Gamera vs. Barugon (1966)

- Daikaijû kettô: Gamera tai Barugon
Better than the usual Gamera offering, 8 September 2009

A would be jewel thief thinks he's made it big when he gets his hands on the biggest opal he's ever seen. Unfortunately for the thief (and everyone else in Japan), it's not really an opal. Instead, it's a monster's egg – Barugon to be exact. Barugon hatches and begins a reign of terror across Japan. Different theories on how to stop the creature are tested, but to no avail. Just when things seem their bleakest, Gamera shows up and takes care of the situation.

A number of comments on IMDb proclaim that Gamera vs. Barugon is the best of the early Gamera films. While I agree, it's a bit like saying I prefer a tooth ache to a root canal– neither is something I want to experience on a regular basis. In all seriousness, it's not a bad movie, it's just not a very good one. Even with their best effort, Daiei could never match Toho. Daiei's monsters look cheap and clumsy compared with Toho's. And what's up with Barugon shooting a rainbow ray out of his butt? Completely ridiculous. And the final showdown between Gamera and Barugon is way too short. Toho would have been sure this fight scene took up the major portion of the movie.

Still, like I said, Gamera vs. Barugon is better than the usual Gamera offering. Why? Well, for one thing, Gamera is really more like a bit player in the movie. I never cared for Gamera's design so the less of Gamera the better. Next, Gamera vs. Barugon is actually a reasonably intelligent movie with a somewhat interesting subplot involving the jewel thief. I realize intelligence in a Gamera movie is relative, but at least this one doesn't include the usual gaggle of small Japanese kids exclaiming, "Gamera is the friend of all children!" I never quite understood how a monster that destroyed half of Japan goes on to be every child's best friend. Finally, I actually enjoyed some of the acting in Gamera vs. Barugon. Both leads, Kojior Hongo and especially the striking Kyoko Enami give nice performances.

For what it's worth, a 5/10 is the best I can do.

5/10

Invasion of the Neptune Men (1961)

- Uchu Kaisoku-sen
Very Early Sonny Chiba, 5 May 2008

To be honest, Invasion of the Neptune Men is about as bad a movie as I've seen. Maybe it's the cut of the movie I've seen or maybe something is lost in the translation from Japanese or maybe it's meant for a different age group, but whatever, it's bad. (Note: I haven't rated the movie a 1/10 because although it's bad, it's not offensively bad.) Instead of getting into the myriad of problems, I want to focus on why I've now seen The Invasion of the Neptune Men at least four times. I can think of two reasons off the top of my head to explain why I continue to re-watch Invasion of the Neptune Men.

One, (and I admit I'm pushing it here) the chance to see an early Sonny Chiba. I'm not an expert on Chiba, but what I've seen, I really like. From his work in The Street Fighter, Golgo 13, and up to and including Kill Bill, Chiba is the MAN. So it's really cool to get the chance to go back and watch him in what is really his second movie. He's barely recognizable as the lame hero, Space Chief.

Two, Invasion of the Neptune Men is one of my very favorite episodes of Mystery Science Theater 3000. While I may only rate the movie a 2/10, I give this episode a 5/5 on my MST3K rating scale. Some of the riffs are laugh out loud funny no matter how many times I've heard them. The bits about Space Chef, the Hitler building, and the kids in their shorts are hysterical. As I said, I've seen this episode at least four times and can probably re-watch it many more without getting tired of it.

2/10

Gamera vs. Zigra (1971)

- Gamera tai Shinkai kaijû Jigura
"Gamera is the friend of all children! ", 31 March 2008

When the Earth is threatened by an aquatic, shark-looking alien named Zigra (and conveniently from the planet Zigra), it's up to Gamera (and two very annoying Japanese children) to save all of mankind.

