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Friday Killer

Friday Killer

Friday Killer

aka หมาแก่อันตราย
Friday Killer
2011
Directed by Yuthlert Sippapak
Friday Killer
The first film in Yuthlert Sippapak’s Killer Trilogy (Mue Puen 3-Pak), Friday Killer was released second (after Saturday Killer), and as of this writing Sunday Killer is still MIA, Sippapak having released three other films in the meanwhile. Friday Killer has a better central story, but it is bogged down by too many side stories, giving Saturday Killer a slight edge overall in my eyes. Both films are recommended, Saturday Killer being more comedic and romance focused, while Friday Killer is more of a bleak drama with a pessimistic outlook on life.

Friday Killer opens with the old hitman being interviewed scene from Saturday Killer, cementing the connection between the two parts, before jumping to flashback. The rest of this scene plays out later in the film, though most of the action is by peripheral characters and not the father and daughter that is the focus. Most of the action scenes are well done, and Sippapak makes creative use of different decorative environments for the gun battles. The abandoned construction sites and empty deserts help to enforce the bleakness of the central story line.
Friday Killer
Unfortunately, there were no subtitles on the dvd we got, but at TarsTarkas.NET, we don’t need no stinking subtitles!

Pae Thasai (Suthep Po-ngam) – Recently released from jail, killer Pae Thasai is nicknamed Pae Uzi (for his weapon of choice) or “The Eagle of Chantaburi” (because everyone needs a bird nickname!) He gets involved in drama before he even leaves the front area of the prison! Pae returns to his killer lifestyle while absorbing the knowledge he has a daughter he never knew, who is now tracking him due to mistaken identity.
Dao (Ploy Jindachote) – Police officer and unknowing daughter of Pae, who instead believes he killed her stepfather and spends the film hunting him down. Dao dresses as a tough guy demeanor – black leather clothes, motorcycle – despite being filled with doubts.
Petch (Apinya Sakuljaroensuk) – Dao’s photographer girlfriend who has a childlike and innocent demeanor, especially when compared to Dao’s more serious and driven tone. Petch keeps her grounded in reality, without her Dao would just get absorbed in her job and quest.

Friday Killer

Saturday Killer

Saturday Killer

Saturday Killer

aka มือปืน ดาว พระ เสาร์
Saturday Killer
2010
Written and directed by Yuthlert Sippapak
Saturday Killer
A mix of violence, love, and raunchy physical comedy, Saturday Killer takes a potpourri approach to story telling, and the resulting mixture was pleasing to my sensory buds. A group of characters with flaws that range from minor to completely cracked,

Saturday Killer is the first released (though second shot) film in director Yuthlert Sippapak’s Killer Trilogy, which consists of the romance story Saturday Killer, the drama Friday Killer, and the comedy Sunday Killer (which hasn’t seen the light of day and I do not know if it ever will!) But don’t fret, we can still hastily assemble a trilogy, I’ll just take the film Headshot and cram it in as entry #3. After all, Headshot features a bald assassin who wants to get out of the business and has Sirin Horwang! But despite Headshot appearing in many festivals and getting praise, I liked Saturday Killer the best of this trio. So let’s champion this mofo!
Saturday Killer
Yuthlert Sippapak is probably best known in the West for Killer Tattoo and Buppah Rahtree films, but he has made a good deal of films that mash up genres and reference his prior work (or other Thai cinema.) Furthering this, both Saturday Killer and Friday Killer share an action sequence where characters from both interact. Saturday Killer slips easily from comedy to drama to romance to action, sometimes doing all of them in the same scene, and yet nothing feels out of place. Sippapak’s degree in interior design makes itself known in the set designs, which feel like real places and become parts of the movie. The action sequence in an abandoned under construction housing subdivision, where there is nothing but rows of unfinished basements, offers a background not seen before. Tee Rifle’s apartment has his row of mannequin heads each displaying a different wig of increasing ridiculousness, each the many faces Tee Rifle displays to the world. Christ’s modern luxury condo is clean and modern, and sparsely filled, as empty as her life is without love. Politicians sit in expensive office towers, sitting high above the people. Characters going to kill said politicians are angelic and epic, with flowing breeze and strong silhouettes.

