• Year: 2019
• Released: 21 Oct 2019
• Country: Poland
• Adwords: 4 wins
• IMDb: https://www.imdb.com/title/tt11054928/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_last_loner
• Metacritics:
• Available in: 720p, 1080p,
• Language: Polish
• MPA Rating: N/A
• Genre: Action
• Runtime: 72 min
• Writer: Amadeusz Kocan, Bartosz Wabno
• Director: Amadeusz Kocan
• Cast: Damian Ziembinski, Karol Kopiec, Grzegorz Halama
• Keywords:

	4.3/10
	false% – Audience

The Last Loner Storyline

The film tells a story about a young man, who enters the Zone. A place where fear and pain fills human hearts. Upon entering, he becomes a stalker and quickly learns that the zone is ruled by apathy and greed.

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The Last Loner Movie Reviews

• Year: 2023
• Released: 01 Dec 2023
• Country: Japan
• Adwords: Won 1 Oscar. 41 wins & 56 nominations total
• IMDb: https://www.imdb.com/title/tt23289160/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/godzilla_minus_one
• Metacritics:
• Available in: 720p, 1080p,
• Language: Japanese
• MPA Rating: PG-13
• Genre: Action, Adventure, Drama
• Runtime: 124 min
• Writer: Ishirô Honda, Takeo Murata, Takashi Yamazaki
• Director: Takashi Yamazaki
• Cast: Minami Hamabe, Sakura Andô, Ryunosuke Kamiki
• Keywords: monster, loss of loved one, giant monster, kamikaze, duty, melancholy,

	8.2/10
	98% – Critics
	false% – Audience

Godzilla Minus One Storyline

Feeling as if he unfairly cheated death too many times, Shikishima, a surviving Kamikaze pilot is attacked on Odo Island along with many war plane engineers by a gargantuan monster. After the engineers die due to Shikishima failing to distract the monster, an overwhelming amount of guilt weighs on him, especially after a homeless woman and a baby move into his home when he returns. Shikishima, now on a personal mission, teams up with a large group of veterans to finally take down the monster known as Godzilla.

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Godzilla Minus One Movie Reviews

• Year: 2024
• Released: 12 Apr 2024
• Country: Canada, United States, Ireland
• Adwords: 1 nomination
• IMDb: https://www.imdb.com/title/tt22939186/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/arcadian
• Metacritics:
• Available in: 720p, 1080p, 1080p
• Language: English
• MPA Rating: R
• Genre: Action, Horror, Thriller
• Runtime: 92 min
• Writer: Michael Nilon
• Director: Benjamin Brewer
• Cast: Nicolas Cage, Jaeden Martell, Maxwell Jenkins
• Keywords:

	5.7/10
	55% – Critics
	false% – Audience

Arcadian Storyline

Arcadian is about a man played by Nicolas Cage, and his twin teenage sons, Max Jenkins and Jaeden Martell, who must fight to survive in a remote farmhouse at the end of the end of the world. The challenges of growing up are made worse by the terrors awaiting the boys and their father after the sun has set.—Ben Brewer

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Arcadian Movie Reviews

Arcadian is frustrating as it has the potential to be a terrifying, but…

I’d Watch It Again

“Arcadian” claws its way onto the screen with a promising premise: a post-apocalyptic world where a father and his sons fight for survival against nocturnal horrors. Nicolas Cage delivers a subdued performance as Paul, the father desperately clinging to normalcy for his children.

Nicolas Cage is, as always, a compelling presence. His performance grounds the film, even when the shaky cam and creature design falter. The young actors portraying his sons are believable as well.

Overall, Arcadian is frustrating. It has the potential to be a terrifying exploration of survival, but shaky camerawork and underwhelming creature design hold it back.

Please, take off cameras from Parkinson’s DoP

I was growing slowly confident that finally we went off that time of movie industry where everything must be shot “run and gun” guerrilla style, I mean, where the camera is handheld and sequences are unstable and shaky.

This movie is shaky for the 98% of it.

The directory of photography never heard of tripod, steadycam, dolly or whatever could put a stop to his Parkinson’s movements all across every sort of shot.

This boring, unnecessary and constant shake makes this movie pretty much unwatchable, unless you view it on a mobile phone, otherwise get ready for motion sickness.

Please, directors, forget this handheld mania. It’s not 2010 anymore.

Lost Its Focus

The constant shakiness of the camerawork makes this film physically challenging to watch unless you have an iron constitution that prevents motion sickness. I found the most relief during the scene when the camera is mounted on an ATV. Otherwise, every scene rattles and blurs and bounces and trips on a rock, distracting from the quality acting, storytelling, and world-building. I would have really enjoyed seeing more of everything in the film, but I couldn’t focus fast enough before the camera swished up and down and vibrated until I had to look away. In the end, I listened to more of the movie than I saw of it, which is a shame because I was very excited after seeing the preview.

• Year: 1993
• Released: 07 Jan 1994
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0109098/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/american_cyborg_steel_warrior
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: R
• Genre: Action, Sci-Fi
• Runtime: 94 min
• Writer: Bill Crounse, Boaz Davidson, Brent V. Friedman
• Director: Boaz Davidson
• Cast: Joe Lara, Nicole Hansen, John Saint Ryan
• Keywords: ship, kung fu, cyborg, post-apocalyptic future, terrorism, anarchy,

	4.3/10
	35% – Critics
	false% – Audience

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American Cyborg: Steel Warrior Movie Reviews

Austin VS. Cyborg: Who is the REAL Steel Warrior?

17 years after the apocalypse, the survivors live in destroyed cities patrolled by cyborgs. The cyborgs get their orders by sticking their fingers in ATM-like machines. A human woman named Mary (Hansen) has given birth to a baby, which is important, so the species can continue to live in utter squalor. Apparently, in Europe there is less radiation so she must get the baby safely to “the port”. Unfortunately, there is an unusually-ruthless mustachioed cyborg named “Cyborg” after her. Wherever she is, he turns up and shoots everybody. You’ve really gotta watch out for this guy. He really hates babies (which is never explained). Luckily, Mary has some help in the heroic Austin (Lara), a valiant meathead willing to help Mary complete her journey and fight Cyborg along the way. Will she succeed in her mission? John Ryan as Cyborg has a Judas Priest-style leather outfit and mustache. He also has funny glowing eyes and grunts a lot. Almost any Judas Priest song can be applied to this villain: “Leather Rebel”, “Hell Patrol”, “All guns blazing”, etc. I wonder if Rob Halford has ever seen this movie. Joe Lara is sans beard and looking meatheadier than ever. He has a bunch of blank expressions that complement his long hair. Hansen can’t act her way out of a paper bag, but maybe the star that is Lara outshined her.

It’s important to remember that in 1993 the world was in the midst of “Terminator 2 Fever” and AC: SW is a by-product of that then-current enthusiasm. Imagine a mix of Terminator 2 (1992), Neon City, Karate Cop and Omega Cop. It has all the silly trademarks of the low-budget post-apocalyptic genre, including plot points about “RZB”, an anti-radiation drug, and it also might explain the characters’ interest in “modems” and other computer mumbo-jumbo.

This movie isn’t really as bad as you might think. Yes, it is very dumb and repetitive (Austin kills Cyborg, he regenerates and comes back, ad nauseam), and every time Cyborg shows up, he kills everyone in sight with his machine gun but not Mary, of course…but it has a decent pace and some interesting baddies such as drag queens and the dreaded “Leeches” who are, apparently, radioactive cannibals. The one standout fight scene involves Austin facing off against these mummy-like assailants. Also, most of the movie takes place in one abandoned warehouse or another.

Directed by the legendary Boaz Davidson (of the Lemon Popsicle series and co-producer of The Expendables (2010), this is a later Cannon production, so, make of that what you will.

Who is the Steel Warrior? Is it Austin or is Cyborg? Be Pro-“American” and find out tonight! For more insanity, please visit: comeuppancereviews.com

Expected bad… but not awful.

Well, this movie may not be just another piece of crap like most of this type are, but I do not see any point to praise about it either. Same old premise — destructed wasteland, no sign of sane life, deadly cyborgs reigning, some unlucky human beings… it works on a very cheap & boring formula. It reminds me of Van Damme’s Cyborg, but somehow I feel this one better. Just because it has a better story. But please do not expect a breathtaking, mind dazzling sci-fi plot. I was just comparing.

