So I Watched Salvage Mice (2011)

Still puzzled a day-plus after stumbling upon a low-grade J-cheapie that just came up in Netflix's "new releases" bin, the St.Tailhttp://en.wikipedia.org/wiki/Saint_Tail ripoff, Hiroshima tourism commercial that is Ryuta Tazaki's  Salvage Mice. Now while I have no intention of typing out a full review, I will just go on record as saying that while I can definitely see potential in a no-budget tale of a young girl who wears a mask and retrieves stolen artifacts from museums owned by do-badders, the importance of showing the strengths of your lead character is vital if one is going to begin the tale mid-caper. The amount of half-heartedness on display is on par with so many cheesy tokusatsu homages, that it easily becomes background noise if anything at all. If nothing else, the entire affair feels like a contractual obligation merely playing itself out around several Hiroshima landmarks, even going so far as to film in and around the offices of Hiroshima Home Terebi. So yes, this is even cheaper than the usual martial arts-packed tokusatsu fluff that comes out for television on a regular basis.

Now if this were merely some simply harmless, dopey youth action material, I'd be a lot less bugged by it, but there is definitely a streak of nasty stereotyping, and outright creepiness that permeates the piece. Much like anime in recent years, the emphasis on making sure your female leads are seen as squeaky clean bastions of innocence is often offset in this film by some tonally off gestures from some of the movie's stock male bad dudes. Very often, Salvage Mice doesn't seem to be sure what audience it is geared toward, giving off an almost classically in-denial feel. That's right. This is high-kicking, tourism plugging moe with a hint of regional prejudice (see visitors from Osaka)

It doesn't help that it is very clear that a lot of this was filmed without a proper story, and made up on the fly. It's pretty much the kind of stuff one expects to be randomly playing in the background at your local Marukai Marketplace. To imagine this as a legitimate release with a trailer seems pretty silly (and perhaps even a little desperate) in retrospect.



And yes, it's possible to enjoy this in some wildly fleeting, "as the party winds down" manner. (especially due to Julia Nagano's at times impressive kenpo) But for what it is, Salvage Mice is perhaps best to be found in a new section akin to a "new release bargain bin". And as a piece of marketing for potential tourists, it's the only place that makes any sense as it's pretty much the movie equivalent to a leaflet.

Thematic Wanderings: The Dark Knight Rises

An all new feature of The Wandering Kaijyu, where we take a closer dig into a popular work (old or new), and do our best to decipher past the scaly skin. Beware: Spoilers Ahead!

Upon giving Christopher Nolan's hotly debated finale, and also taking in many of the net-o-sphere's discussions/reviews of the film. And even though I stand by many in that the epic concluding chapter in The Dark Knight Trilogy is a bit of a messy kitchen-sink of a film littered with far too many ideas, and nowhere near the time and care necessary to deliver it all. But upon sifting a little harder, one can to a certain degree see a set of core conceits and concerns that were definitely on the minds of the Nolan brothers during the writing and filmmaking process that should allow some curious viewers some additional thought.

But first, a little attempt at debunking..

There is definitely a point within the film where one could easily opine that all that is happening on screen in indeed a slight against the current "Occupy" movement, and thus, a pro 1% statement. But upon closer examination, there is at least an attempt to offer a counterargument. Now without pretending that the film actually succeeded in sending it all home, let's go into this bit by bit.

A. Upon the arrival of Bane, and the siege of Gotham is under way, the bulk of those suffering the wrath of this affront seem to be of the city's wealthy. A good chunk of this very much seems ready to defend those of privilege.

However - With the fate that befalls Bruce Wayne, we also see a man of privilege go through the early stages of a full arc that is at the center of the narrative. His prolonged absence from the public eye has included a complete inability to engage directly with not only the citizens, and fellow business minds at Wayne Enterprises, which has as a result fallen into disarray. A large part of what has been neglected in the eight years since the disappearance of the Batman, has been the loss of moneys that largely supported local charities such as the boys home that once housed John Blake.

And while this again may seem like a tear being shed for the poor, privileged protagonist, the film also goes to great lengths to remind Wayne that even as his business falters, he will remain secure with a large mansion, and a butler to serve him. With all his worries, there truly is nothing for him to truly fear at any real survival level. In no way is he seen as sympathetic, or even remotely prepared for what is is meant to face by the film's climax. Great lengths are made to see that Wayne is not an instantly sympathetic lead at this point in the series.