Saturday Killer mashes up sexual performance problems, ruthless killing, family obligations, and ill-fated romance and doesn’t miss a beat. Sure, much of the scenes are ridiculous, and some of the humor is more forced, but the majority of what is onscreen entertains, the characters and their goals and obstacles thrown together in their destined conflicts. The result is a unique viewing experience that gives you things you didn’t know you wanted in an assassin film.
Saturday Killer

Tee Rifle (Choosak Iamsook) – The Phoenix of Bang Pra Ma. Constantly changing wigs and outfits, because Tee Rifle is known to disguise himself each day. Which is odd, because he deals with the same people each day, and no one seems to notice he’s dressed totally different each time.
Christ (Sirin Horwang) – Hot dance instructor who is estranged from her political leader father. Christ nevertheless vows revenge when he’s murdered. Becomes enamoured with Tee Rifle before realizing just who he is.
Mei (Pitchanart Sakakorn) – Christ’s connected friend who can get guns and information about who killed her father. Also helps her with the undercover work to get close.

Saturday Killer

Hate Story

Hate Story

Hate Story

Hate Story
2012
Written by Vikram Bhatt and Rohit Malhotra (dialogue)
Directed by Vivek Agnihotri

Hate Story

Folger’s Crystals, really?


India serves up an erotic thriller that manages to not be much of either. But don’t fret, Hate Story has plenty of bad acting and spite against women to make up for it! The best part of the anti-woman themes is how much of it just seems automatic, as if director Vivek Agnihotri had bad things happen on autopilot. Characters are simply stereotypes, traced from the numerous late night cable thrillers Hate Story liberally cribs from. The only interesting aspect is the class warfare angle, as those with money are presented as corrupt and moral-less monsters. So, you know, pretty accurate. It’s that film where I agree with half of what it is saying, and am opposed to the other half. Total complication! ::shakes fist::
Hate Story

We can’t both be skins during this basketball game!


There has been the increasing trend in US politics to divide everyone into two camps, liberal or conservative, blue or red, Democrat or Republican. It stems from the two major US political parties, and a lot of issues involving teams and groups that would take thousands of words to explain. But basically, dividing issues sometimes demands a black and white look at issues. Hate Story is complicated, and smears the black and white into an ugly shade of grey. Don’t expect housewives to eagerly embrace this shade, what with the terrible views on women. Just because something is good in one aspect, but bad in another, doesn’t mean we should immediately disavow it. But you need to look at which points will have the most impact, and make your decisions based on your priorities. The problems in Hate Story destroy what would have been a cool film about socialism taking down corrupt capitalists, and flies in the face of the “treat everyone equally” aspect by making the women the punching bags. That’s not the kind of the world I want to endorse, so it’s time to tell the message of Hate Story, that the woman was ruined because she had “sex” and is now “barren”, to go fuck itself.

Hate Story is a flashy mainstream film, and makes no bones about being more pretty images than actual depth. And if Hate Story is honest about anything, it’s honest in the areas that aren’t flashy. The lines the prostitute says to Kavyah about how Kavyah is educated, so she must have already had sex, tells more about views on sexuality in India than all the sensual dance and seduction sequences throughout the film. Despite the not very explicit (by US standards) scenes here, actress Paoli Dam previously caused a stir due to a very explicit sex scene in Chatrak (which was deleted from the Indian version of the film, but has been leaked online and proved rather popular). Dam herself has spoken about how her passion for cinema gives her the strength to do scenes most Indian actresses wouldn’t dare. Her bravery is the kind of thing that should be breaking down walls, walls built up by some of the themes in Hate Story.

Hate Story

This is Folger’s Crystals as well??


