TakashiMiike Tagged Articles at Cinematical

Some people say the "never say die" attitude is dead. I say come on down to Fantastic Fest in Austin, Texas and discover how wrong you are! Faced with receiving a Japanese-language film print with no English subtitles -- and no time to get another -- most film festivals would either cancel the screening altogether or project a DVD, which looks pretty ghastly when blown up on a big screen. But not Fantastic Fest.

Yatterman, directed by prolific Japanese master filmmaker Takashi Miike, arrived on a beautiful-looking HD-CAM, complete with a special video introduction by the director for Fantastic Fest, but, sadly, without the requisite subtitles. Quickly realizing that not everyone one in the audience was fluent in Japanese, the festival folks came up with a unique plan on the fly. They would project the print on the top 4/5 of the screen, and then project the English subtitles from a DVD on the bottom 1/5 of the screen, masking off the rest of each respective image.

I know, it sounds absurd. Introducing the film, programmer Zack Carlson explained the problem and asked the audience if we would be willing to try to watch it under these circumstances. Everyone agreed -- we'd already ordered food and drinks anyway, and I, for one, figured that Miike had probably created some rich, imaginative imagery for the film, which should look great on the big screen even without subtitles. As it turns out, the unwieldy combination worked incredibly well.

Watch the trailer for Yatterman after the jump!

The weekly Asian Cinema Scene returns to share recent news and answer reader mail.

Breasts Spark Concern. An upcoming sports comedy is creating consternation in Japan. The movie's title, Oppai Bare (AKA Boobs Volleyball), reportedly has embarrassed both theater owners and potential moviegoers because of what "oppai" means, so theater marquees and movie tickets will display the title as O.P.V. Evidently everyone is OK with the premise, in which a high school teacher promises to show her breasts to her all-male volleyball team if they win the big game. The film, directed by Eiichiro Hasumi, releases on April 18. Twitch has the trailer; it looks like a pleasant, feel-good flick. [Cinema Today, via Toronto J-Film Pow Wow.]

Recent Releases. Derek Yee's Shinjuku Incident, starring Jackie Chan in a straight dramatic role (no kicking, no punching), opened the Hong Kong International Film Festival a couple of weeks ago and has now opened in Thailand, where Brian of Asian Cinema - While on the Road saw it: "It has to be said that Jacky is really not all that great a dramatic actor and I think this hurts the film overall." Still, he found the film to be "quite compelling." (Trailer can be viewed here.)

Takashi Miike's Crows Zero II has opened in Japan, and Mark Schilling of The Japan Times says: "As in the first film, the brawls are nearly nonstop ... the group battle scenes, with hundreds of punks whaling on each other, have a scale and impact reminiscent of the gaudier clashes in Braveheart ... Miike directs with an energy, velocity and cheeky bravado that are pure punk." Check out the trailer, embedded below.

After the jump: Nippon Connection opens this week. Plus, a reader asks, 'How do you find your own local Asian cinema scene?'

Was it the controversy over the title? Or the controversy over the bloody tampon scene? Either way, Alan Ball's Towelhead finished the weekend with the best per-screen average of all films, earning $13,250 at four engagements in New York and Los Angeles, according to estimates compiled by Box Office Mojo. Neither this flick, first unveiled at Toronto last year, nor Ball's recent return to HBO, Southern Gothic vampire drama True Blood, have drawn unanimous critical praise, but specialty audiences still seem interested in whatever the American Beauty scribe / Six Feet Under creator is doing.

Speaking of directors with a strong following, Takeshi Miike's Sukiyaki Western Django expanded to Los Angeles and maintained a healthy $4,200 per-screen average in its third week of release. Also in its third week, comedy I Served the King of England expanded into 37 locations but hasn't picked up much steam ($2,262 per screen), while steady earners Tell No One ($2,263 per screen; 11th week), Frozen River ($2,011 per screen; 7th week), Elegy ($1,948 per screen; 6th week), and Vicky Cristina Barcelona ($1,724; 5th week) all saw somewhat predictable declines in business. After all, sex and thrills only go so far among indie filmgoers.

Our criteria for inclusion in the Indie Weekend Box Office report hinges on the distributor, so here's another shout out to the #1 overall earner, Burn After Reading, from Focus Features. Likewise, soon-to-shutter Picturehouse released Diane English's The Women on the largest number of of screens they've ever handled -- 2,962 -- resulting in a per-screen average of $3,405. The picture earned more than $10 million total.

Take one renegade Japanese director, set him to work on a Spaghetti Western, add a cameo by a talkative American filmmaker, and what do you get? First place in the indie four-day weekend box office race. Sukiyaki Western Django, directed by the prolific and extremely versatile Takashi Miike and featuring Quentin Tarantino in a small role, tore it up at the single Manhattan theatre where it opened, grossing $13,100, according to estimates compiled by Box Office Mojo. The version released in the US does not represent Miike's original vision, however. Distributor First Look edited 20 or so minutes for the bastardized edition currently playing, so this is a muted triumph. *

The light-hearted I Served the King of England had the right stuff to average $8,487 per screen at eight locations. Directed by Jirí Menzel, the film stars Ivan Barnev, Oldrich Kaiser, and the always wonderful Julia Jentsch. Naked Penélope Cruz outdrew mostly-clothed Penélope Cruz, as Elegy bested Vicky Christina Barcelona on per-screen numbers, $5,697 to $5,102. To be fair, however, Woody Allen's latest is playing on nearly 700 screens and cracked the Top 10; it's made more than $13 million so far, though Elegy's $1.7 million is nothing to sneeze at in the specialty field. Right behind came two consistent cold-weather flicks, Frozen River ($5,028 per screen) and Transsiberian ($4,728). The more temperate Tell No One blew past $4 million in total US earnings in its ninth week, averaging $4,480 at 102 theaters.

