A Japanese Yakuza gangster is exiled to the United States. Takeshi settles in Los Angeles where his younger, half brother lives and finds that although the turf is new, the rules are still the same as they try to take over the local drug trade. Written by
Kitano reputedly had problems working with Masaya Katô. Kato had his own ideas, and Kitano would get so upset that he would yell at him. In the scene where Aniki tells Shirase to put out the cigars, it is really Kitano yelling at Kato. See more »
When the driver of the car carrying Aniki is shot from behind, we see his blood splattered on the windscreen. There's also a crack on it, but when we cut to the car crashing from the outside, the windscreen is clean. See more »
I love you Aniki! Wherever you at, man!
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Sweet Daddy Jones said it all - the best gangster film since Goodfellas. Go beyond that and you have one of the best, most economical pieces of film making in years.
Someone in the thread moaned about the lack of dialogue, did they feel the same way about Eastwood's spaghetti films or the Unforgiven? You either understand that level of economy or you dont. Like the best music, somtimes its what artists leave out that speaks volumes, and creates art. Its the space 'inbetween', not chucking the kitchen sink, that pulls you in.
This film is excellent, if you like Tarantino or Scorsese - watch this and see someone who actually manages to bring Eastern film making to Hollywood with the utmost panache. Unlike John Woo, who I love dearly, but was comprehensively f***ed up the ass by Hollywood (Mission Impossible2, Face Off, Hard Target) in the process.
'I may not understand American, but I DO understand Jap motherf***er' There's a quote, there's a fact. If, like previous respondents you dont get minimalistic action (which is also mega hardcore),this is not for you. Those of us who like our action slick, sleek and to the bone, sign up now.
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