New Directors From Japan (Third Window Films) DVD & Blu-ray Review

NEW DIRECTORS FROM JAPAN

Do I really need to go on about how important and influential Japanese cinema has been over the years? I would like to think (apologies in advance if you're lazy and completely disregard subtitled films) that any true film fan reading this would know that. I could list and name drop many films, directors, actors, producers writers and various film technicians (you know, the folks who often get ignored), but this isn't a Film Theory exam that I didn't really revise for (been there, done that, got the degree) so I won't do that. I know this isn't much of an introduction, so I will just end by saying that the fine folks over at Third Window Films are without a doubt the best label in the UK when it comes to distributing cinema from East Asia. Wether it's a classic or contemporary effort, Third Window Films have got you covered. One of those releases from the latter half of last year was their New Directors from Japan Blu-ray and DVD limited to 1000 box set, which was a successful Kickstarter project. It does exactly what it says on the lovely cardboard sleeve slipcover and provides us with films from three of Japan's youngest and brightest stars. Those being Nagisa Isogai, Hirobumi Watanabe and Kosuke Takaya. Do these young directors live up to the hype? Do they shine like bright stars or are they merely dying embers? Let's find out! Ladies first!

Nagisa Isogai
(磯谷 渚)

Nagisa Isogai was born in 1985 and graduated from the Film School of Tokyo. Whilst studying, she directed her first film, My Baby whilst studying. The film was presented as part of Nippon Visions in 2012. This was followed up with The Lust of Angels which made its UK premier at the Raindance Festival last year. Little is known (from my research) about the young filmmaker, but one thing is for certain, she's certainly having an effect on cinephiles here in the West.

My Baby
(わたしの赤ちゃん)
2010We kick things off with Isogai's first project, a 16 minute film shot on 16mm film. My Baby follows two sisters Hatsumi (Momoyo Fujji) and Chika (Aki Morita) who are both pregnant. Whilst climbing the steps of a temple,Hatsumi has a tragic accident. Cut to Chika's big day and it's clear that Hatsumi is still (understandably) affected mentally by her loss. She lashes out sees something amiss with the whole situation. Is it all in her head? Maybe she is correct in her suspicions? One thing is for certain, she will go to great lengths to and will do some questionable things to work it out.

 
What can I say about a 16 minute film without completely ruining the experience? I feel I may have said too much, but be under no illusions, this is not a straight forward tale. Now, first thing you will notice is that this being a student film, it's not a polished production. There are some wonderful technical aspects, but it is clear that this an amateur film. Now, I don't mean that in a malicious way at all. Being someone who has studied film and been involved practical aspects during studies, when put it in to context, this is a sensational effort. Taking a theme that has been done before and going in a unique direction. With some great twists and twins, this is a powerful drama that fits the 16 minutes perfectly without rushing or losing too much coherence. Overall, it's an effective short that will linger.

  The Lust of Angels
(天使の欲望)
2014

Isogai's latest effort deals with a social problem that the whole world knows exists. We here in the West know how weird and wonderful Japanese culture and traditions can be. We also know that there is a dark side. Wether it be extreme pornography or what happens within the film itself, groping and sexual assault on public transport. A group of schoolgirls set out to lure out the local perverts who use the train they use to get to and from school. Wether it's physically assaulting their molesters or requesting money to keep quiet, the girls are (quite rightfully) ruthless. Not only do they have to deal with gropers, there's also an all boy rape gang from the nearby boys school to deal with. That's not all the girls have to put up with however. Things get realised within the group and past traumas are relived. Things for the vigilante schoolgirls will never be the same again.

I was not expecting this film to play out like it did. The public transport gropers, although dealing with a serious issue and being an important aspect of the film act more along the lines of setting the scene and tone. The film focuses on the girls, their group and the gradual breakdown that occurs within the group. There were times when I was taken back to 1970's Pinky Violence type films. There is actually amount of violence, bloodshed and uncomfortable scenes of a sexual nature. I had visions of the likes of Meiko Kaji and Reiko Ike in my head as I was watching. Even the title has an exploitation flavour to it. That being said, this isn't a sleazy or exploitative piece of film. It's never over the top or too absurd. All in all, it's a very satisfying piece of filmmaking. It's not an enjoyable film by any means, due to the dark content of the film and the underlining themes throughout. At around 40 minutes, just like My Baby, the runtime is perfect for the content. I suppose you could argue that this would also work as a feature length film, with more of a focus on looking at the characters and their stories. An uneasy film that has the tone just right. Once again, some aspects aren't polished, but it's clear to see that Nagisa Isogai has a very promising future ahead of her.

