Sengoku Bloody Agent

Sloppy action fest would do better in rental markets

Sengoku Bloody Agent (2012)

Kung fu vs. sword. Tonfa vs. knife. Japanese sword vs. Chinese sword. 2013 already saw one excellent mixture of martial arts in Takanori Tsujimoto’s Bushido Man. Bruce Lee fanatic Naoki Takeda attempts a somewhat similar concept in his own film. The difference between the two action films is that while Bushido Man starred martial arts expert Mitsuki Koga, Sengoku Bloody Agent stars former bikini model Ayumi Kinoshita. That, unfortunately, is just about all that needs to be said about Sengoku Bloody Agent.

Takeda, who was one of the crew members bringing Bruce Lee’s original Game of Death footage back to life in Bruce Lee in G.O.D. (2000), has been making career in action films ever since. Sengoku Bloody Agent throws a bunch of rogue fighters, motivated by random childhood traumas, against the yakuza. Action is plentiful and shot without CGI or wires, but any inspiration is utterly lacking and the casting is wrong to begin with.

Sengoku Bloody Agent is a typical direct-to-video style action film with slightly higher production values. Storyline and characters are non-existent, and action fills the majority of the running time. Style and punch is lacking. The characters are played by a mixture of idols and b-movie actors. The outcome is like a bad episode in the TV series Alias, and should mainly please the fans of Kinoshita.

Supporting roles offer a couple of competent faces, mainly yakuza film regular Yoshiyuki Yamaguchi. Otherwise the only source of amusement is the closing credits. The ending suggest of a sequel, perhaps a series of them, though that would depend entirely on the film’s performance in rental stores. In cinema environment it’s hard to imagine much success of Sengoku Bloody Agent, when even good action films struggle to find audience at the Japanese box office.

Bushido Man

An old fashioned fighting movie to delight genre fans

Bushido Man (2013)

It’s been ages since Japan produced anything as manly as Bushido Man. Seven warriors, seven battles! There’s almost nothing else to be found in the film. The casting alone is ace. Mitsuki Koga (Evil Ninja, 2010), Masanori Mimoto (Alien vs. Ninja, 2010), Kensuke Sonomura (Hard Revenge Milly), Kazuki Tsujimoto (Hard Revenge Milly: Bloody Battle)… Nothing but martial artists, stuntmen, action directors and yakuza film b-actors! Pretty face idols that have been terrorizing Japanese action cinema since the 80’s are nowhere to be found!

Violence director Takanori Tsujimoto has established his name as the most promising talent in his field. Tsujimoto’s early shorts lefts something to be desired, but his Hard Revenge Milly: Bloody Battle holds as the most intense Japanese action film of the 2000’s so far. Bushido Man sparked interest ever since the clever advertising campaign, which revealed Koga’s opponents one by one in teaser posters released during a 6 month time span.

In Bushido Man Tsujimoto tones down the violence in favor of martial arts. The concept is like an amusing variation of the Shaw Brothers film Heroes of the East. The protagonist (Mitsuki Koga) pilgrims around Japan looking for masters of martial arts to challenge. In each fight he has to adapt a new fighting style or weapon. The opponents are kung fu master, stick fighter, nunchaku expert, blind samurai, knife specialist, revolver man, and a woman with special weapon. In preparation the hero always heads to a restaurant first. “Learn about your opponent through his diet”.

Today’s Japan is an extremely difficult environment for action filmmakers. The genre simply doesn’t have domestic demand. In Bushido Man the budget has been cut down to the minimum. The cheap visuals look, where especially outdoor scenes tend to look less than natural, is not much to write home about. Thankfully the rest of the film turns out pure 1980’s madcap Hong Kong action. The opening fight alone, in which Koga meets the film’s action choreographer Kensuke Sonomura, is among the best hand-to-hand battles seen in Japanese cinema.

A lot has been invested in the amount of fights. Well over half of the running time is spent fighting. The rest of the time Koga wanders around Japan looking for opponents and eating their favorite foods. The fun concept freshens the movie, though feels slightly underutilized. A few additional scenes would not have hurt. Even then, Bushido Man took more days to shoot than most other Japanese genre films of recent, and the production was delayed by more than half a year.

The philosophical aspects of bushido are brought up both between and during the fights. The self obvious wisdoms and old fashioned gentleman gestures are heartwarming, even if decidedly silly. After each fight the protagonist develops as a fighter and a human being, and learns from the opponent’s strengths. Such moments, as well as the sheer amount of fighting, make Bushido Man feel like an old fashioned martial arts movie in the best way.

