Japanese martial arts films have almost ceased to exist, with there being little more to the genre anymore than CGI movies or no-budget T&A stinkers. So a bunch of karate guys woke up one day and thought to themselves, “you know, maybe we should be the guys making karate movies.”
The dream of High Kick Girl was to take the Japanese martial arts movie back from the fumbling hands of CGI-heavy fantasy films and boob-heavy sexploitation stinkers full of AV idols flopping about and calling it karate, and return the martial arts film to the stewardship of people who actually care about it.
Lovestruck Sagawa arrives at the remote, spooky family mansion of his girlfriend Yuko, worried that she has sort of dropped off the face of the earth. He is shocked to learn from Yuko’s oddball mother that Yuko was killed in an automobile accident a couple of weeks earlier. The stunned Sagawa stays the night in the creepy old place, and during his time there he is visited by none other than his dead girlfriend.
Drac’s dialogue was choice, and the comic was full of half-naked vampire chicks, crossbows, cane swords, reanimated corpses, and bikers in furry lambswool vests and droopy mustaches
Samurai films have a curious knack for expressing compassionate, humanist ideals via soul-crushing bleakness and violence. One would be hard-pressed to find a bleaker, more violent indictment of the romance of the samurai — and the culture of violence in general — than director Tai Kato’s blood-drenched and aptly named Brutal Story at the End…
Release Year: 1957 Country: Japan Starring: Juzaburo Akechi, Namiji Matsuura, Shigeru Amachi, Hiroshi Hayashi, Akiko Yamashita Director: Goro Katano Original Title: Kaidan Honjo nanfushigi Alternate Title: Seven Mysteries Researching the history of Japanese yokai in cinema is a difficult task. At least, it’s a difficult task if, like me, you don’t read Japanese and are…
If more Godzilla fans could get the broom out of their ass and actually enjoy the films rather than nitpick and dissect them under an electron microscope, they’d see that in its own way, for its own audience, Minya and Godzilla’s Revenge are as effective and important to the series as the original.