City Of Violence Review

CITY OF VIOLENCE (2007)

When retired gang leader Wang-Jae is murdered, detective Tae-Soo returns to his hometown for the first time in ten years after leaving to become a detective in Seoul. Tae-Soo reunites with his old high school friends to say farewell to Wang-Jae, but feels that something is not right about his death. With his fists and temper at his side, Tae-Soo uses the power of the law to stir up a few hornet nests trying to figure out just what happened. For his troubles, Tae-Soo is beset by multiple gangs, all trying to keep Tae-Soo from finding out too much. But with his friend Seok-Hwan at his side, whose fists are just as merciless, Tae-Soo starts tearing through the lies, deceptions, and criminal activity setting up shop in the tourist district. And when he finally gets someone to talk, he learns that it may just be their mutual friend Pil-Ho behind the murder.

Ryoo Seung-Wan, who both directs and stars as Seok-Hwan, may not be pushing any boundaries with this 2006 action-drama from South Korea, but his style and enthusiasm more than make up for treading in safe waters. Ryoo, who has previously brought fan favorites NO BLOOD NO TEARS, ARAHAN and CRYING FIST to the screen, once again dives head first into a world of brotherhood, betrayal, and sacrifice, which are themes that should be more than familiar to those who have swam in the waters of South East Asian cinema. Using a series of flashbacks and storytelling, Ryoo gets all of the characters and their relationships set up quite quickly, but by no means skimps on their depth. Even given the film’s short time devoted to the character build-up, Ryoo shows his strength at giving the audience all the information they need to understand what is going on.

Beyond the characters, Ryoo shows once again his talent at bringing brutal street fighting to the screen with finesse and style. Though Ryoo and Jung Doo-Hong, who stars as Tae-Soo, are able to show off their tae kwon-do training, a majority of the fights are pure and simple brawls, with just enough choreography so the stunt team doesn’t kill each other. Ryoo explains in the audio commentary that they would just set up multiple cameras, have everyone fight in one huge take, and then edit the sequence later. This style allows for Ryoo’s nigh-trademark film speed adjustments and quick editing, while keeping all the characters and their actions easy to follow, and the tone of the fight consistent.

The two major fight sequences are simply jaw-dropping, and even if you may be slightly turned off by melodramatic friendships and betrayal, they are worth a rental at the very least to see. The first features Tae-Soo, in a possible homage to THE WARRIORS, as he fights solo against five gangs — including a breakdancing gang, a BMX gang, a gang of schoolgirls, a gang of schoolboys, and a baseball team with face paint — that each have their own unique uniform and fight style. The second sequence takes up the final twenty minutes of the ninety minute running time, which features Tae-Soo and Seok-Hwan fighting their way through stage after stage of fighters a la GAME OF DEAT or a martial arts video game in order to get to the “final boss.” Each stage features different fighting styles, different weapons and different enemies, with Ryoo changing up the accompanying music and camera work to keep your interest for every minute!

DEATH WISH (1974) Movie Review

DEATH WISH (1974)

Amongst the rampant crime rates, countless poor and piling trash, meek Paul Kersey (Charles Bronson) makes it day by day working for a housing development company and spending time with his loving wife. His peaceful life is destroyed though, when a gang of hoods breaks into his home and attacks his wife and visiting daughter. After the attack, Paul attempts to hang on to his life by keeping busy and constantly checking on his daughter's health. When the police are unable to apprehend the unknown criminals, Paul finds his thoughts turning to vengeance.

Taking to the streets at night, Paul sets himself up time and time again as easy prey for would-be muggers. But when the muggers make their move, Paul instead pulls his hidden gun and kills the muggers. His actions quickly spread through tabloids and he becomes a media sensation. The police begin a citywide manhunt for the vigilante, hoping to stop him from killing again, before the entire city populous churns into a murderous frenzy in the name of self defense.

Based on the book of the same name, DEATH WISH takes a very harsh and real look at what drives a man to turn to vigilantism as a way to cope with pain, loss, and a sense of helplessness. Director Michael Winner spends over half the movie building up Paul Kersey before letting him lose into the streets. Before Paul turns to the gun, he tries using the cops, turns to escapism as he flies to Tucson for a business trip, and even to the bottle. It is only when all else fails, and he sees his family crumble away forever that he finally loads his revolver.

The film itself, though running just over ninety minutes, tries to encompass a rounded view of vigilantism and how people cope as victims of crime. Paul's daughter runs from her pain within herself, and eventually becomes catatonic. Paul's son-in-law offers a cowardly "cut and run" excuse. The mayor even get a piece of the action when he secretly learns that mugging rates have gone down significantly during Paul's midnight outings. The police are even reluctant to arrest him, partially due to not wanting to create a martyr, and more so because they secretly admire what he is doing.

Charles Bronson, in arguably his greatest role, which would also typecast him for the rest of life, brings a depth and pain to the screen that is heartbreaking to watch unfold even when he finds solace in the gun. It is perhaps even more painful after he resorts to the gun. It is a slow transformation, taking almost thirty minutes, and incorporates not just an emotional range that allows the viewer to gain a true understanding and compassion for him, but takes the time to explain both his hesitation and proficiency with firearms. Bronson, though not quite the everyman as originally written in the book due to his stocky frame, is given weaknesses such as glasses to differentiate him from the more rugged Bronson characters in THE DIRTY DOZEN and ONCE UPON A TIME IN THE WEST. It is no mistake though that he is given a six-shooter, as he takes down the lawless thieves one by one like a gunslinger in the wild west.

The landscape that Michael Winner paints of New York is a frightening image, still to this day. Upon its theatrical release, it must have been a shocking sight for both urban viewers, and even more horrific to suburbia to witness what had be fallen the Greatest City On Earth. Winner pulls no punches here as he takes his time to paint the small details in his concrete jungle. His attack sequence in the apartment, a vital element to the story, is portrayed with an especially visceral touch as he shows the true and very real evil that lurks the streets. Taken as a period piece today, it is among the top films of its time to give an honest portrayal of just what New York City was like in one of its darkest times, and should prove as a warning of history repeating itself, should crime once again take a vice-like grip on the Big Apple.