The leadman, Joe Lara, is lucky that he turned out to be a cyborg in the end. Otherwise he himself should question his acting capability. Nicole Hansen added some human touch in this robot-robot game. At least she is the only human among the lead cast. And I’m still in dark why the director chose an old-man figure as the killing cyborg. 3/10.

Steel Warriors coming out to play

Joe Lara stars as a tough martial artist who helps escort the last pregnant woman to Europe, while a cyborg (John Ryan, not John P. Ryan) is close behind in their footsteps. American Cyborg:Steel Warrior (a rather awkward title) actually got a theatrical release (And no I didn’t see this in theaters) and well with all things considered it represents the last dying breath from Cannon films. (Who distributed this) Back in the 1980s, Cannon were the ones responsible for such movies as the American Ninja series, Revenge Of The Ninja, Delta Force, Invasion USA, Masters Of The Universe, Bloodsport, Kickboxer, Death Wish 2-4 and Cyborg. I listed this filmography mainly so I can point out that the type of movies that Cannon used to pedal to market. In this regard American Cyborg:Steel Warrior isn’t the best or the worst production from Cannon, it is just a low budget rip off of Escape From New York with elements of Cyborg and Hell Comes To Frogtown thrown in for good measure, it really isn’t so bad as it is derivative. I mean it’s a B.movie, but i’m not sure this deserves a 2.2 rating on IMDb. The movie itself has a couple decent action sequences but mainly it’s a rip off and I think fans of B.movies will be the ones who find this enjoyable. The movie is also respectably made with some okay production values and the story (if simplistic) makes sense. Although Lorenzo Lamas rip off, Joe Lara is a liability that the film’s competence can’t overcome.

* * out of 4-(Fair)

• Year: 2024
• Released: 15 Mar 2024
• Country: India
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt16139258/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/yodha
• Metacritics:
• Available in: 720p, 1080p,
• Language: Hindi
• MPA Rating: Not Rated
• Genre: Action, Drama, Thriller
• Runtime: 130 min
• Writer: Sagar Ambre
• Director: Sagar Ambre, Pushkar Ojha
• Cast: Sidharth Malhotra, Raashi Khanna, Disha Patani
• Keywords:

	6.0/10
	false% – Audience

Yodha Storyline

After failing to secure a hijacked aircraft and suffering a huge collateral – the system makes commanding officer Arun Katyal the scapegoat of his elite unit, the Yodha Task Force. As a result, Arun loses his uniform, family, friends and his wife. Years later, another flight gets hijacked and the system is shocked to find Arun on board in very mysterious circumstances. All evidence points towards Arun being on a mission for revenge against the system that snatched everything away from him. Is Arun really a traitor or is he the patriot that his father wished to be? It all unfolds in a high octane action packed thriller – 15,000 feet in the sky.

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Yodha Movie Reviews

• Year: 2024
• Released: 23 Feb 2024
• Country: India
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt22869490/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/crakk_jeetega_toh_jiyegaa
• Metacritics:
• Available in: 720p, 1080p,
• Language: Hindi
• MPA Rating: N/A
• Genre: Action, Sport
• Runtime: 154 min
• Writer: Aditya Datt, Rehan Khan, Sarim Momin
• Director: Aditya Datt
• Cast: Vidyut Jammwal, Arjun Rampal, Nora Fatehi
• Keywords:

	5.1/10
	52% – Critics
	false% – Audience

Crakk: Jeetega… Toh Jiyegaa Storyline

The journey of a man from the slums of Mumbai to the world of underground extreme sports.

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Crakk: Jeetega… Toh Jiyegaa Movie Reviews

• Year: 1983
• Released: 06 Oct 1983
• Country: Hong Kong
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0201060/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/shaolin_intruders
• Metacritics:
• Available in: 720p, 1080p,
• Language: Cantonese, Mandarin
• MPA Rating: Not Rated
• Genre: Action, Drama
• Runtime: 89 min
• Writer: Ke Huang, Yun Ling, Kuang Ni
• Director: Chia Tang
• Cast: Tung-Shing Yee, Jason Piao Pai, Phillip Ko
• Keywords:

	7.1/10
	75% – Critics
	false% – Audience

Shaolin Intruders Storyline

Shaolin Temple becomes suspect when several clan leaders are robbed and killed by the deadly Shaolin Palm technique.

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Shaolin Intruders Movie Reviews

Creative martial arts

SHAOLIN INTRUDERS is another engaging and action-packed Shaw Brothers martial arts epic, once again influenced by the growth of special effects-fuelled blockbusters in Hollywood. Thus we get extra-outlandish fight sequences, with Shaolin monks contorting themselves into all kinds of wacky positions to fight and test our heroes. Chor Yuen veteran Derek Yee handles the hero role well, but his thunder is stolen by a Puckish turn from Jason Pai Paio as his partner in crime and the exemplary supporting cast, including Phillip Ko, Ku Feng, Lee Hoi Sang and Chan Shen. The plot is limited here, but the twists are satisfying and the action excels.

Good Movie

I liked this movie a lot… There’s not much I can say that hasn’t already been covered by Brian Camp. He covered everything, maybe more than you needed to know.

I thought it was great that he mentioned Lau Yuk-Pok (aka Liu Yu-Po, aka Liu Yu-Pu). He’s right, she wasn’t in a lot of films. For those who are searching for a little more info about her, i’ll input the best I know of.

She was born in Taiwan on May 3rd 1963. She joined Shaw Brothers at their invitation in the 80’s and played in “Winner Takes All”, “Rolls, Rolls, I Love You”, “Shaolin Prince”, “Shaolin Intruders”, “The Weird Man”, “Portrait in Crystal”, “Secret Service of the Imperial Court”, “New Tales of the Flying Fox”, “Butcher”, “Thunderclap” and “Qin Yong (aka A Terra-Cotta Warrior)”. She returned to Taiwan in 1985 after finishing “Qin Yong”, and started a career in TV drama. Later she married Chang Chien-Chung, who worked in an advertising agency, and eventually emigrated to the United States.

In 1991, they gave up their careers to become missionaries. In 2001, she became a writer and published two books about herself as a mother and a patient (I would assume “cancer patient” but cant find a definite answer). She died on May 11th 2009. There’s some commentary on the Celestial DVD edition of Shaolin Intruders about her.

Shaolin Intruders

Shaolin Intruders is a fairly decent Kung-Fu film, albeit it may have a bit more humor added to the mix, nonetheless, it is good entertainment.

The fight scenes at the Shaolin Temple are well choreographed and inventive. Two bumbling friends try to find out who is killing renowned house clan leaders, and it takes them to the Shaolin Temple. The only way they can gain access to the Shaolin students to identity their faces, since one of their female friends saw them on a stealing spree, is to get past Shaolin monks, who put up a vigorous defense.

In all, there’s some duplicity and scheming involved. It makes for decent action.

• Year: 2001
• Released: 30 Nov 2001
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0193560/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/texas_rangers
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: PG-13
• Genre: Action, Adventure, Drama
• Runtime: 90 min
• Writer: George Durham, Scott Busby, Martin Copeland
• Director: Steve Miner
• Cast: James Van Der Beek, Rachael Leigh Cook, Ashton Kutcher
• Keywords: tiger, texas, texas ranger, usa–mexico border, racial segregation, 19th century,

	5.2/10
	29/100
	29% – Critics
	false% – Audience

Texas Rangers Storyline

Set after the American Civil War in the 1870s, ‘Texas Rangers’ is a story about a group of men determined to maintain peace and contain the chaos that is erupting on the Texan frontier. Native Americans are attempting to reclaim their land, Mexicans are pouring over the U.S. border, and renegade outlaws are tearing up the state, so the Texas Rangers swear to protect the innocent and their loved. To do so, they must be willing to maintain the peace where law enforcement cannot, fight while they are out-manned and out-armed by the opponent, and be willing to die for the freedom for which they fight.—Anna

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Texas Rangers Movie Reviews

A Fistfull of Rangers

These people obviously love the old “spaghetti westerns”. I was expecting Clint Eastwood to show up at any time. So true to the old genre that it’s almost camp. Even the music is true to the genre that I expected to hear the theme from The Good, The Bad,and the Ugly at any moment… Some of the lighting and background is obviously theatrical, and the editing from scene to scene is clipped in places. I don’t know why people are complaining so much when this was obviously more than a little tongue in cheek, with a tip of the hat to Italian westerns. Hey, who needs a plot when you’ve got the good guys against the bad guys? Viewed in that light, it was well-done. Otherwise, hardly an historical document 😉 If you want to know about Texas, read James Mitchner…

Pretty bad new age Western.

