Author: Jim McLennan

Kill Bill, Volume 1

  By

★★★★½
“Here Comes ‘The Bride’…”

I don’t like Quentin Tarantino. In fact, every time I see his smug little face, I have to resist the urge to hit something. I do admire his talents as a scriptwriter, but think he needs someone else to rein in the pop-culture references and other self-indulgent excesses which pepper his work. That’s why I prefer From Dusk Till Dawn, Natural Born Killers and True Romance, and find Reservoir Dogs, and especially Pulp Fiction, very over-rated. I have no interest in hearing about the meaning of Madonna songs, or knowing what they call quarter-pounders in France. And don’t even get me started on his lack of ability as an actor…

There is also the nasty question of how much of what is praiseworthy, is actually Quentin’s own work. If you’ve seen the infamous Who Do You Think You’re Fooling?, which intercuts clips from Reservoir Dogs with very similar scenes from a Hong Kong movie made several years previously, City on Fire, you’ll know what I mean. I’d rather praise film-makers such as David Cronenberg, who do more than cobble together pieces “borrowed” from other people, no matter how amusingly post-modern the results may be.

 I say this, so you know I am no drooling fanboy, and am probably inclined to be more critical than most. But I have to say, the first part of Kill Bill is almost entirely satisfactory, recovering after a shaky start. When it opened with a quote from Star Trek (of questionable relevance), I feared this was a Kevin Smith movie, rather than the brutal action pic I wanted. But such tendencies were largely kept under control, perhaps because there wasn’t much dialogue in which to work smug references.

Instead, it’s the soundtrack which slides into self-indulgence. You can tell Tarantino grew up in the 70’s: he has rifled his CD collection yet again, mixing everything from the theme to The Green Hornet to spaghetti western music, with the overall effect leaden-footed and rarely more than painfully obvious. Yet there are more than enough wonderful moments to compensate for the odd bit of weakness.

Uma Thurman is The Bride – her character is never named (it’s given a couple of times, but beeped out) – a member of the Deadly Vipers Assassination squad operating under the eye of Bill (David Carradine, not yet seen). When she tries to quit, her marriage is interrupted by the rest of the team, who kill the groom, the priest and even the guy playing the organ. They think they’ve killed the pregnant bride. They’re wrong.

 Four years later, she wakes up in a hospital bed, with her child not to be seen. And, boy, is The Bride pissed. She vows to kill her four former colleagues, plus Bill. Volume One covers her awakening, plus the first two-fifths of her mission: Vernita Green (Vivica A. Fox), now a housewife and mother, plus O-Ren Ishii (Lucy Liu), now head of the Tokyo underworld.

She actually goes after O-Ren first; in typically maddening Tarantino style, he screws around with the timeline, and makes that the dramatic climax. Having seen her face Green, we know she survives O-Ren and returns to the States – so much for tension in the climactic battle. Okay, we know there’s another whole movie, and this is probably a moot point. But why bother? Why not just make Green her first target? That, and his tendency to go for a snigger at the most inopportune moments, is why I couldn’t let go completely, and love this as I wanted to.

Plotwise, there are certainly questions (spoiler alert!), though a second viewing might answer these:

  • How does Vernita Green, supposedly a top-rate assassin, manage to miss shooting The Bride from five feet?
  • After years in bed, The Bride’s legs are understandably weak: yet her arms are strong enough to drag her about?
  • What are the police up to for thirteen hours, while The Bride wiggles her toes in the parking lot of the hospital, after killing two people and leaving the corpses in her room?

The Ladies of Kill Bill, Volume One
[Click pics to enlarge]

Uma Thurman
 Lucy Liu
 Chiaki Kuriyama
 Daryl Hannah

However, there’s a beautiful, horrible animated sequence early on, depicting the early life of O-Ren, which proved so completely seductive, I gave up contemplating such trivial things as whether the plot made sense. I suddenly “got” the comic-book style the film was trying to achieve, and things like, oh, The Bride’s ability to bring a Samurai sword onto an airliner no longer bothered me. From then on, the movie became a delicious thrill-ride, albeit one of highly questionable morality – in many ways, that flashback also made O-Ren a more sympathetic figure than The Bride, who has (so far) no motivation for her career choice whatsoever. Liu also gets the best speech, after one of her underlings chooses to mention her mixed heritage. Fabulous stuff.

