Matt Cooper Films

Hell Dogs (2022) by Masato Harada

Goro Idezaki (Junichi Okada) is working his first shift as a patrol officer when five people are gunned down in an armed robbery. Believing he was to blame he sets out to kill the members of the Chinese gang responsible. He is later picked up by the chief of the undercover crime squad and asked to infiltrate the Toshokai yakuza group. Under the name of Kanetaka he pairs with another yakuza hitman called Muroka (Kentaro Sakaguchi). The two are assigned to protect the new head of the family, Toake (Miyavi). As he gets closer to bringing down the group, Kentaro must ensure that his cover is not blown.

Based on a comic book by Akio Fukamachi and directed by Masato Harada, who also wrote the script, “Hell Dogs” is a stylish crime thriller with flashes of nihilistic violence. The story will be familiar to fans of the genre, with an undercover cop; various double-crosses; sexual liaisons that threaten to undermine the operation; and gangster in sharp suits. The array of characters creates a sense of realism, with bosses and capos, enforcers, the mob wife, the police chief, the love interest, an assassin, call girls, and more enlivening the world, although due to the constrictions of film many are little more than plot drivers. The central relationship between Kanetaka and Muroka is well-done, although there is never any real sense that Kanetaka has conflicted loyalties, which seems like a missed opportunity to create some tension. Several side characters, in particular Noriko (Shinobu Otake) suffer from this lack of time, with their backstories largely brushed over. That being said the star-studded cast is firing on all cylinders, bringing these archetypes to life with charisma to spare. The action sequences are well-done, leaving no doubt about the brutality of these criminal regimes, though they occasionally tip into the ludicrous, such as when two people miss each other several times from point-blank range. These moments occur often enough to be considered the film’s ironic humour, or a sideways comment on genre conventions, as when a character comments on never having seen a female assassin before.

Idezaki’s redemption arc sets him on a hero’s path, journeying through hell to make amends for his past mistakes. Although he is not personally to blame for the initial crime, his determination to set things rights displays a lex talionis sense of justice. A question arises as to whether Idezaki is driven by a sense of justice, or something darker, hate, drive to dominate, or pure aggression. Bosses on both sides of the criminal divide point Idezaki at a target, which begs the question of how different they are and whether Idezaki’s life is guided more by luck than free will. This comparison is brought up again, when Muroka relates Idezaki’s story, not knowing who he is, suggesting that ideas of honour, loyalty and justice are mirrored in the police and the yakuza. One side story that is given short shrift is that of Muroka’s ex-girlfriend, who has begun a survivors group for people who have lost loved ones to gang violence. It is one of several curious ideas thrown into the mix, another being the various undercover agents who are revealed throughout and the police force’s negligence in taking care of them. A complex crime thriller with enough interesting characters to breathe life into the well-worn story of a cop going undercover in the yakuza.

Matt Cooper Films

The Violence Action (2022) by Toichiro Ruto

An undercover assassin is tasked with taking on a dangerous Yakuza syndicate in this comic-book crime caper. Kei (Kanna Hashimoto) works as an killer-for-hire, with dual cover as a University student and call-girl working out of a ramen shop. This compilation of Japanese pop-culture action cinema tropes extends is completed with a wacky side-kick with a bullet-proof wig (Takashi Okamura), a love-lorn fellow student who traipses after her; over-the-top gangsters led by a dad-joke loving boss; a villain possessed of supernatural martial prowess; Kei’s fellow assassin, the sniper Daria (Yuri Ota); love hotels; warehouse fights; gangland shootings; and a handsome, morally dubious love-interest.

“The Violence Action” is based on the comic book by Shin Sawada and Renji Asai. The film adaptation, written and directed by Toichiro Ruto, co-writte by Itaru Era, suffers from two major issues. One is the tonal inconsistency, shifting gears from slapstick comic action (bullet-proof wigs; aerobatic gunfights) to ultra-violent scenes (albeit with CG blood) including people being shot with a nail-gun. The puerile humour twinned with the mature tone is reflective of a trend in pop-culture of infantilisation; merging entertainment for kids and adults. Children’s films become more violent, while adult films are stripped of emotional depth. This results in what we have with “The Violent Action”, a film that never seems sure of what it is doing, other than throwing as many elements from other enjoyable films into the pot and giving it a stir. The issue with this is that you are consistently reminded of better films. The second failing of the film is in its headache-inducing editing, with hyperactive cuts that are unnecessary, giving it a music-video style that adds nothing to the drama. Unfortunately, these cuts are often use to disguise a lack of technical ability in the cinematography, the rapid cuts perhaps seen as the lesser of two evils by the director. The film suffers by comparison to “Baby Assassins” (2021), which managed to establish some degree of character for its protagonists and pulled off the comic-action vibe much better.