Towards the end the film loses its track a bit. Metaphysical references and scenes of comedy are more embarrassing than clever. The fighting spirit of the first half suffers a bit, and action choreography takes a few steps back with more emphasis on firearms. Even then, the final fight reaches such levels of pure, again 80’s Hong Kong style, madness, that entertainment is guaranteed.

Despite a few flaws during the second half, Bushido Man is easily one of the best attempts in Japanese martial arts cinema in ages. In a time when bikini models and pop stars dominate most of the genre, a mentally insane fight circus such as Bushido Man is welcomed with open arms. Japan’s most famous active screen fighter Tak Sakaguchi would better come up with new tricks as Koga just stole the game!

Quick Takes #4

I’m Flash (2012)

Toshiaki Toyoda’s second theatrical release for 2012, in the heels of the art house affair Monsters Club, is a more mainstream oriented gangster tale. Death Note’s pretty boy Tatsuya Fujiwara stars as a young cult leader who escapes political scandal to his Okinawa base, protected by three bored bodyguards lead by Ryuhei Matsuda.

I’m Flash is somewhat a return to roots for Toyoda, with stylized visuals and rock score, yet it is a disappointment. For what was intended as trendy genre pic, it is neither stylish enough nor especially original. The setting echoes of Kitano’s Sonatine, but without the laconic humor. Fujiwara falls short of charisma, Matsuda has little to do until the final reel, and the religious cult theme is underutilized.

The mediocre film only comes to life during the final 15 minutes, which is a blazing showdown of violent old school Toyoda. Had the entire film been as good, it would be small gem.

Lesson of (the) Evil (Aku no kyoten, 2012)

One for the high school teachers! Students need not be tolerated, they can be executed! Takashi Miike’s violent thriller sets a school load of teenager on the line of fire when the beloved English teacher decides to go postal.

Miike’s film is lacking in clever satire, especially when compared to Battle Royale which keeps creeping to mind more often than once. Yet, the bloodbath is strikingly stylish. Bodies keep piling up and Die Moritat von Mackie Messer (1928) builds tension on the soundtrack.

Hidaki Ito, with the charisma and looks of The Bold and the Beautiful’s Ronn Moss, is a standout as the charming but murderous teacher. His victims are little more than an excuse for the bloodshed, but the young cast is solid enough to keep the film together during the long build-up.

The film should mark Miike’s commercial return after a few misses, grossing in one month more than the new Batman did in all year at the domestic box office! In the light of the recent real life events, though, all US screenings seems destined to be cancelled.

Giant God Warrior Appears in Tokyo: Movie Version (Kyoshinhei Tokyo ni arawaru, 2012)

The end of the world by Hideaki Anno. Tokyo is destroyed to the last building in this poetic, jaw dropping tokusatsu tribute shot entirely in live action. No CGI effects were used, but rather miniatures and trick shots.

With razor sharp images that look magnificent on a 20 meter screen, narration by Neon Genesis Evangelion’s Megumi Hayashibara, and villain appearance by the giant monster from Miyazaki’s Nausicaä, it would make a perfect opening sequence for an Evangelion movie. Indeed, the movie edition, the slightly extended from the original 9 minute tokusatsu museum form, was attached to Evangelion 3.0 as a pre-movie.

It’s a shame Anno’s brilliant attempts at live action Evangelion sequences never seem to come closer to reality than pre-movies, trailers or deleted scenes. Giant God Warrior Appears in Tokyo, which was produced written and produced by him, and directed by Evangelion director Shinji Higuchi, is the most impressive so far. The production house behind the film is none other than Studio Ghibli.

The Kirishima Thing

Sleeper hit is one of the 2012 highlights

Kirishima bukatsu yamerutteyo (2012)

Japanese high school community turns upside down when one student unexpectedly quits the club. Daihachi Yoshida’s excellent film is one of the best Japanese movies of 2012. The film examines Japanese societal roles and hierarchy which almost no one is expected to escape. One student’s unexpected move triggers a chain reaction which touches half dozen main characters, some of whom are only loosely linked.

Though almost lacking any storyline, Yoshida pulls it off admirably with stylish filmmaking and strong cast. The film looks gorgeous on 35mm film – a format getting ever rarer in Japanese cinema these days. Yoshida has the patience to let scenes run long and often without music or loud acting getting in the way.

The film’s commentary on Japanese society, which despite appearing ever more individualist in global media, still builds on concervative structures, is spot on. A high class student’s sudden resignation from a club becomes a factor of anger, shame and frustration for his friends who can not understand such behavior.

