Tag: history

The Woman Knight of Mirror Lake

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★★★
“She was a saint, a saint, I tell you.”

I find the line between “terrorist” and “freedom fighter” an interesting one, drawn not so much by any objective measure, but by the viewer’s perspective and historical hindsight. Qiu Jin is a good example: she fought against the perceived oppression – particularly of women – by the Qing dynasty in the early 20th century, and ended up getting publicly beheaded for her support of revolutionary factions, by the government of the time. Now? A heroine and a martyr, who has an official museum ‘n’ stuff. Funny how things work out.

The main problem here is a film that’s almost too respectful of its subject matter: this is less a historical drama than a hagiography, with Qiu made out to be a flawless figure: devoted mother, heroic revolutionary, marvellous orator, great martial-artist, etc. Personally, it came over more as a propaganda movie than providing much credible insight into a historical figure. The structure is mostly in flashback, Qiu’s life unfolding during her arrest and trial in 1907, going all the way back to childhood and her first ‘rebellion’, when she refused to have her feet bound and quizzed her father on why only boys went to school. She was still entered into an arranged marriage with Wang Tingjun (Chang), but that doesn’t stop her from fomenting proto-feminism, poetry, and, when Wang rejects the value of her work, upping and heading off to Japan for a bit.

I did like Huang’s performance a lot – she cuts a commanding figure and it’s certainly easy to see why people followed her. There’s also one really good fight sequence early on – during her arrest, she battles the arresting officer, trying to destroy incriminating documents. Unfortunately, I was left wanting more like that, with the remaining battles more “rebels vs. army” brawls that don’t really give anyone the chance to shine. Instead, it heads more into the poetic side of her life, with Qiu taking more of a back seat, action-wise, rather than being the focus. However, Anthony Wong is as fun to watch as ever, playing a local magistrate (even if this falls far short of the exploitation insanity in his earlier work with Yau, such as The Ebola Syndrome and The Untold Story: not necessarily a bad thing, for a mainstream audience!).

Interestingly, this isn’t the only film about Qiu of late, with the documentary Autumn Gem also available. I’m curious to see it – obviously, being a doc, its approach will likely vary, but as the makers noted, some stills certainly look similar… Perhaps it might take a slightly less-reverent approach to the subject, depicting a human being rather than a flawless heroine.

Dir: Herman Yau
Star: Huang Yi, Kevin Cheng, Dennis To, Anthony Wong

Legendary Amazons

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★★★
“Never mind the plot, feel the epicness.”

To be honest, I have very little clue about what was going on here. Oh, the basics are clear enough. After losing their patriarch General Yang Zongbao (Ren) in battle, a noble family opts to send everyone out to the West to defend the realm from the usual invaders. They’re almost entirely female, but all possess significant ass-kicking ability, with their own particular weapon of choice. These are listed, in rapid order, near the start of the movie, and I’d suggest taking copious notes, because you won’t be able to recognize them otherwise: one armour-clad woman looks very much like another when they’re in battle. It’d probably have helped if they’d had a number on the back of their helmets or something. Hey, it’s not like this is a model of historical accuracy to begin with.

However, I can’t really comment with any degree of certainty on the rest of the plot, because I’m just too unsure what was going on. There’s the General’s wife (Cheung), his son Yang Wenguang (Xiao), who isn’t much of a warrior and the matron who more or less runs things in his absence (Cheng). But quite why there are so many widows with mad martial arts skills is never clear: perhaps it would make more sense if I’d seen the seventies’ Shaw Brothers flick, The 14 Amazons, based on the same source material. Once battle is joined, you’re best off focusing your attention on that, as the plot threads that spin off are incomprehensible, irrelevant or both. The good news is, the action is copious, and generally as well staged as you’d expect from a veteran like Chan – though there is a somewhat disturbing amount of undercranking, which I haven’t seen used in such a volume for a long time.

If Cheng is perhaps the only one to stand out among the main cast – certainly making much more of an impression than Cheung – perhaps the best thing is the return, in a supporting role, of Yukari Oshima. Chan had previously directed her in the fine fluff film, Outlaw Brothers, and I vaguely recall he was directing her off-screen too (if you know what I mean and I think you do…) Oshima hadn’t been seen for more than a decade, and still looks the part, even as she’s now nearly 50 – a startling thought. While she’s not used here as much as I’d like, perhaps it’s a signpost to a comeback further down the road? We can only hope.

