Manji Reviews

Nobody Knows (2004)

Nobody Knows? Everybody should!

[8/10 · 22 August 2006]

Daremo shiranai (Nobody Knows) Writer/Director Hirokazu Koreeda's "Dare me shiranai" is slow-paced and exceptionally well done. It's a very engrossing piece that doesn't shy away from the reality of life. This film contains genuine moments of frustration for the central characters and for the audience too. It's an examination of what happens when a Japanese mother, who was never ready to be a mother, abandons her four children.

Keiko (Yukiko Ehara, who goes by the stage name of You) is the mother. Sounding like a child herself and acting like one, Keiko still clings desperately to her youth and more importantly that feeling of never having to grow up. As a parent she is carefree, never raising her voice or striking her children. She doesn't take anything too seriously except for meeting new men, whom she likes to attach to and be pampered by. Being with the men helps her to forget about the 4 mouths to feed that are waiting at home. As she continues to meet new men she begins to spend more time with them taking increasing longer trips far away from her new apartment and her children. But she always leaves them money to survive on and forcing her eldest son, Akira (Yûya Yagira), to become the new parent of the home even though he is only 12.

Akira is the really interesting character to watch because he is at a point in his life where he is being burdened with not only the responsibility for his three younger siblings but also growing up himself. For the most part he is a very, very responsible young man that would make any level-headed parent proud beyond words. But there's only so much of that responsibility that he can fulfill before his own childish ways catch up with him.

When Keiko leaves for her latest trip she just doesn't return. The money that she leaves behind lasts for a while but like the hope of her return, it soon dwindles away and the harsh reality begins to settle in. These kids are alone.

I found that this film reminded me a little of Bin-jip (3-Iron) the Korean offering from director Ki-Duk Kim; mainly in terms of examining a life of poverty. The children in Koreeda's film become resourceful as they lose electricity, then water. But what they go through as the situation continues on is just heartbreaking to watch.

Koreeda let's his camera do most of the talking in the piece. The lens captures the slow passage of time with an equal lingering eye. There is not much to do during the hours of the day to stimulate the young minds that have been left to their own devices. They tend to plants that they grow out of used noodle containers, since they don't have a garden. They peruse the streets checking vending machines for loose change to supplement their lack of income. They even befriend some of the other locals in the area who give them a helping hand as best as they can, depending on the day of the week. Therein lies the beauty of the piece, that these kids are able to survive as long as they do is a marvel and it keeps the viewer engaged; interested to find out how it's all going to end.

Now, the ending of the film doesn't give you a really great sense of closure and this time it doesn't feel like a cheap shot to be vague and artistic on the director's behalf. Before the film started, you didn't know these characters or their plight. Then as you watch you are introduced to them and you are invited into the world. By the end, it's like the viewer has reluctantly gotten off this train and is watching it take off for another unknown destination. It's a deliberate choice to keep your mind working on the notion of the film and it is successful because who doesn't want everything to be alright for these kids? For me, personally, it angered me to think that there could be a mother so careless that she would put herself before her children in such a selfish fashion.

It's accepted that once you have a child you have to stop living for yourself and that your life should be about your offspring, if you're lucky enough to have them. There are times when the kids need help, desperately and the authorities should have been called in order to give them something that resembles a normal family life. But these children only want each other, they've gotten the help of the authorities in the past, Akira reflects at one point in the film to a new friend, but the outcome was a nightmare. The kids need each other more than they need their mother because it is the connection with siblings that gives each of them the support that any person deserves from family. Each child has a different father not in the picture at all and their one mother whose attendance is spotty at best.

Is it any wonder why they don't want to call the authorities even when things become really bleak?

Pulse (I) (2006)

Pulse has none!

[3/10 · 13 August 2006]

Pulse sucked. I can't say that enough. Maybe if it was the original Japanese version that they put in theaters instead of this boring re-hash then I would've been pleased. But no, this piece of crap masquerading as a promising remake is not worth anyone's time.

God, what did they do to the wonderful creepy nature of the original? OK, let me tell you why I was so disappointed by this flick. In the original version, there is a striking subtlety. Once Pandora's box is open, it slowly starts to take effect and before you know it the planet is beyond saving. It's bleak, it's a nightmare.

In the American version it is completely dumbed down and the filmmakers have done something akin to treating the audience like children as they hold your hand and walk you through exactly what happened. The Japanese version catered to a more mature crowd and did not rely on the typical jump/scare tactic that seems to define horror films these days. Oh, and that cast!

Kristen Bell is a dopey beautiful woman. I don't know if she is dopey in real life but in this film, she was hardcore dopey. Wait, I don't mean dopey, I mean forlorn…you could see how I might confuse the two if you watch the film in question. Needless to say, she is just the concerned girlfriend of the first victim of them…this is worse than pulling teeth. Them = Ghosts.

See, this guy has been unreachable by phone or e-mail for the last few days and you know what that means in this high tech world. That man is DEAD! So, Bell's character, Mattie Webber, goes to investigate. She finds him alive, relatively speaking. Something's wrong with him, he's not himself. His apartment is a mess and he's got this awful looking sore by his neck. He seems distant, not concerned with anything like it's not worth it. Finally, he leaves the living room where they've been talking and he proceeds to hang himself. Mattie is traumatized from there.

News spreads about the young man's death to all the friends and a few days later when Mattie and her closest friends are on a live chat Josh messages them: "Help me" is all he says.

This is when the film just turns into The Ring and they call it a night. Kids run away from ghosts who walk/glitch towards you and who suck your will to live, rather than your soul (perhaps because the "will to live" is 30% less fattening!). The movie is naturally dark and kind of grimy but the gravity of the ghosts, and how menacing they are, is handled so poorly. These are not scary creatures. They do scary things here and there but on the whole they're just dudes and gals looking like junkies in white make-up and clearly digitally mocked up for added Zao!!

In the original version the ghosts looked like human beings from a distance until you started to notice that they were slightly blurred as they move towards you. The CGI shading in the original was more subtle. Also, they moved in the strangest slow motion. When you saw the otherworldly spirit it was something that literally forced you to rub your eyes because you couldn't believe what was moving towards you. The reactions of the Japanese actors to the ghosts were stellar, genuine and you really felt sorry for each victim. Here, in the American version, you don't give a damn about any of the characters and the ghosts are just so uninspired in terms of appearance and movement.