Gamera vs. Zigra is the bottom of the barrel when if comes to Japanese monster movies. Everything that makes Gamera so inferior to Godzilla is here: the annoying children, the ridiculous Gamera theme song, the ineffective defense force taking its lead from a 6 year-old, a woman in a mini-skirt chasing kids through Sea World, Kenny (Is there always a kid named "Kenny" in one of these movies?), and the worst looking monsters put on film. I realize these movies were aimed at a much younger audience (remember, "Gamera is the friend of all children!"), but do they have to be so stupid? I'm afraid my head might explode if I think about it too much. I could go on and on, but I'll limit this to two surreal moments that are so silly they almost defy description.

First, with the entire planet facing the threat of being conquered by Zigra and Tokyo preparing for a magnitude 18 (whatever that means) earthquake, an argument over fish takes center stage for better than 5 minutes of the movie's runtime. The man responsible for feeding the dolphins at the Tokyo Sea World and the manager of a swanky hotel get into a heated argument with a fishmonger over a crate of fish. Mankind is on the verge of extinction and all these people seem to be worried about is fish. As I indicated, I really can't do it justice. You'd have to see it to believe it.

Second, having just defeated Zigra (not really a spoiler – did you think Gamera was going to lose?), Gamera uses Zigra like a xylophone to pound out a tune. Yes, that's right – Gamera uses a club on Zigra's dorsal fin to play the first few notes of his theme song. And if that weren't ridiculous enough, Gamera follows it up with a few dance steps. This is surely one of the proudest moments in Japanese film history.

See what I mean? My head hurts just thinking about it.

2/10

Yo-Yo Girl Cop (2006)

- Sukeban Deka: Kôdo nêmu = Asamiya Saki
I really wanted to like this movie, 4 March 2008

I really wanted to like Yo-Yo Girl Cop and, for a while anyway, I thought I was going to. To begin with, just take a look at the DVD cover – a Japanese school-girl complete with uniform and a lethal yo-yo striking a pose in front of a fiery explosion. How awesome is that? And the plot sounded very promising: Saki Asamiya (Aya Matsuura is terrific in the role), a very troubled and violent teen, is hand-picked by a secret government agency to infiltrate a group of would-be high school terrorists. The group has already killed at least one other agent. They tied her hands together, strapped a bomb to her, and sent her out into the crowded streets. Nice, huh? On the group's website, they've started a 72 hour countdown clock, but a countdown to what? It's Saki Asamiya's job to find out – and do it before time runs out. The film gets off to a great start with the whole explosion in the streets scene, Saki's fight on her first day at school, and a chase through a crowded mall. Add to that a funky vibe that runs through much of the movie, the incredibly stylized look, and a nice score, the makings were here for a real winner. Unfortunately, Yo-Yo Girl Cop abandons the promised action and all but slams on the brakes in favor of melodramatic, teen-angst clap-trap during the second act. It was enough to make me want to hurl. Life's tough – get over it already and get back to the yo-yo butt-kicking! The movie does redeem itself somewhat in the finale as Saki and her female nemesis don leather outfits for the highly anticipated all-girl yo-yo fight to the death. As cool as that may be, it comes way too late to save Yo-Yo Girl Cop from being anything other than average at best.

5/10

Gamera (1965)

It will never be confused with Godzilla, 13 November 2007

To be such a legendary kaiju and to have spawned a hoard of sequel, Gamera is a decidedly pedestrian film. Gamera was originally designed to be Daiei Studio's answer to Toho's Godzilla, but it's really no competition. From the moment Gamera makes his first screen appearance, the creature looks terribly silly. While I can believe in any number of kaiju (Godzilla, Rodan, etc.), Gamera never works for me. A giant bipedal turtle with long arms and the ability to fly and breath fire – it's just too absurd for words.

But to be honest, the monster is the least of Gamera's problems. I don't know if the little Japanese boy, Kenny, is as annoying in the other versions, but I wanted to strangle him the moment he appeared on screen. And his constant protests to save Gamera because he is good and a friend to children everywhere is particularly stupid given Germa rampage through downtown Tokyo. Some friend, huh?

