Yakuza Apocalypse (極道大戦争, Takashi Miike, 2015)

Yakuza-Apocalypse-Quad-HalfSize-NEWBelated review from the 2015 London Film Festival – Yakuza Apocalypse is released in UK cinemas for one day only on 6th January 2016 courtesy of Manga who will also be releasing on home video at a later date.


Takashi Miike shuffles back towards the yakuza plains in the western inspired horror comedy Yakuza Apocalypse (極道大戦争, Gokudo Daisenso) trailing ever more zany humour behind him. Yakuza gungslingers, bloodsucking, high school girls running away from things and, finally, a guy with a magic belly button wearing a frog suit who just happens to be “The World’s Toughest Terrorist”.

We open in media res as vampire yakuza boss Kamiura (Lily Franky) cuts up a storm in settling some local disputes. There’s a handy voice over from our soon to be protagonist, Kageyama (Hayato Ichihara), lamenting the old yakuza world of tough guys and honour codes but things don’t really take off until a very geeky looking guy and a Van Helsing type in 17th century attire suddenly turn up hoping to re-recruit the boss to “The Syndicate”. When he refuses, they fight and the geek twists Kamiura’s head right off. Using his last ounce of strength and in a touch right out of Hausu, Kamiura clamps onto Kageyama’s neck turning him into a vampire. However, in his just turned state, the honourable Kageyama turns a few more vampires of his own – and not only vampires, the bite also transmits yakuzaism too. This increase in bloodsucking gangsters is a bit of a problem for the regular guys as it does mean their pool of victims is being steadily depleted…

Not making much sense is not generally much of a problem in a Miike film. In fact, it’s a pretty much a given at this stage of the prolific director’s career. However, in the case of Yakuza Apocalypse it’s even more pointless than usual to pay any attention at all to any kind of narrative. Looking over Kageyama’s shoulder, we move from set to piece to set piece as, first of all, the non-vampire yakuza guys struggle for power between themselves and then with the vampire variety before the giant frog turns up to ruin everything.

There are some rules, Miike takes a while explaining to us how this yakuza business works with Kamiura as the “good” kind of yakuza committed to protecting his townspeople above all else – essentially, he’s the sherriff around these parts. He’s a vampire, yes, but he only feeds on yakuza who he’s “reforming” by means of an underground knitting circle held prisoner in his basement. Apparently yakuza blood tastes bad and isn’t very good for you but eating civilians is dishonourable and anyway, limited in supply, because when you turn someone they also become a foul mouthed yakuza fighting machine.

The world building is shaky at best, none of this really hangs together making for a fairly disappointing series of one note jokes. There is an attempt at a bit of more sophisticated satire with the regular gangsters suddenly lamenting that there will be no one left for them to prey on if everyone turns yakuza vampire but otherwise it’s crazy piled on crazy. Not a bad thing in itself but somewhat lacking in substance.

Despite that, the film offers some quality performances notably from its lead, Kageyama, played by Hayato Ichihara, as the yakuza who’s so sensitive his delicate skin won’t allow him to get a proper yakuza tattoo. That is, until he becomes a brooding, conflicted vampire mourning the loss of his boss and of those long held tough guy ideals. Lily Franky also offers a high impact though short lived appearance as the honourable vampire boss with a hinted at backstory, though the much publicised cameo of The Raid’s Yayan Ruhian feels a little wasted as he’s just generally hanging around for a handful of fight scenes. That said, the action scenes themselves are extremely impressive, both exciting and often funny too.

Yakuza Apocalypse is not one of Miike’s most well thought out efforts. Its collection of crazy ideas feels thrown together and there’s disappointingly little depth to its world building. Even its media res conclusion looks more like running out of ideas than a deliberate decision. However, that’s not to say it isn’t heaps of fun, which it often is. A crazy frog riding a bicycle who somehow wakes up the giant king of the crazy frog people after some kind of emergency plaster is ripped off his belly button – really, what could be more fun than that? That really is all there is though and those who prefer their absurdist action thrills with a little more substance had best look elsewhere.


Yakuza Apocalypse is in released in UK cinemas for one night only on 6th January 2016. Luckily the film is playing across the UK even if it’s only the one night and you can see if it’s on anywhere near you by checking out this handy link! If it’s not, don’t despair! It’ll also be available in all the normal ways from Manga later in the year.

Reviewed at the 2015 BFI London Film Festival.

 

For Love’s Sake (Ai to Makoto) – LFF 2012

Please click through to read my review of Ai to Makoto on uk-anime-net

I know, two links in a row, I’m so sorry! More original content coming soon, I promise (probably). The movie’s awesome though, a total delight!

Festival Round Up – LFF 2012

As I’ve now seen my final film in this year’s festival a run down seems to be in order:

  • Doomsday Book (Korea)
  • The Samurai That Night (Japan)
  • For Love’s Sake (Ai to Makoto) (Japan)
  • Helter Skelter (Japan)
  • Memories Look At Me (China)
  • Dreams For Sale (Japan)
  • A Liar’s Autobiography (UK)
  • In Another Country (Korea)
  • The Red and the Blue (Italy)
  • Romance Joe (Korea)
  • Caesar Must Die (Italy)
  • Seven Psychopaths (US/UK)
  • The Manxman (UK)
  • Dormant Beauty(Italy)

That’s only 14 films which is a big drop off on last year’s total. Partly this is because the festival itself is a few days shorter but also I was busier and the schedules didn’t work out as well for me as they have done before. I have to say although I enjoyed all of the films I saw (at least a little, I flat out hated none of them) this year’s festival experience wasn’t as exciting as other years. It was though much better organised and I never once found myself wandering round outside trying to find the way in and having to ask unco-operative security people where to go! Most of the films seemed to start about ten minutes late but I suspect this must have been built into the schedule as nothing over ran and delayed the next film. Oddly then even though the programme seemed less exciting (or I picked the wrong films) the experience as a whole was much better. I got so sick of the ident though, my goodness.

Top pick of the films I saw would have to be Ai to Makoto – a really riotous, outrageously fun seishun eiga musical that exceeded all my already high expectations. I also really loved Seven Psychopaths even though I’d been seeing quite negative things online it turned out to be exactly my kind of thing and more in keeping with what I love about McDonagh’s stage work. The only real disappointment was A Liar’s Autobiography which failed entirely at what it was trying to do but did have moments brilliance scattered amongst the tedium. Memories Look at Me wasn’t my sort of film and I can’t claim to have enjoyed it very much but there are a lot of people who do really like that kind of thing.

There were lots of films I’d have liked to see but couldn’t. Luckily a lot of those films are out on general release fairly soon/already anyway – Frankenweenie, Beasts of the Southern Wild, Argo, Rust and Bone among others. Matteo Garrone’s Reality has apparently been picked up for release and Amour is screening at the BFI next month. Key of Life is the only one I’m missing where there might not be another opportunity.

All in all I’m very happy with how it all played out, I guess that’s it until next year – feeling a bit deflated. Oh well, hopefully I’ll be able to see few things in the Korean Film Festival, right? Ah London, you’re such an enabler!