Ong-bak (2003)

Ong-bak represents a return to traditional martial arts films: no wires, no stuntmen, and elaborately choreographed fight sequences. Owing more to the films of Bruce Lee and Jackie Chan (his early work), the film has some of the most amazing physical action sequences I’ve ever seen. However, due to a few weaknesses, Ong-bak falls just short of being a new classic in the genre.

Actor Tony Jaa is unbelievable; his strength and agility is truly impressive. His moves are incredibly fluid and balanced. Most of the amazing stunts he performs look effortless. The strongest sequences of the film are the fights, unsurprisingly. Unfortunately, the non-fight sequences seem forced and boring.

The story of Ong-bak is a little strange. It’s as if the writer/director Prachya Pinkaew couldn’t decide what type of film to make, a straight, traditional martial arts story or a complex, grim-and-gritty modern crime film (several story elements and sequences seemed like desperate attempts to channel John Woo or Takashi Miike). Ultimately, Ong-bak seems more than a little confused.

The film is also hampered by many technical problems like lighting and editing. The film itself looks cheaply made, but clearly has a moderate budget. Some of the action sequences are poorly framed and lighting shifts far too much from scene to scene. Perhaps some of these issues will be addressed on the DVD.

In the end, Ong-bak is an exciting return to old-school martial arts films, though with too much padding around the incredible action sequences.

Samurai Reincarnation (1981)

Historically, in terms of Japanese film, there are generally two streams of popular cinema: the historical epic (as seen in the samurai films of Kurosawa Akira) and the cult film (Godzilla or the yakuza movies of Fukasaku Kinji). Samurai Reincarnation is a strange amalgam of the two streams, a cult samurai film. The story is based on real historical figures, including samurai legends Musashi Miyamoto and Yagyu Jubei, battling in a war for the souls of Japan and control of the country. This film is a crazy mix of fantasy, horror, action, and samurai epic.

The story is a little muddled. Essentially, a group of Christian revolutionaries are murdered and their leader makes a deal with the Devil to return to Earth and avenge his brothers. Along the way, he recruits and resurrects a group of master samurai and ninja, all looking to conclude their unfinished business. Standing against them is Yagyu Jubei, a one-eyed master samurai and legendary figure in Japanese history.

A cult film at the core, Samurai Reincarnation is full of sex and violence, including some amazing fight sequences. Sonny Chiba is a dynamic presence, as always, a true master of the Japanese genre film. Acting-wise, everyone else is strong as well, though many of the performances are over-the-top. The effects are good and bad, with strong practical effects but cheesy special effects. As well, the soundtrack is pure 1980s rock, not to everyone’s taste (to put it nicely) and more than a little distracting.

I get the feeling that the version of Samurai Reincarnation I saw was an edited version. Some of the sequences don’t flow together well and there are a few glaring plot holes. That said, it’s still an entertaining film filled with good action sequences and interesting effects.

The Grudge 2 (2006)

On re-watching The Grudge from 2004, the first American version of Shimizu’s modern Japanese horror classic, I realised how few Japanese characters there were, in a film set in Japan about a Japanese ghost. Sure, there were a few here or there, but one got the distinct impression of an American film simply set in Japan (which, admittedly, it was). The sequel to that film, The Grudge 2, is a continuation of that impression, a movement further away from Japan and the true origins of this series.

This is an American film set not in Japan, but in an American version of Japan. The only Japanese character with more than a minor role is Kayako, the ghost from the Grudge series. The main characters are American, with half the film set in Chicago (this subplot is interesting, however, and I’ll speak more on it later). The Grudge 2 seems like a bridge film, simply an excuse to move the series to the United States. There’s even a possible loophole to cut Kayako out of the films altogether, but I won’t say any more to avoid revealing too much.

Shimizu seems to be running dry on inspiration in these films, recycling some sequences and scares from the earlier Japanese Ju-on films. The Grudge 2 is also veering into The Ring territory, certain plot elements and visuals becoming remarkably similar to the popular American remake franchise. Perhaps Shimizu is saving his best ideas for Ju-on: The Grudge 3, due out in Japan in 2007. This film certainly feels like he’s going through the motions for an American audience.

The acting in this film is a mixed bag. On the one hand, Amber Tamblyn is very good, a better replacement for Sarah Michelle Gellar (an actress, while usually good, seems to resort to one facial expression in the Grudge films). On the other hand, Uno Misako is very bad, almost embarrasingly so. Perhaps this comes as a result of the language barrier (The Grudge 2 appears to be her first English acting job) or perhaps she makes a better pop star than actress.

Moving the series from Japan to America, while disappointing to fans of the original films, also makes for an interesting story twist. Essentially, the infection is moved across the ocean, importing the curse into the United States. Perhaps this move will mean a further separation of the two series, the Japanese Ju-on films and the American Grudge films. Personally, I prefer Shimizu’s earlier Japanese films, as his American remakes seem over-produced and overly manufactured.

There’s no doubt there will be a third American Grudge film. What is in doubt, however, is whether Shimizu will return to direct it. There’s been talk that Ju-on: The Grudge 3 will be his last Grudge film. I’m of mixed feelings about a new director taking over the American series. While it might help bring a new perspective and approach to the series, a new director would also mean moving farther away from Shimizu’s brilliant original concept.

The Grudge 2 is more of the same, no better or worse than the 2004 remake. I personally enjoyed the original more because it was closer to Shimizu’s original films, always preferable to the American versions.

Bio-Zombie (1998)

For the most part, nobody does zombie movies like the Americans. Sure, Lucio Fulci gave us some good Italian in the 1970s/80s and Edgar Wright’s Shaun of the Dead showed that the British know the genre well, but American George Romero is the undisputed king of zombies: always has been, always will be. That said, Bio Zombie from Hong Kong is a helluva lot of fun, even if heavily influenced by Romero’s earlier films. This is a film that wears its references openly. Half Dawn of the Dead, half House of the Dead videogame (which the characters play in the movie), Bio-Zombie at some points transforms into a live videogame, with powerups and on-screen displays.

Bio-Zombie is too funny to be straight horror. Like similar zombie comedies (such as Return of the Living Dead, Braindead, and the afore-mentioned Shaun of the Dead), the emphasis is clearly on the comedy rather than the horror. In fact, the zombies sometimes seem almost an afterthought, as if they wandered into a zany comedy.

Though very low-budget (one of the symptoms of the zombie infection seems to be a covering in flour, for instance), the effects are pretty good and the film itself is well-made, with quick editing and interesting camera angles. The acting is good as well, for the most part; the film even manages to garner sympathy for an obsessed stalker zombie, a tough task in any movie.

Bio-Zombie is a fun distraction, clever and with some good laughs. Though not a classic, it’s worth a look for fans of the genres, both zombie and Hong Kong cinema.