Another big weakness is the use of miniatures in Gamera. Toho was particularly adept at solid miniature work. Even when they looked like miniatures it didn't matter because they looked so cool. Sadly, based on this movie, I can't say the same thing about Daiei's work. The miniatures in Gamera look more like toys than anything else. Fisher Price makes more authentic looking boats. It's difficult to take anything seriously when the special effects are so weak.

Finally, the plot in Gamera is neither very good nor original. The parts that work seem to have been lifted from Godzilla and similar Toho movies. The parts that don't work are just plain old ridiculous. Take the final scenes and Gamera's fate – I sat with my mouth open in amazement at what the movie was asking me to swallow.

So in the end, while I can appreciate the importance of Gamera and its place in history, that doesn't mean I have to like it.

4/10

Atragon (1963)

- Kaitei gunkan
And I so wanted to embrace this movie, 25 August 2007

Japan and the rest of the world are under the threat of attack from the mysterious underwater kingdom known as Mu. Their plan is to turn the land into their colonies and enslave the surface dwellers. The people of Mu fear only one thing – Atragon, a super-secret (so secret in fact that no one knows about it) flying submarine that has the potential to defeat the Mu. But Atragon is being built by a Japanese officer from WWII who is unaware of his countries surrender. He's reluctant to use his new submarine for anything but the greater glory of Japan. But when the Mu kidnap his daughter, he softens his stance and finally agrees lead the charge against the Mu.

Overall, I can't help but be very disappointed by Atragon. The movie sounded so good – a flying submarine, a mysterious underwater kingdom called Mu, and a giant snakelike creature named Manda. What could go wrong? Well, the plot is what went wrong. Nothing much happens during the first ¾ of the movie. I don't know how many times I found myself waking up and reversing the movie. There's not enough flying submarine, Mu kingdom, or Manda to make Atragon exciting. It's not until the finale that something exciting finally happens.

And it's a shame because I find I usually go for the more offbeat of the Toho movies that stray from the usual Godzilla storyline. For example, movies like Matango or The Mysterians are among my favorite Toho films. And Atragon had Ishiro Honda directing and a cast that included several familiar and solid actors. Atragon also features the standout Toho miniatures I always enjoy. But in my opinion, everyone involved was letdown at every opportunity by a less than stellar screenplay. I just expected (or at least hoped for) better.

5/10

Prince of Space (1959)

- Yûsei ôji
"You there! Discharge the caustic vapors!", 4 August 2007

A spaceship from the planet Krankor invades Earth with the intention of stealing a new rocket fuel formula. Fortunately for all of humankind, Prince of Space is on hand to thwart the aliens at every turn.

I have never seen Prince of Space without the Mystery Science Theater 3000 commentary and, to be honest, I'm not sure I want to. Usually, when I write about a movie that appeared on MST3K, I focus on the movie – not the television show. I pride myself in being able to separate the movie from the silliness going on around it. I can't really do that with Prince of Space. It's the kind of movie that was just made to be lampooned by MST3K. Annoying Japanese kids, ridiculous looking aliens, an even more ridiculous looking hero, crazy weapons, cheesy dubbed dialogue, bad special effects – Prince of Space has it all in spades. The riffs hit their marks almost every time and have me laughing out loud more than once. Some of the quotes that leave me in stitches include:

"Tokyo: a rare Godzilla-free day"

"I am the lemon zester of destruction."

"Crank whore?"

"An exchange of deadly negative scratches!"

Yeah, it's silly, but boy is it fun. While I rate the movie Prince of Space a 2/10, I'll give episode #816 a 5/5 on my MST3K rating scale. It's truly one of the best.

