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We here at JPFmovies pride ourselves at talking a hard, gritty look at entertainment from all over the world.

Zatoichi The Fugitive: Better Late Than Never.

Yes, I know it’s overdue, but here is my personal take on “The Fugitive.”

Zatoichi “The Fugitive” is the fourth in the Zatoichi series that centers on a blind man wandering the Japanese countryside, ostensibly making his living as a masseur. In reality, though, he is a professional gambler, a Yakuza (members of traditional, organized crime syndicates in Japan) and most importantly, an outstanding swordsman.  Zatoichi is a master of the “iaido” style—that consisting of the smooth, controlled movements of drawing the sword from its scabbard, striking or cutting an opponent, removing blood from the blade, and then replacing the sword back into the scabbard.

Like most blind people, Zatoichi possesses extremely heightened remaining senses.   His senses are so sharp, in fact, that he can hear the way dice role in a cup, differentiate between a man and a woman by their distinctive scents, and use his swordsmanship with deadly precision and lighting speed.  All of these abilities go a long way in keeping him alive in a time and place abounding in death.

In “The Fugitive,” Zatoichi strolls into a town that is in the midst of hosting a Sumo wrestling match.  Ichi decides to participate in the Japanese tradition and wins the requisite five matches to take the tournament, while the local Yakuza loose face, since they were beaten by a blind man.  After the matches have ended, Ichi is enjoying a snack next to a pond when he is attacked by local scoundrel trying to capture the 10 ryo (gold currency used during the period weighing about 16.5 grams) bounty that was placed on Ichi’s head.  Ichi cautions the man to discontinue the attacks, but his warnings go unheeded.  Ichi makes quick work of the man, and while he is dying, Ichi is able to find out the name of the mother of his latest victim.

Ichi sets out to—and does—find the dead man’s mother (herself a Yakuza) and begs for her forgiveness.  While apologizing, Ichi stumbles upon a local Yakuza power struggle, takes the side of the underdog, and eventually restores the balance of power, ending a violent turf war and returning the town to a state of peace.

While intervening in this struggle, Ichi is forced again to deal with the bounty on his head as well as with a skilled, angry Ronin.  In the end, Ichi and the Ronin fight a grueling battle, and Ichi, again, is the warrior left standing.

I must profess–I love the entire Zatoichi series and have all 26 movies.  While the general storyline in “The Fugitive” constitutes the basis for each of the Zatoichi films, they are all enjoyable individually and stand up well on their own.  Many of the original Ichi movies surprisingly contain a fair amount of humor, unlike the 2003 remakethough, which was a grim and bloody tale of the blind man’s journey.

I agree with my counterpart’s (Silver) review in several respects.  First, the Lone Wolf and Cub series (also one of my favorites) plays on the same general theme.  One could easily conclude that both of these series reflect the sentiments of Japanese movie culture popular at the time.  More importantly, I also agree with Silver in that this is not a Yojimbo or some other cinematic masterpiece, nor was it meant to be.  These movies were made to be enjoyed by a more general, mainstream audience and they were obviously very successful at doing so.

Despite its age, the movie is about 40 years old, “Zatoichi—The Fugitive” continues to entertain and provides an excellent representation of period Asian Samurai cinema.

 
6 Comments

Posted by on May 7, 2010 in Movie Reviews

 

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Office Space: Mike Judge’s Master Piece. (1999)

In my opinion, Mike Judge is probably the best writer in Hollywood, period.  Not only is he the brains behind “Office Space,” but “King of the Hill” (which ran for 13 seasons) and “Idiocracy” as well.  However, I believe that “Office Space” is truly his masterpiece.  Though I have never worked in corporate America, most of my clients have, and they all say the same thing; “Office Space” is an incredibly true-to-life story about one’s existence and experience at the workplace, and anyone who has ever worked in a large office will find at least one element to relate to.  In fact, I like this movie so much that I have chosen seven clips to post, a record here at the jpfmovies.wordpress.com movie site.