DEATH WISH still elicits the same gut emotional reactions now as it did over thirty years ago, and is still a top contender in the vigilante subgenre due to the time it takes to hone the main character into an all too believable person in an all too real situation. He is flesh and blood and not invincible, and Winner takes time to show us that as well. It also remains relevant even in today's debates and conversations, as it brings up universal thoughts and conflicting opinions on how to deal with crime, criminals, and punishment. No one would ever want to be in Paul Kersey's shoes, but deep down inside us all, there is a part that would all too willingly lace up those shoes and walk the shadowed sidewalks if need be.

BLOOD BROTHERS Movie & DVD Review

BLOOD BROTHERS (2007)

In 1930s China, Fung (Daniel Wu) and two brothers Kang and Hu lead a quaint life in their hometown village. But with dreams of finding a better life, the naive trio head off to Shanghai with visions of success and wealth. There, Kang gets a job as a waiter in the Paradise Club, while Fung and Hu pull rickshaws. When Boss Hong, a shady movie producer who runs the Paradise, is caught up in a gang turf war, he sends Kang on a mission to rob a rival boss, who in turn brings along Fung and Hu.

Before the three friends realize it, they are swept up into Hong’s gang and turn to a life of crime and murder. Kang, a natural fighter, rises through the ranks quickly gaining power and respect. Hu, on the other hand, is unable to deal with the situation and turns to the bottle. Meanwhile, Fung becomes infatuated with LuLu, the club’s main entertainment attraction, who also happens to be Boss Hong’s girl. The pressure of the criminal underworld takes its toll on the trio’s friendship, but when Chen orders them to murder LuLu (Shu Qi) who has been having an affair, they will be forced to choose sides that will forever sever their bond.

Read my full review at The DVD Lounge!

INVISIBLE TARGET Movie & DVD Review

INVISIBLE TARGET (2007)

With a huge explosion, a bold heist in the middle of the day gets underway as a notorious criminal gang robs an armored truck in Hong Kong carrying millions. The bomb’s explosion and the ensuing firefight in the street leave scores wounded and several dead, including the fiancee of Detective Chan. After disappearing without a trace for six months, the gang returns just as mysteriously and begins killing those that were associated with the robbery. Chan, who has been patiently biding his time to get his revenge against the men responsible for his fiancee’s death, begins relentlessly pursuing the criminals through the underworld.

Meanwihle, a young rookie cop, Officer Wai, becomes caught up in the mess when it is discovered that his brother is now part of the murderous gang of thieves, and Inspector Carson lets the case get personal when the gang attacks his police division. Chan, Carson, and Wai create an unlikely and unbalanced alliance as they pursue the criminals, who they discover were double crossed after the robbery by the mastermind of the heist. The identity of the mastermind, who may just be a dirty cop, is unknown to even the gang’s leader, Tien, but he is going to discover who it is even if he has to destroy the entire police station to find out!

Read my full review on Geeks of Doom!

PTU Movie & DVD Review

PTU (2003)

In a single night on the quiet streets of Hong Kong, two policemen could very well have their lives changed forever. When the obnoxious and out-of-shape Sergeant Lo (Lam Suet) loses his gun after being jumped by a local youth gang, he panics at the thought of the consequences that follow. Sergeant Ho (Simon Yam), a friend of Lo’s and a leader of a local Police Tactical Unit, offers to help track the gun down with his team. As long as they can find it before the shift is over, they will not have to report the infraction.

The two go their separate ways, with Lo becoming more frantic as the hours tick away, even going so far as to buy a replica toy gun as a last resort, and coming under the thumb a local triad boss who Lo believes may have come into possession of the gun. The triad boss asks Lo to kill his main rival, and he will return the gun. Meanwhile, Ho and his team keep their calm and begin hitting up the low-end criminals of the area for information. And by that, Ho literally begins hitting up anyone who may have information as he dishes out some not-quite-legal persuasive techniques to get the information he wants. As the dawn hours slowly creep up, a meeting between the two rival triad leaders and Lo on Canton Street could lead to an all-out gang war, and Ho must decide to let the events play out, or step in with his team and intervene.

Read my full review on Geeks Of Doom!

PTU is currently available on Amazon.com

THE KILL POINT Television Series Review

THE KILL POINT (2007)

It was supposed to be a lightning quick and perfect bank robbery, as five military veterans lead by the codenamed Mr. Wolf (John Leguizamo) assault a Pittsburgh bank, steal the millions of dollars that have just been delivered, and head off into the sunset in the waiting getaway car. But when variables beyond their control foil their plot, they are forced to hole up inside the bank with the terrified hostages. As S.W.A.T. take their positions and await further instructions, so do the curious crowd and media reports take theirs. Amidst this confusion is Horst Cali (Donnie Wahlberg), a top-ranked negotiator who has never lost a hostage.

Wolf and Cali begin a methodical back and forth conversation, as each try to outsmart the other and anticipate the next move. But Cali's slow and easy approach as he tries to get one hostage out at a time becomes foiled when the FBI are brought in to expedite the procedure with a harsh no-nonsense plan to break down Mr. Wolf. Meanwhile, Pittsburgh mayor Alan Beck (Tobin Bell), whose daughter is one of the hostages, takes his own risky and very dangerous approach to ending matters and getting his daughter out alive. As the hours roll into days, tension and exhaustion begin to take their toll on all involved, it is only a matter of time before someone makes a fatal mistake.

Read my full review on Geeks Of Doom and pick it up on Amazon now!

ELECTION 2 Movie Review

ELECTION 2
(aka TRIAD ELECTION) (2006)

It has been two years since the events of ELECTION, in which Lok (Simon Yam) battled for and won the seat of chairman in the Wo Shing Triad Society. Now it is time for a new election, and while Lok's godsons all vie for the position, it is Jimmy Lee (Louis Koo) who seems to be a shoe-in for the position. The only problem is, Jimmy doesn't want the title and is currently working on becoming a legitimate businessman in China. Even more so, the power of the chairman title has gotten to Lok's head, and he plans to defy tradition and make a power play to be re-elected.