2/10

Mighty Jack (1968) (TV)

What the....., 22 July 2007

Since I began what I'm calling my 2007 Mystery Science Theater 3000 Challenge, I've seen a ton of bad movies. And I seem to find myself writing at least once each week that the most recent abomination I've watched has to be one of the worst movies ever made. I'm really starting to sound like a broken record. So here I am with the latest assault on the senses – Mighty Jack. I realize that Mighty Jack was taken from a Japanese television series and put together by one of Sandy Frank's flunkies, but I'm not rating the television show – I'm rating the movie. And what a frustratingly confusing movie it is! I'm really in the dark about most of what I've just seen. It doesn't make a lick of sense. Some bad guys named Q want to do something bad with a weapon that creates something called hot ice. Another group of people called Mighty Jack use their flying submarine to stop Q. That's about the best I can do.

Like the turd of a plot, the rest of Mighty Jack is just as bad. The acting – bad. The miniature work (usually a strong point in a Japanese film of this type) – bad. The music – bad (and often inappropriate). The direction – bad. Everything else you can name – bad. As I said, I'm starting to sound like a broken record but Mighty Jack is seriously one very bad movie.

MST3K Episode #314 isn't as good as I had hoped. Usually, MST3K did some great work with the Japanese films they used. Here, other than the bits about the old guy smoking dope, there's not much that made me come close to laughing out loud. So I'll rate it a 3/5 on my MST3K rating scale – a wishy-washy average rating.

1/10

Time of the Apes (1987) (TV)

Sandy Frank does it again, 8 June 2007

Through a freaky set of circumstances, a woman and two children are accidentally locked in a cryogenic chamber just as an earthquake hits. Once revived, they find themselves in a strange world where apes are in charge. The three soon meet up with a man named Gono who appears to be the only other living human on the planet. If they are to ever find their way back home, the humans must stick together and stay a step ahead of the apes.

As the story goes, Time of the Apes began its existence as a Japanese television show in 1974. Producer Sandy Frank saw an opportunity and cobbled a few episodes together into this mess of a movie. And a mess it is! The rating I've given Time of the Apes (3/10) is really quite generous given how bad it really is. For example, Frank's plot makes little sense. Important plot points like the flying saucer are never explained. The quality of the ape costumes and make-up is all over the place ranging from acceptable to downright tacky. And even though I realize the dialogue is dubbed, it's horrible. The children come off as especially annoying.

With that being said, I simply cannot bring myself to rate Time of the Apes any lower. While it may not be very good, it is interesting to see the Japanese take on Planet of the Apes. It's one of the most surreal examples of film-making I've seen recently. In addition, there were a few instances during the movie that I found fairly entertaining. Unfortunately, these moments were too few and far between.

Time of the Apes is another movie that I watched courtesy of MST3K. The riffs from Joel and the Bots are pretty hit and miss – some are quite funny while others just miss their mark. On my MST3K rating scale, I give this episode a 3/5 – A wishy-washy average rating.

3/10

Godzilla vs. Megalon (1973)

- Gojira tai Megaro
Tag team monster action, 8 May 2007

The plot of a movie like Godzilla vs. Megalon hardly matters. The movie follows the same basic premise that most of these Toho monster mashes follow – A monster, for whatever reason, poses a threat to humanity. Godzilla is summoned from Monster Island to provide assistance in defeating the monster. The End. That's basically what you get here – Godzilla doing battle with Megalon with the fate of the world in the balance. Megalon, the giant beetle-like creature with giant rotating drill-like arms capable of spiting bombs, is joined by Gigan, a giant chicken-like creature with incredibly sharp talon-like arms. Fortunately for Godzilla (and all of mankind), he also has an ally – Jet Jaguar, a giant Ultraman style robot. It no-holds barred action as these behemoths do battle!

If you don't take this stuff too seriously, Godzilla vs. Megalon can be quite a bit of fun. There's enough interesting "filler" going on before the monsters do battle to make even the "boring" parts reasonably entertaining. As with most Toho films, this one includes some really nice miniature work. The scenes of Megalon destroying the dam are very nicely done. As an added bonus, Godzilla vs. Megalon features a few unexpected surreal moments involving the inhabitants of Seatopia. I wasn't quite prepared for a dance number in the middle of my Godzilla movie. And to top things off, the leader of the Seatopians looks like some sort of extra from a Bob Fosse movie. Bizarre!

