City Hunter (1987) [Anime Review]

City Hunter; or, Mokkori Mania
     There’s a chance you will celebrate your next birthday in hell.
Inspired by the Netflix live-action adaptation of City Hunter that came out this year, I decided to finally check out the glorified anime series from the 1980s that ran for four seasons and was followed by theatrical OVAs. My motivation for picking up the anime consisted mainly of action-packed vibes of the previously discussed movie, but also of the opinions of my dear MDL friend, SumiTheCat.

Release Info

Developed by: Toshio Nakatani, Masuo Ueda Voice actors: Akira Kamiya, Kazue Ikura

Language: Japanese Original Title: シティーハンター No of eps.: 51 (season 1)

Synopsis
Ryo Saeba is a sweeper for hire. He basically rushes to action as a detective, bodyguard, or enforcer for hire whenever the police are helpless. Oftentimes, he aids beautiful women simply because… he likes beautiful women. People in need get in contact with Saeba by leaving the XYZ mark on a blackboard at Shinjuku Station. Initially, Saeba operates the business with a friend and former cop Makimura, but when he gets killed by mobsters, his sister Kaori takes over as City Hunter’s partner.

Get Wild
I have to say that as a person struggling with anhedonia, it’s really hard for me these days to find an anime that would satisfy me and hold my disastrous attention span, but City Hunter does the job! I was quite surprised how brisk and freewheeling it felt. Obviously, the manga and the first season of the anime are from the 1980s, so they are products of their times, and it was quite easy to replicate the sense of Bubble Era, City Pop-charged mania of lavish lifestyle that consumed Japan back then.

With regard to the storytelling perspective, I invite you to check out the anime in its original, uncensored form. Yeah, it has a lot of adult jokes (it goes without saying that Ryo Saeba is a perverted man), but these are kept within the safe-for-work confines and not as direct or brutal as in, for instance, the Golden Boy anime.

Jokes aside, I’m a big fan of crime dramas (even to such an extent that once I used to watch Columbo and Detective Conan religiously) and City Hunter very much delivers on that front as well. Of course, the show is not about murder mysteries, but I like the premise of Saeba doing “bare minimum” detecting to uncover the baddies and serve them the comeuppance they deserve.

When it comes to the animation style, I love the bright colours this anime uses. They are vivid, but subtle, not flashy. As a result, the nightly world of City Hunter looks all the more inviting. The action stuff is of course wonderful, and it makes you wonder that the only rival worthy of Saeba’s skill would be Golgo 13.

The music itself is also worth mentioning. It’s not very City Pop (unfortunately), but the incidental bits are quite jazzy and catchy. However, I absolutely adore the opening theme Cool City and the closing theme Get Wild. It’s awesome that the Netflix crew used Get Wild for the closing credits of their adaptation.

Recommendations
All things considered, I am writing this review right after finishing the first season of the anime, but I really want to continue on watching and check out the whole animated domain of City Hunter. Maybe perhaps I will reach out for manga at some point in the future, but this is highly unlikely. Yeah, I definitely recommend this anime if you are looking for something light and fun.Overall score: 8/10

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A Night in Nude: Salvation (2010) [Film Review]

A Night in Nude: Salvation; or, Living in Disgrace
     Ren… you’re an angel!
It took me a while but, as promised, I return to the exploitation-charged world of neo-noir crafted by the late director Takashi Ishii. A Night in Nude: Salvation is a continuation of the original film from 1993, in which we see the return of the main protagonist played by Naoto Takenaka.

Release Info

Directed by: Takashi Ishii Starring: Naoto Takenaka, Machiko Kochi, Harumi Inoue

Language: Japanese Original Title: ヌードの夜／愛は惜しみなく奪う Runtime: 127 min

Synopsis
Jiro (Naoto Takenaka) continues his work as a handyman for hire, 17 years after the Nami Tsuchiya case. While working, he is caught by the police. They initially consider him to be a burglar, but after clearing the matter, Jiro is released. Guilt-ridden police officer Chichiro Anzai (Machiko Kochi) apologises to Jiro and frequently visits him at his homestead. In the meantime, Jiro is hired by a mysterious woman (Harumi Inoue) to help her find a precious watch in the woods. When Jiro finds the watch, it turns out there are remains of human flesh on it.

