What Asian Films Have You Been Watching Recently?

[Takuma]

Yasuharu Hasebe triple

Massacre Gun (みな殺しの拳銃) (Japan, 1967) [VoD] - 2/5
Hitman Joe Shishido and his yakuza brothers, hothead Tatsuya Fuji and failed-boxer-in-love Jiro Okazaki, turn against their rotten boss and try to make money on their own. A rather tiresome Nikkatsu yakuza film that smells of a programmer picture. It's not so much a "bad film" as a movie whose kind have been made in too large quantities. Chris D. associated Massacre Gun with A Colt is My Passport and Branded to Kill, calling them a loosely linked trilogy. There is no direct (if any) connection between the films, and Massacre Gun is by far the least stylish and innovative of the three.

Retaliation (縄張はもらった) (Japan, 1968) [VoD] - 3/5
Just out of prison yakuza Akira Kobayashi is tasked with taking a city under his control from two other gangs, using his wits a few trusted men. Fast paced neo noir throws in enough violence, boobs - including a glimpse of Meiko Kaji - and kinetic camerawork to keep the audience entertained. The plot is a bit convoluted, but generally avoids the kind of predictable, prolonged melodrama that often hurt yakuza films, including Hasebe's Massacre Gun, of the era.

Savage Wolf Pack (野獣を消せ) (Japan, 1969) [TV] - 3/5
An slightly unusual piece of Nikkatsu New Action where the bad guys are more interesting than the hero. Tatsuya Fuji leads a homemade gang of savage villains, one of whom (Mieko Tsudoi) is a party girl who loves hurting people and dancing topless in disco. The bunch may seem like generic pack of bullies at first, but eventually grow into a tragic, perhaps even allegorical (of the post war Japan and the kind of people it gave birth to) bunch of sad anti-heroes. It is no wonder Fuji fought to get the role. Tetsuya Watari is slightly miscast as the actual hero, a back-from-Alaska hunter whose sister was raped and driven to suicide by Fuji's gang. He becomes the unwilling protector of a runaway girl (Mieko Fujimoto in a worthless role) who is also being targeted by the baddies. Director Yasuharu Hasebe inserts surprisingly graphic violence (one guy has his guts blown out), and would basically re-use the Fuji gang in a hippier context in the first Stray Cat Rock film.



Noboru Ando triple

Japan's Underworld History: Blood Feud (日本暗黒史　血の抗争) (Japan, 1967) [TV] - 2/5
Just how many times could Toei tell the same story of a small gang made of goofballs rising from the ruins of WWII Japan? It's a formula that was done to death in the 1960s until the ultra gritty jitsuroku genre pumped some fresh energy into it in the 70s. "Blood Feud" falls into the gap that existed between the better defined ninkyo and jitsuroku genres, featuring too much comedic relief to convince as a gritty gangster tale, and not enough action and romanticism to come off as solid escapism entertainment. It's just not a very exiting film. Or perhaps I've seen too many of these films. Toei audiences apparently had not; a sequel followed later the same year.

True Account of the Ando Gang - Yakuza and Feuds (やくざと抗争 実録安藤組) (Japan, 1973) [DVD] - 2/5
An underwhelming jitsuroku yakuza film depicting Noboru Ando's rise from a delinquent school boy to a remarkable gang leader. Despite some ultra violence, including a fork in the eye, axe in the arm, and the cutting of Ando's face, the film is surprisingly bland. The tale is very much told by the numbers, except for a strangely laidback soundtrack that is at odds with the cruelty seen on the screen, and an anti-climatic ending which build up for a huge gunfight which it chooses not to show at all. Also, although the film is set in the 50s some of the cityscapes are unmistakably 70s. The film is the second part in the series that begun with the equally boring Yakuza and Feuds (1972). The third and final film, True Account of the Ando Gang - Story of the Attack (1973) would be a notable improvement, however.