A few actors that surprised me, not only for taking part in this crap fest but also for being so bad in it, included Ian Somerhalder who was amazing in Rules of Attraction but has since taken up acting lessons from Neo. I swear, he says a few single lines just like the, oh so, esteemed Keanu and it made me laugh each time it happened. Samm Levine, who was a really fantastic cad in Freaks & Geeks is just a shell of his former self (maybe the ghosts got to him when the camera wasn't rolling). Ron Rifkin, who played Sloan on Alias, is Mattie's shrink who just yells at her as treatment. Even Joseph Gatt as Dark Figure could've been a whole lot darker, way to hold back, Gatt! I must admit though, Christina Milian is so utterly sexy even when she gets dirty a little later into the movie. There is a part where she gets some black soot like substance on her or whatever. Anyway, she looks awesome throughout. But she really didn't do a great job as Mattie's friend. The only character that I really felt sorry for was Rick Gonzalez's Stone. Man, it sucks being a minority! I feel your pain, brother! You didn't survive War of the Worlds either. Sucks dude. Anyway, stay away from this movie. Wes Craven…start directing again, properly. You produce bad, bad movies, my friend!

Battle Royale (2000)

It's been two years since I saw this flick. What do I think?

[10/10 · 15 January 2003]

Kinji Fukasaku made a film called Battle Royale back in 2000. He's made plenty of films in the past. I've seen very few of them, apart from Battle Royale but I'm always searching for more.

Battle Royale is a film that has affected many, many people. There are rabid fans of Battle Royale and there are even more people that hate it. Let me tell you why. Battle Royale is a film that exercises its right to explore an idea. Many films have great ideas but most are poorly realized. Battle Royale is simply an awesome movie about one of the most hypothetically traumatic things that could ever happen to teenagers. For those that don't know, the film focuses on what happens when a group of high school students are sent to an abandoned island to kill each other. What brings such a bizarre idea to fruition includes civil unrest, teenage anxiety, and a nation literally terrorized by their youth. It's set in Japan and though it is just a movie it still hit pretty close to reality due to current problems with Japanese youth. In fact, the film was poorly received by the government who feared that the release of the film would incite riots and other such acts of mayhem by the same youth which it focused on. The problem is the same the world around. Young people are much more volatile than they ever were say 20-30 years ago and Battle Royale captures the essence of the horror that today's youth would face going into such a circumstance. Friends kill other friends and bullies all to survive. At the same time they get to live out those videogames that they loved to play at home.

[SIDE NOTE: Counter-Strike, a Half-Life (popular videogame) mod for example, easily prepares young people for the reality of weapons. How many bullets are in a clip of an MP5? What does an assault rifle sound like? Questions like these are easily answered by the videogames of today. Sure, these weapons are also on the streets and in some parts of the world they are even in the hands of children as young as five years-old but the videogame set up creates a comfortable experience with such weapons. It's not that videogames necessarily make people want to get guns rather it gives familiarity to guns. I should mention that I love to play Counter-Strike myself and will continue to play it in the future. I don't hate the game, I'm just pointing out that it does present a fairly realistic portrayal of weapons.]

The problem is that there can be only one survivor of this island massacre, this only adds extra pressure to the already unprepared children who have to fight for their lives. What is truly shocking is that the actors and actresses who have been selected to portray these teens are around the same ages of their characters. They aren't the aging 20-30 somethings that just happen to look young; they are literally teenagers. This flick has some serious bite! It's such a great comment on how we are living in the 21st century in a time when frequently the fear for a country comes from within rather than outside forces.

Certainly, terrorism is at the forefront of the average North American's mind due to the World Trade Center attacks and CNN's endless coverage of the horrors of said event have easily made the problem an international event. But before that the biggest headline grabbers focused on young people, filled with `rage', unleashing their anger on their helpless peers using an array of weapons (mainly guns). School shootings shocked the world when children started killing their peers.

Battle Royale is not meant to trivialize school shootings and youth violence. Rather, it's an examination of the lengths which a government will go in order to discipline the youth. It's such a ludicrous idea. But the characters stay true to form as they profess long held crushes with their dying breath all the way down to naively trusting others who they've always admired as the popular kids. It's sick. Strange. Beautiful. Familiar. Different. And completely engaging. Most people are against the film because they feel that the plot is simply silly or because the dialogue is too hammy or some such nonsense. At the same time, those naysayers will praise films like Braveheart for its honest portrayal of Scotland's only historical hero. I loved Braveheart. I thought it was great too but it's bogus, for the most part. Certain battles and events really did happen. But William Wallace was no man to look up to. He raped and killed women and small children but none of that made it into the film because it was not that kind of "feel good" thing that would sell Wallace as a hero. Battle Royale, since it draws on fictitious characters and plot is far more interesting because it really makes you think about your own life. Could you kill your best friend from high school if the two of you are stuck on an island of death? To this day I refuse to answer that question. It sickens me to think of such a thing and so I felt disturbed by what those 42 kids had to do in Battle Royale. What's even worse is that they were picked by lottery to end up on the island. In the Japan that exists in Battle Royale, each year a random high school class is picked for the event. We are led to believe that all youth in Japan are bad seeds in this film but that really doesn't seem to apply to the class which the film follows. For all intents and purposes, they were innocent. The dialogue between characters is poignant, real, and totally innocent. You can literally see how limited their vocabulary and understanding of the world around them is. Furthermore, as I mentioned earlier, some of the characters even profess love for their classmates without even knowing what love is all about. High school is a weird time for anybody. It's an awkward time that is all about experience and misunderstandings. So many people AFTER high school really learn the truth about who liked them and what people really thought of them. During high school there's always some social wall that stops any REAL open communication between two people. Being on the island forces unchecked emotions and feelings to flow out of the characters because death is on the horizon. Can you really label the dialogue as lousy in those circumstances?

Obviously, there are intelligent and well-organized people in the world. Some exist in high school but for the most part teenagers are brash, foolish, and irresponsibly reckless because they've yet to learn from experience. They rarely have any experience. Teenagers put on an island to kill themselves will certainly not learn anything new and if they do it won't matter considering that they'll soon be dead.

Naturally, some go insane and mutter those math equations that their teachers promised them would be valuable in the real world. Others feel the need to fulfill their sexual desires, who wants to die as a virgin, right? Still others try to make the best of the situation by spending their last few hours alive as civilized as possible. But the purpose of the game affects all of these teenagers. They have to hurry. If the battle isn't finished in 3 days they all must die which is easy for the people in charge who have low-jacked each teenager with collars that explode. Not enough to take the head clean off, by default, but rather just enough of an explosion to open up the jugular. They bleed out until they die.their hopes and dreams for the future go with them. This is a grisly film that doesn't specifically cater to gore hounds. Certainly there are some really disturbing death scenes and moments but nothing TOO over the top. The idea is shocking enough, there's no need to be excessive. At first this fact upset me. I wanted this film to be a bloody parade of carnage because I reasoned that it's just a movie. Just some form of entertainment that existed to please me. But the whole idea is sickening and compelling enough to satisfy on more layers than just the visual.