6/10

Stray Cat Rock: Sex Hunter (1970)

- Nora-neko rokku: Sekkusu hanta
Meiko Kaji impresses again, 17 April 2007

When one of the local girls starts dating a "half-breed", the local guy gang (The Eagles) doesn't think much of it. The Eagles start of campaign of terror directed at mixed race couples and individuals they deem to be not of "pure" Japanese heritage. It's up to the leader of the local girl gang and a "half breed" named Kazuma to stand up to The Eagles – even if they have to die for what's right.

While Stray Cat Rock: Sex Hunter is a decent enough movie, it's not the movie I was hoping for. I'm relatively new to the Japanese exploit movies of the 70s having only recently watched three of the Female Prisoner #701 movies. Since Meiko Kaji stars in both and Yasuharu Hasebe directs in both, I was hoping Stray Cat Rock: Sex Hunter would be similar in tone to Female Prisoner #701. And while it has its moments (a couple of fight scenes, the rape party, and the jeep chase for example), the movie is far too serious in its focus to be as much fun as I hoped. More girl gang action and less racial tension would have gone a long way to making this one a real winner.

The highlight of the movie for me has to be Meiko Kaji. I've now seen her in five different movies (this one, the three Female Prisoner #701 movies, and Lady Snowblood) and she never fails to impress me. She's an actress I hope to see more of in the future.

6/10

Godzilla vs. the Sea Monster (1966)

- Gojira, Ebirâ, Mosura: Nankai no daiketto
Godzilla Does Red Lobster, 18 March 2007

I never thought I would find a Godzilla movie where Godzilla was the weakest part of the film. In most these movies, the various scenes not involving Godzilla could generally be considered filler. They're there to pad out the film until Godzilla shows up and usually aren't very good. The filler in Godzilla vs. the Sea Monster isn't any better or worse than any of the other Godzilla movies (though I must admit to enjoying the James Bond vibe and the groovy dance party), but it's better than Godzilla's moments on the screen. The problem is that Big G doesn't get the chance to do much. This is Toho "on the cheap". The usual rampage through the city is gone. It was cheaper to have Godzilla destroy a mostly deserted island with only a small science/military facility than it was to build an entire city of miniatures. And the few miniatures to be found don't even looks up to snuff. When not trampling the cheap miniatures, Godzilla spends an inordinate amount of time just sitting. That right – sitting! And when he does finally do battle with the sea monster of the title, it's not much of a match. In no time at all, Godzilla rips off the overgrown lobster's claws and its over. Almost 90 minutes to see this non-event – what a waste!

4/10

Battle Royale (2000)

- Batoru rowaiaru
"Here's your list of friends in the order they died.", 23 August 2006

I finally got the chance to see what all the fuss is about. For the most part, Battle Royale lives up to the hype. The violence is as over-the-top as I had been led to believe. What I wasn't expecting, however, was such a well made, engrossing film that's full of some of the blackest humor I've seen in a while. For those uninitiated, Battle Royale is the story of one class of young teens in Japan that are chosen at random to participate in the government's new "game" designed to put order back into society. The class is taken to a deserted island and each member of the class is given a weapon. At the end of three days, the one class member left alive is the winner. If more than one person is alive, everyone dies. The plot may seem completely ridiculous and outlandish, but it works. It's difficult not to be drawn into the film from the very beginning. The action comes fast and furious as classmates kill each other in a variety of inventive ways. Friendships are put to the test, trust becomes something foreign, and love means nothing when it's kill or be killed. Director Kinji Fukasaku does a masterful job of making the characters seem real and sympathetic in Battle Royale – even those with limited time on screen. The acting is good, the special effects are believable, and the cinematography and lighting are well done. Overall, Battle Royale is a nice combination of compelling story and technical know-how.

