Posts Tagged ‘Japan

10
Aug
14

(NSFW) Sex and Fury (1973) Brutal Beauty or Vengeance is a Dish Best Served Nude

artwork by Andrew Peters

artwork by Andrew Peters

a Primal Root written review

I gotta say, there are few things in this realm of existence more exciting and beautiful than a badass nekkid woman brandishing a kitana and lopping various body parts off goons and heavies in the heat of battle. Watching the blood fly and the breasts bounce is truly a remarkable experience and a sight to behold.  I had always assumed these scene could only play out in my imagination, a daydream of a man obsessed with filth and the female form. To my astonishment, to my pure delight, the 1973 pinky violence epic, Sex and Fury, managed to commit this dream like boner inducing bloody massacre to a vivid, mind blowing reality.  Friends and Collective members, I may have just fallen in love with a movie.

Sex and Fury, directed by Noribumi Suzuki is the story of  one young woman’s quest for vengeance after witnessing, as a child the brutal, gore drenched murder of her detective father by the Yakuza gang. His final gift to her, the only witness of the assassination, are three hanafuda cards, the deer, the boar, and the butterfly, which will serve as clues to the identity of his killer. 20 years later, this little girl has grown up to be the stunningly gorgeous and deadly Reiko Ike, who gives herself the identity Inoshika Ocho, coded based upon her quarry (ino = boar, shika = deer, ocho = butterfly).  All the while, gang ringleader Kurokawa (Seizaburo Kawazu) and his flunky Iwakura (Hiroshi Nawa) consolidate the power of their Seishinkai Group, securing the carving of their turf in an ever changing and modern Japan.

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Ocho has become a well known and highly renowned gambler and thief and ends up having a beef with the Seishinkai after a dying Yakuza gambler begs Ocho to save his daughter from the rapey clutches of Iwakura, a mission she relishes tackling. Along the way she crosses paths with two other characters, the son of a murdered Seishinkai rival, Shunosuke (Masataka Maruse), who has some excellent emo hair and, like Ocho, a similar lust for vengeance. Ocho also runs across the scrumptious Christina (Christina Lindberg) a sexy and mysterious young woman from out west who has a legendary rep for being unbeatable at gambling and is also extensively talented with a firearm. Believe it or not, these characters and events all come together and lay the path for Ocho’s brutal quest for payback.

Reiko Ike (Battles Without Honor or Humanity) throws herself into the role with full bore ferocity that’s a pleasure to witness. She’s an lovely screen presence with striking features and a body that’s a knock out. for me, the movie doesn’t get much better than during Reiko’s extensive and lengthy nude sword fight with about a dozen Yakuza henchmen that starts in a bathtub and ends in a snow covered courtyard that soon turns shades of pink and red and the body parts fly and blood sprays by the bucket full. The fight is well staged and beautifully choreographed and shot and is truly a spectacle to behold. I can honestly say I’ve never seen another nude fight scene comes close to this sequence. Honestly, it is a thing of beauty.

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Also, I must mention Christine Lindberg (Thriller: A Cruel Picture aka:They Call Her One Eye), the cult star of some now notorious sex flicks and exploitation classics, has never really had much range, but does the best she can while trying to speak in stilted and awkward phonetically learned Japanese. Whatever\issues do arise from her presence in the film are more than made up for by her character’s ridiculously melodramatic story line, show stopping outfits and some very sexy scenes later in the film. Really, it’s just cool seeing Christine in just about anything.  My only gripe about Sex & Fury is that is often tries to depict sexual assault in a titillating manner, which has always been uncomfortable for me to watch but seems to be a staple of Japanese and Hong Kong films of the period. Thankfully, these scenes make up a very small portion of the film which is otherwise a none stop flowage of awesome sauce.

Bottom line, Sex and Fury is supreme Trash Cinema entertainment. There’s just about everything you cold possibly one from a genre picture of it’s ilk, sword play, gun play, graphic violence, martial arts, sexy women, copious amounts of nudity,  and many of these elements crossing paths at the exact same time lovingly and painstakingly realized.  Sex and Fury is truly remarkable piece of Trash.

I’m giving Sex and Fury FIVE out of FIVE Dumpster Nuggets

Stay Trashy!

