A hit-man, with a fetish for sniffing boiling rice, fumbles his latest job, putting him into conflict with his treacherous wife, with a mysterious woman eager for death and with the phantom-like hit-man known only as Number One.
A sharpshooter kills two prisoners in a police van at night. The guard on the van is suspended for six months; he's Tamon, an upright, modest man. He begins his own investigation into the ... See full summary »
The trials, tribulations, and joys of raising a child. The film follows the everyday events of a family with one boy, coming up to his second birthday, interspersed with occasional thoughts... See full summary »
On his deathbed, a wealthy businessman announces that his fortune is to be split equally among his three illegitimate children, whose whereabouts are unknown to his family and colleagues. A... See full summary »
What a great, flowing, virtuoso bit of filmmaking. Effortless interlocking scenes moving one to the next. One character's bit of drama bleeds seamlessly into another. This interlocking style is not originated in this film but many of the more recent films have popularized something that this film did so well 50 years before. There is an apparent joyous enthusiasm with which this film is made and, while the subject matter is at times very intense and not always satisfying, there is an infectious energy on display by a doubtlessly talented director.
Crash, Pulp Fiction and other similar recent films owe a bit of a debt to Everything Goes Wrong and fans of those should take particular interest in this one.
I went into it with no expectations as I knew nearly zero about it and at the time I am posting this review only 16 people have even voted for it. A criminally under-appreciated film and it made an immediate impression on me which has continued to grow to admiration. After seeing Tokyo Drifter, Branded to Kill, Take Aim at the Police Van, Everything Goes Wrong is my favorite film by Seijun Suzuki so far.
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