What asian film/series have you just seen.. marks out of 5
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Hana to hebi: Sketch of Hell (Japan, 1985) – 1/5
This movie's got a school girl with axe, yet the genre specialist Shogoro Nishimura doesn't manage to make the film even remotely watchable.
Hana to hebi: Shiiku hen (Japan, 1986) – 1/5
Two minutes of full blooded character developement is positively surprising from Mr. Nishimura, but remaining 68 sucks.
Hana to hebi: White Uniform Rope Slave (Japan, 1986) - 1,5/5
Rope maniac dentist targets Ran Masaki. Not as good as it sounds.
Hana to hebi: Ultimate Rope Discipline (Japan, 1987) - 2/5
Mostly poor, but the soundtrack creates many moody moments, and the ending is jaw dropping. Naturally this one was not directed by Nishimura.
More in the jp exploit thread some day, not very soon.
This movie's got a school girl with axe, yet the genre specialist Shogoro Nishimura doesn't manage to make the film even remotely watchable.
Hana to hebi: Shiiku hen (Japan, 1986) – 1/5
Two minutes of full blooded character developement is positively surprising from Mr. Nishimura, but remaining 68 sucks.
Hana to hebi: White Uniform Rope Slave (Japan, 1986) - 1,5/5
Rope maniac dentist targets Ran Masaki. Not as good as it sounds.
Hana to hebi: Ultimate Rope Discipline (Japan, 1987) - 2/5
Mostly poor, but the soundtrack creates many moody moments, and the ending is jaw dropping. Naturally this one was not directed by Nishimura.
More in the jp exploit thread some day, not very soon.
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Beauty's Exotic Dance: Torture (Japan, 1977) - 4/5
With Konuma and Nishimura churning out more pathetic sm crap than a sane person can take, it’s a pleasure to see a truly great film in the genre. Noboru Tanaka’s concluding part in the Showa Era trilogy starts a bit emotionless, but later turns into a hypnotic masterpiece. Sleaze and cheap shocks are not found in this obsession / torture tale, instead the psychological tension is so strong that the film can’t be recommended to the faint of heart. The pace is very slow with 110% focus on characters. Tanaka’s favourite leading lady Junko Miyashita gives a very decent performance in the physically extremely demanding role.
With Konuma and Nishimura churning out more pathetic sm crap than a sane person can take, it’s a pleasure to see a truly great film in the genre. Noboru Tanaka’s concluding part in the Showa Era trilogy starts a bit emotionless, but later turns into a hypnotic masterpiece. Sleaze and cheap shocks are not found in this obsession / torture tale, instead the psychological tension is so strong that the film can’t be recommended to the faint of heart. The pace is very slow with 110% focus on characters. Tanaka’s favourite leading lady Junko Miyashita gives a very decent performance in the physically extremely demanding role.
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Pink Hip Girl (Japan, 1978) – 4,5/5
Nikkatsu's roman porno line attemps to produce the cutest youth film ever... and comes damn close to succeeding. Pop art master Koyu Ohara directs.
Vengeance is Mine (Japan, 1979) – 4/5
Considered by many as the greatest serial killer movie ever made, Imamura’s film is more impressive than easy to watch. Based on true story, Ken Ogata plays a swindler and serial killer who managed to run from the police for 78 days. Imamura follows this character in past and present day, but doesn’t offer easy answers or motives. At 140 min the film feels maybe a bit too long but undeniably succeeds as a character study better than perhaps any other similarly themed film. The acting is thoroughly excellent.
Nikkatsu's roman porno line attemps to produce the cutest youth film ever... and comes damn close to succeeding. Pop art master Koyu Ohara directs.
Vengeance is Mine (Japan, 1979) – 4/5
Considered by many as the greatest serial killer movie ever made, Imamura’s film is more impressive than easy to watch. Based on true story, Ken Ogata plays a swindler and serial killer who managed to run from the police for 78 days. Imamura follows this character in past and present day, but doesn’t offer easy answers or motives. At 140 min the film feels maybe a bit too long but undeniably succeeds as a character study better than perhaps any other similarly themed film. The acting is thoroughly excellent.
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CJ7 3/5
Stephen Chow's latest is a charming little movie but aimed more at kids than adults. Chow plays a poor widower who works all hours to send his son to a posh school where the kid is routinely bullied.until one day he comes across CJ7...Not a film i'd rush to buy in a hurry but i think i'd enjoy it again given time.The son is played excellently by i believe,a girl!
Stephen Chow's latest is a charming little movie but aimed more at kids than adults. Chow plays a poor widower who works all hours to send his son to a posh school where the kid is routinely bullied.until one day he comes across CJ7...Not a film i'd rush to buy in a hurry but i think i'd enjoy it again given time.The son is played excellently by i believe,a girl!