True Account of the Ando Gang - Story of the Attack (実録安藤組 襲撃篇) (Japan, 1973) [TV] - 3.5/5
Noboru Ando was a real life gangster who ordered a non-fatal hit that left a businessman seriously injured in 1958. Ando was arrested after 35 days on a run, and sentenced to prison for eight years (of which he serve six), after which he disbanded his gang and became a reasonably successful yakuza film star utilizing his own notoriety. This is the third and final film in a series based on Ando's life, and the most realistic of them. Director Junya Sato goes for a documentary approach, accounting the events before and after the infamous incident almost hour by hour. Due to its realism, the film is far less violent than most jitsuroku movies (only one person is killed in the film) but mostly no less intense. The film is visually very stylish, mixing grainy images with stylish use of colour and shadows, and features a solid cast with Ando as himself; Eiji Go as the gangster who shot the businessman (the bullet he fired went through the target's arm into his chest), and several other tough guys like Rikiya Yasuoka. For an interesting comparison piece, see Noboru Tanaka's lesser but much more over-the-top sexploitation accounting of the same incident, Noboru Ando's Filthy Escape into Sex (1976).

[47lab]

Never been a fan of Chapman To as an actor as he's just plain annoying in most of his roles (altho' I do admire his political convictions & the repercussions he's felt in the industry for being so outspoken) & I have only seen his Lunar New Year cooking comedy as far as the flicks he's directed but if EMPTY HANDS is any indication of his future work behind the camera - then consider me sold! He wrote, produced & did all the action directing for this quirky gem of film about redemption, reconciliation and finding ones way in the world. It's a veritable hybrid of an indie art film with an action film driven narrative. The ensemble cast is superb here. Yusuaki Kurata says but a mere few words of dialog in this entire movie but his presence weighs heavily throughout & Stephy Tang blew me away with her performance. I'm accustomed to her comedic roles but she manages to retain her comedic charm but also play her character (an aimless self absorbed millennial whose relationship with her karate teacher father had deteriorated beyond repair until his sudden passing) with such depth that I was absorbed every second she was onscreen. Stephen Au, playing one of Kurata's longstanding students also shines. He plays a mute and is nice counterbalance to the mouthy Tang. His expressions are on point -- the opening scene where Au finds Kurata unconscious in this dojo and panics to call emergency services but is unable to communicate was just gold! Dada Chan of VULGARIA fame plays Tang's best friend & is cast in yet another supporting bimbo/airhead role but she even imparts such a charm here. Last but not least, Chapman To puts forth a solid assured performance as the ex-con former student of Kurata who returns to make good on his second chance. Overall, a wonderful martial arts themed flick that wouldn't be out of place playing in arthouse theaters. As a final note, it might seem odd for the soundtrack to consist almost solely of Western Classical music but oddly, it works just like everything else about this movie.

[47lab]

One of the flicks I had in my downloads folder for the longest time was Adam Tsuei's THE TENANTS DOWNSTAIRS. For whatever reason (mostly sheer laziness), I just never got around to watching it despite a fairly glowing recommendation by one of my close friends. So decided to finally sit down and check it out today. It's based on a novel by Taiwanese writer Giddens Ko, who is a director in his own right with his hit coming of age love story, YOU ARE THE APPLE OF MY EYE. Well this movie is a complete 180 from that syrupy youth flick. My initial impression wasn't favorable for the first 20 minutes or so, thought this was going to another creepy psychotic landlord who harasses & spies on his tenants like Klaus Kinski in CRAWLSPACE or something in that vein but it actually turned into a very dark biting satirical thriller. Simon Yam channels his inner late Mickey Rourke look here and it suits him. I can't think of another actor more suited for this role than perhaps Anthony Wong. This flick does have many CATIII tendencies including very graphic sexual scenes both of the hetero & homo variety & some graphic gore as well (one noteworthy scene is straight out of THE UNTOLD STORY & Sono's COLD FISH). There is plenty of really dark humor too. I couldn't help but crack up at some of the darker material such as Simon sodomizing one of his victims with a cucumber (shown in rather graphic fashion) and then sniffing it like it was a Cuban cigar for laughs. I didn't see the twist coming at the end either where it gave me flashbacks to HAUTE TENSION.

