Basic Tsukamoto

Basic Tsukamoto

Interview with world renown cult director Shinya Tsukamoto. This interview will tell you how and when he started creating his own world of cinema exactly the way he thought it should look. Also he is an accomplished actor appearing in many films directed by other directors like Takashi Miike (Ichi the Killer). The interview includes very rare footage of never released films like "10000 Channels" his TV commercials and rare footage of live shows at the Kaijyu Theater in Tokyo.System

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Basic Tsukamoto torrent reviews

Jasrick J (us) wrote: Akshay Kumar is back in Khiladi avatar an man is he damn good. Action and Comedy to the max is what this film provides. I wont add any spoilers but, do one thing if you like Action, Comedy, or just love pure entertainment for 2 hrs go watch khiladi 786 and you won't be disappointed but do leave your brain at home!!!

Farah R (ca) wrote: A charming period drama if not the mother of all Austen's film adapted period dramas with its familiar pleasant visuals and exquisite costumes. The only defect would be casting Anne Hathaway as the beloved Miss Austen for her dull accent and inadequate acting projected negatively. But all in all, Becoming Jane showcases the untold tale behind the timeless love stories.

Aaron B (nl) wrote: Igby Goes Down is an example of how to put a star-studded cast to good use. Culkin gives a distinguished performance because he understands the dark humor and knows the right amount of emotion to put into a scene. An all-around decent film.

Corey B (us) wrote: Movie is basically Cage VS MacClaine and it is enjoyable as that.

Blake P (gb) wrote: The camera gazes upward at what appears to be the ceiling of a ritzy mansion, swing music frolicking in the background. Capital letters suddenly appear on the screen, announcing that the location of this swing music adoring home is in Cape Fear, somewhere near the border between North and South Carolina. One can almost feel the rush of an air-conditioned breeze after a romp in the sun. Guests only come inside for a glass of bubbly and a leather chair to reflect on. A party is going on. We meet it at its exit, Nicolas Cage and Laura Dern trotting down the chandelier lit staircase in an effort to find some fun elsewhere. But a man stops them. You see, he has caught wind of a certain incident (allegedly, Nick attempted to have a tryst with Laura's mother in the bathroom), and has been hired to off him for the preservation of reputation. The man pulls out a switchblade with a wicked grin, ready to slash - sensing danger on the premises, Laura belts out a screechy "NOOOOOOOOO!"; Nick, in the meantime, overpowers the villain, slamming him against the handrail, the steps, the floor, until blood and brains cover the area. When his opponent is dead and gone, he can do nothing besides light a cigarette and viciously wag a finger at a Southern belle of a woman at the top of the stairs. You, his eyes say. No, we don't know what the hell is going on, and no, we aren't given enough time to react. Is this supposed to be a scene of camp, or a scene of heinous savagery? Perhaps both, as the carnage is soundtracked by thrash metal and Dern's screams while still managing to disturb the living bejesus out of us. As we will soon learn, "Wild At Heart" is a fearless road movie, unafraid to be abstract, unafraid to shock. As is the case with all David Lynch movies, one can tell whether they will enjoy the film within the first half-hour or so. If its overwhelming strangeness captures your imagination right off the bat, it will, no doubt, remain beguiling. But if you become lost in its incomprehensibility too soon, don't expect to find your way out of the rabbit hole. "Wild At Heart" never gives us the chance to question our curiosity. It begins so ferociously that we're immediately determined to figure out why our supposed hero feels so inclined to crack a man's skull in full view, even if the answer is somewhat ambiguous. What follows is a sprawling tale of distinctive criminals and sordid romances, all set to the tune of the road, Elvis Presley, and "The Wizard of Oz".Cage and Dern are Sailor and Lula, young lovers on the run from Sailor's parole and Lula's crazed mother, Marietta (Diane Ladd). The two merely want some time alone to bathe in each other's company through sex, rock 'n' roll, and the freedom of the highway; but Sailor, a cursed individual no doubt, has provoked the psychotic Marietta. He witnessed a scandalous event from her past that could ruin her high society livelihood, so, desperate, she hires a hitman to rid herself, and her daughter, of any future harm.But this doesn't do as much good as she would like -in fact, it does the complete opposite. Unleashed is a nightmare of crooks that sets out to destroy Sailor and Lula's seemingly unbreakable love, while Marietta, in the meantime, suffers a breakdown in the face of wrenching guilt.Reading the synopsis I've just written, I'm worried that I've made "Wild At Heart" sound too much like '93's "True Romance". That was a conventional movie with a vivid way with words, whereas "Wild At Heart" is a satire of the archetypes given to the lovers-on-the-run subgenre. To be even more specific, it is a satire of Sirkian melodramas, Elvis movies, road pictures, middle-of-nowhere noirs. It's one big satire, but it isn't. Lynch doesn't so much make fun of cliches as he does boil them in acid, turning them inside out and making things once viewed as beautiful oddly freakish. This is what I've always admired about his work; even at his worst moments, he creates his own world out of all things familiar.In some cases, his films have had too many ideas to fit into the space of a normal movie, playing out as monotonous rather than provocative. The framework of a road picture, however, suits Lynch's style perfectly. Road movies are places in which characters can ramble, where possibilities are endless; the unpredictability of his style is fitting, as tonal shifts manage to feel natural. The main characters are loose cannons, as are the individuals that haunt the small towns they face, so a jump from broad comedy to gory suspense doesn't feel very questionable. Sure, a genre shift can be jarring, but this is Lynch (more specifically, a Lynch road trip) we're talking about; a sense of aesthetic coherence is a gift from the gods. More sensational are the actors; the movie calls for insanity, and they provide nearly all of it. How Lynch is able to do this, I don't know; this is one of his finest ensembles. Cage and Dern are as over-the-top as any romantic leads could ever be, Cage taking breaks from metal concerts to lip-synch Elvis Presley's "Love Me", Dern going back and forth between vulnerable and thrill-seeking. Ladd, in a fantastic performance, is a hoot, taking the nastiest components of the bitchy women from "Dynasty", "Dallas", and "Peyton Place" and undergoing an excessive onscreen breakdown. In one scene, she covers her face in red lipstick in the wake of an increasingly guilty conscience; it could have been laughable, but Ladd makes the ridiculousness masterful in its delivery. Also stopping by are Willem Dafoe as a deranged criminal with an array of rotten teeth, Isabella Rossellini as a ratchet-blonde gun moll, Grace Zabrinskie as an aggressive, aging femme fatale, Sherilyn Fenn as a doomed victim of a car crash, and Sheryl Lee, as, yes, Glinda the Good Witch. "Wild At Heart" has a wild heart no doubt, but it works much better than some of Lynch's more indulgent offerings. It has something in the way of comprehensibility, and features a cast more than willing to submit to their uninhibited director's instincts. It's perhaps too long and perhaps too giddy when it comes to symbolic representation. But it's a reminder that filmmaking can be, in any form, an exciting craft.

