Shôrinji kenpô

Shôrinji kenpô

Sonny Chiba plays the character referred to as "Mr Soh", who is based on the true life founder of Shorinji Kempo, Doshin So. Mr Soh has been acting as a secret agent in Manchuria during the...

Sonny Chiba plays the character referred to as "Mr Soh"| who is based on the true life founder of Shorinji Kempo| Doshin So. Mr Soh has been acting as a
secret agent in Manchuria during the Japanese occupation. He is first seen spying on a meeting of Chinese soldiers as they plan a surprise ambush on the retreating
Japanese Army. He is discovered and has to fight his way out| using fists| feet and then a machine gun. He rushes to inform the Japanese commanders of the plot| but
is horrified to learn that Japan has done the unthinkable by surrendering unconditionally. Soh returns to his homeland to find a ravaged land of beaten people.
Victimised by gangsters| occupation forces and corrupt local officials| the poor and the disenfranchised have lost the will to fight back. Using his "Shao Lin"
skills (subtitle translation of Shorinji Kempo)| he regularly champions the weak and teaches the black market thugs the error of their ways| becoming a
regular guest at the local prison. He is seen... . You can read more in Google, Youtube, Wiki


Shôrinji kenpô torrent reviews

Amanda H (ag) wrote: I don't know enough about JK Rowling to know how much of this movie is true, but considering it's not trying to hide the fact that it's unauthorized, I really didn't care about that. I enjoyed the performances and found it to be a much better film than the reviews it's gotten. You shouldn't always expect the worst of something just because it comes from Lifetime.

Carlos F (fr) wrote: understated. kinda like a radio drama. really dug it.

Andrew P (br) wrote: The film glosses over a few of the kids' lives, which leaves us wanting a more in depth analysis of where they are in their lives, even if that makes the film a little longer. It's kind of disappointing compared to the other films, but still pretty good.

Jack G (it) wrote: To look at Taste of Cherry properly, in my mind, is to look at precisely the manner that he is going about planning to commit suicide. The question that has to be asked is: why does he need help? More than about who he is or why he is doing it - clearly these are questions that Kiarostami isn't interested in (I think that his job in casting Homayoun Ershadi as Mr. Badhii was almost enough, to find someone with intense sadness but also a great intelligence in his eyes, and those who notice it may see at the least that, whether he's rational or not, he's thought this through) - I think the question comes down to human connectivity. In this story he means to take a lot of sleeping pills and go at night into a hole in the ground he's dug by a tree out in the wastelands near Tehran. But there's a catch: he has to find someone who, at dawn, will come and say his name. If Badhii responds, he'll need to pull him out of the hole. If there's no response, 20 shovels of dirt on his head. In his way, just by asking for people to help him it's his way of reaching out. One of the cliches (but a cliche is what it is because it's many times true) with suicidal people is that they will say they will or want to kill themselves because they want attention. However this isn't some stereotypical teenager or someone with easy to see anxiety issues... but then how many people out there CAN we see having this? Maybe Mr. Badhii has no other reason except the one that many people who kill themselves get into: severe, crippling depression. He is told by one of the three passengers he picks up in the film, a Seminarian (aka a priest of a sort) that the Koran forbids suicide since God gives man a body that he must not damage. But what if the mind is already damaged? One of the handful of negative reviews on this Golden Palm winner from 1997 was by Roger Ebert. He was much harsher than I could ever be on the film, since I think it's rather challenging and intelligent in its philosophical aims and its "slowness" works as part of a character unable to really cope with the sense that 'there's no other choice and this HAS to be this way' sense of ending a life (maybe not as strong as Melancholia, but then few films are). Yet he made a curious point that I agree with, which is that we don't know anything about this man and so there's no port into sympathy for him. I think I get both sides of how people might approach that argument: too often a movie will overload a movie character with reasons to do this or that or the other. Kiarostami means to almost make this experimental in approach (about 75% of the film is shot from inside a car - what this means aesthetically in the context of the film I'm still sure I don't know, on a first viewing anyway), but also that maybe too many reasons would make things too easy or too country specific. In other words, by having it so that Mr. Badhii's conflict is so internalized that it becomes more about his quest to get this ONE thing done that makes his journey interesting - who needs reasons when you simply have a man on screen who can communicate so much through his eyes (I must stress that the performance from Ershadi may be the strongest thing about the film, like I wish he had been recognized at Cannes along with or even instead of Kiarostami)? What's also impressive about the film, what makes Taste of Cherry impactful, are a) those interactions Badhii has with these three people (the young soldier who is clearly uncomfortable from almost the start of the pick-up and then wants to just get out and have nothing to do with him, the Semanarist, and then the older gentleman who agrees to what Badhii asks but tries to go on and talks the most of anyone about why suicide isn't such a good idea based on, you know, some little thing may make you realize life is worth living).And B) those little moments where Badhii doesn't have someone in his car, and he stops off at a construction site to just sit there amid all of the "earth" and rubble around him (he almost looks like he's in tears, as this comes after the second passenger rejected his request, though it's almost, cinematically speaking, in a metaphysical sense of visual language, that things are crashing down upon and all around him), or when he simply looks out at people as they go about their day, soldiers marching and chanting along, the children playing, and a young woman who asks him to take a picture of her. I think a good filmmaker finds those little moments and attempts to build some context around the story, and Kiarostami does that: Badhii may have it set in his mind to do this, but how does one completely disregard... well, LIFE, all around him, the world continuing to live and thrive and people doing things like, at one point, getting his car out from under a ditch that he drives in to by a cliff? So much of the story is rich - the execution, yes, is a little slow at points, by this I should say shots linger as the characters improvise their lines (it didn't feel that way watching it, but finding out after the fact there was no full script makes it both remarkable and more sense why it sounds the way it all does) - that it's extremely disappointing that the ending putters out. It may be one of those things I *should* get and just completely flew over my head what meaning it was. I won't say what happens except to say that it feels like the film is reaching some logical conclusion, or perhaps a revelation, and what we get feels like a non-ending, or, frankly a cop-out. DID Kiarostami know what ending he wanted and threw it out to do something "fresh", or did he not get what he wanted and decided to just say 'eff it' and forget what was happening in the film? What's so frustrating is that for 90% of the film Kiarostami tells a story in a specific way, that can't be mistaken for any other style or approach, and then in that last 10% (and also things start to slow down to a crawl, which is fine, but it feels like it's leading up to SOMETHING) it becomes, well, *meta* or taking the experimental to a place that is distancing for the audience. But more than anything I just didn't get it, and I usually feel I can get most weird and esoteric decisions. And I'm sure some smarter film goer than I will explain what the end means and make me feel all foolish for not getting it, but that makes me feel WORSE about it, not better. And at the end of the day so much of Taste of Cherry is a provocative, daring, surprising film that I can't not recommend it to audiences looking for a fiercely intelligent film by someone looking to break out of the box of typical narrative films. If only it stuck to its, I don't know, narrative!

