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Jul 23rd 2013, 19:00
While on their journey, Hampnie Hambart gets taken by a gang of deceased! Now it's up to Ai, Julie and Scar to save him. Along the way, Ai comes to a stunning realization... Media files:
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Jul 23rd 2013, 18:00
The Uesugi army, led by Naoe Kanetsugu and Uesugi Kagekatsu arrive to Sado island, despite being aware that . They meet with the head of one of Honma clans, Honma Takatsuna of the Kawarada-Honma clan that rules over northern Sado. He seems to cooperate with the Uesugi army, but once they try to commence a battle with the other Honma clan, the Uesugi army realizes just how dangerous the two feuding families might be... especially together. However, Kanetsugu has something up his sleeve as well... Media files:
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Jul 23rd 2013, 17:00
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Jul 23rd 2013, 05:05
It's a very rainy, windy day. Tomoko forgets her textbook, but she can't bring herself to ask the boy next to her to let her see his, and she doesn't have friends in other classes to borrow one from. She tries to erase her presence and go unnoticed, but the teacher spots her easily. Ruing her luck, Tomoko starts home in the rain, but another tragedy awaits as she stands over a flooded channel, watching the water lapping at the bottom of the bridge... Media files:
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Jul 23rd 2013, 04:30
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Jul 23rd 2013, 03:02
Formula Drift Round 5: Seattle has just concluded. Enjoy this collection of GoPro shots of Dai at his finest, drifting around Evergreen Speedway. Behind the Smoke Season 3 (BTS3) is a web reality series about 2011 Formula Drift Champion Daijiro Yoshihara. The cameras capture Dai and his team on and off the tracks. BTS3 is produced by GTChannel in association with Discount Tire/America's Tire. GTChannel is a CAR.VIDEO.NETWORK on YouTube with over 15 Million monthly views and 100 partner channels. Go to our http://www.youtube.com/gtchannel channel to check out our videos and partner channels. Media files:
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Jul 23rd 2013, 00:04
Here at Japan Cinema we love photography, however it pains our hearts that we don't feature as many photographers in the Creative Spotlight as we would like. Luckily this week, we were able to catch up with Li Hui! Li Hui is a self-taught photographer who presents her work consists of photographs reflecting a very successful world sweet and sensitive. With images captured with film cameras, the artist seeks to preserve the memory of simple moments. Read below for the full Q&A
CAN YOU START OFF BY TELLING US MORE ABOUT YOUR PERSONAL BACKGROUND AND HOW YOU GOT INTO PHOTOGRAPHY?
LI: I'm a self-taught photographer and got into photography seriously in 2009. Now photography has become a way of recording my life.
YOUR PHOTOS HAVE A VERY CALM, DESATURATED TONE TO THEM. WHY DO YOU GRAVITATE TOWARDS THIS PARTICULAR STYLE?
LI: In fact, I didn't expect this particular tone to become my signature style. The results simply come from the fact that I use a negative scanner. After some time I just naturally accepted this feeling of nostalgia and calmness that this process evokes. But I am still interested in trying out new film scanners to achieve a variety of different results. I don't think this will affect my personal style, though.
THE SAME CAN BE SAID FOR THE AMBIGUITY OF THE HUMAN FACES AS WELL AS THEY SEEM TO EITHER BE HIDDEN OR SHADOWED. IS THERE A SENSE OF VULNERABILITY IN YOUR WORK AS WELL?
LI: I used to be a very sensitive and shy person. Photography has become a way for me to explore the world through the camera and become more open. But my own shyness is still a predominant factor in my work.
AESTHETICS ASIDE, WHAT IDEAS DO YOU HAVE IN MIND AND HOW WERE YOU ABLE TO CONSTRUCT THESE IDEAS?
LI: Sometimes the moment just feels right, or there's something interesting I see, and I just press the shutter without even thinking about it. When it comes to double exposure, however, I always arrange the composition in my mind first, as I want it to turn out a certain way.