Dir: Frankie Chan
Star: Cecilia Cheung, Richie Ren, Cheng Pei-Pei, Xiao Mingyu

Gladiatress

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★★★½
“Not at all what you’d expect.”

I could hear Chris’s eyes rolling when the title came up – I can’t blame her, as the viewing immediately followed Virgin Commandos, whose mere name sent her scurrying off to Facebook poker. This, however, was not the soft-porn flick she anticipated. Instead, it’s a comedy, somewhat spoofing Gladiator, but its closest cousin is likely Carry On Cleo. That said, it’s undeniably gynocentric, with the three heroines about the only competent characters on either side.

It’s set in 55 BC, when Caesar (Vibert) made his first push into Britain. Resistance is led by warrior princess Dwyfuc (Mackichan), but when she is captured by the Romans, it’s up to little sister Worthaboutapig (Phillips) to rescue her. To do so, she must first enlist the support of their estranged sister, the even more warrior-like princess Smirgut the Fierce (Allen). After venturing across the channel (mistaking France for Rome), the trio are re-united only to have to fight undefeated Goth Schlaffwaffe in the arena. And even if they win, there’s still the little matter of the Roman armies, massing for another invasion attempt.

They were also the creators of UK sketch series Smack the Pony, and this is a similar mix of the mundane and surreal. While you do definitely need a particular sense of humour to appreciate this – if you don’t, this could well seem the worst film ever – it hit enough spots for us. Much of it is simply playing against type and expectations, e.g. Smirgut, who really looks like she could kick your ass (above right), and growls as a means of communication – then launches into a discourse on discovering Worthaboutapig is actually happy with her new life as a Roman slave.

The action is undeniably limited, being played more for laughs than excitement – the much-fabled ‘Celtic Kick’, turns out to be not quite what you think. Of course, this being British humour, there are also fart and willie jokes, but works because the characters have foibles and quirks to render them human. Smirgut has lost her inner warrior since motherhood; Dwyfuc is thoroughly unimpressed by the men available to her, and Worthaboutapig has long-standing self-esteem issues – unsurprisingly, really, given her name. The results are heroines who are likeable, as well as being brave and resourceful. I found the results very refreshing, with better-drawn characters than many bigger budget movies. That was definitely not what we expected from this.

Dir: Brian Grant
Star: Sally Phillips, Fiona Allen, Doon Mackichan, Ronan Vibert

Memoirs of a Lady Ninja

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★½
“The world’s first Christian soft-porn ninja film. And probably the last.”

This one is so obscurist I couldn’t even find an IMDB entry for it, despite a fairly high-profile release from Tokyo Shock. I can perhaps see why. It’s more an excuse for a series of coupling, mostly involving Hara, who has gone on to greater fame in the 3-D Sex and Zen movie. She plays a blue-eyed ninja called Hijiri. She gets frames for the theft of a scroll which can be used to gain immortality, and ends up falling off a cliff. She is nursed back to health by a Christian named Seitaro (Yoshioka), but their peaceful existence is threatened, as the scroll’s previous owner sends out minions to retrieve it, and another religious sect also vows to convert adherents to the ‘heathen’ religion, by any means necessary.

So many problems here, not least that no-one involved in this can fight their way out of a paper-bag, in particular Hara, who manages to block full swings from samurai swords with something better suited for opening envelopes. There’s a whole subplot about her mother also being a ninja, and abandoning the heroine for her own protection, shortly before she was killed, which has left Hijiri with issues. It is not very interesting, and serves largely to provide the McGuffin necessary for the final battles, when she has to take on the “Saint” at the head of the rival sect, and defeat someone who has read the scroll of immortality.

It deserves some credit for the blue-eyed ninja idea – Hijiri’s father was a Portuguese trader – and it’s got an unusual take on both xenophobia and religion, unashamedly depicting Christians as the good guys [while I’m agnostic, I appreciate seeing something you rarely get, even in the West]. However, it’s executed with such a complete lack of skill, as to have me reaching for the fast-forward through significant chunks [and I confess to actually using it in the sex scenes]. Despite my summary up top, there is apparently a Part 2 of this knocking about. It’ll likely be quite some time before I can be bothered to review it.

Dir: Jiro Ishikawa
Star: Saori Hara, Mutsuo Yoshioka, Akari Hoshino

Geisha Assassin

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★★★½
“Surprisingly decent, and much more assassin than geisha.”