When Jimmy makes a trip to China to try to finalize his new business venture, he is arrested by the police and forced into a very precarious situation - if he wants to continue doing business in China, he must win the election to be chairman so that they will have an inside connection. With dreams of still going legit, Jimmy agrees to make his bid as the next chairman. Jimmy soon realizes though that becoming chairman takes a lot more than just throwing money in the faces of those that would vote for him, and that Lok has no intention of simply giving up the title. It boils down to a battle of wits and perseverance, and only the one that is willing to shed the most blood will survive long enough to make it to election night.

Johnnie To returns to continue the saga of the Wo Shing Society and excels in every aspect from his original film with Yip Tin-Shing and Yau Nai-Hoi once again returning to screenwriting duty with a much more grand and attention grabbing storyline. All of the actors of the first film, those that survived to the end credits anyway, also return to step back into their character's shoes with strength and confidence.

Louis Koo, who held a supporting role in the original, now takes center stage as Jimmy Lee, in a role that seems somewhat inspired by Michael Corleoni in THE GODFATHER, as he fights to become free of the criminal element that created him so that he can lead a legit life with his wife and soon-to-be children. But the harder he struggles, the more the society clamps their fist around him. Koo's performance is incredible, and adds an electric current to the conflicted turmoil found in the script.

Returning with his lust for power as Lok is Simon Yam. Yam works as a polar opposite to Koo with a determined cool and a bottled rage that was seen in such evidence in the original. His character becomes all the fearful with his zen-like calm, as we know that at any moment, he could simply snap if he felt he was in danger.

Johnnie To, who has had a string of triad-based crime drama over the past few years, reaches the apex with ELECTION 2. He finds a perfect balance of his tried-and-true stoic long shots and visceral exposure of true violence to give his fans, as well as inquisitive newcomers, a one-two combination that can not be beat. Given the more dynamic script this time around, To is able to bring a more varied emotional energy to the screen, and with both Jimmy Lee's tumble into the chairman position, and Lok's young son taking his first steps into the criminal lifestyle, To hones in on the darkness that permeates the story.

A special mention must be made to the soundtrack that underscores almost the entire film. With heavy rumbling percussion and moody deliberate guitar string plucking, the music simultaneously recalls the notions of a pre-battle build-up to a fight where there is no winner and inevitable post-battle blood-stained recollection. It captures the tone of the desperate and tragic story, and is a key element that makes the movie work as well as it does.

While ELECTION 2 certainly references the first ELECTION and makes for a much more fulfilling experience in its character development and mirror scenes, it is not necessary to see the original. U.S. distributor Tartan Asia Extreme makes a bold decision to rename it TRIAD ELECTION (though the film credits retain the original title) as a way to disconnect it as a sequel so that it may stand on its own. Though it echoes the blatant re-titling seen by Miramax/Dimension in the 1990s and countless distributors before them, in their defense they do seem to have the film's best intentions at heart.

FATAL CONTACT Movie & DVD Review

FATAL CONTACT (2006)

Naive mainlander Kong, who is currently in Hong Kong making some extra money as a Peking Opera actor, is offered a lucrative deal by the local triad to fight in an illegal martial arts competition. Although Kong resists at first, he takes the opportunity after being convinced by Tin, one of his fellow performers that he secretly has a crush on. His first fight is a one-kick success, and he soon becomes indoctrinated into the gang, in the process making friends with one of the younger underlings, Captain, whose goofy persona is more than meets the eye.

With each successful bout, Kong gains more recognition as he defeats the tougher combatants in Hong Kong, while his new boss falls under the scrutinizing watch of a rival gangster who also deals in gambling and underground fights. These two triad bosses start exponentially increasing their wages in the fights, with Kong caught in the middle and unaware of just how deep he has gotten himself. He soon learns just how far down he's gone though, when he becomes one of six martial artists in a three-on-three "Street Fighter rules" competition that could very well end his life!

Read my full review at Geeks Of Doom

ROB-B-HOOD Movie and DVD Review

ROB-B-HOOD (2006)

Master thief and compulsive gambler Thongs (Jackie Chan) along with his womanizing criminal partner Octopus (Louis Koo) find themselves smack in the middle of Three Men And A Baby when their boss kidnaps a newborn that will be passed on to the grandfather for a fee of seven million dollars! Thongs and Octopus, who have no experience with babies, must watch over the tyke for a week until the arrangement is all sorted out, during which time the pair have to take a crash course in caring for an infant, avoid the suspicion of the local authorities, and deal with pesky triad debt collectors. But when it is finally time to turn the baby over, will Thongs and Octopus be able to put aside their newfound parenting instincts in return for the big payday?

Under the direction of Benny Chan, who may be best known in the west for his previous collaboration with Jackie on Who Am I and the Gen-X Cops series, Jackie shines through with his usual charismatic self. Though it takes Jackie almost an hour to get into the first fight sequence, it is great to see that the 53-year-old actor can still pull off some incredible aerial feats and go toe-to-toe with martial artists half his age. The choreography, which has been set up by Jackie and his stunt team, is as fluid as always and once again utilizes unique set-ups to their full advantage. Though there are a few wire cheats used to keep the actor safe, Jackie still gets away with a lot more on his home turf than he ever would in an American production, including the avoiding a two car collision and dodging multiple speeding trains on a spiraling rollercoaster. Despite Jackie's desire to become someone known as a great actor, the stuntwork and action sequences seen here are still the number one reason to keep tabs on him.

Read my full review at Geeks Of Doom.

PERTH Movie Review

PERTH (2004)

Harry Lee is a middle-aged Singaporean who has been unable to keep up with the modern changes in society, and has been left behind by a world that does not care. His dream, which he can not help but talk about to anyone within earshot, is to emigrate to Perth in Australia. He has been saving and saving, but when he is laid off from his current job, he must reduce himself to driving a taxi to make ends meet.