Luke M (kr) wrote: If Mighty Aphrodite lived up to its potential, it would be a highly entertaining, 45 minute short-film featuring Woody Allen's delightfully neurotic performance and his interaction with Mira Sorvino's ditsy but charming Linda. As it is, however, the script feels like it has been padded out with unnecessary extra material, a cringeworthy Greek chorus, and numerous condescending moments where the film considers the audience too stupid to realise things without ramming it down their throats.

MarieBella C (au) wrote: Paltrow and Hopkins exude wonderful chemistry they give authentic and touching performances,in this film which the line between brilliance and insanity is thinly drawn.

Glenn C (mx) wrote: The Woman From Deep River is known elsewhere in the world as Cannibal Ferox and Make Them Die Slowly... for years it has boasted itself as the most gruesome movie ever made. It may not retain that honour amongst some of today's films but it definitely remains one of the most grotesque. In the wake of Cannibal Holocaust, Italian exploitation director Umberto Lenzi upped the ante and delivered this nasty piece of work. The concept is almost identical to Holocaust with a group of people venturing into the jungles of Paraguay to dispel rumours of tribal cannibalism. Of course they find themselves in deep shit. The film was banned and eventually released heavily edited where it languished in the "video nasties" section for years. Its imagery is brutal, barbaric and realistic. Much like Holocaust, it depicts real images of animal cruelty & slaughter and this stuff is difficult to stomach. The most recent releases of the movie have edited a lot of this stuff out and to be honest, its not missed. Most of the staged (fake) violence is brilliant. Scalping, disemboweling and a heap of other nasty things. The last time I watched it was on a VHS tape and I reckon I prefer it that way. I have no real desire to see it on dvd and so I really regret selling my tape when dvd came along... I regret selling most of my VHS.

Gwendolyn M (nl) wrote: I was a post-hippie Jesus Freak and this movie was so affirming in that era of radical, total commitment. A beautiful moment when simple faith confronts incredible wealth and power, and the Pope kisses the dirty feet of the friar.

william s (us) wrote: What a amazing movie

Scott A (mx) wrote: Now this was a western. It looks and feel like a classic epic, and wow what a cast.Scott Glenn. Kevin Costner. Danny Glover. Kevin Kline. Brian Dennehy. John Cleese. Rosanna Arquette. Linda Hunt. Lynn Whitfield. Jeff Fahey. Richard Jenkins. Amanda Wyss. Ted White. Brion James. James Gammon. Jeff Goldblum.It has more gun fights than you can shake a stick at as well.The only things that needed improvement were the bond of the four leads. The group up and then split up for most of the film, losing any kind of chemistry they could have had.I also felt the romance between Kline and Arquette seemed very forced, mostly cause of her lack of screen time.