Angels and Demons
Well, perhaps my expectations were too high, but I was not as shocked as I thought I would be by this modern-day sequel. Indeed, A Night in Nude: Salvation is a NSFW picture that takes the exploitation factor to another level, but the engaging storyline takes centerstage.

Whereas the original film provided a broad commentary on the post-Bubble state of Japanese society, the sequel chooses to focus on people from the social margin. Naoto Takenaka’s character feels even more like a private detective (similar to Nic Cage from 8mm) who goes through many levels of human depravity to uncover family abuse, prostitution, and even worse practices.

The sequel indeed has the similar feel like the original 1993 film, but it is not a rehash. The only major similarity that stood out for me were the neon scenes. Personally, I think they symbolise in both films the peaceful emotional state the protagonist aspires to achieve when interacting with femme fatales, but inevitably he is unable to do so because femme fatales being femme fatales lead to their own damnation.

The subtitle “Salvation” is also interesting. Takashi Ishii woves into the story the motif of an angel; that is, the main heroine perceives herself to be such and desires to be saved, but the movie is in fact about Jiro’s salvation, about his return from the gutters to human life thanks to the sacrifice of an unlikely ally.

With regard to performances, Naoto Takenaka is absolutely amazing in the lead and has even more opportunities to show his acting range than in the original film. Machiko Kochi is equally outstanding and it is a real shame that she is not very recognizable in the movie industry. Harumi Inoue really overplays her part of a femme fatale, but I think there was no better way to portray such a complex character.

Recommendations
All in all, if you like neo-noir vibes and you do not mind the exploitation aspect, I recommend A Night in Nude: Salvation. In fact, this movie motivated me to check out more unusual roles done by Naoto Takenaka. As for the late director Takashi Ishii, I respect his courage to explore the dark depths of the human psyche.
Overall score: 7/10

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A Night in Nude (1993) [Film Review]

A Night in Nude; or, Life on Lease
      Whatever it is, we do it for you, so you don’t have to do it.
The late Takashi Ishii is one of the few Japanese directors that never won me over, mainly because of the fact that the genre he specialises in was never right up my alley. Erotic crime thrillers and straight up exploitation flicks are just too much for me, but I decided to give the director a chance when I found out about A Night in Nude, starring one of my fave veteran actors out there: Naoto Takenaka.

Release Info

Directed by: Takashi Ishii Starring: Naoto Takenaka, Kimiko Yo, Kippei Shiina

Language: Japanese Original Title: ヌードの夜 Runtime: 110 min

Synopsis
Jiro (Naoto Takenaka) is a guy for hire. He basically serves as a stand-in at events which nobody wants to attend, but he will do any kind of job for money. One day, his agency is visited by a woman called Nami Tsuchiya (Kimiko Yo). She hires Jiro to be her tour guide in Tokyo. The next day, Jiro receives a phone call instructing him to visit Nami’s room in a hotel and clean it up. When Jiro arrives, he discovers that there is a dead body in a bathtub…

The Days of Being Prosperous
A Night in Nude is, thankfully, more of a crime flick than pinku production; however, it does contain a fair share of NSFW sequences, especially in the third act. On the whole, the movie feels very neo-noir with its dense atmosphere, night scenes, and just breathtaking cinematography that captured the image of post-Bubble Japan. You could literally frame all the master shots from the film and hang them on your wall.

Come to think of it, the story of A Night in Nude is a social commentary on the situation of Japan in the 1990s. Jiro is a man without a purpose who lives in a country that desperately wants to keep up appearances of glamour and lavish lifestyle, but the whole thing is an illusion because they are living on a lease, borrowing stuff rather than paying for it.

This is very much the case with femme fatale of the picture, Nami, who desperately tries to breakaway from the roots in poverty and criminal underworld to finally become a respectable member of the fake society. However, what she does in order to fulfil her dream only consumes her morality, in a very Dostoevsky-like manner.

With regard to performances, it is a weird experience for me watching young Naoto Takenaka in action, but he effortlessly portrays a sympathetic guy who is knee-deep in an affair that is beyond his professional expertise. Kimiko Yo is absolutely outstanding in the role of a tragic woman who commits a crime. It is a real shame that this actress gets mainly supporting roles nowadays. Kippei Shiina is, unfortunately, unconvincing as a homosexual yakuza sidekick. Jinpachi Nezu is okay as the villain of the picture, but his screen time is limited.