All the elements to makes this a great genre movie are present here, especially in its formulaic but yet promising story premise. Then where did it go wrong? By the characters and cast for starters.

The movie has an impressive cast and most do a more than fine job. It’s ironic that however the actors I were most worried about (Usher Raymond, Ashton Kutcher) did a great job playing their roles and the actors I was most confident about (Dylan McDermott, Tom Skerritt, among others) were miscast in the movie. But disappointing or not, every character in the movie lacked some good development and background. The main character (played by James Van Der Beek) start off promising but as the movie progresses you more and more begin to wonder to yourself what makes the main character so special or even relevant for the story. Dylan McDermott is a good actor and he also for most part is good in his role but he just isn’t convincing enough as an experienced tough dying gunslinger. It makes you wonder why Robert Patrick and McDermott didn’t switched roles in this movie. It would had made the story at least a bit more believable. The main villain is being played by Alfred Molina. Perfect you would think. The character however seriously lacks some development and depth which makes him a pretty shallow and way too uninteresting main villain for the movie. And then there are the actors who are just simply underused in the movie, such as Tom Skerritt. I mean does he even have lines in this movie? Cause I really can’t remember any. So poor casting and character treatment all around for this movie.

They tried very hard to make this movie a cool action movie, also with a bombastic action score from Trevor Rabin. But however the movie is lacking in way too many action sequences to make this a good genre movie. They also desperately tried to make the action moments cool, with quick shots and cuts, that however really don’t add up to each other and instead make the movie an incoherent one when it comes down to its action. The movie as a whole has poor editing all around. It almost seems as if this movie wasn’t even shot entirely and the movie was not put together until in the editing room, when it was too late to do some pick up shots.

Despite it’s promising premise, nothing in the movie really works out the way it was supposed to. It really is too bad because in its core this movie really had potential. But perhaps they should had known better not to touch the Western genre, that has been pretty death by now for the few past decades. This movie now is nothing more than a still somewhat watchable movie for on a rainy afternoon, that perhaps should had gone straight-to-video immediately instead.

Perhaps best watchable for the die hard genre fans only, everyone else can better just skip this one.

4/10

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The sort of thing that Hollywood used to churn out by the dozen

In 1875, ten years after the end of the Civil War, Texas, especially the area along the Mexican border, is a wild, lawless place where ranchers and homesteaders are frequently threatened by bandits. The State Governor therefore decides to re-create the Texas Rangers, who had been disbanded after the Civil War, to uphold the law. The film follows the exploits of a company of Rangers led by Leander McNelly. The villain of the story is John King Fisher, the leader of a gang of outlaws who specialise in stealing cattle and then fleeing into Mexico, where the stolen cattle are sold to the Mexican army. The gang are ruthless killers, who have no compunction about murdering unarmed civilians in cold blood. It came as no surprise to discover that the film is loosely based on fact and that McNelly and King Fisher were real historical figures; “Leander McNelly” did not sound like the sort of name any scriptwriter would invent for a fictitious character. The film allegedly takes some liberties with the historical record, but these are unlikely to upset anyone other than experts on Texan history.

Although the Texas Rangers are, strictly speaking, a law enforcement agency rather than a military unit, the film bears more resemblance to a war movie than to a cop film. The plot is that old staple of war movies, the one about the tough, experienced commander who takes a group of raw recruits (most of them are young men with little or no experience of guns or policing crime) and turns them into a crack fighting unit. In their initial battle with the bandits, the Rangers fall into a trap, and many of the young and ill-trained men are killed. Nevertheless they regroup, attract new recruits and face off against Fisher and his men in a final showdown.

The film is directed by Steve Miner, previously known to me only as the man who made “Lake Placid”, a dreadful horror-comedy unlikely to appeal to anyone other than those who feel that there is something inherently hilarious about someone getting their head bitten off by a gigantic crocodile. Fortunately, Miner makes no attempt to inject comedy elements into “Texas Rangers”, and it is a better film than “Lake Placid”, although that is not really saying much.

The past few years have seen something of a revival of the Western genre. Many recent Westerns (“Dances with Wolves”, “Unforgiven”, “Wyatt Earp”, “3.10 to Yuma”) have been grand films made on an epic scale, but “Texas Rangers” is a much more modest, small-scale effort, more reminiscent of the old Western B-movies. Its total running time is very short for a twenty-first century film- the version I saw on British television recently only ran to eighty minutes. It is essentially a good-guys-versus-bad-guys Western of the old school with plenty of action and gunplay but without any deep significance. There are occasional attempts to inject a note of moral ambiguity- McNelly can be uncompromising in his methods- but there is little doubt that he and his men wear the metaphorical white hats and the Fisher gang the black ones. This is the sort of thing that Hollywood used to churn out by the dozen in the forties and fifties. 5/10

• Year: 1990
• Released: 01 Mar 1991
• Country: Canada
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0101264/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/abraxas_guardian_of_the_universe
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: R
• Genre: Action, Drama, Sci-Fi
• Runtime: 87 min
• Writer: Damian Lee
• Director: Damian Lee
• Cast: Jesse Ventura, Sven-Ole Thorsen, Damian Lee
• Keywords: new york city, police, wormhole, stripper, alien, canuxploitation,

	2.9/10
	21% – Critics
	false% – Audience

Abraxas, Guardian of the Universe Storyline

An alien “policeman” arrives on Earth to apprehend a renegade of his own race who impregnates a woman with a potentially destructive mutant embryo.—N.X.K.

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Abraxas, Guardian of the Universe Movie Reviews

Cheapjack sci-fi boasts good Ventura performance…

He’s no Laurence Olivier, but Jesse Ventura is very likable as an actor. Low-budget science-fiction B-flick with shades of “The Terminator” involves good cop Ventura chasing bad cop Sven-Ole Thorsen from the future to present-day Canada. The shoestring special effects are pretty much a joke, and the film never comes up with the kind of futuristic scenario depicted on the poster. However, this thing is almost single-handedly saved by handsome Ventura’s low-key performance. No, he’s not going to win any awards for his acting, but he doesn’t force his dialogue and is an appealing presence on the screen. The picture is the epitome of mediocre, it isn’t original nor remarkable, but on a minor, TV-viewing level it’s decent fare. ** from ****

Keep a straight-face.

Anything starring ex-wrestler / former Minnesota governor Jesse Ventura gotta be worth your weight in gold. After appearing as support in such films ‘Predator’, ‘The Running Man and ‘Ricochet’, his first leading role happens to be in something rather lesser; ‘Abraxas, Guardian of the Universe’. It’s a low-rent, corny b-grade sci-fi chase get-up in the form of those efforts done in the late 80s / early 90s (‘The Hidden’, ‘The Peacekeeper’ and ‘Dark Angel’) with certain elements of ‘The Terminator’ (1984) obviously featuring.

Abraxas, an alien officer comes to earth to track down a renegade who plans to impregnate a woman with a child, which would be an actual ticking time bomb waiting to explode if caught in the wrong hands. He captures the renegade, but is too late to stop the pregnancy. Instead of destroying the threat, he spares the mother and baby’s life. Times passes and the renegade escapes and heads back to earth to find the child, but Abraxas is soon on his trail by trying to get to the child first.

It’s best that you just go with the flow. Don’t look too hard into it, as it won’t be impossible to get some sort enjoyment out of it with its unintentional mocking and bizarre nature (like the birth scene). Ventura rocks, but something about his burly physic not matching up to his well-mannered delivery of the material raises some chuckles with his almost-like second-rate Terminator impression. At times the chewy dialogues (honestly it was Shakespeare stuff) seemed too much of a mouth-fall for the two outer-space guests. A robotic Sven-Ole Thorsen forcefully played the evil foe, but Ventura has an sincerely likable air to him that makes him rather appealing in the role. Marjorie Bransfield is decent in her part. Also appearing in very minor support is James Belushi (who has a ridiculous conversation with Bransfield’s character) and the dependable Michael Copeman.