One thing Hate Story excels at is terrible actors. Beyond Gulshan Devaiya hamming it up every time he talks, some of the minor characters are just awful. A security guy named Major that Sid hires to bug Kavyah’s apartment says some of the dumbest things in the dumbest ways, my favorite being “Beautiful bitch, you’ll be finished!” Of course, the signature line of Hate Story is “I fuck the people who fuck with me!”, yelled by Sid several times in increasingly maniacal manners, and later repeated by Kavyah in increasingly taunting manners.
Hate Story

Hate Story: Sponsored by Mr. Bubble

Kavyah Krishnan (Paoli Dam) – Intrepid journalist turned capitalist turned play toy turned scorned and violated woman turned fountain of revenge.
Siddharth Dhanrajgir (Gulshan Devaiya) – Arrogant executive at Cementic, a company his father gave him, who uses his power to get even against people who “fucked” him. When Kavyah helps embarrass his company, he hatches a revenge plan that ends in destroying her life, but causing her to seek greater vengeance. Gulshan Devaiya shows good acting when playing the stuttering son being yelled at by his father, but turns into maniacal cheese when playing the villain.
Vicky (Nikhil Dwivedi) – Kavyah’s longtime friend and fellow journalist, who watches her rises and falls until the point where he has to give her a big lecture about how it’s just horrible that she’s sleeping with all these dudes when he secretly loves her yet has said nothing ever.

And SPOILERS below…

Hate Story

I’ll get you, Folger’s Crystals, if it’s the last thing I do!

Bigfoot

Bigfoot

Bigfoot

Bigfoot
2012
Written by Brian Brinkman and Micho Rutare
Directed by Bruce Davison

Bigfoot
Packed to the gills with crazy action, former stars, and massive carnage, Asylum’s Bigfoot is an entertaining SyFy feature that also doubles as political commentary. Bigfoot is relentless with action sequences, the very first shots are of various animals being devoured up the food chain, until we reach man shooting a bear. Man who is quickly taken out by a huge Bigfoot! Bigfoot will run rampage through the local town of Deadwood, smashing cars, trucks, and chomping the heads off of people. There is an energy in Bigfoot that keeps it chugging along, character dismissing any attempts to stop and think as they rush into one crazy plan after another, all while Bigfoot is smashing and eating.

Bigfoot is a sequel in spirit to Mega Python vs. Gateroid. Like that film, it features two faded stars (instead of 80s pop icons Tiffany and Debbie Gibson, we have former 60s child stars Danny Bonaduce and Barry Williams) who argue constantly. The monster battle aspect has been dumped for just constant monster action. Bigfoot features more minor stars in supporting roles than MPvG, but both do feature a musical icon getting killed just after they appear (Micky Dolenz gets chomped in MPvG, while Alice Cooper gets punted in Bigfoot!) Even the ending is similar, but more on that in a little bit.
Bigfoot
Bigfoot is part of the Icy May series for MOSS – The Mysterious Order of the Skeleton Suit. And if you are wondering why something for May is showing up in June on TarsTarkas.NET, you must be new here! Heck, our March theme (March of Godzilla 2013) is still going on! Further Icy May entries include Gaddaar at both Beth Loves Bollywood and at FourDK, Yeti Curse of the Snow Demon at The Horror!?, Snow Devils at Exploder Button, Fist of B-List meets The Iceman Cometh, and The Great Silence at Teleport City.
Bigfoot

Harley Anderson (Danny Bonaduce) – Former singer turned obnoxious disk jockey and thrower of ridiculous nostalgia concerts that both fail and cause angry beasts to awaken. Spends most of his time fighting his former partner turned rival Simon Quint instead of stopping the creature he helped unleash on the public.
Simon Quint (Barry Williams) – Former singer turned gentle soul and friend of the Earth. He attracts a large following of young hot women and fights for the rights of nature. He attempts to subdue Bigfoot so he can be peacefully relocated instead of killed, but his attempts never pan out.
Sheriff Becky Alvarez (Sherilyn Fenn) – A former detective in Oklahoma City, who has returned to her childhood home and joined the Sheriff’s department there. Attempts to stop the rampages of Bigfoot, despite objections from everyone for different reasons, and is one of the few characters more worried about the actual problem then about scoring points against the other side.
Bigfoot (CGI) – Angry huge furry guy who likes to bit off heads of passersby. Awoken from his hibernation due to noise from acres of trees getting chopped down, and is not too keen on this environmental encroachment. So he smashes up the local town.