But this is a portent to what will become the crux of the film's second half.

Why the 1% argument falters: 

While we see Wayne, and eventually the rich suffer large in the first half of the film, the counterbalance is brought in not only in Bane and crew who clearly came from the depths of society, but by "street level" such as Blake and of course, Selina Kyle, who is who she is despite her rocky past. Strong, brutal, seductive and clever, she is a reminder of those left behind in the city. As is the young patrolman, Blake, who grew up and orphan, and has become a sympathetic and observant member of Gotham PD. It is these two, combined with the already grounded soul in Commissioner James Gordon who represent those less spoken for in the city.

 After Batman/Bruce Wayne has been dispatched into a faraway undisclosed prison, where he is sent by Bane to suffer and wallow in his ultimate defeat, it is Gordon and a number of police who weren't buried in explosion rubble. And it is in their ground level actions that set up the notion that Batman is no longer even considered in any plans to save the city. By using the most basic methods such as notes on strings, secret meetings, and minimal to no firepower, the struggle to undo Bane's island-wide stranglehold is as bare-bones as it gets. It is the complete antithesis of Bruce Wayne's dependence on Lucius Fox's inventions to even walk straight. (the knee-brace is almost instantly a reminder of the expensive, often unusual technological needs Wayne is often dependent on to do what he does - something the remaining cops of Gotham do not have - It is also a big reminder of just how ill-prepared he is for the coming struggle.)


B. The final melee between the freed army of Gotham Police and Bane's army is tasteless as it features the cops beating down on the city's disenfranchised.

Now this is where it is more a case of faulty information delivery by the filmmakers, because the final battle on the steps of Wall Street is clearly between those with nothing, and others who have been armed, most of which have merely been established as remnants of the army that had been around from the beginning section of the film, and many of the escaped from Black Gate Prison (not any manner of "disenfranchised"). This is clear due to one of my largest gripes of the final film - We never see any testimonials or asides from ordinary citizens. It is one of the more egregious mistakes that the film makes, skipping out on reactions from people on the streets, in their homes, anyone who's opinions/observations might have shed some light on the overall mood of Gotham City before, and during the citywide takeover. Many might remember that The Dark Knight often took the time to allow many ordinary people (and not merely police) to voice their concerns over the threat of both Batman and The Joker's costly street war. We get a few shots here and there of families and children, but no grounding to help Bane's cause gather steam. No angry words about the Mayor's run as the Dent Act has cleared the streets, possibly creating other side effects across the city. Worse yet, we never hear both sides of the argument over Bane's scapegoating against Gotham's most powerful and "corrupt". This is perhaps where a majority of that fallacy's origin comes from. Even as Nolan and Co. attempt to call upon all sides to cast aside their circumstances, there's never enough of the disconnect and/or coming to terms with this often black and white presentation.

But again, much of what is actually established in the film, is that the armed horde awaiting the wholly outgunned police are followers of Bane's ideology, or are merely armed criminals/mercenaries.

So now, as we take a cue from that last section, what is Bane, and what is he about?

Well for anyone paying attention to the film, this one is a freebie and a half. As the film's heavy, also of a difficult background growing up in a deep, dark hell of a prison, Bane is the spiritual opposite of Blake, Kyle, etc. in that he has spent his entire life conquering those whom he deems unworthy of their stature. His background is that of the League Of Shadows, who eventually ex-communicated him for being far too "extreme". And considering the League's draconian worldview, it's safe to say that his skewed rendition is of a higher contrast level of black and white. It is this warped perception that leads to his reign of terror over Gotham as he sits on a slowly decaying nuclear weapon. His poisonous words and notions are that of what could happen to a movement such as Occupy, if it were to be perverted by those with other agendas. His absolution is everything that Bruce/Batman has employed on a micro level turned outward and amplified. Bruce, while in prison, is forced to see the world he helped create should such narrowness infiltrate every level of the city. - It is totalitarianism. Communism no less.