It is hard to know if the film is aiming for a B-movie feel, many elements would suggest this, but even if it were it still fails to create significantly outrageous set-pieces that would allow it to pass in the genre of more wacky action films. There is such a confusion of plot lines (an assassin questioning her choices; a leadership struggle within the Yakuza; a man double-crossing the mob; a love-sick teenage boy lusting after a dangerous girl; the sniper with a dark past; the hospitalized friend and dreams of revenge), all of which have been done before, and none of which are given enough time here to become the main focus. “The Violence Action” is akin to flipping through a series of action movie trailers, getting a brief impression of each one, but no consistent plot or memorable characters.

Matt Cooper Films

Yakuza Apocalypse (2015) by Takashi Miike

Yakuza, vampires and martial arts collide in this wacky action comedy from Takeshi Miike. Kageyama (Hayato Ichihara) is a young gang member whose sensitive skin and inability to get a tattoo sets him apart from his fellow mobsters. He is however fiercely loyal to the boss (played by Lily Franky). When the boss, who happens to be a vampire, is killed, he manages to confer his powers on Kageyama with his dying breath. Kageyama then sets out to get revenge on the group who killed him, including traitor Aratetsu (Kiyohiko Shibukawa), mysterious English-speaking vampire hunter (Ryushin Tei), a martial artist (Yayan Ruhian), and a kappa (a mythical water creature). Kageyama is aided by Hogan (Denden), a bartender who knows the vampire secret, and a swelling army of new bloodsucking demons created by Kageyama. He also hopes to protect a young woman named Kyoko (Riko Narumi) who he has feelings for.

“Yakuza Apocalypse”, directed by Takashi Miike from a screenplay by Yoshitaka Yamaguchi, is a bizarre action-comedy that attempts to juggle several distinct elements. Whether you are a fan of martial arts films, violent exploitation cinema, surrealist humour, or modern takes on the vampire mythos, there is something for you to enjoy here, though the plot and editing can be a disjointed at times. It seems to jump from scene to scene in a frenetic way, often failing to set up key emotional threads such as Kageyama and Kyoko’s relationship, or background on who characters are or their motivations. For the most part you can ignore this, and simply enjoy the excellent direction, fight choreography and blend of childish comedy and gory action. However, the discrepancy in tone does a disservice to some elements that could have worked better either as a more straightforward fantasy yakuza film or out-and-out comedy. It often comes across as a collection of inventively violent moments, such as a man having his head twisted off, or inexplicable characters such as a frog-costumed pugilist (Masanori Mimoto) and a disturbing kappa, that seem to be from completely separate films.

The film’s comparison of vampires and yakuza, both bloodsucking parasites leeching off hard-working citizens is entertaining and the splicing of the two genres works well, allowing for the unholy union of these gruesome mythologies that have built up both around gangsters and nosferatu. When it works the satire is excellent, but all too often it misses the mark by attempting to balance the  relationship between Kageyama and Kyoko, or even Kageyama and the boss, with the absurdist metaphor of the main plot. While there are a lot of enjoyable moments, over the top comedy and brutal, rollicking action sequences, “Yakuza Apocalypse” seems wayward and unfocussed, with an interesting satire buried under an abundance of eccentric characters and non sequitur.

Matt Cooper Films

Another Lonely Hitman (1995) by Rokuro Mochizuki

Following a brutal hit on a rival mob boss, Yakuza hitman Takashi Tachibana (Ryo Ishibashi) is released from a ten year prison sentence. He is welcomed back to his former group to work with a fresh-faced new associate named Yuji (Kazuhiko Kanayama), who looks up to the older man for his role in taking out the top of the Hokushin Family. Tachibana is rewarded with a prositute named Yuki (Asami Sawaki), whom he forms an attachment too. As the group begin to get involved in drugs and a gang war with another faction, Tachibana begins to question his life and whether or not he would be happier leaving to be with Yuki.

“Another Lonely Hitman”, based on the novel by Yukio Yamanouchi and directed by Rokuro Mochizuki, is a gangster film that focusses on the aftermath of such a bloody lifestyle. From the brutal opening assassination, complete with blood and brains leaking out of the victims head, we cut to Tachibana’s post-jail attempts at redemption and rediscovery of who he is. From here the film follows two threads: the first of Tachibana’s blossoming relationship with Yuki, whose joie de vivre stands in stark contrast to the grim, remorseful Tachibana; and the second of Tachibana’s gang becoming embroiled in another turf war with a rival faction. The romantic drama and crime thriller plots run in parallel and provide plenty of action and emotion. Ryo Ishibashi gives a great central performance as the former hitman who is beginning to question his choices; while Asami Sawaki’s Yuki is entertaining as a lively, carefree call girl. Their relationship is the heart of the film and you really root for them to make it out of the world of drugs and violence that typify the yakuza lifestyle. The soundtrack by Kazutoki Umezu features a mix of sultry brass and ominous piano, again highlighting the dualistic nature of the story, striving for beauty in an ugly world.