Damien Lee (b-grade actor/writer/director) manages to make the production look better technically than its budget would allow. Sure the minimal special effects and (out of place slow-motion) action set-pieces are low-scale, but modestly crafted. It’s well-photographed and the soundtrack is a flavoured sample of swiftly soothing jazz (odd I know) and electrifying rock. The flabby script is constantly stiff drivel and the screenplay while focused is still quite pedestrian (with a meandering midsection), but whenever Ventura’s narrative voice-over pops up it amuses. The supposed humour on the other hand, (which the script tries for in parts) is dumb and falls flat, because they’re not the moments you’ll laugh at. Talk about a dud of an ending.

Undistinguishable, but better than expected camp that has some heart.

Poorly made Terminator rip off

OK. Nobody in their right mind could have expected much from this movie. But even though I knew Jesse Ventura was the headliner and that the budget was low, I didn’t expect this film to be as bad as it was. The most glaring problem, surprisingly, isn’t the acting. It’s the sound. Ventura enunciates so poorly that it is easy to miss half of his lines (not that it matters in terms of moving the “plot” forward), and the sound itself is reminiscent of 16mm home movies. Expanding on the awfulness of the recording quality is one of the worst background soundtracks I have ever been forced to endure. Improvisational jazz, a U2-clone new wave band, and what sounds like a 12 year old with a Casio keyboard are randomly applied to the scenes in a manner reminiscent of the classically awful soundtrack of Manos: Hands of Fate. http://www.imdb.com/title/tt0060666/usercomments?start=10

Ventura and his arch-enemy (Sven Thorsen playing a cross between Grizzly Adams and Arnold Schwarzeneggar) don’t bother with facial expressions, changes in pitch or intonation, This is probably a good thing, because the rest of the cast is actually passable. James Belushi’s cameo is the highlight of the film. His scene is really quite funny, and placed well in the film, since it is likely to bring some viewers back from the brink of suicide. Damian Lee has a remarkable repertoire of poorly made extremely low budget films, and Abraxas is, amazingly, one of his better efforts.

The “plot” consists of two super-beings, one a rogue and the other a kind of intergalactic super-cop, who have arrived on earth. The rogue immaculately conceives with a human in order to spawn “the com leader” (At least I think that’s what they call it – the sound is so bad that even after hearing this about 50 times in various accents, I still don’t know what was being said). The com leader is a little boy who has the ability, when upset, to light fires and “spontaneously combust”. Remarkably, the writers do not seem to have been aware that this phrase connotes self-immolation, not destructive potential. Abraxas’ job is to stop the rogue, and to kill the ‘com leader’. The Com Leader’s mother is played by Marjorie Bransfield (the class of the acting talent here), and she appeals to Abraxas’ super-humanity in an effort to save her son.

Predictable is too subtle. This film is frankly obvious from beginning to end. I can’t recommend it to any but the most disciplined bad movie watcher.

• Year: 1973
• Released: 29 Dec 1973
• Country: Japan, Iran
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0174699/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/golgo_13
• Metacritics:
• Available in: 720p, 1080p,
• Language: Japanese
• MPA Rating: N/A
• Genre: Action, Crime, Thriller
• Runtime: 104 min
• Writer: Takao Saitô, K. Motomitsu
• Director: Jun’ya Satô
• Cast: Ken Takakura, Mohsen Sohrabi, Jaleh Sam
• Keywords: hong kong, killer,

	6.1/10
	false% – Audience

Golgo 13 Storyline

Golgo 13 is assigned to murder a man named Boss Goa.

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Golgo 13 Movie Reviews

A recently rediscovered gem

Junya Sato’s Golgo 13 is a much more human and melancholy adaptation of the source material, it loses the seemingly superhuman aspects of his anime counterpart. Making gorgeous use of a pre-revolution Iran, a decidedly off-the-wall idea even for the time and one that gives it a unique flavour, sees a perfectly cast Ken Takakura in the title role radiate with an ice-cold countenance matched only by his deadly skills and irresistibility to women. Oozing with menace and masculine suave, Golgo 13 trudges across desert landscapes, a man on a mission, decidedly anti-heroic but brilliantly realised encountering kaleidoscopic villains along the way. Excellently shot and choreographed action, striking editing and a classic slice of Toei-style orchestration for its soundtrack give Junya Sato’s Golgo 13 a decidedly Spaghetti Western tinge. I can’t thank Eureka Entertainment enough for finally giving this movie the attention it so justly deserves.

Looks like an amateur movie.

Ridiculous cheap japanese action movie. The action occurs in Iran, a surrealist Iran since everybody seems to speak japanese fluently, where is the logic ? The main character is not charismatic and hardly talks during the whole movie. Each detail seems ridiculous: the killed people close their eyes when they die, the burned cars are empty while there were full of gangsters during the car chase, etc.

Unfairly obscure Japanese/Iranian action gem

This is an early live-action adaption of a manga comic of the same name. I think the best way to think of it is as a Japanese version of James Bond. Except in this case the lead character is a hired professional killer (in fairness Bond was really more this than an actual spy) and, as could probably be expected given its Japanese origins, it’s decidedly more violent. In actual fact, despite a few moments of memorable humour, this is hardly campy fare and is more an example of straight-ahead gritty 70’s action. The lead character Golgo 13 is played brilliantly by Ken Takakura, who looks like a genuine bad ass throughout the picture. This is clearly a character that deserves to be better known. As does the film itself. It remains extremely obscure. Having seen it I find this a strange scenario as this is not a ropey z-grade film or avant-garde oddity but a pretty well made b-movie with lots of action and memorable scenes. Aside from its strengths as a solid action flick, one of its main interest factors nowadays is that fact that it is set in pre-Revolution Iran. Set in and around Tehran the action roves around the streets of the city, the ancient ruins and holy temples. There is even a nightclub with an erotic dancer. It’s a time-capsule scenario where we see a far more liberal culture very different to the one we know today. It makes a really great backdrop for the events in the film – simply something we are not accustomed to seeing any more.

The story has Golgo 13 hired to take out a villain called Goa who has been killing secret agents as well as conducting a terror campaign in which many women have been abducted from the streets. Nothing much is known about Goa but it eventually becomes clear that he has a pet parrot, which results in a genuinely hilarious ending – you really have to see it to believe it. This is a film that it almost goes without saying deserves to be seen by a far wider audience. It remains so far off the radar that it barely even qualifies as a cult item! I say seek it out, it holds up very well compared to the best of the western urban action movies of its day. It’s tough, cool, strange and unique – it is well worth your time checking this one out.

• Year: 2024
• Released: 26 Apr 2024
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt24131288/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/cash_out
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: R
• Genre: Action
• Runtime: min
• Writer: Dipo Oseni, Doug Richardson
• Director: Ives
• Cast: John Travolta, Kristin Davis, Lukas Haas
• Keywords:

	4.9/10
	20% – Critics
	false% – Audience

Cash Out Storyline

Professional thief Mason attempts his biggest heist with his brother, robbing a bank. When it goes wrong, they’re trapped inside surrounded by law enforcement. Tension rises as Mason negotiates with his ex-lover, the lead negotiator.

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Cash Out Movie Reviews

Cash Out

John Travolta joined his former Face/Off star Nicolas Cage in going to VOD movies several years ago.

Travolta cannot even get a cameo in mainstream movies anymore.

That does not stop him from delivering an engaging performance. A reason why he has lasted for 50 years in this business.

The producers of Cash Out were so convinced that it will find an audience. A sequel has already been made.

There is a touch of Out of Sight about this movie. Mason Goddard (Travolta) leads a team that includes his inept brother Shawn (Lukas Haas) to pull off various heists.

A sports car heist goes wrong when his long time squad member Amelia (Kristin Davis) turns out to be an undercover agent.

They manage to escape and Mason is on an enforced retirement.

That is until a few months later, Shawn has got involved in a plan to rob a valuable crypto-wallet from a safety deposit box in a bank. Mason tags along knowing his brother will screw up.

The robbery doesn’t go as intended. They now have hostages. Amelia shows up as a hostage negotiator. The box does not contain a crypto-wallet.

It is a dirt box owned by a shady billionaire crook. If the contents are spilled, everyone could end up dead.

On the basis of a low budget VOD movie, this is enjoyable enough. As long as you keep expectations low.

Some of the story does not make much sense. The cast give it their all though but there is a lack of chemistry between Travolta and Davis.

Movie Stars don’t do Low-Budget B Movies. AND John Travolta knows better!

Why, why, why? Why is the great John Travolta in a B-movie?

