No, not that one

77 minutes of wildly outrageous spaghetti western excellence, The Fugitive mixes fantastic gun-fu style action with the standardised Shaw Brothers martial arts formula, all scored by some of Ennio Morricone's finest music, it's almost as if someone was peaking at my Christmas list. Featuring a plethora of badass moments, the majority coming from leading man Lo Lieh, amidst the flurry of wonderfully gratuitous blood sprays, there's no denying the unique approach to this hybridisation of crowd-pleasing genres, often so over-the-top that you could never take it seriously. But that's where its charm lies and I couldn't ask it to do more. The threadbare story is perhaps its weakest element, but anyone who loves a good revenge tale can easily overlook this, besides, who needs a great story when you score your revenge with Morricone?

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The other Hammer / Shaw Bros Collab

The other Hammer / Shaw Brothers collaboration, Shatter’s conception predates The Legend of the 7 Golden Vampires, as it was originally pitched as a Canadian co-production before being confined to a shelf for a few years and then resurrected as part of the collaboration deal. Rather than a period drama as both companies were used to producing, Shatter sees the action transported to contemporary Hong Kong and it's used to great effect, even if it amounts to nothing more than a lot of glorious eye candy. The film ran into many problems during production and this is evident in the finished product, the editing is off by a beat, it doesn't go anywhere very fast and isn't helped by a mediocre script. Stuart Whitman doesn't care about his role, an entirely one-note performance, but he's carried by the indomitable Peter Cushing who always gives 100%, remaining a joyous presence in this otherwise substandard kung fu exploitation. Ti Lung is the actual star here even if he struggles with his English dialogue, the same problem befalls Lily Li. In the end, the novelty value of Shatter probably makes this more of interest to Shaw fans than Hammer fans; although I enjoyed the film, like Golden Vampires, it just left me wanting more from its initial promise, ultimately coming across as incredibly sloppy and rather underwhelming.

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I expected way better

The directorial debut of Shinji Higuchi, Lorelei very quickly sinks into ridiculous territory despite the promising initial set-up. Sadly, for all the inspiration it can take from Wolfgang Petersen's Das Boot, the humanisation and exploration into the psyche of the submarine crew was not one of them; so much of the film flounders around with nonsensical political undertones that I've seen people criticise Takashi Yamazaki for, yet it's one full display here. Glorifying suicidal charges and glossing over human experimentation as if it were a trivial matter. So much of Higuchi's talent and style isn't here, often coating everything in a horrendous digital sheen; the direction is okay at best but honestly, it could have been anyone else behind the camera, let alone Higuchi. The acting is easily one of the better aspects with everyone turning in solid performances, however, the cast is given so little to work with that all their characters end up as one-dimensional cutouts. The music by Naoki Satō is passable but far from his best work and the less said about the incredibly rough CG effects, the better. I really wanted to like Lorelei going in, but the dubious political alignments and underwhelming filmmaking stamped out any form of entertainment I could have gotten from this, I expected far better.

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The Shaw Brothers are dead, long may they live

A faithful, if a somewhat unusual tribute to the Shaw Brothers' golden age, The Bare-Footed Kid offers up a simple yet bittersweet narrative of redemption, a coming-of-age drama through a world of capitalism's corrupting influence, injected with a mixture of fresh faces and veteran Hong Kong performers. Johnnie To mixes in his patterned use of energetic camera movement and skilful with a slice of the 90s new-wave kung fu movement. There's a beautiful chemistry between Ti Lung and Maggie Cheung which adds an extra amount of sentimentality and depth to the film and a gorgeous use of colour sprinkled throughout. The action set pieces choreographed by the legendary Lau Kar-Leung more than deliver, it's ultimately the weak script and miscast lead where the film fails to connect with its punches, yet The Bare-Footed Kid sits within the realm of superb entertainment keeping the door open for more innovative Hong Kong action cinema and Johnnie To's eventual move to what he knows best...

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Revolution in the field of space archaeology!

Sayonara Jupiter has been my white whale for so long but finally, after so long, today is the day I have finally managed to sit down and watch it and boy is it so much better than its reputation suggests. I'll admit it's no masterpiece with a fair amount that doesn't quite work and is almost comparable to being a retread of Gorath but on a solar level. I will say that Bye-Bye Jupiter as it's also known, as a whole, it's greater than the sum of its parts.

