Twisted Justice (Nihon de ichiban warui yatsura)


Cops and guns.

Cops and guns.

(2016) True Crime Drama (Toei) Gȏ Ayano, Shidȏ Nakamura, Pierre Taki, Munetaka Aoki, Haruna Yabuki, Young Dais, Kumi Takiuchi, Katsuya, Takayuki Kinoshita, Tomoya Nakamura, Ryȗzȏ Tanaka, Ayumu Saitȏ, Takuma Otoo, Yukio Ueno, Minosuke, Ito Shiraishi. Directed by Kazuya Shiraishi

NYAFF

Certain things translate across cultural lines; that innocence can tarnished until it has rusted away solid and that power corrupts even the purest of souls. A fall from grace is a tragedy in any language.

Moroboshi (Ayano) is a jujitsu wrestler and a pretty good one and has the cauliflower ear to prove it. So good, in fact, that the Hokkaido prefecture police give him a job not because of his criminologist skills but because they hope that he will lead their jujitsu team to respectability, which he does. However, the police detectives in the precinct in the capitol of Sapporo are less enthused about his presence. He is used primarily as a gopher and a clerk.

But veteran detective Murai (Taki) sees something in the young man and takes him under his wing. Murai is at this time a fine police officer and one of the most respected in the department, but the department has this odd points system, in which certain types of busts were worth points while others were worth more points – and others less.

From Murai he learns to play the game of informants – called “Spies,” or just “S” in Japan. Moroboshi uses them to find out information that gets some of the feared Yakuza busted, which pushes up Moroboshi up the ladder at work. As the 70s wear on, Murai commits a cardinal sin and is forced to leave in disgrace, leaving Murai to pick up his informants and his status. Soon, as Japan enters a phase in which the police have become obsessed with taking illegal guns off the street, he has begun using his own Yakuza connections to import guns, then turn them in for financial gain (cops are being paid cash bonuses for each gun they turn in) as well as departmental glory.

But as Moroboshi uses his friends and mistresses, he begins to lose control of his little empire. Fueled on cocaine and high on sex, Moroboshi goes from the young and naïve wrestler and rookie patrol officer to a bitter and jaded veteran cop who sees the abyss rushing towards him. Can he avoid his fate?

The film is based on actual events that made up the biggest police scandal in Japan’s history to date. There is a Scorsese-esque feel here, especially in terms of The Departed, itself based on an Asian film. There are also elements of the Japanese yakuza film, such as the work of the great Kinji Fukasaku, very apparent here. Fans of the crime genre worldwide should sit up and take notice of this film. American audiences might also see the crime dramas of John Woo in between the frames here.

A bravura performance by Ayano has already gotten him notice as a rising star in Japan; he does some unforgettable work as both the young and puppy-like Moroboshi until he becomes the lethal and amoral cop that he eventually becomes. We watch Moroboshi slowly lose the endearing qualities that made him delightful at the beginning but by the movie’s end, the character is utterly corrupt and beyond redemption.

Shiraishi initially sets the movie in the ’70s (it covers a time span of more than three decades) and in each era that the movie checks in with Moroboshi, the film really looks like a movie from that era. For example, the 70s portion looks a lot like an American TV cop show – with boobs. And yes, there are plenty of those; prostitutes play a vital role in the movie.

There are moments of what I suppose are comedy relief that are almost surreal and absurd, but they are rather jarring next to the grim tone of the rest of the film. I think it’s more of a cultural thing that I don’t appreciate them as much; I’ve noticed that Japanese yakuza films often have those moments that are almost bizarre so I suppose that is something that Japanese audiences understand more than I do.

This has yet to acquire U.S. distribution as of this writing and quite frankly is more likely to hit the festival circuit first although someone like Magnet or Well Go USA might take a long look at this and send it out into the American market one of these days. If you see it playing anywhere near you if that occurs, don’t hesitate to go check it out – this is one of the good ones.

REASONS TO GO: The look of the film fits nicely the period it is set in. A cross between Scorsese and Woo on a budget.
REASONS TO STAY: There are moments of surreal absurdity that jar with the overall gritty tone.
FAMILY VALUES: Plenty of violence and profanity, along with a surfeit of smoking and some sexual content and brief nudity.
TRIVIAL PURSUIT: Will make its American debut as the opening night film at the New York Asian Film Festival on June 22, 2016.
CRITICAL MASS: As of 6/21/16: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Departed
FINAL RATING: 7.5/10
NEXT: Apocalypse Child

The Equalizer


Martin Csokas looks forward to his next movie  My Dinner with Denzel.