The recent news of an Osaka high school student who took his own life under the pressure and physical violence by his sports club, make the film even timelier. It comes as no big surprise the author of the source novel for Kirishima was also a student (of Waseda University in Tokyo) at the time of publication.

Yet, Yoshida’s films is eventually hopeful and not all that heavy. The small bits of storyline, secondary they may be, are pure mainstream cinema. The well acting cast is made of young and beautiful stars. It is the film’s major strength it brings the qualities of a good indie film into an easily approachable, wider appeal production.

The titular student Kirishima is the film’s driving factor, though no one has seen him, not even the viewer. In the end, it doesn’t matter. Yoshida’s focus is on other characters whose stories are cross-cut in a way that makes the somewhat episodic structure disappear. Unlike most “made-clever” films these days, The Kirishima Thing does not even attempt to tie all loose strings.

The movie theater encounter between Ai Hashimoto and film club leader Ryonosuke Kamiki serves as a romantic highlight. The film playing on the screen in Shinya Tsukamoto’s Tetsuo – The Iron Man (1989).

The film was not a major success upon its August 2012 release, but has slowly turned into a sleeper hit. 5 months after its initial release date, staff in a small Sapporo theater were carrying chairs into the theater to allow all viewers fit in.

Quick Takes #3

The End of Puberty (Koi ni itaru yamai, 2011)

Perky high school girl (Miwako Wagatsuma) and a shy teacher (Yôichirô Saitô) change genitals in Shoko Kimura’s dull fantasy/comedy/drama.

The PIA Film Festival financed indie film is visually pleasing enough, but lacks any memorable moments. Character development is non-existent, wacky ideas underutilized, and energy lacking. Audiences mislead by the catchy theatrical trailer are in for a disappointment.

Kimura seems to have something to say of a world where men have lost their balls and women are unable to take the lead – indeed, interviews have confirmed her conservative views – but the topic eventually leads nowhere.
Perhaps most interesting is the film’s soundtrack that plays like an old Nintendo game, but like the rest of the film, it remains a curiosity that never really catches fire. The film is a far cry from Nobuhiko Obayashi’s similarly themed 1982 classic Transfer Student.

The Samurai That Night (Sono yoru no samurai, 2012)

Actor and stage director Masaaki Akahori’s directorial debut is a long revenge drama lacking in revenge. The star studded but low key arthouse drama follows a widowed, obsessed man stalking the hit-and-run crook that killed his wife after the release from prison.

Opting for strong realism, rather than fantastic revenge fantasy, the film has its moments but doesn’t eventually find very much depth. Little happens within its two hour running time, and some scenes come out “made-art” rather than natural storytelling. Characters feel distant, though Masato Sakai is not bad in the lead, and heart knob Takayuki Yamada makes a surprisingly believable killer. Mitsuki Tanimura, Tomorowo Taguchi, Hirofumi Arai, Go Ayano, Sakura Ando and Denden co-star.

The Drudgery Train (Kueki ressha, 2012)

Fan favorite Nobuhiro Yamashita’s welcome return to slow paced, rather non-commercial cinema. With a 19 year old protagonist who burns his money on booze and strippers, and whose father is a sex criminal, it’s certainly a film of old school Yamashita ingredients.

The minimal and slightly overlong film is, however, neither quite like nor as good as Yamashita’s early slacker masterpieces. Perhaps because of the source material – an autobiographical novel by Kenta Nishimura, adapted into screenplay by pink maestro Shinji Imaoka – Yamashita opts for slightly darker tones than expected. The recognizable Yamashita moments of quiet comedy are still to be found, though.

The start studded cast fare reasonably well, especially Mirai Moriyama who takes a minor gamble with his career. AKB48’s only acting capable member Atsuko Maeda is passable as well, though the whole cast suffers in comparison to Yamashita’s early works and their stars.

Flawed but pleasing, Kueki ressha may have a bit of difficulties finding its audience despite the puzzling Toei multiplex distribution that feels almost like a twisted joke by itself.

Tokyo Drifter

Another superb Tokyo film by Matsue & Maeno

Tokyo Drifter (2011)

2010/05/27, Tokyo.

Night falls in the rainy metropolis. Fukushima has exploded, Tokyo’s trademark neon lights have been turned off, and the rain falling from the sky is potentially radioactive. But one man and a small crew following him refuse to give in to the darkness. Their aim: a love song for Tokyo and the feel good film no. 1 of the year!

Documentarian Tetsuaki Matsue and folk-wonder Kenta Maeno became an indie phenomenon in 2009, when their Live Tape debuted on film festivals around the world. The inspiring little film, shot entirely with a single take, followed Maeno walking the streets of Tokyo and performing his music. Two years later the duo has a new film in the theaters. Time will show whether this stylistic re-issue will live up to the success of its predecessor.

