Ine of my favorite movies of all time. Happy to finally find a copy!
Terracotta always delivers some of the best Editions there are on this Planet, with great remastered pictures and sound, full of Extras. There´s never ever anything to complain about. As is with this J-Horror Box.
Thank you very much!!
Nobuhiko Obayashi spent decades working on the script for this film, and finally got to make it towards the end of his life. It is a stunning visual achievement. I must confess, it's not my favourite Obayashi film. But I do respect the themes and story he is tackling, and the vision he has put on-screen - and in a way that he could maintain full creative control (as detailed on this Blu-ray). If you only know Obayashi in terms of his earlier work, such as Hausu and his 1980s films, you will be very surprised (and pleasantly so) by his later films.
I am biased towards samurai films, and I love a good mockumentary. So I'm definitely biased. What I can say is that if you know enough about Japanese cinema, in terms of samurai film conventions, and the controversial actors and directors that have made them in the past, then you will most likely laugh the whole way through this film. I even find the contrasting final act really funny, due to its tonal whiplash. On top of these points, the film has many a crude joke, hilarious lo-fi special effects, and perfect comedic performances. One of the best Japanese comedy films that I've seen - which is actually an Australian film in disguise (!).
The cast here is great. Yuya Yagira and the others have gone on to so many great works in film and TV. And Tetsuya Mariko's work is not widely known or available outside of Japan, which also makes this title highly recommended. It's not the happiest of stories, but when you realise the difficulties that younger generations have to face in Japan - especially when growing up in rural towns and villages - you can see why the director has tried to tackle this issue in such a violent and confrontational way. Here's hoping that no younger generations actually feel this despondent in current day Japan, and that opportunities and circumstances change in future.
I don't know what I can add to what's already been written and said about these films, by fans and critics. They are stunning, even decades after they're release. I first saw them very quickly in succession, as Tartan Asia DVDs. I've loved both ever since, despite hearing many people say they prefer one over the other. And due to their length, they are a fantastic double bill of scrungy, gruesome, and philosophical Japanese body horror - from a master filmmaker who has remained a true independent ever since.
I have not seen many of Uchida's films, but I am a big fan of Greatful Dead and Lowlife Love. If you like those films, definitely give Love and Other Cults a watch. It has so many elements that shouldn't work, and yet they do, in terms of putting an engaging story on screen. You could argue that there might be too much going on in this movie, within a runtime of 90 minutes. And some of the tonal shifts really jar. But I was definitely engaged throughout, and never bored. So, as mentioned, not my favourite Uchida film, but still recommended if you know his other work.
... says this is their favourite Tsukamoto film. Mine is Kotoko, because I think it is so brave, beguiling and fascinating. I can easily see why this is such a popular Tsukamoto film, and I agree it is one of his best. At first the visuals and the premise may make you think this is comparable to Tetsuo, but this is a very different film. It is erotic, but not sexually explicit. There is bizarre imagery and special effects, but everything works thematically together - including the performances, the props, the music, and of course the cinematography. If you don't like the colour blue, then that might be the only reason you could possibly not like this film. Fans of Tsukamoto's other work may most likely appreciate and "vibe" with this film. But if you like the sound of a sexually staid marriage being explored and disrupted - at first by a voyeur, and then many other twists - definitely give this film a go, and then a re-watch, as it definitely deserves multiple viewings.
The title and the cast, if you know anything about Japanese comedy films, should appeal to dedicated cinephiles. Japanese comedies are not often laugh out loud, or slapstick, like many British and American examples (though there are some similar examples within Japanese cinema). Many are gentle comedies with dramatic moments in them. This one also has a fascinating performance from Miyuki Oshima, a female comedian who convincingly plays a male character. If you like this film, with its multiple bizarre and humorous supporting characters, do check out Yosuke Fujita's other comedy films, several of which have also been released by Third Window.
This film has stayed with me over the years after Third Window first released it. I really liked it after my first watch. The images have never left my brain since, so now I think it is one of Tsukamoto's best. His vision of Meiji era Japan via inspiration from Edogawa Rampo is both darkly delicious and visually rich and detailed. The performances are great, alongside the production design and music. I cannot recommend it more highly.
This film has stayed with me over the years after Third Window first released it. I really liked it after my first watch. The images have never left my brain since, so now I think it is one of Tsukamoto's best. His vision of Meiji era Japan via inspiration from Edogawa Rampo is both darkly delicious and visually rich and detailed. The performances are great, alongside the production design and music. I cannot recommend it more highly.
If you think you have seen it all, in terms animated films, then you need to watch this. If you can face the thought of blood, gore, bodily fluids, mutations, and violence against children. Yes, this film is all made from paper cut outs and drawings. But you will most likely be grossed out beyond belief of all the visuals on screen. No wonder Ujicha's work is now notorious around the world.