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Spring, Summer, Fall, Winter... and Spring 4/5
Watched this tonight. Very good movie, yet I didnt like it as much as Bin Jip or Samaritan Girl. It all looks stunning again, with Kim Di Duk's typical cinematography (the camera hardly ever moves, occasionally pans a little bit), and hardly any dialogue is spoken.
Anyway, we see the stages of life through a young monk growing up.
The movie looks stunning, yet I can see why some people would find it all an uninteresting borefest.
4 outta 5. Good movie, but I dont think I'll revisit it soon.
Watched this tonight. Very good movie, yet I didnt like it as much as Bin Jip or Samaritan Girl. It all looks stunning again, with Kim Di Duk's typical cinematography (the camera hardly ever moves, occasionally pans a little bit), and hardly any dialogue is spoken.
Anyway, we see the stages of life through a young monk growing up.
The movie looks stunning, yet I can see why some people would find it all an uninteresting borefest.
4 outta 5. Good movie, but I dont think I'll revisit it soon.
I was there, the big BNB blackout of november, 2008. We lost many that day...
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Nobody Knows 4/5
Tragic story about 4 kids being left on their own by their mom.
Based on a real story.
This movie could have been turned intoa real tear-jerker, but the directorvery wisely kept it very restrained, avoiding dramatic music, tears, outburst about selfpetty, etc.
The young actors are terrific, cinematography is very nice, and does the job well. It's never pretentious, but it aint boring either.
I did feel it was a bit dragging, and the end was a bit unsatisfying, yet it's definately worth a watch.
4/5
Tragic story about 4 kids being left on their own by their mom.
Based on a real story.
This movie could have been turned intoa real tear-jerker, but the directorvery wisely kept it very restrained, avoiding dramatic music, tears, outburst about selfpetty, etc.
The young actors are terrific, cinematography is very nice, and does the job well. It's never pretentious, but it aint boring either.
I did feel it was a bit dragging, and the end was a bit unsatisfying, yet it's definately worth a watch.
4/5
I was there, the big BNB blackout of november, 2008. We lost many that day...
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Eijanaika (Japan, 1981) – 3/5
Imamura's 1860's set comical satire is a bit too long (150 min) but features an amazingly good performance by Kaori Momoi.
Ebola Syndrome (Hong Kong, 1996) – 3,5/5
Got to see this in cinema, yee. The hamburger scene made me feel ill, again.
Rope and Skin (Japan, 1979) - 1/5
Naomi Tani's celebrated farewell movie is a pink version of Red Peony Gambler. Crap with a budget.
Image of a Bound Girl (Japan, 1980) - 3,5/5
Masaru Konuma surprises with a deep character drama.
Imamura's 1860's set comical satire is a bit too long (150 min) but features an amazingly good performance by Kaori Momoi.
Ebola Syndrome (Hong Kong, 1996) – 3,5/5
Got to see this in cinema, yee. The hamburger scene made me feel ill, again.
Rope and Skin (Japan, 1979) - 1/5
Naomi Tani's celebrated farewell movie is a pink version of Red Peony Gambler. Crap with a budget.
Image of a Bound Girl (Japan, 1980) - 3,5/5
Masaru Konuma surprises with a deep character drama.
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Protégé - 2/5
Infernal Affairs meets one of the various "Drugs Are Bad, Mmmkay" films. This is the trouble with HK films, no originality.
Together With You - 4.5/5
Kaige Chen is not consistent to say the least so I approached this with some trepidation but in the end I really enjoyed it. Another good example of mainland cinema with nice dramatic and comedic moments without being as cold as Zhang Yimou can be.
Even So, I Didn't Do It - 3.5/5
This film makes a rather important point about Japans crimminal justice system which views innocence as an intolerable failing of the police and courts rather than guilt as a failing of society. That said the film itself suffers from being a major Japanese film which means that the tiny pool of actors who appear in every other Japanese film are all used and they generaly fail to impress. It also strays dangerously close to 'dorama' moments complete with piano music in a few scenes. Having said that I still liked it, Masayuki Suo makes a good movie and I sat attentively until it was over.
Megane - 2/5
One of these semi-comedic 'slice of life' films in which nothing happens. I didn't find anything to be particually objectional - a bit of naff acting and comedy but that's it - however there isn't exactly anything redeeming to it either. Forgettable and not something I'd recommend except as a time waster.
Infernal Affairs meets one of the various "Drugs Are Bad, Mmmkay" films. This is the trouble with HK films, no originality.
Together With You - 4.5/5
Kaige Chen is not consistent to say the least so I approached this with some trepidation but in the end I really enjoyed it. Another good example of mainland cinema with nice dramatic and comedic moments without being as cold as Zhang Yimou can be.
Even So, I Didn't Do It - 3.5/5
This film makes a rather important point about Japans crimminal justice system which views innocence as an intolerable failing of the police and courts rather than guilt as a failing of society. That said the film itself suffers from being a major Japanese film which means that the tiny pool of actors who appear in every other Japanese film are all used and they generaly fail to impress. It also strays dangerously close to 'dorama' moments complete with piano music in a few scenes. Having said that I still liked it, Masayuki Suo makes a good movie and I sat attentively until it was over.