[47lab]

As I had mentioned previously, I caught Dante Lam's OPERATION RED SEA over the weekend and it was absolutely fantastic. It one upped OPERATION MEKONG IMHO and one of the best action films that I've seen within the past few years period. I can see why HK action filmmakers are drawn to Chinese money as a movie of this scale and scope would've been impossible in HK given the current situation. I'm not saying this flick is better than BULLET IN THE HEAD or anything like that, just that it checks off all the marks that action film fans look for and then some. Plenty of CQC action and kinetic gunplay, explosions galore & extreme war violence/gore & I'm not kidding here as you see more severed limbs, heads, faces blown off, etc than any film I can recall in recent memory. One particular highlight was the tank battle in the midst of a sandstorm. I'm glad they incorporated a female character as a on field combatant rather than a secondary support role (there is also another female who is a central part of the storyline as well and also shows battlefield toughness) - this Tong Li (Jiang Luxia) has to be the baddest female action character since Pvt. Vasquez in ALIENS. I wish the PLA Special Forces would've stuck to using Chinese made small arms like in the opening sequence instead of using NATO weapons but it's plausibly explained in the story. I will be going to see this a second time in the theaters before it's pulled. The group of friends I went with all enjoyed it as well and two of them aren't even action film fans.

Recently watched Stephen Fung's heist thriller, THE ADVENTURERS & it was godawful. Jean Reno and Andy Lau are here for the payday as they look so disinterested throughout & Shu Qi was annoying but then again, she is married to the director. The one brief highlight is a car chase through the streets of Cannes but it ends all too quickly. Supposedly a remake of John Woo's ONCE A THIEF -- that movie was no great shakes but is eminently more watchable than this drek.

On the "to watch" list I have Chapman To's THE EMPTY HANDS, Yang Lei's fantasy/action movie, THE LEGEND OF NAGA PEARLS & John Woo's remake of MANHUNT.

[47lab]

Just came back from checking out Dante Lam's latest, OPERATION RED SEA & was surprised to see a big line forming outside the theater. Fortunately, we had purchased our tickets beforehand. It was a pretty raucous crowd inside and packed to the rafters. Nice to see a non-Hollywood action flick get such a reception and most had to be word of mouth as I didn't see this movie heavily advertised anywhere. Will have more to say about this film later.

One of movies I had on queue was Jonathan Li's debut crime thriller, THE BRINK starring Shawn Yue and Max Zhang. I enjoyed it more than I initially thought going in -- the action/fight choreo and storyline weren't anything groundbreaking but it kept me engrossed throughout. I've never been a fan of Yue but I can tolerate him when he's playing a stoic gruff character like in this flick and Max Zhang held up his end of the deal with his obvious martial arts background. It was nice to see some old HK action stalwarts in Tai Bo and Yasuaki Kurata too. The fight scene taking place on the deck of the boat during a squall was entertaining and I noticed in the credits all the SFX work was outsourced to South Korea. The one letdown was the role of the female characters. Janice Man played Yue's gal pal who is handy with improvised explosives. She was just another pretty face thrown into the fray for eye candy appeal. The story never developed as to why she was under Yue's svengali influence. Noticed it was produced by Sol Cheang and written by the same guy who did DOG EAT DOG...this flick doesn't reach those lofty levels but decent nonetheless. Interested in seeing how Jonathan Li's career plays out and will check out his next project.

