Set during Japan's Shogun era, this film looks at life in a samurai compound where young warriors are trained in swordfighting. A number of interpersonal conflicts are brewing in the ... See full summary »
In 1923, the Korean teenager Kim Shun-Pei moves from Cheju Island, in South Korea, to Osaka, in Japan. Along the years, he becomes a cruel, greedy and violent man and builds a factory of ... See full summary »
A young man, Kazuo, joins a new cult religion even though he sees through the initial recruitment pretense, and participating in the activities of a new social phenomenon, some of whose ... See full summary »
Detective Azuma is a Dirty-Harry style rogue cop who often uses violence and unethical methods to get results. While investigating a series of drug-related homicides, Azuma discovers that his friend and colleague, Iwaki, is supplying drugs from within the police force. After Iwaki is murdered and Azuma's sister is kidnapped, he breaks all the rules to dish out his particular form of justice. Written by
Todd K. Bowman <email@example.com>
The original script was a comedy. Kitano was then very concerned about the audience recognizing his acting skills and he didn't feel that a comedy would allow him to act nor allow the audience to abstract from his comic TV personality. So he rewrote the script, removed all comedy and turned it into a drama. See more »
[Azuma has run over a man with a car.]
Why'd you hit him?... He might be dead!
[The man appears suddenly and begins smashing out their windows with a bat.]
Does he look dead to you, idiot?!
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There are no opening credits beyond the title. See more »
Takeshi Kitano's films that have been celebrated in the West--SONATINE and the elegant FIREWORKS--are art movies with a pulpy whiff of hickory smoke blown over them. For my money, the real Kitano is found in early pictures like BOILING POINT and this programmer, generally called in America VIOLENT COP. There's always a strange mix of art movie and pulp movie in Kitano, but in this one the balance is about fifty-fifty. Kitano's trademark style--Ozu-like tranquility pierced by chancres of irruptive violence--was never so deftly jiggered as it is here. And Kitano's own performance--log-faced yet queerly piquant--ranks with Robert Mitchum at his peak.
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