Though I didn’t realize it at the time, Teleport City was created for one reason and one reason only: to eventually review Intrepidos Punks. And now our destiny is at hand
Man, as if krimi weren’t convoluted enough, Creature with the Blue Hand goes and throws identical twin Kinskis — Twinskis, if you will — into the mix.
A movie so ham-handed, misguided, and downright ludicrous that it should have been every bit as enjoyable as Chan’s previous movies. Unfortunately, whatever enjoyment might have been mined from the idiocy of the script is smothered under tons of truly horrendous melodrama.
Deodato’s short-comings as a director are made more obvious when you have to watch one of his films that doesn’t benefit from several minutes of controversial cannibal torture footage
Ito and his boss want Togawa to carry out a robbery that they’ve planned, involving an armored car shipment of racetrack receipts worth 120 million yen, and have hand selected a crew of four men to assist him in the task.
In the end, Underworld Beauty is perhaps not as singular a viewing experience as Suzuki’s later, more idiosyncratic masterworks like Branded to Kill, Tokyo Drifter and Gate of Flesh, but it is nonetheless noteworthy.
Sadhana would get her wish and be remembered as a heroine, even though the most indelible image to be taken away from the film might not be so much one of her heroic exploits as it would be her being whipped while wearing a white mini and go-go boots by a guy who looks like a Village People version of a medieval blacksmith.