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The growly voiced sword star Shintaro Katsu was so well known for playing Zatoichi, the Blind Swordsman, that it's doubly amazing to see him acting mostly with his glistening black-marble eyes in this 1970 samurai suspense drama directed by Hiroshi Inagaki (Samurai Trilogy). The nominal star, Toshiro Mifune, who also produced, appears for the fourth and last time as the nameless wandering assassin he first portrayed in Akira Kurosawa's Yojimbo. (The third was another collaboration with Katsu, Kihachi Okomoto's Zatoichi Meets Yojimbo.) But in this case the character is an observer and a catalyst of the action rather than a driving force. Ordered by his latest client only to proceed to a remote mountain pass and await further instructions, the bemused ronin gradually becomes aware of a complicated double- and triple-cross plot centered around a charismatic bandit leader. There's relatively little action before the big ambush-and-revenge finale; for most of the running time squabbling characters (including TV star Yuujiro Ishihara as an exiled former nobleman) are confined together, either as hostages or captors, in an isolated tea house. This is a handsomely mounted production, with a lot of star power. --David Chute ... Read more

Reviews (4)

A gathering of clouds leads to a storm
High in the mountains, a remote inn is the setting for a gathering of double- and triple-crossing bad men, each with his own secret and agenda.Sprinkled though out these villains is a collection of innocents, unknowingly standing on the lid of an over-boiling kettle that will soon scream.A web of deceit and action, each player attempts to survive as best they can.

"Incident at Blood Pass"(Japanese title "Machibuse" or "Ambush") is a fun but not outstanding Samurai flick.The main draw is the star cast of Toshiro Mifune ("Yojimbo") and Shintaro Katsu ("Gentetsu"), who is best known for playing the blind fighter Zatoichi. The film is ably directed by Hiroshi Inagaki, known for his Musashi epic "Samurai I, II and III" and his adaptation of the 47 Ronin tale "Chushingura." While Inagaki has his moments, he is not on the same level as Kurosawa or even Masaki Kobayashi, and doesn't quite maximize the talents he has available.This was his final film.

Mifune again assumes the role made famous in the Kurosawa-directed "Yojimbo" and "Sanjuro," that of the nameless, a-moral Ronin who appears to be bad but always seems to fight for the weak.In this case, he has been hired for a mission that he does not even know, with his secret boss passing details onto him in the form of coded notes. Katsu, taking a different tact from his amiable hero Zatoichi, is a hard, dirty bandit, a former Doctor who lives in a barn and plans and plots for unseeable ends.

Inagaki doesn't bring out the performance from Mifune that Kurosawa did, and his Yojimbo lacks the dirty nobility of previous incarnations, with motivations remaining obscure. He tries to find the humanity behind each the icon, with a love interest in the form of a battered wife rescued in the film's opening scene. However, it is great to see Katsu as such a horrible human being, and to see his range as an actor.

Like Inagaki's other films, the pace is a slow build up to an explosive finish. The side characters, such as the flashy but poor gambler, the kindly innkeeper and his naive pretty daughter, the obsessed police officer and his tortured captive, all get ample time to annoy, entice and betray each other before the main plot is even revealed. The film plays out like a Samurai version of "The Petrified Forest,"with the innkeeper, his daughter, the suitor and the gangster.

While not anywhere near the level of a masterpiece, "Incident at Blood Pass" is certainly an enjoyable flick and worth watching.Story and character driven, those seeking a high-action flick would do better to look elsewhere, as that is not Inagaki's trade mark.

Seems like the wind is blowing in a different direction now
A nameless ronin (yojimbo) accepts an assignment to go to a mountain pass and wait.On his was to the mountain he discovers a wife being tied and beaten by her husband.Yojimbo rescues her, and she accompanies him to an inn, where she is left to start a new life. Yojimbo later returns to the inn, where there is now a collection of characters.This group includes a thief who was wrongfully banished from his tribe, a doctor who works for the innkeeper in some sort of illegal activities, and a gang set on stealing shogunate gold that's soon to come over the pass. When the Ronin's assignment becomes clear, to help the gang, he's ordered to kill the inn's residents, including the woman he rescued. He's reluctant to murder innocent people, reluctant to trust his new associates, and believes there may be a double cross in the works. Yojimbo is forced to rely on his samurai believes to sort out the correct path.

Hiroshi Inagaki, director of the Samurai trilogy, directs Incident at Blood Pass, his final work.Inagak focuses primarily on the plot and story line.Action is the last thing on his mind.That may explain why there is two total fight scenes, both at the very end of the film.I still enjoyed Incident at Blood Pass; however, it was nothing like I expected.

Incident at Blood Pass has two of the greatest samurai movie actors ever.Yojimbo (Toshirô Mifune), and Zatoichi's Shintarô Katsu, as Gentetsu.I was extremely excited to see two characters in the same movie.Nevertheless, Gentetsu has the best fighting scene, and is in only one.Yojimbo, the main character, is in one fight scene right before the ending credits.That is it for the action.

There was a reluctant love story, dramatic music, and the snow effects made for nice cinema.See Incident at Blood Pass for the story and cinematography.Do not watch this film hoping for action or any type of a samurai classic film.It is all right, worth viewing once, but not as good as the Zatoichi movies, or the Lone Wolf and Cub series.

Grade: C

Entertaining
I utterly enjoyed this movie. Granted it doesn't have many Toshiro Mifune fight scenes however the story and the way it turned out was very interesting. It's a combination of action, adventure, romance and comedy. I was not disappointed in any way.

This movie was a let down....
When i read that this was Toshiro Mifune's final appearance as Yojimbo, or "The Bodyguard" I was extatic. I paid for it... waited and watched. sadly this movie has only 1, yes just 1 Mifune fight scene. And its at the very end.... i suggest buying the original Yojimbo, and if you already have, watching it again will be better than this. This movie isnt entirely awful, on the + side the story was good. All it needed was a few more Toshiro fight scenes. I recommend buying (if you can find it) Samurai Assassin, possibly the best story and action sequences of any Samurai movie. ... Read more

Description

Daisaku and Giant Robo must overcome Von Volger's most maniacal creation, the Eye of Volger and the explosive Big Balloon! When Daisaku is trapped aboard the burning Greta Garbo, it's up to Gin Rei and Tetsugyu to rescue him. But a deadly adversary is lying in wait for Tetsugyu, and he won't give up until he has his vengeance! ... Read more

Description

From legendary filmmaker Shohei Imamura comes this comic fable foradults.A frustrated unemployed architect learns of a treasure hidden inside an old housenear a red bridge in a remote fishing village.Upon arriving he encounters a beautifulyoung woman with an unusual condition who lives with her grandmother in the oldhouse.The relationship that builds between them becomes both vital and volatile. InJapanese with English subtitles ... Read more

Reviews (3)

An uneven movie with an interesting story
Not having any luck finding a job in Tokyo, an unemployed salesman named Yosuke promises an old, dying friend that he will claim a hidden treasure for him; a golden statue of Buddha. Yosuke travels to a small, seaside town and finds a house where the statue is supposedly hidden. Before he can step inside, he spies a young woman hurrying from the house located beside a red bridge and for some reason, follows her to the market. There, he watches her shoplift some cheese while she stands in a puddle of water.

When the two eventually meet, he learns of her secret affliction: that she fills with water. The only way to release the water is through sexual release. Soon, Yosuke abandons his treasure hunt, finds a job as a fisherman and sees more and more of the young woman.

