HONEST FILM REVIEWS
WORLD CINEMA
V-CINEMA: BULLETS & BETRAYAL (JAPAN 1989-94)
Kicking off in 1989, famed Japanese film studio Toei launched their V-Cinema series of direct-to-video features – a mix of genre titles that focuses on action, crime, revenge, and betrayal. Many of these titles have never been seen outside of Japan – until now! Thankfully, Arrow Video have put together nine of their most exciting titles, restored in full HD on Blu-ray and released as the V Cinema Essentials: Bullets & Betrayal Collection; a stunning new box set featuring a host of extras including new introductions to each movie by Japanese film critic Masaki Tanioka, gorgeous new artwork by Chris Malbon, collectors art-cards and a wonderfully illustrated booklet, and much more...
Crime Hunter: Bullets Of Rage (Original Title: Kuraimuhanta Ikaro No Judan クライムハンタ－ 怒りの銃弾) sees Detective Joe Kawamura out for revenge against the men who gunned down his partner. Along the way he teams up with Lily, a gun-toting nun looking to get back five million dollars that was stolen from her church by an interfering criminal who decides to team-up for his own reasons. What a movie! While not perfect in any sense, and clocking in at just under one hour in it's running time, Crime Hunter: Bullets Of Rage took me right back to the classics of 80s Hong Kong heroic bloodshed fitting in perfectly alongside titles such as A Better Tomorrow (1986), The Big Heat (1988), Long Arm Of The Law (1984), and US made films such as Rambo (1988) and The Protector (1985) with Jackie Chan – all down to how it delivers the same energy, stunning visuals, gorgeous lighting, and crazy action. Featuring a young Riki Takeuchi as the unfortunate partner who gets killed, wonderful Masanori Sera as the vengeful cop Joe, Seiji Matano as the gun-toting criminal Bruce, and an appearance by the prolific Yoshio Harada, fans of classic Hong Kong action-cinema will easily fall in love with this wild film from director Toshimichi Okawa!
Neo Chinpira: Zoom Goes The Bullet (Original Title: Neo Chinpira: Teppodama Pyu ネオ チンピラ 鉄砲玉ぴゅ～) Also known as Neo Thugs: Bullet Firing Sound Effect, this 1990 production from prolific director Banmei Takahashi sees wannabe yakuza-member Junko get more than he bargained for when he is tasked with avenging the murder of a fellow gang member. But when his seniors disappear and leave him to it alone, Junko must figure a way out of it – and all while dealing with his narcoleptic girlfriend. Brilliantly done and highly entertaining, Neo Chinpira: Zoom Goes The Bullet comes across with a bit of a slow-burn at first, but really shakes you awake for it's second half. Sho Aikawa was just incredible as the leading man Junko, delivering a funny, emotional and dramatic performance that was close to a perfect debut role which helped kick-off a very prolific career. He is backed by a great cast throughout, while cinematographer Kazuhiro Miyoshi captures it all wonderfully. Although not really needed, a sequel would follow in 1991.
Stranger (Original Title: Yoru No Sutorenja Kyfou 夜のストレンジャー 恐怖 is an unbearable tense thriller that sees a late night taxi driver stalked by an unseen driver of an SUV. But is it a complete stranger or someone connected to their past? What a fantastic movie! Although slow burning in it's first half, Stranger keeps you guessing with it's tense storyline and fantastic performance by it's leading lady Yuko Natori – who also appeared in Yuen Biao's Saga Of The Phoenix (1989). Director Shunichi Nagasaki delivers a thrilling piece with some intense confrontations, a frantic car chase, and it's crazy final act. Nicely shot and simple in it's execution, Stranger is a great addition to the V-Cinema collection and one I look forward to going back to again. It's also worth noting that Shunichi is the same man behind films such as The Enchantment (1989), Shikoku (1999), Dogs (1999), and the fantastic 2007 martial-arts drama, Black Belt. Without a doubt, Stranger is one of 1991's most gripping V-cinema titles and makes for a great watch...
Carlos (Original Title: Karurosu カルロス) sees a Brazilian/Japanese petty criminal play two rival yakuza gangs against each other, but soon finds things getting out of hand and realises he has bitten off more than he can chew. If you had told me that John Woo directed Carlos, I might just have believed you! But it was directed by Kazuhiro Kiuchi; the very same man behind Be-Bop High School (1994). For his directional debut in 1991, Kiuchi impresses with his well-paced story telling, yakuza drama, dark humour, and ballistic gun-play. Playing the titular anti-hero is the fantastic and hugely prolific Naoto Takenaka, star of films such as Happiness Of The Katakuris (2001), Shall We Dance (1996), Azumi (2003), The Waterboys (2001), Jackie Chan's Shinjuku Incident (2009) and so much more. Joining him is the equally impressive Yuzo Hayakawa, who appeared in films such as Black Test Car (1962), The Wrath Of Daimajin (1966), Play It Cool (1970) and the popular Woman Gambler Series from the 1960s. Kojiro Kusanagai, Masumi Harukawa, Yumi Terao, also appear with Chuck Wilson impressing as the Western hitman. There's a lot to enjoy with this one!