[47lab]

Watched an interesting self-directed indie documentary on the milieu of fan subbers called ZEN FOR SUBTITLE. Spotlights Chinese fan subber & cinephile, Xiongzaixia & his passion for subtitling obscure and neglected arthouse films particularly those from Eastern Europe and Russia. Also delves into his evolution from subbing to becoming an indie filmmaker and documentarian. A Russian major at University who now works a low end job without career prospects but mentions he would follow the same path again due to his love for films. A guy after my own heart!

[47lab]

Re-watched Chris Lee's QUEEN'S HIGH aka IN THE LINE OF DUTY 8. Not the best Cynthia Khan flick but had some nice frenetic fight action in the finale and it had me chuckling at Simon Yam playing the doting older brother.

[47lab]

Caught a double header earlier with Shinji Somai's youth flick, P.P. RIDER up first. It's a damn shame that Somai is so neglected in the West. Compare his films with their nuanced portrayals of teen angst versus someone like John Hughes and his overrated debased retarded version and yet, Hughes gets the Criterion treatment & you can't even find any of Somai's works on R1 dvd/blu ray. Obviously, Criterion will sell a shitload more of Hughes than Somai but it's still a slap in the face.

Next was Patrick Tam's HK new wave psychological/slasher thriller, LOVE MASSACRE. I hadn't seen this in years & only initially checked it out for Brigitte Lin. Not my favorite Patrick Tam movie but it really picks up when Charlie Chin becomes completely unhinged. Wish a better print was available as this flick would definitely benefit from it.

[47lab]

I recently re-watched Alex Law's 2010 flick, ECHOES OF THE RAINBOW with Simon Yam. One of those bittersweet coming of age stories set in late 60's HK and it veers from sentimental melodrama to outright tearjerker. I enjoyed it more on the re-watch though as perhaps I appreciated the message of this film as I've gotten older. Supposedly an autobiographical account of director Alex Law's life growing up as a working class family during one of HK's most turbulent times. I can't help but feel this flick was supposed to be a showcase for young upcoming talent, Aarif Lee nee Rahman but the real stars were the performances by veterans Yam and Sandra Ng. Felt this to be one Yam's better acting performances & he deftly plays the stern shoe cobbler father whose own failed ambitions are projected onto his eldest son played by Lee. One of Yam's more subdued performances but that's a good thing here. Same goes for Ng as well as she isn't playing her usual brash loudmouth comedic role which can get quite annoying.

In my "to watch" list I have Shinji Somai's P.P. RIDER, Hiroshi Sugahara's SEVEN DAYS' WAR (new BD rip) & the remake of John Woo's ONCE A THIEF, THE ADVENTURERS starring Andy Lau (not to be confused with the mid-90s Ringo Lam action flick of the same name and also starring Andy).

[Takuma]

The Gambling Monk (競輪上人行状記) (Japan, 1963) [35mm] - 3/5
A biting black comedy/drama about a mischievous middle school teacher (Shoichi Ozawa) who becomes a gambling addicted monk following his brother's death. He tries to take care of his family temple business, but gets mixed up in bicycle betting, alcohol and desperate women. This was Shogoro Nishimura's debut film, based on a screenplay by Shohei Imamura and Nobuyuki Onishi. It may not be a film tailored for my tastes, but fans of Imamura and Japanese 60s new wave ought to be in for a threat. The mix of dark drama, comedy and social satire aiming to spark some controversy is especially reminiscent of Imamura's films. It is then perhaps not surprising that, despite being adored by critics, it bombed in theatres upon its release and brought Nishimura's career to an instant end for three years. It remains a forgotten film waiting to be discovered.