I am unsure that there are enough good things to say about Office Space from a movie perspective (yes, I know it’s not going to win the Nobel Peace Prize.)  It has everything a great film needs: A compelling story, excellent acting, outrageous jokes, and a first-rate soundtrack.  Moreover, because it is a satire, the movie actually examines a larger issue facing many people today—disillusionment–whether it is found in their jobs, relationships, or where they are in life. Mike Judge, in my opinion, correctly and effectively points out that there is no shortage of disillusionment among us.

The story is about a disaffected Peter Gibbons (Ron Livingston) who has an office job at Innitech (some sort of software company) that he truly despises.  He hates his job so much, that during an occupational hypnosis session, he acknowledges that every day is the worst day of his life.  While he is at this session, the hypnotizer suffers a heart attack and dies, leaving Peter in a blissful state of lacking any inhibitions whatsoever.  While in his state of grace, as things begin to go “wrong,” in the traditional sense, they actually get better.  For instance, he is utterly candid with the two efficiency experts (coincidentally both named Bob), confessing that he does “maybe 15 minutes of actual real work” per week “not because [he] is lazy, it’s just that [he] doesn’t care.”  The refreshingly honest admission he offers while outlining his job duties to the consultants, does not get him fired, but instead earns him a promotion as his noses-to-the-grindstone friends are laid off.

He has several (not as) disillusioned friends at Innitech: Michael Bolton (David Herman), who gets a lot of grief, since he has the same name as the pop singer, and Samir (Ajay Naidu), an Indian immigrant who just wants to keep his job and who also has a problematic name–one that nobody can pronounce correctly.  Another friend is Tom Smykowski (Richard Riehle), an employee who is considered useless and, like the inventor of the pet rock, wants to make $1 million dollars with his “Jump to Conclusions Mat,” his easy scheme from which to get rich.  Then there is Milton (Stephen Root), a strange, mumbling man who can’t stand up for himself.  Milton has an unnatural attachment to his red stapler (a Swingline as he reminds us several times throughout the movie).  There is the “evil” boss, Bill Lumbergh (Gary Cole), who makes Peter, Tom, Michael and Samir work on Saturdays and Sundays and routinely torments everyone, particularly Milton, who is eventually moved into the unlit company’s basement along with a can of pesticide to kill cockroaches.

On a side note, Swingline had not manufactured Milton’s red stapler for years (a prop department employee, named Ric Trzeciak, painted one with red paint, according to the film’s commentary).  However, in 2002 the company released a limited edition series of the red stapler portrayed in the movie as a result of customer interest.  Apparently owning and displaying the red stapler is one way some employees protest their work environment, a fact I find remarkable and clearly demonstrates just how much this movie resonated with viewers.

Peter also loves Joanna (Jennifer Aniston) from afar.  Aniston plays a waitress at a restaurant Peter and his friends frequent, but Peter can’t ask her out, because he does not have the confidence (yet).  After being hypnotized, however, Peter gains all the confidence he needs to decide to “just stop going to” his job, but asks Joanna out and ends their evening together with an episode of “Kung Fu” (one of my favorite shows).

If you have not seen “Office Space,” I am not going to spoil it for you.  My parting notion about the movie is that it’s a case of art imitating life, and to Judge’s credit, he’s succeeded in making an outrageous movie that really hits close to home, without using any gross or infantile humor to do so.  The film puts the “corporate experience” in the spotlight and gives the viewer a chance to laugh at “the boss,” and maybe even a little bit at him or herself along the way.

 
15 Comments

Posted by on May 3, 2010 in Movie Reviews

 

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Kevin Costner–The Postman–Refuse and Return to Sender.

