of pink films and there are scenes of semi-penetration with almost full frontal nudity that are almost highly visible. All three actresses got to show their stuff and they did look like they were enjoying the scenes of vigorous sex. Those looking for pervy kicks won't be disappointed.

However, the acting by our two leads is quite strong. Ryoko Asagi looks very simple but she maintains that very erotic personality. Asagi was excellent in her portrayal as the "torned" widow of Shukichi's son Hideo. She manages to flesh out her character with a display of sadness and raw emotion even with the film's 58 minute run time. Horyu Nakamura is somewhat funny at times but at the same time a tad repulsive, I thought Goto was challenging us to feel pity for him. Yumeka Sasaki plays the daughter who is obviously all mixed up. She was raped by the land developer, Namamitsu (Hajime Seiji) which is why she left but she still agrees to have sex with him after many years. Quite an odd turning of events don't you think?

"A Lonely Cow Weeps at Dawn" is a different kind of art house cinema. It's easy to dismiss it as a sleazy skin flick and I think this would be the wrong approach to this film. The film does have some very human and compelling characters, even though they are a bit bizarre; one has to look past the very gratuitous sex scenes to appreciate its engaging narrative. The film's final act maybe easily misunderstood, but I thought it added a whole new level in emotional impact and an exercise in the proper morals--giving up your own happiness for someone's welfare. Sad, bizarre but truly bold in its execution, and while not a film for everyone, I did enjoy the film.

Recommended.

In a post-apocalyptic future, the D3 corporation had performed devilish experiments to raise the dead. These undead creatures started preying on living humans and humanity is on the brink of extinction. Aya, (upcoming sex siren Eri Otoguro, "Shaolin Girl") is the heiress of the ancient Imichi clan of assassins. Aya cuts her way through zombies created by mad scientist Sugita, on the path to vengeance in search of her sister Saki (Chise Nakamura, "Swing Girls") to avenge the death of their father at the hands of her own sister. Joined by longtime companion, Katsuji and a leather-clad, shotgun-toting woman named Reiko (Minami Hashimoto), Aya is determined to come to a resolution on the conflict between her and her sister Saki. Aya is an amazing swordswoman, Saki is her equal with a Katana sword --what would be the outcome?

The film isn’t to be taken seriously at first glance. I haven’t read the Japanese comic nor have I finished the game; but it is so obvious that this film has been inspired by a comic and the effects are very reminiscent of the video game. The swordplay is a blend of “Dynasty Warriors”, the effects can be compared to “Fist of the NorthStar” and even “DragonBall Z”. When Aya unleashes her “inner” power or mystical “Chi“, her surroundings are set to explode--dirt is being spewed forth and rocks are flying. The flashes and light trails emulates the sword strokes, limbs and blood hit the camera view and extreme close-ups are used to express pain. The fight choreography by Go Ohara is quite good and hard-hitting--and contain a very good amount of Blood and GORE. I rather like the birds eye view of Aya‘s encounter with a zombie army and the final encounter between Aya and Saki is very exciting and fun to see. The fights are the film’s main draw aside from the sexy female trio. Anime-inspired fighting poses is the trio’s forte and boy, do these women look good when they wield a sword.

“OneeChanbara’s” plot is very simple and is quite similar to other Japanese films of this type. I do commend director Fukuda’s decision not to dawdle too much on Eri Otoguro, Chise Nakamura and Minami Hashimoto’s “star appeal” and charisma. The film’s screenplay does have a lot of emotion. The past is told in the form of flashbacks and there is a lot of emotion to be had. The loss of a loved one due to them becoming the “undead” has a lot of emotional potential and the director does manage to flesh them out. Killing a loved one is quite difficult--especially when one is guilty for their current situation.

The zombies in the film aren’t your usual “shambling” undead. They are fast-moving and some of them have been enhanced to perform martial arts and to wield a weapon. There is a zombie who looks like a “Go-go Yubari” reject and one who looks like he is a “Jin Kazama” reject from “Tekken 4” video game. These change of mood doesn’t hurt the film but rather shows its roots from the pages of manga. The main villain himself is a cardboard anime villain. Dr. Sugita is the head of a corporation intent on playing “God”. The sibling rivalry between Saki and Aya is decently developed and builds up its climactic climax. Reiko is a little underdeveloped and Katsuji seems like a minor plot device to lighten the mood somewhat.

The film is a little “campy” at times, but it doesn’t lose its forward momentum. The film is very simple and the plot has been built around the encounter with zombies and the action sequences. There is some sex and nudity to be had--but I was disappointed that Eri, Chise and Minami kep their clothes on. The film is very action-packed and fast-paced. Despite its weaknesses in storyline the film is never boring and does provide the expected entertainment from a manga-inspired movie. Make sure you remember the source material when you are watching this film--Youhei Fukuda is no Ryuhei Kitamura but he does manage to put together a film does justice to its roots.