In contrast, The Bride is largely a machine for extracting revenge, particularly once she hits Japan, picks up a weapon from a master sword-maker (70’s icon Sonny Chiba, as namechecked in True Romance), then heads to O-Ren’s headquarters, where all hell breaks loose. Dressed in a Game of Death yellow jumpsuit, she takes out her enemy’s minions in ones, two, then tens and twenties, with so much arterial spray I suspect the switches to black-and-white and silhouette were as much to avoid censorship as a stylistic choice.

The trailers make this look as if it’s non-stop action, but it isn’t really – there are only a couple of proper set-pieces. The first (cinematically, if not chronologically for the characters) is between The Bride and Green, a brawl around the latter’s house. Despite imaginative use of kitchen utensils, the photography is all wrong, with way too many closeups, leaving it impossible to tell whether there’s any skill – or, indeed, what the hell is going on. I wouldn’t be surprised if this was one of the first things Tarantino shot, since it’s the kind of mistake you’d expect from someone like him, unfamiliar with shooting martial arts.

 However, this is more than made up for with the lengthy sequence in Tokyo. In particular, the battle between The Bride and GoGo Yubari (Chiaki Kuriyama), the Japanese schoolgirl who is mistress of a weapon that can kill you in a dozen different ways. It’s a pity that the excruciating Japanese band, The 5678’s, who are playing in the venue, don’t get taken out as collateral damage. [Ten seconds of them is at least nine too many – they make Shonen Knife sound like the Vienna Philharmonic Orchestra] Regardless, much credit is due to Thurman, Kuriyama and fight co-ordinator Yuen Wo Ping for creating a fight which is simultaneously hard-hitting and original, as well as being aesthetically beautiful.

It’s difficult to give a comprehensive review to a film without an ending – indeed, we’re only half way through the story so far. But what we’ve seen so far beats up 2003’s other Hollywood action heroines, the lame Tomb Raider and Charlie’s Angels sequels, without even breaking a sweat. Roll on Volume 2 early next year, and I’ve a sneaking suspicion we’ll be heading back to see this one a few more times between now and then.

[Thanks to The Reel Truth for tickets to the advance screening of this movie.]

Dir: Quentin Tarantino
Stars: Uma Thurman, Lucy Liu, Sonny Chiba, Vivica A. Fox

"Beats up 2003′s other Hollywood action heroines, the lame Tomb Raider and Charlie’s Angels sequels, without even breaking a sweat."

Aeon Flux (animation)

  By

★★★★
“State of flux”

Difficult though it may be to credit, especially for younger readers, there was a time when watching MTV could actually be interesting occasionally, back in the days when the station had its own animation division. The best-known product to seep out was Beavis and Butthead, but more interesting was Aeon Flux, perhaps the most dense and impenetrable animated series to reach a wide audience – even if the general reaction was “Eh?”

It debuted as part of Liquid Television, and right from the start, makes an impression with its lack of dialogue, weird design and astonishingly high body-count. The first series of mini-eps depicted the mission of an apparent secret agent, Aeon Flux, who comes within moments of solving the case of a mysterious epidemic, only to meet an untimely death. Undaunted, the second series had a variety of cases, whose only real linking theme was the repeated untimely death of Aeon.

aeonanThen MTV commissioned some 25-minute episodes, and things inevitably started to mutate. The characters started to speak (gasp!), but anyone who thought this meant it would become easy to understand was in for a shock – if anything, it added an extra new dimension of complexity. More of the setting was exposed: two countries, Monica and Bregna, of opposite character and once united, but now in perpetual tension. Extra characters were added, most notably Trevor Goodchild, the Breen leader, whose relationship with Aeon (a Monican “agent”?) is perhaps the central focus of the series.

“What I was trying to go for was a kind of ambivalence.” So said creator Peter Chung, and as ambivalence goes, there’s little doubt he succeeded – rarely has a show hidden its light quite as effectively. Very little is laid out for easy consumption, and each episode repays, and indeed demands, repeat viewings. Every action and line of dialogue sometimes seems to have multiple meanings.

If it has a weakness, it is perhaps too obscurist, and you wonder whether the show is quite as deep as it wants you to think. In addition, there are parts which, however stylish, just don’t seem to make sense. But Aeon is a fabulous character, who in the words of Chung, “is not someone who reacts to things. She makes things happen…she’s a force for change as opposed to the status quo”, and the combination of intelligence and malevolent brute force is immensely appealing. Chung again: “I think it’s undeniable that there’s a certain glamour or a certain seductive power of violence on film. Her whole design and the way she looks, the way she moves is engineered purely to evoke that attraction.”