In the end, this is not a film for just anyone off the street. There are so many sceptics and people who are unable to maturely grasp the concept of the film. These are the people that really hate it and you can't really blame them. For too long, Hollywood has been the dominant authority on filmmaking in the world. What was once a greatly expressive and thought-provoking medium has now simply become a trite and boring thing. Everything is recycled over and over. It's repackaged, re-sold, re-distributed to the point that people can hardly accept something new and radical and different. If it's not safe, generic, or commercial than the reason for a film's existence appears to be highly questionable. Battle Royale isn't going to change the world. I wish it could but the damage has already been done and now there is no place for a film that challenges socio-political norms or has subtitles. But that's alright. Films that matter are still being made even if they don't get the same amount of press or attention that the next Leonardo DiCaprio movie will get. If you enjoy Battle Royale then Kinji Fukasaku, who directed and adapted the film for the screen along with his son Kenta, will be able to rest in peace. The man died on January 12th, 2003. He was 72 years-old and all he wanted to do was make movies until he died. He got his wish.

I am a fan.

"Don't Hate Yourself... because no matter how hard you try there's always someone that does it better." - J.Symister 2002

Bijitâ Q (2001)

Wow...Miike has range.

[24 October 2002]

This is cult filmmaking gone wild.

Sure, Takashi Miike certainly isn't a legend yet, but he's certainly on the right track with a movie like BIZITA Q (aka. VISITOR Q).

So, what's the deal with this story about a guy who shags his daughter in the opening ten minutes? Good question, glad you asked. This film is the extremist, Japanese version of the dysfunctional family.

Dysfunctional (to the Americans) = Mommy drinks, Daddy is abusive, little Jimmy is a loner, and Bessy-Sue is a goth.

Nicely done, America, but Miike doesn't play that way.

The Yamazaki family has fallen on hard times, like most families, but their period of hell is pretty far beyond the typical. Takuya (the son) is a constantly bullied kid who in turn must vent his frustrations on his mother, Keiko, through violence. He beats her black and blue simply because she is the only thing that is below him. In turn, Keiko has to ease the pain by using heroine. Problem: Dad got fired from his reporter job and he was the only moneymaker. Solution: Prostitution. Miki (the daughter) can't stand living with her messed up family and has decided to hit the streets and become a prostitute, just like mommy. Kiyoshi, the father, still yearns to be a reporter but his fascination with teenage culture (which got him fired in the first place) continues to drive him into disturbing situations. Hence the opening of the film.

Still with us? Ok, so you're probably noticeably disturbed by all of this if you've made it this far. That's understandable. However, this isn't a completely sicky kind of film. In wanting to mesh the controversial with the approvable, Miike introduces the character of the Visitor. Now, this dude is really irrational. Unlike the Yamazaki's, the Visitor is a person who is completely free with everything that he does. Indeed, we are never given a reason for why he is the way that he is. Instead, he just IS. By that, I mean he is a whirlwind force that drops on the family and instead of dragging them deeper through hell, the Visitor makes all of their lives better. He actually ends up bringing the family back together.

Now, I know you're saying, "WTF, that's just silly." And if you're saying that then I must say goodbye. Because the means with which the visitor brings the family together are beyond questionable, in fact, it makes for an interesting comment on the Yamazaki family's situation. The Visitor's methods range from deplorable to just plain cruel and it's amazing to watch his destructive behaviour actually mend this broken family. It's like the opposite of "Two Wrongs don't make a right" and herein lies the genius of the film. It's great to watch the family grow closer and closer together as the crimes go from assault, to murder, to rape, to slaughtering with the Yamazaki's growing closer together throughout.

What makes this a black comedy? Well, Miike did it the old fashioned Elizabethan way. Tragedy usually has a character going from a good place (having much respect and even wealth) to a bad place (being disgraced or dying; or both). Comedy, on the other hand, starts off at a low but ends up in a high. Suffice it to say, the Yamazaki's end up in that better place it's just that some people had to pay in order for them to get there.

Finally a nice, family drama for adults…and sickos. I know I'm one but I'm not sure which.

Go watch this movie and help me figure it out.

The Rules of Attraction (2002)

I liked it...I liked it a lot. Rock n Roll!

[9/10 · 19 October 2002]

THE RULES OF ATTRACTION is by far one of the most ambitious films that I've ever seen. I mean, just the fact that it's based on a Bret Easton Ellis novel already makes it ballsy. James Van Der Beek has officially killed his Dawson persona. I can't watch those WB commercials anymore without thinking `yo, that's the sicky younger bro of Patrick Bateman.' Ian Somerhalder and Shannyn Sossamon are so disgustingly talented that they steal every scene that they do without the Beek. And when the three are together in the same area.damn! It's like magic on acid and I loved it all. I figured that this flick would be focused completely on `Dawson as a bad guy' but I was pleasantly surprised by the weight which both Somerhalder and Sossamon brought to their roles. Those three young actors came to play ball and they hit a huge homerun.

But, as is expected, many people just hate this film.

The main reason why the haters are hating? Lack of likeable characters. That must really suck, to go to the movies and not find a character that is just like you. See, I go to the movies to watch other people get into interesting situations. I'm not looking for anybody to identify with because guess what? Nobody in movies are real people, they are simply actors portraying characters.

Now, I know you typically think of characters as being those nutty people in the back of your classroom who make everyone crack up. Well, in movies characters are not real people, they are the creation of other human beings. Depending on the right actor, each character is given life that steps right out of the pages of the text. But that doesn't mean that you're supposed to instantly want to love them. Disconnect yourself from that greedy need to identify with someone and just appreciate who you are as a person. You didn't find anyone you could identify with in this movie? Then why are you upset? Do you wish that you were that pathetic or lost in life like the three main characters? Interesting.

Furthermore, many people bash this movie because it lacks a plot. That's about the stupidest thing that I've ever heard. Follow me now.does your life have a plot? I know mine doesn't. I live in the real world and just try to make the best of it. THE RULES OF ATTRACTION is about life and what happens when there is no arc to follow. The characters in the film have no plans for the immediate future because they really don't see anything outside of the day-to-day scope. This is a snippet out of their aimless lives and it is done that way purposely to demonstrate a simple fact. LIFE IS THE RESULT OF THOSE MOMENTS THAT CHANGE YOU FOREVER. The events of the film have to be recognized as those things that are going to forever dictate how these characters live the rest of their lives. It's great that you as a viewer would hate this movie because nobody looks forward to the future but you have to be like Mr. Glass in UNBREAKABLE to understand what's going on in this movie. If there's someone like you who has everything already nice and planned out then logic dictates that there is someone on the opposite end of the spectrum. They are lives with no purpose.