WHEN IT COMES TO YOUR CREATIVE PROCESS, IF THE ORIGINAL IMAGE DOESN'T SPARK A REACTION OR TRIGGER SOMETHING IN YOUR IMAGINATION WHEN YOU FIRST OPEN THE FILE ON SCREEN, IS IT STILL WORTH SPENDING TIME ON IT?
LI: Yes. Of course, I'd be somewhat disappointed, but I'd analyze the image in order to learn from the experience and improve my shots in the future. Most of the time I just experiment with the film I use, so each photo shoot is essentially a trial & error process. But I've learned so much over the years.
GIVE US A FEW OF YOUR FAVORITE ASIAN FILMS!
LI: The Goddess of 1967 by Clara Law, Tokyo Sonata by Kiyoshi Kurosawa, I Just Didn't Do It by Masayuki Suo, Be with Me by Eric Khoo.
HOW HAS YOUR WORK EVOLVED IN THE PAST FOUR YEARS AND HOW DO YOU SEE THE NEXT FOUR YEARS PROGRESSING?
LI: I'm not good at planning ahead. I just follow my heart. I'd like to travel more and work on more projects I'm interested in.
YOU STATED THAT YOUR WORK TRIES TO REMIND US OF OUR COMMON FEELINGS. HOW WOULD YOUR WORK AFFECT SOMEONE IF THEY ARE UNABLE TO TRANSPORT THEMSELVES IN YOUR WORK?
LI: Hopefully they can find other things in my work that speak to them. But I can't control how other people feel about what I do.
SO, ULTIMATELY, THE GOAL OF YOUR WORK IS TO TRANSPORT PEOPLE TO A FAMILIAR TIME AND PLACE?
LI: No, this isn't really my goal. Different people can have entirely different views on my work, and a picture can evoke different feelings in each person. My goal is to capture things that I find worthwhile and interesting on film, nothing more. If other people actually like what I do, then that's just an added bonus.
LASTLY, CAN YOU OFFER UP ANY ADVICE FOR ANY BUDDING PHOTOGRAPHER OUT THERE IN CREATIVE LAND?!
LI: Forget the rules, take more pictures!
WANT TO SEE MORE OF LI'S PHOTOGRAPHY? VISIT THE OFFICIAL SITE BELOW:
Jul 23rd 2013, 00:02
The series acts as a prequel (or perhaps reboot) of sorts for the venerable franchise, only this time, the protagonist is longtime foil and love interest Fujiko Mine. We see Lupin's heists, Jigen's gunkata, and Goemon's swordsmanship all from the perspective of the busty, cunning heroine, which adds a unique edge to the flow of things. However, the "heist of the week" formula soon gives way to a disturbing backstory about the origins of Fujiko, and why she became the strong woman that she's known for being today. Add in some creepy people in animal masks, childhood trauma, and a misogynistic gay partner for legendary police chief Zenigata, and you've got awell, you've got kind of a mess. The Lupin III franchise has totally won me over, which is why I'm surprised that, while the character has enjoyed a popularity in Japan over nearly fifty years that rivals that of James Bond elsewhere, it's barely received a cult following in the States, where series like Pokemon and Dragon Ball have become a part of mainstream culture.
There's nothing Saturday morning or G-rated about the character's newest revival, but it's the best thing to happen to the franchise in decades. Similar to what's happened with Batman and Bond, the new Lupin is a darker, edgier revival that takes the character back to his origins and takes a character based,adult approach to the material. The focal character of the series isn't Lupin, but is now Fujiko Mine, a popular character (maybe even my favorite) who had been shrunken to a supporting role in movies and specials. Sayo Yamamoto is the first female director to touch the Lupin series, and it seems all Lupin needed was a woman's touch. What happens as a result is half crime capers, half brutally disturbing backstory that ought to have been in another show altogether. Every element at play here, from the rape-like abuse Fujiko endured to the shoehorned and poorly depicted gay character, seems jarringly out of line, and not at home with what fans really come to this series for. Stylistically, it bears a striking resemblance to Monkey Punch's original grittier manga, but tonally, it's darker than even that.