How does an actor that gave us: 1. 1994 Pulp Fiction 2. 1997 Broken Arrow 3. 1999 Swordfish 4. 2003 Basic 5. 2010 From Paris with Love end up in a B-movie?

The movie reeks low-budget.

Possible reasons: A. Mr. Travolta lost a bet.

B. Mr. Travolta was blackmailed into making the movie.

C. Mr. Travolta has suffered some catastrophic financial setback.

D. Mr. Travolta is abusing drugs.

E. Mr. Travolta has suffered some kind of mental breakdown.

I am pleading for any family member or any close friend of Mr. Travolta to stage an intervention.

Movie Stars don’t do Low-Budget B Movies. And John Travolta knows better!

Not Quite a Heist with Style

Cash Out tries to charm its way through the well-worn heist film genre, but stumbles on uneven execution. John Travolta delivers a charismatic performance as Mason, a seasoned thief attempting a complex score. The heist itself is decently staged, but the plot relies on a predictable twist and underdeveloped characters.

While there are some fun moments, particularly the banter between Travolta and his team, the shaky camerawork and forgettable action sequences hold the film back. The biggest missed opportunity lies in the supporting cast. Actors like Kristin Davis and Lukas Haas are wasted in roles that lack depth.

Cash Out isn’t a complete wash. Travolta’s performance is engaging, and there’s enough action to keep things mildly thrilling. But for a truly satisfying heist experience, you’re better off looking elsewhere.

• Year: 2024
• Released: 03 May 2024
• Country: United Kingdom, United States
• Adwords: 1 nomination
• IMDb: https://www.imdb.com/title/tt19637052/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/love_lies_bleeding
• Metacritics:
• Available in: 720p, 1080p, 1080p
• Language: English
• MPA Rating: R
• Genre: Action, Adventure, Crime
• Runtime: 104 min
• Writer: Rose Glass, Weronika Tofilska
• Director: Rose Glass
• Cast: Anna Baryshnikov, Kristen Stewart, Dave Franco
• Keywords: bisexuality, american dream, bodybuilder, female protagonist, las vegas, crime family,

	7.0/10
	31% – Critics
	false% – Audience

Love Lies Bleeding Storyline

Lou (Kristen Stewart) works at a hard-core gym, unclogging toilets and being pressured by Daisy (Anna Baryshnikov) for a date.Jackie (Katy O’Brian) arrives in town and has sex with JJ (Dave Franco) in order to secure a job at a gun range. She has nowhere to stay, so she sleeps and works out underneath a nearby bridge.Lou visits her sister, Beth (Jena Malone), whose house is filled with children and suffers clear signs of domestic abuse from her husband, JJ. He leaves for work where he shows Jackie around and introduces her to the owner (Ed Harris).Jackie comes to work out at the gym, and Lou is immediately smitten by her. Her fantasies are interrupted by two FBI agents asking about her father, who she says she hasn’t talked to in years. Lou and Jackie chat outside, but are interrupted by two patrons asking Jackie out on a date. She refuses, then punches one in the face after he attempts to grab her. He hits her back and Lou rushes her inside. They talk about Jackie’s dream to go to Vegas to compete in the finals for a bodybuilding competition, so Lou offers her a stash of steroids from her office. While Jackie is initially reluctant, she agrees and Lou injects her with a vial. The two are clearly attracted to each other and begin making out, then leave for Lou’s apartment to have sex.The following morning, Lou laments that Jackie’s working at the gun range, as her estranged dad, Lou Sr., owns it. Lou agrees to let Jackie stay with her, leading to a period of love, sex, and steroid injections. Back at the gun range, Lou Sr. runs a criminal operation smuggling guns to Mexico and teaches Jackie how to shoot a gun.Lou and Jackie go on an awkward double date with JJ and Beth, who has another set of bruises and cuts. Lou follows JJ to the bathroom to threaten him, but he reveals that he slept with Jackie and suggests that she’s probably just using Lou for the gym and housing. They fight on the way home, but speed away together after Lou spots the FBI agents.The following day, Lou gets a call that Beth is in the hospital with severe face and head injuries. Lou is furious, but the police will not arrest JJ unless Beth agrees to press charges, which she always refuses to do. Upon seeing Lou sobbing, Jackie’s muscles begin to swell and she flies into a rage and drives to Beth’s house to violently murder JJ. Lou spots her truck in front of Beth’s house and enters to find JJ’s body and a catatonic Jackie. After being initially horrified, Lou sets to work cleaning up the mess and puts JJ in the back of his own car. On the way to dispose of the body, Daisy spots Lou and knocks on the window of JJ’s car to chat. The girls push the car into a large gorge, then set it on fire, sending smoke billowing into the sky. Lou assures Jackie that there are other things in the gorge that will point the police to someone else, so all they need to do is stay put in the apt. While Lou cleans up Beth’s house, Jackie takes many vials of steroids and breaks out of the house to go work out, which infuriates Lou. Still hyped up on steroids, Jackie headbutts Lou and hitchhikes to Vegas for the bodybuilding competition. While her individual performance originally goes well, she has a panic attack and vomits on the stage. When she sees other competitors laughing at her, she viciously attacks them and is arrested.Lou Sr. confronts Lou at the hospital about leading police to the gorge, as it has attracted attention to the bodies that he has dumped down there. When Lou arrives home, she runs into Daisy who begins asking questions about why she was driving JJ’s car that night. In order to silence her, Lou has sex with Daisy, who then answers the phone when Jackie calls from jail and tells her not to bother them. Instead, Lou Sr. bails Jackie out of prison and claims he can help her get out of this mess. Lou has continued seeing Daisy to find out what she knows, but when they return to Lou’s house, Jackie shoots Daisy in the face, then runs. Lou hides the body behind the couch when FBI agents arrive to continue asking questions about JJ, who was one of their biggest informants on Lou Sr. They reveal they know that Lou used to be Lou Sr.’s right-hand man, so she’d have enough information to put him away. Once they leave, Lou Sr. calls to tell Lou that he has Jackie and plans to pin the double homicide on her. Lou threatens to reveal everything to the FBI if he does that, so he sends over a corrupt policeman to kill her. She knocks him out, then goes to rescue Jackie, but runs into Beth who attacks her for killing JJ. Jackie is tied up in the garage, and after initially running from Lou, they embrace and make up. Lou sends Jackie off towards the car, while she goes to confront her dad, but he arrives and shoots Lou in the leg and prepares to kill her. Jackie, empowered by her love for Lou, appears as a 60ft. woman and pins Lou Sr. to the ground. Lou puts a gun in his mouth, but decides to leave him for the incoming police. The two girls drive into the desert, but Lou hears thumping from the bed of the truck and discovers that Daisy is still alive. As Jackie sleeps, Lou strangles Daisy and drags her body into the desert.

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Love Lies Bleeding Movie Reviews

A love that bleeds

Rose Glass, the visionary director behind Saint Maud, throws another punch with Love Lies Bleeding, a neo-noir crime thriller that’s both stylish and unsettling. Lou, a cautious gym manager, has her world turned upside down when she develops feelings for Jackie, a dedicated bodybuilder in Las Vegas training for a competition (Katie O’Brian). Sparks fly, but their budding romance gets entangled with Lou’s dark family secrets, propelling them down a violent path.

Love Lies Bleeding isn’t afraid to push boundaries. It evokes memories of classic thrillers like Body Double, with its neon-drenched aesthetic and underlying themes of obsession and desire. However, Glass injects a contemporary dose of female empowerment, subverting the stereotypical femme fatale trope. Jackie isn’t just a damsel in distress; she’s a complex character with her own agency, which adds a layer of intrigue to the narrative.

The film’s greatest strength lies in its central performances. Stewart delivers a raw and intense portrayal of Lou, a woman yearning for connection but burdened by her past. O’Brian matches her intensity, embodying the steely determination and vulnerability of Jackie with remarkable nuance. Their chemistry is undeniable, making us invested in their tumultuous relationship, even as things spiral out of control.

While the plot takes some wild turns, it’s the film’s thematic exploration that lingers. Glass dissects the destructive nature of desire, and the lengths people go to in the name of love-or perhaps, obsession. The violence, though brutal, feels purposeful, serving as a metaphor for the emotional turmoil the characters endure.

Admittedly, the pacing can be uneven at times. The first act establishes the characters and their connection beautifully, but the middle section drags a bit as the focus shifts towards the criminal underbelly. However, the film regains its momentum in the final act, culminating in a climax that’s both shocking and strangely cathartic.