So, no lesson has been learned by RULES OF ATTRACTION. People just don't seem to get it because it doesn't conform to the typical flick about college-aged kids. Since Roger Avary won't do it then I'm just gonna come right out and apologize for the lack of Jason Biggs screwing pies, Stifler drinking semen, and Nadia being broadcast over the internet for your voyeuristic pleasure. If you were led to believe that this movie was going to be a cute gross out comedy, then maybe you should just stick to Gene's picks at your local vid store. I'm sure he's got plenty of Weekend At Bernie's sequels to make up for the Big Bad Avary's non-conformist films.

For the rest of you daring people, please check out RULES OF ATTRACTION as soon as you can for something different. I've said too much already. Please, don't go into the movie with my perspective.just see it to gain your own. It's catharsis, this movie should make you appreciate your life.

Dead or Alive (1999)

ATTENTION: This is NOT a date movie!

[21 July 2002]

It's sick, twisted, brutal...and definitely not a chick flick. I was surprised to see how many silly fools brought their girlfriends or dates to this flick when I saw it in theaters (more than once). The tagline says it all, people!

For the initiated, aka. Japanese film fans, this is a true treat that's not being made for critical acclaim or to please these testicles that hate this movie because it's not Hana-Bi. This is just a bold film made by a self-proclaimed TV/movie fan whose attention span is almost nil, like most normal people. Miike has stated in numerous interviews that his films reflect his own impatience with movie making. He likes to shock audiences because he doesn't want people walking away from his movies forgetting what they saw. To critique this film simply because it does not fill Takeshi Kitano's shoes would be as pointless as comparing Tarantino and Aronofsky...sure they've both made INDEPENDENT films but guess what, they handle it totally different ways.

Miike has already proven that he is a capable director just to shut up those wannabe directors. He nailed AUDITION like no other person could so why should he continue to replicate that?!?! In DEAD OR ALIVE, Miike is not trying to say that he's cool and amazing. He's just trying to go the road less travelled and in my opinion, it pays off big time.

DEAD OR ALIVE is a story about gang violence, that touches down on police corruption and family all coming to a boil in the crime-laden Shinjuku district of Japan. Blood is spilled...as well as other bodily fluids because this is a world that is not typically viewed in gangster films. That is the reason why it's different, because you're actually seeing something that you aren't used to.

A lot has been said about the beginning and end but don't go into the movie just for those two aspects. Miike clearly has taken great care to treat the viewer to a story that has more depth then you'd expect while at the same time NOT trying to cram some "holier than thou" message down your throats.

The acting is great, the directing is terrific along with that gorgeous camerawork, and the score is both ominous and memorable each time it slowly creeps into the audio to highlight specific shots/scenes. Riki Takeuchi and Sho Aikawa are master onscreen adversaries that prove your worst enemy can have the most in common with you.

In the end, DEAD OR ALIVE: HANZAISHA is an excellent film that sets out to do exactly what it's director wanted it to do. Stay in your memory.

p.s: for those testy testicles out there that think that every japanese movie is supposed to be high art, lay off the hashish and let human beings make popcorn munching entertainment.

Ginger Snaps (2000)

Ginger Snaps and Goes for the Jugular!!!

[7/10 · 27 April 2002]

Few horror films in the last decade have been given as much care as Ginger Snaps, a modern take on the werewolf phenomenon. Heavily advertised, well in Canada anyway, and given a wide release fit for a huge summer blockbuster, again in Canada, it hit theaters in 2000. Unfortunately, virtually no one went out to see the film regardless of numerous positive reviews and reactions from critics. Perhaps it's because it is a Canadian film? Ok, I won't go there in this review...maybe another time, but the point is that this flick kicks some major ass! Not since American Werewolf in London have I enjoyed myself this much watching a wolf film. But I digress, to compare it to John Landis' 1981 masterpiece is an insult to the originality of either film.

Ginger Snaps is the story of two sisters, blood relatives none of that bestest friends in the world that are like sisters crap. Anyway, these two sisters are morbid, dark, and brooding the perfect anti-hollywood teen (aka. a real/normal teenager) and loathed at their school. Of course, they don't need or seek the approval of their peers as they have eachother for any real comfort or support. But one of the local female bullies at school just won't let up on either of them. Needless to say, a line is crossed and the girls feel that it's the perfect time to exact revenge on this bully.

Now, what is uber cool about this flick is that the girls are real. Unlike in most horror films, these two keep their tops on, and it's not just because they portray characters that are under the age. Instead they are like many girls that are around that 15-16 year-old age, who have serious concerns about their bodies. Regularly these girls wear baggy clothes to school so as not to emphasize their features. They aren't looking to draw attention to themselves or even be noticed, the less attention is paid to them the more free time they have to create their art (death related photography!). All they need is each other, even in the worst of circumstances. Of course, this delicate balance can't remain intact and soon their world is turned upside down when, during a night time trip to play a prank on their bully, one of them is attacked by a bizarre creature from the nearby woods.

Personally, I find that the best horror films lack a real explaination for the occurance of some evil presence. Like Romero's NOTLD series, who cares where the zombie threat originated, it makes it more realistic for us as human beings not to know where the source of the problem is. We don't know everything and it's this concept that Ginger Snaps employs for the werewolf creature that attacks the girls in the park. Just as soon as it has appeared it is dispatched and all that is left is the impending doom caused by the threat of infection.

Cleverly, the writer-director team of John Fawcett & Karen Walton have woven the wolf's infection in with the idea of puberty and the end result is "growing up" like you've never seen it before. Here are two girls who have never sought the assistance of anyone outside of their relationship trying to figure out how to deal with their first periods AND growing fur & claws.

It's a strange film indeed bordering at one point on the comedic and the next minute on the horrific with nary a misstep. For those fans of gore, sadly there's not too much but don't worry lotsa innocent teen blood still flows as NO werewolf goes for the clean kill. Definitely not your typical werewolf or teen movie and it's completely worth your time!

Pulse (2001)

You'll wish it was all just a dream...

[10/10 · 16 February 2002]

For a while now, I've been trying to find Kiyoshi Kurosawa's Korei (aka. Seance). Admittedly, I'm not familiar with Kiyoshi Kurosawa's work, except for what i had seen in some asian film magazines and I was hooked already. But I truly was not prepared for KAIRO.