A feature version of Aeon Flux has occasionally been hinted at (Liz Hurley would seem a leading candidate for any live-action version!), but at the moment seems somewhat unlikely, especially with MTV having now folded their Animation Division. Chung has moved on too, first to work on Phantom 2040, whose characters are clearly cut from the same cloth, in their spidery style, and then off to the Far East, for an animated series based on the life of, I kid you not, Alexander the Great. Whether anything created in his future will be as memorable, intense and downright impenetrable as Aeon Flux is surely in doubt.

Creator: Peter Chung
Star: (voice) Denise Poirier, John Rafter Lee

Barb Wire

  By

barb1★★★★
“Play it again, Pam…”

When I picked up this DVD, I could hear Chris rolling her eyes at me. And during the first five minutes of the movie – which consists of virtually nothing but Pam on a swing, getting sprayed with a fire-hose, silicone on display – this eye-rolling escalated to the point where I swear I could hear them whirring like the reels on a slot-machine. But by the end, even she had to admit that being a titty-fest – and there’s hardly a scene here without cleavage – doesn’t necessarily make this a bad movie…

For this is nowhere near as bad as its Gigli-like reputation would have you believe. Okay, for $18m, you might expect a bit more than a post-Mad Max setting, and you would certainly expect more from your screenwriter than a blatant steal from Casablanca – Ilene Chaiken should be drummed out of the WGA for claiming a story credit here. But this is an adaptation of a comic-book, starring Pamela Anderson (Lee, as she was then known): what do you expect? I venture to suggest that, if I was 15, this would probably be the greatest story ever told.

Barb Wire runs a club called the Hammerhead in Steel Harbour, one of the last bastions of freedom in 2017 America, where a civil war is ongoing. She funds the club by catching bail-jumpers and rescuing kidnap victims (inevitably, posing as a stripper or hooker), and has to deal with all sides to keep the venue open. But when her former lover Axel (Morrison) turns up, with his new wife, who desperately needs out, her position on the fence suddenly becomes untenable, and she has to choose which side she’s really on.

For those who know Casablanca, almost every element appears in that Bogart classic:

Element Casablanca Barb Wire
Setting Casablanca Steel Harbor
Era World War Two Second American Civil War
Enemy Nazis Congressional Directorate
Hero Rick Blaine Barb Wire
[A cynical expatriate who owns a bar and plays both sides]
Former lover Ilsa Axel
Now wedded to Victor Laszlo Cora D
Who needs… Exit visas Contact lenses
[Which let the bearer escape to safety]
Location Rick’s Bar The Hammerhead
Head Waiter Carl Curly
Chief Villain Major Strasser Colonel Pryzer
Top Cop Louis Renault Alexander Willis
Slimy dealer Guillermo Ugarte Schmitz
Mr. Big Signor Ferrari Big Fatso

About the only new facet is Barb’s blind brother (Noseworthy) – it’s a shame he doesn’t play the piano, though he does act as Barb’s conscience. This concept, turning one of the most beloved Hollywood films of all time into a post-apocalyptic cheesecake-fest, is worth the price of admission alone, simply for its surrealness and sheer audacity. What next? Britney Spears as the lead in a remake of It’s a Wonderful Life?

While one might question Pam’s acting talents, she is backed by a sterling cast of character actors: Steve Railsback, Xander Berkeley, Clint Howard, Udo Kier and Temuera Morrison. Each one hits the mark in their role, delivering lines with the correct level of enthusiasm. Kier, as usual, steals the show (his presence definitely helped soothe Chris’s eye-rolling), though Berkeley’s sleazy cop is perhaps the biggest surprise, especially if you’re only familiar with him as Jack Bauer’s boss in the first two seasons of 24.

Credit should also go to Debbie Evans, Anderson’s stunt double, since it’s fairly obvious that Anderson, while having an undeniable presence (albeit a presence severely diluted whenever she opens her mouth for more than a one-liner – not that this ever stopped Van Damme, Stallone, or even Governor Arnie), is not doing her own stunts. Despite this, the action in the movie is well above-average, with some really cool explosions and fights, notably Axel’s battle a long way off the ground.