It is as a taxi driver that Harry, along with his longtime friend Selva, is tapped by his old supervisor Angry Boy to become a driver for an underground prostitution trafficking racket. The high wage he'll receive will help him to get to Perth that much faster, and which can not come any sooner. For the city of Singapore seems to be closing in around Harry, and what little control he has over his life is quickly slipping away. Harry's first assignment is to become the driver of Mai, a Vietnamese woman who has come to raise money to pay off a gambling debt and support her family. Harry becomes instantly enchanted by her. When Harry's payday comes, he asks that Angry Boy use the money to buy Mai's freedom.

After a night of heavy drinking with Selva, Harry believes that Angry Boy has not kept his promise. In reality, it is his boss who says no to Mai's release, but Harry only sees it as Angry Boy being unfaithful to his word. In Harry's drunken stupor, he surmises that the only way to set Mai free is a brutal assault on the club armed only with his trusty machete!

For many people, the first real introduction to Singapore was in 1994 with the highly-publicized caning of Michael Fay for vandalizing cars. From here, we quickly learned of Singapore's tough enforcement on crimes and keeping the city clean. Director and writer Djinn (who real name is Ong Lay Jinn) attempts here to show that while Singapore tries to keep a very clean public image, the reality is, like any other big city, it has problems with crime, drugs, and a very real sex industry. His vision of Singapore is a grimy and gritty, literally shown via the quality of the filmstock. Many of the scenes take place within the shadow of night, while the few day scenes are smeared with an ugly hue.

PERTH suffers from being unavoidably comparable to TAXI DRIVER, in that Harry is an ex-soldier now making a living driving taxis, and eventually comes to the conclusion that by saving a prostitute, he will in turn redeem his own life. Unfortunately, PERTH suffers further with the fact that Harry is not likable in the least. He drinks constantly, he beats his wife, and there is nothing given to the viewer to allow a moment compassion to him for the way life has treated him. If anything, Harry's current life is wholly of his own creating. However, Kay Tong Lim, who portrays Harry, does give a very compelling performance and while you may not like Harry, watching the pathetic character at least is not boring.

The saving grace for PERTH, is that Harry serves as only a piece of paper to send a message written by Djinn to the world from Singapore. Through Harry, he is able to talk about the rampant consumerism that has taken over Singapore, the loss of importance on the individual, and above all to show the many blemishes of the city that are desperately attempted to by hidden, not least of which is the prostitution and sex trafficking ring that permeates through the poor sections, and the very cruel business that it is. If the film does find its audience though, it will most likely be due to the final scene, which as with TAXI DRIVER, crescendos in a brutal bloodbath, and while quick, is a great payoff after watching ninety minutes of Harry spiraling downward.

DOG BITE DOG Movie & DVD Review

DOG BITE DOG (2006)

After a savage assassin named Pang (Edison Chen) enters illegally into Hong Kong and hits his target, the police respond with equal savagery as they tear into the night to find him once they realize that he is a Cambodian that has been raised to do nothing by fight and kill for his very survival. On the team is Inspector Ti (Sam Lee), who makes the case personal and focuses his very being on catching the assassin after an initial negotiation attempt turns deadly.

As the manhunt continues, and with each time the assassin successfully alludes capture, the police resort to rash unprofessional means to capture him that border on criminal. Ti himself becomes an animal as he bursts through the most seedy and disgusting shadows of Hong Kong trying to find information and pummeling anyone who might have some information. When he finally reaches his target, after witnessing his fellow officers murdered, Ti and Pang make their shocking and jaw-dropping last stand that could only be "made in Hong Kong."

Read The Rest Of My Review At Geeks Of Doom

TOKYO DRIFTER Movie Review

TOKYO DRIFTER (1966)

Tetsu is a reformed gangster who is still loyal to his boss, Kurata. Kurata is in debt, and when the rival Otsuku gang attempts to swindle Kurata office building away from him, Tetsu attempts to be a middle man, but things go wrong and two people involved wind up dead. Tetsu decides to take the blame, leaving Kurata in the clear, and heads off to northern Japan to lure away suspicion. But Otsuku knows that Tetsu must die if he is to stay free, and sends his henchmen to kill him. Tetsu evades them, and heads to southern Japan, but Otsuku's connections are wide, and he is found once again. This time though, it is Kurata who betrays Tetsu and makes the call to kill him. When Tetsu learns of his boss' betrayal, he returns to Tokyo to see for himself, and prepares for one final showdown.

Mention the name of director Seijun Suzuki, the mastermind behind this jazzy gangster drama, and you will most likely either get a blank inquisitive look or hear lavish praise. The man is like Japanese version of Roy Lichtenstein or Andy Warhol, who uses pop as art and vice versa as he splashes bright colored sets and costumes, flashy (for the time) camerawork, and over-the-top melodrama across his silver screen canvas. Suzuki sees cinema differently then most do, but as a mere "hired gun" for Nikkatsu Studios, had to make due with slipping his unique ideas into his previous outings for them. These playful uses with light and with the characters did not go unnoticed, and for this picture he was commanded to play it straight. Instead he went even further than he did before.

In the world of TOKYO DRIFTER, the criminals wear red and blue suits that would not be uncommon in a Dick Tracy comic, and sunglasses that are never removed. Dance clubs, seedy dives, apartments and offices are all drench in color, not from paint, but from some mysterious and unknown light source, that change with the mood of the scene. In this world, not only does the actor who portrays Tetsu sing the haunting and melodic theme ballad, but the character Tetsu knows the theme, and hums it to himself incessantly. In this world, there is always someone who pops up at just the right moment to watch your back, whether it be just after the cuffs are slapped on, or in the middle of a brawl that takes place in, where else, but the Saloon Western, a bar styled with swinging doors, breakaway chairs, and burlesque dancers.

The opening and closing scenes of TOKYO DRIFTER are particular dissecting, which will help to note the depth that Suzuki intended, and that the color and style was meant to go beyond just 60's bubblegum pop inspiration. The opening sequence is filmed in gritty black and white, still a staple in cinema at the time, especially for lower budget b-movies. But within this scene are two flashes of color, before bursting into the full-color title sequence, as if to say the film is shaking of traditional black and white convictions. In the final shootout in a club, literally everything is white (which is the color of death in Japanese culture), and Tetsu has also changed into a white suit, which portrays Tetsu as not only the death of his rivals, but also that Tetsu has accepted that he is figuratively dead as well, and now with no place to call home is doomed to wander forever.

