SUCKER PUNCH (2011)

SUCKER PUNCH

(2011, USA)

Fantasy action epic with a killer soundtrack

At the moment, I'm not watching nearly as many new films as old. I guess the point of collecting movies is to watch some of them occasionally. But the mention of an army of zombie soldiers and giant samurai warriors caught my interest. Then I heard that this isn't a fantasy action film so much as a fantasy drama which lapses into fantasies of action... Even more interesting. Directed by Zack Snyder whose movies I've all enjoyed - 300, Watchmen and the Dawn of the Dead remake. That's enough to warrant a watch.

Like 300, it's real actors set in a largely CGI world, which I currently associate favourably with graphic novel adaptions (though this is an original story from the director). CGI worlds suit fantasy very well, though sensibly, sets are used for the indoor scenes. An early example of this approach, Sky Captain and the World of Tomorrow (2004) made things far too complex for itself by building everything in the computer, using very few sets or props.

A fatal accident sends a teenage girl into a corrupt private asylum where the inmates have to 'dance' for paying visitors. But when BabyDoll dances she daydreams of escape, her fantasies inspiring her and her new friends to attempt to escape captivity...

I kept seeing elements of Terry Gilliam's Brazil, like the fight with the giant Japanese armoured warrior, an identical opponent to one of Sam Lowry's heroic fantasies who also used a heavy-duty spear. The theme of searching for an escape from guilt also struck me as a similarity. One early scene also reminded me of the ballet school from Suspiria - something about the colours used in the set.

The real life interludes slotted between the elaborate and varied action scenes were just as entertaining, owing to the stylised look and strong performances from Carla Gugino and Oscar Isaac (intense enough to make a great Scarface). Good to see Scott Glenn onscreen again (Backdraft, The Right Stuff, and last week's review The Keep).

Key scenes are backed with some extraordinarily reworked cover versions of the Eurythmics, Björk, Jefferson Airplane and other offbeat tracks that immediately impress.

While Zack Snyder's 300 presented men as sexy heroic fantasy, Sucker Punch does the same for women, with a female-heavy cast that appeals to both sexes in a different way to the more obvious 'chick flick' comedies. Admittedly, the incendiary use of the name BabyDoll for the lead character (Emily Browning) keys the audience into its brand of humour. But I was surprised that the film was only rated 12 (on UK home video) considering the amount of sexual content in the story (alluded to, ever present, but never explicit). Japanese anime/movies/TV have their young female characters sexualised, often with shorter skirts, less confidence or self-determination. Yet they largely escape the criticism that Sucker Punch has drawn.

I've also been disappointed by far more exploitational 'schoolgirl action hero' Japanese movies, especially recent direct-to-video offerings made on low budgets that are on offer at the same price. This offers similar action but on a huge scale, set to maximum thrillpower. If Sucker Punch had been Japanese, it would have been the success it deserves.

Available everywhere on DVD and Blu-ray, with an option to watch the longer director's cut, though I was perfectly satisfied with the theatrical version.

47 RONIN - an epic story, revered in Japan

The Japanese samurai legend being remade with Keanu Reeves

This story is highly revered in Japan and has repeatedly been adapted for TV and film (reportedly 80 times). Its wintry climax has made it a regular part of Christmastime in Japan. Only a handful of the movie versions have been released in the west, but I wasn't aware of the story until I saw an exhibition of 19th century woodblock prints at the Royal Academy last year. Really.

The cinematic look of Utagawa Kuniyoshi's work, and the repetition of his depictions of the story and the characters impressed me that this was a big deal in Japanese culture. It actually took place, but I've no idea how much its been skewed from historical fact into legendary heroism. The actual graves of the 47 ronin are still revered and honoured today.

After the Kuniyoshi exhibit, I looked up the film adaptions. After I'd picked up two of the available movies, the story was announced for a Hollywood remake to be called 47 Ronin, starring Keanu Reeves, Hiroyuki Sanada (Ring, The Twilight Samurai, Speed Racer) and Tadanobu Asano (Ichi The Killer, Gohatto). Expected in cinemas in 2012, it'll be in 3D... (news report here from Metropolis Tokyo). So, as usual, I'll try not to spoil too much about it.

Set around 1702, in and about various castles, it starts with an indiscretion that leads to an outrage. An elaborate revenge can only be mounted with extreme patience and utmost secrecy, sworn by dozens of loyal samurai. Well, disowned samurai are called ronin...