Technically, Love Lies Bleeding is a knockout. The cinematography is sharp, using bold colours and contrasting lighting to create a visually arresting world. The pounding score complements the film’s intensity, while the editing keeps the narrative taut without sacrificing character development.

Love Lies Bleeding isn’t for the faint of heart. It’s a film that revels in its own darkness, challenging us with its graphic violence and unconventional love story. But for those seeking a neo-noir experience that’s both thrilling and thought-provoking, this is a film that will stay with you long after the credits roll.

Love Lies Bleeding is a film with flaws, but its bold direction, phenomenal performances, and exploration of complex themes make it a worthwhile watch, especially for fans of unconventional thrillers. Just be prepared for a wild ride.

Mesmerizing to watch.

My first thought was it feels like the gym was depicted in the way someone who doesn’t go to the gym imagines the gym is like. Like they watched Pumping Iron instead of visiting the nearest gym. It’s like if Pumping Iron was a raunchy, lesbian, blood-soaked psychedelic experience. With a dash of crime family drama.

I found the cinematography of the movies to be quite impressive; it had a captivating aesthetic. Although it’s not on an epic scale and mostly unfolds in remote settings, it’s mesmerizingly filmed with themes of sex and violence. The characters are pretty good, so were the actors playing them. Kristen Stewart was Kristen Stewart, I think you already know what to expect when you see her in a movie, and I think she was pretty good. It took me a while to realize I recognized Katy O’Brian from The Mandalorian. I loved that she was homeless but still working out; if she can get swole living under a bridge, what’s your excuse? Lol.

Theres a huge emphasis on smoking and drugs, it’s a pretty big theme and mostly referenced on the radio. The story is alright, there’s a love, crime and family drama.

It’s quite raunchy. I wasn’t expecting that, but I suppose the movie did give off those vibes. I just didn’t watch any trailers or anything and went in blind. It also included some other adult/mature content like domestic violence. It’s quite gory as well. Initially, it felt like it was penned by a man; I was surprised to learn it was written/directed by a woman afterward. I recall thinking that there will probably be a lot of people commenting on this, expressing their displeasure with how women are portrayed in movies written by men.

The movie had several moments where I thought to myself, well that’s taken a weird turn. It gets more weird and weirder the longer in goes. It’s really weird that it was common/normal back then to just hit your wife. It was jarring to watch. Franco’s character is probably the worst one.

It’s also one of those movies where none of the characters are good people, it’s just bad people making bad decisions, in the name of love. I didn’t really find myself rooting for anyone and l didn’t feel particularly attached to the movie as a whole. I feel like it could’ve been better, and by better I mean more psychedelic, more violent, maybe even disturbing. It’s not a movie for everyone, but it’s pretty interesting and I enjoyed it. I like it but I don’t know if it’ll still be on my mind a month from now.

Worth the time

This isn’t some jam down your throat gay movie. It’s a movie with characters that happen to be gay. As someone who typically gets annoyed by movies that attempt this over the last decade now, I would say it wasn’t overwhelming or assertive at all. Straight forward plot, but never getting too predictable. It does a wonderful job of showing fresh exciting love being deconstructed by the realities of life very well.

It was also the perfect length. It never feels like it’s dragging on or being rushed.

Acting was above average for today’s standards. Nobodies acting got in the way of the plot. Overall decent way to spend an early afternoon.

Expect of heavy sex scenes in the first third or so btw.

• Year: 2019
• Released: 09 May 2019
• Country: South Korea
• Adwords: 1 nomination
• IMDb: https://www.imdb.com/title/tt10161238/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/miss_mrs_cops
• Metacritics:
• Available in: 720p, 1080p,
• Language: Korean, English
• MPA Rating: N/A
• Genre: Action, Comedy, Crime
• Runtime: 107 min
• Writer: Jung Da-Won
• Director: Jung Da-Won
• Cast: Ra Mi-ran, Lee Sung-Kyung, Yoon Sang-Hyun
• Keywords: police, suicide attempt, investigation, teamwork, sismance, revenge porn,

6.1/10

Miss & Mrs. Cops Storyline

Mi-Young, who used to be considered the Major Crimes Unit’s top cop, is stationed behind a desk after having a baby. She leads uneventful yet peaceful days at handling civil complaints and looking after her son and unemployed husband at home. One day, an overly enthusiastic detective Ji-Hye, is consigned to Mi-Young’s team, and they bicker over every little thing from the moment they meet. In fact, they are sisters-in-law, and neither are happy about sitting next to each other all day in the same office. But differences are pushed aside when a woman who came to file a report gets run over in front of Mi-Young and Ji-Hye. They discover that the woman is the victim of ‘spy cam porn’ and was threatened it would go up on a community site in three days. The two cops take the case, but due to workload, no one can handle it in time. Ji-Hye’s burning passion for justice rekindles Mi-Young’s sense of duty, and the two decide to take matters into their own hands.—CJ Entertainment America

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Miss & Mrs. Cops Movie Reviews

Bravo!

Wow this movie was good! I really liked it a lot. It’s was a really good movie, it was fun, the story was really good, the actors did a great job. It was both funny and it also showed the dark side of web like spy cams(and that they come in all shape and sizes), that many victims can’t handle it and they commit suicide, drug perfumes and how they lure their victims.

The chemistry between Mi-ran and Sung-Kyung was really good and Ha-joon was as always gorgeous.

Entertaining and enjoyable action comedy…

I think that the 2019 movie “Geol kapseu” (aka “Mrs. and Miss Cops”) was quite entertaining, and it was very much a movie that embodied everything that the South Korean cinema does best.

Writer and director Jung Da-Won ensured that the movie held enough parts of comedy, action and thrills to make it an interesting movie from start to end. So there is essentially a little bit of something for just everyone to be had here in the movie. I particularly liked how the comedy aspects of the movie were kept subtle, as such the movie didn’t crash over and became a full-out comedy.

And the lead actresses Mi-ran Ra (playing Mi-Young) and Song-Kyoung Lee (playing Ji-Hye) were so well-cast for these roles and they performed wonderfully throughout the movie. They definitely had a great on-screen chemistry. And I must say that the movie had such a wonderful character gallery, that you just can’t help but come to love and adore.

Now, I mentioned that “Mrs. and Miss Cops” embodies everything that is good about the South Korean cinema, but I can’t really put that into a more descriptive manner, because there is just something unique about the South Korean cinema, and they make these light-hearted action comedies phenomenally, and “Mrs. and Miss Cops” were no exception.

I thoroughly enjoyed the movie and was entertained from the very beginning and up to the end.

If you enjoy the South Korean cinema, then you definitely have to take the time to sit down and watch “Mrs. and Miss Cops” if you have the chance.

My rating for the movie is a solid six out of ten stars.

Not Good Enough

I guess after midnight runners, I was expecting too much out of girl cops.

The movie had a strong cast, with two strong female leads that had nice chemistry. They delivered both on the emotional level and on the action level, which was probably the best part of the movie.

However, the plot, although it seemed strong at first, it was not presented well enough. That felt like they were degrading the whole mystery and crime case to a more simple one when it wasn’t.

So, overall, four out of ten.

• Year: 2024
• Released: 25 Apr 2024
• Country: Japan
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt24478470/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/city_hunter
• Metacritics:
• Available in: 720p, 1080p,
• Language: Japanese
• MPA Rating: N/A
• Genre: Action, Comedy, Crime
• Runtime: 102 min
• Writer: Tsukasa Hôjô, Tatsuro Mishima
• Director: Yûichi Satô
• Cast: Ryohei Suzuki, Misato Morita, Masanobu Andô
• Keywords: remake, based on manga, based on anime, sweeper, live action remake,

	6.5/10
	60% – Critics
	false% – Audience

City Hunter Storyline

Follows Ryo Saeba, a “sweeper” who navigates the shadowy depths of modern-day Shinjuku, Tokyo. Balancing a cool demeanor with a fun personality, Ryo takes on high-stakes challenges in the underworld. After receiving the message “XYZ, please find my sister,” Ryo and his partner Hideyuki go on to search for Kurumi, a famous cosplayer. Meanwhile, mysterious violent incidents are taking place in Shinjuku, and Saeko, a skilled police detective is having a tough time solving these cases. Ryo and Hideyuki work in tandem to pursue Kurumi, but tragedy strikes when Hideyuki is killed during the investigation. Witnessing her brother’s death, Kaori implores Ryo to uncover the truth behind the incident.