Suzuki and writer Yasunori Kawauchi attempted to inject the dying yakuza code within its characters, allowing those that still followed honor, loyalty gratefulness and forgiveness the chance to live, while punishing those who would betray, scheme, and undermine with death, all hidden beneath what would become trademark stylings. However, Nikkatsu Studios didn't see it that way when they were given a picture that they didn't know how to market. Suzuki went on to make two more pictures for them, before being fired for ignoring the studio's demands and continuing to make, in their words, incomprehensible movies. Incomprehensible? Hardly. It just took a few years for everyone to catch up with him.

THE CITY OF VIOLENCE Movie Review

THE CITY OF VIOLENCE (2006)

When retired gang leader Wang-Jae is murdered, detective Tae-Soo returns to his hometown for the first time in ten years after leaving to become a detective in Seoul. Tae-Soo reunites with his old high school friends to say farewell to Wang-Jae, but feels that something is not right about his death. With his fists and temper at his side, Tae-Soo uses the power of the law to stir up a few hornet nests trying to figure out just what happened. For his troubles, Tae-Soo is beset by multiple gangs, all trying to keep Tae-Soo from finding out too much. But with his friend Seok-Hwan at his side, whose fists are just as merciless, Tae-Soo starts tearing through the lies, deceptions, and criminal activity setting up shop in the tourist district. And when he finally gets someone to talk, he learns that it may just be their mutual friend Pil-Ho behind the murder.

The domestic release of The City Of Violence comes courtesy of Dragon Dynasty, a genre label under the newly formed Weinstein Company. The Weinsteins, who were once the targets of the seething wrath of Hong Kong fans for their Dimension releases of Jet Li and Jackie Chan films, which only featured English dubs and shortened versions of the movie, have finally come around and given the fans just what they want — original dialogue and subtitles, the uncut film, and plenty of extras. A quick look at the original CJ Entertainment extras looks like they've ported over the entire Region 3 release. As well as a Dolby Digital and DTS Korean soundtrack, an English dub is also made available on this DVD, for those that can't deal with "reading" a movie. [Read My Full Review at Geeks Of Doom]

THE UNTOLD STORY (1993) Movie Review

THE UNTOLD STORY (1993)

In Macau, the discovery of some severed limbs in the bay begin an investigation by the local inept police department. Through sheer luck, they discover clues that lead them to the Eight Immortals Restaurant, and the cook/owner Wong Chi-Hang (Anthony Wong). They believe that Wong may be guilty of killing the family, and when they discover the shred of evidence they need, they arrest him, and through unrelenting police beatings, Wong finally submits and tells his tale. But what he tells them, which includes the horrific murders of the family, and what he did with the bodies, is beyond anything they are prepared to hear.

Deftly mixing extreme gore, shocking brutality, the blackest of humor, and lowbrow comedy that can only come from Hong Kong, writer/director Herman Yau cooks up a dish that is the perfect recipe for cult status. Most shocking of all, though, is that the tale of Wong Chi-Hang is based on a true story, which Yau investigated extensively to stay as true to the real events as possible. With the then newly created "Category III" movie rating in Hong Kong (the equivalent of NC-17), Yau was able to push his shocks further than any director previously could, and portray Wong's psychopathic acts without much fear of censoring. The results could make the unsuspecting queasy, nauseous , disgusted, and maybe even all three at once.

Yau, though, in his wisdom, realized that these vile actions need to be balanced, and so he concocted a bumbling, moronic and sex-crazed police force to act as a relief. The result is a little jarring to those unaccustomed with the Hong Kong comedy style, but it does make the film a little easier to swallow (no pun intended) and does make for some great bits. Try to think Beavis, Butt-Head, Jim Carrey and John Belushi all trying to work together to catch Ted Bundy or Ed Gein. It is a blend that inconceivably works, as if this were the rule to crime-horror writing, rather than the exception.

Upon its release, THE UNTOLD STORY was taken quite seriously. While such a film would have been relegated to some obscure direct-to-DVD release if made in America, in Hong Kong it was given praise, and even netted Anthony Wong a Best Actor Award for 1994. His complete metamorphosis into the deranged killer is mesmerizing, and the cruelty his is able to conjure up, while over-the-top, seems natural amongst the unbelievable things that happens during the course of the film.

For the horror fans out there, the blood and guts delivered in here are enough for two films, and rest assured, realism is attempted as much as possible (pig flesh stood in for the human close-ups). This can really only be recommended for those that want to get a physical reaction out of your cinematic viewings, or for those whose taste in comedy is so twisted and demented that the likes of SEVEN and SILENCE OF THE LAMBS made you laugh. If even a little of this review has given you pause (it is even more disgusting than the review implies), skip this one and head on to the next. Don't feel bad about it. But for those of uneasily turned stomachs and seekers of the bizarre, see for yourself just what has been told. Rest assured, after viewing, you'll never forget what you've just witnessed. Oh, and you may never eat Chinese food again.

THE UNTOLD STORY is currently available uncut on VCD from Bloodwave DVD. It features the original aspect ratio, Cantonese audio and English/Chinese subtitles. The print used is a little beat up but is quite watchable, and the subtitles, even though burned in, are usually very easy to read.

Johnnie To's EXILED Review

EXILED (2006)

When Wo is discovered to be living in Macao, Boss Fay orders Blaze to kill him. Wo once attempted to assassinate Fay, and now he must pay the price. But Blaze and Wo were once friends, and Blaze is unable to pull off the job. Even more so, his friend Tai has pleaded for Blaze to spare Wo’s life. These three, along with their gangster friends Cat and Fat, conspire to pull off a highly risky assassination job of Boss Keung, and intend to give the money they earn from it to hide away Wo and his family. Their plot to kill Keung is quite tricky, and even the slightest deviation from their plan will alert Fay, and bring his henchmen down on them. And on top of all this, the clock is slowly counting down to the handover of Macao to the Chinese government, their lives and fates are up in the air as to what the future holds.

