The Blood of Wolves (Korô no chi)


Sometimes you can’t tell the cops from the criminals.

(2018) Crime Drama (Toei) Kôji Yakusho, Tôri Matsuzaka, Gorô Ibuki, Yoko Maki, Yôsuke Eguchi, Hajime Inoue, Megumi, Tarô Suruga, Renji Ishibashi, Takuma Otoo, Kyûsaku Shimada, Junko Abe, Marie Machida, Takahiro Kuroishi, Eiji Takigawa, Pierre Taki, Shun Nakayama, Joey Iwanaga, Tomorô Taguchi, Ken’Ichi Takitô, Tomoya Nakamura, Katsuya, Issei Okihara. Directed by Kazuya Shiraishi

In movies there are actual touchstones; Hitchcock for thrillers, Chaplin for comedies, Ford for Westerns and Scorsese for gangster movies. Scorsese himself was influenced in turn by Asian crime dramas which in its own way is somewhat ironic and circular.

Shiraishi says that the 1973-74 five part series Battles Without Honor and Humanity was his main influence for his work but that in turn was influenced by some of Scorsese’s earlier work such as Mean Streets. This film, based on the novel of the same Japanese name, is set in Hiroshima in 1988 at the height of a gang war. The Odani-gumi Yakuza gang have been in control for 14 years; the Machiavellian leader of the Irako-kai gang (Ishibashi) has cut a deal with the volatile leader (Shimada) of the Kakomura-gumi to retake the territory the Irako-kai had lost – and then some.

Trying to stave off what would be another bloody gang war is a cop as rumpled as the packs of cigarettes he smokes incessantly Shogo Ogami (Yakusho) who has just been saddled with a naive straight arrow partner named Shuichi Hioka (Matsuzaka). They are investigating the disappearance of an accountant from a financial institution that is actually a Yakuza money laundering front. As tensions between rival gangs grow, Ogami – who never met a rule he wasn’t willing to break – utilizes informants including his best friend Ginji Takii (Taki) who is a low-level guy for the Odani-gumi to get closer to the rival gangs. Soon Hioka suspects that Ogami is protecting the Ogami as well as himself – there are rumors that the last gang war ended because Ogami, then a uniformed officer, murdered a top man for the Irako-kai. That has been neither forgotten nor forgiven.

In between chasing down sadistic Yakuza and indifferent bureaucrats, Ogami and Hioka hang out in a bar administered by the beautiful but volatile Rikako (Maki) whose past is key to the last gang war and what is leading to the next. Sake will flow and blood will spill – sometimes in buckets – in this brutal, bloody Yakuza film.

Very often during a movie there will be periods where my interest wanes and my attention will wander a little bit. Not so with The Blood of Wolves – there wasn’t a moment that my attention wasn’t focused to the goings-on onscreen. While there is a fairly large cast of characters and many are essentially disposable Yakuza foot soldiers and cops, the main characters are well-developed and especially veteran actor Yakusho deliver some marvelous performances.

As here in America, the gangster film has fallen on hard times in Japan. Once a staple of their film industry, in recent years the Yakuza film has been relegated to the periphery. This particular one is old school and has that epic quality that the best films of such genre greats as Scorsese and Coppola possessed. That doesn’t mean that there aren’t some good examples of the genre still being made in the Land of the Rising Sun and this is an example of it. It has already screened at the New York Asian Film Festival this year but as the powerhouse Toei studio is behind it there is a pretty good chance further American audiences will get a chance to see it and this is absolutely worth seeing; it is one of the highlights of the Festival this year.

REASONS TO GO: The comparisons to Scorsese are unavoidable in a good way. The story keeps you riveted to the screen. Yakusho gives a compelling performance.
REASONS TO STAY: Some of the violence may be too much for the squeamish.
FAMILY VALUES: There is a ton of brutal violence and some over-the-top gore; there is also plenty of profanity, some nudity, sexual situations and references and drug use.
TRIVIAL PURSUIT: The movie is based on a novel that is itself a fictionalized version of a  actual gang war that took place in Hiroshima and the neighboring suburb of Kure.
CRITICAL MASS: As of 7/9/18: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Gangster’s Daughter
FINAL RATING: 8.5/10
NEXT:
Rock in the Red Zone

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St. Vincent


Sometimes you have to dig in the dirt to get clean.

Sometimes you have to dig in the dirt to get clean.

(2014) Comedy (Weinstein) Bill Murray, Melissa McCarthy, Naomi Watts, Chris O’Dowd, Jaeden Lieberher, Terrence Howard, Kimberly Quinn, Lenny Venito, Nate Corddry, Dario Barosso, Donna Mitchell, Ann Dowd, Scott Adsit, Reg E. Cathey, Deirdre O’Connell, Ray Iannicelli, Greta Lee, Melissa Elena Ramirez, Ron McLarty, Niles Fitch, Emma Fisher, David Iacono, Alexandra Fong. Directed by Ted Melfi

Some people just have mean and nasty dispositions. Maybe they don’t like people in general. Maybe they get some sort of satisfaction from putting other people down. Or maybe there’s another reason they act the way they do.