  Hirobumi Watanabe
(渡辺紘文)Hirobumi Watanabe initially studied Japanese Literature at university. His obsession for cinema started at an early age. After graduating university he decided to study at the Japan Institute of Moving Images. His tutor was was Daisuke Tengam, son of director Shobei Imamura. His graduation piece was A Light Pig of August, a short film about a man who works in a pig farm. The film won the grand prize at the Fuji Film Lovers Festival. After this he directed two drama shorts and his first feature film, And the Mud Ship Sails Away. He also founded the wonderfully named Foolish Piggies Films production company.

  And the Mud Ship Sails Away
(そして泥船はゆく)

In a nutshell, the film centres around a man who lives on the edge of society. He just 'exists/ and lives with his grandmother (the director's actual grandma). He spends the day lazing around the house and drinking. We see him spending time with his friends, complaining about how there's nothing where he lives. Out of work, he has a lot of free time. When he's not lazing around, he often likes to gamble. Not only that but he has an ex wife and small child he has no intentions of ever forging a relationship. He's a bum, plain and simple. He is unskilled and even less motivated to do anything or change the situation. His life changes when a young girls appears at his door. She is the love child of his late father. He didn't even know she existed. After becoming a part of his life and constantly berating him for not having a job, he seeks work... as a drug mule. This leads to a bizarre turn of events that he won't forget too soon.

Watanabe openly admits this is a film about 'nothingness'. It's a true slacker story. Some may be put off by the offbeat humour, but I thoroughly enjoyed it. I like films that are simple in terms of plot. It's a very personal film. Watanabe based the script on his own ife and even has familt involved throughout production (his garandother is hilarious in this film). The only budget at his disposal came from his year long stint as a swimming pool repairman. Low budget and small crew aside, this is an extremely noble effort. Shot in black and white with a lo-fi feel to it thanks to the use of digital camera cinematography. The rough around the edges approach combined with the black and white really compliment the story, characters and themes throughout. There's nothing spectacular visually, just like our main character. Of course, it has to be mentioned that there are some extremely surrealist moments in this films (including aliens). The change in tone and pace may be a bit too much for some, but it works due to the fact that our protagonist is a drug mule and it could be argued that he's accidently getting high from being a drug mule. All in all, I found this to be a genuinely laugh out loud piece of film. It's simple with no pretentions. That being said, you are either going to love it or hate it. I hear there are a few scripts in the works and I am very excited to see what Watanabe has in store for us next. If you like films like Office Space or early works of Jim Jarmusch, this should be a treat.

KosukeTakaya
(髙谷監督)Our final director began venturing in to the world of film production whilst at university. He has a few small production, directing and writing credits to his name. Thanks to this, he has worked with many filmmakers in Tokyo. His entry in this set was part initially part of the New Directions fund set up by The Japanese Ministry of Culture. An initiative for filmmakers to produce films that would appeal to an international audience. Being a big follower and lover of fashion, Buy Bling, Get One Free focuses just on that!

Buy Bling, Get One Free
(シャレ番外地)

The final on the set follows a young man who takes his over the top fashion extremely seriously. So much so that his work is suffering and his girlfriend has left him to marry someone else. One day whilst he's enjoying a coffee with a couple of his friends, they get approached by a journalist and photographer who want to shoot them and ask questions for an article. Unfortunately, they're not interested in shooting our protagonist so he makes his way to another table. As he's dwelling on his life, an old man begins to take photos. At first, he finds the situation too weird, but quickly laps up the opportunity to pose. The next day whilst shopping, he is approached by man holding a magazine with his photo on the cover. Things take an even more surprising turn when he is asked to become the magazines house model. Seems things are looking up for the young fashionista... Until he is bundled in to the back of a van and taken to the magazine's headquarters. What starts out as a bizarre turn of events turns in to something a whole lot worse. He well and truly becomes a slave to fashion.