Burning Dog (Original Title: Shugeki Baningu Dokku 襲撃) is a gripping heist film from 1991, where a gang of thieves plan to rob a US military base in Okinawa, but rising tensions between them soon plan the plan in jeopardy. One of the more lengthier films of the collection, Burning Dog is an interesting piece that comes across like a blend of 80s American action-thriller with a decent splash of 80s Hong Kong gangster fun. Perhaps it's the setting on the US-influenced island of Okinawa that helps create this particular approach, with the craze (at the time) of Chow Yun Fat's heroic bloodshed titles that proved to be a big hit in Japan – with Burning Dog giving off vibes of Ringo Lam's City On Fire in many of it's cool action scenes. Small time action hero Seiji Matano, who also starred as Bruce in the fantastic opening movie Crime Hunter: Bullets Of Rage (1989) as well as it's sequel from the same year and a third part in 1990, takes the lead once again and does a pretty decent job in the role.
Female Prisoner Scorpion: Death Threat (Original Title: Joshuu Sasori: Satsujin Yokoku 女囚さそり 殺人予告) is another exciting sequel to one of the most iconic franchises of Japanese cinema that sees a female assassin sent into a female prison in search of The Scorpion, a legendary and rebellious prisoner that hides in the bowels of the building. But all is not what it seems! If this was directed by Ringo Lam, it would be called Scorpion On Fire – it fits the pure grittiness of his other entries to the series and would be a great companion piece to Chow Yun Fat's Prison On Fire. Nihilistic and dark, this belated sequel to the famed series is pretty damn enjoyable (if you like you're women in prison movies). There's plenty of action, flesh, and over-the-top dramatics to entice fans back, and while it carries it's own twist in the plot with a fantastic finale, fits well into the Female Prisoner collection of movies. Directed by Toshiharu Ikeda who also gave us the great Evil Dead Trap (1988), Female Prisoner Scorpion: Death Threat is a nice addition to the V-cinema range and worth checking out if you're a fan of the original series...
Also made in 1991, The Hitman: Blood Smells Like Roses (Original Title: Za Hittoman Chihabaranonioi ザ・ヒットマン 血はバラの匂い ) is a yakuza crime flick directed by Teruo Ishii, that sees a broken man out for revenge when his fiancee is killed in the crossfire of a turf war. I quite enjoyed this. It came across like a mix between Death Wish and A Better Tomorrow, offering up some fantastic shoot-outs and a pretty damn exciting final showdown. In between, viewers are entertained with plenty of Yakuza politics, sex, and drama – but in a good way. The film is neatly shot, highlighted even more so with this new restoration, and (of course) directed by the legendary Teruo Ishii; the very same man behind a host of Japanese classics including Horrors Of Malformed Men (1969), Orgies Of Edo (1969), Abashiri Prison (1965), Blind Woman's Curse (1970), and Sonny Chiba's brilliant The Executioner (1974) among many more. But for me, the highlight was in it's leading man – the great Hideki Saijo who most Hong Kong film fans will know as Kenji/Saijo, the leader of the Angels in Iron Angels from 1987. Either that or the fact that he was very popular for singing the Japanese version of Y.M.C.A. (Young Man) back in the 80s. Regardless, he brings some of that Hong Kong action experience to the production and does a great job as the hero of the piece.
In Danger Point: The Road To Hell (Original Title: Jigokuhenomichi 地獄への道 ) the partnership of a duo of contract killers is tested when their most recent hit kicks off a run of unforeseen circumstances after he leaves them with a few last words. Directed by the wonderful Yasuharu Hasebe, the man behind classics such as the Stray Cat Rock Series (1970), Black Tight Killers (1966), Massacre Gun (1967) and the Organized Violence Series (1999), Danger Point: The Road To Hell (once again) oozes the flavours of any amount of John Woo-styled Hong Kong gangster flicks. And while it's easy to write it off as so, the film still has enough of it's own identity to make for a fun ride. While it may lack the amount of action I was really hoping for – although what is there is fantastic – the film is a pretty solid gangster-thriller with a top cast including the prolific Show Aikawa, star of the Dead Or Alive Trilogy (1999), Gozu (2003), Pulse (2001), Tokyo Zombie (2005) and the Suit Yourself Or Shoot Yourself Series (1996) among many more. He is joined by the equally busy and brilliant Jo Shishido of Branded To Kill (1967), A Tale Of Sorrow & Sadness (1977), Massacre Gun (1967), None But The Brave (1973) with Cheng Pei Pei and a young Jackie Chan, and The Setting Sun (1992) with Yuen Biao, and Miyuki Ono of Black Rain (1989) and Evil Dead Trap (1988) fame. Wonderfully made, well acted and pretty exciting all round!