Battle Royale could have been a near perfect film if it weren't for two faults that I can't look past. First, there are too many unnecessary love stories. While I understand the need to present the relationship between the two main characters, is it necessary to hear every teenager's deathbed confession of love? Maybe this was part of Fukasaku's sense of humor, but it quickly became tiresome. Second, the ending is a let-down. I was expecting and hoping for an ending as gratuitous as the rest of the film. Instead, Battle Royale limps to a finale that's uncharacteristically bland given everything that came before. Regardless of these two criticisms, Battle Royale is a film that's well worth seeking out. It's a one of a kind experience and new favorite of mine.

8/10

One Missed Call (2003)

- Chakushin ari
A restrained Miike, 18 August 2006

In Takashi Miike's One Missed Call, there's really very little new ground covered. If I've seen one Asian film that revolves around a pale-skinned, long black-haired female ghost, I feel as if I've seen a dozen. Whether One Missed Call is derivative of other Asian horror films or whether it's the other way around, I don't know (or really care). The similarities, though, are undeniable. But it hardly matters when it comes to enjoying the movie. Miike has put together an entertaining and at times frightening tale of a young girl seeking retribution for her death. It's far less bloody and over-the-top than most of Miike's other films, but for the most part, it works. Miike is much more restrained and relies on very subtle moments to create unease in the viewer. One of the best examples is the "ghost in the cupboard" scene. It's a simple moment without a lot of fanfare, but it's very effective in generating the desired response. Other highlights of the film include the death scene at the television studio and the search through the abandoned hospital. These moments help Miike's film standout from the crowded field of similarly themed J-horror films.

Whether the plots of these J-horror ghost stories appeal to you or not, as usual, it's difficult to deny the level of artistry and technical brilliance that goes into these films. One Missed Call is no exception. Thanks to some interesting cinematography and lighting, the film has a "look" that helps create an atmosphere of dread. The special effects, both visual and sound, are well done. The acting is good. Both of the leads, Kou Shibasaki and Shin'ichi Tsutsumi, are more than adequate. And Miike's direction expertly creates the desired tension. Overall, it's the kind of well-made Asian horror film that I've come to expect.

But One Missed Call isn't without its faults. Beyond the "been there, done that" aspects of the plot, the film's pacing could have been better. While the first and third acts are enjoyable, the middle portion of the One Missed Call tends to drag a bit. Some of the investigation scenes into what's behind the mystery put a halt to what is an otherwise well paced film. A little judicious editing might have helped the film flow better. One Missed Call also includes a number of plot points that are never adequately resolved. For example, why was the mother's dead body in the abandoned hospital? And could the ending have been more confusing? I admit that I'm completely at a loss to explain the films finale. That doesn't mean I didn't enjoy it, but don't ask me what it all meant. Maybe a second viewing is necessary to resolve some of these issues.

7/10

King Kong vs. Godzilla (1962)

- Kingu Kongu tai Gojira
"You two are going to Farro Island and find me a genuine monster whether he exists or not!", 4 January 2006

Godzilla has escaped his icy prison and is making a beeline for Japan. No one seems to be capable of stopping his progress. In comes an enterprising businessman, Mr. Tako, who has heard rumors of a large monster on a nearby island. His plan is to have a couple of his men go to the island to get this giant beast and use it against Godzilla. The two men find the Farro Island and King Kong. Can Kong stop Godzilla, or will he also become a threat to Japan much like Godzilla?

Please note that my rating is based on the American version of the film. I would really like to see the original Japanese version and may seek it out. From what I've read, the American version cuts a lot of the comedy, especially from Mr. Tako, and inserts the U.N. television reports. Mr. Tako is the highlight of the movie for me, and more Mr. Tako would seem to only make things better. He's hilarious. The U.N. news reports are totally unnecessary. The announcers do little other than describe the upcoming action which the viewer is about to see. There's no real point in much of it.