Out of the films, this to me was the least enjoyable. A much more accomplished piece (thanks partly to the fact that Takaya had an experienced crew surrounding him) with slicker cinematography and a much grander scope. I won't say it's a terrible short because that is far from the truth. I just didn't get blown away as much as the other films on show. Visually, this an impressive piece of film. It has a great premise to it which reminded me of films such as the adaptations of Brazil and 1984 and a good use of some tongue in cheek humour. There's a good message within regarding how we can sometimes get so wrapped up in fashion and the culture of celebrity. Overall, a film that shows much promise, would probably work better as a feature film and makes me look forward once to seeing what else we have in store from this clearly talented filmmaker. Be warned, there are some 'interesting' looks throughout which may make you gag!

Overall, this is a fine selection of work from three very talented directors who I hope I see more of. Every film is worth watching. In terms of special features, there are a wealth of interviews that give us insight in to the directors and the films. The set comes on a Blu-ray with two DVDs and is presented nicely with a slipcover. However, the release is limited to 1000 so get it while you can. Luckily there are copies still available. I think Third Window Films have done a stellar job with this release and I hope we get to see future releases in the series because like I said, I really enjoyed the films and I look forward to seeing what we get next from the directors who are showcased. If you are a cinephile, this is a wonderful release. From Kickstarter to reality, I am extremely happy for Third Window with what they have achieved and I must applaud them for getting work out there that not only benefits the directors involved, but also us the viewer. Buy it now and support real cinema! Arguably one 2014's best home releases.

The limited Blu-Ray and DVD set is still available from here.

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88 Films DVD Review: Doctor Mordrid (1992, Charles & Albert Band)

"Man Has Ancient Enemies..."

Following on from yesterday's post we are looking at the second title 88 Films were kind enough to send for review. This time we are looking at the Band father and son co directed film, Doctor Mordrid from 1992. Once again, to spare my readers with an inept attempt at giving you the synopsis, I will lazily copy and paste the information from the 88 Films page:

"Doctor Mordrid (JEFFERY COMBS; “Re-Animator”, “From Beyond”) has been  guarding the gates to the fourth dimension for over a century and now the signs are clear; his eternal foe, Kabal (BRIAN THOMPSON; “Cobra”, “Terminator”) has crossed over and is about to carry out his threat to destroy humankind.

It’s a battle between two sorcerers with boundless powers and only one man will reign in the end."

See, I'm not too much of a lazy bum, I changed the font and everything? Shall we just move on and find out what I thought of the film?

The story is the typical "Evil has been defeated and one man is in charge of making sure Earth is safe until shit goes down and our hero must once again banish the bad guy back to the pits wherever he was banished to" one we all know and love. You aren't going to have your mind blown with the story and how it unfolds but that's not always a bad thing because why fix something that isn't broken right? I have to say I did enjoy this piece of schlock but have seen this sort of film done a lot better but also done a Hell of a lot worse. The stand out performance for me is genre icon Jeffrey Combs who is great as our protagonist. That's not to say everyone else doesn't put in a good performance, Brian Thompson is great to behold as he mostly always is and the love interest played by Yvette Nipar is solid too. All round, very well acted and doesn't dive too much in to the overly campy territory films like this usually do.

Once again, the star of the show for me is Steve Allen's fantastic stop motion animation. Just like Robot Wars, the main visual spectacle just didn't seem long enough but the miniature work was terrific. I have a real soft spot for miniature work, it's a shame computers have wrecked that for most motion pictures. I know, I'm a sucker for that sort of stuff but it genuinely fascinates me, especially when it's done like this. Aside from that, the rest of the effects are great too. 

Overall, Mordrid is a solid film but just lacks something, maybe a slightly bigger budget. In terms of cheesy sci-fi action, there's enough there for you to keep interested and if you're a fan of Jeffrey Combs you will definitely get a kick out of it. Just like the Robot Wars disc, you get a nice making of featurette, a trailer for Mordrid and various trailers for other titles (that are from what I gather the same as Robot Wars). You get some nice reversible art too which always a nice touch. 88 Films have done another good job but I would say, if you already own this title, you may want to swerve this release but if you are a fan or have never seen the film before, it's a good way to experience the film.

For more information on this film and release check out the 88 Films page. You can also find out more over on the IMDB and Wikipedia pages. 

The film will be released on the 17th February and can be pre-ordered HERE.