This film is just plain terrifying. I really, really want to explain what this film is about but it'll only ruin the film, in my opinion. Plus, there is still somethings that I don't understand, but loved anyway.

If I had to sum up this film, I'd probably have to say that it's a story about the end of the world from the most unlikely place. From within. Anymore info would just be cruel to give up.

Though I've been vague about what goes on in the film I will say this. The atmosphere makes this movie everything that it is. In modern times many filmmakers go for the character's coming out loud and clear, and the atmosphere/environment is relegated to 2nd or even 3rd place. But here the true "star" of the film is the creepy and almost unbearably docile environment surrounding, enchanting, and swallowing up the main characters. There's a thin line between good Japanese horror (Ring) and bad Japanese horror (Inugami), this flick is so far from bad that it's practically holding hands with Ring as they stroll into my dvd collection.

St. John's Wort (2001)

Gorgeous filmmaking!

[7/10 · 29 January 2002]

Absolutely astonishing imagery and camera-work elevates this simplistic horror film to a level that doesn't even have a name. In all honesty, the story isn't that bad to begin with but it's just utterly put to shame by the sheer look of this film. I was expecting another thuggish Japanese horror/thriller, a la INUGAMI, but there was none of that here. Just an amazing experience especially for those who are intrigued by the power of the new wave digital cameras which have been slowly taking over more and more independent productions worldwide.

There are a few scenes in the film with laughable CGI by North American standards, but to nitpick about something that is so boringly dispensed in North American films would be such a gratuitous waste of time. This wasn't some insane Hollywood blockbuster with the standard $70, 000, 000 USD budget, hence requiring 50 million dollars just for the effects budget!

In the end this film totally delivers what is necessary for your enjoyment. An awesome story, genuinely creepy as hell moments, hot girls (BONUS!) and hands down, the best freakin' cinematography that I've seen since..., well, since Fight Club!

This is it people, the future is looking VERY bright for digital films!

There Is a Secret in My Soup (2001)

BUNMAN 2001? Don't think so!

[5/10 · 26 January 2002]

Where do I begin with this one???

It opens with the crime scene...the location where something horrific and unbelievable has just happened. Something so disturbing that you just have to find out what it is and how it happened.

Through the flashbacks of the only surviving occupants of this apartment of death, we are treated to the whole story as it unfolds. Initially, it is realistic and true to life. It's the story of an unloved young woman turning to prostitution for something, anything different from her uncaring relationship. We've seen this story before, this character who wants such a significant change in her life that she soon discovers that she is in a place that she never wishes she knew. In these terms the film is utterly and remarkably hardcore. We are treated her breakdown and abuse at the hands of those people who she has grown accustom to. If you don't feel for this girl as you watch then you don't have blood pumping through your veins, you're just another machine. It's done properly, this isn't some goofy film to be taken lightly. But then something happens that is obviously unplanned as her abuse at the hands of her torturers spirals out of control.

All the right reasons are here for her character to become more real, fantastically handled by Chiu Chiu Chan, Maggie is a character that is at the bottom of the barrel. She can't go back to the life she once had, nobody loves her there. But at the same time she can't leave her captors who have found something more rewarding in Maggie than pimping her out. She owes them money and they have her hooked on drugs. She's tried to leave them on more than one occasion only to be beaten viciously upon each recapture. She's like many women that find themselves in a situation so horrible. Perhaps it's because this is the only place where she gets attention or maybe it's because she is too dependent on the drugs and the freedom from her newly born child. but we don't truly learn her reasons for staying. She doesn't get a voice to explain how she feels or a person to confide in. Then IT happens, I don't want to ruin what occurs at the lowest point (in the film and in the depravity of the torturers) but rest assured it's at the same time disturbing and unnecessarily wrong! The thing that just killed the movie for me was the reaction of the torturers as they do what they do. It's so hard to believe that they do some unspeakable things to Maggie simply because they can! In the end the characters just feel like they are doing it because they know an audience is watching them, which is so silly! As movie-goers we want to watch a movie as if a hidden camera has been dropped into the life/surroundings of the characters. What a cheat, especially after the superior BUNMAN.

It's nice to see Micheal Wong working still, unfortunately his character did diddly to move the story along. As the lead detective on the case he didn't really do alot of pushing for answers. Everyone involved was so cooperative considering what they had done. it's a shame this film copped out the way that it did. Just find BUNMAN, atleast that has some sense of consistency

There's a reason why this flick was made, to fill shelf space!

The Hitcher (1986)

10:14am...I stayed up all night after watching this.

[9/10 · 12 January 2002]

C. Thomas Howell & Rutger Hauer...an unlikely pair? An unimaginable duo?

I THINK NOT!

THE HITCHER is the film that brought them together for your enjoyment and your terror. Witness a film so starkly deadly and daring that the thrills, twists, and turns are a slap in the face every single time.

I loved this film and thought it truly captured the paranoia facing those weary travellers of America's highways and pit stops. What a great setting for the story to unfold along a strip of highway that is virtually barren. This is a place where there are no "city eyes" to watch your every move and the nearest police officer is 45 minutes away, all the time! We thought it was safe to travel down these roads. But we were wrong, it's the perfect breeding ground for severely disturbed people who litter the roads with bodies, blood, and body parts.

If you think you've seen it all, then watch The Hitcher.

It's relentless.

Ballistic Kiss (1998)

I wanted it, I needed it, and when it came down to it...

[4/10 · 11 January 2002]

Wow, this film is utterly UNFORGIVABLE.

Donnie Yen is an incredible martial-arts talent who should utterly claim this film as his alan smithee masterpiece. God knows he couldn't be bothered to remove hisself as the film's lead. Usually, when watching an HK actioner you should suspend your disbelief to an unbearable degree. John Woo's HK films made this easy and fun to watch. But here the viewer is utterly dragged kicking and screaming into utter garbage. The acting was top notch, for most HK flicks, and thought he story was essentially striving to free itself there was no resurrection. Instead what we have here is a failure to entertain as we are subjected to uninspired fights, mingled with shameful gunplay, and some bad guys/heavies that are so happy go lucky that I'd probably play "Yut, Yee, Sum!" drinking games with 'til dawn. THESE BAD GUYS WERE SO UNTHREATENING THAT TRIX BUNNY ON MY TV RIGHT NOW LOOKS LIKE CHARLIE MANSON, IN COMPARISON.