Certainly, Barb’s psychotic opposition to being called “babe” seems somewhat hypocritical given how she dresses. And really, despite the, ahem, “inspiration”, the plotting is a lot less fluid than you’d hope, with scenes that come out of and/or go nowhere. Just keep an eye on the contact lenses – alternatively, a familiarity with Casablanca will help you keep things straight and ignore the irrelevant threads.

I admit, you could argue the entire story is irrelevant, and this is nothing more than an indefensible cocktail of eroticized violence. But those who live in such a moral vacuum as to require Hollywood to fill in the gaps, have got much bigger problems than Pamela Anderson’s breasts. If you can get past the first five minutes (which even I will say seem a lot longer), there’s no denying the effort expended here – albeit mostly on sex and violence, aimed at the lizard section of the viewer’s brain.

Yet curiously, actual sex doesn’t seem to take place in this universe at all, having apparently been replaced by tight-fitting costumes: claiming it’s a comment on life in a post-AIDS world is likely more credit than it deserves. Still, probably not a date movie (except in our house!), for this is trash, with hardly a thought in its vapid little head or 17-inch waist, and no agenda worth mentioning. Film doesn’t always need to be great art, any more than music; reprising the Britney motif, Barb Wire is equivalent to something like Hit Me Baby One More Time.

Perhaps the best comment comes from the Screen It website of parental reviews: “Topics to talk about – none”. There are times when this is a glowing recommendation for a movie, and at those times (probably a late weekend night, with a well-stocked fridge), Barb Wire fits the bill admirably.

Dir: David Hogan
Star: Pamela Anderson, Steve Railsback, Temuera Morrison, Jack Noseworthy

Birds of Prey (TV series)

  By

★★★½
“Wing and a prey-er.”

2002 should have been a great time to start a TV series based on a popular comic book – the biggest box-office hit that year was Spiderman, and with a host of other high-profile movies in the pipeline, comics had their highest profile in a long time. So what happened? Why was the show cancelled before Christmas, limping lamely along to the conclusion of its 13-episode run, the finale sacrificed against American Idol and The Bachelorette?

Weak writing, would seem to be the main reason – Jordan Levin, entertainment president of The WB, producers of the show, said, “We really could not find someone who could write that show”, describing its cancellation as the biggest disappointment in eight years. Certainly, the central concept was sound, and appealing, going by the decent ratings for the premiere: 7 1/2 million viewers, twice what the channel had for the same slot in 2001. But by the fourth episode, more than a third of those had been lost, and they kept falling – at the time of its demise, it was ranked 107th out of 118 prime-time shows.

The show did perhaps have an excess of back story to cope with. There’s Barbara Gordon (Meyer), who used to be Batgirl until she was paralysed by the Joker, and now calls herself Oracle. Then there’s Huntress (Scott), a.k.a. Helena Kyle, who was the daughter of Batman and Catwoman. There’s Dinah – no secret identity – the daughter of Black Canary, another character from the comics. Oh, and Huntress’s psychiatrist, played by Mia Sara, is really the chief villainess who runs crime in the town, though this thread was underwritten and never explored as it could have been. She all but vanished from the second half of the series, before an impressive return in the finale.

It seems almost the law that any series with action heroines must have three; see Charlie’s Angels and She Spies for further examples. Why this is, I don’t know, but it can cause problems with dynamics. I’d have been happy with just Huntress and Oracle since, personally, I felt the main problem with the series was Dinah. Never felt her role was really necessary as a recurring character (any similarity to Dawn in Buffy is, I’m sure purely coincidental) – in most episodes, she was little more than a spare wheel, with bratty tendencies which were more irritating than endearing.

It’s a shame, as both the other two were interesting and well-rounded characters, portrayed with skill and charm. Meyer, perhaps best known for her role in Starship Troopers does particularly well, given she is confined to a wheelchair for most of the show. Credit must also be given to Scott, who has to handle the majority of the action, and does so fluidly – the fight sequences are certainly well above average for network television, and hopefully those responsible will find work elsewhere.

The show was at its best playing with the conventions of superhero TV; I particularly remember a discussion over secret identities and whether you could have one without a mask. But the same episode also featured – like the WWE, just without the chocolate pudding – a fight club where evil men watched as women fought. Given part of the appeal of the series itself was exactly this, it was shooting the audience in the foot, and illustrates the apparent schizophrenia of the show.