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BFI Flipside: Captured (1959, John Krish)

Captured is a 1959 film directed by John Krish. If the name doesn't ring a bell, I'm sure you have seen at least one of his rather full on and disturbing child safety videos. Chances are, if you where a kid growing up in the seventies your nightmares where fuelled by John Krish. Anyway, we can relive those nightmares later because it's time for me to actually review this title.

The film was commissioned by the Army Kinema Corporation for the sole purpose of teaching our soldiers how to withstand and overcome the event of becoming a POW. It was restricted from public viewing until 2004 where it was screened to the public for the first time. The thing that surprised me the most was just how cinematic this piece of film is. Of course, you wouldn't expect that at first glance because instead of opening up with credits to those involved, the audience is greeted to the words "This film is RESTRICTED" and our introduction comes from a military officer who is us letting us know what we can expect over the course of the next hour.

Captured has a fine balance of education and drama. Those who are fans of the of the output from The Documentary Movement in the 1930's and 1940's will definitely enjoy (f that's the right word for a film of this nature and the subject matter) this one. As will fans of war films in general. The film is clearly well researched and the the characters in the film are equally well written. I could definitely see this piece doing it's job back when it was first released and having an effect on those watching it.

One thing that did surprise me was just how graphic this film could be. Of course by today's standards the on screen violence and interrogation techniques shown are very tame but you have to take into account this was long before the Internet and long before the rise of the extreme horror film. One of the scenes that stands out is the water boarding scene. This scene is executed brilliantly and genuinely had me clearing my throat an awful lot as I watching. Of course, physical violence isn't the only factor in atrocities on show. We also have to deal with some genuinely powerful psychological elements. The actors playing the band of soldiers being held by the Chinese do a great job in making you feel a bond that is slowly being destroyed by the Chinese, the results are genuinely devastating.

Overall, I was just spellbound by what I witnessing. This is to me a fantastic piece of cinema that gives the best Italian neo-realism cinema of the 1940's a run for it's money. Krish has managed to create a piece of art in it's own right as well doing what the Army Kinema Corporation expected. Amongst all the on screen suffering the overriding theme of standing together and uniting as one really shines through. I won't spoil how the film finishes mainly because there is no real end but trust me a smile and possibly a tear will occur. Captured is a fantastic ultra real humanist tale that should be experienced and thanks to marvellous BFI we finally can in what I have to say is one of the most beautiful looking and sounding transfers I have experienced of a film from this era and nature. A real triumph that for me is one of the releases of the year.

Not only do we get treated to a simply gorgeous presentation but the BFI have also provided a wealth of tremendous special features which include an informative and sizable booklet to accompany the film as well as some of Krish's other works and a documentary about the film maker himself:

H.M.P - 1976:

A 52 minute fly-on-the-wall style recruitment film commissioned by the prison service.

Sewing Machine - 1973:
A 1 minute hard hitting road safety video aimed at children

The Finishing Line - 1977:

The somewhat infamous railway line safety video which haunted children for years.

Searching - 1974
An extremely disturbing safety aimed at children warning them of the dangers of matches.

Shooting The Message - 2013A new and extensive interview John Krish about his career and films

Captured is out now on Blu-ray and DVD combo from the BFI

More information about this release as well as links to purchase it can be found here.

Youtube Review

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The Cynic, The Rat And The Fist

 When you hear the names Umberto Lenzi, Thomas Milian, John Saxon and of course Maurizio Merli all linked with one production, you know it's going to be a feast of violence and action. That is exactly what you get with this 1977 poliziotteschi classic. Maurizio Merli is on top form as the no nonsense retired cop Leonardo Tanzi who isn't afraid to go outside of the law to dish out the justice, one bullet or backhand at a time. Tomas Milian plays as Luigi "the Chinaman" Maietto who has recently escaped jail and is seeking his revenge om Tanzi for putting him in the slammer in the first place. John Saxon plays as Franco Di Maggio, a high flying mob boss who is conducting business with the recently escaped Maietto.

After surviving a hit put out by Maietto, Tanzi decides to play along and play dead so he can go outside of the law and sort out Maietto once and for all. What follows is a showcase  of tough talking, shoot outs and some signature hands on justice from Maurizio Merli. The body count is high in this film, which is to be expected from the director that gave us such films as the infamous Cannibal Ferox. Some of the highlights include John Saxon perfecting his golf shot with an informant, Tomas Milian ordering some repair work via a wrench, Maurizio Merli having a 3 on 1 tussle over some coffee and a brilliant fight prison fight scene. They are just a few of the many adrenalin pumping scenes of violence in this film. No man or woman is safe but you already knew that.