Did I come into this flick wanting to hate it? HELL NO! Donnie Yen is cool, he's cooler than cool. This guy is action nitro glycerine times a thousand plus infinity. But here, in a film he directed no less, it's a heartbreaking waste. I encourage those who get caught up with the flashy title to instead search for something meaningful, like John Woo's earlier films. Hell, even Mission Impossible 2 was better than this. Yowza!

Donnie, let other people direct. I have only so much respect for you, buddy. Don't make me lose any more.

Traffik (1989)

Stunning...beyond anything you'll ever see.

[9/10 · 8 January 2002]

What an awesome mini-series. The original TRAFFIK completely stole me away from anything else that was on. Far more engaging than the American remake, the original TRAFFIK boasts an amazing cast formed of lesser known actors to North American audiences. Juliette Binoche being the mainly recognizable actress who plays a drug addicted teenaged daughter of a government official. But it's not star power that carries this film (though I enjoyed the American version, I felt it was dimmed by the famous Americans in the picture).

Unfortunately, I saw the American version before I found the original BBC mini-series. Of course there were no picture filters, lush locales, and the big name stars/director. However, the grit and grime of Europe (through the drugworld) perfectly compliments the impending sense of danger, which permeates throughout this film. The problems, such as getting addicts off of drugs by giving them more, poor anti-drug campaigning, and the resistance of foreign governments to assist with destroying their drug cultivators from within, all make TRAFFIK bold, immersive, and horrific all at the same time!

The truly incredible portions of the movie all come from Pakistan. My God, I never knew how bad the problem really was over in Europe...even all over! For a real education on the problems of drugs, beyond how they affect the human body you must watch both this and the American version. Each show one very clear and undeniable fact. Those countries, which are leaders in the eyes of the world, have a culture that has led to the death and suffering for many.

Drugs are worse than war. They work in the shadows, the dark secrets of any "successful" society.

Inugami (2001)

Slow Movie + Terrible Soundtrack = This Review

[5/10 · 5 January 2002]

INUGAMI is an interesting yet drawn out film. Though there are many wonderful aspects to the film (location, cinematography, directing) they just don't save the film from many bouts of tedium. The most overdone aspect being the Tomie character. However, for those who do give this film a chance they will surely be treated to an above par thriller set in a quiet village virtually disconnected from the rest of the world. Here, not only does everyone know each other's name but they know their secrets as well. This concept alone is easily fun to play with and we are treated to it quite nicely as we (the viewer) learn the secrets of the village along with Akira (a school teacher, and outsider) who has just arrived in the town.

Personally, I felt the film should have omitted a few of the middle scenes of the movie involving Takanao. He had a certain mystique about him near the beginning, but with each additional scene involving him I felt a lack of interest growing. Also, I couldn't help but feel bored around every group meeting which took place in the film (of which, there are many). For some reason, it just didn't feel like they were getting anything accomplished asides from re-stating the basic purpose of the Bonomiya. These scenes were just so disinteresting, especially nearing the end.

Also, from a western point of view, the whole idea of loyalty to a certain job, no matter what the cost, seems trying at times. This is basically a problem most westerners have with many Asian films. The sense of honour and commitment seems to also be a foreign thing to North American audiences. I have watched other Asian films, less engaging than this one. While watching the other films, I found myself very interested and downright intrigued by the "honour" aspect. But here, in INUGAMI, honour is certainly not essential. Even morality is utterly useless as the depraved truth is revealed.

I really wanted to love this film, as I mentioned before there were good things going for it. However, I'm to conflicted by so many other things about the movie. This film is definitely not for everyone especially those who are attracted to the film due to it's underlying "horror" theme.

You don't see any ugly demons strolling the streets, you only see the ugliness of human beings who have steeped themselves in tradition and the past. The two things which have been responsible for the downfall of so many organizations, societies, and people.

Oh, and the music was rank!

Akira (1988)

Unlike a lot of N. American Sci-Fi there's no simple answer!

[9/10 · 22 December 2001]

AKIRA is an incredible, astonishing film. Yet, there's one thing you should know about the ending, rather the last 15 or so minutes of it. I've watched it so many times and to this day I still can't explain it to other people. I can't even explain it to myself. But don't let that keep you away from the film as it stands, in my humble opinion, as one of the greatest achievements of filmmaking in history. With an awesome cyberpunk/mutant-filled Neo-Tokyo backdrop. At the center are the inherent social problems and barriers that exist within people and government. This is timeless.

There's a certain obvious truth, which lies in the film. It is the simple fact that we, as human beings, are simply not prepared. This applies to any and every aspect of our lives. The characters in the film are certainly not prepared for the things that happen to them. And this fact shows. Unlike many North American sci-fi flicks, there are no simple answers for AKIRA. It's depressing and at the same time refreshing to have an understanding that we are limited creatures. It's a harsh reality and a simple answer. For Tetsuo, the changes that he goes through tear his very mind, and humanity, apart and it's not just him.

If given the unfortunate chance of suffering his same "collision" with destiny it would have the same effect on anyone. And no matter how much we say we would be unaffected it's all just a lie to ourselves. To Tetsuo. When Tetsuo's hallucinations begin the result is only catharsis, and rightfully so. No one would ask to be put into his situation and as the viewer we must watch the madness unfold.

Don't let the fact that it's anime steer you away from this compelling, and albeit twisted tale. The detail put into the imagery and story in the film adds to the unique and realistic feel, which AKIRA possesses. And there certainly wasn't any slacking in the story of the film as we are given an often thorough explanation of the events of the past, which have affected the Neo-Tokyo. Indeed, by the end of the film I felt like I had lived in Japan of the future, that's how drawn in I was. And still am. Whenever I am given the opportunity to watch AKIRA I must put off whatever I am planning to make room for this monster of a film.

If you get a hold of this flick, and it's dubbed, make sure it's the old dub with the truly gravy melodramatic voice acting by the main characters. The new version has some crummy, by comparison, dubbing that is nothing short of inferior to the original.

"TETSSSUUUUOOOOOOOO!!!"

"KANEDAAAAAAA!!!"

What more do you need from a film, people????

Audition (1999)

It's different...it's very, very different!

[9/10 · 21 December 2001]

It's different...it's the slow story about a man trying to find love again, after the death of his wife.

It's different...it's the story of a man, with a son who desperately wants him to be happy once again.

It's different...it's one hell of a film.

Takashi Miike's adaptation of Ryu Murakami's 'Odishon' is an amazing film experience. This a film that's deeper than most North American films. It's a dangerous journey into the "unknown" that is human beings. You will not judge books by their covers after this film ends.

This is the classic "boy meets girl" tale that the Brother's Grimm would have cranked out for those depraved enough to find it. This is very true considering the fairytale like, whirlwind romance which takes place. Boy Meets Girl. Boy Falls In Love With Girl. Boy, oh boy!

