There was a time that the name of Miike had been unheard before these ears and his films unseen before these eyes. But yeah, that moment of enlightenment came upon me and I was awoken.
The opening sequence of Dead or Alive was just mind blowing and, while the rest of the film was less ground breaking, there was enough sensationalism and gratuity to keep me hooked. The fact that this was a double bill, with its sequel following right … (read more)
Ginji the Slasher opens in 1953, with a background of archival military footage overlayed with a Japanese flag. The military images are slowly cross-faded with walls covered in blood. Finally, a row of dead bodies leads to the killer — Ginji Sonezaki, in a flash military aviator uniform, slashing his way through a number of guys with an expensive looking sword. There is blood everywhere — with every slash, Ginji manages to paint another wall red. At this point in … (read more)
After the quiet reflective tone of Sandy Lives, I was jolted into hyper reality by this Miike Takashi double trouble celluloid gross fest.
My only other dalliance with Miike is The Happiness of the Katakuris so in my well-informed and knowledgeable opinion, after viewing a mere three films by Miike-san, I have come to the conclusion that his films always open with a bang.
The first 10 min always kicks arse — in Happiness of the Katakuris, it … (read more)