International Secret Police: A Keg of Powder (国際秘密è¦å¯Ÿ 火薬の樽) (Japan, 1964) [35mm] - 1.5/5
Part 3 in the International Secret Police series, Toho's response to James Bond. There were 5 films in total (1963-1967). The series is probably best known internationally as the source material for Woody Allen's What's Up Tiger Lily? (1966). Allen used footage from the 3rd and 4th films to arrive at his comedy spoof, which I have not seen but which seems somewhat redundant since A Keg of Powder was already a comedy - albeit a rather unbearable one. Tatsuya Mihashi and Makoto Sato are two secret agents (whose identity is not a secret to anyone) goofing around and chasing a crazy Austin Powers type of criminal genius. Mihashi is also trying to have romantic relations with a girl, but there are constant silly assassination attempts made at him. The film is a mess with loads of dumb comedy, nonsensical storyline and clumsy action, and the fact it does all everything with its tongue firmly in the cheek doesn't make it any less painful. Akiko Wakabayashi provides some eye candy at least. The director of the film is Takashi Tsuboshima, who later helmed the equally unbearable and in many way similar Lupin the Third: Strange Psychokinetic Strategy (1974), as well as the excellent ninja exploitation Demon Spies (1974).

International Secret Police: Key of Keys (国際秘密è¦å¯Ÿ 鍵の鍵) (Japan, 1965) [35mm] - 2.5/5
Part 4. Makoto Sato is out, and Tatsuya Mihashi is left alone with assassins, femme fatales and foreign terrorists who are all after a secret safe that could enable a revolution. While still goody and relatively nonsensical, this is an improvement over the previous film. At the very least the film takes itself seriously enough to work as a b-grade spy film, even if it's a comedic one. Parts of the story are set in foreign locations, in a fictional nation called Tongwan, channelling India or Egypt (?) type of exotic vibes. The film also features both Akiko Wakabayashi and Mie Hama, who would go on to appear as Bond girls in You Only Live Twice (1967). Director Senkichi Taniguchi also helmed the fantastic one-night patrol car docudrama Car 33 Doesn't Answer (1955), which would be a fantastic candidate for a Criterion release.



Kaettekita ookami (帰ってきた狼) (Japan, 1966) [DCP] - 4/5
Excellent Sun Tribe film by Shogoro Nishimura; his second movie as a director. The story kicks off when a mixed blood, misunderstood loner (Ken Yamauchi) drifts back into a small seaside town where he slew a man years ago. Around the same time a super hot yacht girl Rika, who is a bit of a spoiled brat, sails to the shores. She has instant hot for him, and her bloated self ego takes a hit when he says he just digs her yacht. Then there is the film's actual protagonist (Junichi Kagiyama), a cowardish but decent guy and the only rational one of the bunch, as well as some local teen hoods giving everyone trouble. This is almost everything a good Sun Tribe film should be: yachts, motor boats, guitars, fights and burning teen passion, all packed into 78 minutes. The characters are excellent, there's a constant aura of energy to Nishimura's direction, and most importantly the Taiwanese-Japanese actress Judy Ongg is just amazingly hot and badass as Rika. When director Nishimura, in an unrelated interview, expressed his regret that much of the Roman Porno genre that later employed him may be problematic from a female perspective, I wondered if he truly cared. But seeing movies like this, with show stealing female characters, I can believe he really meant what he said. Fantastic film!

Tokyo Streetfighting (東京市街戦) (Japan, 1967) [35mm] - 1.5/5
Tetsuya Watari's theme song is the only good thing about this half-arsed Nikkatsu yakuza action film. It's yet another tale of people coping in the ruins of Tokyo in the post WW2 Japan, with a couple of good men (Watari, Joe Shishido) standing against the exploitative Korean gangsters. Toei also made several films like this, some of them good (True Account of Ginza Tortures, 1973), some as bad as this (Third Generation Boss, 1974; Kobe International Gang, 1975). With its uninspired performances, routine execution and a programmer storyline aiming to connect with the more sentimental and nationalistically minded viewers (there even an orphan boy and his blind sister suffering in the slums!), Tokyo Streetfighting offers little to be impressed about. Even the final street war / machinegun massacre fails to thrill, despite its unbelievable body count.