Recommendations
All things considered, I do not regret watching this film. It was an interesting experience indeed, but I think the movie would have been better had the last 20 minutes got cut. Sadly, this final section of the film only washes over a satisfying resolution and provides only the shock value. Then again, cinematography in the film is just beautiful. Interestingly, Ishii made a sequel to this film 17 years later called A Night in Nude: Salvation (2010). So I may give it a try, just to see my boy Naoto Takenaka in noir action again.Overall score: 7/10

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Tiger Cage 3 (1991) [Film Review]

Tiger Cage 3; or, Beware of Femme Fatale
     What have I done? In this world, whoever gets the money also gets the power!
The third part of Tiger Cage is also the final instalment of Yuen Woo-ping’s action thriller trilogy. Interestingly, this particular movie is a sharp breakaway from the style set by the previous pictures. There is more emphasis on drama and economic espionage. Is Tiger Cage 3 a worthy conclusion of the saga about righteous police officers from Hong Kong? Let's see together.

Release Info

Directed by: Yuen Woo-ping Starring: Kwok Leung Cheung, Michael Wong, Sharla Cheung

Language: Cantonese Original Title: 冷面狙擊手 Runtime: 98 min

Synopsis
Inspector James (Kwok Leung Cheung) and his colleague Inspector John (Michael Wong) are investigating a businessman called Lee Siu Bong (Kam-Kong Wong). Thanks to James’ girlfriend, Suki (Sharla Cheung), who works for Lee, the police obtains documents which incriminate the businessman. However, Lee Siu manages to get the papers. He also kidnaps Suki and injures James. In the meantime, John is discharged from the force due to accusations of carrying out blackmail. The friends join forces in an attempt to get even with Lee. However, things do not appear to be as they are…

The Streets Are Hot
After seeing Tiger Cage 1 & 2, I was hopeful that Yuen Woo-ping will deliver yet another action flick with well-made choreography and fast-paced fights. However, Tiger Cage 3 seems to be more like a mash-up between Sam Raimi’s Darkman (1990) and The Bold and The Beautiful (1987) soap opera. Seriously, the main protagonist, Inspector James, ends up getting disfigured by the bad guys due to the documents of his sweetheart (just like in Raimi's film). What is more, the alliances between characters shift more frequently than Windows 10 updates. Towards the third act, you can get pretty confused in the maze of plot twists.

Nevertheless, if you are a fan of Sharla Cheung, then you will find her as the redeeming factor of this story. In fact, Tiger Cage 3 is all about Sharla and her sex appeal. In addition, each scene is an excuse to put her into a new 1980s dress. Honestly, I think that Sharla was doing a much better job in Stephen Chow’s comedies, whereas in Tiger Cage 3 her performance is mediocre at best.

What about the action? Don’t get your hopes, because the fight sequences are scarce. The only confrontations worth nothing are Kwok Leung Cheung vs. John Cheung showdown and the finale at a rooftop of a skyscraper. What is more, Michael Wong is criminally underused in this picture (Yet again, when counting his short appearance in Magnificent Warriors). Michael seems to be the only actor experienced enough to carry this movie, but weak script brings everything down.

That being said, I enjoyed the picturesque panorama of Hong Kong. Tiger Cage 3 is one of the rare movies which show how awesome the city’s downtown area really is. This place is truly one of a kind.

Recommendations
I recommend Tiger Cage 3 only for die-hard fans of Yuen Woo-ping. This movie is the only entry in the trilogy which was made without any solid idea. I guess Yuen must have really liked Darkman when it came out and he wanted to replicate those vigilante vibes. Try to refer to D&B company’s other productions instead, like In the Line of Duty series.

Overall score: 5/10

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Tiger Cage 2 (1990) [Film Review]

Tiger Cage 2: or, Midnight Run
     Do you even know where is the Caribbean Sea?
Director Yuen Woo-ping continues his series of dynamic thrillers about police officers with Tiger Cage 2, the movie that has absolutely nothing in common with the original Tiger Cage apart from the title and a couple of returning actors. This “sequel in name only” is considered by many fans of Hong Kong cinema as the cult classic due to relentlessly electrifying action set pieces and the presence of Doonie Yen as the male lead.