I admit that I thought this an intriging story. A woman who fills with water and can only release it through sex. A great idea. But, this movie confused me. I didn't know if I were watching a comedy or a drama. It starts of very heavy, with the state of unemployment, Yosuke's wife who nags and demeans, the death of Yosuke's friend. but when Yosuke and the young woman have sex for the first time and the water bursts out, this funky Japanese music starts playing, giving the impression of a bad 1970s soft-core movie. I started laughing, though a bit self-consciously.

What I really disliked about this movie is that the relationship between Yosuke and the young woman is unbelievable. I felt no chemistry between them. Only later -- much later -- did I discover a real connection with her immediate taking to Yosuke, but it felt like a copout.

While the story has potential and Koji Yakusho gives a fine performance as Yosuke, I can't help but be a little disappointed with the results.

WATER SPORTS?
WARM WATER UNDER A RED BRIDGE (Home Vision Entertainment) is a comic fable about an unemployed architect who seeks treasure in a house near a red bridge. In the house, he encounters a woman with a most peculiar condition: she releases torrents of water when she has an orgasm. And much depends on this wellspring. The relationship becomes essential and explosive. Shobei Imamura's mature tale is seductive and confounding. In Japanese with English subtitles.

The most unexpected and glorious comedy in ages.
A sublimely skewered shaggy-dog sex comedy from Shohei Imamura that takes up where Edward Yang's sober 'Yi-Yi' left off, and pulls it into a completely unexpected direction. Like Yang's film, Imamura's protagonist, Yosuke Sasano, is a computer programmer in crisis (in this case his business has gone under); he now spends his time being insulted by his horrid, hectoring wife on the phone, and living with river-side tramps. Like Yang's film, Imamura diagnoses the spiritual void at the heart of Far Eastern super-corporate economic success - one very Yang-like shot views Yosuke attending an interview from behind a chillingly impersonal window; the distance between viewer and protagonist makes his desperate grovelling to the Kafkaesque manager all the more pathetic - but his prescription couldn't be more different.

Initially, the film seems as methodical and meticulous in composition and tone as we would expect from a severe Oriental master, with complicated, multi-level, multi-frame compositions (the geometry of character groupings imposed on the geometry of place - see the triangle of friends overlooking the corpse in his tent in the opening sequence) staged thoughtfully for a static camera that picks out only the essential elements of each image. This staticness doensn't mean each shot is devoid of internal tension - for instance, the opening tracking long-shot that follows the policemen in the direction of the hut, works against the movement of the river, and is a brilliant, if wrong-footing visual introduction of the film's themes (the disjunction and perversion of the natural in modern life etc.). But even startling comic upsets - such as the collapse of the makeshift roof under which his friends toast the dead man when one of them drunkenly knocks over a beam - doesn't prepare us for the bizarre sidetracks the plot will soon take.

The dead man, Taho, was an ex-con who spent decades in his river hut reading the world's classics; Yosuke shared many hours with him when he was supposed to be looking for jobs, with Taro encouraging him to ditch his cripplingly submissive conformity and search for true love. Just before he died, he told him that he had left a stolen treasure in the house of a former lover in a far-flung seaside town, which he was welcome to take if he could find it. Broke and unemployed, Yosuke sets off, and follows the lady of the house, Saeko, to a local supermarket, where she breaks water and shoplifts. It emerges she has a 'problem' with welling internal water that can only be vented by kleptomania or lovemaking. Yosuke takes a job with the local fisherman's son, and is on call for whenever Saeko needs him. But when he falls for her, is it for herself or the life-giving water which gushes into the adjacent river, attracting all the fish?

Yosuke's journey from the rather glum order of Tokyo to the weird logic of the seaside town is like the move from the Victorian age to Wonderland in Lewis Carroll's famous book. Yosuke wanders the town, populated by eccentrics whose actions seem more determined by whim and desire than the fixed expectations he's used to, like a bemused Alice, in his case being slowly sucked in by the town's seductive call, and suffering some very odd dream sequences. Imamura's tone changes completely - the music becomes circus-like playful, the staging of scenes, the clash between rigorous framing and nutty events, increasingly absurd (see the wonderfully coy **lla**o sequence). This mode undercuts what seems to be a very middle-aged male fantasy - the spiritual regenration through sex of a hen-pecked husband. And when you think about it, the town isn't that much of a haven - racist, riven with small-scale organised crime and the legacy of industrial pollution, and full of visual evidence of economic delapidation. But Imamura's eye for the meaningful image of location with which to frame his dense, ambivalent compositions never wavers, and his sensitivity to labyrinthine interiors, natural light or water (the deflection of dissolving light from the river onto buildings is particularly beautiful) or delicious colour-coding (those reds!) is as true as ever. ... Read more

Description

A Chicago policeman and his Appalachian kinfolk seek to exact vengeance from the gangsters responsible for murdering his younger brother. ... Read more

Reviews (10)

Will satisfy fans of the leading actors
Patrick Swaze is the big city cop from the backwoods whose younger brother is shot dead by the mob and he vows to track down those responsible.

However,when he takes his brothers body home to be buried,his elder brother,loose cannon Liam Neeson,is disappointed with the lack of direct action;and threatens to become involved.

Neeson does become involved with tragic results which brings a variety of strange hillbilly types into the big smoke to extract retribution.

Reasonable action thriller,but could have done with more of"the kin"and Michael J Pollard;now approaching the veteran stage;steals every scene he appears in.

Great "holy moly" factor film...
Let's face it, Patrick Swayze's 1980s ouevre is a guilty pleasure... Dirty Dancing, Road House, Uncommon Valor, and of course Next of Kin.

One of the best things about this movie is the chance to see some of the hottest stars of the 1990s in supporting roles... Ben Stiller as a mafia boss' son, Helen Hunt as Swayze's wife, Bill Paxton and Liam Neeson as Swayze's hillbilly brothers.

It also has one of the greatest Swayze quotes... "You ain't seen bad yet. But it's comin'."

Definitely high on the guilty pleasure scale, Next of Kin is a must-watch for those who enjoy a film's kitsch factor.

you don't know bad- but it's coming
Good Sunday when there's nothing else to watch movie

How Was This Movie Missed In The Mainstream?
Quick - can you name a movie that has Ben Stiller, Patrick Swayze, Helen Hunt, Liam Neeson, Bill Paxton, and Adam Baldwin in it? Probably not, as most people can't, and what a shame. "Next Of Kin" is a fine portrayal of the "Eastern Mountain Way" as well as the love of family and the bond of brothers.

I enjoyed this movie greatly. Although the plot has been somewhat rehashed many times the performances here stir emotion. Especially Liam Neeson's. If not for his performance in this movie I probably would have given it 4 stars, but he shines brightly here. The loyalty and love of his character combined with the contempt and anger of his character, what a great performance.

When this movie first came out I didn't even know it. I don't know how it fell off the radar screen before ever being noticed but it is cerainly worth a look.

Buy it - enjoy it, over and over.

Underrated
In terms of just pure plot, Next of Kin is -- in many ways -- a typical example of the unconventional cop vs. the mob film genre of the 1980s...However, if Next of Kin is ultimately a genre piece, its still a better-than-average example of the what the genre is capable of. Certainly, its probably the only film ever made by Patrick Swayze that can legitimately be called underrated.

Plotwise, the film sounds almost like a parody. Patrick Swayze is a former hillbilly from Appalacia Country who has left behind his rustic family to become a big city cop and to romance sophisticated music teacher Helen Hunt. (Is there a reason why big city cops with simple backgrounds always seem to end up romancing music teacers in these films?) Swayze's younger brother Bill Paxton also comes to the city, to pursue a life of petty crime that ends up getting him killed by mobster Adam Baldwin which leads to yet another Swayze brother coming down to the city, this one played by Liam Neeson. As Neeson seeks revenge, Swayze is forced to return to his roots in order to avenge both his brother and protect his girlfriend.