Cory T (jp) wrote: Horace Pinker (Mitch Pileggi) was meant to be the next evolution in Wes Craven's horror odyssey. A bald serial killer who worships at the throne of channel-surfing, Pileggi hops right on board the gargantuan overacting inherent in the role. In a sidenote, it's an amusing nuance that Pileggi had to mimic the limp of a prepubescent girl who was possessed by Pinker later in the film because she filmed her scene before he arrived on set. However, Shocker nosedived at the box office and Craven couldn't capitalize on another Freddy Krueger. For what it's worth, Shocker is a rollicking, albeit cynically synthesized horror-comedy. The boob-tube hypnosis and desensitization to cathode-ray-tube violence would've been a viable outlet for satire but Craven presumably abstains from social commentary for once. Craven plunders wholesale from his Nightmare on Elm Street template. The opening is precisely identical to his aforementioned franchise with a repair shop instead of a boiler room. The lines between reality and REM sleep are blurred. Pinker spews sound bytes that could've been pun-intended catchphrases ("Take a ride in my Volts-wagen"). Moreso than his other films, rationalization and logic hold no sway over the far-fetched writing in Shocker. Jonathan Parker (a vanilla Peter Berg) is a foster child who practically lives in an expensive suburban house all by himself like a Nickelodeon sitcom. A necklace imbued with the omnipotent power of "love" is the only object that can defeat the electrified Pinker. It might seem that I'm deriding this film but actually I wholeheartedly recommend it. The flickering, low-res pixel version of Pinker was quite innovative for the time. The showstopper is a gonzo sequence where Pinker and Jonathan hopscotch through different programs from a Leave it to Beaver to a John Tesh newscast to a televangelist set. Obviously, Shocker should be evaluated with a macabre sense of humor. The Dudes of Wrath and Alice Cooper soundtrack guarantees the film is a heavy-metal guilty pleasure for headbangers and any opportunity to hear a tongue-wagging Michael Murphy shriek "eat shit and die you little fucker" is a succulent treat. If nothing else, it is superior to both The First Power and The Horror Show which overlapped the same premise.