Release Info

Directed by: Yuen Woo-ping Starring: Donnie Yen, Rosamund Kwan, David Wu

Language: Cantonese Original Title: 洗黑錢 Runtime: 102 min

Synopsis
Mandy (Rosamund Kwan) is a lawyer at a prestigious company; however, she witnesses a brutal murder in the parking lot in the course of which a suitcase filled with money laundered by mobsters goes missing. The mobsters presume that Mandy may be in the possession of the money, so they go after her. Due to unexpected circumstances, the lawyer bumps into a hot-headed cop called Dragon (Donnie Yen). The two are framed for killing Mandy’s friend, Petty (Carol Dodo Cheng). As a result, Mandy and Dragon are on the run from the gangsters and the police. With the help of a fellow worker from the company, David (David Wu), the trio decides to find the money and clear their names.

Yes, Madam Goes Places
Tiger Cage 2 is a film produced by the famous D&B company and basically made by the same team of filmmakers who cooked up In the Line of Duty 4 (1989). Donnie Yen finally takes over the wheel as a leading man in this film and we see him battle such popular “bad guys” as Michael Woods and John Salvitti. Even Cynthia Khan herself makes a small appearance as Inspector Yeung. Apart from one nice chase scene, she does not have much to do in this film, but one has to appreciate her wardrobe (this casual white outfit is so slick!)

Yet, Cynthia Khan is not the only cutie who appears in Tiger Cage 2. Carol Cheng makes a surprise appearance as the love interest of the main villain, but she only has two scenes to play in. The real heroine of this picture is the beautiful Rosamund Kwan who portrays a standard damsel in distress with a baggage of foreseeable clichés. Nevertheless, it is a joy to see Donnie save her skin time and time again.

With regard to action, Yuen Woo-ping really tried to push the envelope with this project. In comparison with the original film, the fights are much bolder and bigger in scope. The sequences that stood out the most for me was the double-decker bus chase, Cynthia Khan vs. Leung Lam-Ling confrontation, and the epic sword fight between Donnie and John Salvitti. All of that coupled with synthwave-like music score by Richard Yuen amounts to a great viewing experience.

The only disadvantage of Tiger Cage 2 I can think of is a mediocre villain. Robin Shou is a very good actor but he is no match for the charismatic Simon Yam who dominated the first movie. I think someone like Andy Lau or Tony Leyng Ka-fai would have been a better choice.

Recommendations
If you like straightforward beat-em-ups, then I recommend Tiger Cage 2. In the Line of Duty 4 is a better cop film in my opinion, but this also a fine endeavour from director Yuen Woo-ping. Now, I’m off to check out Tiger Cage 3.

Overall score: 8/10

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Melancholic (2018) [Film Review]

Melancholic; or, The Bathhouse Job
     Let me ask you this. A Tokyo University graduate has to work at a big company and become happy?
The bathhouse setting appears frequently in Japanese movies. From Departures (2008) to Attamara Sento (2016), the significance of communal bath in Japanese culture is always emphasised. It is not only a place where one can take care of personal hygiene but also can experience physical proximity which, in theory, should influence emotional intimacy. Director Seiji Tanaka turns the symbolism of a bathhouse on its head in his outstanding debut feature called Melancholic (2018).

Release Info

Directed by: Seiji Tanaka Starring: Yoji Minagawa, Yoshitomo Isozaki, Mebuki Yoshida

Language: Japanese Original Title: メランコリック Runtime: 113 min

Synopsis
Kazuhiko Nabeoka (Yoji Minagawa) is a Tokyo University graduate who spends his days at home with parents. One day, he meets a high school colleague, Yuri (Mebuki Yoshida), at a local bathhouse. The girl, eager to see Kazuhiko more often, encourages him to apply for a job at the bathhouse. After an interview with the owner, Azuma (Makoto Hada), Kazuhiko gets the cleaning job together with another newcomer, Matsumoto (Yoshitomo Isozaki). Much to his surprise, Kazuhiko discovers that the bathhouse is used by the yakuza to execute people…

Stand By Me
The title of the film indeed reflects the personality of the main character. Kazuhiko is yet another by-product of the modern educational system, a person who does not know what to do in life. Consequently, director Seiji Tanaka turns Melancholic into a crazy coming-of-age tale in which a young man orientates himself towards a certain activity, yet this “activity” is actually cleaning the bathhouse from corpses.

