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Drop Dead. Hana-bi (AKA: Fireworks) is written and directed by Takeshi Kitano. It stars Kitano, Kayoko Kishimoto, Ren Osugi and Susumu Terajima. Music is by Joe Hisaishi and cinematography by Hideo Yamamoto. Yoshikata Nishi (Kitano) is a loose cannon police detective who quits the force after a tragic incident results in his partner, Horibe (Osugi), being confined to a wheelchair. His retirement brings him the time to care more for his seriously ill wife Miyuki (Kishimoto). Nishi can find no peace, though, more so as he has borrowed money from the Yakuza to pay for his wife's needs, and they are growing impatient for the repayment... Very early in Kitano's superb slice of Japanese neo-noir there is a piece of graffiti on the wall, it says "Drop Dead", while Hisaishi's music is a devilish accompaniment to the scene. It's ominous and foreboding, setting the tone for what is to follow. Pic is deliberately paced, beautifully so, with the opening nonlinear approach and scattergun shifts in time adding a sort of psychological maelstrom to the impending narrative darkness. Yet to suggest it as a perpetually bleak picture is doing it a small disservice, for Kitano (himself working from a damaged psyche that occurred in real life) has this adroit eye for poetic beauty and human tenderness that marries up with bursts of violence and emotionally shattering passages of play. And it works brilliantly, with stabs of humour also filtering in via the outer frames. Nishi the character is a force of nature and a walking - brooding - contradiction, a man pained behind his sunglasses, his expressionless visage amazingly still saying so much. When he explodes the impact is doubly strong, mainly because dialogue is so sparse, but the interwoven visuals - very much a Kitano speciality - strike an almighty chord for the story. To which we edge towards the finale, which unsurprisingly brings beauty and infinite sadness. Unfussy camera work, sabre sharp editing (Kitano & Yoshinori Oota), elegiacal musical arrangements, art, kites and Kitano's intense performance, this rounds out as film making greatness. In fact, a masterpiece. 10/10
There's greatness in there, for sure, but 'Fireworks' (or, the better title, 'Hana-bi') drags on for too long. I was with it for the first 45-55 minutes, but the final portion of the film really dragged for me; aside from a few moments, it kinda just repeats the same sorta scenes over and over. Like, personally, I got it... needed a bit more to it, in my opinion. There are some very good performances, no doubt. Takeshi Kitano is the obvious star of the show, though I was also impressed by Ren Osugi - who is just as excellent as the aforementioned writer, producer and director of this 1997 flick. The support cast are solid, while everything onscreen looks neat too. I did like this overall, but I can't say it hit me as much as it evidently has for others. Worth a watch, either way.
You wouldn't want to be policeman "Nishi" (Takeshi Kitano). His young child died a few years earlier, his wife is terminally ill in hospital and his partner at work takes a bullet that renders him paraplegic. Unsurprisingly, he hits the skids a bit and his priorities become compromised. When his wife is told she can come home, he is determined to make that happen - but where will the money come from to facilitate her? Well he goes and borrows some money from some unsavoury types he has encountered in his career. With his sole raison d'être now being to spend as much time as he can with his ailing wife, some of his other decisions become more and more dubious and requiring of increasingly dangerous and violent action as his creditors demand repayment - in cash or in kind. This is really quite an effective mix of the romantic and the brutal. It illustrates the vulnerability of even the most robust of human beings when touched by tragedy and despair - and when that person is a cunning and capable killer, these risks for all become ever more exacerbated. There's not a great deal of dialogue here, it's mostly Kitano reacting to and dealing with the scenarios he faces trying to sustain that sense of stability and to deal with his crescendo of guilt and it's quite enthralling at times to watch. It does plod along a little at times, and can also be repetitive but it's a different style of dark drama that shows us an human side of someone not motivated by power, or money, or revenge.
A woman brings her family back to her childhood home, which used to be an orphanage, intent on reopening it. Before long, her son starts to communicate with a new invisible friend.
When an arranged marriage brings Ada and her spirited daughter to the wilderness of nineteenth-century New Zealand, she finds herself locked in a battle of wills with both her controlling husband and a rugged frontiersman to whom she develops a forbidden attraction.
The Maclean brothers, Paul and Norman, live a relatively idyllic life in rural Montana, spending much of their time fly fishing. The sons of a minister, the boys eventually part company when Norman moves east to attend college, leaving his rebellious brother to find trouble back home. When Norman finally returns, the siblings resume their fishing outings, and assess where they've been and where they're going.
Danny Ocean and his gang attempt to rob the five biggest casinos in Las Vegas in one night.
A Japanese Yakuza gangster's deadly existence in his homeland gets him exiled to Los Angeles, where he is taken in by his little brother and his brother's gang.
On one random day in the San Fernando Valley, a dying father, a young wife, a male caretaker, a famous lost son, a police officer in love, a boy genius, an ex-boy genius, a game show host and an estranged daughter will each become part of a dazzling multiplicity of plots, but one story.
Bank robber Kalle Grabowski escapes from prison while his unemployed smalltime crook buddy is sitting around doing nothing after he just lost all their money. A fast paced comedy from German director Peter Thorwarth.
A samurai answers a village's request for protection after he falls on hard times. The town needs protection from bandits, so the samurai gathers six others to help him teach the people how to defend themselves, and the villagers provide the soldiers with food.
A semi-documentary experimental 1930 German silent film created by amateurs with a small budget. With authentic scenes of the metropolis city of Berlin, it's the first film from the later famous screenwriters/directors Billy Wilder and Fred Zinnemann.
When illegal card dealer and recovering heroin addict Frankie Machine gets out of prison, he decides to straighten up. Armed with nothing but an old drum set, Frankie tries to get honest work as a drummer. But when his former employer and his old drug dealer re-enter his life, Frankie finds it hard to stay clean and eventually finds himself succumbing to his old habits.