Taking a minimalist approach to its plot, particularly for the first hour, it’s about Kotomi (Tsukui), who is on a quest to find the man (Kanai) who was responsible for killing her father (Nomura), a samurai who wanted to leave his sklls to her. To reach the killer, she has to battle her way through a series of lower-level minions, such as a pack of ninjas, a monk and Pocahontas [ok, that might be a stretch, but honestly, that was my first thought on seeing her]. However, after she has fought her way past these henchmen and henchwomen, to reach the boss level, she discovers that things might not quite be the way she always perceived them.

After a series of Japanese films where it seems the experience most required by the lead actress involved modeling bikinis, rather than combat, it was pleasant to discover Tsukui appeared to know her stuff. This is apparent, because Ohara, for the most part, also knows his, keeping the camera an adequate distance from the action, and allowing the battle to flow across the screen without excessive edits. It’s particularly impressive in the fight between Kotomi and the monk, where one shot in particular is remarkable for its length, approaching early Jackie Chan levels. It makes sense that Ohara also worked on the action in Onechanbara, another solid genre entry.

It’s not without mis-steps: the lighting is occasionally crappy, and the film grinds to a halt at the end for a massive glob of exposition, just when it should be rolling out of control. This is significantly better when it keeps the whole “plot” and “acting” thing to a minimum, and concentrates on what it does best: Tsukui kicking ass in a wide variety of ways, ranging from surreal battles with zombie-like creatures who can detach their heads for use as weapons, or rolling around in the mud with Pocahontas. Which gives me an idea for an entirely new series of ‘Disney Princess’ movies, but I digress. Anyway, at a brisk 78 minutes, this doesn’t waste much time, and was certainly of unexpected quality and volume, as far as the action goes.

Dir: Go Ohara
Star: Minami Tsukui, Shigeru Kanai, Masaki Nomura, Nao Nagasawa
a.k.a. Geisha vs. Ninja

Les Aventures Extraordinaires d’Adele Blanc-Sec

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★★★½
“Indianette Jones and the mummy’s tomb.”

Good to see Besson back in the director’s chair. Outside of the kids’ Arthur series, the only movie he personally helmed in the 2000’s was Angel-A, but Besson has been delivering action heroines for 20 years. Most obviously with the hugely-influential Nikita, but also in The Messenger and, to some extent The Fifth Element and Leon. Here, he goes back to just before the first World War, where journalist Adèle Blanc-Sec (Bourgoin) is kinda like a proto-Lara, whizzing around the globe in search of adventure. She heads to Egypt to grab the mummy belonging to Ramses’s physician: she’s been working with Prof. Ménard (Nahon), who has discovered how to bring the dead back to life, and wants to use the arcane knowledge the mummy possesses to help her sister, who has been in a coma for five years. But Ménard, unwilling to wait, tests his powers on a prehistoric egg: the resulting pterodactyl escapes from the museum where it is housed, and terrorizes Paris. Detective Caponi (Lellouche) is on that case…

This is a light, frothy confection of a film, that cheerfully whizzes around, and is clearly not to be taken seriously. Witness the scene where Adèle attempts to ride the pterodactyl off to death row, where Ménard has been sent, after being deemed responsible for the beast’s carnage. “It can’t be more complicated than a camel,” mutters our heroine, and one senses some of the Gallic humour may have been lost in translation. What’s left to enjoy are the broader strokes: caricatures like a moustachioed detectives or a big-game hunter, a beautifully-constructed recreation of the period and a heroine who is decades ahead of her time. Adèle is supremely self-confident, feisty and unstoppable, and former weather-girl Bourgoin makes you really root for her. Oddly, the highlight is perhaps a tennis match with her sister, that is simultaneously funny (it starts as a traditional 1910 women’s tennis match and ends up…not), tells us about Adèle, and terribly tragic.

More of that would have been welcome, as the film is too breezy for its own good, with none of the other scenes packing any emotional wallop heavier than a feather pillow. That’s a shame, as Besson has shown himself more than capable of that – maybe all those kids’ films have softened him? As a result, what you have here is something that’s a cinematic crêpe: sweet and tasty, undeniably pleasant to eat, yet not the slightest bit filling.

Dir: Luc Besson
Star: Louise Bourgoin, Gilles Lellouche, Philippe Nahon, Nicholas Giraud

Ichi

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★★★
“Ichi the not-quite so much a killer as we hoped.”