Despite several fine performances, like in “Bull Durham” and, of course, the must-be-mentioned “Dances with Wolves,” Kostner’s been in some serious duds. I didn’t know he could make any thing worse than “Water-World,” but I was dead wrong.  “The Postman” takes the cake, hands down.  I can’t believe the film industry exposed itself to such an embarrassing work knowing full well Costner’s limitations behind the camera after that “Water-World” fiasco—and I believe I am being charitable here using the word fiasco.

The “movie” is based on a novel about post-apocalyptic America when towns exist in desolate and remote communities, constantly raided by the new Generalissimo General Bethlehem (played by Will Patton) and his flock of mercenaries.  Costner’s character wanders about and is drawn into this gang, only to run away later.  In his effort to scam a town into accepting him, he enters incognito as a postman (finding a corpse complete with mail and a uniform en route).  His raison d’être to unite these scattered towns via the U.S. mail against the evil Generalissimo follows.

But wait–here is the most laughable part:  the Postman unites this rag-tag bunch of naive and stupid kids against the Generalissimo’s merciless battle- hardened killers; the execution is so poor, that I could not watch it all.

A couple of side notes.  Has anyone been to or dealt with the post office or a postal worker in the past decade?  There is no way I believe that people trust those providers of fine and efficient service with their packages—opting instead for any number of private carriers—much less with leading an insurrection that’s coordinated using mail against an outgunned, out-skilled, and outnumbered force.  The only possible scenario to win here is that as a postman, Costner could have truly gone “postal” (meaning becoming extremely agitated and uncontrollably angry, often to the point of violence, and typically in a workplace. “Going Postal” derives from a series of incidents from 1983 onward in which United States Postal Service (USPS) workers shot and killed managers, fellow workers, and members of the police or general public in acts of mass murder, often after being laid off or unemployed for long stints).  Yet he never went postal, so what hope could his cause possibly have had?

This is a long movie (almost 3 hours), and to be frank, I almost made it through the first two hours, but that was enough.  I just could not take the pain anymore.  In short, “The Postman” is a three-hour-long, torturous experience, replete with brainless dialogue, bombastic symbolism, and self-glorification.  I even felt pity for Tom Petty; his cameo in this movie is supposed to be funny, but it was just as moronic as the rest of the movie.

 
9 Comments

Posted by on April 30, 2010 in Movie Reviews

 

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Dr. H & JP Collaborate Again on Walking Tall (1973) the Original—Not That 2004 Garbage.

Dr. H & JP Collaborate Again on Walking Tall (1973) the Original—Not That 2004 Garbage.

“Walking Tall” is based on the true story of Buford Pusser, a Tennessee sheriff who returns to his hometown after many years away only to find it’s morphed into a corrupt den of thieves.  He single mindedly takes on the Tennessee version of the Mafia, including the justice system, and pays a huge, personal price for it.

This film can be described as brutal, with a straightforward conflict waged between right and wrong.  Clearly this is not a movie for the faint of heart. Joe Don Baker gives us quite a powerful performance as a country boy’s homecoming turned nightmare.

The violence is real and amplified by the sheer brutality of the villains and the ruthlessness of a corrupt justice system.  The setting offers the viewer a near time capsule for anyone who wants to know what America looked like in the 1970s.

It is truly a sledgehammer of a movie—no pun intended.

What makes this movie more than a walk down memory lane is its true authenticity set in a real time.  Furthermore, this is a must-see for anyone who wants to know how a bad remake can be produced, and without too much trouble.  It’s accomplished by squeezing the dramatic narrative out of an original and making a sequel based upon simplistic present-day perceptions and sensibilities.  For example, in the remake, the professional wrestler in the original becomes the war veteran; the quaint small town is portrayed as vice-laden casino.

Moreover, in the 2004 version, the film makers made other horrible decisions. One was to take an R-rated movie and turn it into a PG-13 mind-candy film with reliance on-over-the top action scenes to replace the original hardcore, gritty violence.  The practice of including extreme and gratuitous action as a means to distract the viewer and provide cover for a lack of substance has become all too familiar in Hollywood today.  The transformation from the original’s stomach-churning experience into a clock- punching, “entertaining” action movie is hideous—to say the least.

