Tsuneo is a university student working part-time in a mah-jong parlour. Lately the customers have been talking about an old lady who pushes a baby carriage through the streets. They say she is carrying something for a crime syndicate, and they wonder what it is she has in the carriage... Money? Drugs? One day, the owner of the mah-jong parlour sends Tsuneo out to walk his dog. A baby carriage comes rolling down a hill and crashes into a guard rail. The old lady asks him to look into the carriage, where he finds a young woman clutching a knife. This is how Tsuneo first meets the girl who calls herself Josée.
Writer:Seiko Tanabe (novel), Aya Watanabe (screenplay)
Tsuneo is a university student working part-time in a mah-jong parlour. Lately the customers have been talking about an old lady who pushes a baby carriage through the streets. They say she... . You can read more in Google, Youtube, Wiki
Kimberly K (ru) wrote: This is why you don't get black out drunk at a party and have unprotected sex with a stranger. This is what will happen to you if you do lol
Mark H (ca) wrote: Saw it in Omnimax. Very impressive visuals and fascinating content. Makes you want to be an astronaut.
Sumanjit R (kr) wrote: A not-so-good movie, could have been the answer to Hollywood's buddy cop movies!
Sam M (mx) wrote: Harvey Keitel steals this but the surrounding story and characters break it up. Turturro and Keitel went well together but didn't have enough scenes together to prove their chemistry.
Alec B (mx) wrote: Its definitely low budget and I would really have liked to see this great cast do this on stage (as they did before filming) but it has some really great performances. David Tennant's Hamlet is one of the most unique versions of the character I've seen.
David H (mx) wrote: Another Masterpiece directed by the Master Fritz Lang the Brave Czech Resistance try to trick the Nazis but they are undefeatable and their Reign of Terror goes on and on Restiance just force more Repressials
Anthony I (jp) wrote: A lot gets lost in translation, but this is coming from an American here. I didn't quite understand it, but what I saw, captivated me. It's a madcap comedy, with a biting satirical edge on the extremely wealthy. Think "Gosford Park" meets "What's New, Pussycat?". It's classic surrealist comedy. It's cinematography was extraordinary, creating for the first time in cinema, the deep-focus. Not much else I can say, words simply can't describe it.
John S (es) wrote: It's not the tightest of scripts, and the pacing feels terribly off, but the performances (both musical and theatrical) are great. James Cagney is just magnificent, although I wish that he had more musical numbers.
Ingela A (ag) wrote: The plot unravels slowly with little hints as to its central theme dotted about sensitively. It has you asking the question, what has happened to Jackie? How does this figure Clyde she has recognised and recoiled from on the CCTV monitors at work impacted on her lonely and monochrome life ? The answers come quite slowly as she puts her head into the lion's jaws of proximity to this danger man. A bit like the pantomime responses I felt like saying, " No, don't go any closer,he's behind you; you'll be recognised.", failing to recognise myself that something in her wants exactly that. In fact she receives from him perversely, what no viewer might possibly expect, but then she has us asking, is this payback time ? The raw,down-at-heel, desperate, littered, high rise and windy Glasgow streets and housing estates as the backdrop. Ordinary everyday people get on with their lives oblivious of the drama being enacted in Jackie's life and culminating in an protracted showdown. But this is not the end. No, for all the unresolved grief, anger, erotic fascination and damaged lives, there remains a hope born of the unlikely. The film leads you away from the possibility, but ultimately there is life after death in Red Road. No cheering music soundtrack intrudes to romanticise what cannot possibly yield to only to the mawkish. There is just silence, sounds of the street, machinery, public transport and some well chosen tracks to create mood when required. This is what the vintage among us identify as continental cinema, no wonder they loved it at Cannes. This is not a film for audiences to remain detached from; the sheer intimacy of the camera work and the evolving personal destinies involved get you involved too, uncomfortably. A home grown vignette of humanity wrestling with the s..t that regularly happens !