 The story isn't that important to a film like this but there is a strong one here. It's a case of our hero doing what he can to survive and get to the Chinaman before he gets him first. Tanzi tries to drive a wedge in between the two gangsters. Will he succeed? Who will come out on top? Is there a happy ending? I'm sorry people but that is something for you to find out for yourself. All I can say is, it's quite a ride!

Overall, this is a high octane, unapologetic gem of a crime movie. All our actors are on top form playing as some of the most genuinely engrossing and likable characters put on screen. The dialogue is spot on and there are some fantastic one liners, especially from the Chinaman. That being said, there are some moments in the American dub that are great for the wrong reasons but it's the tiny details like that which adds to the charm of this film. The violence is fantastic and doesn't let up. If you have yet to delve into the sub genre that is Italian crime, this is a great ambassador of the genre and you will find yourself wanting to watch this again and again. One of the other highlights is the fantastic score from Franco Micalizzi which just helps the action flow and sparks images of being involved in your own shoot outs in your head. Umberto Lenzi is well known for his exploits in the horror genre but it's films like this, Almost Human and Violent Naples that really show how much of a great director he is.

 If you can, I would highly recommend you try and seek out the absolutely gorgeous German DVD from Film Art, the transfer is great and there is a wealth of special features. You can however watch this on Youtube for free and there are easy to get box sets from Allegro that you can pick up for pennies on Amazon. The quality isn't the best on those but they are great if you want that added rented VHS feel which doesn't harm the film at all.

Late Night In The Berberian Sound Studio

Saturday morning. It's 2 o'clock in the morning. The lights are off and the air heavy. Darkness surrounds me and the only light in the room is seeping through the TV screen. Yeah, I can't really do dramatics that well but I had to draw you in. Recently I finally got to watch Berberian Sound Studio. I picked up the fantastic release from Artificial Eye (I will provide a link to their website at the end) which has a whole load of special features. This is a film that I had been interested in for a while. I had wanted to watch it a lot earlier because I still at the time of this post, need to compile a top 10 list of 2012. The expectations where so high with this which is something I should stop doing because I sometimes get majorly annoyed or disappointed. Before popping the disc in, I had just finished watching the woeful Sinister. Only thing that's sinister about that flick is the time you're wasting watching it. That being said, the score was really nice but everything else, no. So as you can probably tell, the bar was set low.

Well, what did I think of this film? I absolutely loved it! From the opening scene all the way through to the final name on the credits. However, it's not just because it's a genuinely well made, written and acted film. It goes a lot deeper than that and it actually affected me on a very personal level which is a rare thing for a film to do. The first and most important thing (and probably the most obvious thing) to talk about is the sound. This is essentially a film about sound so you know that the sound engineering and general use of sound is a key factor in the movie. I was watching this at 2 o'clock in the morning with the lights off so you can expect the sound was even more effective. I have never been so hypnotised by a film in such a long time. The score from Broadcast is flawless. Not only is it a great body of work that also sounds like music from time by composers like Cipriani, Goblin and De Masi but it is just used so phenomenally to devastating effect. It's even more powerful knowing that Trish Keenan died, especially when you hear her voice on the songs. You could easily listen to this film and be taken on a journey. I like to experiment and play around with sound in my spare time, so hearing the range of sounds on the score and the chilling distorted, reverb heavy attacks of sound within the film itself added such another level to the score. If you are a fan of the just as unnerving Goblin soundtrack for Suspiria, with it's whispers and screams you will adore the Broadcast score. Overall, the audio alone in this film is genuinely unnerving at times and throughout, images where playing out in my head. Not to mention how the sounds lingered as I tried sleep after making it halfway through the film.