The professional misadventures of Kazuhiko are yet another ingenious aspect of Melancholic. The dark comedy works extremely well and mixes effortlessly with the classic yakuza-centered thriller vibes. I really do not want to get into any spoilers, so let me say in the simplest terms possible that the film has major plot twists and really goes off the rails in the finale. Interestingly, even secondary characters receive strong character development in the third act!

With regard to performances, in my opinion, Yoji Minagawa did very well in the leading role, but the real star of the picture is Yoshitomo Isozaki as Matsumoto. He portrays his characters in an incredibly comic yet tragic manner. Additional shout out goes to the rest of the cast: Mebuki Yoshida as Kazuhiko’s quirky girlfriend, Makoto Hada as the stressed-out bathhouse owner, Yasuyuki Hamada as the mysterious Koreda, Masanobu Yata as the scary yakuza mobster, and (last but least) Stefanie Arianne as Angela, the mobster’s gaijin girl.

All things considered, I think it’s safe to conclude that the main theme of Melancholic is that of the everlasting generational conflict within Japanese society. Similarly to Masato Harada’s Kamikaze Taxi (1995) and SABU’s Postman Blues (1997), Melancholic also presents the viewers with a group of a young people who want to change their lives for the better, but the grumpy old-timers, who love the status quo, prevent them from doing so.

Recommendations
In spite of winning numerous awards at film festivals, including Best Director at Tokyo Film Festivals and Audience Award at Nippon Connection, I wish this movie could get greater exposure in the West. Thankfully, Third Window Films released Melancholic in dual format (Blu-Ray and DVD). Their region B edition includes a look at behind the scenes, Q&A with director and cast, Melancholic short film, and trailer. Overall score: 8/10

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The Journalist (2022) [Drama Review]

The Journalist; or, Checks and Balances
     After seeing how Ms Matsuda strives to give a voice to the voiceless no matter how difficult it may be, I became interested in becoming a journalist.
The Journalist a.k.a. Shinbun Kisha is a 2022 Netflix JDrama directed by Michihito Fujii and based on the director’s previous movie of the same title. The original story was inspired by a nonfiction book by Isoko Mochizuki, which centered on the Moritomo Gakuen scandal. I am always a sucker for political thrillers, so let’s see how this particular drama manages to penetrate through the red tape of corporate greed and media censorship.

Release Info

Directed by: Michihito Fujii Starring: Ryoko Yonekura, Go Ayano, Ryusei Yokohama

Langauge: Japanese Original Title: 新聞記者 No. of eps.: 6

Synopsis
Tokyo, 2019. The government prepares for the upcoming Olympic games. Anna Matsuda (Ryoko Yonekura) is a nonconformist reporter working for the Touto News network. Driven by personal tragedy, she is determined to expose corrupt officials and their shady deals. Matsuda investigates the case concerning a certain Eishin Academy. In the course of her work, the journalist discovers how IRS agents were framed by the government which desperately wants to protect the Prime Minister.

A Few Good Men
When I heard about the drama for the first time on social media, I mistakenly thought that it was going to be released in 2023, so I was pleasantly surprised when the show premiered in January, 2022. I am always up for a drama with the wonderful Ryoko Yonekura in the lead, but this role marks a departure from her iconic performances in Doctor X, Legal V, and The Negotiator.

What I mean is that The Journalist is not an over-the-top entertainment with epic moments and scenes played for laughs. This is a realistic story about a real tragedy. In the present-day political climate, when we see ultra nationalists and oligarchs accumulating power, it is important to stress the independence of free media and the right of ordinary voters to know the truth.

The first episode of the drama is very dire, to be honest. The viewers are presented with a lot of information, names, and characters. It is really hard to get into the thick of the intrigue, but it gets easier in episode 2. Ryoko Yonekura plays a fallen character. Anna Matsuda is by no means heroic or infallible. In fact, I would not even say that she is the main protagonist. The newspaper reporter relentlessly tracks down the people involved in the scandal and the narrative unfolds through their perspectives.