In the 22nd century, scientists from an energy-depleted Earth research new fuel sources in the far corners of the solar system, where they discover an ancient alien race from Jupiter as well as the emergence of an apocalyptically dangerous black hole.

When Star Wars was released in Japan in 1978, the science fiction boom of Japan well and truly kicked into overdrive. Both Toho and Toei tried to capitalise on the success of this reignited love of science fiction with both producing their own takes on Star Wars, The War in Space and Message from Space respectively. Prior to the production of The War in Space, Toho offered a contract to author Sakyo Komatsu to write a science fiction film. Komatsu had long desired to make a film comparable to 2001: A Space Odyssey, taking further inspiration from NASA's Voyager mission to Jupiter and the outer planets. As such this is the only work of Komatsu that had been designed and destined to be a film from the very beginning.

One could argue that Toho didn't know when to tell Komatsu to stop because the film is brimming with so many ideas that it would be enough for a whole trilogy centred around the concepts presented. Just to rattle off the basic bits you have the solarization project, Jupiter Church unrest, an alien race on Jupiter, a black hole approaching, a dolphin named Jupiter and a battle with a shark. It can sometimes feel overwhelming with the amount of stuff you're expected to follow but while the film may lack a distinct focus to it, Komatsu populates the film with his typical philosophical dialogue and discussion. Being over 2-hours long, it lends the film a sense of epic scale to its storytelling but could have used a lot more focus on one distinct idea to truly rise above what it encapsulates.

The film had originally supposed to have been helmed by Submersion of Japan's director, Shirō Moritani but he tragically died the same year due to stomach cancer. Final directorial duties on the film are divided, with Komatsu being credited as the main director but is more often than not thought to have only been the major creative influence on the project and main duties fell to The Return of Godzilla director Koji Hashimoto in the only other director's credit of his career. While ultimately I feel The Return of Godzilla is the more well-rounded film, Hashimoto doesn't half deliver a visual tour-da-force and possibly one of the best-looking films in Toho's tokusatsu library with Bye-Bye Jupiter.

It manifestly demonstrates the same subtle and unpretentious filmmaking style that was also present in The Return of Godzilla. His beautifully coordinated images, combined with some excellent sound engineering and special effects, turn a third-act shootout into one of the film's most immersive sequences. Better still, we have a thematic element that he would later use brilliantly in The Return of Godzilla: a sense of unity. Even at a basic level, Hashimoto remained a humanist to the end.

Major major kudos need to be thrown towards the goat that is Koichi Kawakita in his first major special effects director credit. The film already benefitted from the work of Koji Hashimoto but add in Kawakita's special effects and the film becomes a whole other breed. It's, for a lack of a better word, simply stunning. They are jaw-dropping even by today's standards of miniature effects, the spaceships are rich with detail and, filmed at the proper camera speed, effectively convey a sense of mass and scale as they drift through the universe. Background mattes and optical effects for the stars and planets similarly look wonderful; so good, in fact, that in the few odd moments where the film decides to use a stock image of the real outer space, Kawakita's manufactured effects, oddly enough, stick out as more dynamic. Let's also not forget about the viscous, unrelenting gusts of different-coloured smoke utilized for a scene where a small ship pilots through the storm clouds of Jupiter.

My other major gripe with the film is the characters who are very thin ranging from robotic to mediocre. There are a few performances in there that try and sell the material but being this is a film predominantly shot by a Japanese crew and nearly half the film is also in English it makes some of the already poor actings in some scenes all the worse. It's a crying shame given this was also Akihiko Hirata's final film before his untimely death, Hirata is definitely one of the better players in the film but is given barely anything to do. Tomokazu Miura as Eiji Honda and Miyuki Ono as Anita give okay performances, they are both clearly trying but there seems to be a lack of understanding with some of the material present.

The other element of the film I quickly want to address is the musical score by Kentaro Haneda, who also composed the utterly divine music to one of Komatsu's other film adaptations, Virus. It's a marvellous creation, alternating between softness and sweeping awe in the background. The songs are just as beautiful but are probably more well-known nowadays for being shamelessly stolen by Hideaki Anno for use in Eva 3.0+1.0.

