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Two NYC cops arrest a Yakuza member and must escort him when he's extradited to Japan.

Director:

Ridley Scott
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Popularity
3,533 ( 56)
Nominated for 2 Oscars. Another 1 win & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Michael Douglas ... Nick Conklin
Andy Garcia ... Charlie Vincent
Ken Takakura ... Masahiro
Kate Capshaw ... Joyce
Yûsaku Matsuda ... Sato
Shigeru Kôyama Shigeru Kôyama ... Ohashi (as Shigeru Koyama)
John Spencer ... Oliver
Guts Ishimatsu Guts Ishimatsu ... Katayama
Yûya Uchida Yûya Uchida ... Nashida
Tomisaburô Wakayama ... Sugai
Miyuki Ono Miyuki Ono ... Miyuki
Luis Guzmán ... Frankie (as Luis Guzman)
John Costelloe ... The Kid (as John A. Costelloe)
Stephen Root ... Berg
Richard Riehle ... Crown
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Storyline

Two New York cops get involved in a gang war between members of the Yakuza, the Japanese Mafia. They arrest one of their killers and are ordered to escort him back to Japan. In Japan, however, he manages to escape. As they try to track him down, they get deeper and deeper into the Japanese Mafia scene and they have to learn that they can only win by playing the game the Japanese way. Written by Harald Mayr <marvin@bike.augusta.de>

Plot Summary | Plot Synopsis

Taglines:

Osaka, Japan. A cop on the edge. A conspiracy on the rise. A killer on the loose. See more »

Genres:

Action | Crime | Thriller

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA | UK

Language:

English | Japanese

Release Date:

22 September 1989 (USA) See more »

Also Known As:

Lluvia negra See more »

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Box Office

Budget:

$30,000,000 (estimated)

Opening Weekend USA:

$9,677,102, 24 September 1989, Wide Release

Gross USA:

$46,212,055

Cumulative Worldwide Gross:

$134,212,055
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

70 mm 6-Track (70 mm prints)| Dolby Stereo (35 mm prints) (4 channels)

Color:

Color (Technicolor)

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

One of two 1989 movies entitled "Black Rain". A film about the aftermath of Hiroshima's atomic bombing by Shôhei Imamura was released the same year with a Japanese title Kuroi ame (1989) which translates to "Black Rain". The two films are, of course, totally unrelated. See more »

Goofs

At the start of the Nick versus Sato climatic fight scene, Nick fires his shotgun towards linens hanging on a line. The circular squib wiring is visible on the sheet right before the "bullet" tears a hole in it. See more »

Quotes

Joyce: The girls want to know if you're the guy who lost Sato at the airport. Just off the plane, you make the evening news. Very impressive. Americans who are less than perfect - it's very amusing.
See more »

Crazy Credits

The end credits begin with a Japanese kanji, which can be translated as "complete" or "end" and is sometimes used at the end of Japanese films. See more »

Connections

Referenced in Bad Movie Beatdown: Beverly Hills Cop III (2009) See more »

Soundtracks

SINGING IN THE SHOWER
By Ron Mael and Russell Mael
Performed by Les Rita Mitsouko and Sparks
Produced by Tony Visconti and Les Rita Mitsouko
Courtesy of Virgin France S.A.
See more »

Frequently Asked Questions

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User Reviews

 
If you pull it-you better use it.
31 December 2012 | by SpikeopathSee all my reviews

Black Rain is directed by Ridley Scott and written by Craig Bolotin and Warren Lewis. It stars Michael Douglas, Andy Garcia, Ken Takakura, Kate Capshaw, Yusaku Matsuda and Tomisaburo Wakayama. Music is by Hans Zimmer and cinematography by Jan de Bont.

After New York cops Nick Conklin (Douglas) and Charlie Vincent (Garcia) arrest a sword wielding psychopath named Sato Koji (Matsuda), they are tasked with escorting him back to Osaka in Japan. From here they are plunged into a war that is brewing in the Japanese underworld.

You see there's a war going on here and they don't take no prisoners.

Welcome to Blade Runner's younger brother, Black Rain, a Ridley Scott film I feel has never received the credit it deserves. Viewing from the outside it looked like one of those 1980s cop movies, one where the main cop is washed up and perched on the edge of oblivion, his partner his sanity and voice of reason. However, Scott (brought in late to direct when Paul Verhoeven bailed) wasn't interested in the normalities of the cop drama, he saw the potential for cross continent culture clash and the chance to bring his visual skills to the fore.

Yep, it's the big neon glitter of Osaka and the grime and dime of New York that is the big draw here, but characterisations are still rich for the drama, with Scott taking plenty of time to set up the lead protagonist. We know Conklin's troubles, we know how tight his friendship is with Charlie, and by the time things go grim and dour in Osaka we understand just why Conklin plunges head first into a do or die situation.

Visually Scott infuses the picture with cramped locales, steamy streets, industrial wastelands and blood red suns, while his lead character is an unshaven trench coat wearer who still manages to look devilishly cool. It's perhaps the drawing of Osaka that is the most impressive, for it's an alien creation to us as much as it obviously is to Conklin, the ignorance gap between America and Japan still wide apart in 1989.

Complaints? At just over two hours in running time the film does have periods of flatness, where some better editing wouldn't have gone amiss; though Scott's original cut was considerably longer, begging the question on if more could have been done to enhance the seething culture clash between cops Conklin and Matsumoto (Takakura)?

Another problem is that Capshaw's character is under written, a crime when it's the sole female part of note in a two hour movie. Did more of the character hit the cutting room floor? Likely, because now it's a token eye candy offering, which is a shame since what little we do get hints at a savvy performance from Capshaw.

Ridley Scott lifts Black Rain from merely being a fish out of water thriller to something more layered. True to say there is more style than substance (what style though), but there is still very much interesting juxtapositioning of countries and human interactions of credible worth as well. 8/10


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