The “Walking Tall” of 1973, when compared to its sequel, teaches us why remakes of great movies should be made sparingly if attempted at all.

 
7 Comments

Posted by on April 27, 2010 in Movie Reviews

 

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We take a look at Once Upon A Time In China

My new partner in crime at http://silveremulsion.wordpress.com and I have decided to collaborate on some of the finest Asian movies we’ve seen and give you, the reader, our thoughts on these films so you can make an informed decision on whether to view them or not.  Also, if you have seen any of the movies we decide to collaborate on we would love to hear your comments on the matter.  Again, this is one in a series we are going to do together so stay tuned for some great Asian movie reviews from two movie connoisseurs.

China has had a very tumultuous history, including hundreds of years of civil war, a humiliating defeat in the opium war and a bloody occupation by Japan.  It was during the dark times between the opium war and the Japanese occupation that a Chinese folk hero, physician and martial arts expert was to emerge — Wong Fei-hung (1847-1924).  Wong Fei-hung, a legendary figure, would, among other things, later inspire his countrymen to endure even bigger ordeals in the last century.  The legend of Wong Fei-hung has also inspired dozens of films.  In my opinion the best is Once Upon a Time In China, a 1991 Hong Kong kung-fu epic directed by Tsui Hark.  This film had five sequels and was among the first to introduce Jet Li as its main star to Western audiences.  Li as Wong Fei-hung provides the viewer with a fine performance especially given that role was played very early in his career.

The plot:  On the surface the movie seems simple enough, as my colleague said, almost Shaw Brothers simple, but in reality the story is very complex and transcends the many martial arts films whose plots can easily be summed up in a single sentence.  Wong Fei-Hung, like his countrymen, is forced to endure the humiliation of American slavers, local gangs, a renegade martial arts master and even his own wayward (but well-intentioned) students.  As if these problems were not enough, he has to contend with his growing affection for Aunt Yee (Rosamund Kwan) which is important as to movie is set around the end of the 19th century when there were great social changes in China.  This is typified with his relationship with his “Aunt” Yee (who is not related to him by blood), as she would be taboo to marry.  The fact that this is a series of films allows the relationship to develop slowly also setting it apart from many Hong Kong films where romances are very fast-moving and unrealistic.

The action sequences are superb, which is unsurprising considering that they are choreographed by Yuen Woo-Ping, though dim-witted critics who can find fault in anything point to the wire-work and use of doubles.  The final showdown is a stunning success of editing as Jet Li was injured and had to be doubled for many of the shots that weren’t above the waist, but his extraordinary  fist techniques make up for this.  The film has a long running time for a martial arts movies so for once there is plenty of time for story and action.

Hong Kong movies don’t come much better than this.  Anyone who is a fan of wire-work and/or the likes of Crouching Tiger Hidden Dragon should hold this movie in high esteem—either that or they are a communist.  I could not agree more with my new partner in crime at Silver Emulsion.  You must check out his take on Once Upon a Time In China at http://silveremulsion.wordpress.com — you would be a fool not to.

 
14 Comments

Posted by on April 25, 2010 in Movie Reviews

 

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Mike C Comes in With Some Thoughts on Red Cliff.

Red Cliff Part 1 & 2:

I’ll say this much about the movie – I hope they recycled those arrows. No wonder we worry about the green house effect and global warming! How many trees did the battle scenes take to produce all those arrows?

If this is based on a true story, then this event certainly reduced the human population of China and saved all of us from over population! I mean, if that many soldiers died, imagine what the world would be like today if they hadn’t!

Overall great movie. I don’t often like reading subtitles, but I gave it a shot. Lots of action. Lots of arrows.

 
2 Comments

Posted by on April 21, 2010 in Movie Reviews

 

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