-Root

15
May
14

Godzilla (1954) My Favorite Monster

Gojira_1954_Japanese_poster

a Primal Root written review

His career spans sixty years. His exploits are legendary. The casualties? Countless. The property damage? Immeasurable. The beast’s name? Of course, we’re talking Godzilla (or, Gojira, as many folks are always at the jump to correct me because otherwise they would have no idea who I’m talking about) the radioactive, prehistoric, fire breathing titan who, on one hand, is a deeply horrifying monstrosity intent on wreaking as much havoc as possible, and on another, might be regarded as a complete innocent and product of our own insidious nuclear testing. No matter hoe you slice it, we brought this gigantic, people broiling, city crushing mother fucker down on us through our own technological advancements in ways to kill one another.  A good message to take home, you fuck with nature and nature will gladly fuck you right back in the brown eye with a Godzilla sized strap that breaths fiery death from it’s scaly plastic dick hole.

Sure, over the years Godzilla eventually became a hero of sorts, coming to the aid of our planet earth and all it’s inhabitants when bigger, badder monsters showed up on the scene the dominate. He fought such intimidating foes as Megalon, Destroyah, Mechagodzilla, Hedorah, King Ghidorah, and countless others head on, without fear, without hesitation. Surely, in Godzilla’s later career, we would have been totally fucked without his help and support.  But in the beginning, Godzilla was the ultimate in radioactive monster terror. Especially when it comes to the 1954 original Toho production.

Out at sea, military vessels and fishing boats are vanishing, being burned to embers by what seem to be blinding white flashes of heat emanating from the ocean itself. The mystery grows as soon, terror strikes the rocky beach shores, demolishing houses and crushing people into meat patties during a violent storm in the middle of the night. The reports come in and survivors testify to seeing some enormous, living, terrifying creature stepping on their humble abodes and their families within. The government is at a loss as the casualties in and around Tokyo begin to pil up, but soon, during a daylight attack, the people of Tokyo come face to face with what’s been causing this devastation. a 164 foot tall, fire breathing lizard spoken of in legend as…GODZILLA (or Gojira, right, right)!

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Thanks to mankind’s penchant for testing their nukes in the Pacific Ocean, this radioactive shit-kicking reptile from the Jurassic Period is back on the scene and looking to reestablish itself as master of all he tramples under foot and roasts to an ember. It doesn’t take long before this guy rises from the depths of the ocean and reduces Tokyo to a pile of smoking rubble during a terrifying, grueling, none stop violent attack on Tokyo where men, women and children flee for their lives, many to no avail, as Godzilla stomps his way through every damn thing that stands in his way.  Sure, this stuff has been parodied to Hell and been used for laughs over the last fifty years, but watching it now, and keeping in mind the recent history in Japan, more specifically Hiroshima and Nagasaki as well as the detonation of15-megaton American H-Bomb on Bikini Atoll…which irradiated 7,000 square miles of ocean, what Godzilla represents, and the scars Japan was still coming to terms with at the time, these scenes of mass death and destruction are no laughing matter.  In one harrowing moment we see a mother comforting her young daughter as the city burns and collapses around them, no help on the way and no escape. She tells her daughter that they will be with Father soon and that everything is okay. Gang, this is some dark shit and far cry from those days in the seventies when Godzilla was teaming up with dip-shits like Jet Jaguar or playing basketball against Charles Barkley to sell Nikes. This is the real deal. The foundation that would establish one of the most iconic monsters we will ever have. Godzilla. Or Gojira , if you want to get all anal about it.

The original 1954 film still stands as a titan of horror filmmaking. Filmmaker Ishiro Honda manages to harness the horror and tragedy of  Japan’s recent past and uses that as the very root of his creation.  Bringing to life a deeply meaningful and fantastic story that brought those harsh memories it’s audience recently captured to the surface.  Godzilla serves as a warning in the atomic age, that mankind has open a Pandora’s Box of horror with such technology. One that, as the film suggests through the character of Serizawa, can only be closed by individual choice and sacrifice.  Serizawa has created a new weapon of mass death and destruction he has named The Oxygen-Destroyer, a weapon more deadly than the H-Bomb, a weapon sure to have world governments drooling over and eventually becoming the love-baby in a new arms race. At film’s end, he chooses right over wrong, Godzilla is stopped,  and a new age of atomic war is averted by Serizawa’s heroic final actions.

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But we are warned at film’s end, that not all of humanity is as brave and noble as Serizawa and as long as nuclear testing persist, Dr. Yamane warns us, other monsters could rise to threaten civilization. Godzilla ponders some pretty big philosophical questions as Godzilla lays waste to Tokyo and burns images of the scorched, dying city and it’s populace into our mind. This is what man’s inhumanity towards man looks like. Giving these images the fantastical backdrop of a giant monster lizard only provides a modicum of escape. Because behind this horrific monster a more devastating and shameful reality is revealed.  Godzilla is a film of fire, suffering and death, and remains a remarkable and harrowing viewing experience.

I give Godzilla aka: Gojira (1954) Five out of Five Dumpster Nuggets. This film is a masterpiece.