Tokyo Drifter, which was shot during a single rainy night, is a music film and a street document. No one is interviewed and there is not a word of dialogue to be heard. Maeno, armed with guitar and sunglasses, wanders around Tokyo performing an album worth of great music about life, love, and other things. Director Matsue faithfully follows in his footsteps – though this time editing his film into separate, long take sequences.

Tokyo Drifter is above all a film for the fans of Maeno. Yet, at the same time it’s something more. As the slightly un-stylish but cool in his own way hero wanders around we start to grasp something of the insecure atmosphere that was present in the post-Fukushima streets of Tokyo. The need to save energy had finally brought the night into the city that is normally light even at night by the gigantic neon lights. In Maeno’s film Tokyo finally appears like a normal city – the most unusual state for Japan’s capital.

Director Matsue was not depressed by the change – he saw something beautiful and appealing, but unusual in it. For documenting it his choice of medium was a cheap video camera off the store shelf. Its grainy and inconsistent output, plagued with errors caused by auto-focus, reminded the director of those YouTube videos that he and millions of others had relied on as an important news source during the early hours and days of the disaster. Sound quality was, however, not to be compromised – Tokyo Drifter is a music film after all.

The real star of the show, however, is Maeno. The irresistibly energetic musician is never brought down even by the nightmarish combination of dark, rainy night, and trademark sunglasses that remain on throughout the film. He is left without audience in every location he travels (in the film), but in the comfort of cinema his show is one not to be missed. As the night finally turns into a day, one cannot help but to wish morning had not come yet. At 70 minutes Matsue turns off the lights, leaving Maeno’s Tokyo Drifter theme song playing against black screen. Good morning, Tokyo.

Side note 1: In the Sapporo premiere Matsue, who was touring the country with guitar and film reels in his hand, held a 4 song mini-concert as appetizers for the following day’s main event. The theater staff had notable difficulties believing their ears as Matsue requested to play his final song in complete darkness.

Side note 2: Nicholas Vroman’s highly informative Matsue interview, excessively referred in this review, can be found at his site a page of madness

Let’s Make the Teacher Have a Miscarriage Club

Little devils in an effective exploitation drama

Sensei wo ryûzan saseru-kai (2011)

Let’s Make the Teacher Have a Miscarriage Club was just another piece of new j-trash until it had its world premiere at the 2011 Nippon Connection. Rumors of a small, but mean film that exceeds the expectations started to circulate. More than a year later the attention seeking film is finally released domestically – hopefully to be followed by a wide festival tour.

The mini budget psycho drama, somewhat based on true story, follows a bunch of adorable high school girls whose casual pastime includes throwing small animals in the air – and not catching them on the way down. The leader of the sweethearts is Mizuki (Kaori Kobayashi), who loses whatever traces of sense she might have possessed when her teacher turns up knocked up (getting pregnant = having sex = yuk!). The girls form a “miscarriage club” to kill the unborn baby in order to show the insolent adult who calls the shots.

Silly, but unexpectedly effective, Miscarriage Club serves its shocks with rather straight face. The game is clear from the start: the dead rabbit of the opening scene is followed by the girls walking the countryside with instrumental rock score setting the tone. Director Naito, despite his pretty words on serious themes, comes out more of a rock star than moralist. His little devils steal the screen – and all the better for it.

While the film is dark enough to borderline the horror genre, it never dives into the splatter pool. The mean-factor is based on repulsive theme, intense audio-visual delivery, and cheap dramatic tricks that make the viewer’s blood boil. Slight relief is provided in form of pitch black (and seemingly intentional) humor, served in small doses. These moments ought to earn a few laughs among foreign audiences – in Japan viewers would hesitate to even smile at such un-understated jokes.

The general clumsiness of the drama is part of the pack – by no means does Miscarriage Club come out less a genre movie than, say, The Class of 1984. What counts here is the audio-visual drive and good pace in serving money shots. Naito succeeds for the most part: editing resembles a movie, visual outlook is above your typical low budget J-filth, and the heavy soundtrack is the biggest strength.

Let’s Make the Teacher Have a Miscarriage Club won’t make a coherent youth drama or social commentary, but there no need for it. At just 60 minutes the film makes an effective exploitation drama. Though, director Naito himself insists his film is about dealing with important themes and what is important in life. So be it – though his methods are the same as Sylvester Stallone’s in Rambo. Intentional or not, Japanese school girl cinema’s got its balls back!