Review: Ghost in the Shell: The New Movie (2015)

Ghost in the Shell: The New Movie (2015) is the feature-length follow-up to Ghost in the Shell ARISE, the third animated iteration of the Ghost in the Shell franchiseTheatrical roadshow poster (after the original films and the Stand Alone Complex era of the early 2000s). In Japanese, it’s called Shin Gekijōban’, which is akin to ‘the new movie based on an anime or television series’. This explains both the clumsy English language title and the reliance on characters and plot elements from ARISE that, enjoyable or not, prevents it from excelling as a standalone experience.

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Review: Cold Fish (2010)

When I first started blogging about Japanese movies a couple of months ago, I began backCold_fish in the 1950s with some of Akira Kurosawa’s best known work. Then I jumped ahead to the ‘60s and ‘70s for some cult classics. Now with Sion Sono’s Cold Fish (2010) we move into the modern era. I’m a big fan of other contemporary Japanese directors but Sono had completely passed me by, and this film was recommended to me as an accessible jumping on point for the work of someone called “the most subversive filmmaker working in Japanese cinema today.”

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Review: Outlaw: Black Dagger (1968)

Each time I fire up another movie from the Outlaw series, I’m struck by the question of Outlaw Black Dagger posterhow I’m going to find something meaningful to comment on in a review that I haven’t already said about one of the previous films. Then Outlaw: Black Dagger (1968) did something unexpected: it commented on its recycling of the same actors over and over again.

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Review: Stray Cat Rock: Delinquent Girl Boss (1970)

Continuing a dive into Meiko Kaji’s past performances I decided to check out Delinquent Girl Boss (1970), the first movie in the Stray Cat Rock series. Initially intendelinquentgirlbossposterded as a star vehicle for the popular singer Akiko Wada, from the second film onwards it would be Kaji who scored top billing, and Wada soon disappeared from the cast. Going into the film, I expected it to be a case of Meiko Kaji outshining the intended star – after all, by this point I had already been impressed with her performance in Lady Snowblood and was starting to see why she’s held in such high regard by genre movie fans. I figured that maybe Wada wasn’t able to carry the movie the way Nikkatsu wanted, but I couldn’t have been more wrong.

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Corrections!

I’ve been reviewing Nikkatsu’s late-60s Outlaw VIP series here on Kino 893, and like every other film I look at, I like to include the director. Unfortunately, I’ve just realised that I’ve been crediting the wrong man for every instalment after the first! Toshio Masuda directed Outlaw Gangster VIP, but the first sequel was actually the directorial debut of Keiichi Ozawa. The third film, Heartless, was from Mio Ezaki, and then Ozawa returned for the last three. I must confess, I only realised my mistake while reading the booklet included in the Arrow Video release.

It’s surprisingly difficult to dig up information on some of these films, so all credit to Arrow and the supplementary material with their releases. I’ll have to keep a closer eye on the credits!

I’m aiming to post a new review every Friday, and coming up, I’ve got the last Outlaw VIP movies, Sion Sono’s Cold Fish, and the first Stray Cat Rock movie, Delinquent Girl Boss. If anyone has suggestions not already mentioned on the Archive page, let me know in the comments!

Review: Outlaw: Goro the Assassin (1968)

Four films in and the Outlaw VIP series is beginning to creak. As I noted in reviews of hitokiri-goroprevious instalments, Nikkatsu put out no less than six Outlaw movies starring Tetsuya Watari in 1968 and 1969. The fourth, Outlaw: Goro the Assassin (1968), sees the titular anti-hero Goro Fujikawa as a drifter without a yakuza family who gets involved in yet another feud involving local criminals and innocent civilians.

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