A watchable supernatural cop comedy with inventive visuals. Not super hilarious. But a nice lead role from Lam Ching Ying. A reasonably accomplished first first film of only a handful directed by Wei Tung, more known for his stunts. This isn’t really a stunt or kung fu film, and feels a bit small-scale. It does have possessed zombie drug smuggler assassins. Stuntwoman Michiko Nishiwaki plays a good villain. Has a fun effects-filled finale
In my opinion this sits comfortably with the best boxing films, such as Raging Bull and Journeyman. The difference here is that Tsukamoto turns the training and competing of boxing into a body horror - and he does this so successfully that Tokyo Fist can easily be double billed with Tetsuo The Iron Man, or the psychological explorations offered by Gemini or Vital. A great film, and not just within the genre of boxing films.
This has never been one of my favourite Tsukamoto films. Tetsuo, A Snake of June, and Kotoko are definitely among my favourites, with many others close behind. But Bullet Ballet I have never admired as much. However, it is highly recommended, as Tsukamoto here uses the visuals and themes of gun violence to explore culture and society in Japan (and the modern day in general). Others may find more to appreciate here than I have done. And it has been a while since I've seen it, so it is time for a rewatch and reappraisal.
I love this film. I have so much respect for director Eiji Uchida and producer Adam Torel, for their uncompromising vision that they put on-screen. Directors who can only work in porn to try and make an income; regularly working directors are eaten up by corporate entities; and any emerging female talent is quickly exploited, both financially and sexually. It is a grim story, but it is also told with humour and heart. One of the most unique and incomparable cinematic stories I have seen. Watch it as soon as you can.
Have ordered a couple of times, always great products as described with excellent communication throughout. Will continue ordering. Thank you!!
This has never been one of my favourite Tsukamoto films. Tetsuo, A Snake of June, and Kotoko are definitely among my favourites, with many others close behind. But Bullet Ballet I have never admired as much. However, it is highly recommended, as Tsukamoto here uses the visuals and themes of gun violence to explore culture and society in Japan (and the modern day in general). Others may find more to appreciate here than I have done. And it has been a while since I've seen it, so it is time for a rewatch and reappraisal.
In my opinion this sits comfortably with the best boxing films, such as Raging Bull and Journeyman. The difference here is that Tsukamoto turns the training and competing of boxing into a body horror - and he does this so successfully that Tokyo Fist can easily be double billed with Tetsuo The Iron Man, or the psychological explorations offered by Gemini or Vital. A great film, and not just within the genre of boxing films.
Do not go in unprepared. This is not an easy watch - for anyone who has dealt with mental health problems; relatives or friends that have suffered with such issues; or if you are a parent. This is an emotional rollercoaster of a film, that is also Tsukamoto's most difficult and successful film in exploring a character's psyche. Not everything is spelled out, and many significant parts are open to interpretation - whether they are bloody or emotionally intense. This is likely Cocco's most personal film that she will ever do, as it is partly based on her own struggles. Again, not an easy watch, and not for everyone - but it is an incredible achievement.
The cast here is great. Yuya Yagira and the others have gone on to so many great works in film and TV. And Tetsuya Mariko's work is not widely known or available outside of Japan, which also makes this title highly recommended. It's not the happiest of stories, but when you realise the difficulties that younger generations have to face in Japan - especially when growing up in rural towns and villages - you can see why the director has tried to tackle this issue in such a violent and confrontational way. Here's hoping that no younger generations actually feel this despondent in current day Japan, and that opportunities and circumstances change in future.
Romantic comedies are well known around the world, but usually by staying visible to local audiences. They don't often travel, but this one has. Get past the cheesy premise - which I think is kind a fun (a video tape advising women on how to date men) - and this comedy provides a lot of sweet characters and gentle humour.
Not many comedy films are released from East Asian countries. Third Window have always tried to do just that, and contrast other DVD labels. This is one of their best comedy titles, by one of Japan's best known comedy directors, Miki Satoshi. It's not all slapstick humour and rapid fire jokes. A lot of the film includes gentle reflection from the main character, as they make several lifestyle changes. And it's definitely recommended, for these same reasons.
Takashi Miike has not made that many horror films. Just check out his IMDb if you don't believe me. Is Lesson of Evil a horror film? Well, it's definitely violent and bloody. But it's not one of his notorious yakuza films either. Instead it is a partial exploration of the psyche of a school teacher who hides a murderous side, and lets this side loose in the final section of the film. The film may not tackle all of the story from the book it is adapted from, but it delivers on violent spectacle. And it's got a great soundtrack.
