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Miike Takashi

Blu-ray: ‘Basket Case,’ ‘Ichi the Killer,’ ‘Macon County’ justice, and ‘The Hidden’ with Kyle Maclachlan

Basket Case (Arrow, Blu-ray)
Ichi the Killer (Well Go, Blu-ray)
Macon County Line (Shout! Factory, Blu-ray)
The Hidden (Warner Archive, Blu-ray)

Arrow Films

Basket Case (1982), the debut feature of filmmaker Frank Henenlotter, is a gruesome little cult indie-horror drama of brotherly love and righteous vengeance shot on location in the seedier sections of New York City.

Henenlotter was reared on the cheap horror films of Herschell Gordon Lewis and other independent exploitation directors of the 1960s and 1970s and this is in many ways his tribute to the grindhouse horror films he loves, a low-budget monster movie with a creative twists and an embrace of the grotesque. The monster effects, a mix of puppets, models, and stop-motion animation, may look amateur today but there’s a loving B-movie attitude and a genuine sense of character and tragedy to the misshapen, fleshy, snaggle-toothed Belial, who sees Duane’s growing guilt and desire to connect to other people (notably a girl he’s fallen for) as a betrayal of their bond. A cult classic with an inspired twist on Cain and Abel.Kevin VanHentenryck shuffles through the low budget exercise in grotesquery and gore as Duane, the “normal” brother sent by his deformed, formerly-conjoined twin Belial to take revenge on the doctors who separated the two and left the blobby, grotesquely misshapen brother to die. Most of the effects are shrewdly just off screen, with spurts of blood and gnarly hand dragging the character out of view to feed our imaginations, and a few bloody corpses left in the aftermath (an exception is a pre-Freddy multiple impalement with scalpels).

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VIFF 2010: 13 Assassins

13 Assassins (Miike Takashii, Japan) Dragons and Tigers

The rumors are true: Miike Takashi’s 13 Assassins, a kind of outlaw The Seven Samurai by way of The Dirty Dozen set at the sunset of the Shogunate and the samurai era, is a startlingly traditional samurai action piece that shows that Miike can indeed color between the lines. Which makes me wonder if that was indeed his project. With the exception of one signature Miike image (a woman who has been cruelly disfigured by our royal villain, writhing naked on the screen like some science experiment gone displayed as a piece of evidence), this is a straightforward piece, a men on a mission film where the increasingly outmoded ideals of duty and honor and meaning through sacrifice are at the heart of the matter. As a matter of face, the Shogun’s advisor can’t challenge the depraved Lord Naritsugo (Inagaki Goro), a monster that makes Caligula look restrained who just happens to be the Shogun’s half brother, without bringing disgrace upon his master, so he calls upon the honorable samurai retired Shinzaemon (Kurosawa Kiyoshi regular Yakusho Koji) to assassinate Naritsugo before he is promoted to the cabinet. A surgical strike, one might call it, all in the name of preserving the country and the honor of the Shogunate.

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