Yet somehow, all of this works rather effectively on screen. The film is directed by Englishman John Irvin who has made a rather unsung career out of bringing a stronger-than-usual sense of characterization to genre films (the best example being the war film Hamburger Hill). Although Irvin's filming of the action scenes are a little pedestrian, he still has a strong visual sense and manages to vividly contrast the conflicting worlds of the country and the city. The film's supporting cast is well chosen and both the heroes and the villians all come to life with a surprising amount of dignity. At no point do any of the actors demean their roles by playing ...typical hillybillys or, for that matter, ...typical mobsters and that shows an unusual and admirable amount of integrity for a film of this sort. Paxton isn't on screen long but remains, as always, a likeable presence and Adam Baldwin makes a compellingly understandable and hissable villian. Michael J. Pollard shows up as a hillbilly and brings his trademark quirkiness to the proceedings while the role of the nerdy mob scion is played by Ben Stiller, of all people. Its a little jarring to see Stiller show up on screen (especially playing an essentially villianous role) yet he gives a strong performance without resorting to do any standard Stiller bits. Helen Hunt's role is ...typical but she's probably far warmer in this role than she's been in any of her prestige pictures. Certainly, the best performance in the film is given by Liam Neeson who dominates the proceedings with the grim sincerity he brings to his quest for revenge. This Irish actor also manages to perfectly capture the unique accent of the Appalacian region. As an actor, Patrick Swayze has always been limited and he's always been better at projecting sincerity than complexity. Luckily, his role in Next of Kin has been designed to require little more of him than sincerity and, if Next of Kin doesn't represent his best performance, its certainly his most likeable.

Next of Kin isn't a great film. As stated before, the story is a tad bit too predictable and that's only made more obvious when the story is populated by a better-than-average cast and directed by a truly talented director. However, this is a rare genre piece in which it is obvious that everyone involved actually put in their best efforts to make a worthwhile film and the results are both admirable and entertaining. ... Read more

Amazon.com

Before their breakthrough successes with A Room with a View, Howards End, and The Remains of the Day, the Merchant-Ivory filmmaking team refined their literary adaptation skills with this 1984 drama, adapted from the classic novel by Henry James. Although the film can only begin to approximate the internal dialogues that make up much of James's fascinating fiction, it retains the central conflict of the post-Civil War drama, which takes place just as women are beginning their struggle for equality. The story involves a triangle of conflicting relationships, in which a repressed lesbian (Vanessa Redgrave) engages in a subtle, unspoken tug-of-war with a Southern lawyer (Christopher Reeve) for the affections of a young woman (Madeleine Potter) who is just coming into her own as a young suffragette. Although the film is slow and dry compared to Merchant-Ivory's later efforts, it's eminently respectable (as you might expect) and is highlighted by Redgrave's superb, Oscar-nominated performance as the story's feminist heroine. The supporting cast is equally impressive, and includes Jessica Tandy, Linda Hunt, Wallace Shawn, and Wesley Addy. --Jeff Shannon ... Read more

Reviews (4)

NOT SO PRIM AND PROPER...
This is a solid, Merchant-Ivory screen adaptation of the Henry James novel of the same name. Set in the nineteenth century, shortly after the civil war, a young newcomer to the then nascent suffragette movement, Varena Tarrant (Madeleine Potter), captures the hearts of many with her eloquent, passionate oratory on the second class citizenry of women.

Olive Chancelloer (Vanessa Redgrave), a wealthy Bostonian, is a patroness of the suffragette movement. Together with her southern cousin, the handsome and strapping Basil Ransom (Christopher Reeve), she goes to hear Varena speak. Both are entranced by Varena, and Olive takes her under her wing, trying to give her the polish she needs in order for Varena to take a prominent place of leadership within the women's movement.

Basil has other plans, as he is smitten. He pursues Varena relentlessly, with the objective of making her his wife and having her assume a traditional role within the framework of marriage. In his way, stands Olive, who, though still in the closet, clearly has very strong and passionate feelings for Varena, who seems oblivious to Olive's true desires.

In the meantime, Varena expands her horizons and become a favorite on the lecture circuit. She captures the hearts of many young men along the way, much to Olive's dismay, including that of wealthy, Henry Burrage (Jon Van Ness), who is fully supportive of Varena's participation in the movement. His mother, Mrs. Burrage (Nancy Marchand), is very much aware that Olive is an impediment to the potential union of Henry and Varena. She tries to talk to Olive about a match between the two, only to have Olive immediately take Varena away in response to the threat that Henry poses.

Unfortunately for Olive, her cousin Basil is more persistent. To see who wins this tug of war for Varena's heart, one must see the movie. Vanessa Redgrave, who was nominated for an Academy Award for Best Actress for her portrayal of Olive Chancellor, gives a stunning performance as the sexually represessed, still in the closet, lesbian. Fearsome in her devotion to Varena, she passionately fights tooth and nail, within the constraints of the mores of the time, to keep Varena free of any romantic encumbrances with the opposite sex. Regdgrave does this with a deft touch, giving a beautiful and well nuanced performance.

Madeleine Potter does the best that she can with the role of Varena, managing to imbue the character with a certain intelligence and sweetness. She lacks, however, the beauty, charm, and winsomeness necessary to convince the viewer that she can so passionately stir the hearts of so many. She also lacks the skill necessary to persuade the viewer see what is, obviously, not there.

Christopher Reed gives a credible, though not showstopping, performance in the role of Basil, Olive's rival for the affections of Varena. Nancy Marchand, on the other hand, gives a superb performance as Mrs. Burrage, the woman who, seeing what Olive is up to, plays a verbal cat and mouse game with her in hopes of having Olive see reason with respect to her son's suit for Varena's hand.

All in all, those who love period pieces should enjoy this one, if only for Vanessa Redgrave's brilliant perofrmance. Unfortunately, this DVD does not offer much of anything by way of special features. It does not even provides a particularly good picture, as it is somewhat grainy in quality.

HORRIBLE DVD QUALITY
I love the Merchant-Ivory period films for their visual beauty and intricate literary adaptations that are usually done with great intelligence and taste. The Bostonians is not up there with Remains of the Day or Howards End by any means, but it's a very fine adaptation of the Henry James novel. That said, let me talk about this DVD: I have seen better quality on video! DVDs should be sharp, pristine, not muddy and with lines flashing across the screen and other annoying defects. This movie needs to be remastered and presented in wide screen. Some scenes actually cut people's faces in half. It's so disappointing to see a gorgeous movie like this on a format that has so many technical flaws. The night scenes, of which there are several, are abominable. My suggestion to the distributors is to release a better quality copy on DVD. Vanessa Redgrave's brilliant, Oscar-nominated performance deserves much better than this mediocre (at best) disc. I'm returning my copy today!!!!!!!

I enjoyed this movie
And compared to the book, it's a rip-roarer. The actress who plays Verena lacks the appeal that would make Olive's and Basil's fascination with her really explicable, and Christopher Reeve's Basil isn't very convincing either. But who cares, he's gorgeous, and the scene where Basil kisses Verena is worth the price of the movie.

When will this movie end?
The Bostonians is based on a Henry James novel and it is just awful. The plot is not interesting and the characters not the least bit engaging. The movie is long and boring. Period. ... Read more

Reviews (12)

not bad , quite surprising for non-Japanese ...
hi every1 . I've seen this video within the studies of my varsity . It's nice and introduce the Japanese style of life and most of all their way of dealing with funerals.

