HONEST FILM REVIEWS
WORLD CINEMA
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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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
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(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.
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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!
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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!
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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.
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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…
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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