This unofficial spin-off from the Zatoichi series had us wondering if there’s a Japanese studio version of The Asylum out there – the people who specialize in knockoffs of popular films, including such classics as Snakes on a Train and Sunday School Musical. We’ll cut the makers of this some slack, since we’re of the opinion that all action films are improved with a heroine in the lead. That’s the main switch here: Zatoichi becomes Ichi (Ayase), a blind swordswoman and entertainer, who is roaming the country in search of the man she believes is her father. She is quite capable of taking care of herself, but the resulting trail of bodies is blamed on travelling companion Tomo Fujihira (Ôsawa), who becomes bodyguard to a town under assault from a gang, led by Banki (Nakamura). Unfortunately, since he accidentally blinded his mother, Tomo is unable to pull his sword from its scabbard, and the Banki gang are ready to wreak revenge on him for the members killed by Ichi.

The main problem is that Tomo is the focus of the film more than Ichi. This is somewhat understandable, since Ichi takes “stoic silence” to much the same level as the corpses she leaves behind. We get some fragmentary glimpses of her past, and what makes her the way she is, but as far as her current personality goes, she’s never going to be accused of talking too much. Or at all. Making matters worse, during much of the climactic final battle between the Bankis and the townsfolk, Ichi is nowhere to be found. We’d been hoping for something like the climax of Azumi, with her slicing and dicing her way through a host of bad guys. Ichi had showed a nice economy of effort early on, maintaining a close to 1:1 ratio of slashes to kills (and never having as much as a hair out of place), but it turns out Banki has dealt with her style before, hampering its effectiveness.

On the plus side, it’s very-nicely shot, and as sidekicks go, Tomo is an amiable character, sliding from comic interest to love interest to tortured-hero interest with ease. This is as much a case of managing expectations as anything. It’s a solid samurai drama, and if it had been called Tomo, we would likely have been less disappointed in the way the film concentrates on him. Admittedly, if that had been the case, we probably wouldn’t have bothered getting a copy…

Dir: Fumihiko Sori
Star: Takao Ôsawa, Haruka Ayase, Shido Nakamura, Yosuke Kubozuka

Reign of Assassins

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★½
“I liked it much better it the first time, when it was called Mr. and Mrs. Smith.”

The most disappointing film of 2010? I went in with huge expectations, based on reviews that said, “The best swordplay film since Crouching Tiger, Hidden Dragon..” O RLY? I know Crouching Tiger. Crouching Tiger is one of my favourite movies. And Reign of Assassins, you’re no Crouching Tiger. It’s a confused, poorly-shot mess that proved a struggle to endure and a challenge to stay awake, right from the opening lump of introduction. Stick with me for this synopsis. The remains of a Buddhist monk, split in two, are said to turn whoever has them into a kung-fu master. The Dark Stone gang, under the Wheel King (Wang), want to possess them, and get one half, but gang member Drizzle makes off with the body parts, undergoes plastic surgery that turns her into Michelle Yeoh and takes up a quiet life as a fabric seller. She meets and marries Jiang Asheng (Jung), until her secret identity is revealed in a bank raid, and the Dark Stone gang come after her again. However, turns out Jiang isn’t who he seems either…

While obviously, some suspension of disbelief is necessary when watching wuxia films, we’re expected to believe they had plastic surgery? And I thought it was supposed to take years off, not turn Kelly Lin (aged 34) into Yeoh (47). That kind of problem cripples the entire film, as does the leaden romance, with none of the passion seen in Tiger: instead, if we get Jiang offering to help close Drizzle’s stall when it rains once, we get it half a dozen times. Is she too dumb to get a damn canopy? Such thoughts interrupt your train of thought far too often, and as a result it fails to engage, with the bad guys a selection of one-dimensional stereotypes, such as Turquoise (Hsu), Drizzle’s replacement, who drops her clothes at the drop of…er, a cloth. Though her over-acting is at least fun to watch; we simply wanted the Wheel King to get some cough lozenges, his raspy voice being the most irritating since Christian Bale in The Dark Knight.