To be short I will only say that the most overwhelming thing in the movie was that the mourning family had to use a VIDEO CASSETTE with instructions about how to act in a funeral and what TO SAY !!!!!!

enjoy

Soushiki: not a comedy by any means
At first I was worried when I purchased this film, because my fellow amazon reviews gave it such a low rating, however, I was pleasantly surprised that it was the DVD not the movie itself, that received such low scores. This is a wonderful film, although, for the life of me, I can not figure out why this film is refered to as a "comedy." It is true there are some funny moments when the main character and his wife are learning their lines to address mourning guests and at moments such as when the phone rings during a prayer. What this film's strongest point is, however,a glimpse of Japan while the bubble economy was at it's peak. Even someone just giving a cursory glance at this film ill realize how important money is to the family. It is the chief conversational topic throughout the movie. How much do we have to pay for the coffin? How much are the obento lunchboxes, etc. The power of money can really be seen when the monk arrives in a very stylish car and is given a gift of french tile to make a table for his garden. Funerals are extraordinarily expensive in Japan, so many Japanese do not look at Buddhist monks as a sign of benevolence, but as money lovers. However, although money is a major subject, as is the preocupation of acting a certain way during the funral, the key point of this movie is that although the world might be completely obsessed with money, in death one can bring members of the faily closer together, and in death there is also rebirh, as can be evidenced at the end of this film.

Not what I expected.
This film was nothing like I thought it would be. Having spent four years in Japan I wanted to see for myself what all the controversy was about surrounding 'The Funeral'. Well, I really liked this film, and found it had a lot to offer. From start to finish there is a lot going on at all levels of the emotional spectrum. I found it very touching, a little sad, a little funny, and very human. The quiet love and dignity of the widow and her daughter are the glue that hold the family and friends together. The widows humble expression of thanks to the guests after the funeral, thus releaving the son-in-law of the obligation, is nothing but poetic. I Recommend this film.

Cathartic and Hillarious if...
In order to really appreciate this film, you really have had to been through the experience... for that reason, there are a lot of people who will watch it and not get it.... - - I first saw the film before I really knew very much about Japanese culture... Some elements of the humor were universal... and I still could appreciate the Itami Juzo's dry surrealism... but after seeing the film I came to live in Japan on and off for 9 years and went through the experience, watching the film went beyond "interesting and sometimes funny"... one one had it was incredibly cathartic... on the other hands, uncomfortably hillarious... Its one of those films that if you'd just been through the experience and you watched it, it would definitely serve as a cathartic dose of laughter... - - Too many scenes, unfortunately, parody experiences and rituals (sometimes seemingly senseless, others incomprehensibly complex) that you'd really have to experience to appreciate... If you haven't been through them, those scenes might be a bit boring... for this reason my advice is this : read up on the subject first... and also, watch the film with an understanding that Japanese funerals are very different than Western funerals... The strange scenes in this film in many way present Japanese funerals as they are, and in other ways parody them...

All in all, having been lucky to have gone 9 years without any close personal losses in Japan, but recnetly having lost an important member of our family, I can't tell you how thankful I am that Juzo Itami made this film !

A wry commentary on the loss of meaning in traditions
There are times when death has been appropriate and hilarious material for a comedy. The juxtaposition of the seriousness of a funeral with wacky hijinks and hootenannies makes for funny stuff. But don't expect to find any of that in Itami's social commentary, "The Funeral" ("O-soshiki.") This film has been done a great injustice by marketers, who in the hopes of possibly capturing a quick sale labeled it "...A Deadly Comedy." You certainly don't find it in the comedy section of a Japanese video store! The scene on the cover, where a man tries to hike up his trousers while a watching woman mocks him, is one of the saddest in the movie.

It is, in fact, an incredibly insightful exposition of the meaninglessness of tradition and ritual in modern Japan. A family, so far removed from the society that first created these traditions, tries to struggle though an "appropriate" funeral for the deceased father. They rent videos on appropriate greetings and responses, they hire experts to tell them what direction the coffin should face, and how many sticks of incense to light. The ritual has far more importance too the family than the actual loss of the father, as does presenting a proper face.

The elderly, as the vanguard of the traditions, are the only ones who care. In fact, the dead man's daughters are shocked and impressed when one of their father's friends shows actual sorrow at the loss. "That's the way to do it," they say. Money is the symbolism for the loss of tradition, the idol that has replaced emotion at the altar. The Buddhist priest is made a gift of Italian tiles for his garden, and the climax of the film is when a case of money opens up to the wind, and the family grasps at it desperately.

While rough in nature, and clearly a first film, Itami manages to artfully wrap these various elements together, without stating the message directly. In the Japanese style, much is implied and little is said. A particularly capturing moment, is a black and white home movie of the family laughing and having fun, while a sad lament plays in the background. The pace is slow and patient.

The DVD is lacking, and the white subtitles can be almost unreadable. It is presented in pan-and-scan as well, with no change from the VHS version. Unfortunately, "The Funeral" seems to be a much-misunderstood film, and has not been given the release it deserves.

The critique of Japanese culture is honest and authentic, and I highly recomend this film to anyone who wants to see real Japanese people living real Japanese lives. ... Read more

Amazon.com

Toshirô Mifune is confidence supreme and humility incarnate as the mature samurai master Musashi Miyamoto in the final film of Inagaki's sprawling trilogy. Now a legendary swordsman whose latest quest is to save an isolated village from rampaging brigands (shades of Seven Samurai), he remains haunted by the memory of Otsu (Kaoru Yachigusa). Meanwhile the ruthless and increasingly jealous Kojiro Sasaki (Koji Tsuruta) plots his battle royal with Musashi to prove who is the finest fencer in Japan.Inagaki weaves the web of subplots into a series of grand confrontations, among them the most exciting battles of the trilogy: Musashi's skirmish with the army of cutthroats while the village erupts in a fiery inferno around him, and the sunset duel between Musashi and Kojiro on an isolated beach, the two warriors taking on mythic dimensions silhouetted against the sun setting over the surf. Inagaki's delicate use of color throughout the series becomes most pronounced in this final sequence, where the glow of orange and red adds dramatic flourish to the twilight battle. Inagaki's reserved, restrained style and Mifune's melancholy performance--his granite face and stocky stance the very essence of somber wisdom and sad assurance--bring a gravity and seriousness to the drama that ultimately illuminates the personal cost of Musashi's supreme skill as his story ends on an elegiac but hopeful note. --Sean Axmaker ... Read more

Reviews (9)

a good conclusion to a trilogy
This review is for the Criterion collection edition of the film.

As all films in the trilogy, they are good but come with almost no bonus material for DVD. The only have the essays in the accompanying jackets and the the theatrical trailers.

The film itself has less action than the second film with only 2 major sequences. The scene of bandidts pillaging a town and the climatic duel scene at the end of the film.

This film also has an excellent scene where Musashi uses his chopsticks to catch flies in midair. This scene appears to be the inspiration for a very similar scene in the first Karate Kid film.

Overall the films were good but not great.

Excellent film, bad transfer
While I agree with the other reviewers that the culmination of Inagaki's Samurai trilogy is a wonderful film, I feel that this DVD can't truly be rated at five stars. The reason for this is that the transfer on the disc (and the other two in the series) simply doesn't do justice to the film's beautiful cinematography. The colors are muted in most scenes, often shift from scene to scene, and the film itself is frequently scratched or pitted.

However, it's doubtful that these fantastic films will receive a better transfer any time in the near future, so be sure to see them, but be warned that the transfer is sub-par (although it's certainly watchable).