Finally, from 1994, we have XX: Beautiful Hunter (Original Title: XX: Utsukushiki Karyuudo XX ダブルエックス 美しき狩人). As sexy as she is deadly, female assassin Shion rebel against the fanatical religious order that groomed and trained her from birth to be the perfect killer, when her latest target turns out to be the man she loves. On the run, Shion must contend with her fellow assassins that are now out to kill her. It's a story we've seen a thousand times today, but there's still something very fresh and fun about this adult-thriller. With shades of Crying Freeman about, XX: Beautiful Hunter plays like a live-action anime and – much like I've said for the majority of this collection – it just screams late 80s/early 90s Hong Kong cinema. It's cinematography and score reminded me of Yuen Woo Ping's Tiger Cage (1988) at times, and I'd be lying if I didn't say leading lady Makiko Kuno played like the Japanese Cynthia Khan. The film was directed by (recently deceased) Masaru Konuma; a pink cinema and erotica film-maker who delivered over 50 features from 1971 to 2002, who pulls together a great cast such as Makiko Kuno who is just brilliant as Shion. Still going strong today, Kuno has also starred in titles such as The Guard From Underground (1992), How Old Is The River? (1994), The Mars Canon (2002) and TV shows such as Ultraman Gaia (1998), Black Scandal (2018) and more. Adult actress Maiko Kazama, Katsuo Tokashiki, and Johnny Okura co-star, with the latter appearing in films such as A Legend Of Turmoil (1992), Boiling Point (1990), Mafia Family Yanagawa 2 (2002), and Merry Christmas Mr. Lawrence (1983) with David Bowie, while the prolific Koji Shimizu – of Kagemusha (1980), Mandala (1971), Godzilla Tokyo SOS (2003), and the accompanying Neo Chinpira: Zoom Goes The Bullet (1990) fame – helps flesh things out. Beautifully shot, intense, sexy, and highly entertaining, XX: Beautiful Hunter is a great closing piece to the collection and definitely worth watching.
Aside from the brilliant introductions by critic Masaki Tanioka, other extra features include Crime Hunter and the Dawn of V-Cinema; a 13 mins video essay by Tom Mes looking at the early video boom of Japan (which was actually quite fascinating) and Toei's approach to releasing anime and DTV films to the video market. Johnathan Clements presents a great video essay on Carlos, while Samm Deighan delivers one on the Female Prisoner Scorpion – and mainly the one here obviously. Mark Schilling does the same for Burning Dog and Frankie Balboa delivers a great piece on Teruo Ishii and The Hitman. Japanese film expert James Balmont talks about Danger Point, and critic Patrick Macias looks back at XX; Beautiful Hunter and how they brought back the sleaze. Of course, there are a host of lengthy interviews with directors and writers along with original trailers for most films. While all beautifully restored in HD, each film is delivered in their original 4:3 format as they were made direct-to-video, but that's certainly not a negative...
A melting pot of sorts, the V-cinema era was an interesting period but also a great one that delivered more fantastic titles than poor ones. Littered with many great directors and a host of prolific and upcoming stars, there seems to be something or someone in just about every title to please unsuspecting viewers. And what is delivered her in this V-Cinema: Bullets & Betrayal Collection is some of those finest ones. I adore this set! From it's stunning artwork to it's great interviews and many extras, through to each of the films included, I can't recommend this enough for fans of Asian action cinema. Gangsters, martial arts, gun-play, femme fatales, explosions, car chases, and plenty of humour, the V-Cinema: Bullets & Betrayal Collection is one of Arrow's best for 2025 – and I only hope they follow up with a second set in the near future! (5/5) George @invincibleasia
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DR. MABUSE LIVES! DR. MABUSE AT CCC (GERMANY 1960-64)
Released as part of the Masters Of Cinema series by Eureka Video, the beautifully designed and wonderfully produced Mabuse Lives! Collection features six of the later films from the CCC studio, featuring stories on the criminal genius known as Dr. Mabuse – a name that strikes fear into many and a master of disguise and telepathic hypnosis, with the ability to transfer his subconscious through demonic possession. This, in turn, means that his appearance can quite often change – with others committing his crimes while Dr. Mabuse is locked up or even dead. An interesting and highly original plot-point, considering that the stories of Mabuse first began over 100 years ago in 1921 by German novelist Norbert Jacques. But it would only be a year later that accomplished film director Fritz Lang brought the best-seller to the big screen; albeit via revised version written by himself and second wife Thea Von Harbou. Running around four hours in length, Lang's Dr. Mabuse The Gambler was released in two parts and proved to be as big a success as it's original material. Having been kept busy with the five-hour long Die Nibelungen (1924), highly praised Metropolis (1927), science fiction film Woman In The Moon (1929), and killer-thriller M (1931), it would be just over 10 years later before Lang delivered the first sequel, The Testament Of Dr. Mabuse (1933), with original actor Rudolf Klien-Rogge returning as the titular character and the film itself gaining a ban by the Nazi regime...
After making his move to Hollywood to escape Hitler and his war, Lang made a host of classics including Man Hunt (1941), Cloak & Dagger (1946), Scarlet Street (1945), and The Big Heat (1953). But in 1960, as ill-health caught up with him and blindness set in, the celebrated film-maker would make a return to his criminal mastermind with The Thousand Eyes Of Dr. Mabuse – his final project as director and the first of a new series of films produced by Artur Brauner; not to mention the first title of this fantastic box set from Eureka...