Vincent (Murray) is as curmudgeonly as they come. He lives in the Sheepshead Bay neighborhood of Brooklyn. He is either unemployed or retired. He spends his days drinking in a run-down bar, betting on the horse races at Belmont or hanging with a pregnant Russian prostitute named Daka (Watts). He smokes like a chimney and is generally a pretty unpleasant guy to know.

Into the neighborhood moves Maggie (McCarthy), a single mom still in the process of a bitter divorce from her unfaithful husband David (Adsit), and her precocious son Oliver (Lieberher). Things don’t get off to a good start with their new neighbor when her off-the-books movers accidentally knock a tree limb on top of Vincent’s car, damaging it. Vincent is predictably upset and reacts – also predictably – rudely. Welcome to the neighborhood.

Oliver is the sort of kid who just seems to attract bullies. He’s undersized and of course he doesn’t know anybody. To top it off, he’s a Jewish kid in a Catholic school. So on his first day of school at St. Patrick’s Academy a couple of bullies take his phone and keys. His mother is working as an MRI technician so he has to make his way home and when he gets there, she’s still at work. Left with no choice, he asks Vincent if he can use his phone. Vincent, somewhat begrudgingly, allows him to. Maggie can’t get away to let her son back in the house, but she arranges with Vincent to watch Oliver until she gets there – which Vincent insists on getting paid for.

Vincent has money troubles with a loan shark (Howard) on his back trying to collect. He also has  bills coming due, so he asks Maggie if she would like to make a regular gig of it. Maggie, not really having much of a choice, agrees.

So into Vincent’s world Oliver goes. Oliver joins him at the track, and at the bar. He also gets an insider’s look at what makes Vincent tick. Oliver is introduced to Daka whom Vincent describes as a “Lady of the Night.” Vincent teaches Oliver self-defense with the disclaimer “Don’t worry, you won’t get it right.” He also teaches Oliver something about self-confidence and of creating your own moral compass.

Still, there is a lot of stress in Vincent’s world, with money problems coming to a head and a loved one in dire straits. There’s also plenty of stress in Maggie’s world as she has to take additional shifts to make ends meet, and then her ex-husband is suing for custody of Oliver – mainly to punish Maggie. When Vincent’s style of “babysitting” comes to light, it threatens to destroy everyone’s world.

Murray has come a long way from his SNL days, and has delivered some strong performances such as in Lost in Translation and What About Bob. This is right up there with his best. Murray has said in interviews that Vincent is a lot like who he really is and let’s be frank, he tends to play very similar characters most of the time and Vincent has a lot in common with other characters Murray has played. Yet there is a humanity in Vincent that comes out unexpectedly even as he sometimes erects additional height on the walls he’s built around himself.

We’ve come to expect these sorts of performances from Murray so the success of the movie is going to hinge on how well his co-star Lieberher can hold his own with the star. The surprising answer is, rather well. Lieberher is absolutely convincing as the kind of wallflower that Oliver is, and while Oliver is clearly wise beyond his years, he’s not the kind of precocious kid actor who never lets you forget he’s pretending to be someone else. Instead, Lieberher kind of inhabits the role and makes a fine foil for Murray throughout.

The rest of the supporting cast is pretty strong as well, McCarthy and Watts in particularly impressive in roles that aren’t typical for them. McCarthy is more of a straight woman here, although she does get a few zingers off. But she shows that when she’s not being cast as a boorish slob, she can be extremely likable and sympathetic. Watts turns the traditional “hooker with a heart of gold” role on its ear, making Daka acerbic and sometimes as curmudgeonly as Vincent but despite the Natasha Fatale-style accent, the character comes off as real and believable. Chris O’Dowd is also impressive as a teacher at St. Patrick’s, a priest who is more worldly than you’d expect.

The movie does tend to go for the schmaltzy cliches a bit too eagerly with the ending becoming a bit too sitcom for my liking. I also have to admit that there are a few plot points like the loan shark that don’t really get resolved; they just seem to fade from view.

Still, any movie with a performance like this from Bill Murray is worth seeking out and St. Vincent is certainly one that you should. It’s funny, there’s plenty of pathos and while parts of it are sitcom-like, there is at least a heart here that hits you unexpectedly rather than clubbing you over the head throughout. This is a gem of a movie.

REASONS TO GO: Murray’s a hoot and Lieberher does an impressive job of staying with him.  Fine supporting performances by Watts and O’Dowd, and McCarthy is excellent in a very different kind of role for her.
REASONS TO STAY: A little bit cliche and occasionally boggles the mind with sitcom sugary sweetness.
FAMILY VALUES: Plenty of adult thematic material some of which involves sexuality, alcohol and tobacco use and a plethora of cursing.
TRIVIAL PURSUIT: At one point, Jack Nicholson was rumored to be taking the title role but eventually it went to Murray.
CRITICAL MASS: As of 11/11/14: Rotten Tomatoes: 75% positive reviews. Metacritic: 64/100.
COMPARISON SHOPPING: Grumpy Old Men
FINAL RATING: 7.5/10
NEXT: John Wick