So when the film's final third comes along, it culminates with Bruce Wayne directly facing a similar worldview as those he always claimed to be defending. Broken, and tossed into a deep and deadly pit, he is forced to crawl. In the prison, he is granted his first true taste of living with nothing. With only a rope as a reminder of the shackles/tethers that his life always came with. And it is in the final moments in this setting that he comes full circle by removing the rope, and acknowledging fear, that he is capable of meeting Bane on equal terms. (The lack of subtlety during those shots of the two fighting on the steps-of WALL STREET is staggering) It is also telling that in the epilogue, Wayne Mansion is turned into a grand scale boys home, again reinforcing the concerns at the beginning that implies that a better means of fighting crime lies in helping the community at its roots, rather than with the ever growing symptoms of poverty, and lack of engagement between all sectors.

Whether the film succeeded at all in getting these across is debatable. But it is there. Where it all goes wrong, is that there is nowhere near enough coverage on the city side to make any of it work in any cohesive fashion. (especially in lieu of the manner in which Wayne's arc is resolved). There are also the big moments delivered by the female cast members at the finale which again offers the film a pluralist bent. It's just too bad the film fails to hold these disparate elements together enough. 

The Dark Knight Rises (2012) Movie Review

Kind of hard to believe that it has actually been seven years since the so-called "comic book movie" took a sober hard left with Christopher Nolan's Batman Begins, a film that essentially took the more literate auteur into the ranks of the blockbuster elite. Having only done one major studio feature prior (Insomnia) with middling success, imagine my own personal reaction when his take on the Caped Crusader turned out to be one of my favorite translations from the printed panel to the screen. How little then did I consider the common thread that binds the majority of Nolan's works (tales of complex individuals, more often men, obsessed with correcting a great wrong, only to create an even deeper pit for themselves to fall into) that I failed to see why he was an ideal choice to flesh out the world of Gotham City, and wayward billionaire, Bruce Wayne's blinding obsession with forging a better future, one criminal beating at a time. So when we at last come to the grand, sprawling final chapter in The Dark Knight Rises, one cannot help but feel like fresh bread, pulled apart at every corner.


Seven years after the events of The Dark Knight, Gotham has gone for years without any sign of the now outlawed Batman, who had secretly colluded with a mutually tormented Commissioner James Gordon ( Gary Oldman) into taking the blame for the deadly actions of Harvey Dent/Two Face, thereby allowing the police force to usher in a flourishing era in action against criminals. But the cracks in the facade they have created are beginning to show, as Gordon's life has taken a turn, while Wayne has seen himself become a bit of a legendary recluse. Matters spiral toward the inevitable, upon Wayne's first chance encounter with the alluring, yet formidable Selina Kyle/Catwoman (Anne Hathaway), which signals the coming of Bane, a mysterious, hulking mercenary whose designs on the city threaten to not only destroy it and its inhabitants, but also the spirit of its once great defender. Easily the most dangerous opposition of the series, and easily a terrible reminder of all that had come before. Now torn between Batman as symbol, and perhaps even guilt-fueled self-sacrifice, Wayne must once again take up the cape and cowl, even if it does mean dying to protect all he holds dear.


As mentioned, the film catches up with the now clearly spiritually brow-beaten duo remaining of the triumvirate established in the previous. And it is made pretty clear that regardless of their mutually saving the city throughout the series, the choices of Bruce Wayne remain clearly and wholly selfish. Whatever good  that could ever have come out of his decisions to fight crime fists first more often than not carry with them consequences that have left all within his very orbit broken and deeply changed, including Wayne himself, who's loss of Rachel Dawes in the previous has led to a life parallel with being something of a living corpse, hiding within the walls of the now rebuilt Wayne Manor. And yet, all he remained close to throughout his one-man crusade against crime and corruption have either been taken away, or compromised. His entire life could have easily provided practical solutions like supporting local concerns, and stopping crime at its source, but opted to fight it out with the symptoms. Even so, his legend is still something on the minds of many young people of Gotham, including rookie cop, John Blake (Joseph Gordon Levitt) who perhaps knows a great deal more than most. And yet these terrible threads of fate may very well be the best hope the city has once Bane and his (literally) underground army are discovered.