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City Hunter Movie Reviews

Can do better!

City Hunter is almost 30 years old. For a new audience, the production could have made a one on one adaptation of the manga and/or anime to get new fans. It wouldn’t have hurt and the 90s kids (or earlier) would love it. City Hunter is not that hard to adapt IMO. This movie just becomes another action movie.

Besides Kaori, which they changed a little the background, the main characters are from the source. The story is from the principal arc which is good but the introduction is too long to narrate. For a movie of 1h40 minutes, it should have focused on the characters with some small side missions for the 30 first minutes to know them better. It’s a miss from the prod. In the end, we don’t know what’s xyz and don’t even know what is City Hunter which is sad truly. City Hunter should be the light for the city of Tokyo. It should brings hope to the needy. But besides that we just get another action movie which is confusing and boring at time.

City Hunter (2024) has missed the mark to get introduced to new fans. It looks just like a fan service of something that is adaptable to a broader audience, but that tells nothing.

The ending sounds like it’s open for new parts. If there are not other parts, then this movie is just a pass. It sometimes is too confusing unless the viewers know already the series.

A fun cinematic ride through the bustling streets of Tokyo

Prepare yourself for a cinematic journey through the bustling streets of Tokyo with “City Hunter.” This Japanese film not only takes us on a tour of the urban landscapes of the capital, but also uses the city as a character in its own right. From narrow alleyways to gleaming skyscrapers, Tokyo is more than just a backdrop; it’s a crucial piece of the narrative, pulsating with life and energy in every scene.

But let’s talk about the true shining star of this masterpiece: Suzuki Ryohei. This man is not just an actor; he’s a force of nature on screen. His performance as the protagonist is nothing short of phenomenal. He manages to switch between hilarious moments and tense moments with enviable ease. And when it comes to action scenes, he simply shines. His movements are so fluid and precise that it’s like watching a deadly ballet.

Furthermore, it’s refreshing to see a male character who appreciates the beauty of women without being overly lascivious or disrespectful. Suzuki Ryohei portrays this aspect with charming naturalness, showing that it’s possible to depict attraction in a relaxed and respectful manner.

However, it’s important to note that this film is just one example of what could be done in terms of male representation in cinema. We need more characters like the protagonist of “City Hunter” – men who are capable of appreciating female beauty without falling into stereotypes or objectification. It’s a step in the right direction for a more balanced and authentic representation of gender dynamics in cinema.

In summary, “City Hunter” is an explosion of action and comedy that not only takes us on a visual journey through Tokyo but also makes us rethink traditional representations of masculinity in cinema. With an exceptional performance by Suzuki Ryohei and a refreshing approach to the dynamics between genders, this film is a true gem of contemporary Japanese cinema.

The Difinitive Live-Action City Hunter

You can tell Ryohei Suzuki is a diehard fan. This was absolutely amazing. Every part of the film feels like it had been made with care and love for the source material.

All main cast were excellent, with Suzuki being the obvious standout. He is Ryo Saeba, and he put in the work. His execution of the hand-to-hand combat and gunplay is phenomenal. He truly makes Ryo feel like the most formidable man you have ever seen.

The comedy, too, has been updated to modern times. Ryo is still as lecherous as ever, but he never puts his hands on anyone without their consent, which is a welcome change.

This film sets a new standard for adapting manga and anime right. I am very hopeful for a sequel.

• Year: 2004
• Released: 28 May 2005
• Country: Japan
• Adwords: 1 win & 3 nominations
• IMDb: https://www.imdb.com/title/tt0377079/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/izo
• Metacritics:
• Available in: 480p,
• Language: Japanese, English
• MPA Rating: Not Rated
• Genre: Action, Drama, Fantasy
• Runtime: 128 min
• Writer: Shigenori Takechi
• Director: Takashi Miike
• Cast: Kazuya Nakayama, Kaori Momoi, Ryûhei Matsuda
• Keywords: assassin, samurai, sword, symbolism, time, murder,

6.0/10

Izo Storyline

We begin in 1865, when the Shogunate is on its last legs, but still capable of punishing its enemies. One is Izo (Kazuya Nakayama), an assassin in the service of Hanpeida (Ryosuke Miki), a Tosa lord and Imperial supporter. After killing dozens of the Shogun’s men, Izo is captured and crucified. Instead of being extinguished, his rage propels him through the space-time continuum to present-day Tokyo, where he finds himself one with the city’s homeless. Here Izo transforms himself into a new, improved killing machine, his entire soul still enraged by his treatment in his past life. His response to the powers-that-be, whose predecessors put him to death, is the sword.—nightwatch

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Izo Movie Reviews

A Time-bending Thrill-ride

Sometime during the late Endo period, noted samurai Okada Izo is tortured and ritually slain upon a crucifix. His soul does not die, however, embarking on a period hopping journey through space and time. Fueled by bloodlust- and with occasional pauses for philosophical rumination- the vengeful spirit of Izo murders with impunity, slaying any and all who cross his path. Whether or not his appetite for revenge is satiated- and if his soul is cleansed by all the bloodshed- remains to be seen in the strange, stylish thrill-ride that is Takashi Miike’s ‘Izo.’

An action epic with a metaphysical foundation, ‘Izo’ is a bloody odd film from a director who specializes in them. Written by Shigenori Takechi, the film has a non-linear narrative structure that jumps through time periods like a springbok, and can be a little confounding and hard to follow. The journey the titular character goes on is intensely violent and frequently exciting, though uneven and imperfect. Throughout the film, thrilling battle sequences are interspersed with plodding, dialogue-heavy scenes that frankly don’t work.

While one can appreciate the fact that Takechi and Miike are attempting to add another dimension to the tale, amid the madness of time-shifting, gore-splattered fight scenes, philosophical ponderings are jarring and out of place. The narrative becomes imbalanced, and the film’s pacing suffers as well. Which is not even to mention the fact that the philosophy at the heart of ‘Izo’ is rather shallow and simplistic, and could easily be expressed in a more eloquent, understated manner. Fans of Miike will probably be left a little underwhelmed by the proceedings; some may even be bored.

Though, to repeat oneself, the action in ‘Izo’ really is pulse-pounding stuff. Expertly choreographed, the battles are fast and frenetic; and will surely have you on the edge of your seat. Federico Benvenuti and Ravindra Pratap Singh Ricky of the stunt team do marvelous work and the displays of swordplay in the film are breath-taking. In fact, the brilliance of the action unfortunately underscores again the deficiencies of the story and dialogue. It’s a real shame Miike didn’t have a screenplay to work with as strong as the action in his film.

What he does have is an emotive, off-beat soundtrack from Kazuki Tomakawa that is unforgettable and unique. Tomakawa periodically turns up in the film to serenade Izo and the audience, like the minstrels in ‘Cat Ballou,’ or Jonathan Richman in ‘There’s Something About Mary.’ Tomakawa sounds a little bit like a Japanese Tom Waits, and the intensity and weirdness of his songs and his performance suit the crazed events of ‘Izo’ perfectly.

The film also boasts stylish cinematography from Nobuyuki Fukazawa, who has for many years worked on the show ‘The Woman of S. R. I.’ His muted efforts give the film an assured, stark visual style that is arresting and admirable. The set and costume design is also striking, with the titular character’s main outfit being especially notable. Additionally, while Yasushi Shimamura’s editing is a little loose during the dialogue scenes, he cuts the battles together masterfully; and his work deserves praise.

Also praiseworthy is Kazuya Nakayama, starring as Izo. Nakayama has a strong presence that dominates the screen, and his performance is steady and impressive. He handles himself well in the fight scenes and manages difficult dialogue with a remarkable ease. The character and his motivations may be somewhat recherche, but Nakayama is consistently commendable. His supporting cast are all terrific, but get very little to do in comparison. Kaori Momoi and Takeshi Kitano are particularly good and, though on screen for a short time, leave an indelible impression on the viewer.