RISE OF THE SWORD-SAINT
This film marks the glorious conclusion to the Samurai Trilogy and the ascent of Musashi Miyamoto to spiritual perfection, Musashi Kensei (The Sword-Saint). TOSHIRO MIFUNE, one of the world's greatest actors, delivers a memorable performance as the master at the peak of his enlightenment.

Several years have goneby and Musashi Miyamoto has emerged invincible in over SIXTY duels. Interestingly enough, one sees no pride or ambition in Musashi's manner. He turns down job offers from important lords, including the Shogun's martial arts teacher. In the meantime, Kojiro Sasaki (Koji Tsuruta) regrets the little recognition he has so far received, and seeks to duel Musashi and attain immortal fame.

Otsu (the beautiful Kaoru Yachigusa), the quintessence of loyalty, has fervently sought to see Musashi once again, having parted unwillingly in Part II. In like manner, Akemi (charming Mariko Okada) maintains hope of seeing Musashi, having through a tragic turn of events wound up as a courtesan in a geisha house. Yet both women defy their seeming fates and separately seek Musashi, a testament to the power of love. Musashi himself has not forgotten his love for Otsu, expressed in his Kwannon statuettes made in her likeness. In a poignant paradox, Musashi escapes fame and the follies of this world as a farmer, having once been in that position and dreaming of fame.
In the meantime, Kojiro's skill is finally recognized and he comes under the employ of the Shogun.

The romance between Musashi and the two women is tragically resolved, and a battle between Musashi and a group of bandits proves very costly. Yet Kensei maintains his poise and graciously accepts Kojiro's challenge to a DUEL AT GANTRYU ISLAND. The perfection of Musashi's technique evident in the fact that he carves an oar into a sword on the trip to the island, using wood against the steel of the deadly Swallow Cut. ONE OF THE MOST MOMENTOUS SCENES IN JAPANESE MOTION PICTURE HISTORY.

Hiroshi Inagaki once more deliviers a beautifully directed and cinematographed motion picture. The color is surely the finest in the trilogy, in particular the opening sequence with Kojiro amidst the waterfall and rainbow, and the duel at dawn with its stunning red and gold -Atsushi Yasumoto's photography is brilliant.Ikuma Dan's score is less triumphant and more peaceful and contemplative (though no less dramatic). The pacing is more deliberate, but the strong characters and riveting storyline more than compensate.

This duel establishes MUSASHI MIYAMOTO as the Greatest Swordsman in History. After this battle, he no longer uses real swords in combat, only wooden ones. He goes on to write A BOOK OF FIVE RINGS (a must-have), "A guide for men who want to learn strategy," required reading for kendo students and Japanese businessmen to this day. Musashi Miyamoto Kensei represents the ability in all of us to attain perfect understanding.

Mifune at his Best
After viewing the first two instalments how can one resist the finale in which Musashi confronts his nemesis Kojiro. Though lacking the action and pace of Part Two and the grandeur of Part One this chapter still stands as a masterpiece of Japanese cinema. Costuming, acting, cinematography and score all combine to satisy the viewer forty years later. It is not often that one can say that of movies from the 50's. Truly a mesmerizing trilogy, Mifune at his finest.

Musashi's Soul has been Polished
This is the final movie of the Samurai Trilogy. In this movie Mushashi has polished his soul and honed his skill to the point of serenity. This, possibly his most famous duel with Sasaki Kojiro (Ganryu) in which he has given up fighting with steel swords.

Although this movie is not as "action-packed" it goes far deeper into the psyche of the Samurai Way. This movie is so compelling because of the complex character development, I really felt involved.

I recomend seeing all three of these movies in order at least once for continuity, but all of them stand alone well including this one! ... Read more

Description

Subu makes pornographic films. He sees nothing wrong with it. They are an aid to a repressed society, and he uses the money to support his landlady, Haru, and her family.From time to time, Haru shares her bed with Subu, though she believes her dead husband, reincarnated as a carp, disapproves. Director Shohei Imamura has always delighted in the kinky exploits of lowlifes, and in this 1966 classic, he finds subversive humor in the bizarre dynamics of Haru, her Oedipal son, and her daughter, the true object of her pornographer-boyfriend's obsession. Imamura's comic treatment of such taboos as voyeurism and incest sparked controversy when the film was released, but The Pornographers has outlasted its critics, and now seems frankly ahead of its time. ... Read more

Reviews (8)

a very young work
This is a film that shows the potential of Shohei Imamura, but im afraid it does not fulfill it. The film trys to hard to be arty:the jump cuts and "creative" camera movement serve only to confuse and alienate the viewer.

Imamura is a master film maker, and this isnt a horrible film, but if you want to see his best, get "the Eel" or "warm water under a red bridge"

Quaint and Silly.
There is a case for decrepit cinematic 'crud' being universal. This is it. Get Ozu's "Tokyo Story" instead (out on Criterion). That is a piece of timeless lyrical cinema. This film merely confirms that risque cinema quickly loses its potency (losing it in favour of a ephemeral revolutionary stance). A Waste.

More fun than I ever expected...
The Pornographers explores fetishism and unusual sexual arrangements with the bravado of a contemporary film designed to titillate the jaded bourgeoisie at Cannes, albeit with significantly less nudity. It's real, quirky, humorous, and it has a heart - in addition to dealing thoughtfully with the racy topics at hand. Even the choppily edited dream sequences seem to add to rather than detract from the overall experience.

An artful and engaging piece of cinema far ahead of its time.

NO SKIN FLICK
Love'em or hate 'em, idiosyncratic films that dabble with subversive notions and stories of fringe people make some viewers uncomfortable. You either get it or not. For those who do, there are rewards.

Shohei Imamura's THE PORNOGRAPHERS (Home Vision Entertainment) is about "public service" amateur porn filmmaker Subu. He supports and sleeps with landlady Haru, who thinks her disapproving dead husband has returned as a carp. But really, Sabu lusts after Haru's daughter. Voyeurism and incest is kinky comic fodder for Imamura, who said he's interested in "lower human society and the lower parts of the human body." Not for every taste, but way ahead of it's time. If you liked this one, see if you can find "Down and Dirty."

I did not get it
I had to watch this in a class. I thought this was one of the worst movies ever. The movie was over long. I guess i'm just a dumb college student but i did not get this movie at all. The weird camera work made the movie even more confuseing. Like the shot looking though a fish bowl. The move seems to be about and old pervert that likes to make porn and try to sleep with his girlfriends daughter. Then he becomes frustrated with women and trys to desgin the perfect doll, i got this part of the movie and it was down right discusting and i'm not a partically moral person. I hated every minute of this movie, don't waste your time or money its long borring and discusting. sorry for the misspellings and bad grammar ... Read more

Amazon.com

Picking up where Samurai I left off, Toshirô Mifune's samurai in training Musashi Miyamoto is a wandering swordsman who hones his skills in a succession of duels. When he defeats a succession of students from a local school of martial arts, he becomes marked for death by the school elders and is attacked in a series of cowardly ambushes. Romantic threads from the first film become further complicated when the virginal Otsu (Kaoru Yachigusa) and the sad courtesan Akemi (Mariko Okada) meet and discover their rivalry and Musashi earns himself an archenemy, an ambitious young swordsman named Sasaki Kojiro (Koji Tsuruta) who vows to defeat Musashi to make his name as the finest fencer in all of Japan. Inagaki ably manages the rather complicated plot with unexpected ease (subtitles are employed to help English viewers make a few narrative jumps) while he charts Musashi's education in compassion and humility and his internal struggle with his conflicted love for Otsu. The direction is still as distant and unostentatious as in the first film, while the color and settings become richer and more pronounced: studio-bound locations take on the quality and delicacy of paintings. The dramatic centerpiece of the trilogy, an epic pre-dawn battle where 40 swordsmen ambush Musashi, uses darkness and landscape to great dramatic effect as figures seep in and out of the picture. --Sean Axmaker ... Read more

Reviews (6)

a good continuation of the trilogy.
This review is for the Criterion collection edition.