Much of this could be forgiven if the action was coherently put together, but it isn’t. Ang Lee was wise enough to step back, leave the camera rolling and let Yeoh and Zhang ZiYi do their thing. Neither director here exactly has a pedigree in the swordplay genre – and boy, does it show. Filmed with too many close-ups – it felt pan-and-scanned even though it wasn’t – and edited in such a choppy fashion, you have little clue what’s happening or who’s doing the fighting. Sitting through tedious relationship stuff, only to find the battles largely an incoherent mess, including mediocre CGI, was the final straw. Our interest, already flickering, was finally snuffed out.

Dir: Chao-Bin Su and John Woo
Star: Michelle Yeoh, Woo-sung Jung, Xueqi Wang, Barbie Hsu

Chanbara Striptease

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★★★
“If you ever wanted to see topless swordfighting, you’ll be in heaven.”

Lili is a devotee of Sayama Hashinryu, a deadly form of swordsmanship passed down from woman to woman. She goes through the initiation rite, which involves being blindfolded and given a drink which knocks her unconscious. She comes to, about three hundred years in the past, in feudal Japan, naked. When she gathers her senses, she rescues a local village-girl from some ninjas, but to cut a long story short, discovers in the process that when Lili exposes her breasts, they emit a pinkish glow, and she becomes far better at swordplay. Turns out the poor villagers are suffering extortion from the evil Lady Okini (Asa), so Lili turns into the Magnificent One [or Magnificent Two, if you know what I mean, and I think you do], while also falling for Hikoichi (Matsuda), the brother of the girl she rescued. However, it turns out that Lili is not the only one in possession of a supernatural bosom; Lady Okini is also so equipped. Battle cleavages are thus drawn…

It says something about this film that I am still not sure who actually plays the heroine in it. The DVD has no credits to speak of – though Manga Video did bother to translate the closing song lyric – and the IMDB doesn’t list anyone playing Lili. So, if it’s not Akanishi – and I think it may not be, from what I can tell on a quick Google Image search – then I’ve no idea [Hooray! Reader A.R. comes through, confirming it is Ruru Anoa who plays Lili]. Anyway, it’s every bit as silly as it sounds, and made all the more palatable by being played dead-serious by all concerned. Despite the copious nudity, it’s mostly very innocent, though there are a couple of sex scenes which do bring the film to a bit of a halt – the lead actress isn’t even all that pretty, in my opinion, though Asa has a nice “bad girl” thing going.

The action is fairly basic, but edited in a decent way, hiding the limited skills of those taking part, and it barely runs an hour – likely a good thing, as one suspects much more of this could be outstaying its welcome. Incidentally, “Chanbara” basically means “sword-fighting movie”; the original title translates as “Breast Chanbara,” which is certainly closer to the truth than the Manga title, as the film contains no striptease whatsoever. The same creators had previously done two Chanbara Beauty films, about a bikini-clad zombie-killer, based on a video-game; I think I’ll be fast-tracking those for future consumption, and may even be able to watch them with Chris!

Dir: Akira Hirose
Star: Ryo Akanishi, Ruru Anoa, Yôichi Matsuda, Mina Asa, Sasa Handa

Lady Snowblood 1 + 2

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★★½
Lady Snowblood

I’ll be honest: I was disappointed. I’d been looking forward to seeing this for a long while, but when we finally cranked it up on Monday, found it pretty dull. Truth be told, Chris was giving it loud Z’s by the end of the film, and I spent a few minutes closing my eyes and just listening to the dialogue. Which, since it was in Japanese, isn’t a good sign either. This was a surprise. A lot of people, whose views I generally respect, really like it, such as mandiapple.com, who called it “nothing short of a masterpiece.” Reading that, I had to check they were reviewing the same film. Because, personally, while its influence on Kill Bill is undeniable, that is a far more effective piece of work.

The plot in both is needlessly-convoluted, but it has much more of a negative impact here. Here is the story, in chronological order. In late 19th-century Japan, a mother sees her husband and young son slaughtered by a group of four con-artists; she is kidnapped and raped over a period of several days before being abandoned. She vows revenge, but is arrested after killing only one of the four, and sent to prison for life. There, she has a baby daughter, Yuki, spawned for the sole purpose of continuing the revenge. After the mother dies in jail, Yuki is released with another prisoner, and begins her training under a tough Buddhist priest (Nishimura). When she reaches her twentieth birthday, she leaves, to start her mission.

