Dead or alive takashi miike vostfr megaupload

Miike throws in flashbacks in faintly baffling spurts to colour in the history and to provide jigsaw pieces of information for the audience to piece together. It is here that Miike surprises again by showing this most outrageous and fickle of directors can also serve up focused sentiment. At its most touching: a gorgeous-looking and amusing vignette of the boys on the beach; and then a moving sequence where as adults they are reunited and recreate the fooling around of their orphanage days.

But there is also an eerie flashback when one boy returns home one day to find his foster father dying, covered in blood; a moment that distorts both visually and auditory in a fleeting scene that would match anything spooky by David Lynch. Miike tears through tonal shifts and genre motifs without either pausing for breath or losing his grip. It is obvious that Miike is a master of genre-mash-ups. Soon, he is cutting between a slightly obscene play for children and nasty gangland massacre.

Meanwhile, gangsters are blasted whilst having sex during a gangland slaughter, etc. Further meanwhile: the school play about loneliness and advocating togetherness includes inappropriate penis gags.

Miike alternates between farce and bloodshed, reinforcing the question of what lays between children and the killers they become.

Our assassins kill for the starving even as they gorge themselves on noodles food and bonding is a frequent motif. Miike has no qualms about utilising real footage of Third World children for his gangster fantasia: indeed, Miike can and will use anything, appropriate or not. This leads the assassins to also become literal avenging angels when they sprout wings.

They drag themselves soaked in blood, for at least a day, back to the ferry and their childhood home — stopping to help tourists take photos - as if insisting that they stumble relentlessly to the most sentimental ending they possibly can. In the end, Miike leaves us with one final vision, full of tenderness, anger and possibility: the tiny fists of babies. And then any internal logic is jettisoned for the typically outrageous finale.

Wu, it seems, has reprogrammed the battle androids of the apocalyptic war, apparently making the world to his liking. Wu wears a shirt splashed with pink faded blood?

They have a decent little melee and then, heading for that outrageous ending, they merge into a crazy phallic robot which seems to satirise not only the homocentric nature of gangster and fighting genres, but also the fetishising of mutation and technology of the anime genre. It's essentially five minutes of continuous sleaze, resembling more an rated trailer than it does the establishing moments of a film.

It's certainly not something I'd recommend sitting down to watch with your family — not unless your family's really weird. It starts with a count-in — "One, two; one two three four" — before a rock riff kicks in, there's a scream, and a not entirely convincing body is seen falling from a building.

It hits the pavement, a shady figure grabs a bag of cocaine from the resulting bloody puddle, and then we're off into a strip club to watch a woman undressing for a bit.

Then there's someone with some guns. Then there's some more stripping. Then more cocaine. More sex. Sign In. Original title: Dead or Alive: Hanzaisha. Action Comedy Crime. A yakuza of Chinese descent and a Japanese cop each wage their own war against the Japanese mafia. But they are destined to meet.

Their encounter will change the world. Director Takashi Miike. Toshiki Kimura. Top credits Director Takashi Miike. See more at IMDbPro. Photos Top cast Edit. Jojima as Det. Riki Takeuchi Ryuuichi as Ryuuichi.

Renji Ishibashi Aoki as Aoki. Hitoshi Ozawa Satake as Satake. Shingo Tsurumi Chen as Chen. Kaoru Sugita Mrs. Jojima as Mrs. Duncan Tanaka as Tanaka as Dankan. Michisuke Kashiwaya Toji as Toji.

Kazuki Kitamura. Mizuho Koga. Tokitoshi Shiota Sakurai as Sakurai. Susumu Terajima Inoue as Inoue. Takashi Miike.