For fans of Hong Kong action with knowledge that goes past John Woo and Chow Yun-Fat, you have only to look at the laundry list of talent attached to this film to know that it will succeed on every level. Johnnie To directs, through his Milky Way Image production company. The script comes from the pen of two writers whose previous scripts include EXPECT THE UNEXPECTED, A HERO NEVER DIES, and BREAKING NEWS. And the cast is a perfect assortment of Hong Kong's classic gangster actors including Anthony Wong, Simon Yam, Francis Ng, Lam Suet, and Roy Cheung, which coincidentally is most of the main cast for Johnnie To's classic THE MISSION. [Read My Full Review at Geeks Of Doom]

THE RED QUEEN KILLS SEVEN TIMES Review

RED QUEEN KILLS SEVEN TIMES (1972) As little girls, sisters Kitty and Evelyn learned from their grandfather about their family legend - that every 100 years one sister would murder six innocent people before finally killing the other sister. Now an adult, Kitty has become a popular photographer, while it is believed that Evelyn has disappeared to America and her third sister Franziska cares for grandfather. It is now the anniversary of the legend, and in the dead of a January night, a woman dressed as the Red Queen materializes from the shadows, and murders the grandfather. Everyone immediately suspects that it is Evelyn, but Kitty knows that is impossible, for Evelyn has been dead for months, accidentally killed by Kitty's hands.

When Kitty's boss becomes the next victim of the red-cloaked killer the suspects list opens up, including Martin, Kitty's lover and next in line to become head of the fashion corporation. More importantly, the covered-up death of Evelyn may be threatened, as both Evelyn's boyfriend has been desperately searching for her, and eyewitnesses to the murders have described the killer have features that resemble Evelyn. As the bodies start piling up, Kitty becomes frantic to figure out who is using her family's past to eliminate those around her before she finds herself on impaled on the vengeful killer's knife.

From director Emilio Miraglia, who is best known for his other mystery film, The Night Evelyn Came Out Of The Grave (1971), this lesser-known, but wonderfully suspenseful Italian mystery-thriller (these are also referred to as giallo films) features all the necessary trademarks of the genre - brutally violent deaths, copious amounts of nudity, a swaying musical score and more red herrings than a fish market. The murder sequences in Red Queen are some of the more graphic examples in genre, including one that involves a wrought-iron spiked fence, and pushes the boundary of acceptable violence in 1970s Italy. Red Queen also adds some gothic imagery into its overall feel, which helps the film standout in comparison to its contemporary brethren.

Red Queen gives needed clues throughout the film, as well as offers several fake suspects to throw off the mystery film watching sleuth that will try to figure it out before the end. But as with many well-written giallo films, the story line here will have you guessing until the inevitable final scenes where the mastermind explains the entire scheme. Unfortunately, when everything is explained at the end, it brings in too many elements and is spoken far too quickly to fully comprehend. This is the movies greatest flaw, so viewing this on DVD will allow for the added benefit of rewinding and listening again to the explanation.

On a whole, this is a really good place to start for the introduction into the giallo genre, which has been receiving a well-deserved renaissance over the past few years on DVD here in America. Other easily accessible films to keep an eye out for include The Case of The Scorpions Tail, Your Vice Is A Locked Room And Only I Have The Key and What Have You Done To Solange?

POINT BREAK Review

POINT BREAK (1991)

For several years now, the Ex-Presidents have been robbing banks along southern California. FBI Agent Pappas (Gary Busey) has a wild theory that the bank robbers are actually surfers, and enlists his young, hot-headed partner Johnny Utah (Keanu Reeves) to go undercover as a surfer to see what he can figure out. His path quickly crosses with a local surfer, Bodhi (Patrick Swayze), a zen-like adrenaline junkie. Utah is soon taken under Bodhi's wing, and together with his surf buddies, take to the land, sea and air in search of the next rush.

Meanwhile, Utah has met and fallen in love with Tyler (Lori Petty) and ex-girlfriend of Bodhi. It is this personal connection that is Utah's downfall. Utah's investigation brings him to the conclusion that Bodhi and his friends are in fact the Ex-Presidents, and it is only then that Bodhi makes a psychotic move to kidnap Tyler and forces Utah to join his gang on the next heist!

The notion of "extreme sports" was just starting to creep into the national mind when this film splashed down in the summer of 1991, which captures the excitement of these events with a vigorous death-grip. Director Kathryn Bigelow, who proves wholeheartedly here that women can also bring action to the screen, uses point-of-view camera work to bring the viewer straight into the strange and heart-pumping world that is introduced here. From the foaming blue waves of SoCal to a magnificent and beautiful skydiving sequence, the viewer is right there with the characters. Bigelow also brings this same up-close-and-personal style into the bank robbing sequences, putting the viewer right in the middle of the danger. She would later go on to perfect this style in her 1995 success, STRANGE DAYS.

Keanu Reeves, as Johnny Utah, helps to dig himself into the surfer stereotype that would plague his early career. Here, he is still a weak in the acting department, and resorts to long gazes and clenched teeth to get the characters moods across. Reeves, and more importantly the character of Utah, does not come off as an FBI agent well, and although it is a minor point, it is a subconscious infiltration that brings the film out of the real world and into fantasy action land. Patrick Swayze, as Bodhi, brings a calm and yin-yang opposite to the screen. He has both a physical and mental presence that commands attention, which makes his philosophical ramblings throughout the film not only plausible but believable.

POINT BREAK is one of those films that can only be made, and more specifically made well, at the time when it was released. America was coming out of the muscle-bound 80's action films, and starting to look for something more sleek, while the energy of X-Games style events were starting to make it into mainstream media and grabbing attention of those unfamiliar with them. This is a marriage of those interests, and it serves as a basis upon which action films of the 90's were made, both in style and content. It is hard to imagine that this film is already 90's nostalgia, but alas it is, and as such is a worthwhile trip back in time to an age where awesome action films could be made without the crutch of CGI.

