Cult Japanese director Takashi Miike draws inspiration from the popular Playstation 2 title Yakuza for this unhinged tale of underworld violence in Tokyo starring Goro Kishitani and Kazuki ... See full summary »
A yakuza enforcer is ordered to secretly drive his beloved colleague to be assassinated. But when the colleague unceremoniously disappears en route, the trip that follows is a twisted, surreal and horrifying experience.
In order to settle a business dispute, a mob leader murders one of his own teenage sons. The surviving son vows to avenge his brother's death, and organizes his own gang of teenage killers to destroy his father's organization.
Troubled high school student Makoto arrives in Tokyo to exact revenge from a past incident. He then falls in love at first sight with Ai, a daughter raised in a wholesome family. Around ... See full summary »
Every week, toy-shop owner Gan and his cute assistant Ai battled the evil Doronbo gang. The gang led by femme fatale Doronjo and her assistants-pig-nosed muscleman Tonzra and rat-faced ... See full summary »
Raita, a Japanese businessman, just moved into an apartment building where his next-door neighbor is another guy named Raita. But as a private detective, what that other Raita does couldn't... See full summary »
An unknown future. A boy confesses to the murder of another in an all-boy juvenile detention facility. More an exercise in style than storytelling, the story follows two detectives trying to uncover the case. Homosexual tension and explosive violence drives the story which delivers some weird and fascinating visuals. Written by
With Ryuhei Matsuda playing a featured role, I was constantly reminded of Oshima's Gohatto (Matsuda's debut film). In fact, I'm not so sure that this movie isn't a meditation on Gohatto, a sort of futuristic spiritual version. There are a lot of similarities, despite the completely different genres and storytelling techniques of the two films. Both take place in closed male societies, both have beautiful murderers, obsessive love, and mystery. And they both have Ryuhei Matsuda.
Gohatto is a more traditional film (compared to this one, anyway), and the symbolism is not so heavy-handed as it is here. There's no rocket ship or pyramid or all that those two things imply. There is an awful lot going on in this film, probably a little too much.
The mix of stage-play theatricality with cinematic realism is a little distracting, and it put me on guard against excessive artiness. And let's face it, there is excessive artiness. That's not to say the movie isn't beautiful to look at--it is.
And it's worth seeing. But if you haven't seen Gohatto, see it. Gohatto is to 46-Okunen No Koi as the velvet glove is to the sledgehammer.
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