Bigfoot

Revenge of the Pearl Queen

Revenge Of The Pearl Queen

Revenge of the Pearl Queen

aka 女真珠王の復讐 aka Onna Shinju-o no Fukushu
Revenge of the Pearl Queen
1956
Screenplay by Isao Matsumoto and Jun Sagara
Story by Yoshihisa Shimizu
Directed by Toshio Shimura

Revenge of the Pearl Queen
Revenge of the Pearl Queen is one of the first of the Japanese Topless Pearl Diver films – called ama (woman diver) films by those in the know. These films caused a sensation upon release due to the fact the starlets would whip off their clothes, giving audiences brief glimpses of nudity that was almost impossible to casually come across in 1956. The ama films became the equivalent of the US’s nudie cutie flicks that were filmed on nudist colonies. The ama films tried to compensate for their lack of plot possibilities by combining with other film genres, thus there were pearl diving dramas, action films, and even horror flicks! The ama films began to get phased out when it became more acceptable to have more sexual films in general, and are now just quaint historical artifacts (aside from some throwback films over the years that used the ama theme!)

Revenge of the Pearl Queen stars Michiko Maeda, who is often wearing clothes that get ripped off by the weather or by random jerks. Part of the suspense scenes are the wondering if she will fall out of her low-slung clothing, which she does just enough to keep audiences paying attention and paying to come back to the next several show times.
Revenge of the Pearl Queen
The island segments are loosely based on the true story of 19 Japanese men on the island of Anatahan after World War II, who did not believe the war was over. There was one woman on the island, and over time several of the men mysteriously disappeared or were found violently murdered as the woman switched her affections around. She escaped on an American ship in 1950, and finally the men left the island in 1951 after being sent a message from the Governor of Kanagawa Prefecture. More information is available here.

Screening as part of a double feature (with Yellow Line) at the Shintoho retrospective, I saw Revenge of the Pearl Queen at the YBCA with duriandave from SoftFilm, as Todd from FourDK had to take off. And that was the best decision Todd made in years! Let’s just say the Pearl Queen’s greatest revenge was how sleepy she made us!
Revenge of the Pearl Queen

Yellow Line

Yellow Line

Yellow Line

aka 黄線地帯 イエローライン aka Osen Chitai
Yellow Line
1960
Written and directed by Teruo Ishii
Yellow Line
Teruo Ishii’s films have a unique quality is hard to describe without watching the films. There is a constant undercurrent of body obsession, with both body parts and with deformities or oddly shaped people. Many characters have scars, limps, or are just lit or made up to look more physically extreme than they are. Ishii’s films for Shintoho often feature underground prostitution rings, and are shot in realistic styles that border on documentarian at times (rumored to be to lessen influence from Shintoho’s boss Mitsugu Okura!) The Shintoho era films are less extreme than the ero guro work for Toei that would gain Ishii fame overseas, but you can see the roots beginning to take form. Some of Ishii’s more creative early work can be seen in the Super Giant films – or Starman as we know and love him in the States – (and also discussed in this Infernal Brains Podcast!)
Yellow Line
Yellow Line is a noirish tale of suspense about gangsters, prostitutes, kidnappings, sex slavery, reporters, and saving the girl. In Yellow Line, every character has a quirk or mannerism – Emi giggles before everything she says, the reporter Mayama is constantly snapping his fingers, the Hitman grins a sickly toothy sneer. This adds to their characterizations and are slipped in naturally enough they don’t become distracting. Characters fall into their stereotypical roles, but remain distinctive enough that you remember aspects about them more than their allotted place in society.

Yellow Line was screened as part of the Shintoho retrospective that stopped by the Yerba Buena Center for the Arts, and I had the pleasure of watching with both Todd from FourDK and duriandave from SoftFilm, making this a powerhouse of Bay Area obscure Asian cinema blogging.
Yellow Line