MY WIFE IS A GANGSTER Review

MY WIFE IS A GANGSTER (2001)

Eun-Jin is a high ranking enforcer in a local gang, and highly respected by all those underneath her. When word comes back to her that her long lost sister has been found, she rushes to see her, only to discover that she is in a hospital and dying of cancer. Her sister's dying wish is to see Eun-Jin married. Eun-Jin only wants to see her sister happy, and so she orders her subordinates to find her a husband. She also, quite unwillingly, subjects herself to wearing make up and a dress, which feels to her as foreign as it would be for a man to wear the same thing. After one failed attempt at a blind date, she meets Soo-Il, when she is attacked and he comes to her rescue. Soo-Il is so thick-headed in his chivalry, that Eun-Jins gang realizes hes the perfect candidate for a husband. Eun-Jin proposes, and the two are married.

Eun-Jin, however, has no intention of actually being a wife, nor in disposing of her wifely duties. That is, until her sister states that she wants to see Eun-Jin become a mother. After an awkward lesson in seducing a man, Eun-Jin attacks Soo-Il in a sexual frenzy every chance she gets, until she finally becomes pregnant. However, the news is ill-timed, as the rival White Shark gang has been making attempts at taking over her turf. When one of her gang member's is stabbed in an unrelated incident, the information is misinterpreted and it is assumed that the White Shark gang is behind it. Eun-Jin sets off to get revenge, unaware of the tragedy awaiting her.

Korean social structure and gang operations are put on the chopping block in this fantastic action-comedy that uses role reversal to great success. Eun-Jin is not only dominant member of the marriage, she also takes on all the financial burdens and responsibilities that are traditionally the mans. The fact that she is also the leader of gang, who all address her as Big Brother (a term of honor and respect) also plays heavily into her unique position.

Much of the comedic flair is delivered through Eun-Jin, who has been a touch-as-nails gangster for so long that she has never had the time, nor the desire to be feminine in any way. Shin Eun-Gyeong, who plays Eun-Jin and has spent most of her acting career in dramas and horror, does not pass up the opportunity to let her latent comedic talents shine through here. Park Sang-Myeon, who plays the dim-witted Soo-Il, is perfect as the only man in Korea who is gullible enough not to realize his wife is a gangster. Park is no stranger to Korean comedies and has a natural timing in playing off of Shin's performance. The supporting cast all do a fine job in hamming up gangster stereotypes. There are several throwaway sequences involving these characters that do nothing to move the plot along, but they are still a blast to watch.

Though most of the film is a straight up comedy, the film itself is bookended by two fantastic action sequences. The opening of the film, is a battle in the rain in which Eun-Jin takes on an entire gang. This sequence is actually a story being told, and as such it is embellished with slow-mo camera work and wire assisted martial arts. Underneath the action lies the core of Eun-Jin's character, who is completely dedicated to her gang. The closing action fight finds Eun-Jin once again taking on an entire gang, only this time she is far from invincible. The fight choreography is by-the-numbers, but you can clearly tell that is Shin Eun-Gyeong performing most of the stunts, which adds to the intensity. In between there are several quick fight scenes as Eun-Jins gang encounters their main rivals, who are knuckling up to take over their turf.

This is Jo Jin-Gyu's directorial debut, and admirably balances the comedy, action, and tragic plot which serves as the engine that keeps the story rolling. The film is a rollercoaster of emotions, hitting the highs of comedic laughter in one scene, only to bring it down into a somber moment of pain and death, or an adrenaline kick of action. The surprising thing is that it all works, and seems to make perfect sense not only within the context of the film, but in the pacing and rhythm of the movie. For a director to pull this off during their debut, where so many others have failed, is truly a feat worth giving accolades. Whatever it takes, track down a copy of this movie and watch it. You'll be glad you did.

PEEPING TOM (1960) Movie Review

PEEPING TOM (1960)

Mark Lewis is a shy young man, who is always hiding behind either a camera at the movie studio he works at, or behind his small handheld camera wherever he goes walking. Recently, Mark has taken a further step in his voyeurism, as he leads women into a false sense of safety, and then films them as he murders them. Within Mark's huge home, in which lets out many or the rooms to his tenants, he has an impressive array of camera equipment, film developing stations, and projection equipment. He spends his free time watching his own movies, that is, until he meets one of his tenants, a young and beautiful girl named Helen. Helen's outgoing personality works as an opposite tangent to Mark, and the two start spending time together. Mark attempts as best he can to talk with her, though his introverted tendencies often thwart his attempts to show what he is thinking. The only way he can "talk" with Helen is to show her his films. Helen soon starts to learn just how Mark has come to be the way he is, while Mark starts to fear that he may be unable to hold back from showing Helen the true face of fear and terror.

Director Michael Powell, working from a script by playwright Leo Marks in his screenplay debut, takes a shocking and frightfully realistic view of a murderer in this character study that gives a depth to the history of the killer Mark, and how he has over years and years organically turned into a monster hiding behind a seemingly innocent face and soft-talking voice. The result is an unsettling dissection of the make-up of a killer, and much like the same year's PSYCHO, unknowingly set the ground rules of serial-killer suspense and horror, with its for-the-time raw and shocking murder sequences, the blending of sex and violence, and tense atmospheric buildup.

Marks' script takes a deep look into the psychological creation of Mark Lewis, with his obsession with voyeuristic filming and examination of fright in his victims stemming back to his father's work as a child psychologist, who used Mark as his constant subject and filmed him growing up. This is turn forced the audience to examine the often debated "nature versus nurture" aspects of humanity's villains, murderers, and hate-filled supremacists. Without Mark's father's interference and objective observation of his life, Mark would most likely have turned out to be a well adjusted adult. Bringing Mark believably to the screen was a vital part to making the film work. The part fell on the shoulders of German actor Carl Boehm. Boehm's naturally boyish looks, sympathetic eyes, and soft voice with just a hint of an accent created a harmless looking individual. He projects a deep and powerful performance that resonates still today in performances by those in roles where the murder is compelled or drawn against their will to kill, rather than having a desire to willingly kill.

