Of course that reserve goes out the window the second Rika and her girls throw on hot pants and go-go boots, break out their swords, and slice their way through a pop art club full of whimpering, worthless yakuza assholes. If Worthless to Confess lacks the nonstop insanity of many of the zanier entries in the world of pinky violence, it makes up for it with a finale that is off-the-charts awesome.
Suffice it to say that this is really one of those movies you just need to see before you can grasp just how wonderful it is. This is the sort of movie that gave birth to this website.
As an action film, Clans of Intrigue doesn’t disappoint, though it is heavier on discussion than some people might want. Chor Yuen’s work is the missing link between the classic wu xia films of the 1960s like Come Drink With Me and Temple of the Red Lotus, and the wildly over-the-top new wave swordsman films of the 1980s such as the Swordsman trilogy and Zu.
If I say post apocalypse film, then chances are, one of two things will pop into your mind. What you won’t think of, I’m willing to bet, is a gritty Japanese yakuza film set in the years immediately after the end of World War II, but that’s exactly what Battles Without Honor and Humanity can be construed as.
There’s a reason this emerged as the goriest of all Dracula films, and one of the goriest Hammer films, period: they had to cover up the threadbare production with something.
If you miss the days when horror and science fiction, while not exactly being intelligent, were at least willing to play with lofty ideas and theories and mix them together with charm and drollness, then by all means hop on board the Horror Express and please forgive me for statements like that.
Scream and Scream Again will have you giggling with confused and bewildered glee. It doesn’t matter if you have high, low, or no expectations for this film. It will manage to confound them all.
You know, back before they modeled themselves after their brainless FHM style spawns and were still at the very least attempting to inject some cutting edge material in between the shots of naked women with badly feathered 1970s hair.
As an example of the director’s mastery of staging fast-paced, action-packed swordplay drama, Magic Blade simply cannot be beat.
This time around it’s French bombshell Brigitte Bardot. Granted, constructing your movie around Brigitte Bardot wearing outrageous outfits (or nothing at all) and parading around a series of equally outrageously designed space-age pop sets is certainly not a bad thing.