Set in and around a German hotel from the Nazi-era that was adapted to spy on all guests, the mysterious Dr. Mabuse returns after years of absence to cause more fear and death, using hypnotised victims and the hotel's old surveillance equipment to steal the nuclear technology from a visiting American guest. Why have I never seen these films before? The Thousand Eyes Of Dr. Mabuse was a wonderful introduction to the series, tremendously directed and wonderfully acted – in that special 1960s kinda way – I thoroughly enjoyed it. The cast was just fantastic, one of which was the prolific and enjoyable Gert Frobe; the infamous Goldfinger himself from the 007 adventure of the same name that came just four years after this. But unlike his James Bond counterpart, Frobe's portrayal of Inspector Kras is both humorous and enjoyable. Likewise, the great Wolfgang Preiss is equally as brilliant as the master of disguise, Dr. Mabuse, and his many alter-egos. I must also give credit to Eureka for making my first time watch even better with their stunning 2K restorations of the film and its sequels contained. I don't think I've seen a more prominent title of black & white cinema look as great as this in some time!
In The Return Of Dr. Mabuse, this time directed by Harald Reinl, the genius supervillain gets back to work by using brain washed prison inmates to do his evil deeds and killings. But Commisioner Lohmann is on the case, with Gert Frobe returning (formely known as Inspector Kras), aided by American FBI agent Joe Como and a gutsy female reporter. Also known as The FBI vs Dr. Mabuse, In The Steel Net Of Dr. Mabuse, and The Phantom Fiend (among others), The Return Of Dr. Mabuse delivers another exciting and beautifully made crime-mystery with some great moments of surprise. These include the burning of a woman with a flame thrower which was quite realistic and a well-executed scene, while an exciting car chase, explosion in a church, a man's suicide out a window, and the water room escape keeps viewers glued to the screen. The Invisible Dr. Mabuse follows and is an interesting one that takes the comic-book element of the famed criminal to another level. In an attempt to steal the secret of invisibility from a professor, Mabuse's plans are thwarted when the police and FBI become involved after someone is killed at a popular theatre and the body-count keeps rising. While not quite as gripping as the previous two, The Invisible Dr. Mabuse gets better as it moves along, and still proves to be a fun watch with FBI agent Joe Como returning as the hero.
A loose remake of Fritz Lang's 1933 original, The Testament Of Dr. Mabuse follows, this time directed by Werner Klingler. Also known as The Terror Of Dr. Mabuse and The Terror Of The Mad Doctor, the film carries many changes to the previous version that sees Gert Frobe return as the brilliant Commissioner Lohmann to solve a string of crimes and robberies that bear the markings of master criminal Mabuse. But the crazed doctor is locked up in a local asylum, so how can he be involved? The Testament Of Dr. Mabuse is a great addition to the series and a decent remake overall with the great Wolfgang Preiss appearing once again as the titular evil genius. Wonderfully shot and acted, exciting and humorous at times, the film looks even more stunning than ever in this new 2K restoration. In Scotland Yard Hunts Dr. Mabuse, also known as Dr.Mabuse vs Scotland Yard and Scotland Yard In Pursuit of Dr.Mabuse, the spirit of the recently deceased Dr. Mabuse takes over the body of a famous German professor. Accepting himself as the new master criminal, Professor Mabuse begins another reign of terror with plans to overthrow the British government. While not as slick as those that came before it, Scotland Yard Hunts Dr. Mabuse still proves to be an exciting romp from director Paul May – the very same man behind 1959's Duel With Death and many episodes of the popular German TV series of Sherlock Holmes. Wolfgang Preiss shows up as the ghost of Dr. Mabuse while regular actor Werner Peters returns as yet another different character – this time, the Inspector on the case. Peter Van Eyck returns for the first time since The Thousand Eyes Of Dr. Mabuse (again, as a different character) with a young Klaus Kinski appearing as another detective. Prolific German actress Agnes Windeck is a joy to watch as Van Eyck's cigar smoking, wannabe-detective mother.
The final movie of the collection is 1964's The Death Ray Of Dr. Mabuse, directed by the great Hugo Fregonese; the very same man behind films such as Man In The Attic (1953), Marco Polo (1961), and Black Tuesday (1954). Once again, Mabuse possesses another body to commit his crimes, threatening the world with a new death ray that he has developed! It's perhaps the most outlandish plot-line of this collection yet, but at a time when James Bond villains were just as inventive, works pretty well for it's decade of release. While it lacks the mysterious Mabuse feel that the others did so well, The Death Ray Of Dr. Mabuse still proves to be an enjoyable spy thriller respectively. Peter Van Eyck takes the lead one more time, again as a different character than before, while Wolfgang Preiss only appears through archival footage taken from other films. Interestingly, an extended Italian version of the film accompanies the original on the disc – coming in at around 17 minutes longer with an alternate edit that changes up the order of the footage somewhat. The film was also released in the United States as The Secret Of Dr. Mabuse...