Playing to that expectation only to yank it back at the end (with the deliberate subtext of a creator `rewriting' an existing character through the memory implants) gives Fujiko back her agency - it's not some tragic defect in her character, but her own freedom of choice that leads to the life she lives, something the show goes on to present as valid. Even before then, Fujiko is always granted agency in her sexuality, and has a wide variety of relationships with the other women in the series. I'd go so far as to say that it gender-flips the common disposable girl-of-the-week formula even as the female body (Fujiko's, by her choice, with a variety of dress for other female characters) is put on display. It's an interesting approach to a feminist work - not always successful, particularly as Lupin talks Fujiko through the last of her fake memories, but novel and thought provoking. Lupin III: Woman Called Fujiko Mine" is certainly not great, but it sits right on the cusp of being able to be, and for anime devotees and dedicated fans of the franchise, it's worth checking out just to see what could have been.
Lupin is still full of himself and really clever at what he does. Fujiko rivals him, but counts on her beauty as an extra. Jigen is remarkable at shooting. Goemon is an old school samurai. I think the sickest character is Fujiko and Jigen the least mental. The main flaw is the characters' appearance. Even if they wear the same clothes as in the 70s, the drawings do not reflect their personality as well as the old ones. These, obviously, are my own interpretations, and a series like Fujiko Mine is one that begs discussion alongside enjoyment. It's a rare gem, and I look forward to seeing more from Saya Yamamoto in the future. If nothing else, this is a breath of fresh air for Lupin, one that stands alongside the lighter fare without erasing it. Variety, after all, is the longevity of any idea.
Jul 22nd 2013, 00:05
This is a review from the world premiere of The Tiger Mask at the 17th Puchon International Fantastic Film Festival in Korea, July 20th.
Hollywood gets a lot of slack, but at least they're usually slick with their superhero properties. Asia meanwhile can do sci-fi, it can nail horror, but it's still lagging behind with the relatively fledgling superhero genre. Countries like Thailand and Korea are united in appreciation of manga heroes from Japan, but there's still apprehension when it comes to tackling their like on the big screen, surprising news considering these nations' passion for comic book characters, whether Japanese or homegrown.
It can't be a case of budget. South Korea is guaranteed to churn out flagpole disaster pictures on a yearly basis, yet the live action debut of its best known hero Robot Taekwon V remains DOA in development hell. From Thailand, only the terribleRed Eagle from 2010 comes to mind. In the otaku land of Japan itself, the most recent hero series would have to be last decade's , as helmed by . Miike is obviously regarded as a reliable pair of hands in his home country, having been handed the keys to the Ace Attorney franchise last year. Both series though are not exactly straight up superhero fare, with being rather tongue-in-cheek, and Phoenix Wright more sci-fi brain than super-powered brawn. All eyes therefore are on The Tiger Mask, as based on the classic monster wrestling manga of the same name, along with its director, newcomer Ken Ochiai.
Watching Tiger Mask, I was reminded of the aforementioned Red Eagle. Both films unfortunately share the same plodding pace, limp fight scenes, and poor acting. But at least the ultra-violent Red Eagle knew its audience. Tiger Mask's target though is all over the shop, focusing on heart-warming orphanages and Power Ranger fight scenes shot with the vigour of teatime kids' programming, whilst yet embracing the fashionable grit of post-Nolan cinema. Kids are lured into wrestling slavery, then die with little notice from anyone, for example. We see a crippled good guy get executed via critter for he's deemed to be nothing but a 'fallen race horse.' There's also sexy girls in leather, prowling around a lair of pre-pubescent boys for some reason or another (though that's more wrong than dark).
The whole tone of the film is one big mess, but not as messy as the screenplay. If you're not familiar with the original source material, then be prepared to ask a lot of questions. Why do the wrestling trainees age over a decade, while Sexy Leather Girl and ShAikawa's child snatcher don't? That's one headscratcher. You'll also wonder how the film's bland vision of contemporary Tokyo manages to safely incorporate wrestling matches between men and monstrosities. Where do these enemies in the ring come from anyway, and why don't they give up the WWF life to go over ground and let loose a little on the humans above? This film could have had a whole underground army of monsters attacking Tokyo, or even just our hero himself, Tiger Mask, the grown up orphan boy. That's what usually happens in comic book third acts, mayhem on an epic scale, but this film seems very content to end with a tiddly three minute fight scene (the conclusion of which is immediately undermined anyway in predictable fashion).