Overall, Bye-Bye Jupiter while being a relative mess is a thoroughly engaging, visual extravagance with one too many things going on and overly long in places. One or two revisions and this could have been a bonified Toho classic.

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A shining star in Brandon's filmography

Notable for being the late Brandon Lee's first starring role and his only Hong Kong production, Legacy of Rage is an explosive extravaganza and highly entertaining little jewel of Brandon's tragically short career. Yeah, the plot and melodrama are standard eighties action fodder, but Ronny Yu's direction, Lee's reverting presence and exceptional acting chops more than carry the film through the more clichéd aspects of its story. The action possesses a raw intensity and some exceptional choreography which makes it rather a shame there isn't more of it sprinkled throughout the film, however, there's an outstanding climactic car chase and final shootout that feels very much in the vein of John Woo's A Better Tomorrow, all accompanied by a badass score courtesy of Richard Yuen. Given this is the film where Brandon fights Bolo Yeung (who had fought his father in the iconic Enter the Dragon) and featuring a gloriously slimly Michael Wong as its villain, you'd be hard-pressed not to love Legacy of Rage's rough and ready emotional camaraderie.

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Barely a lawsuit away from that of Steven Seagal's Under Siege

Aegis is much more in the mould of Hollywood productions than of your typical Japanese action thriller. Gently paced, carefully plotted and thematically complex, the film raises plenty of points for discussion amidst the myriad of generally uneven political undercurrents about Japan's role in the current world but manages to overcome its rather simplistic outline with a degree of class filmmaking. Director Junji Sakamoto (whom I didn't have the best of introductions with) takes his time building suspense and laying out the state of play before kicking everything into gear. In conjunction with wonderful photography and the red hues of the ship's interior comes always reliable Hiroyuki Sanada turning in a fine performance as the reluctant everyman forced to save the day. While a little too long for what it is, Aegis makes for some enjoyable entertainment harking back to the US' golden years of action.

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Tetsuya Watari is just Lupin III in this

and I'm okay with that.

Weird, wild, and nearly incomprehensible, Seijun Suzuki's Tokyo Drifter directly responds to his mounting boredom and dissatisfaction with the common yakuza thriller, reimagining it as an excessive pop-art James Bond cartoon. Absurdly funny yet strangely surreal, the studio-imposed limitations on Suzuki never become a hindrance, radiating with excessive coolness and often filled with flights of outrageous excesses and ballistic action. An anything-goes, in-your-face rampage of narrative disorientation and inspired lunacy, Tokyo Drifter incredibly sends up its own genre identity with a degree of flagrant and rapturous craftiness in a total gunbutt attitude to everything conventional.

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An obscure slice of brilliance

I've said it before, and I'll say it again, this is hands down Jun Fukuda's best movie. ESPY knows its premise is utterly bonkers and just runs with it; part 007, part B-grade exploitation and with a dash of Scanners, it's all exceptional fun. It's a film that fits right at home with old ITC shows like The Protectors due to its gorgeous globe-trotting gentlemen spy aesthetic but with that classic 70s tokusatsu twist. Fantastic direction, incredible music, deliciously camp with just the right amount of head explosions and teleporting nonsense to keep anyone entertained. While I may not love his Godzilla flicks, by god I will champion ESPY as Fukuda's finest till the day I die.

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Don't watch it dubbed

A movie crying out to be seen in its original language (and widescreen), Carry on Wise Guy is a relatively straightforward and sometimes painfully unfunny martial arts adventure featuring Gordon Liu, one where whenever he's not onscreen becomes borderline intolerable. Even in the cropped and super crummy VHS-level transfer this movie has, you can tell that the choreography of the fight scenes goes hard, the major saving grace of this otherwise relatively low-budget comedy. Unfortunately, the plot is super generic, where things happen with no rhyme or reason. One minute it is a jiāngshī horror comedy scored with Walter Murphy's A Fifth of Beethoven, the next minute it's a serious foot-flying adventure to deliver a map of Japanese movements to Chinese troops. Sadly, the disingenuous dub isn't doing this movie any favours, (I swear one of the voice actors was Eric Idle of all people, sounding like he does in Casper ?) and as it stands, Carry on Wise Guy is worth a fleeting look mainly for Liu kicking arse.