Hidetaka Yoshioka is freaking amazing as Mr Suzuki throughout the first three episodes, then the focus shifts to Shinbou Terajima as Mrs Suzuki, Go Ayano as Shinichi Murakami, and Ryusei Yokohama as Ryo Kinoshita. It is all about the determination of these few good people (their guilt and struggles) that makes this drama an interesting watch.

With regard to the supporting parts, it was great to see such veteran actors as Shiro Sano, Yusuke Santamaria, Tetsushi Tanaka, and Go Riju as the baddies. In my opinion, Yusuke Santamaria stole the show with his villainous performance. Although working mainly as a comedian, he proves once again (after Cold Case drama) how great a dramatic actor he can actually be. In addition, it was great to spot Satoshi Miki’s regulars: Ryo Iwamatsu and Eri Fuse in small roles.

Recommendations
All in all, The Journalist is an enjoyable slow burner. It manages to capture the greatness of several newspaper-oriented thrillers like Zodiac (2007) or Spotlight (2016), but the resolution in the final episode is a bit underwhelming. Personally, I believe that there is no potential to make a second season unless the writing team has some good ideas about developing the real estate/Eishin Academy intrigue further. I recommend The Journalist primarily because of the aforementioned performances and outstanding cinematography. Overall score: 7/10

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Woman in Witness Protection (1997) [Film Review]

Woman in Witness Protection; or, See no Evil, Hear no Evil
     It’s fine. It’s called acting.
The late director Juzo Itami always crafted his movies around the topical concerns which troubled society, and Woman in Witness Protection is no exception. This time, the main heroine (as always played by Itami’s wife, Nobuko Miyamoto) finds herself on the run from a vicious cult. As a matter of fact, Itami focused on the issue of religious cults as early as 1988 in A Taxing Woman’s Return, where an IRS agent investigates an insidious religious group that is suspected of tax evasion.

Release Info

Directed by: Juzo Itami Starring: Nobuko Miyamoto, Masahiko Nishimura, Takehiro Murata

Language: Japanese Original Title: マルタイの女 Runtime: 131 min

Synopsis
In Woman in Witness Protection, we follow Biwako Isono (Nobuko Miyamoto), a shallow and spoiled movie star. All of a sudden, she witnesses a gruesome murder of an anti-cult lawyer and his wife. In order to protect the actress from religious fanatics, the police provide her with specially trained witness protection officers until the trial. In the meantime, Biwako has to deal with various means of harassment and attempts to tarnish her public image.

All the World’s a Stage
To put it in simple terms, Woman in Witness Protection is Juzo Itami’s middle finger towards Aum Shinrikyo. By means of his usual black comedy style and brutal satire, the director exposes the fallacies of the cult and how it engages in domestic terrorism. The premise of the story is actually based on the real-life murder of Tsutsumi Sakamoto and his family. In addition, Itami can’t help himself but name Aum and Asahara in one of the interrogation scenes when police officers try to disprove the might of the glorious “Guru” by stating that he actually can’t levitate.

The movie is divided into appropriate sections (the murder, the investigation, the arrest, etc.) in order to present the sequence of events and how the law enforcement works. In the midst of all that we have Biwako Isono who is not entirely sure how she should behave as a witness, yet she has to maintain her acting profession while the cult is targeting her.

I believe that the closest equivalent of Woman in Witness Protection is Itami's Minbo (1992). That is, both films tackle controversial topics and have huge shifts in tone (comedic scenes are crosscut with dead serious sequences).

With regard to performances, Nobuko Miyamoto aces it once again by playing a highly energetic, outspoken, yet complex heroine. Words of appreciation also go to Masahiko Nishimura and Takehiro Murata as policemen protecting Nobuko’s character from numerous dangers. In addition, Masahiko Tsukgawa, another Itami’s regular, has a small but interesting role of Biwako’s love interest.

Recommendations
All in all, Woman in Witness Protection is a very clever comedy drama, but this is not to say that the film is free from ghastly sequences. In a Tarantino-like manner, Itami underlines the fact that nothing will stop religious fanatics from accomplishing their goals (even if it means threatening, bribery, or killing). It is quite a shame that this was the director's last movie before his untimely demise.Overall score: 7/10

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