As a conclusion, The Dark Knight Rises is of gargantuan scale. Even by most spectacle standards, it is a truly startling achievement in that place always remains first with real locations, incredible sets, some phenomenal outdoor shooting work (one again by the always wonderful Wally Pfister), and intense action. One can see every penny spent on the production, and feel the weight of what Nolan is attempting. The core problems lie largely in the structure, and in how much of it lacks the manner of build and impact of the previous. Where The Dark Knight took grand risks by ramping up the madness of the Joker's reign until the viewer is sent bouncing from one section of the city to another, The Dark Knight Rises begins with this in mind from the getgo, and never lets up throughout its running time of two hours and forty five minutes. And as such, the first act feels a little on the jarring side, lacking a manner of grounding that could have helped the narrative later. Possibly the film's biggest misstep happens within the first major action sequence which leads to a decision so forced, that it rings hollow for a certain new character which ultimately leaves him with very little meat to work with by the end. Another unexpected issue here is a decidedly jokier tone  that was quite unexpected considering the often grim countenance of the previous. In a film that is clearly about the end of life, and the  end result of a life of selfish acts, it in many ways takes away from what should be a tightened, more intense experience. Despite all the grandness on display, the end result is surprisingly restrained.


So once we reach the halfway point, and much of the story seems well in gear, a lot of it feels like a matter of course rather than an actual series of twists and revelations. This surprisingly, is also much closer in tone to Batman Begins, which had the distinction of dancing wildly between "realistic" and openly cartoonish, with matters reaching a fever pitch regarding an energy source, and yes, a Doomsday Weapon so that we may have a ticking clock in place for the finale. Which leads one to believe that this is the Nolan brothers' attempt at doing a Michael Bay-style extravaganza. (If suddenly, echoes of The Rock come to mind, it isn't merely you.) The feeling that there were dozens of disparate ideas in mind, and that they were determined to get as many in there as possible is very present to the point that it at times feels like two movies smashed together resulting in periods where one cannot help but feel exhausted when one should feel energized for the bigger moments.


Thankfully, the performances, and still present sincerity in much of the film grants it the momentum to see matters through, even as it truly feels like a world coming to a fiery end. The always welcome Michael Caine's Alfred is especially heartwrenching, as a man at last at a breaking point. He has supported Mr. Wayne long enough, and can no longer stand by and watch his equivalent to a son lose his life to his obsession. Oldman's Gordon remains a shining beacon of humanity, while Gordon-Levitt's Blake continues this thread as a truly likeable cop with razor-sharp instincts and a large heart. It is in his arc that the film's soul truly lives and dies. Being among the first of the "batman era" generation, we have a chance to see the potential of Wayne's legacy, as well as what it could mean for future Gothamites. Also worth mentioning the terrific work of Marion Cotillard, Morgan Freeman, and Matthew Modine as Foley, a veteran cop with much to prove. But the real standout newcomer work to this franchise belong to Anne Hathaway's Kyle, and Tom Hardy's Bane. Hathaway's take on Catwoman is potent, angry, and demands her own film. It's a performance that shoulders a great deal of the weight and power  of everyperson in the piece. Her lot, the complete opposite of Bruce's, by growing up without privilege or stability represents balance to his life lived with money-borne answers. It has shaped her into a bit of a hardened survivor, and a silent champion of those carrying the city's heaviest burdens. And Hardy's Bane is a classical, baroque monster. Single-minded in his own drive toward pain and terror, his reign over Gotham City (and perhaps even Batman/Bruce) is palpable and utterly frightening. He is living absolution, and is the harbinger of the worst possible end for all involved. Even as the story momentum seems to flag at times, it's these memorable characterizations (something of a Nolan trait by this point) that remain irresistible.