THE LOYAL 47 RONIN

(1958, Japan, Chushingura)

Respectful adaption from Daiei Studios that emphasises the impact of the ronin's revenge

Lord Kira's continual taunting of Lord Asano in his own castle pushes him to breaking point just as an imperial delegation arrives. His punishment sets his loyal men adrift without a leader, but they refuse to give up their castle. Their stubbornness causes rifts with their families and loved ones, while society waits for them to show some self-respect and avenge...

At the core of the story are the very strict codes of the imperial courts, the shogunate and their samurai, at a time when etiquette and dress code were extremely precise. The hierarchy of rank and the value of family name were rigidly defined. Within these almost invisible constraints, the ronin try to prove themselves with unending loyalty and extremes of emotional endurance, led by the stalwart Oishi (Kazuo Hasegawa).

This is primarily a drama, rather than an action film, over its three hour running time. The fight scenes are well orchestrated, but it's distracting not to see any blood after so many slashes from samurai swords. Much like old westerns never show any bloody wounds on even the whitest shirts, presumably the norm for this era of cinema. Seppuku (ritual suicide) is similarly tastefully dealt with, off screen.

As a drama it's impressive and the story kept me gripped till the end, bearing in mind that this was the first version I'd seen, with no idea how it was going to play out.

This is a faithful and straightforward account of the story. This DVD edition from AnimEigo has been praised for its accurate subtitle translations which optionally include extra historical explanations during the film, and in the DVD extras.

A fuller review of The Loyal 47 Ronin, with spoilers, from the Shogun's Mansion.

SWORDS OF VENGEANCE

(1978, Japan, Ako-Jo danzetsu, The Fall of Ako Castle)

Bloodier, action-packed, sloppier version from Kinji Fukasaku

Another epic offering, this time from samurai specialists Toei Studios, boasting Sonny Chiba in the cast, but it must be stressed that he's not the star. The story has a lot of characters! Sonny gets some action of course, but Tetsuro Tamba and Toshiro Mifune are also in there. Again, Oishi has the central role, played here by Kinnosuke Nakamura. Kinji Fukasaku directs, halfway between giving us The Green Slime and Battle Royale...

While The Loyal 47 Ronin (1958) was successfully dramatic, Fukasaku delivers more action and certainly much more blood. This isn't excessive considering how many swords are being waved around, and he shows admirable restraint in the film's most powerful scene, a seppuku...

Other aspects of this very 1970s update are less successful - the opening title music is just plain wrong. It sounds more suitable for a sleazy detective thriller. Thankfully the music during the rest of the film is less jarring, though it rarely enhances the visuals.

The drama is amped up to over-acting and shouting, which often reaches laughable levels. It made me appreciate the acting in the 1958 film more. The story wastes no time and gets straight into the crucial incident which started it all off, with notably more blood than the 1958 version. It never reaches the spurting extremes of Sam Peckinpah's The Wild Bunch or the Baby Cart movies. There's an awkward jump cut in the film that I guess was a censor cut, removing a scene of seppuku (during the hair-cutting shot).

With a faster pace, and even voiceovers to keep the exposition rolling along, this still doesn't manage to be much shorter than the 1958 film at 160 minutes long. While the narrative is faster-moving, more and more complex action scenes have been included.

But this is where it falls down for me - the story of the 47 ronin hinges on a long and complex fight. The contemporary use of handheld camerawork made the action harder to follow, because it wasn't particularly good handheld work. I'd even say it's so 'loose' that it misses some of the action. This may be forgivable for viewers who know the story well, but it's a challenge for newcomers to understand what's happening. Handheld camera also intrudes into some slower dramatic scenes, further marred by wobbly zooms.

Swords of Vengeance is an epic showcase for the genre and the era, but the story deserves reverence rather than excess. It's worth seeing for the scenes that really work well, but it's not the best representation of the story.

The DVD from Adness has good subtitles, but the anamorphic 2.35 widescreen picture looks slightly too squeezed throughout.

A much fuller review of Swords of Vengeance here at Wild Realm, full of spoilers, as well as details of many other movie adaptions of the legend of the loyal 47 ronin.

YAJI & KITA: THE MIDNIGHT PILGRIMS (2005) - a surreal road trip

YAJI & KITA: THE MIDNIGHT PILGRIMS
(2005, Japan, Mayonaka no Yaji-san Kita-san)

Not a gay comedy. It's much, much more.

Some Japanese comedies like Swing Girls and Waterboys aim at international audiences with accessible 'universal' humour. The more offbeat comedies are primarily for a Japanese audience, full of cultural references, cameos and in-jokes. I assumed that Yaji & Kita was the latter, and was surprised that it was released on DVD in the US, especially with an upfront gay storyline. But this is a unique movie, that defies simple assumptions or categorisations.