Powell incorporates voyeurism onto the screen in a quite compelling way as he draws the audience into Mark's world. In the opening sequence, in which we are introduced to Mark and his first victim, we see most of the scene through the viewfinder of Mark's camera, as identified by a framing cross that cuts the entire screen into four quadrants. This shot is repeated multiple times throughout the film, whenever Mark is using his camera. Arguably, these are the most important shots of the film, as we are in a way seeing through Mark's eyes and what he believes to be the most important things worth remembering. Through these shots, we become active participants in Mark's obsession. However, when these shots are being played back on Mark's projector, with either Mark watching them, or showing them to others, Powell focuses his camera on the character rather than the projector screen. This plays especially important when Helen is subjected to Mark's horrific film collection. We watch her recoil in terror, but we do not know what she is watching, thus we become voyeurs to Helen's frightful emotions.

Halfway through the film, a police investigation subplot is introduced as Mark's victims are found and a correlation between the murders is discovered. Mark becomes intrigued with the police investigators, and films them unaware as they do interviews on the film set that Mark is working on. Mark fully believes that they will catch them, and Mark seems to want to be captured, even offering up evidence to the investigators without them realizing it. When Mark becomes a suspect, he is tailed and thus becomes the subject of voyeurism himself. It is a role reversal that works exceedingly well. Leo Marks' script gives the investigators some decent screen time, and their detail oriented attempt to solve the mystery would help to pave the way to the police murder mysteries later that decade.

Powell's final product is a visceral piece that was destroyed by critics, and generally hated by audiences not quite ready for such a personal introduction and relationship with a killer. The film essentially destroyed Powell's thirty-plus year film career. PEEPING TOM was well ahead of its time, and can be looked back upon now a groundbreaking entry into the modern horror thriller. The recent Documentary GOING TO PIECES even gave the film a proper nod as a precursor to the slasher. Before getting approval by the BFCC, many of the film's more grotesque shots were cut out and forever lost. The Criterion Collection has released the most complete version available, including a brief nude shot that was redone with the actress clothed for the American theatrical release. But whether it is the stigma of the title, or that the film is just too "British", PEEPING TOM has still yet to gain its proper place in the lexicon of classic cinema.

MEMORIES OF MURDER Review

MEMORIES OF MURDER (2003)

It is 1986, in South Korea. In a small village, a young woman is found raped and brutally murdered. The local police force is completely caught off guard, and have no idea how to handle the situation. Then another body is found, and they realize they are dealing with a serial killer, which they are completely unequipped to deal with. Detective Park (Song Kang-Ho, of SYMPATHY FOR MR VENGEANCE and JOINT SECURITY AREA) and his partner resort do what they do best - hauling in suspects on the slimmest of evidence and "interrogate" them endlessly hoping to get a confession.

When Detective Seo arrives from Seoul, he brings with him a more sophisticated set of police skills, and quickly dismisses the suspects captured based on a little real investigating. However, the damage has already been done, and the village citizens know all about the interrogation tactics being used to try and find the suspect, which makes their job even harder. As months pass, and other women fall victim to the killer, small yet crucial clues focus the police squad's eyes on a local factory employee. But they find in this suspect an adversary that will not submit to a few threats, and proclaims his innocence. Is this the man they've been after, or merely another faux-suspect that merely matches their shaky evidence?

Based on the true serial killings in South Korea that took place between 1986 and 1991, MEMORIES OF MURDER is a gritty, downbeat detective film that rivals SEVEN for its intelligence and character analysis. Director and co-writer Bong Joon-Ho (whose current film THE HOST is tearing up cinemas worldwide) carefully and slowly unfolds this tale that focuses on the pressure and stress of Detectives Park and Seo as they struggle against each other in terms of tactics and struggle to find common ground that will allow them to finally capture the killer. He uses subtle camerawork to capture the progressing story, and slips into a Cops-documentary style to get the more frantic scenes. This particular style culminates in a spectacular and spinning nighttime foot chase through the village.

Bong tackles some hard topics, as he focuses on the slightly-inept police force who simply want to find a suspect and close the case, the all-too-familiar interrogation room tactics used. These are some of the more disturbing scenes of the film, and certainly the most graphic in terms of violence. The film is decidedly anti-police brutality, as important and valuable time is lost as the characters take the easy route in kicking and torturing innocent suspects, which leads to more victims being killed. The actual killings are all done off camera, with only the aftermath shown briefly, which creates the huge grey area that the film lives in. Here, there is no black and white, and even the best intentions by the protagonists are bruised with bloodied knuckles.

Song Kang-Ho and Kim Sang-Kyung (who portrays Detective Seo) fully immerse themselves in their respective roles. While at first Park is the time-bomb cop who does what he needs to get results and Seo stays even-tempered and calculating, as the film progresses the dynamic roles slowly reverse. Park matures his style as he realizes what a real detective is supposed to be, while Seo becomes unhinged dealing with hopeless frustration. The character switch completes itself during the film's climax, as Seo falls from grace with a single pistol-whip while Park redeems himself as he finally puts his full trust in lab paperwork.

At over two hours, the film does take its time to get to each of its destinations. For those that have become fully acclimated to Hong Kong and Korean pacing, there should be little difficulty waiting out the slower scenes. There is little action to be had during the entire picture, and even the "adrenaline" pumped scenes barely get above a steady jog. This is 100% conversation-based cop drama. The only main problem, which is purely subjective, is the film's lack of time pacing and the immense criminal investigation. There are no dates given as the film progresses to present the length of passed time - the movie starts with the first murder in 1986, but no way to tell how many years into the investigation the film goes, nor is there any scope to the epic scale that the case covers. According to the film's trailer, over 3000 suspects where checked and thousands of police officers where involved, however the actual film give the assumption the suspects and police involved are centralized to the village area the murders take place in.

For Eastern Asian crime-and-investigation junkies, this is a no brainer to watch. Past that, it becomes a crap shoot. The film is not very enjoyable, due to the harsh subject matter, and if you enjoy your cops with a healthy dose of pulp-action this should probably be skipped. Suffice it to say, if you liked SEVEN and can take the grimmer episodes of Law & Order: Special Victims Unit, definitely keep this one in mind.