Overall, I really can't express just how pleased I am with this new release from Eureka Video. Wonderfully put together with gorgeous artwork from Tony Stella, along with a host of informative audio commentaries and exciting extra features (some new and archival) including alternate endings for The Thousand Eyes Of Dr. Mabuse and (aforementioned) The Death Ray Of Dr. Mabuse, as well as six fantastic films with stunning 2K restorations which highlights their beautiful cinematography and gorgeously composed scores even more. I can't recommend this collection enough – a must for any true cinephile and fans of 60s cinema, the Mabuse Lives! Collection: Dr. Mabuse at CCC 1960 – 1964 is well worth picking up and a great introduction to classic German cinema from some of the finest directors of that era! (5/5) George @invincibleasia
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LOUIS FEUILLADE: COMPLETE CRIME SERIALS (FRANCE 1913 - 1918)
Released as part of the Masters of Cinema series from Eureka Video, this stunningly presented box set of Louis Feuillade crime serials is a must for any true cinephile! With over 30 hours of viewing pleasure – and that's not including the special features – fans can enjoy the gorgeously 4K restored works of this celebrated French film-maker, released on the centenary of his passing. The collection includes titles such as Fantomas, Les Vampires, Judex and Tih-Minh, four of his most renowned crime epics made between 1913 and 1918, that have left an impact on pop culture the world over. Of course, we can't forget just how important these titles (and Feuillade himself) were to future film-makers such as Fritz Lang, Alfred Hitchcock, and others – inspiring tales of masked vigilantes such as Dr.Mabuse and Diabolik, but also those created for film, television, radio, and publications over the decades that followed!
Born in 1873, Feuillade had shown signs as a creator from an early age. After the deaths of both parents, he headed to Paris in the hope of becoming a successful writer, and after a few years of struggle with few bits of journalistic work keeping him afloat. By 1905, Louis got lucky when he sold two scripts to Gaumont studio, although turned down their offer of directing them due to concerns of his finances. But almost two years later, Louis felt confident enough to step up to the mark. Hired as Gaumont's artistic director, it was clear that this young talent had something. Of course, this is quite clearly confirmed by Feuillade having directed over 630 films between 1906 and 1924, although he did claim (before passing in 1925) that he had made closer to 800. Regardless of which number is correct, it's still an incredible achievement which very few have managed to match – or even come close to...
Fantomas is the first series in the set, Feuillade's first big masterpiece and a crime serial that is beautifully done. An epic that runs for 337 minutes if watched all at once, Fantomas was adapted from a series of popular novels by authors Marcel Allain and Pierre Souvestre. Starring Rene Navarre as the criminal mastermind known as Fantomas, the story tells of his escape from prison and the crimes that he commits while the police are hot on his tail. For its time, the Fantomas serial was considered a work of genius, and is still held in very high regard today by many. Wonderfully shot, brilliantly directed, and gripping even over 100 years later, Fantomas is an experience and a highly enjoyable introduction to Feuillade's work. Les Vampires follows; another silent crime serial which focuses on a journalist and his partner who attempt to uncover and stop a criminal gang known as The Vampires. Coming in close to 400 minutes in length when watched straight through (and often considered to be one of the longest films ever made), Les Vampires is very similar in style to Fantomas, and is often considered part of an unconnected trilogy by Feuillade with Judex completing that. While I didn't find it quite as gripping as Fantomas, I still found myself engrossed and excited to see the next episode -each of which get better and better. Possibly inspired by the true-life antics of the Bonnot Gang, who went on a wild crime spree in Paris just a couple of years before, Les Vampires was shot during the First World War which came with it's own set of problems. I must also note how this films antagonist, Irma Vep, was brought to life in 1996 by French film-maker Olivier Assayas in the film of the same name starring Hong Kong superstar, Maggie Cheung, with the director returning to the subject matter in 2022 to remake it as an American mini-series.
Judex has always been seen as the final piece of Louis Feuillade's crime serials, most notably because it is made with the same style and gutso as the previous two. Predating famous American pulp-heroes The Shadow and Batman by a number of years, Judex tells the adventures of the titular hero and his attempts to stop crime, take revenge against a corrupt banker, and deal with forbidden love. Called a cinematic-novel by it's creator, Judex was made in answer to the criticisms by police and officials, that claimed Fantomas and Les Vampires glorified outlaws and criminals. So, in turn, Feuillade gave them a hero of sorts – albeit one that used the same sinister trappings of the popular and flamboyant villains from that era. Starring French matinee idol Rene Creste as Judex and popular actress Musidora, who had just starred in Les Vampires as Irma Vep, the film carries the shortest running time of the 'supposed trilogy' at 300 minutes. Of course, as with those before it, this was released in chapters (as done so here in this collection) so that it's complex plot could be understood a little easier. Interestingly, the story of the film would be published weekly in a local newspaper to coincide with the cinematic release of each chapter. Possibly the first comic-book hero movie ever made, Judex makes for a great watch with it's exciting performances, nice cinematography, and tidy direction.
And finally, we have Tih Minh – a fun 418 minutes on the adventures of Jacques d'Athys, a French man who has returned from his travels to Indochina, accompanied by a young Asian woman known as Tih Minh. Unbeknownst to him, Athys has returned with a book that contains a coded message revealing some government intelligence and the location of hidden treasure. This, in turn, makes him and Tih Minh the target of spies and villains who will do what they can to get their hands on the book! Returning as the hero of the show once again is Rene Creste, while Mary Harald stars as the titular character of the piece. I quiet enjoyed Tih Minh. It was a nice change of pace to the other titles in the collection, running at a steady pace with some exciting action moments, a great cast, and fascinating locations. It is most definitely another masterpiece by Feuillade, and a film that shows the progression and growth of this long celebrated film-maker. While tongue-in-cheek at times, it's well-woven plot is far from strenuous by today's standards, yet it still offers up just as much excitement as any Hollywood blockbuster can do today...