It fell uncomfortably between stools, neither camp like the original Batman, nor dark and gothic like the comics, save for the last episode when death revealed its sting. Even if it had gone either way, it was hardly likely to appeal to fans of Dawson’s Creek, the show preceding it. This, and some vicious competition in the time slot, likely doomed it. In the end, though, Birds of Prey never became compelling TV. We’d watch one episode, then forget all about it for a week; there wasn’t the same sense of anticipation that better series create in viewers.

We also hated the shameless plugs for the music, though was thoroughly amused to see infamous Russian teen pseudo-lesbians t.A.T.u. provide the song for the final battle. Still, it deserved a happier fate than effectively being replaced by another one of those cheapjack reality show, High School Reunion. Anybody up for a movie in which a disgruntled actor storms a television station and kills the producers responsible for all this low-quality dreck? Pretty sure Dina Meyer would be interested…

Star: Dina Meyer, Ashley Scott, Rachel Skarsten, Shemar Moore

The Descent

  By

★★★★
“Six chicks with picks.”

Simplicity is under-rated, especially when it comes to genre films. The simplest horror movies often work the best, because they prey on widely-held fears: monsters (Jaws), getting lost (The Blair Witch Project) or claustrophobia (Below). And now, we get The Descent, which combines all three into one ball of nerves, pitting six female cave-explorers against things below ground. This will do for speleology, what Touching the Void did for mountaineering or Open Water for scuba-diving – and I don’t care if the cave, as one character here disparagingly says, “has handrails and a gift-shop”.

This is an interesting reversal by Marshall from his first film, Dog Soldiers, though both did have a group of people in a small location, facing an outside menace. Dog centered on a group of soldiers in an isolated farmhouse, facing a pack of werewolves – as you can imagine, testosterone levels were set to eleven on that one. Here, save one brief, opening character, all the roles are filled by women, which adds a different dynamic to things. Central are friends Sarah (Macdonald), Juno (Mendoza), and Beth (Reid), whom we first encounter white-water rafting, though it seems Juno and Sarah’s husband have their own leisure activity…

However, a year later, a car accident has changed Sarah’s life, and the trio re-assemble, with three other women, for a little light caving. Unfortunately, rather than the scheduled, well-known cave, Juno opts to take them into a newly-discovered one. This is unfortunate when a rock fall shuts off the entrance, and it becomes clear no-one outside knows where they are, so the women have to press on, into the depths. Sarah is convinced she sees someone nearby: initially, no-one believes her, but eventually it’s clear that there are inhabitants of the system, who are none too pleased to see them – except in a “nourishment” kind of way.

There’s no doubt, this is not exactly new – you’ll spot references to (if you’re feeling kind – “bits stolen from”, if you’re not) other films throughout, from The Thing through Aliens to Pitch Black. The first half is also, to be honest, a little sluggish. Marshall throws in some cheap “Boo!” moments to keep the audience awake, of varying effectiveness, but it’s only when the movie goes underground that this the edge of your seat becomes familiar territory. And once it does, the film barely pauses for breath until the final frame [The American version had a different, slightly-less bleak ending, from the UK version – having had it described to me, I’m curious to see it, though can’t say that I felt the US cut was significantly deficient].

The focus of the film is Juno and Sarah, with the rest of the cast largely reduced to cannon-fodder – though not badly-drawn cannon-fodder, I must admit. Juno is a near-Amazon, while Sarah has to become one, simply in order to survive, and that’s about the extent of the character development here. Demureness, beauty, the ability to bear babies, and all other typical “feminine” traits, are of absolutely no use whatsoever. The ability to drive your pick-axe, repeatedly, into the head of pissed-off Gollum wannabes, on the other hand… Yeah, that will help. But in another interesting contrast to Dog Soldiers, sisterly teamwork is notable by its absence. In the end, the women do almost as much damage on themselves, as the monsters.

The technical aspects are great, with set design and cinematography particularly worthy of praise. An uncomfortable feeling of being trapped in a dark, enclosed space has rarely been better captured; the only light present is what the explorers bring, and it gradually becomes less and less effective for their needs. It is occasionally chaotic, and a combination of limited illumination and the incidents that befall the characters often make it easy to lose track of who’s who. That aside, however, this is a seriously kick-ass film, and the prospect of The Descent 2 would be extremely welcome here (though particularly in the British cut, somewhat unlikely…). I’m thinking, in that one, our heroine could perhaps get talked into leading a team of marines back into the monsters’ lair… Stop me if you’ve heard that one before. :-)

Dir: Neil Marshall
Star: Shauna Macdonald, Natalie Mendoza, Alex Reid, Saskia Mulder

Amazons (1986)

  By

★★
“More Argentinian sword ‘n’ sorcery: mostly harmless.”