Growing up in the late 60s / early 70s, King Kong vs. Godzilla was standard afternoon television viewing on one of the local channels. I seem to remember it playing a few times each year. And each time I couldn't wait to get home from school to see these two behemoths square off. While I no longer find the final fight scene the most enjoyable part of the movie, it's still one of the best encounters Toho filmed. But the fight scene no longer works for me the way it once did and I no longer consider King Kong vs. Godzilla the best film Toho ever made (for the record, I now go with either Matanga or Rodan).

6/10

Dark Water (2002)

- Honogurai mizu no soko kara
Moving and Creepy, 4 January 2006

Dark Water is a truly unique film in that it worked on two different levels with me. First, it worked as a horror movie. No, it's not pee-your-pants scary with buckets of blood. Instead it's just plain old creepy with lots of spooky atmosphere. Even though much of the horror lurks at the periphery, it's a constant, definite presence. And when the horror does spill into the characters everyday lives, it's very effective. Who would have thought that a little girl's Kimiko bag could be so eerie? Second, Dark Water works as a drama. I bought the pain of the mother fighting to keep her child. And I felt the joy as the two played together. And in the end, when the mother realizes what she must do to save her child, I felt the heartbreak of both characters.

The whole thing works because of some great acting. Hitomi Kuroki gives a remarkable performance as the mother. I believed and felt everything she was going through. Most of the Asian films I have seen recently have had good acting, but Kuroki's performance stands above the rest. As for the little girl, she's not the annoying child I'm so used to seeing in films like this. She seems real. It's a nice job by such a young person.

My rating would be higher if it weren't for the predictable nature of what happened to the missing Mitsuko. It's should be apparent to anyone (other than the characters in Dark Water) where the child is and how she died. Still, it's a remarkable ride to an inevitable discovery.

8/10

Ju-on: The Grudge (2002)

Ju-on or The Grudge - Take Your Pick, 30 December 2005

The plot (and almost everything else) of Ju-on is almost identical to that of the American remake, The Grudge. When one of the other social workers doesn't show-up for work, one of the newest workers goes to take his place. When the new social worker arrives at the house, she immediately realizes that something is not quite right. What she doesn't realize is that the house is possessed by spirits who will kill anyone they come into contact with.

Comparisons between the Japanese Ju-on and the American The Grudge are inevitable. Overall, I'm one of the seemingly few who enjoyed the American version more than the original Japanese version. Maybe it's just because I watched The Grudge first, but I really think it goes a little deeper than that. As I mentioned previously, the plots are almost identical so there's really no point in trying to pick a favorite.

Things I preferred about The Grudge - 1. Make-up - I found the more stylized make-up very effective. 2. Flow - As far as non-linear story's go, The Grudge is one of the best examples I've ever seen.

Things I preferred about Ju-on - 1. Simplicity - The lack of a lot of extraneous details makes for a tighter movie. 2. Cast - The fact that Sarah Michelle Gellar isn't in Ju-on is a big plus for me.

Overall, while I may have preferred the American remake, the two movies are actually very close in my mind as far as vehicles of entertainment go.

7/10

The Terror Beneath the Sea (1966)

- Kaitei daisensô
Early Sonny Chiba, 8 November 2005

When two reporters investigate the strange occurrences during a Navy submarine test, they become the prisoners of a strange underwater race of beings. They are taken to a secret laboratory where they discover a mad scientist who is using these creatures in his plot to take over the world. The reporters must free themselves and save the world.

The movie stars a very young Sonny Chiba as one of the reporters. While he is a far cry from the butt-kicking machine he would later become, his screen presence is undeniable. The other reporter is played by Peggy Neal. God, is there a more annoying woman on the planet. The seaweed in the movie had more talent.

While the movie features a good number of kitschy moments (the monsters being the prime example), overall it's far too slow for me to completely endorse. There are too many scenes of the two reporters swimming underwater or investigating the secret lab where literally nothing happens. The pair just wander around doing nothing. A little more action would have made things much better.