Possible Spoiler Time

Considering much of the film's almost prescient use of the divide between "rich and poor", one would think that this is the bare essence of what Christopher and Jonathan Nolan's script was centered on. But what seems to be of greater concern to them here lies back in the origins of the Bat mythos itself - Labels. Duty. Designation. Our place in society, and our inherently human need to break free of this with regularity despite our addiction toward a semblance of order and responsibility. "Structure becomes your shackles" as one character says in one of the least subtle moments of an already unsubtle film. Every character feels bound by their designation, eager to free the inner human, burning inside for redefinition. And yet, Bruce Wayne cannot walk away from the oncoming of what seems to be his self-contructed personal apocalypse. Caught in a terrible gravity , he is the variable, surrounded by those seeking well past their present selves, eager for freedom. And in this sense, Batman , and the villains themselves are locked irrevocably in this death dance, primed to burn an entire population to the ground. So once the true plot is revealed in the breathless final act, and the music has reached a crescendo, and the landscape is a smoky hell on earth, the question of the importance of symbols, and the yearning for a life beyond are illuminated regardless of all the noise. All the while, the existence of the Batman has brought this about, and the film (just as the whole series has) never lets Bruce Wayne off the hook. This is the world his decisions throughout the films have helped create, and it is a horrific one. All the more satisfying to see Christian Bale's final turn in the role played as a man, broken down to the point that even his own body seems ready to be parted with. It is the dilemma of the symbol versus the man that takes us to the final pass of our journey, leading to what could have been a more rousing finish if Nolan had stayed true to all that had been pointing in the same direction. One could argue that it's within the film's final moments that Nolan buckles under the weight he has helped cast throughout all three installments. And for the last minutes to be what they are isn't necessarily a crashing disappointment, but it does feel like something of an apology for the oppressive madness of The Dark Knight. (something one should never apologize for) One might also argue that this yearning for something more lies square on Nolan, who possibly just wants to move on. There are indeed stretches where it feels as such.



And yet despite all of these gripes and occasional story issues (It's a script that feels in need of at least one more rewrite) , The Dark Knight Rises works best as a thrilling, yet deeply flawed epilogue to Nolan's Batman saga. Even when it threatens to crumble under the weight of its own absurdity, the character drama continues to shine through. And even regardless of this perhaps being the weakest of the three films(and possibly of Nolan's work), the series remains a staggering accomplishment of myth weaving, human drama, and philosophical debate disguised as popcorn entertainment. It's that rarest of comic-book based tales, one packed with thoughtfulness and genuine care-mental exhaustion be damned. And as final chapters go, one could do so much worse.

State Of The Kaijyu: To The Game Platform!

When we were last here, blogging duties almost immediately dropped due to sudden changes in living environs as well as the inevitable move closer to the Los Angeles area (which I am currently still in the process of digesting - something that will undoubtedly be a constant since one never truly gets a complete handle of the city, especially this one) And Hakaider was in no way something I truly wanted things to stop with, so I do apologize for that. There's also the issue of not having much to any time to watch, let alone evaluate anything during that amorphously hectic period of time. And while there's been no better reason to leave things consistently silent, I will say on these pages that getting to better know the new surroundings, as well as what manner of access I have to even greater patches of media and expression, has been truly liberating, not to mention nerve-wracking. What does one do when the entirety of one's world is shifted so dramatically by a mere 18 mile move?

Tends to older, questionable habits of course!

During the 4th of July, I was invited to make a "weapons" stop and drop at a local used books/comics shop in North Long Beach called A Castle Of Books, which was host to a great number of goodies from past to present. Was surprised to see the unexpected amount of anime history/toy weirdness that lie inside. And within all that came several finds that just plain baffled and amused.

On the baffling side was running into several issues of the long-lost Star Blazers comic originally published in 1987 by Comico..

Not that these are any kind of major find in regards to quality, but they are a fascinating peek into the early days of anime awareness, and tie-in business. But seeing no Captain Okita, and also a decent amount of "new" characters is pretty weird. This is also skipping the fact that much of the books are very rough and not altogether coherent. It also feels like a very scrappy attempt at early fanart based on mere ideas and concepts of Yamato, not so much on the show as a whole. Weird, weird stuff.

And continuing on the analog media train, the store also had a decent amount of VERY forgotten anime on VHS. I immediately broke out the footstool for this, as I hadn't seen a lot of these in well over a decade now. And the one I couldn't help but pick up due to its rarity, and the weird looks I still tend to get upon mentioning it to other anime fans, the first two episodes of TRSI's very limited release of the in many ways criminally underseen Starship Girl Yamamoto Yohko OVAs. Before the cult TV version came years later, it was this lightweight piece of science fiction goofy that came across me during the very end of the 1990s, ad charmed me in ways few shows do now.