Visually, the film appears simplistic but that is all done to achieve that "safe" feeling on the unsuspecting viewer. The lack of music in many scenes also adds to that "everyday" kind of feeling. But there is alot more going on inside of one person than can be shown on the screen. The central character of Aoyama is struggling with the death of his wife, the maturation of his son, the mistakes of his past, and pleasing himself. When a beautiful woman comes into his life, she becomes everything. She takes over his thoughts and mind and seduces him with a quiet mystique, which only entices him further. The sexual power of a women, always a fascinating thing, becomes very apparent in this film as we are taken to one extreme almost beyond comprehension wrapped up in a brown sac.

If this movie ever falls into your hands, if you hear the name bantered about in your circle of friends (or beyond), if you have an inkling that you can get a bargain on this flick...buy it! And as you watch, gear yourself up for a romance film. Pretend the movie is a nice slow moving, romantic-drama...Aoyama did, look where it got him...

The Corner (2000)

Displaying the problem magnificently!

[8/10 · 21 December 2001]

THE CORNER is a powerful mini-series that delivers a ruthless, depressing, and depraved view of the lives of drug abusers and dealers. Told semi-narratively by a documentary crew, the viewer is delivered into the bowels of a hellish neighbourhood in America. Being based on a true story only serves to rattle the viewer further as you get to watch all the horrors of growing up on the streets from the comfort of your own home.

Truth be told, at times, I could barely watch the events of the program as the pain and suffering of each character seemed unbearable. Each has a struggle to deal with, from a father who has fallen into the depths of heroin addiction to his son who deals the same drugs on the unforgiving streets. Yet, they still try to maintain some sense of their former selves. Gary (the father) tries to get back on his feet numerous times, but failure seems to be the only result. DeAndre (the son) has had no worthy role models to teach him the value of honest living. The failure of his parents has reduced him to no more than another lost soul wandering the ghetto for his income.

Each event in the mini-series seems timeless and not easily forgotten, as I write this now, five months after I last saw THE CORNER, all I can think of is a shoot-out in the latter half of the story. We are shown kids with guns (somewhat echoing Columbine), however the shooters are scared. And you can see it, the fear in their faces and their random shooting. I was breathless watching this scene unfold as the youths who we have come to know have to defend themselves from rival dealers who have promised blood shed. All their talk and acting macho is instantly discarded as we watch them shoot up a once peaceful, beautiful neighbourhood in order to eliminate an unseen foe. There is nothing honourable about this scene and by the end I found myself lacking breath and on the edge of my seat. It is still one of the most incredible things that I have seen on television.

The fact that this story happened in Baltimore just enhances the story that much more. Usually, when people think of the drug problem in America they first think of the big cities. New York or Los Angeles, but here we are shown that the drug problem is in the backyards and backalleys of America, as well. IT SHOULD NOT BE IGNORED.

By the conlcusion of this story there seem to only be bodies left over as lifeless as they were wandering the slums for their next high. But there is no more highs after death, there is only a gap. The absence of a person has a great effect on the lives of those that surround them. But what's truly sad is that by the end the understanding is that only the dealers feel the loss...of customers. The death of their friends only serves to limit the junkie's chances of 'scoring' easier. Herein lies the saddest fact. Hope is fleeting on THE CORNER.

Versus (II) (2000)

so hard to tell

[8/10 · 16 December 2001]

great little horror/action flick, set against the backdrop of a haunted forest in japan. i must admit, i was instantly drawn in by those elusive online trailers for the film. when i finally saw it though, i was a little disappointed with a few choices that the director allowed for the actors. there are a certain number of goofy elements in the film that were just not supposed to be goofy. such as the posing yakuza guys. they looked more like a japanese n'sync rather than baddies. and the whole vibe that i was getting from the film was the same i get from watching amateur, guerrila style short films my friends make. the problem is that they don't work with a $400, 000 budget. yet, they make the exact same quality films...curious! but i don't want you running in terror from this film if you get the opportunity to see this flick. it really is a great popcorn munching, beer guzzling, screaming at the tv kind of film that has a gore/action level tha, suffice it to say, is quite delicious. it's still a decent flick, just don't go in expecting an epic and you'll probably be blown away by Versus!

Series 7: The Contenders (2001)

could've been the great one

[6/10 · 16 December 2001]

like a few people, i heard about this crazy little survivor like tv-show styled movie. so, i finally got my chance to see it. however, it wasn't my cup of tea. though there are few unforgettable scenes committed to film, there is still something lacking. you can't blame production values, because the film is meant to look like real life (shot at 30fps, instead of typical 24fps used for film). the main problem is that the characters were a little too easy with their situation. from any knowledge of the mob-like mentality, even people who don't have their lives threatened tend to do completely insane things. yet, in "series 7" nobody really fully commits to the unspeakable acts that are the result of unpredictable human behaviour. killing another human being is still a horrific thing on it's own, but many perceive violence as cartoon-like and not that bad due to their perception of films. basically the killing alone leaves the movie quite flat. but i must admit, that this is one of the most ambitious films that i have seen. it's a shame that something like the "reality-tv" phase had to bring about it's creation. if this film had been made five years ago, i'm sure it would be a smashing success, regardless of it's shortcomings.

Edgemont (2000–2005)

most excellent

[10 December 2001]

Ok, ok don't let anyone fool you because Edgemont is one of the best "teen" shows around. Boasting a stellar cast, mostly representing Canada, the topics and storylines tackled on this show are timely or entertaining (or both). Some of the weirdest characters I've ever seen inhabit this little show that has me begging for more each week that I watch. The most bizarre aspect of the show is the absence of parents.teachers, this show is about kids without the muddling and meddling of adults. If Edgemont was a real high school, I'd quit university just to attend one season, um, semester to get even a glimpse of the characters in action.

Awkward situations seem intensified by the way the show is filmed. They may not flex a strong budget, but that's what makes the show so much better. You're there for the characters if you like this show and I know I'm not alone, I've run into quite a few other Edgemont fanatics who feel the same way. Long live Weirdo Canadian Teen Dramas!!!

Requiem for a Dream (2000)

Proof there is life after Pi...