It begins as a freewheeling comedy, with singing transvestites, a comedy baddie (Riki Takeuchi of Battle Royale II), and a gang of housewives who think they're watching a TV show. But then it turns darker and beautifully philosopical for a dramatic and very rewarding second half.


It begins with two samurai back in the Edo period (though they don't have swords). A surreal video-game dream and a ride on a motorbike soon shatter the period feel. Kita is a drug-addict with a loose grip on reality, so these anachronisms could all be in his head. But anything goes, as they embark on a journey across Japan to reach a temple where Kita hopes to kick his habit. Along the way, the more people they meet, the harder their quest gets, especially when both Yaji and Kita are holding back huge secrets from each other...

Early on, it's very episodic as they meet bizarre new characters in each town. I settled into just letting it all wash over me and assumed I was missing out on the in-jokes. But I did recognise Kazuo Umezu and Sadao Abe (Uzumaki, The Great Yokai War) acting more bizarrely than usual. But then the seemingly random events started to make more sense and a solid storyline started to emerge. It's ambitious and complex, and I appreciated one of the characters saying "I'm lost" during the climax.

The gay couple are central to the plot, but it's not at all intended for a gay audience. It's more like a running gag, aimed at a straight male audience, like the gay-themed plots and characters of South Park. Yaji & Kita are gay because it's a subversion of old Yaji & Kita films and stories. The script is an adaption of a cult manga, which in turn is based on an 18th century comic novel, previously adapted as a comedy in the 1920's and 30's.

The lead actors look a little uncomforatable with their intimate moments, a couple of scenes of mouth-on-mouth kissing (shown in the behind-the-scenes extras). But for the rest of the film it could just as easily be a buddy movie. While the gay relationship is initially played for laughs, it's never offensive, and the plot matures as it progresses. It's rebelling against the norm, along with plenty of irreverent nudity, swearing and even some punky rock. There's an early homage to Easy Rider as they jump on a familiar-looking motorbike.

It's misleading that Kita (Shichinosuke Nakamura, also seen in The Last Samurai) has been made to look so weird in the poster. I was almost put off, thinking he was going to be a stereotypical gay comedy character. He's sleightly built but not effeminate. His character is primarily a junkie. Effortlessly handsome Tomoya Nagase (TOKIO band member, also seen in Ring: The Final Chapter) expertly plays the good-humoured Yaji. Japanese pop stars-turned-actors seem to be far better at acting than the ones in the west.

I was surprised at how well the central characters are handled. But this is due to a hugely imaginative film-maker, Kankuro Kudo, a first-time director whose talents mature even during the film (which was shot in sequence). He's also a successful scriptwriter, responsible for the wondeful Zebraman and Maiko Haaaan! (also starring Sadao Abe).

Another surprise were the special effects, many of which are wild and eye-poppingly good, when they're detectable. According to the extras, post-production was done over two years, plenty of time to perfect them. Many scenes don't depend on effects but on inventive sets (like the seemingly endless house of shuttered doors) and expert lighting so carefully controlled that two people on the same set appear to be in different time zones.

Hard to categorise or define, I'm very glad that I've seen this, and look forward to more from the director.

Here's the Japanese trailer...

Media Blasters rightfully thought they had a cult classic on their hands and gave this a deluxe two-disc treatment. The US DVD is anamorphic widescreen, the English subtitles are carefully and humorously translated, and the extras disc includes an astonishingly honest 'Making Of' documentary, very different from the Hollywood style. It's are to see a director looking tired and distraught while watching a scene being filmed.

There are also enthusiastic reviews on FilmBrain and Twitch.

RED SHADOW (2001) - from the director of SAMURAI FICTION

RED SHADOW

(2001, Japan, Akakage)

Tragi-comedy ninja action in this homage to the beloved Toei series

I only started watching samurai movies relatively recently. After overdosing on Asian horror, I dipped my toe into a few other genres. I tried some Akira Kurosawa classics, like The Seven Samurai, but struggled to appreciate them. I found the more recent, realistic dramas The Hidden Blade and The Twilight Samurai more accessible and impressive. I loved the sword-swinging action hits Princess Blade and Azumi. Hong Kong's House of Flying Daggers and Curse of the Golden Flower are full of truly impossible feats, and tremendous eye candy, but I don't feel the need to catch every epic. The same goes for the huge backlog of samurai and Chinese martial arts films through the decades. I'm looking for the more offbeat movies. The same way I prefer the westerns of Sergio Leone over John Ford. So I was very pleased to stumble upon Red Shadow.