For the unfamiliar, SGYY tells the tale of a thousands-of-years-in-the-far-future company's stake in a new form of warfare - grand scale space games take the place of bloodshed on a battle field. And with access to time travel technology, their best hope of working out grand disputes between nations and rival interests, is to assemble teams of brilliant arcade gamer girls capable of piloting company-owned spaceships to participate in often absurd wargames well-off planetary orbit. And being one among millions, cocky, tomboyish Yamamoto Yohko is the newest recruit, who seems to have little trouble getting the feel of her new situation, regardless of the often dangerous rivalry of the Red Snappers, a team with a supposedly bulletproof reputation.


So yes, the OVA version of the "story" is more comedic than anything else, but the freewheeling attitude of the show that just asks us to bask in it's idealized and often silly world makes for a fun "summer" diversion for those looking for cute girls and harmless action. And on top of that, the thought that this was a big Star Child vehicle for some of the 1990s biggest seiyuu talents(including Minami Takayama, Megumi Hayashibara, and Yuko Miyamura), makes it a much more potent piece of 1990s nostalgia for me to be honest. And yes, it's just fluff and a seiyuu commercial with a lot of quirky humor, and no real story. But at least it doesn't pretend to do so. (That's for the later series) For now, it's just a lot of latter 90s fun that leaves zero aftertaste, and very little in the way of creepy. Definitely something of a so-called guilty pleasure. Especially when considering that the anime's director was none other than a man called Akiyuki Shinbo!

So that's it for this morning. Plans for new posts and even more podcasts are very much in order. It has been far too long friends.

More fun than eating bananas while watching crocodiles!

The Dying Art Of Vision

During this current break, a brief discussion regarding the subjective topic of modern film, the growing dearth of concentrated vision, and the preference of handheld point and shoot over actual shot composition. The talk essentially boiled down to the suggestion of a potential podcast making this growing phenomenon the primary focus. As to how this "Zero Vision" topic could ever truly carry entire episodes still eludes me, as it feels like a subject far more confined to being a mere singular discussion for the to-be-recorded roster. And it is perhaps a position I will always carry along with me since television and feature film have spent the last several years adopting a more economical, and almost factory-minded thrust. It has permeated so much of the visual landscape, that it seems that merely fine arts, comics, sequential art, and the like are the only places where a painterly eye can continue to have a home.

And why not? After all, in the days when camera size was overwhelming, and in turn, rigs were the only ideal way with which to utilize them, it felt far more imperative that your shots were cared for, and were a bastion of meticulousness for those well-produced enough to use them. So when digital tech came about, rendering the every person the power to create their own content, it became a less reductive science, and this was only bolstered further by way of emerging styles such as documentary filmmaking, music videos, POV work, and cinema verite, the less studied visual approach was something of an inevitability. And with the added availability of affordable technology, and reduced budgets, and increased demand for entertainment, cinematography, as well as photography in general was bound to be democratized to the most generalized level imaginable. More demand, meaning faster production schedules, and much less emphasis on selling a collective vision, led to an environment where consumers consciously, or unconsciously lost track of what made any piece of filmed/ video work memorable, and in turn, the creators cared even less. Which leads to a sometimes fractured perception of how to show as opposed to telling within the realm of stories.

The reason this has recently come to mind, and why this is a post within the Kaijyu blog as opposed to my more personal V.Zero blog, is that certain friends have asked me many times as to how one identifies something made with clarity of vision in mind, versus something obviously made for commercial/arbitrary purposes. And instead of merely opining about the obvious stunt-casting, mundane premises, and often petty advertising campaigns, it is suspect when the cinematography featured in many of the trailers for many a throwaway rom-com, or action pic, is seemingly more interested in selling the stars, rather than any manner of story or theme. Quick, dirty, but almost always absurdly well lit, and almost overtly composed for efficiency, and often with stylistic flourishes that imply boredom, rather than a painterly eye. Very often, shots for romantic comedies/dramas are shot with almost TV-movie stiffness, while action movies are often dim, and shadowy, complete with aggressive quick-cutting to avoid the audience's "this feels off" vibe that would soon overtake them. At the end of the day, the clues can be numerous, often fat too many to count, and possibly, it's the biggest tell to just listen to the dialogue being spouted. But imagery can tell a viewer so much about the film's creative spark, or lack thereof.