In part 2 Musashi "Takezo" Miyamoto has earned the reputation of the greatest swordsman in all of Japan. In this release, which has the most action sequences in it. Takezo singlehandedly takes on 80 samurais in battle. I will not say more about the plot, lest this review would have spoilers.

The film was also good for actor Toshiro Mifune who is regarded as one of the best Japanese movie actors of all time.

THE INVINCIBLE MUSASHI MIYAMOTO
WHAT defines a man's greatness? Is it power and ambition, or something more? Part II of the magnificent Samurai Trilogy brims with action, force, kinetic energy, beauty and emotion. This film continues the saga of Musashi Miyamoto (performed by the venerable TOSHIRO MIFUNE) and his quest for perfection amidst the lives and loves that surround him.

The film begins with one of the most exciting scenes in the trilogy, in which Musashi duels with Chain-and-Sickle master Baiken using his trademark Two-Sword Stance. After the battle Musashi comes upon a priest who chides him for his lacking the chivalry and grace to match his power.

Much water has passed under Seijuro Bridge as Otsu (the lovely Kaoru Yachigusa) awaits for Musashi's return after three years -a testament to the Japanese virtue of loyalty. During her wait she comes upon the courtesan Akemi (Mariko Okada), who unfortunately also harbors feelings for Musashi, and the already-complicated romance becomes even more difficult as both vie for the same man's affection.

In his search of worthy opponents, Musashi makes enemies with Seijuro Yoshioka, head of one of Japan's most prestigious kendo schools -which in actuality has become little more than a band of thugs. Musashi's brave performance under pressure and growing reputation attract the man who will be his archenemy into the scene, the handsome yet deadly Kojiro Sasaki (played to perfection by Koji Tsuruta), a swordsman of unsurpassed skill whose trademark "Swallow-Cut" can slice a bird in flight!

The most awe-inspiring scene in the trilogy is Musashi's final battle against Seijuro's EIGHTY students: the greatest mismatch in history, AND YET he manages to defeat them and face off with the schoolmaster! Once victorious, Musashi prepares to deliver the coup-de-grace when he remembers the priest's words and the lessons of his new experiences. His soul became as polished as his sword. He spares Seijuro.

Hiroshi Inagaki shows his masterful abilities as director (or poet?) of this film. Breathtaking cinematography and color shows the beauty and spirit in nature, which parallel the actions and events in the lives of the characters. A memorable example is a scene of two sparrows singing together, which immediately precedes the reunion of Musashi and Otsu. Ikuma Dan's score is every bit as stirring and triumphant as for the first film.

The depiction of life and culture in 17th century Japan is rich and vibrant in this film, as is the evocative character development of each person. In addition to the superlative, complex storytelling, this motion picture is graced with a noble philosophy: One's greatness is not defined by action or ability as much as motive and intention. It is a testament to the human spirit. INCREDIBLE.

interesting ok I see...
OK, the much hyped chain fight scene was LAME and I know it's a 1955 movie but I was disappointed by the dark colors its not the vibrant colorful film i assumed buy/rent one DVD of this trilogy first and check it out. Don't get me wrong it's interesting to see the sets and use of light and one man against an army.(more like a ballet than combat) but I won't be buying 1 or 3. Or probably any Japanese DVD's for that matter.(maybe after 1970) I didn't find any characters engaging enough. There's a reason most don't have the Samurai trilogy in their fav Criterion Collection folks.

The Second Movie of this Fantastic Trilogy!
In this movie Musashi continues to polish his soul and find The Way. Now he has a purpose in his life and is rapidly becoming famous and sought after. He begins to learn that to be a Samurai involves more that just Kenjutsu, but also requires Kensho(knowing thyself).

Musashi also aquires an apprentice and a determined suitor. Both willing to follow him across Japan and back.

This movie is so great and so different from the other two, you must see this movie as well as the other two!

THE SWORD AND THE SOUL
Second part of director Hiroshi Inagaki's SAMURAI trilogy, DUEL AT ICHIJOJI TEMPLE presents two of the best samurai fights of movie history. You have to see Toshiro Mifune defend himself against several dozens of adversaries in order to understand why this actor has become an international star.

DUEL AT ICHIJOJI TEMPLE shows us what implies the life of a Samurai : strongness with the ability to be pitiful in peculiar occasions, ingenuity because the Samurai cannot count on his forces during his whole life and the sense of Honor. With such a commitment, there is scarcely a time for women. Miyamoto Musashi will have to face a courtesan, a loving young girl and his wife-to-be : don't be afraid, he won't succumb to them ! (after all, there is still the final part of the trilogy...).

DUEL AT ICHIJIJO TEMPLE is a little bit slower than the first part, with more talking and less wild purchases, but is nevertheless always entertaining (Jesus ! these coloured kimonos in Eastmancolor !). The images are not so flamboyant than those of MIYAMOTO MUSASHI but are still good. Don't forget that it's a 1955 movie.

A DVD dedicated to John Frankenheimer. ... Read more

Description

A story of a girl who, adrift with her feckless husband amid the literati of glittering Paris in the 1920s, becomes entrapped by a rich and sybaritic English couple.From the wistful melancholy of the autobiographical novel by Jean Rhys, Quartet is full of intense confrontations dazzlingly acted by Alan Bates, Maggie Smith, Anthony Higgins, and Isabelle Adjani.The characters act out their passions not only in the usual seedy cafés and louche hotels of Rhys’ Parisian novels but also the smoky jazz haunts and lavish settings of a James Ivory film.Nevertheless, Quartet remains, in theme, one of the Merchant Ivory team’s darkest and most compelling dramas of relationships dangerously intertwined. ... Read more

Reviews (1)

an overlooked Merchant/Ivory treasure
Since its release in the early 1980s, Quartet hasn't been remembered as much as some of their other films. Thats a shame because Quartet is one of their finer works. A very engrossing drama about mind control and deceit. As one would expect from M & A, the attention to detail in recreating the roaring 20's is fabulous. Alan Bates does a wonderful job as H.B., the controlling maniac disguised as a gentleman. Maggie Smith is heartbreaking as the passive wife who tries desperately to cling to her husband despite his infidelities. But its Isabelle Adjani who steals the show. Her character's development from innocent, to arrogant, to ignorant makes Quartet memorable. ... Read more

Description

Rival theater companies compete to produce their own unique versions of Jane Austen's childhood play, Sir Charles Grandison, in this delightful film from Merchant Ivory Productions. George Midash (Michael Wager) buys the play's manuscript at Sotheby's for Pierre (Robert Powell), the head of an avant-garde theater group. Another troupe, headed by the very traditional Lilianna Zorska (Anne Baxter), strives to produce their own version of the play. In her first film role, Sean Young co-stars as a young actress being manipulated by Pierre to join his company. When Lilianna decides to match wits with Pierre, events begin to mirror those occurring within the play itself. A brilliant ensemble cast, a witty screenplay by Ruth Prawer Jhabvala, and an inventive score by Richard Robbins all contribute to make Jane Austen an elegant entertainment. ... Read more

Reviews (6)

Brings new mwaning to the word "Idiotic."
Okay, this movie....oh man. This horrible clash of genres features over the top and under the top acting, idiotic characters, "special" Effects that are none too impressive and is the worst thing Isaac Hays has ever been involved with. Seriously, this is one ripe for MST3K, folks. Buy it only to torture yourself or other people. I have a long, curse-filled, spiteful review on my website, but I can't post the URL here so whatever. If you are going to buy, BUY USED. Do not waste any extra money on this thing. Spend it on a bag of Oreos or something instead. You'll be glad you did.