The only good part of the film is the Marvel-esque end credit intro, with beautifully rendered tigers that are far better than any of the CGI seen in the film. With special effects, the film occupies another weird middle ground, its costume designs either being of Hellboy/Iron Man quality, or a tacky plasticity that only works when used ironically, and not in a stupidly over earnest film such as this one. Unlike some European film industries, Japanese genre cinema has the budget to avoid such shortcuts. Judging by The Tiger Mask though, it's going to have to keep relying solely on Takashi Miike's shoulders for just that little bit longer.
This review was provided by guest blogger GIACOMO LEE, a writer + quasi-teacher now living in Seoul!
Jul 22nd 2013, 00:02
When I was younger the aging marquee stars of the past would take roles that fit their age. Like Henry Fonda in "On Golden Pond" or the whole cast in "Cocoon". Well times certainly have changed, because now either because there is no one worthy to take their place, or Clint Eastwood has taken all their roles, action stars of the 80 s will not go away. I once heard someone say that you won't see Mick Jagger up on stage at 60, well like that person I never thought Bruce Willis would be killing bad guys on screen 25 years after "Die Hard", I guess we were both wrong. In 2010 Summit released "R.E.D.", a movie based on a limited comic book series from DC. The move did surprisingly well and Summit green lit a sequel. Take the aging actors that were in the first film and add more aging actors seems like was their battle cry. Bruce Willis and John Malkovich are back, as well as Helen Mirren and Mary-Louise Parker. Added to that cast is Anthony Hopkins, no one plays crazy better than him. Catherine Zeta-Jones, who plays a sexy Russian, and Byung-Hum Lee who is the baby in the main cast. The plot is simple enough, the R.E.D. crew must come together to stop a nuclear bomb that was placed in Russia during the cold war. Lots of shooting, plenty of explosions, and of course witty dialogue follows.
More famous stars, more jokes, more action sequences but also more plot holes from the latest 'Red' franchise. At first 'Red 2looks fine as an entertaining blockbuster movie but it turns to be a boring and exhausting after about 40 minutes length. There are many plot holes in it, such as why they could move from some countries to another without get arrested after trouble they have created and way the villain escaping from guard's protection is quite silly though. Also the storyline isn't new and predictable about nuclear bomb stuff. Fortunately, it has strong performances from their talented casts. Chemistry and some jokes flows quite well although Mary Louis Parker's character as Sarah sometimes annoying. Overall, 'Red 2is louder and bigger than it's predecessors but with some plot holes and silly scenes make it forgettable less charms than the first one.
Red 2 lacks any sense of identity. It moves and plays all the same, with Parisot assaulting the sense with the same repetitive noise. As much as the stupid screenplay can be faulted for Red 2's many shortcomings, Parisot's contributions (or lack thereof) are truly the biggest slights against the film. With a brain dead narrative design, monochrome visual palette, and absent directorial presence, Red 2 is firmly an actor's showcase. But, I am telling you things you already know, yes? That's a shame, and "Red 2" doesn't do much with the characters played by Mirren and Byung-hun Lee until the last half of the movie, either. Still, everyone does appear to have had a blast making "Red 2." Too bad it doesn't fully translate to the moviegoing public.
It's all supremely silly stuff, and amusingly so, as long as you don't stop to think about all those blameless officers and agents cut down in the line of mindless entertainment. Go ahead RED 2, relish in the fact that you've cemented your relevance in Hollywood and shushed all the haters claiming "Did anyone even ask for a sequel to RED?" You've turned a mix of stereotypical badasses and iconic actors into a crack team of senior assassins, winning over the hearts of audiences in the process. False.Byung-hun Lee what were you thinking?
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