Burning Nature (花を喰う蟲) (Japan, 1967) [DCP] - 3.5/5
Here's further evidence that director Shogoro Nishimura is remembered for the wrong films. Before he became a Roman Porno vending machine, he was a yakuza and youth film director at Nikkatsu, making several interesting pictures that have since been forgotten. This one starts out as a breezy youth film but soon morphs into a study of greed and moral corruption as a wildcat girl (Taichi Kiwako) runs into a manipulative "businessman" (Hideaki Nitani) who promises her a career as a model. She finds success due to her good looks, but also learns that that is exactly her worth the in the modern world. The stylish film features a terrific leading performance by Taichi Kiwako. Eiji Go, an actor best known for portraying crazed yakuza, is also very good as a young man in love with the protagonist. Meiko Kaji has a small supporting role. The film's only problem is that it can't quite keep the wonderful momentum it establishes during the superb first half till the very end.



Biographies of Killers (刺客列伝) (Japan, 1969) [35mm] - 2.5/5
Although better known for contemporary films, Nikkatsu also produced scores of period yakuza films. I am far from well educated in Nikkatsu's yakuza output, but compared to Toei's ninkyo films, this movie at least is somewhat grittier in philosophy (as suggested by the title), leaving less room for chivalry, stoic pathos and manly bonding than you'd find in your average Ken Takakura or Koji Tsuruta film. Sentimental drama is not avoided though: the film features Nikkatsu's regular wallflower Chieko Matsubara as a young woman with a missing brother and a sick kid to take care of. Hideki Takahashi is the main character, a yakuza joining a gang of killers to make some money. He later runs into Matsubara, who doesn't know he's a yakuza and indirectly related to his missing brother who has been killed. There's also a common yakuza film theme with poor workers being targeted by the yakuza. The storyline isn't especially interesting and the lack of a strong plot hurts, but Nishimura's direction is pretty good, often vitalizing quiet scenes with emotional tension.

Yakuza Native Ground (やくざ番外地) (Japan, 1969) [35mm] - 4/5
A very good transitional era yakuza film by Shogoro Nishimura. Tetsuro Tamba is a businessman-like gangster who builds his gang of youngsters willing to do the dirty work for him, including a psychotic hothead Jiro Okazaki. Tamba is pals with Kei Sato, a slightly more righteous boss in a rival gang, likewise leaving the quarrels to the youngsters while trying remain friends with Tamba. The film takes a while to get going with some seemingly random side plots, which however all come together big time when Tamba's sister falls in love with a young man associated with the rival gang, and then all hell starts breaking loose, leading to a well orchestrated final massacre. There's also an interesting mix of ninkyo-like honour themes and jitsuroku shades of gray, especially evident in Tamba's well written character. Nishimura's character direction is effective and it's always a pleasure to see Tamba in starring roles.



Teruo Ishii Wonder Night

- Inferno of Torture (Japan, 1969) [35mm] - 4/5
- Horrors of Malformed Men (Japan, 1969) [35mm] - 4.5/5
- Bohachi Bushido: Code of the Forgotten Eight (Japan, 1973) [35mm] - 4.5/5
- The Executioner 2: Karate Inferno (Japan, 1974) [35mm] - 4/5

All night Teruo Ishii marathon with four excellent films from pristine prints. It didn't hurt at all that I had seen all of them before in theatre, some of them several times. Inferno of Torture is cruel yet romantic, supremely stylish tale of two tattoo artists in Edo competing each other and tattooing the horrors of hell on the backs of beautiful topless women. Horrors of Malformed Men, Ishii's most legendary and atmospheric film, is a mystery following a man who discovers an island where a tragic madman is building a society of malformed men. Bohachi Bushido, Ishii's best film, is a visually amazing tour de force of a nihilist samurai wandering in a surreal ero-guro pop Japan and fighting ninjas and naked female bodyguards in terrific, bloody action scenes. All three films excel at creating imaginative fantasy worlds, at which Ishii was at his best. The Executioner 2 is a smaller but no less enjoyable film: an insanely funny and crude action comedy and a perfect closing film to keep people awake at 4:30 am. All in all, amazing night where every film, partly due to the circumstances, made me think "this is a strong candidate for the best movie ever!"