STCENTERPRISE (au) wrote: This was a very good movie. Although I was very surprised at the begging when Robin Williams charter asked the class to rip out some of the pages of the book to the index when I first saw this film. On my second time I saw this film it began to make sense. Also the ending was a very big surprise for me. But it was a very well made movie & thought you some English reading too I think or a different way to express yourself.Strict parents who don't allow you to do what you want but rather tell you how you should run your carrier path rather than let yourself go your own path.Strict guideless verses openness and allowing you to go your own way. Seize the Day. Do what you can to make the most of life rather than doing less than your potential. Think for yourself rather than having yourself have your life determined & judged by others standards. Read and write passed on passion and human feeling what we stand for. What will your verse be.What stands out to be is that there are clear scenes Not artist but free thinkers.Not a syndic, realistBut only in dreams are men free. Alfred Lloyd Tennyson.Dead Poets Society. Most likely to do anything. Looking at old annual of teacher of the Dead Poets Society. Seek for Sucking the marrow Make poetry make own poetry and spoke from own lips. Teacher O' Captain my Captain. Mr. KeatingGuys join to make own Dead Poets Society at night in to have better technic to get girls.What gets me about this film is that there are scenes in this film is that there are scenes in this film where you are drawn back in by how the story or dialog is told it draws you in when there is nothing really interesting to look at but you are drawn to the dialog and the reactions of everyone's face. Check to see from another perspective. Constantly look at things in a different way. Even if it looks silly or wrong Strive to look for your own voice.Nothing is impossible.If you don't say anything not disobeying parents.Work off opposites on roommates. One Neil who wants to do more and wants to get outside of the box where as the other Todd Anderson likes staying confined to standards of the rules. Underestimates his own abilities. One roommate helps the other recognize his own self. Stirred upI liked the steady came scenes where you chase the boys in a confined space to get the notes and homework. Or using it to look up and spin around on a stair case. One may say a sport is better than anotherRise above your name. Rise above your own potential.Plays music while read poetry to get feeling. Speak as you would fill a soul rather than just reading with no feeling.Read with emotion and feeling.Where not laughing at you but wDon't let your poems be ordinary.He treats every student differently. He tries to open them out of there comfort zone to become better than they are. I like how they spin around Robin Williams and student as we see the student brake out and is able to express himself. Found his own voice when he thought he had nothing.I like the use of classical music in this film.Scene where students start smoking there pipes in cave.Got to do more. Got to be more.Music as a form of expression similar to poetrySonorous. This film does not dumb you out as an audience as far as the literature or vocabulary.Make it known beliefs are unique rather than following the crowd. Even if others may find what you do strange.Tradition and discipline verses thinking for yourself.Daring from caution. Getting expelled is stupid because you will miss some golden opportunities.This film hits on some strong serious points. Family found it deceiving. To do acting. The Fathers role is so well done. Planned out my life never asked what son wants. Your acting for your father. Father no longer wants him to play in Henway Hall play.The one you least suspect gets killed. Because he finds no way out. Parents forced his son into a box with no way to escape to make his own way.He lies in order to may himself feel comfortable rather than Love over follow heart over follow rules.You feel something strong by this film. This film does a good job of using silence and just letting the sound effects and actors lines run the scene. Father sees his sons acting as not a serious carrier move. And not up to his expectations. The reactions in this film are believable and real reactions.This film is filled with powerful & emotional moments. Insist on not defying parents will.He was good and his father denied him his success.Neil commits suicide and you feel an emptiness because and loss since we were so invested in him. He was the glue to the film that kept the characters together. Snow cold yet so beautiful. I found it strong when we real that Neil Perry had written in his poetry book this quote. "I went to the woods because I wanted to live deliberately. I wanted to live deep and suck out all the marrow of life!" H.D.T. It was so potent and powerful.All the acting is very well done.Extensive InquiryThey framed Mr. Keating so that they could get out of it."You can't save Keating but you can save yourself."My Captain my CaptainBroke the rule to follow own way.

Anna N (ca) wrote: Horror = Not interested.

Katie R (br) wrote: Ginger's performance is really charming and excellent. It's interesting to see a version of this story done at this time period.

Sui G (au) wrote: Uhm...even though this movie was so, so, so long, the ending was the only good part I thought. They got together. It was worth the one time I saw it.

Lucas Y (ag) wrote: Falls into that "so bad it's good" category for me. If you grew up listening to the Adam Sandler CD's like me, you won't hate That's My Boy. I really admire Sandler for making this knowing before that he was under contract not do drink or use drugs in films to protect his then family friendly image. Word is that's why he passed on Grandma's Boy. That's My Boy is not a well made film. There are several stupid parts and jokes that fall flat. I like old school Sandler though so overall it worked for me.

Jamie M (kr) wrote: While Michael Thelin does have lots of experience, an interesting fact about him is that he still has yet to learn pacing.Also has the ability to turn short films into 83 minutes of slow-mo with no action, a feat very difficult to accomplish.