Martin Csokas looks forward to his next movie My Dinner with Denzel.

(2014) Action (Columbia) Denzel Washington, Marton Csokas, Chloe Grace Moretz, Melissa Leo, Bill Pullman, David Harbour, Haley Bennett, David Meunier, Johnny Skourtis, Alex Veadov, Vladimir Kulich, E. Roger Mitchell, James Wilcox, Mike O’Dea, Anastasia Mousis, Allen Maldonado, Chris Lemieux, Matt Lasky, Shawn Fitzgibbon, Luz Sanchez. Directed by Antoine Fuqua

We go through our lives essentially just hoping to mind our own business. We don’t want to get involved nor do we get involved with anybody else. However, sometimes there comes a time when a situation demands our action.

Robert McCall (Washington) lives a quiet life as a clerk at a home improvement store (think Home Depot with a different color scheme). He is helping his buddy Ralphie (Skourtis) lose weight and prepare to apply for a security guard job, a definite upgrade in pay.

But he is reluctant to talk about what he used to do. He has insomnia and spends a lot of nights at an all-night diner, drinking tea from tea bags he brings himself and reading novels off the list of 100 books you must read before you die (he’s up to 91). He compulsively rearranges the silverware on the table and always sits at the same one – yes, he’s OCD.

He also strikes up a conversation with Teri (Moretz), a prostitute from Russia who aspires to greater things. He encourages her and provides a welcome breath of fresh air from all the men who just want to use her for sex – or profit by her. He witnesses her pimp Slavi (Meunier) slapping her around but doesn’t intervene when she asks him not to. Slavi’s muscle (Veadov) gives McCall a card so that he can come and collect a more amenable girl.

When Teri ends up in the hospital, McCall pays Slavi a visit. You see, McCall isn’t just a guy that works at a hardware store. He’s got skills. Some big bad ones. And he puts them to good use. This doesn’t sit well with Slavi’s bosses who happen to be the Russian mob and they send a fixer of their own (Csokas) to deal with him and quite frankly, he’s got mad skills himself.

The film is based on an 80s TV show that some critics characterize as forgotten although I remember it quite well – if for nothing else for its catchy Stewart Copeland theme song which sadly isn’t in the movie. There are those who will remember that English actor Edward Woodward starred in the title role as a former British spy who turns his talents to helping the powerless surmount impossible odds. It also reunites Fuqua and Denzel who teamed together so well for Training Day.

This is a good fit for Denzel, who has the best dead eye look in Hollywood. He has mastered the technique of using his good looks as a facade, hiding something deeper – sometimes sorrow or pain, sometimes rage or evil. McCall has plenty of history behind him and it shows in Denzel’s eyes – but there is also a coldness there when Denzel switches it on, the coldness of a trained killer.

He will be 60 later this year and joins the trend of sexagenarians invigorating their careers and becoming action stars (see Neeson, Liam) and let’s be frank; he looks damn good doing it. A couple more roles like this and Sly Stallone is going to be putting him on speed dial for The Expendables 6. The fight scene in Slavi’s office is as good as many action film climaxes and the climax here in the Home Depot clone is frankly incredible. While McCall leaves a few traps, mostly he uses the various power (and non-power) tools to great effect so this doesn’t sink into a Home Alone parody. No, the scene is gritty, violent and occasionally gory.

This is essentially entertainment for its own sake. There are really no deeper meanings here – everything is visceral. You don’t have to interpret different levels, just sit back, turn off your mind and enjoy the carnage. While I enjoyed the action sequences themselves, they don’t really blaze any new trails but they take existing ones and pretty them up a bit. If you’re looking for mindless fun, this is your ride.

REASONS TO GO: Denzel still has it. Terrific climax.
REASONS TO STAY: Kinda formulaic.
FAMILY VALUES:  Lots and lots of violence, some of it rather bloody. Also plenty of foul language and some sexual references.
TRIVIAL PURSUIT: With almost no backstory for the character of McCall, Washington came up with some of the items including the character’s Obsessive Compulsive Disorder.
CRITICAL MASS: As of 10/6/14: Rotten Tomatoes: 61% positive reviews. Metacritic: 57/100.
COMPARISON SHOPPING: The A-Team
FINAL RATING: 6.5/10
NEXT: This is Where I Leave You