Still, a katana-wielding woman in red bikini with a cowboy hat, scarf and leather boots proves very sexy. Eri Otoguro is the right woman for the job; joined by Minami Hashimoto and Chise Nakamura--these three Japanese women can make any man’s blood boil with excitement.

“Onee Chanbara” may not be a film for everyone but it sure is fun to watch!

Recommended! To fans of the game and to fans of Japanese cinema [3 ½ Stars]

General Wang (Aloys Chen) leads his soldiers to raid a bandit encampment and in turn comes across a beauteous young woman, Xiaowei (played by beautiful Zhou Xun, The Banquet, Ming Ming). Upon their return to their town of JiangDu, brutal murders begin to occur and the victims’ hearts are ripped out. A lizard-like elfish creature (Qi Yuwu) is committing the murders, but he does so for Xiaowei who requires human hearts to sustain her appearance. Wang’s wife, Peirong (Vicky Zhao Wei) attempts to reveal Xiaowei’s secret but she lacks credibility since she is jealous of the beauteous demon. Meanwhile, her former lover, Pang Yong (Donnie Yen) arrives with a demon hunter named Bing Xia (Betty Sun Li) to expel Xiaowei. The battle between humans and supernatural beings are about to begin.

The strongest draw will have to be Zhou Xun--she is so seductive as the demoness with a fatal flaw: she’s in love. She overloads the screen with her charisma that it is almost so distracting to look at her--she engages quite a bit in flashes of her silk-like skin although there is a very minor amount of nudity and none of them reveal the female forms most significant parts (which I do think makes her more alluring). The supporting cast isn’t so bad, Vicky Zhao also does a great job but I do think that she carries most of the film’s burden as her character Peirong will have to generate sympathy--Zhao proves to be up to the challenge although she is somewhat hampered with the film’s overwrought emotions. Chen Aloys didn’t exactly connect with the two actresses and lacks chemistry with both of them. Donnie Yen is mostly in the film for the action and while there is quite a few sequences of martial arts, it isn’t the film’s main focus. Therefore, Yen will have to put his “machismo” on hold since the plot revolves mostly on the elements of love, jealousy, spousal duty and sacrifice.

The problems begin with the film when it engages too much style and it feels more like one of those classic wuxia Chinese TV shows than a romantic epic. The action scenes aren’t really needed, but Chan opts to make the encounter flashy and full of the usual wire-fu and it looks a little silly in execution. It also introduces certain elements that seems to be throw-away details and became underdeveloped such as when Yong became accused of killing a guard. The subtle attempts at comedy (between Betty Sun’s tomboyish character and Yen’s character Kong) is a little out of place and felt like it was a minor attempt to lighten the mood. The film would have done quite well as a dark fantasy romantic epic but the director seemed to be just pulling ideas out of his bag of tricks; those said elements just delayed the outcome, rather than add any significance to it. The timing on the comedy accountancies by the occasional out of place soundtrack just made me grind my teeth and made me wonder just what its purpose was about.

I suppose if the film focused more on the love triangle between Wang Sheng, Xiaowei and Peirong rather than stooping to style then I would have most assuredly enjoyed this film much more. There is a lot of emotions to be had, and Xiaowei and Peirong are indeed the most interesting characters in the film, I sure wished that their rivalry and inner spirit were more fleshed out. But I guess they were, but the film’s bad timing and mediocre direction just made the emotions a bit unnoticed. The film had potential and does have its dark overtones (you will trip when you see Xiaowei shed her skin and see her inner self) and the film’s main premise is interesting enough.

I guess the film just turned out to be a little messy, and lacks consistency. Yen is his usual overacting self, the film is quite sad that it may encourage some to shed tears, some may laugh at the humor, and others entertained with the action--but what it fails to do is the fact that while you throw different styles of emotion at an audience, any film will feel fake and too overwrought that you will lose its significant impact. “Painted Skin” just mixes up too many types of emotions that it fails on a lot of areas and feels marked for commercial appeal, but a film like this would never please everyone. Gordon Chan should have shown a sense of restraint that his end product is just a little too inconsistent and uneven for my taste. Still, the performances by the two lead actresses did almost save the film, and the mix and match between eroticism, horror and romance may prove diverting to some. I guess one has to see this film with an open mind and to keep their expectations low. After all, you do get to watch Zhou Xun-- who just owns the camera with her seductive looks.

Recommended with caution to fans of Chinese cinema, and a good rental for everybody else.