The film’s character-driven drama, as Tachibana tries to make a choice between returning to his previous life of drugs and murder; or striking out on a new path, provides some great moments as his two world (of love and hate) collide. The yakuza are shown as shallow, incompetent, avaricious and short-tempered, with a sub-plot involving Tachibana’s superior Mizohashi (Toshiyuki Kitami) attempting to create a golf resort with a local politician. While Tachibana seems calm and collected, the other yakuza are childlike in their sadistic aggression. It is shown that Tachibana took heroin before performing his hit for the gang, the suggestion perhaps being that he required that lack of self-restraint to carry it out. The drug becomes emblematic of the filthy world of crime, while he dreams of a pure existence and escape with Yuki. Another symbolic element to the film is Tachibana’s impotence with Yuki, that seemingly ends when he makes his decision to break with the yakuza. Again, it suggests he is unable to enjoy genuine pleasure while trapped in the make-believe hardman world of the criminal gang. We also have a running visual metaphor of fish and ocean life that Tachibana watches in his hotel room. Later Yuki is forced to make a jigsaw of an ocean scene. As the two make their escape attempt at the end of the film, it is no coincidence then that it is by a harbour; with the open sea promising freedom from the tawdry iniquities of human society. An emotionally charged Yakuza film about crime and redemption, with strong central performances from Ishibashi and Sawaki.

Matt Cooper Films

Tokyo Dragon Chef (2020) by Yoshihiro Nishimura

Two former Yakuza start a new life opening a ramen restaurant in this lighthearted musical comedy about the joy of food. Recently released from jail, Tatsu (Yoshiyuki Yamaguchi) is met at the gate by his former associate Ryu (Yasukaze Motomiya), who tells him their crime family was wiped out by a mysterious figure with a ‘third eye’ named Gizuma. Ryu is now working in a mobile drinks stand and suggests the two of them start a Chinese restaurant. Old rivalries soon resurface when fellow Yakuza, the Ozawa brothers Kazu (Kazuyoshi Ozawa) and Jin (Hitoshi Ozawa) start their own ramen stand over the street. The two restaurants, one helped by ramen-loving schoolgirl Kokoro (Rinne Yoshida) and fortune teller Rio; the other by extraterrestrial-like insatiable YouTuber Mimi (Saiko Yatsuhashi), find common cause when the Yakuza-hating Gizuma appears on the scene intending to destroy both.

“Tokyo Dragon Chef” is a divergence from writer-director Yoshihiro Nishimura’s previous films, foregoing the gory obscenity that he is best known for (in films such as “Tokyo Gore Police” and “Meatball Machine”). Here we have a fun premise, with these charismatic gangsters-made-good, that provides for plenty of laughs in the ageing Yakuza getting riled up over ramen dishes, using their rough personas to succeed in this somewhat less violent industry. The cast are enjoyable and clearly having a lot of fun with their over-the-top credibility-stretching characters. The pop soundtrack, with music by Kotaro Nakagawa, keeps things upbeat and there are some enjoyable musical numbers that give the film a whimsical feel. The Tokyo of the film is one where the line between fantasy and reality is blurred, with rather far-fetched backstories, and characters who are straight from the pages of a cartoon or comic book. A lot of the comedy is character based, helped by the superb performances from the whole cast, with the Yakuza’s tough-guy images juxtaposed against their new roles as ramen chefs and waiters, or Mimi’s bizarre behaviour scoffing down bowl after bowl of ramen. The numerous shots of food, preparation and eating, will make you salivate with the delicious looking platters.

The film’s comedy is underscored by a heart-warming message about the power of food and the hope of redemption. The former Yakuza find a new passion in ramen, putting their energies into creating the best dishes, their conflicts now being resolved peacefully with noodles rather than knives. Both Tatsu and Kazu are given brief backstories about their childhood memories of their mothers, closely tied to gastronomic reminiscences, that give us an insight into the calming power of food. There is also a commentary on social media influencers and the way such communication can bring people together. In contrast to the sense of friendship and community engendered by the ramen restaurants, uniting people through love of food and company, Gizuma appears is a young man entirely fixated on the pursuit of wealth. The wearing of masks shaped as a single-eye perhaps speaks to this narrow-sighted approach to life, one that values money over fun and friendship. A slight yet enjoyable film and an interesting entry in Nishimura’s filmography.