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The Anno influence

Chronicling the bloodiest and most pointless last stand of the Pacific Theatre, The Battle of Okinawa is far more well-known nowadays for essentially giving Hideaki Anno his career. Told in a quasi-documentary-like format, with black and white newsreel footage juxtaposed with narration from Kiyoshi Kobayashi over the dramatic scenes, Kihachi Okamoto manages to expertly balance horrific authenticity with few artistic liberties taken along the way. It's a film that captures an essence of bravery, lunacy and hollow childlike subservience, as well as the sheer devastating horror that gets increasingly desperate and progressively violent the longer it goes on, the final 5-minutes alone comparable to the likes of Saving Private Ryan in its entirety; Okamoto pulls no punches in the graphic details with his cynical, dark sense of humour coming out in full force. With incredible performance from its cast, most notably Tetsurō Tanba and Tatsuya Nakadai, a fantastic if limited score by Masaru Satō and energetic direction, The Battle of Okinawa is an incredible epic, one of exhaustive and continual bombardment that takes no prisoners leaving the camera smeared with blood by its dramatic end.

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Icy beauty

Underneath all its gorgeously cold and snowy landscapes lies a film designed to make you feel warm inside even with the uncomfortably cruel realities and melancholic tone it proudly parades. Despite being so innocently titled, Station from the get-go doesn't just tug at your heartstrings, it grasps them firmly in its hands and refuses to let go until you've wept multiple times. Director Yasuo Furuhata utilises Daisaku Kimura's photography with such wickedness, piercing deep into your psyche through a cosy sense of atmosphere; combing a quiet, emotional drama with a gritty and exciting detective thriller, all the while Ryudo Uzaki's stunning musical score mesmerises and dances gently throughout the film's runtime. It's with Station we find the insurmountable Ken Takakura once again on top form, a man of unchallengeable masculinity who still manages to project great sensitivity beneath his stoic outer surface. As professional and fatalistic as it is subtle and cryptic, Station lights up the screen with a glow comparable to that of a warm log fire.

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Baller title

I swear there must be a rule that, when making a crime film for Nikkatsu, one's title must go hard as fuck, cause you're goddamn right I watched this purely for the title alone. An ultra-stylish, rapid-fire yakuza thriller, Detective Bureau 2-3: Go to Hell, Bastards! plays almost like an anarchic parody of the genre, from its eye-popping colours, wild comedy and even a bloody musical number. Suzuki's send-up of post-war greed has got to be one of his loosest and goofiest, directing it all with the tongue-in-cheek attitude that, while certainly has lost its bite today, makes for a rip-roaring good time. An unholy cocktail of Adam West's Batman, Connery's 007, Warhol's pop art and swinging jazz.

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Take Aim at the Convoluted Plot

An exceptionally well-shot if bitterly average and utterly bewildering mystery, Take Aim at the Police Van marks the very early days for Seijun Suzuki, far less abstract than what I've heard about his more well-known works. He's shooting to a formula but delivering where it matters, be it the woman killed by an arrow to the boob or the faceless gunman who lovingly strokes his rifle's stock before sticking his bubblegum atop its scope. It's a film I wish was slightly more cohesive (and less jazzy) than it is but Police Van benefits from the endless swagger of its lead and fun filmmaking flourishes to stop it from being a frustrating or bad time. A testament to how artists pumping out quickie exploitation movies can often work in truths about their times that prestige filmmakers can't.

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Raw title m8

A Japanese New Wave Spaghetti Western-styled noir thriller and one of the rawest fucking titles ever, A Colt is My Passport is a down-and-dirty but gorgeously photographed yakuza film, brimming with formal experimentation. The winning combination of Takashi Nomura's supreme emulation of the American noir formula with the sheer badassery of Jō Shishido trumps the often slow middle portion of the film. The climax alone, especially the final 15 minutes and masterful ending, more than makes up for the cluelessness of the majority of the storyline; ending not too dissimilarly to that of Sergio Leone's masterpieces. Rounding off the film with a musical score that sounds almost identical to that of Morricone's works, A Colt is My Passport is a lean, mean and efficiently entertaining piece of trans-cultural fusion where one's passport gives you a fast ride straight to hell. First Class.

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