A good, recent example of this particularly careless approach to filmmaking can be seen in trailers for recent films such as Battleship, What To Expect, and perhaps even Rock Of Ages. Cross this manner of "cheap", in-theaters-one-week-and-out-the-other, multiplex missiles, combined with an environment where some viewers seen no distinction between large budget tentpole releases and microbudget indies filmed on home grade video equipment, perhaps this lack of care is the end result. So please, do not merely regard this post as something of an old guy, merely complaining about the "loss of cinematic vision" in movies. Even in the far flung past, there were some poorly planned and shot works made, but rather that now more than ever, is it important that filmmakers, photographers, and videographers remind themselves of the immediacy, and potential permanence of the images we share relies solely on actually having a passion for what comes through the lens. It's the one thing that the rest of us will appreciate, whether we voice about it, or not.

Movie Review: Mechanical Violator Hakaider (1995)

Somewhere after a devastating global apocalypse, at an unspecified time, a group of scavengers stumble upon and awaken a sleeping humanoid robot kept imprisoned and wrapped in chains. In a flash, they are dispatched with frightening efficiency, and instantly this blood-stained machine hops onto his trusted motorcycle, and sets off to Jesus Town - possibly the last refuge of humanity. Only the citizens of this armed fortress city live under the beautiful bootheels of one Gurjev, and his lethal assistant robot, Michael. With their draconian use of force, and vegetable-creating microchip implantation, they have fashioned a society aligned with Gurjev's own brand of justice and harmony. Unbeknownst to them, a bike-riding messenger from the past is en route. And not necessarily bearing goals to liberate the humans of Jesus Town. Feel the burning righteous fist of Hakaider!


In the past, I have considered doing writeups I have felt would perhaps come at odds with certain fandoms, thereby alienating myself from them. But in the name of honest critical discourse, it only felt just that a personal record be set in regards to my feelings on practical special effects movie maestro, Keita Amemiya. As fun as some of his films are at a character craft level (his main claim to fame is his use of often brilliantly realized creatures, props, and stop motion. Those familiar with the Zeiram films, this is the guy responsible.), his films simply lacks any sense of dramatic flow, rhythm, or weight. They are often awkwardly staged, hypnotic works, and not in a good way. Often times, the bulk of his work seem more attenuated toward tokusatsu fans, and enthusiasts of finely crafted creatures and machines, offering little else to the proceedings. And in the case of Hakaider, this is made threefold, as it becomes glaringly clear that despite being inspired by the works of manga legend, Shotaro Ishinomori, there is nowhere near enough budget or script for Amemiya and crew to even begin working with.



For starters, as something of a side story to the title character who is the arch rival of the one and only Kikaider, there is little to no real exposition laid out for anything in the piece, which largely consists of Hakaider riding his bike somewhere, only to be stopped, start fighting, kill everyone, and then continue toward the city. The movie is just a series of events strung together by often haphazard action sequences that offer no real context for anything, except to establish that Hakaider is something of a nihilist amnesiac. He knows nothing of his past before the events displayed here, and only seems to be around to screw up anyone or anything who wanders into his path. We don't even get an idea of what's at stake, who are the real villains, or who we can even pretend to care for. Not even the innocent would-be resistance-fighter, Kaoru (Mai Hosho)can truly serve as audience surrogate when it seems that all of her dialogue seems to have been summoned up on the spot- right on down to completely puzzling notions involving "becoming a bride". This lack of any real structure gives Hakaider a glacial, frustrating vibe that is only remedied by its clearly unintentional laughs.(not to mention groans when the film attempts humor-most notably an out of nowhere shot of Kaoru's scrapper companions simultaneously chewing gum, when clearly some setup was required but did not have) And when considering Amemiya's previous body of work, this is really saying something.



Digging even deeper, I'd even postulate that this was a project that was essentially hoisted upon the director, and in turn, the film is possibly a glimpse into his psyche as he attempts to stem the tide of mid-1990s manga tropes that he possibly doesn't, or isn't interested in understanding. That's right. We may have a film that feaures a number of visual fluorishes that are highly indicative of the era (Visual Kei fashion, faux-goth imagery, tons of feathers), they come at a clip that in many ways implies a certain disdain for them. As if these ideas were implemented via committee despite the director's wishes. The general phoniness of it all, runs concurrent with the entire film's lack of overall energy. All the angel wings, and co-opted bishonen evoke images of the works of CLAMP, Kaori Yuki, and even Tetsuya Nomura, in some halfhearted attempt to invite a new demographic to the film, do nothing to ground the film in any manner of actual flair or style. It's all far too limp to even bother.