Yes you read that right. I fell asleep halfway through this film. Not because it was boring, far from it. It was such an intense experience that I just had to take a break. It sounds silly I know but it was just one of those moments where what you are experiencing on screen is overwhelming. After finally getting to sleep, I am sure the sounds replayed in my dreams… but it seems whatever those dreams where… they just vanished into obscurity. The following night, I finished the film. Once again, I was sat glued to my TV at 2 o'clock in the morning with no lights. The atmosphere was the same and the feelings I had felt the night before where with me again. The words I am writing here aren't coming close to the experience I had watching this film. The intensity and darkness of this film could match, even outdo most horror films. Not a drop of blood is spilt in this film and there are no demon like creatures or nightmarish characters. The only acts of violence are carried out on things like lettuces. However, this is such a sinister film at times. That feeling I felt the first time watching Suspiria was all too familiar. That feeling of being trapped in a nightmare. Of course in Suspiria it's Argento's use of light, set design and storytelling, the overall visual intensity combined with other worldly like score from Goblin. In Berberian, that marriage of sight and sound is still there but again, it's the sound alone that had the most impact. You almost feel like Suspiria could be the film Toby Jones is working on.

I could ramble on and not get anywhere near close enough to explaining that aspect of Berberian's power. Hopefully, the following paragraphs won't be so hard to express. Aside from the technical aspects of this film, I found myself being affected personally by this film. The major theme I picked up and related to was being a stranger and being surrounded by unfamiliarity. I spent a good 6 to months last year in Germany. I was surrounded by people whose language I still do not fully understand. I was surrounded by a different way of life that was far from my own here in England. Of course, Germany, especially my beautiful girlfriend's apartment is like my second home but those first few weeks was such a surreal experience for me and seeing Toby Jones (of course in a much more serious and different situation than myself) brought back those feelings. It was such a surreal experience revisiting that time and it's something that will stay with me every time I watch this film. The other thing that really struck a chord with me (now this is going to sound weird but hear me out!) was the feeling that everything being played out on screen was done in the very early hours in the morning. I love doing stuff with friends and family when it is late at night, in the early hours of the morning. I also love being in a city when there is no one around and the only company you have is the distant sound of traffic. That ambiance for me is such a beautiful and surreal thing and in a way I felt that when watching Berberian. A dimly lilt room, only a few people around, how can not have an effect?

I hope a few of you guys reading this can at least get what I'm trying to say about the personal stuff and especially about how powerful the use of sound and the score by Broadcast. Overall, this is just a fantastic film and it works on so many levels. It is definitely the best film of 2012 and if you have yet to watch it, please go out and do so. If you love Italian horror and giallo cinema of the era or loves the work of the film composers from those films, you will get a kick out of it. It's not a homage or anything like that so be warned. Of course, it might not be for you and it might just seem too "arty" but it's such a deep experience and even if you don't like the film itself, I demand you to get a hold of the soundtrack and just shut yourself off from the world and listen, that will stay with you for a long time. It certainly keeps popping up in my mind. Will I be watching this film again any time soon? I don't think so. I have only just recovered from my first experience with this film. All I can say is that this is British independent cinema at it's finest.

Trailer:

My video on the film:

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She's Dead (2012) Review

Artwork by Fwah Storm.

So I just got finished watching the new film from Nik Box. If you follow the blog or my Youtube then you will already be aware of Nik's films, especially this one. I have already done a post on the making of and the story of the film which you can check out in the archives. I have known Nik for a couple of years now and have been a fan of his films ever since watching the first entry into his Christsploitation trilogy, Brutal Jesus which is a riot and I am sure you will see a post on that sometime in the future. She's Dead is a completely different kettle of fish and is actually a completely different direction of most of Nik's filmography. Usually Nik's are reeking of pure, unapologetic campy cheese with the comedy just as fantastically slapstick. She's Dead however, tones down the comedy and is much darker experience.

The film follows Ben who wakes up from a heavy one the night before. He has a problem, there's a dead woman in his company. We've all bee there chaps and lasses I think you'll agree. Understandably Ben is confused and in a panic as to what to do and how he got in this situation. This leads him to get in touch with a big, bearded guy by the name of Mr. Clean who has a ponytail and short fuse. He does appreciate a good cup of tea though! Together, Mr. Clean and Ben start trying figure out just how they're going to get rid of the body. It goes from bad to worse as Ben's friend Barry unwittingly gets involved into the equation much to Mr. Clean's distaste. Barry is a, let's say sick motherfucker who not only revels in the situation but also has a few ideas with his new friend, the corpse. What happens from there is something you will have to see for yourselves. I will however say that what happens takes this already solid film to another level.