Overall, this is absolutely one of my favourite Blu-ray releases from Eureka Video. Each film/series is gloriously restored in 4K that makes it hard to believe that each of them were made well over 100 years ago. While there are plenty of informative audio commentaries on selected episodes throughout the collection by Tim Lucas or David Kalat, other special features include interviews with film critics Kim Newman, Neil Brand, Tony Rayns and Pamela Hutchinson, and a great video essay on Les Vampires by Elizabeth Ezra. Inside its beautifully designed box, you'll also find a fantastic fold-out poster and an incredible limited-edition 100 page book on Louis Feuillade and his films. Louis Feuillade: The Complete Crime Serials (1913 – 1918) is a highly recommended piece of physical media that won't disappoint and keep you entertained for a couple of days at least! (5/5) George @invincibleasia
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THE EEL (JAPAN 1997) Directed by Shohei Imamura
After catching his adulterous wife cheating with another man, white-collar worker Takuro Yamashita attacks them both with a knife. Stabbing the man once in the back, Takuro goes onto repeatedly knife his wife to death as her lover escapes from the house, raising the alarm as he runs. Accepting his fate, the husband immediately hands himself in at the local police station, where he is then sent to prison. Many years, Takuro is released on parole and goes onto open a small barbershop in a rural area where he starts to meet new people, although only really converses with a pet eel that he befriended whilst in prison. Soon after, he finds the unconscious body of Keiko – a young woman who had attempted suicide. Reminding him of his wife, Takuro gets her some help and, after she has recovered, Keiko starts to work at his shop in return for his kindness. As time passes, she falls in love with Takuro but because of his shame and self-resentment, he finds it difficult to return her love...
Recently restored and released on Blu-ray by Radiance Films, this was a first time watch of The Eel for me, and although it was slow at times – I was pretty intrigued for the most part. Directed by the late Shohei Imamura – mentor to the infamous Takashi Miike and the same man behind Japanese classics such as Endless Desire (1958), Pigs & Battleships (1961), Intentions Of Murder (1964), and The Pornographers (1966) among others – The Eel was filmed in the Chiba prefecture of Japan before going onto do a modest run at the box-office. While slow-burning, the film still proves to be a haunting experience laced with dark humour and effective perception of humanity, not to mention the terrific performance of it's leading man, Koji Yakusho, who stars as the unfortunate and troubled Takuro. Born as Koji Yakusho, the prolific star took on the name of Yakusho after he began acting. Throughout his career, which began in television, Koji went onto impress in films such as Tampopo (1985), Kiyoshi Kurosawa's fantastic Cure (1997), Lost Paradise (1997), Shall We Dance (1996) – which was such a big hit that it inspired a ballroom dance craze across the country – later going on to be remade in Hollywood. Later he would star in 13 Assassins (2010), The Third Murder (2017), The Blood Of Wolves (2018), and again for Kiyoshi Kurosawa in Pulse in 2001.
He is joined by the lovely Misa Shimizu who stars as Keiko. Having began her acting career just a decade before, Misa has went onto become prolific on both the small and big screen starring in titles such as Sumo Do, Sumo Don't (1992), Okoge (1992), Dr. Akagi (1998), Crosspoint (2024), and Shall We Dance with Koji Hashimoto the year before this. Here, as Keiko, and much like her co-star, Misa does another fantastic job. Actors Mitsuko Baisho, Akira Emoto, Fujio Tokita, Makoto Sato and Sho Aikawa also help flesh things out in their own entertaining ways among many others. While simply shot, the film is beautifully captured by Shigeru Komatsubara, a small time cinematographer who made his debut with Imamura's award winning film The Ballad Of Narayama in 1983 before going on to capture films such as Zero Woman: Assassin Lovers (1996), Dr. Akagi (1998), Moonlight Whispers (1999) and Samurai Cat (2014) to name but a few. These visuals are highlighted even more so on the gorgeous new UK Blu-ray release from Radiance Films, accompanied by a great interview with critic Tony Rayns and another with screenwriter Daisuke Tengan. Tom Mes delivers a neat visual essay on 1997 as the year Japanese cinema saw a turning point, and the obligatory trailer is also available. The release is limited to 3000 copies, each of which also come with a neatly designed and informative book featuring a newly translated archival interview with the director himself. All in all, The Eel a classic of Japanese cinema and a Blu-ray worth getting your hands on! (4/5) George @invincibleasia
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A TALE OF SORROW & SADNESS (JAPAN 1977) Dir. by Seijun Suzuki
Directed by the prolific Seijun Suzuki, in what would be his first film after a decade of silence, A Tale Of Sorrow & Sadness marked a welcome return for the critically acclaimed director and still proves, even today, to be an interesting and beautifully directed title from his lengthy filmography. The film plays like a satire of consumerism, the obsession with idols, and even the film industry itself as it tells the tale of a female model, Reiko, who is recruited by the editor of a fashion magazine, and groomed to become a professional golfer for their agency. Proving to be quite successful during her first tournament, Reiko is soon in high demand winning over a new fanbase, the praise of her mentor, and more. But after a hit-and-run incident, she soon starts to question her new found fame as one of her obsessed followers starts to threaten her with blackmail and more...