Up next? Chris Smith's very good drama The Pool opens on Wednesday; Friday will see the release of Chris Eska's entrancing poetic drama August Evening, Jessica Yu's playful comedy Ping Pong Playa, romantic comedy Everybody Wants to Be Italian, thriller Mister Foe, drama Save Me, and the self-explanatory comedy/drama Surfer, Dude.

* UPDATE: A representative for First Look says that the company acquired the film after it had already been edited from 121 minutes to 98 minutes, and further states that Miike did the editing. My apologies for the error.

As a further aside, the original-length version screened at the Toronto International Film Festival in September 2007 and was released in Japan shortly thereafter.

By chance, two Takashi Miike movies, Dead or Alive and Audition, opened in my town with in a week of one another in 2001. It was pretty eye opening seeing the huge difference between them, the speedy carnage of the former and the slow suspense of the latter, and I became an instant fan. Since then I've managed to track down just six more Miike movies, and in that same time he has made over forty (including videos and TV shows). The speed of his production fits perfectly with the personality of his movies. They're often nonsensical; I couldn't make heads or tails of two of his more recent pictures, Gozu and The Great Yokai War. And they're very definitely energetic, verging on crazy. He reminds me of the great German director Rainer Werner Fassbinder, who cranked out over 40 movies and TV shows in less than 15 years and died at the age of 37. Miike is now 48 and one wonders how much longer he can keep going before he combusts.

Miike's new movie, Sukiyaki Western Django, finds him making a slight change of pace. No, the movie is still crazy and fast and nearly unintelligible, but he has stopped for a moment to consider the work of other filmmakers. The movie is a tribute to Spaghetti Westerns, and especially Sergio Leone's A Fistful of Dollars (1964), which in turn was based on Akira Kurosawa's Yojimbo (1961). Remember Bono's taunt at the beginning of U2's cover version of "Helter Skelter"? ("This song Charles Manson stole from the Beatles. We're stealing it back.") This movie feels as if Miike is doing some stealing back of his own.

Looks like the mad genius known as Takashi Miike (Audition, Ichi the Killer) is just now finishing up on his very first western. Yes, I said western. And if that's not enticingly strange enough, get this: Quentin Tarantino is the only American face amidst an entirely Japanese cast ... and the movie was made in English! What the...

According to Screen Daily, production has now wrapped on Miike's Sukiyaki Western: Django, which (according to the IMDb) takes place in the 1100s -- yet is still a western. The plot sounds a lot like the Yojimbo / A Fistful of Dollars tale, but hell. If Takashi Miike says he wants to make a western, then I'll be more than happy to sit down and watch it. In addition to Quentin Tarantino as "Ringo," the movie will also star Hideaki Ito, Koichi Sato and Kaori Momoi. The film's title is a reference to a movie character played by Franco Nero in a 1966 flick called ... Django!

Looks like Django will be hitting Japan in September. No word on a North American release date or distributor, but we'll be sure to let you know when something comes up. I mean ... Miike and Tarantino collaborating on a western? Sounds like fun to me.

Hey, I have a great idea! Let's find a (somewhat) cool Japanese horror movie and then remake it in English! It'll be great, we'll ... What? You say it's been done to freakin' death by now? Well then why are Edward Burns and Shannyn Sossamon starring in a remake of Takashi Miike's One Missed Call? (Yes, folks, comedy this lame can only be inspired by trends this endless. My apologies.)

Anyway, Miike's film has to do with a young girl whose friends receive some decidedly deadly cell-phone calls, only to wind up (you guessed it) dead. But when Main Girl gets a call of her own, she turns to Detective Guy to help save the day. (I'll leave it to you to decide who plays Main Girl and who plays Detective Guy.) The new version comes from novelist Andrew Klavan (Don't Say a Word) and Eric Valette, a Frenchman making his English-language debut. Production's already underway, Warner Bros. will be distributing, and Miike's version is presently available on DVD.

Notice how you see very few Japanese remakes of American horror films ...

A lot of people have taken to calling the Masters of Horror series a Showtime production, but the truth is that the experiment was born over at Anchor Bay. Series creator Mick Garris had the idea to snag a bunch of the finest horror-makers under the sun, have each one direct an hour-long mini-movie, and then let the Gorehounds devour the goods through the magic of DVD. But then Showtime got involved, and they aired 12 of the 13 episodes between last December and March of this year. (The 13th episode, Takashi Miike's Imprint, was deemed too harsh by the Showtime folks, which means you won't be able to see it till the DVD hits shelves.)

Unfortunately, Anchor Bay has taken a fairly money-hungry approach to releasing Masters on DVD: Two episodes hit stores yesterday, available individually or as part of a 2-pack. But with a list price of $16.98 apiece (which means a retail cost of about 11 bucks each), it seems that the horror faithful are expected to dole out about $150 if they want the entire season. (By comparison, my 13-episode collection of the brilliant Firefly set me back only about 40 bucks!) But hey, nobody's saying you have to buy 'em all, right? We horror geeks aren't ravenous completists and ferocious collectors ... are we? (To be fair, if the first 2 DVDs are any indication, each release promises to come stocked with loads of extra goodies, so at least we're getting some value for our money.)

Anyway, to commemorate the DVD debut of the series (well, the first two episodes) I thought it might be helpful to give our readers a Masters Guide -- despite the fact that I've seen precisely ONE episode of the show so far! Click below for a list of all the actors, the Masters, the release dates, all 13 plot synopses, and a variety of trivial hoo-hah intended mainly for the hardcore horror freaks.