The problems here are multiple, not least that Yuki is just too cold. She might as well be an automaton, as she progresses on her vengeance, showing no emotion or feeling, and it’s hard to feel empathy for her. Yes, she is supposed to be a cold-hearted killing machine, but the performance here is devoid of all humanity. There’s nothing personal here either. Yuki is not the victim; the events in question occurred before she was even conceived, giving her no direct stake in proceedings – she is simply a tool, wielded from beyond the grave by a mother she never really knew. Contrast Kill Bill, where the Bride sees her husband-to-be slaughtered at the altar. As motivation, it’s far superior and resonates much more with the audience.

Then there’s the action, which is second-rate at best. It may have seemed cutting-edge when the film was released in 1973. Approaching forty years later… Not so much. There’s little sense that anyone – good or bad – has true sword skills, and the battles are largely brief and perfunctory. Admittedly, the arterial spray is enthusiastic – clearly the high blood-pressure epidemic affecting Japan is not a new phenomena – and looks very pretty on the snow backdrop which is frequently used. However, that can only go some way to overcoming the flaws in the characterization: one suspects the original manga, by Kazuo Koike (who also did Lone Wolf and Cub), perhaps had more room to be better developed in this area. And while we’re at it, what’s with the anachronistic jazz soundtrack, dating from a good half-century after this is set? Any sense of period atmosphere is completely destroyed, every time it cranks up.

What works is mostly the visual style, and it’s soundly put together from a technical aspect. Kaji, who plays the adult Yuki, is also solid enough, though was probably better – even if she said less! – in the Female Convict Scorpion series [I must get round to reviewing the excellent Jailhouse 41 here some time, though it won’t be till after we move house in October, and the DVD re-surfaces…]. I also liked the chaste purity here: Yuki doesn’t have any real relationships at all – she lives purely for revenge. However, I feel much the same way about this, that I did about the original Night of the Living Dead. While it certainly deserves to be respected for its influential place in the history of the genre, it feels as if the elements seen here have been revisited with greater success, by those who followed in its foot-steps.

Dir: Toshiya Fujita
Star: Meiko Kaji, Ko Nishimura, Toshio Kurosawa, Masaaki Daimon

★★
Lady Snowblood 2: Love Song of Vengeance

I was hoping that the second film would show me why this series has such a solid reputation, but was even more disappointed by the sequel than the original. There’s a striking opening, where Yuki basically walks out of an ambush, hardly bothering even to pay attention to the men circling her – except to slaughter them. Unfortunately, it’s pretty much downhill from there, with proceedings getting badly bogged down in even more of the political shenanigans that we saw in part one. Yuki is arrested and sentenced to death for her 37(!) murders, but is rescued by the chief of the secret police, Kikui Seishiro (Kishida), who sends her on a mission against nihilist Ransui Tokunaga (Itami), perceived as a threat to the order of things.

That’s because Tokanaga and his wife are in possession of a document that could seriously embarrass the government, by proving their involvement in the deaths of Tokunaga’s partners. When Yuki discovers this, she switches sides, though Tokunaga is arrested, tortured and, when he fails to give up the document’s location, injected with bubonic plague [interestingly, this is a decade before the biological weapons work of Unit 731 during WW2 became public knowledge in Japan] and dumped in the slums as a warning to others. Yuki teams up with Tokunaga’s estranged brother, and sets out to take revenge on the government forces responsible for his death.

This is set just after the Russo-Japanese war of 1905, and I’ve a feeling is meant in some way to parallel the political situation of the 1970’s. However, all such sentiment is entirely wasted on Western viewers watching it almost forty years after it was made. If you’re looking at this as an action movie, it plays out in a manner best described as turgid, with very sporadic action, to such an extent that it hardly qualifies as such at all – if it weren’t for the original, I doubt I’d be covering it here. Even the arterial gushiness seems to be less unenthusiastic and sprayful than previously.

On the other hand, Kaji’s portrayal is more emotionally-disengaged this time, and it’s even harder to develop sympathy for a character engaged in some kind of obscure political activism, rather than personal revenge. It’s what perhaps makes this one’s closest cousin V For Vendetta, with samurai swords. And, in case you were wondering, that is not meant to be much of an endorsement. I’d say you are far better off watching the futuristic remake, The Princess Blade or even the better entries in the Crimson Bat series than either of these films, and given my high hopes coming into these, based on their reputation, that’s extremely disappointing.

Dir: Toshiya Fujita
Star: Meiko Kaji, Juzo Itami, Kazuko Yoshiyuki, Shin Kishida