Megane - 2/5
One of these semi-comedic 'slice of life' films in which nothing happens. I didn't find anything to be particually objectional - a bit of naff acting and comedy but that's it - however there isn't exactly anything redeeming to it either. Forgettable and not something I'd recommend except as a time waster.
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New Female Prisoner Scorpion 701 (Japan, 1976) – 3,5/5
Toei resurrects the Sasori series two years after Meiko Kaji dropped out and brought the original series to an end. The new Nami Matsushima is played by Yumi Takigawa, best known from Norifumi Suzuki’s Convent of the Sacred Beast. She’s no match to Kaji, but her cute face and cold precence is quite fit for the role. Dragon Princess director Yutaka Kohira does solid job helming an enjoyable although not all that graphic women in prison film. The supporting cast features some enjoyable performances, especially by the men playing the prison guards. The most important part of the film is the last 20 minutes, which is a non-stop series of jaw droppingly great scenes. The sasori mythology is also in good use.
Toei resurrects the Sasori series two years after Meiko Kaji dropped out and brought the original series to an end. The new Nami Matsushima is played by Yumi Takigawa, best known from Norifumi Suzuki’s Convent of the Sacred Beast. She’s no match to Kaji, but her cute face and cold precence is quite fit for the role. Dragon Princess director Yutaka Kohira does solid job helming an enjoyable although not all that graphic women in prison film. The supporting cast features some enjoyable performances, especially by the men playing the prison guards. The most important part of the film is the last 20 minutes, which is a non-stop series of jaw droppingly great scenes. The sasori mythology is also in good use.
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New Female Prisoner Scorpion: Tokushu-bo X (Japan, 1977) – 3/5
Yet another clean start, this time with Yoko Natsuki in the lead role. She’s the least impressive of the three actresses that have played Sasori, but thankfully not all that bad. At least she looks good with the correct clothing… Yutaka Kohira’s directing is good but not especially inspired. The last 30 minutes is very succesfull, though. Another strength is the supporting cast. The warden is played by Toei’s uncrowned evil karate king Masashi Ishibashi. He doesn’t get to do any martial arts in this movie, but for once his role actually allows some minor acting, plus plenty of screentime. His right hand men are played by Hiroshi Tachi and Takeo Chii. Both are superb.
Yet another clean start, this time with Yoko Natsuki in the lead role. She’s the least impressive of the three actresses that have played Sasori, but thankfully not all that bad. At least she looks good with the correct clothing… Yutaka Kohira’s directing is good but not especially inspired. The last 30 minutes is very succesfull, though. Another strength is the supporting cast. The warden is played by Toei’s uncrowned evil karate king Masashi Ishibashi. He doesn’t get to do any martial arts in this movie, but for once his role actually allows some minor acting, plus plenty of screentime. His right hand men are played by Hiroshi Tachi and Takeo Chii. Both are superb.
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Kwaidan (Japan, 1964) – 4/5
Masaki Kobayashi proves even the japanese used to be capable of making good ghost stories. Kwaidan consists of four stories, running altogether approximately 3 hours. The first story feels more like a warm up, while the second – starring Tatsuya Nakadai – is the most impressive of the bunch. The third episode is excellent as well, but the film might perhaps feel even more effective without the short final story. It’s a very interesting ending, though, and probably deserves its place in the movie. Kobayashi’s use of colours and especially the cinematography are terrific thoughout the film. The version I saw was the 160 min cut, but getting to see it in cinema pretty much compensated for the missing 20 min.
Masaki Kobayashi proves even the japanese used to be capable of making good ghost stories. Kwaidan consists of four stories, running altogether approximately 3 hours. The first story feels more like a warm up, while the second – starring Tatsuya Nakadai – is the most impressive of the bunch. The third episode is excellent as well, but the film might perhaps feel even more effective without the short final story. It’s a very interesting ending, though, and probably deserves its place in the movie. Kobayashi’s use of colours and especially the cinematography are terrific thoughout the film. The version I saw was the 160 min cut, but getting to see it in cinema pretty much compensated for the missing 20 min.
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The Man Who Stole the Sun (Japan, 1979) - 4/5
God Damn, this movie causes deep depression. Chances of finding anything as interesting within the next 5 or 10 years are very slim. The film's only weakness is the last 30 min, which doesn't really fit the rest of the film. Otherwise this story of a high school teacher who decides to build an atomic bomb of his own is pure greatness.
God Damn, this movie causes deep depression. Chances of finding anything as interesting within the next 5 or 10 years are very slim. The film's only weakness is the last 30 min, which doesn't really fit the rest of the film. Otherwise this story of a high school teacher who decides to build an atomic bomb of his own is pure greatness.
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