5/10

Shikoku (1999)

Not as advertised, 20 August 2005

I had been intrigued by Shikoku for a while. The plot sounded interesting and the movie featured Chiaki Kuriyama (Gogo Yubari in Kill Bill Vol. 1), so I finally decided to give it a chance. The summary on the back of the DVD case ("Hinako returns to her childhood home on the island of Shikoku after many years. She learns that her childhood friend Sayori has passed away and the Sayori's mother, a local priestess, has slowly gone insane with grief. When strange things begin to happen on the island, Hinako and old friend Funiya learn that Sayori's mother has spent ears conducting a pilgrimage around each of the island's 88 temples in reverse order, which, according to folklore, is supposed to release the spirits of the dead and turn the island into the 'land of the dead'"), however, is very misleading.

Had the movie actually followed this plot description, Shikoku might have been a much better movie. Instead, we are treated to one of the dullest, most inane love stories I've had the misfortune to see (I suppose a love-triangle story would be a more appropriate description). What little horror there is in Shikoku comes from the fact that one of the participants in the love-triangle is dead. But, any real scenes of horror are too few and far between. And the other characters' reactions to the moments of horror are totally unbelievable. Once the two non-dead characters see the ghost of their dead friend, do they seem alarmed, surprised, or frightened? - NO! Based on their reactions you would think that seeing ghosts was just another part of their incredibly boring existence.

I will admit, however, that there are parts of Shikoku that I enjoyed. Regardless of whether you're a fan of the new wave of Asian horror or not, it would be hard for anyone to disagree with how beautiful most of these movies are. Despite it's flaws, Shikoku is another beautiful Asian horror movie. And if you're a fan of Ju-on style horror, some of the movie might appeal to you. The few subtle moments of horror are beautifully filmed and genuinely creepy. Finally, although it's underdeveloped, the whole subplot of the mother trying to bring her dead daughter back to life is interesting. There's a good, entertaining movie here somewhere. It's too bad we didn't see it.

5/10

Audition (1999)

- Ôdishon
A Masterpiece, 30 May 2005

Every once in a great while, you stumble upon a movie that you immediately know is a masterpiece. I had read what other people had written about Audition, but didn't really believe all the hype. Surely it couldn't be as good as people claimed. After seeing Audition for the first time, I simply cannot get the film out of my mind. I doubt I can come up with enough glowing adjectives to describe the movie - disturbing, fascinating, brutal, engrossing, etc. It is quite simply on of the best movies I've ever seen. Fortunately, I knew very little about Audition before I watched. The final 30 or so minutes blew me away. I'm not going to go into detail as this would ruin the movie for those who haven't seen it. Just be prepared for one of the most shocking endings you'll ever likely see.

The plot starts out as something right out of a Hollywood romantic-comedy. A middle-aged man wants to find a new wife. A producer friend of his sets up a series of bogus movie auditions as a way of meeting women. Does it sound enough like typical Hollywood tripe? The man meets the woman of his dreams. Or is she? What dark secrets does she hide? Watch and be amazed.

The acting is first rate. The two leads, Ryo Ishibashi and Eihi Shiina, are both excellently cast. Ishibashi comes across as a sympathetic figure who simply wants a companion. Shiina's performance is excellent as the seemingly demure woman with a hidden secret.

Takashi Miike is certainly a director that can be mentioned with the greats of the genre. The images he presents may be difficult to watch, but they aren't easily forgotten. Cinematography, editing, lighting, and the use of dream sequences are all first rate. Since I watched Audition, I've read numerous complaints about how slow the first part of the movie is . While it may seem slow to those more accustomed to Hollywood films where somebody is killed or something is blown-up every five minutes, the slow pace is absolutely necessary to increase the shock value of the end. Miike knew what he was doing.

There are any number of ways to interpret the film. I'm sure that with subsequent viewings, I'll look at the events the movie presents in a different light. There's a lot here to take in during one viewing. I'm almost positive that I'll change the rating of Audition to a 10/10 after a second viewing.

9/10