Campy fun, but no T&A
Oblivion is a campy, fun loving Sci-Fi Western movie that doesn't try to explain itself, nor does it take itself too seriously. If you are a trekky like me, its almost worth the cost of the DVD just to hear George Takei (who plays a drunk doctor) pay hommage to "Bones" McKoy with such wonderful lines as "I'm a doctor dammit, not a magician!" Oblivion has all the stuff you would expect in a B-movie western, including the wooden hero with a problematic past, the nasty villain with a band of losers, the hostage, and the shootout. This is combined with the sci-fi laser guns and bizarre B-grade off-world creatures.

This movie has all sorts of weird scenes. The best without question (also worth the price of the movie) has to be the funeral scene with the simultaneous Bingo game taking place on the second floor. This hilarious combination of sappy funeral speeches with bingo announcements like "B-1" going on in the background is a scream.

And while this movie has a really hot black nylon chick in Musetta Vander (if you're into the Trinity "Matrix" look, get this!), it is truly missing the gratuitous T&A. Musetta (the hot siren from "O Brother Where Art Thou") is hot though, so the movie still survives.

I give it 3 stars on the B-movie scale - T&A would have brought it to a solid 4.

Slower than its sequel but makes more sense.
The best of the stacks and stacks of direct-to-video junk out there.

Self-consciously campy, with stop-motion creatures, and (thankfully) good-natured, with no really objectionable stuff to speak of.

If you hear the words "low-budget" and run for the hills, pass this one up. But if you know and love AIP movies of the late 50's, it's a good bet you will enjoy this. This is as close to the feel of those that I have so far found among modern [movies].

Classic, high camp... with MUSETTA VANDER
I love this movie... I first saw it eight years ago and only recently hunted it (and its sequel, Backlash) down as an exorbitantly-priced VHS, even though it meant playing it on a tiny, tinny-sounding TV/VCR.

So, it's a "Sci-Fi Western." Let me see... Was it hokey? Heck, yeah! That's what MAKES the movie. Basically, toss Clash of the Titans, the original Star Trek series, The Adventures of Buckaroo Bonzai Across the Eighth Dimension, and a little Jim Henson puppetry into a blender, and you've got a fairly representative perception of what it's like. I have no idea what the budget was, but what it looks like is NOT mainstream Hollywood, NOT trendy-Indie, but very hip and quirky and campy on a well-designed shoestring budget.

The characters are waaay over the top... waaay waaay OVER over the top... even the seemingly straight-played parts by Richard Joseph Paul and Jackie Swanson (Little House on the Prairie really was this tragic, it just wasn't meant to be). And YES, George Takei pokes fun at his Star Trek pigeonholing with wincingly blatant one-liners, but it's so FUN to see him cutting loose (Sulu was awfully straight-laced). Musetta Vander is absolutely DELICIOUS as the black leather-clad, electric whip-wielding Lash. If you've always had a soft spot for really wicked women (with a Bettie Page thing going), you'll fall for her after seeing this. Carel Struycken is so freaking cool, I want to hug him. His voice (I sooo dig his voice) and kind of innocent savant demeanor (but with bits of cold practicality peeking through) reminded me of Andre the Giant in The Princess Bride.

If you live for the credits, here you go:

Directed by Sam Irvin and written by Charles Band, Peter David (I), Mark Goldstein (II), John Rheaume, and Greg Suddeth. The credits include Richard Joseph Paul as Zack Stone, Jackie Swanson as Mattie Chase, Andrew Divoff as Redeye, Meg Foster as Stell Barr, Isaac Hayes as Buster, Julie Newmar as Miss Kitty, Carel Struycken as Gaunt, George Takei as Doc Valentine, Musetta Vander as Lash, Jimmie F. Skaggs as Buteo, Irwin Keyes as Bork, Mike Genovese as Marshall Stone, Frank Roman (I) as Wormhole, Jeff Moldovan as Spanner, Joe Muzio and Craig Anthony Muzio as Two Head, Tim Miller (I) as the Stinking Turncoat, Peter David (I) as Cowhand, Nadine Emilie Voindrouh as Josephine, Sam Irvin himself as the "Whipping Boy," and a bunch of techs and extras who probably laughed and partied their way through the entire (for Pete's sake, go find a copy of the freaking film and watch it already) filming.

What are you waiting for? A newsletter and button?

Nebula boy.

>=)

In The Year 3031...It's Cowboys And Aliens.!!!!!!!!
Not since robotic cowboys strutted the dusty streets of Westworld has a sci-fi western caused such a ruckus! Oblivion's a rough and tumble frontier outpost with all sorts of bizarre creatures wandering about. But when Redeye (half man, half lizard and all mean) swaggers into town, all hell breaks loose!
Featuring a posse of favorites including Julie Newmar as the racy saloon hostess, George Takei as the tipsy local "Doc," Carel Struycken (The Addams Family) as an eerie mortician and Meg Foster playing a robocop with a quick draw and a heart of gold-plate. ... Read more

Description

Three interlocking stories set in New York City’s legendary Roseland dance palace make up this charming film, the third to be shot by Merchant Ivory Productions in America. In the first segment, The Waltz, Teresa Wright is a widow who comes to the Roseland in order to sustain the memory of her late husband, but meets Stan (Lou Jacobi), a man who offers her an opportunity for happiness in the present. In The Hustle, Christopher Walken stars as a gigolo with three women in his life, all of whom depend on him for different degrees of romance and companionship. In the final segment, The Peabody, an older Viennese woman (Lilia Skala) sets out to win a dance competition despite warnings that it could imperil her health. Ruth Prawer Jhabvala’s understated screenplay delivers an uncharacteristic bit of sentiment not present in other Merchant Ivory efforts. ... Read more

Reviews (2)

Great Unknown Dance Movie!!
This is a great underrated,unknown Dance movie that highly recommended.It's a must see flick!!!

Disco history actually!!
this video should be remembered as the very first piece of celluloid to ever record the dance steps of the (then) growing craze of the hustle in disco. ... Read more

Reviews (2)

Loved It!
First of all, the movie was made in 1991 ( I know because I rented it in 1991 ) so I don't know why it says 1993 by the title but, anyway...

This is one of those multi-storyline gems that focus on several characters with different love interests and storylines. The film is like a " St. Elmo's Fire " for the nineties. You get a lot of realistic issues as well as some great acting rolled into one. All of the actors are wonderful but Rae Dawn Chong ( M.J. ) rules the show. Usually Rae plays innocent sweet characters but she showed she has range with this one. In this film you cannot help but take her seriously.

I'd give this a try if you haven't seen it. Of course, it's a little dated in terms of the 90's banter but is still one of the better date films you'll see in a while. The actors have amazing chemistry with one another. Unfortunately Rae Dawn Chong, Fisher Stevens and Sandra Bullock seem to be the only ones still working. The others ( who were quite impressive ) seemed to fall off the face of the earth. I agree that there are too many subplots towards the end of the film and yes the end was predictable. But hey nothing's perfect. It may not be anything to scream about but this is one of few films that will keep you balling, laughing and joking until the end.