Overall, what we have here is a darkly comedic story that starts off bad for our main character and just gets even worse. This film looks and sounds fantastic. This is thanks to Nik's direction, especially his eye of setting up a scene and the choice of music throughout. Every song has a different feel and genre and compliments the situation in the relevant scene perfectly. Not only is the film technically solid (the film took 4 days to shoot and it still feels like it IS actually filmed in real time thanks to Nik's editing) but the performances from all those involved is just as good. The dialogue from Barry and Mr. Clean is where the comedy lies. A big hats off to the woman playing the corpse too.

If you like independent horror that is dark, you will love this. If you like Nik's previous work you are in for a treat because yes, this film is a big break from the norm but probably the best thing is, you can tell it's a Nik Box and Dead Good Films Like production. It could have really missed the target but Jesus Christ did this deliver. It's a welcomed change in pace and style that I hope to see more in Nik's work. This is a job well done especially when you take in to consideration that there was a crew of one (Nik himself), a cast of 4, a 4 day shoot and of course an £800 budget. Not many directors deliver when they a couple more 0's added on to that budget. A fantastic, easy flowing piece that takes a brilliant concept into an even more brilliant finished piece that you can easily watch more than once.

You can preorder the film by checking out the store here.

Here is the trailer:

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Hanzo The Razor: Sword Of Justice From Rapid Eye Movies

Hanzo The Razor: Sword Of Justice

(dir. Kenji Misumi, 1972, 90 minutes)
Rapid Eye Movies, Germany

Hello guys and girls. Today we are looking at the first of 3 films from the Nippon Classics sent to me by a German company called Rapid Eye Movies. Now first of all, these will not be reviews of the films themselves as this trilogy of posts is showcasing these releases to people who are collectors and who already know about the film. If you want a review of the films, let me know. Like I said I will just be going through the releases themselves. We will be looking at the packaging, presentation, transfer and special features. So let's get straight to it with the first in depth look, Hanzo The Razor, Sword Of Justice. Below are some snaps of this gorgeous release.

As you can see, you get a gorgeously presented edition of this film. A beautifully designed slipcover showcasing the fantastic Japanese poster for the film which houses a fantastic digipack which boasts some stills from the film. The inside showcases one of the infamous images from the film. The digipack is slim but not too slim and makes it a fantastic size for the shelf and the collection. With the addition of the slipcover, these editions will look fantastic on the shelf. When you open up the digipack you will also find a flyer showcasing other titles from the Nippon Classics selection as well as an assortment of postcards with iconic stills from various Asian cult classics, the postcards are of high quality and are a welcomed addition. Probably the best extra you get is the double sided poster which again has the original Japanes poster design on the front and a original design on the back talking about the film itself. Overall, these are really nice additions and this will please the collectors out there wether or not you decide to actually use the poster and postcards. All in all, these editions are put together brilliantly with collectors in mind. So no we have looked at the packaging and presentation, let's look at the film itself.

 As you can tell by the stills, the transfer is fantastic. The audio is great too. Now, this being a German release, this intended to be watched by either someone who knows or is Japanese or German as the only audio option you have is the original Japanese an the subtitles are only in German. This really isn't a big deal for me personally as the edition itself is what I find most exciting and you can always pick up a cheap DVD. Just remember to bare that in mind if you are going to buy this title. Special features wise, you get the trailer for the film, some information on the film and also some trailers for other releases from Rapid Eye Movies. To some, that might not be a lot but I always welcome at least a trailer on any release and from what I have gathered not many other releases have anything more than a trailer. Overall, if you know Japanese or German (I should know a lot more by now) then  this release is perfect for you.

Overall, I am really impressed with this release. All the supplementary materials you get and the presentation alone make this a welcomed addition to the collection. I cannot stress enough that this release is of course aimed for a German audience so only collectors or lovers of Hanzo should really pick this up. Rapid Eye Movies have done a fantastic job with this release and have given the German public and us collectors  a great release of a film that is deserving of this treatment. You should definitely check out Rapid Eye Movies by clicking the links below and see what they have to offer and to potentially get your hands on this film. There really is nothing negative I can say about this release. Fantastic presentation and has a gorgeous DVD transfer.

RAPID EYE MOVIES SITE
RAPID EYE MOVIES YOUTUBE

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