It's a modern spin on a ninja hero. Based on a popular TV and film series produced by Toei Studios, who celebrated their 50th anniversary with this irreverent homage. The ninja heroes' ultra-athletic abilities are sent up with light, but not slapstick, comedy. While die-hard Red Shadow fans might not welcome this, there's also plenty of action and drama. The approach is much the same as director Hiroyuki Nakano's acclaimed Samurai Fiction (1998), also a modern update of the samurai genre.

Red Shadow focuses on three young ninja students who are part of a secret movement who use their special abilities to prevent civil war and unnecessary bloodshed. They can camouflage themselves in darkness, scale impossible walls, and defend themselves from any weapon. Red Shadow, Blue Shadow and female ninja buddy Asuka are given a mission to keep two clans from going to war. The three friends are in constant peril, and in danger of falling into a love triangle, in defiance of their ninja code.


If you liked Samurai Fiction, this is most definitely for you. Red Shadow is all-round entertaining and accessible. Jarringly, the soundtrack is techno music (which works for me), a technique Nakano also used in Samurai Fiction.

Composer/actor/pop star Hotei Tomoyasu makes an early cameo appearance and provides the magnificent electric guitar solo over the closing credits. I wish Tomoyasu was as famous in the west as his music - he wrote and performed one of the most famous tracks in Tarantino's Kill Bill: Vol 1.

I watched a blurry DVD from Hong Kong, which lost a lot of detail in the many night scenes, but there must be a better Japanese or US DVD edition out there for me to upgrade to for my next viewing.

For a taste of the action, here's a French trailer for Red Shadow on YouTube...

Also check out this promo for the 1960s Toei TV series, it has giant monsters!

KAIDAN (2007) - old ghost story from Hideo Nakata

KAIDAN
(2007, Japan)

Hideo Nakata is internationally famous for directing Ring (1998). But its huge success has been a tough act to follow. I’ve been entertained but not impressed by his other films. His early ghost stories were interesting for Ring fans (like Ghost Actress/Don't Look Up), but after his Japanese sequel, Ring 2 (1999), he avoided horror for a few years until Dark Water (2002). He’s been to America to direct the US sequel The Ring Two (2005) and IMDB reports he’s in place for The Ring Three in the future. Meanwhile Chaos, Sleeping Bride, and the recent sequel to Death Note, L: Change the World, maintain his success in Japan.

With last year’s Kaidan, Nakata sets himself up for a huge fall by telling a period ghost story. Not only is the mixture of samurai and vengeance demons a genre that was perfected in 1960s Japan, their last great international horror boom, but he's also used a similar name to the best of that genre. Kwaidan (1964), also known as Kaidan, one of the most famous of all Japanese films.

As always, I read very little about this film in advance, and wasn’t even sure whether Nakata had remade any of the stories from the original. I was then thrown by the posters and the DVD cover art, which made this new Kaidan look more like a comedy.

It starts with a storyteller talking to camera - I assumed the character would reappear to link several stories together. But no, this turned out to be one long story. There’s a hurried prologue which flashes back to the origins of a family curse - a sadistic landowner wipes clean his slate by killing a moneylender. These scenes rush through years of events very quickly, before the movie slows to a snail's pace. The long set-up doesn't start paying back until halfway through, when it starts actually being a horror story.


The crux of the curse was reused to death in the earliest Japanese horrors, a disfigured woman taking revenge on a man by possessing his wife. Nakata adds sex and fresh new scares, but they are scarce and not always logical. As the curse continues, many other victims get drawn in, but over the years (it’s a very slow curse) the story starts to drag and even gets repetitive.


There’s as much melodrama as horror, and even a scene more suitable for Seven Samurai. All this effort might have been worthwhile if it looked gorgeous, like the 1964 Kwaidan. The make-up, dresses and scenery all look suitably accurate, but not particularly interesting or eye-catching. Attempts to expand the scale of the visuals with digital FX of townscapes are unconvincing.

Elongating a simple, oft-told ghost story to feature-length, has left me pining for Nakata to only return to horror if he doesn’t combine so many genres in future.

Kaidan is currently available with English subtitles on a Hong Kong DVD release from CN Entertainment (pictured at top).

You're recommended instead to try Kwaidan (1964), currently available in the UK and US.

Update April 2009
Video Watchdog issue 148 has a huge article comparing Nakata's Kaidan to an earlier black and white version of the story.