Watch only for Sandra
After long and tedious credits, this 1992 film starts with characters speaking in relative darkness. It eventually turns out that this film is a series of flashbacks, leading up to the present day, which helpfully links each scene together.

Sandra Bullock is instantly recognisable, playing Amanda. Her natural wavy hair was either done for the film, or she uses straightners now. She does a bit of narrating throughout the film, although not much. She still has the same laugh, which she perfected in "Miss Congeniality". None of the other characters seem to have found fame & fortune, unlike Sandra. Everyone says "Demolition Man" (1993), started her career, but if enough people had seen this film, it would have made her. She's always smiling & quirky - you just have to ignore the bright blue eyeshadow, left over from the 1980s.

Amanda's younger brother crops up during this film, peppering his speeches with "wack" and "dude", sounding like he should have appeared in "Bill & Ted" a few years earlier.

The film starts with MJ's 25th birthday; she gets found in bed by her roommates with a strange man, and then crashes into some guy's car, who she instantly proceeds to flirt with. This sets the story for her, as she seems to do nothing but flirt during the film. Her character totally annoys me (although you feel slightly sorry for her in the end), but the rest of the characters don't really have any effect on me. She is everything I hate about women today: their unsubtle flirting with any old guy, and then they ditch them. I'm also sure she was in "Devil's Advocate", and her character annoyed me then too.

The male characters are very hard to distinguish from each other, not helping by the far away shots, and the fact that two of them look remarkably similar. The female characters all have different characteristics and looks, but the guys just blend into each other.

This film jumps back and forth from ongoing storylines, different characters and curious situations, leaving you lost as to what's going on. Being 114 minutes, this film is too long. I got bored and it wasn't even halfway through. It doesn't really have that much of a plot, and I consider it to be how "Friends: The Movie" would be. Not good. Can take in small doses, but not in a movie. There are a couple of good bits where the characters learn from mistakes they've made and the bitterness shows obvious cracks in relationships. Plus, the ending is predictable. A lot more could have been done with this film, but parts were neglected, and too much was focused on the one character. ... Read more

Description

Broadcast on Cartoon Network's popular Toonami block - Mobile Fighter G Gundam has topped the ratings chart among anime features currently on broadcast! With a full line of action figures and model kits, apparel, Playstation 2 video games, and other related merchandise - Experience Gundam like never before on DVD home video! Directed by Yasuhiro Imagawa (Giant Robo) - The action and excitement of Gundam reaches epic proportions! The year is Future Century 60 - It is time for the "Gundam Fight" tournament! Each country sends a Gundam to Earth for this prestigious tournament in the hopes of winning power and glory for their homeland! But this time, there's an unseen evil lurking behind the scene. Domon Kasshu, Neo Japan's reluctant Fighter, is determined to uncover this evil and clear his family name! The fight to the top begins now! ... Read more

Reviews (6)

Ludicrous fluff, but carried off with a certain panache
Notice how by the second sentence of the box description quoted above, we're already hearing about Bandai's lust for merch: "With a full line of action figures and model kits, apparel, Playstation 2 video games, and other related merchandise - Experience Gundam like never before on DVD home video!"

G Gundam premiered in 1994. It was the first "Gundam" show to abandon the main, serious "Universal Century" (UC) continuity that had linked all previous Gundam series and movies. While UC series like Gundam 0083, Zeta Gundam, and Char's Counterattack all take place in historical relation to one another, with recurring characters and reference to past events, G Gundam, like Gundam Wing after it, is off in its own little universe.

G Gundam was also a big fat commercial ploy by Bandai to goose Gundam model kit and paraphernalia sales, which had been slipping since the lukewarm reception of Victory Gundam (1993-94).

The result is something like Gundam meets Street Fighter by way of Dragonball Z. Dozens and dozens of over-the-top Gundams representing the different space "nations" come together in the Gundam Fight. These "mobile fighters" all have ludicrous traits that represent their nations. E.g., the "Neo-Canada" entrant is called "Grizzly Gundam" (Lumber Gundam in Japan), and is built like a ... well, a lumberjack, with a big old mecha chainsaw on its back. Seriously. If you think that's wild, you need to check out the Mummy Gundam and the (yes) Mermaid Gundam, which transforms into a fish. Mermaid is actually an elegant design, in a too-many-psychedelic-mushrooms sort of way.

Each pilot has a special finishing move with his Gundam, and in the best PlayStation style, yells out the move as he does it! "Shining Finger!!" The main characters are a bunch of top Gundam fighters who come together in a playing-card-motif kind of club called (yes!) The Shuffle Alliance.

All of this is obviously a long way from the semi-realistic, gritty military drama of the original, UC Gundam shows. For that reason a lot of older fans despise G Gundam. They figure, with some justice, that it gives potential fans the wrong impression of what the other, more serious Gundam shows are like. (Gundam Wing's popularity with preteens likewise misled lots of people to think Gundam is about pretty-faced misanthropic boys riding invincible uber-Gundams and giving incomprehensible speeches about war and peace. Actually, most of the good UC shows are about military men and women piloting all-too-mortal mobile suits, and they contain some genuinely moving scenes.)

Me, I wouldn't go out of my way to watch G Gundam, but I gotta admit it plays out on TV somewhat better than it sounds. The fight choreography is excellent, if liberally laced with drama/cheese. Several cool technological tricks are unveiled, like the skintight movement-sensitive suits that the pilots wear inside their cockpits to direct the machines. The final God Gundam piloted by hero Domon Kasshu (Burning Gundam in the US) is a gorgeous mecha. Schwarz Bruder's "Neo-German" Gundam Spiegel (aka Shadow Gundam?) is also sweet. The actors manage to invest the campy mecha fights with passion. Rain Mikamura is a babe.

In sum, while there are a lot of more nutritious Gundam series out there, G Gundam offers decent brain and eye candy for fans.

The Gundam fight begins.....
....and it gets of to a great start! The first episode of G Gundam is one of my most favorite. The first episode makes the whole DVD worth buying. The other episodes are great too. They do an excellent job of introducing the characters who will play a key role in the series. If you like good anime then pick this up TODAY!!!

Round 1
21 year old Domon Kasshu has to fight for his nation, Neo-Japan. His father and other son, Kyoji Kasshu has built a Gundam that is called the Dark Gundam. His bro, Kyoji goes to Earth in the Gundam. His mother was shot while she was protecting his son, Kyoji. Domon was tooken and has been told to fight for Neo-Japan for him to have his father back. His father is frozen since he has built the Dark Gundam. Domon has had a old child-hood friend named Rain Mikamura. She is 20 and she supports him in fights even if he doesn't need any. She is a doctor and well not exactly a Gundam Fighter. She fixes Shining Gundam whenever it needs repair. They meet Chibodee Crocket, George DeSand,Argo Gulski and Sai SaiCi.

G Gundam
How should I start... Ok, There is a 21 year old man named Domon Kasshu. He has to become a Gundam Fighter for his nation, Neo-Japan. This is because his mother was shot and his brother, Kyoji has gone to earth with a Gundam called, The Dark Gundam. The nation froze Domon's father since he and Kyoji created the Dark Gundam. Now if Domon Kasshu wants to save his father he must win the Gundam Fight. He is also assisted by a 20 year old women named, Rain Mikamura. Her father, Dr. Mikamura has been very good friends with Dr. Kasshu. Rain Mikamura helps Domon when he is on Earth. She fixes the Gundam, Shining Gundam when it has to be repaired. She has a feeling for Domon but she won't tell him. Domon is known as the King Of Hearts. This i