With shades of Play Misty For Me (1971) and What Ever Happened To Baby Jane? (1962), A Tale Of Sorrow & Sadness is as humorous as it is sinister, camouflaged as a sports-drama yet gives it's audience so much more. Prior to this, Suzuki had been blacklisted by every major Japanese film studio after suing the Nikkatsu Company for wrongful dismissal among other things – apparently their president Kyusaku Hori wasn't a fan of his absurd, surreal and unconventional (yet gripping) style of film-making; claiming often that Suzuki went too far in his execution. A young soldier on the front line in 1943, Seijun Suzuki was no doubt affected by the horrors of war yet at the same time, adapted a wicked sense of humour that helped him get through what he was experiencing. This, in turn, carried over to his directorial efforts and while not for everyone, was a fundamental element in his style of film-making as seen in films such as The Naked Woman & The Gun (1957), Underworld Beauty (1958), Fighting Delinquents (1960), Youth Of The Beast (1963), Gate Of Flesh (1964), Tokyo Drifter (1966) and Branded To Kill (1967) which has been considered his masterpiece by many. And while A Tale Of Sorrow & Sadness may not been seen by many as one of his finest, it still proves to be highly enjoyable – in that Suijun Suzuki kinda way.
Little known actress Yoko Shiraki does a fantastic job as Reiko Kashiwagi, accompanied for the most part by the late and hugely prolific Yoshio Harada – star of films such as Lady Snowblood 2 (1974), 9 Souls (2003), Azumi (2003), Izo (2004), The Hunted (1995), Shogun's Samurai (1978), Ronin-Gai (1990), Manhunt (1976), The Trail Of Blood (1972) and so much more including other Suzuki titles. They are joined by fellow actors such as Kyoko Enami, Masumi Okada, Koji Wada, Shuji Sano, and Noboru Nakaya to name but a few. Adapted from a popular manga, albeit with a few wild plot twists courtesy of Suzuki, A Tale Of Sorrow & Sadness is stunningly shot by Masaru Mori – a popular cinematographer of the infamous Pink Cinema sub-genre of Japanese cinema. In fact, these visuals are even more glorious than before thanks to the wonderful new Blu-ray release by Radiance Films that comes complete with a hugely informative audio commentary by Samm Deighan, as well as a fun and insightful 20 minute interview with veteran Suzuki editor Kunihiko Ukai and a trailer – quite possibly the finest release of this great movie to date and limited to only 3000 units. Almost 50 years later, A Tale Of Sorrow & Sadness still stands strong as a fantastic piece of classic Japanese cinema from a director that defied the odds, and gave the world some highly memorable works of film! (4/5) George @invincibleasia
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FREAKS vs THE REICH (ITALY 2021) Directed by Gabriele Mainetti
(G) Originally released in it's home territory in 2021 as Freaks Out, the more suitably renamed Freaks Vs The Reich is finally getting its UK release courtesy of Dazzler Media. Hands down, I have to say that this little gem is by far one of the most entertaining films I have seen in a long time, and definitely one of my favourite releases of the year. In what was, surprisingly, only his second feature film, director Gabriele Mainetti delivers a superhero movie like no other that shames the efforts of what both Marvel and DC (and definitely Sony) have given us in recent years. With high production values, gorgeous cinematography, and a wonderful score, Freaks Vs The Reich wins over its audience with its unique storyline and wonderful characters – with everyone involved, genuinely giving some great performances!
Claudio Santamaria is just brilliant as the Wolfman known as Fulvio, head 'freak' and leader to the unlikely band of heroes, aided by a magnetic dwarf played by Giancarlo Martini, the oddly handsome Pietro Castellitto who has the power to control bugs, and the beautiful Aurora Giovinazzo who plays Matilde the electric girl whose power is brought to the attention of a highly dedicated Nazi; played with gusto and emotion by German actor Franz Rogowski – a dead ringer for Joaquin Phoenix, and clearly just as talented. He has a gift of dreaming about the future, an ability that allows him to lay out his plans to help Germany win the war, learn about technology, and steal some popular hit songs that he adapts to entertain his audience. Once such example is his beautiful piano rendition of Creep by Radiohead – made even more amazing as his character has an extra finger on each hand.
With an opening 10 minutes that's worth the price of admission alone, Freaks Vs The Reich is a beautifully made and brilliantly directed piece that keeps you glued to the screen with its moments of dark humour, shocking violence, comic book entertainment, and genuine emotion. It's just a shame that it didn't get a limited run on the big screen, as it deserves to be celebrated. While some critics have claimed that it makes a mockery of the Nazi's atrocities in WWII, I have to strongly disagree. Mainetti handles things wonderfully, allowing you to feel angry and sad at their actions, making it clear just how unjust things were – and I don't want to cheapen my review by saying this film is like Mystery Men meets The Greatest Showman meets Jojo Rabbit, but that's just how it came across (and it's a damn bit better than claiming that its like the X-men, because if our 'freaks' had their powers then it would have been a very different movie altogether). But I loved this! And I want to see more. Freaks Vs The Reich has the potential to take its heroes on a few more journeys together, and I hope that the team behind this give us the chance to see that someday soon! (4.5/5) George @invincibleasia
(A) In association with Dazzler Media, Freaks vs The Reich brings home a fantasy-action epic that follows four uniquely powered misfits as they navigate themselves through an Nazi-occupied Rome in search for the biggest score in the Circus Entertainment Industry. Filled with dark humour, this Italian historical-fantasy drama blends the grey morality of everyday individuals just looking to survive and make a living even whilst during the war.
