I’ve been sitting here trying to think of an adequate way to describe exactly what it is that Sonny Chiba does and wears in this second film in Kinji Fukasaku’s highly enjoyable, highly influential Battles without Honor and Humanity series … Continue reading Battles without Honor and Humanity II
David Lynch’s tale of an aspiring actress becomes a surreal nightmare, a puzzle box of a film about the dark side of Hollywood played out against the sunny Los Angeles landscape. When I wrote about L.A. Confidential, I confessed that … Continue reading Mulholland Drive
“Demobilized officer, finding peace unbearably tedious, would welcome any excitement. Legitimate, if possible, but crime of humorous description, no objection.” — Bulldog Drummond, 1929 Basil Dearden’s 1960 caper film League of Gentlemen is a little bit like if, instead of … Continue reading League of Gentlemen
For over half a century, a small city in northern India has been the site of a seemingly endless war between rival crime families. Anurag Kashyap’s exploration of the town’s endless cycle of violence spans generations and wonders if anything … Continue reading Gangs of Wasseypur
Golgo 13 was (is) a long-running Japanese comic book aimed primarily at bitter guys in dead-end salaryman jobs who harbored daydreams of being tough-as-nails murderous sex machines but, in reality, were just nerdy guys reading a comic book on the … Continue reading A Gaggle of Golgo 13
In 1971, audiences were delivered the message that the freewheelin’ sixties were over, and so were the innocent fifties for that matter, when long-legged Clint Eastwood stepped onto the screen as “cop on the edge” Harry Callahan in the groundbreaking crime thriller, Dirty Harry. Other tough-as-nails cops and private eyes followed in Harry’s cynical footsteps, including Shaft, Serpico, and a guy named Popeye Doyle. This new generation of cop film was a marked departure from past crime films, where guys like G-Man Jimmy Stewart would walk proudly through spotless backlots dispatching ne’r-do-wells with precision shots from six-shooters balanced on their wrist. They were a return to the hardboiled, world-weary detectives of the 1940s. Callahan and his compatriots were angry, disillusioned, and cynical.
Bloody Tie is an interesting film because it sports all the polish and big budget precision typical of Korean action films but combines it with a frenetic, almost anarchic approach to filmmaking that makes the entire thing feel like it’s totally bonkers and off the rails even when it isn’t. The closest comparison I have for it is Myung-se Lee’s 1999 film, Nowhere to Hide, but you’d have to take that and mix it up with Goodfellas and a healthy dollop of Kinji Fukasaku’s Battles Without and Humanity, maybe with some Michael Mann on the side, to come close to the loopy energy of Bloody Tie. It’s a deliriously colorful, insane celebration of the very seediest and scummiest cops and drug dealers you can conjure up under Korean censorship laws. Even within those confines the movie achieves a level of sleaze I’m not accustomed to seeing in Korean films.