At the end of the day, Takashi Miike’s ‘Izo’ is a bit of a mixed bag. Though containing thrilling action sequences that will have you glued to the screen, the dialogue is mediocre and overly wordy. Additionally, the film’s philosophical cogitations come across as a little half-baked, and the non-linear narrative structure can be confusing. The film does feature a great Kazuki Tomakawa soundtrack and a strong central performance from Kazuya Nakayama, as well as fine cinematography from Nobuyuki Fukazawa. To cut a long story short, ‘Izo’ is a film both muddled and memorable; another unique offering from one of the strangest directors in cinematic history.

it is a ‘love it or hate it’ movie, and I love it and hate it in almost equal measure

After watching perhaps the most reckless, surreal, mystical-style take on the ultra-bloody grind-house samurai epic, I’m not too sure who is more relentless, its main character- the unstoppable un-dead/spirit Izo (Kazuya Nakayama, likely in the performance of a career, for better &/or worse) or its director Takashi Miike. It’s been compared to both Greek mythology and Jodorowsky’s El Topo, and I can definitely see credence in both examples. In the first half hour to forty five minutes, actually longer if you account for, um, story, you’re not sure precisely what the hell (no pun intended) is going on. Izo, at the start, gets crucified, and then we learn after a while (err, it’s pretty obvious) he was quite the warrior and swordsman, who is out for vengeance as he comes back as an un-crushable spirit. Later on, we get a view into what tags along with him, in a female form, as a ‘fragment’, but for the most part one can only try to assume that Izo is on a collision course to nowhere, a pure embodiment of nihilistic anarchy who could be the Terminator in blood-eyed samurai garb if he/it actually had the mission.

I can’t deny that Miike deserves an ‘A’ for effort on this sort of thing, but it’s also the kind of project that veers the closest of all the work I’ve seen of his so far to that most overused of terms- pretentious (albeit I haven’t dug deep enough into his oeuvre to make that definitive). I mean, really, what are we to make of cut-aways at varied, completely random times of newsreel footage of dictators and famous world wars and atom bombs going off in black and white, sometimes in reverse mode, or in sped-up mode? What about a guy who comes in and out of the (very loosely laid) story to do acoustic-guitar musical numbers? It does all connect, I suppose, to the sort of random madness and almost Superman-like ability to not get really that harmed, unless around his quasi-kryptonite of the order of the ‘Soul-fragment’. A lot of what ends up popping up as sort of the history of Izo, before he was turned into the ultimate grudge with a sword, would be really interesting on its own, but strung together like this with the rest of the picture made it frustrating for me. Perhaps I wasn’t ready enough for all of this, but for all of the virtuosity that Miike is going for with his bloody, full-blown surreal odyssey, only some of it works well while the rest falls into ‘huh’ mode.

But the rest of this picture is what’s almost teasingly ironic about Izo. As a swordplay movie, the kind that delivers the goods on action set-pieces and violence galore, doesn’t disappoint, and if anything it shows Miike knows this kind of picture, which is why in a sense he’s probably trying to lampoon it underneath the very dark and Gothic exterior. Nakayama is a real force to be reckoned with, and he works well in his all-too-limited role. It’s always hard to do variations on the same style of killing- slicing a sword in the blink of an eye, and sometimes seeing the (appropriately) blood-soaked and flesh-torn aftermath, or in an immediate cut-away- and Miike pulls out his entire arsenal of tricks, including a set piece with the one American actor- Bob Sapp- who barely puts up a front either despite his huge size. But even with the creativity in many of Izo’s murder sequences jarring and excitingly outrageous, the repetition becomes a little tiresome. And it wasn’t that the picture was too confusing, though it does contain that side of the El Topo, where it’s basically intentional for it to go in circle’s around people’s heads.

The messages that barrage the viewer though through the content (like in one scene where Izo is at a school and you-guess-what happens and there are cutaways to classrooms where kids are asked to define ‘love’, ‘nation’, and other ultra big words taken for granted) are what become fuzzy or just too off-kilter for their own good. For someone who is usually so sharp on the edge with satire, Miike here is trying to scrape up enough with the action to justify it being there, because, of course, Izo’s world is in some otherworldly plain of Greek tragedy, Buddhism, and other factions that are also connected to the true depravities and horrors of the world. But it’s too much on one plate, and there’s definitely the sense of overload. It’s the kind of picture where the director does, more often than not, stumble on his face with his own ambitions; that being said, I’d much rather see a movie by Miike that only reaches up so high to its ideals than for a lesser filmmaker to just churn out typical product. Izo is anything but typical product, and it follows no rules (and destroys much like its character), which becomes part of the problem, at least on a first viewing.

Too long, too sloppy, but worth seeing once

The Philadelphia Film Fest program guide described the plot of IZO as such:

“A samurai travels through time with just one goal: to kill every single human on the planet.”

That basically sums it up. A man takes a sword and hacks away at nearly all the people he comes in contact with. He stabs a military general to death with the help of some zombie soldiers. He slices his own mother’s body in half from the waist down. He kills some kids, he kills some businessmen, and he kills a real estate agent who turns out to be a vampiric demon. When he kills infinity (yes, infinity ITSELF, not an infinite number of people) and the movie STILL doesn’t end, things start to get a little tedious.

Knowing Miike, you’d be right to expect some outlandish violence, a high body count, and perhaps a mind-boggling plot from all of this. What you might not anticipate is a lot of philosophical mumbo jumbo, World War II stock footage played backwards and forwards, and a guitar player who appears every so often to sing throatily about elephants and flowers. (At one point the camera lingers on this guitarist’s face for a full SEVEN MINUTES or so without any cuts or camera movement.)

Though I think I may have liked Izo, I have many criticisms.

First of all, for a film about sword-fighting, IZO lacks both the beauty of HERO and the direct outrageousness of KILL BILL. Quite simply, the fights were poorly choreographed and involved too many cheesy stunts. Izo flies over his enemies a few times, just like the characters in CROUCHING TIGER flew, only less elegantly. Izo dodges a bullet in slow motion just like Neo did in the MATRIX. The sound of a heart beating played over fade-ins and fade-outs just like it does in every made-for-TV horror flick in existence. During the rare times when Miike WASN’T deploying effects that have already been clichéd for years, each sequence seemed to go like this:

1. Close up of Izo’s face 2. Close up of other guy’s face 3. Shot from behind other guy as Izo hits him in the stomach with sword 4. Close up of other guy falling down

For the first ten minutes I didn’t mind the lack of special effects or variety, but once I realized that there wouldn’t be any progression and that the film would go on like this for a full two hours, I began to feel rather antsy.

The repetitive fight scenes could have been alleviated by some decent cinematography. If you can’t give me an engaging plot, at LEAST give me something interesting to look at! But no. The whole movie had a very sloppy vibe, as though it had been rushed through production. Many of the shots seemed haphazardly composed or not composed at all, like arbitrary shots of tree branches and jittery hand-held action footage. Indoor shots were often over-exposed by light coming in from the windows but otherwise under-exposed. I sometimes had the sensation that brief flashes of stock footage were inserted to make up for gaps in continuity. Also, it could be that I saw a worn print, but the first half of the movie had a very brown, drab feel. Perhaps some sharp color could have livened things up.

So yes, the movie was boring, ugly and maybe an EL TOPO rip-off, but somehow I thought it was good anyway. Part of my positive opinion stems from the fact that I admire any director who has a dream and achieves it, no matter how wrong they may be to do so. Also, intellectually, this IS a very engaging film. Since Izo is so unrealistic as a character, the viewer is practically forced to understand his journey as an allegory. In my opinion, Izo represents the grudge mentality: when someone hurts him, or acts like they want to hurt him, he always reacts swiftly and lethally. When a person ignores him or approaches him in kindness (like the schoolteacher, a few of the women, or the children of the future who have learned that nations do not really exist), he lets them pass without harm. His general aim is to destroy anyone who claims to have more power than he does, including the Prime Minister and God. Through juxtapositions with World War II footage, we see that Izo’s attitude is linked with Japan’s stance during World War II: surrender is dishonorable, but by not surrendering, one is only asking for more violence. In order to stop war, one must cease to threaten it, thereby undercutting the formation of a grudge.

While watching IZO, I felt like I would understand the details better if I were more familiar with Japanese traditions and culture. My feeling was correct. After probing around the internet, I learned that Izo was a true historical figure, a samurai-turned-homicidal maniac. I also learned that the unusual style of music played by the guitarist (fanciful lyrics, anguished voice) is a distinctive Japanese genre that emerged after World War II in response to all the suffering.

Still, I would not recommend IZO lightly, not even to Miike fans. I’m not sure if the film is brilliant or terrible, but overall… life is short and IZO is long. Watch it only if you have the time or patience for such an undertaking.