I feel that director Gabriele Mainetti does a fantastic job, inciting that in war there are no heroes or villains, just a grey spectrum of morality. And, for me I found this story narrative very refreshing from your typical American/Hollywood narrative or good vs evil, as the self-titled 'Freaks' themselves are not morally just, if anything they are the opposite having the supernatural abilities and instead of fighting, to use their powers to help and liberate chose to follow and seek refuge under the Nazi regime to make a quick buck!
However, despite its fantastical and humorous approach with its dark comedic moments. Freaks vs The Reich never spells out to make a mockery out of the war and does signal telling and solemn moments to remember the heinous acts that were carried out during the war. Ultimately, Freaks vs The Reich has shown a spotlight onto the European market that I wasn’t exactly privy to and will look forward to more films such as this that blends narrative and character development together, in such a way that only Hollywood wishes that it could do at this moment in time! (4/5) Adam @secondviewing
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GODZILLA MINUS ONE (JAPAN 2023) Directed by Takashi Yamazaki
(G) Straight up – this was one of my last great cinematic experiences of 2023!! From its opening to the very last minute, my family and I were all gripped and enthralled with what we were watching on the big screen. The Oscar winning Godzilla Minus One is, quite simply, one of the best movies of the year and should be making Hollywood executives sit up and take notice of how a monster movie should be handled correctly! Unlike its western adaptations and Hollywood adventure movies in general, there was no need for drug-humour, corny comedy sidekicks, generic rock music, or cheesy over-acting kids who save the day – in fact, this was everything most big budget American movies wish they could be. Unlike its Hollywood counterpart, who is just considered a powerful monster and weapon against other kaiju, the Japanese Godzilla has always been something more; almost godlike to some degree, albeit an incredibly destructive and malevolent one!
Retelling the story of where it all began, Godzilla Minus One is an emotional roller-coaster that carefully delivers a strong and meaningful social commentary on war and loss, set during the end of World War 2. This time period lends itself to the 'Minus One' in the title, with Japan having already been devastated by the historic bombings it was ultimately brought down to zero. So when Godzilla arrives to deliver even more destruction, it shifts Japan – both as a country and nation – into the minus. Written and directed by the talented Takashi Yamazaki, the visual effects artist turned director who was also behind the awesome Takeshi Kaneshiro sci-fi flicks The Returner and K-20: Legend Of The Black Mask, as well as titles such as the Always: Sunset On Third Street Trilogy, Space Battleship Yamato, Parasyte 1 & 2, and The Great War Of Archimedes, among others, Godzilla Minus One is by far his biggest and most incredible piece to date.
Making its global big-screen appearance just a month after debuting in Japan, Godzilla Minus One went onto gross over $65 million against its $15 million dollar budget, making this masterpiece one of the highest earning foreign films of the 21st century. As I write, it's currently running alongside Studio Ghibli's stunning new entry, The Boy & The Heron, making this the first time that two Japanese movies would be in the top 5 of the North American box office in the same weekend – which is just incredible! Bringing a tear to my eye and a lump to my throat more than once during its running time, it's fair to say that Godzilla Minus One is a genuine ride of emotions with Yamakazi blending the tension of Spielberg's Jaws and Jurassic Park with the beauty and drama of Hayao Miyazaki's animated works (Studio Ghibli). It's a film that has you on the edge of your seat a number of times – especially when Godzilla is going in for the kill. Let's be honest, this Godzilla is something else. He's a mean looking motherfucker that proves to be undefeatable, with intimidating eyes and outrageous dorsal plates that push out before he blasts an atomic ray from his mouth. This could well be the scariest, most brutal, and toughest Godzilla of them all!! Full review HERE (5/5) George @invincibleasia
(A) Coming close to commemorating 70 years of a Japanese icon, Godzilla: Minus One has seemingly done the impossible by breaking into the screens and hearts of Western audiences, and in doing so becoming one of the year’s most surprising triumphs! Set in post-war Japan, Godzilla: Minus One is unlike any other monster feature I have seen before. Whilst in Western culture, monster films’ traditionally have focused on prioritising the military and somewhat signifying its ideology and might, director Takashi Yamazaki opted to prioritise another form of strength…
And, that strength comes from family and friendship. Again, Godzilla: Minus One is unlike any monster feature that I have ever seen. Yamazaki and Co. deliver in the spectacle and sheer terror of Godzilla but, it also added and arguably most surprisingly was the film’s tenderness, thought-provoking narrative and family dynamic, as the film follows a disgraced Kamikaze pilot returning home to ruins in post-war Japan. At its heart, Godzilla: Minus One is a story about community, family, resilience and regret highlighting thematics based around PTSD, survivor-guilt and parental responsibility. Its choice in thematics is something that I would never have imagined fitting into a monster narrative but along with excellent direction, a superb soundtrack and raw, vulnerable performances from the cast Godzilla: Minus One is an emotional, intense, thrill that must be experienced on the big screen! (4.5/5) Adam @secondviewing