 

Stay Trashy!

-Root

01
Dec
10

Samurai Cop: Six Essential Moments

Hey Gang,

I’ve been asked by quite a few of our fellow Trash Collectors what my favorite Trash Cinema Classic is. Many assume it would be a popular favorite like the recently embraced Troll 2 or the break out craptastic hit, The Room. Is it a big budget bomb the likes of Howard the Duck? A filthy, pervy hunk of garbage like Showgirls? Or possibly an exploitation sleaze fest like Pieces?

Now, the above mentioned films and their ilk all hold a special place in my heart and have their own trashy merit. My favorite is still slowly and steadily being discovered. You know the term, “So bad, it’s good”? Yeah, that doesn’t even begin to describe my all time favorite Trash Cinema film, Samurai Cop.  A no budget, shoddily made piece of action goofiness that surpasses the “So Bad, it’s good” genre and manages to ascend to a higher plain of cheese entertainment. It find brilliance in it’s mental deficiencies.  Strength in it’s countless weaknesses. Panache in the poorest performances. Samurai Cop is…remarkable crap.

In all honesty, Samurai Cop is a film that has to be seen in it’s entirety to be believed. Lucky for you it is available on DVD for super cheap and even includes a hysterical audio commentary track from legendary Drive-In Movie Critic and my personal hero, Joe Bob Briggs which enhances the viewing experience.

However, I have put together a list of six ESSENTIAL clips from the classic action film, Samurai Cop. It’s incredibly difficult to narrow it down to six scenes in a film crammed full of beautiful trashy gems. Really, on a scene by scene basis the amount of ridiculously awesome shit just keeps pouring from the screen. So I did my best to put together these six scenes that I feel define the movie, Samurai Cop. Enjoy!

6. Samurai Cop calls Fujiyama out!

Our hero Joe (Samurai Cop) along with his partner Frank show up unannounced at evil be-mulleted mob boss Fukiyama’s luncheon he has thrown for all his evil henchmen. The scene is incredibly tense and in a barn burner of a scene, Samurai Cop unleashes a powerfully performed cautionary monologue about what America is all about. Prepare to be shaken to your very core.

5. The Black Gift

Samurai Cop may be the star of this film but the man who steals the show is his side kick, Frank. The man has a knack for simply rocking every scene he is in with his natural delivery and ever present sense of humor. At this point in the films Fujiyama has sent out his goons to kill off all the law enforcement officials involved with the investigation into his crime syndicate. Two of these henchmen make their way into Frank’s home just after the man has taken a shower. What truly makes this scene special is how the henchmen threaten Frank, the colorful choice of words and the awkward blocking. Simply, incredible.

4. The Opening Chase Climax and Sex Scene with Peggy (AKA: Keeping it Warm and Ready)

Now, anyone who knows their action movies will tell you any action film must be judged by how badass their opening chase sequence is. Samurai Cop has possibly the funniest, fastest most carnage filled opening car chase battle ever committed to film.  I am serious, it has every cliche in the book as Samurai Cop and Frank drive from a busy marina, through the suburbs and onto a dirt road through the mountains after some drug dealers shooting at random as innocent civilians duck for cover and bad guys fling themselves out of the van as they die.  But the scene reaches it’s apex as our our heros gun down the last man standing, and what goes down directly afterward (before they bother to report back to the chief) with police helicopter officer, Peggy.

3. The Color of Your Ass

Again, Frank is here to save the day as he and Samurai Cop regroup after a horrific stand-ff between themselves and Yamashita’s (Robert Z’Dar’s) henchmen. They dust themselves off and make an ass joke and move on with their investigation.

2. Feminine Costa Rican Waiter & Suicide

Samurai Cop was written and directed by a fellow named Amir Shervan. If you haven’t noticed already, this guy has a peculiar sense of humor. Never is it more apparent than in this scene that springs up out of nowhere between Samurai Cop, Frank and a Costa Rican waiter.

1. Circumcision, Jumbo Jets and the Majesty of Frank

If there is only one scene every must witness from Samurai Cop this is the one. This is the moment where everything falls into place and illustrates just why this film is at the very top of my Trash Cinema pile. I don’t want to ruin a thing for you. Just watch this scene and be amazed.

Like I said earlier, these are just some of my favorite scenes out of a film bursting with great moments just like the ones posted above. By all means, track this classic down and give it a watch. I promise, you will laugh yourself silly. Everyone plays it straight and I really think they all felt like they were making a serious action movie. The finished product comes off as one of the greatest 80’s action parodies ever produced.

So do yourselves a favor. Watch Samurai Cop. And keep it warm and ready in case I decide to drop by later.

Stay Trashy!

-The Primal Root




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