[Takuma]

I watched the Takashi Ishii penned and Naosuke Kurosawa directed roman porno, DREAM CRIMES aka HIT WOMAN. I've enjoyed some of his other stuff released on Synapse/Impulse but this wasn't very good. Lame plot and the sex scenes weren't up to snuff either. There was one lesbo scene where the two gals work a double headed dildo which gave me flashbacks to REQUIEM FOR A DREAM but that was it. The ending was appropriately sleazy & should've been some over the top nastiness but was yet another letdown among many in this weak film.

Angreed. Kurosawa + Ishii sounded like a dream team, but the film is a major disappointment.

I've seen all of Kurosawa's Roman Porno films, and although his films may not be "great" (except Zoom In, which is wonderful) they are usually enjoyable. Dream Crimes is an exception.

Zoom In: Rape Apartments (1980) - 4/5
Love Beast: Attack (1981) - 3/5
Ecstasy Sisters (1982) - 3.5/5
Nurse Diary: Beast Afternoon (1982) - 2.5/5
Banned: Woman's Secret Pictures (1983) - 2.5/5
Lolita tsuma: Binetsu 1984 3
Nise mibí´jin - Ichijiku hakusho (1984) - 1.5/5
Dream Crimes (1985) - 1.5/5
Young Lady Detectives: Heart Beat (1987) - 3/5

[47lab]

I watched the Takashi Ishii penned and Naosuke Kurosawa directed roman porno, DREAM CRIMES aka HIT WOMAN. I've enjoyed some of his other stuff released on Synapse/Impulse but this wasn't very good. Lame plot and the sex scenes weren't up to snuff either. There was one lesbo scene where the two gals work a double headed dildo which gave me flashbacks to REQUIEM FOR A DREAM but that was it. The ending was appropriately sleazy & should've been some over the top nastiness but was yet another letdown among many in this weak film.

[47lab]

Yesterday was bowling night with the fellas and afterward, we met at a buddy's house to check out Wu Jing's WOLF WARRIOR 2. I wasn't a fan of the first one - felt it was too try hard in its attempt to mimic Western action films but this sequel was much better. It's strange to say but it had more "depth" to the story and characters & the action wasn't marred by the over use of poorly rendered CGI like the first one. One of the guys was saying it's just thinly veiled CCP propaganda full of overt jingoism but I countered by saying so is every other US/UK action film with a white savior (ala TEARS OF THE SUN) coming to the rescue. In those flicks, all the baddies are caricatured Middle easterners, Asian gangsters, African rebels, etc. So big fucking deal if the bad guys in this one are US & European anglo mercenaries. This was made for the domestic Chinese market, so of course it's going to have nationalistic overtones and it didn't really bother me in terms of the full viewing experience.

[Takuma]

The latter one is the Nishimura film. It's not available on DVD as far as I know. I'm only aware of the DMM fullscreen stream which I viewed last year.

[47lab]

@Takuma, thanks for the correction. Upon looking at the file folder again, the movie titles are mixed up. The one named CRIMSON NIGHT DREAM actually is some RP flick by Jun Utsugi(?) called Hizō-ban: Higasa no onna (1984) & it's labeled VHSRip as you can see from the screencaps. This .jpg of the cover is in the folder too.



The other folder that is labeled HIZOBAN: HIGASA NO ONNA I suppose is the Shogoro Nishimura one but haven't checked yet. It has this .jpg cover art.



That one says it's a dvdrip but is CRIMSON NIGHT DREAM available out on dvd in Japan? I ask because i see you posted caps from the streaming service you subscribe to on occasion & not a dvd. I think since both starred Takako Shinozuka, there was some sort of mixup in the folders. I'll check that one out tomorrow since you gave it a ringing endorsement.