It’s amusing to see that even New Concorde – who released it – don’t seem to have watched the film, their website describing it as “about the legendary lost tribe of warrior women”. Er, no: the A word doesn’t actually get used in the movie, which is really about the quest for a legendary sword, the only thing which stands between an evil sorcerer and world domination.

There’s something irresistible about a film where it sometimes feels like characters were given names by pulling letters from a Scrabble bag – the sword of Zjiqkl – and for half the movie, we were prepared to swear one villain was called Al Gore. Sadly, it was Balgur. Ah, well, never mind. There’s certainly plenty going on, with plots, treachery, topless human sacrifice, bad blood and an alternate dimension largely realised with dry ice and strobe lights.

The action, unfortunately, sucks, though credit is due to Randolph for struggling with a lethargic snake, making it look like the most ferocious attack in cinematic history. Not sure the animals here were monitored by the American Humane Society either… Less bondage-heavy than the other Argentinian Corman productions, the nudity is still frequent. It’s kinda neat how no-one really makes a fuss about the warriors being female, but this is, at best, a passable waste of 80 minutes.

Dir: Alex Sessa
Star: Windsor Taylor Randolph, Penelope Reed, Joseph Whipp, Danitza Kingsley

Mission of Justice

  By

★★
“Ten minutes of good action, and a lot of zzzzzz.”

I hoped for more from a pairing of Lee and Oshima, each having done fine work individually, but as is often the case, the return declines, the more action heroines are crammed in. There’s no less than five here: two special agents (Lee and Oshima), their commander (Ng), plus the smuggler they’re after (Sharon Yeung, at a guess?) and her sidekick. Oh, Sophia Crawford turns up briefly too. Never mind the quality, feel the width…

I think it’s drugs that are involved here, but weapons, forged money and white slavery are also thrown in at various points. There’s also no honour among the thieves, as the middle part of the film proves, during an immensely tedious trek through the jungle. Lee and Oshima vanish without a trace, after a couple of good fights early on; the pacing then collapses entirely, until a ludicrous, excessive gun-battle at the end. Fortunately, the baddies have attended the Imperial Stormtrooper accuracy course – though since our heroines are supposed to be capturing their target alive, would have thought hurling an apparently infinite supply of hand-grenades might not be the best tactic…

Could really have done without the tone-deaf music and the lurid costumes, but I suppose it’s nice to see the disabled getting work. Sure there’s an excellent trailer to be made here, and when the ladies get to do more than wave guns around, this is pretty good – unfortunately, there isn’t enough of that, and the rest of the movie is almost embarrassingly weak.

Dir: Chun-Yeung Wong
Star: Moon Lee, Yukari Oshima, Tommy Wong, Carrie Ng

The Princess Blade

  By

★★★★
“Imaginative and well-executed modern samurai tale.”

The same source comic inspired Lady Snowblood, but plenty of original thought has also been put into this, set in an interesting alternate present, after 500 years of imposed isolation. A band of fighters, the Takemikazuchi, have been thrown out of work and now roam the country, killing for pay. One of their number, Yuki (Shaku), discovers their leader (Shimoda) killed her mother, and after confronting him, leaves. Except the group’s motto seems to be, “No one here gets out alive”… She finds shelter with Takashi (Ito) – except he is part of a rebel group with a similar philosophy, so a quiet, peaceful life is not on the cards for either of them.

The action, choreographed by Hong Kong’s Donnie Yen, is excellent, combining swordplay with martial arts to great effect. This is so good as to leave the bits between fights feeling dull in comparison, and as a result the film seems a little uneven and choppy. Also, Yuki’s lack of emotion makes her a somewhat unengaging heroine, though it’s both plausible, and reminiscent of Clint Eastwood’s Man With No Name. The use of CGI for backgrounds is very effective in creating this parallel world, and it’s interesting to see how Yuki and Takashi deal with their similar situations. Credit also to Sano as the rebel leader, for creating a villain nasty enough to have us hoping earnestly for his death. Very cool overall, and definitely recommended.

Dir: Shinsuke Sato
Star: Yumiko Shaku, Hideaki Ito, Kyusaka Shimoda, Shiro Sano