So when all one has left are Amemiya's mechanical concepts, and action scenes, one cannot help but feel like these are the only reasons for the film's existence. And even then, perhaps surprisingly, the action choreography is even more weightless and hollow than usual. So the majority of the film comprises of this manner of scraping for anything, and in my estimation, it's again the design work, particularly of the mechanized second in command, Michael, that steals the show. Gurjev's mechanical (?) army is relatively flimsy. And Hakaider's overall design is decent, albeit pretty standard despite his glowing brain, and green grimace.

And as mentioned, the biggest issue that plagues the entire affair, is a general lack of real exposition, or motivation behind any of the characters and their actions. The closest to any agency we actually witness is from Gurjev and Michael. (Especially Michael,who actually seems to genuinely wish to do right by his master. One cannot help but feel as if he could strike out on his own here, but alas..) Hakaider never really gets explored despite his supposed importance be it in machine or humanoid form. All we get from him is that he's something of an id pressure valve for a director clawing for a reason to make this film. And while this may seem unfair to say, it's the only reasonable explaination for all the dark machine does in the whole 90-minutes we are witness to. We know he likes to beat up and often kill those without agency of their own, and can burn flowers just by walking past them. And that's about it. Even his final showdown with the pretty boy dictator, and his robo-buddy cannot escape the oodles of awkward spewing forth throughout. If one cannot laugh, how can one survive? Without it, Amemiya's paean to one of tokusatsu's greatest antiheroes is not terribly different from the Magic Eye paintings from the same era whence it came. Nothingness that isn't afraid to stare back into you. But I guess those who don't mind their nothingness with a cool-looking winged robot might be fine with it.

State Of The Kaijyu: Finding A Way Out Of Gotham

Well as things slowly begin to stabilize here at the clandestine island labs, it might be within mere days that posting and updates may resume with at least semi-frequency for the time being. Much of which is based on the status of base location, and the possibility that this may change within a mere few weeks as of this. With the Lupin posts, the initial plan was to allow that (and Twitter-naturally) to make the sum of my online presence for a while, but the creature is getting restless yet again, and it feels more than overdue that a few observations, and perhaps a review or two will help keep this URL busy for a while. And since the summer movie season is upon us this weekend with The Avengers, it only felt proper to go ahead and share thoughts.


And while we're at it, I currently can't stop watching the final trailer for Christopher Nolan's finale to his Batman trilogy. Seriously. It has been a long time since a trailer has owned me like this. Slow, melancholic, and ultimately emotional, this looks like the finale I could only hope such a team could accomplish. While it does make me a little sad that James Newton Howard is sitting out the ending, the composition here via Zimmer remains thoroughly engaging, and atypical of the man. Still not sure about how Selina Kyle fits into all of this, but hey I'm willing to play ball as long as Chris and his brother Jonathan are pitching all the ideas. Facing up to not only a terrifying enemy with ties to his past, but also facing up to what he began rooted in his own father issues hinted at via what we see here is pretty powerful stuff. Thematically, this is is the most logical way to close the curtain on this particular interpretation of the mythos, and for me, the most exciting stuff, is what has yet to be revealed- things I'm sure will shock and perhaps provoke to no end..While I may not always make mention of superhero stuff on this blog, there has always been a personal connection I've had with the world of Batman, and I must admit that Nolan's vision of Gotham has possibly become my de-facto rendition, so all of this feels more than a little bittersweet. Not necessarily because it is ending either. But rather that after such a powerful second film, a third never felt truly necessary. So in many ways a third feels like either a guaranteed letdown, or sadistic dare. I really want this to be the latter, as it could fully say quite a bit about our current standing on the national stage, as well as grant fandom some truly unique and eloquent hard lefts in regards to what the comic book film is capable of..But after The Dark Knight, this feels like a high-wire challenge that could only fail, so I'm keeping my hopes cautiously high.

Meanwhile, looking back at an obscure piece of OVA history...I cry..Seriously folks, sometimes anime can be a measure of just what is up with the social norms of a certain country, be them troubling, or sometimes downright horrifying. Both may very well be the case with Blue Flames. Not sure I have ever written a piece under so much reflexive terror and confusion. Possibly an AD post for the ages.