[10/10 · 20 August 2001]

Just finished watching Requiem again and i have to say one thing: Well Done. Arno did a great job, a truly spectacular film that just totally surprised. His earlier work, Pi, was completely his baby and totally under his control. With Requiem, he had to adapt someone elses work yet still maintain his artistic integrity. If there are any doubts whether or not indie filmmakers are truly talented, please lay it to rest. The content of the film (incl. EXCSESSIVE DRUG USE, betrayal, deceit, lust, family, hope, failure, and utter physical and mental anguish) were juxtaposed insanely with fast editing, sweet camera work, and a visual style that no mere human being could ever dream for in a film. But the performances in this film were truly, truly magnificent all across the board. Jared Leto - crazy! Jennifer Connoley - reached Julianne Moores exceptional talent, and may very well have exceeded it under the circumstances! Marlon Wayans - utterly stunning in his portrayal as the straight-man role, no jokes, no silly sight gags, just very awesome dramatic power! Ellen Burstyn - whatever pre-conceptions i had towards her performance (i think the academy awards are more corrupt than american politics) were washed away when i experienced first hand the true genius of a disciplined actress who was so utterly committed to her role that i had to constantly remind myself that this was Reagan's mother in excorcist so many years ago. SHE DIDN'T JUST INHABIT THE CHARACTER SHE IS SARA, ELLEN BURSTYN DID NOT EXIST AT ALL! Also, a much needed mention goes to Keith David, a wonderful surprise in the film and the cast of Pi popping up allllll over the place! It's been a long time since i was touched by a film in this way, it felt so deep and incredible that everyone should witness what happens when a studio backs one of the greatest films talents in the world. Forgive the poor grammar and some spelling mistakes, please! I'm still trying to reuperate from my last viewing of the film...

Battle Royale (2000)

SiMpLy DeLiCiOuS

[10/10 · 16 July 2001]

It's been a while since I saw a film that hit me so deep. So long, in fact, that I can't even remember a movie that hit me like Battle Royale. For almost eight months, I was genuinely over-hyped on this fantastic film. I patiently waited for my opportunity to witness this film. Only a few weeks ago, the anticipation was quelled with the acquirement of the juice!

I've heard alot of negative reviews about the film, mainly because of the "exploitive violence". But another dislike of the film, stems from the melodramatic attitudes and deaths of certain characters in the film. Many of the critics who are up in arms against the portrayal of the children in the film shouldn't be so critical. They haven't recently been around the young students of today. They are living with an outdated concept of how a teenager is supposed to act. In this day and age, teens are anything but typical and often have much difficulty concealing their emotions in school let alone an island where they have to kill eachother.

The characters were right on, the actors did a fantastic job. And of course the directing was ultra-incredible! The less you hear about this movie, the better you are. It's horrific, it's real, it's a scary reality.

Starship Troopers (1997)

Lord Verhoeven returns!!!

[3 April 2001]

After that slumpy dump in sexual thrillers/exploitation (Basic Instinct/Showgirls), Verhoeven busted back onto the scene with this juicy ode to Heinlein's (sp?) sci-fi youth battle. Now, the marketing genius' decided to market this movie to kids...perhaps a little too much, the plot is kinda weak, but the action is so swiggy sweet!!! Is it a good trade off??? Heck yeah!!! When Verhoeven hits the sci-fi switch step away, grab a beer and just appreciate the fact that you have eyes to witness this cool journey. If you loathe bad acting, turn your head everytime denise richards comes on the screen, yikes! But for the true laugh, watch out for those troopers whose names you don't catch, they bite the dust in the most horrible ways. This movie won't change cinema, but it still shows us Verhoeven fans that the old guy still has the golden touch when it comes to directing. BOOM!

RoboCop (1987)

Ultra Cool

[10/10 · 3 April 2001]

As a child of the 80's I would just like to say that this was the last great sci-film of that decade. Sci-fi just doesn't have the same meaning anymore. It's all effects driven nowadays, and that's not too tempting considering the fact that most cgi is so poorly done! But robocop didn't rely completely on ground-breaking visuals, instead there was a story to stand strong on. Filmmakers should one day take a break from their coke-snorting lives and take notes on this movie...it'd really help. And if I half to witness one more sci-fi abomination, THAT'LL BE THE LAST STRAW, I'll bloody switch to romantic comedies!!!

Urgh!

Ghost Dog: The Way of the Samurai (1999)

The purpose of cinema

[9/10 · 15 March 2001]

For as long as I could remember I have been interested in strangely unique films. Many of my peers dismiss films such as Ghost Dog as "garbage" or "crap" or worse. I just don't see through their eyes. Upon learning of Ghost Dog: The Way Of The Samurai (through the old idiot box!) I was instantly sucked in. My curiosity was running at an all time high. I had to know the world of Ghost Dog, and especially the character himself. However, getting to the theater proved difficult in itself. So the gem became lost to me, until the first week of March, when the movie was playing on local cable here in Canada. I was overly thrilled!

Can you really prepare yourself for a film like Ghost Dog? I have a problem being that when my interest is peaked for a film I tend to have horribly high hopes for it being good quality. Like Mission Impossible 2, Woo behind the camera Cruise in front, how can they go wrong? Urgh! Ghost Dog is not an `urgh'; this movie is instead a cinematic dish, best served to those rabid fans of gangster films, samurais, and beautiful moments.

From the start the viewer is treated to snippets of written text denoting the Way of the Samurai, this is the first sign of genius; these short paragraphs all have some relevant meaning to Ghost Dog's journey through the course of the film. The only other time that I've appreciated the foretelling of events to come was in the Limey. The second thing that denoted genius at work was the relationship between Ghost Dog and Raymond the Frenchman. This aspect of the film had me smiling wide-eyed and everything for the entire film. I love the fact that these two can communicate with each other without ever understanding what the other is saying. I can't praise that enough because it has been something that I've always wanted to see working a movie. It was very neat to watch their friendship because their meetings always displayed some of the best moments in the movie. The friendship felt so real, it was great. Finally, my favourite genius aspect was those crazy gangsters. Man, if you want to treat yourself to a merry old time watch these gangsters work. They are dangerous, but at the same time they are incredibly funny. It's great to just mix the drama and serious tone with some comedy from the bad guys, of all places. Usually, it's the hero who says something witty or gets caught up in some funny situation to make us laugh. But now even the bad guys get in on it. That just adds to the movie's bizarre, yet very cool feel. Very NICE! Also, deserving admirable mention are the soundtrack (very nice on the score for Rza, I love the base and it fits naturally), and the character of Pearline (usually I hate kids in movies like this, but she actually learned a valuable lesson from Ghost Dog, it's great to watch their relationship grow as well).

Whitaker is a fantastic lead, if he can continue to do more roles like this he may end up becoming the new hero for those who have lost faith in heavyset actors. And Jim Jarmusch…bless your hard working heart, my respect goes out to the cast and crew of this fine feature. Don't miss Ghost Dog: Way of the Samurai for anything!