The Beasts (1980)



aka SHAN KOU

Directed by Dennis Yu

A group of young people on a camping trip are terrorized by a band of psycho's. When a young girl is raped and her boyfriend killed, the gang is arrested, but get off on a technicality. Enraged, the father of the defiled girl decides to take matters into his own hands by hunting down the cruel thugs, killing them off in brutal fashion.

I Saw the Devil (2010)

aka AKMARUEL BOATDA

Directed by Jee-woon Kim

South Korean filmmaker Jee-woon Kim continues to enjoy a remarkable level of distribution in the West. His latest film I Saw the Devil was paraded around the festival circuit, before receiving relatively wide distribution in the both the US and the UK. Kim first emerged as a name of note with his debut film The Quiet Family (1998) a comedy/horror film which was loosely remade in typically excessive fashion by Takashi Miike under the moniker The Happiness of the Katakuris (2002). Although interesting, his debut film was left in the dust with the release of A Tale of Two Sisters (2003), a stylish psychological horror film clearly inspired by the popularity of J-horror. This excellent film was remade in America as The Uninvited (2009). The result was a predictably desultory and pathetic re-imagining bled dry of all the aspects that made the original so engaging. Kim confirmed his generic utility with A Bittersweet Life (2005) and The Good, The Bad and The Weird (2008). The former a wonderfully energetic, but incredibly violent gangster movie, and the latter a sprawling western adventure inspired by Sergio Leone’s spaghetti westerns. All of these films have received above average distribution for South Korean films, which is a testament to Kim’s ability to craft generically satisfying material that still manages to push the boundaries of the form. In comparison to his previous films, I Saw the Devil is significantly less interesting. It is not a failure, but it is perhaps Kim’s first stumble, in a career that has thus far been very impressive.

Bullet Train (1975)

aka SHINKANSEN DAIBAKUHA

Directed by Junya Sato

A trio of despondent revolutionaries led by Tetsuo Okita have planted a bomb somewhere aboard Hikari 109 threatening that the device will detonate should the train drop below 45 mph. Tetsuo demands a ransom of 5 million in US dollars be paid in exactly 70 minutes which means Hikari 109 will not be able to stop anywhere. Amidst scrambling to avoid collisions with other trains, derailment and other assorted perils, Aoki, the trains conductor, attempts to keep the passengers calm while the police frantically search for both the terrorists and the location of the bomb.

 

Visitor Q (2001)

aka BIJITA Q aka LOVE CINEMA VOL.6

Directed by Takashi Miike

When prolific Japanese director Takashi Miike was invited to contribute to the Love Cinema series, few could have predicted the outcome would be the highly controversial Visitor Q. Love Cinema was a series of six direct to rental films from independent filmmakers, which were all shot on digital video for ultra low budgets. Of the six films, five vanished without trace into the abyss of celluloid history, but the sheer outrageousness of Visitor Q, and the increasing cult reputation of its director, ensured a limited theatrical run beyond the confines of the series for which it was intended. Miike was no stranger to controversy at this point in time. His cinema marked by excessive violence, bizarre sexual perversity, and a refreshingly rebellious attitude toward past traditions. Miike embodied a punk ethic, and a particular gift for offensive grotesquery, the like of which had rarely been distributed in the west. In many ways Visitor Q is Miike’s ultimate work of transgression, a vile cocktail featuring one abhorrent event after another. The challenge to social taboo is nothing new, even if Miike piles it on with typical exaggerated relish. The problem with Visitor Q lies in the fact that for much of its brief running time it is uproariously funny.

Killer Constable (1981)

aka WAN REN ZAN aka KARATE EXTERMINATORS aka LIGHTNING KUNG FU

Directed by Kuei Chi Hung

The honorably bloodthirsty royal constable, Leng Tian Ying is hired by the Empress Dowager to hunt down a group of gold thieves who have absconded with two million taels of government gold. Constable Leng gathers a select cadre of his finest officers for the mission. Along the way, Leng discovers a much wider reaching plot of a more sinister origin that trails all the way back to the Forbidden City itself.

Onibaba (1964)

aka DEVIL WOMAN aka THE HOLE

Directed by Kaneto Shindô

Legendary Japanese filmmaker Kaneto Shindô directed his 45th feature film Ichimai no Hagaki in 2010 at the tender age of 98. Born in Hiroshima in 1912 Shindô has also written some 158 screenplays, making him easily one of the most prolific filmmakers in world cinema. Shindô’s failure to secure the type of distribution enjoyed by Kurosawa, Mizoguchi, and Ozu remains a mystery. His early films are slightly more visible in the West. In recent times we have enjoyed pristine DVD presentations of The Naked Island (1960), Onibaba (1964) and Kuroneko (1968) and they have afforded us a glimpse into a highly stylised and expressive formal style that is both challenging and invigorating. The latter two titles have also illustrated Shindô’s ability to meld this formal eloquence with popular genres and past theatrical traditions. However the unavailability of Children of Hiroshima (1952) still remains a mystifying aberration. It is certainly the case that as the 1960’s wore on Shindô’s work became less distinctive and his interest in social purpose took a back seat to explorations of sexuality. But as we saw in Nagisa Oshima’s In the Realm of the Senses (1976), sex in its purest form can be a potent political and social weapon. The success of his quasi historical horror film Onibaba isn’t particularly surprising as it retains just enough generic signifiers to satisfy western audiences, and possessed the added draw of an unusually frank exploration of frustrated sexuality.

Samurai Wolf (1966)

aka KIBA OKAMINOSUKE

Directed by Hideo Gosha

A destitute ronin bearing the name of Kiba Okaminosuke wanders into a tiny, impoverished hamlet run by Ochise, a blind woman who owns a troubled messenger service--a business whose profits barely keep the meager town going. Delivering the corpses of two of her escorts he found on the road, Ochise explains her dire and desperate situation to the wandering samurai. Not long after, a duplicitous and conniving businessman named Nizaemon comes to Ochise with a new job to deliver 30,000 ryo to the magistrate's office in Imagawa. Nizaemon has designs on Ochise's business and this new plot leads him one step closer to crushing the staunch blind woman. Kiba agrees to help her with this enormous task. But Nizaemon isn't the only obstacle in the way as Akizuki Sanai, a formidable swordsman and a guileful brothel madam have plans of their own.

Scandal (1950)

aka SHÛBUN

Directed by Akira Kurosawa

1950 saw the release of two films by Japanese filmmaker Akira Kurosawa. The first Scandal has largely remained an obscurity in Kurosawa’s filmography, far overshadowed by the second film of the year Rashomon. The latter introduced western audiences to a new world of Japanese cinema when it scooped the Golden Lion award at the Venice Film Festival in 1951. Kurosawa was soon heralded as an artistic genius and feted by art cinema enthusiasts eager for something outside their experiential world. The historical films of Kurosawa often betray their indebtedness to Hollywood, Rashomon however is the most atypical of his historical adventures in its attitude to point of view and subjectivity, which perhaps accounts for its art circuit success. Personally I have always found Kurosawa’s contemporary set social dramas to be more interesting, and as a representation of the complexities, anxieties, and dilemma’s of a Japan occupied by a foreign force Scandal emerges as a more important film than Rashomon from a socio/historical point of view.