Kubo, Akira

Yojimbo & Sanjuro - Two Films By Akira Kurosawa - Criterion Collection

Thanks to perhaps the most indelible character in Akira Kurosawa's oeuvre Yojimbo surpassed even Seven Samurai in popularity when it was released. The masterless samurai Sanjuro who slyly manipulates two warring clans to his own advantage in a small dusty village was so entertainingly embodied by the brilliant Toshiro Mifune that it was only a matter of time before he returned in a sequel. Made just one year later Sanjuro matches Yojimbo?s storytelling dexterity yet adds a layer of world-weary pragmatism that brings the duo to a thrilling and unforgettable conclusion. Criterion is proud to present this pair of Kurosawa masterworks in new high-definition anamorphic digital transfers.Format: DVD MOVIE Genre: FOREIGN/LATIN Rating: NR UPC: 715515021524 Manufacturer No: CC1669DDVD

After Akira Kurosawa's Yojimbo was released in 1961, the samurai film would never be the same. It's difficult for latter-day Western audiences to fully appreciate just how revolutionary Kurosawa's film was in its time; it had the same kind of popular impact that Quentin Tarantino's Pulp Fiction had 33 years later, which is to say, it completely revolutionized its genre, and its influence continues to this day. With an emphasis on dark, delicious comedy, Kurosawa deliberately set out to overturn the conventions of chambara--or swordplay film--and he began by casting the great Toshiro Mifune in the role that would define his career. Unlike the samurai of previous films (including Kurosawa's own masterpiece, Seven Samurai), Sanjuro was an unkempt, down-and-out drifter, a masterless ronin and with time on his hands and nowhere to go. When he chances upon a corrupt, terror-stricken village where clashing merchants are engaged in a ruthless range war, Sanjuro amuses himself by playing both ends against the middle, offering his services as yojimbo (bodyguard) to both sides, then standing back to watch all hell break loose. It's a perfect game of wily deception, hugely popular with Japanese moviegoers as Mifune's performance gained iconic status. Yojimbo's international success was no less impressive; it eventually inspired two noteworthy remakes (Sergio Leone's spaghetti Western A Fistful of Dollars in 1964, and Walter Hill's mobster interpretation, Last Man Standing, in 1996), and remains one of Kurosawa's most popular classics.

A sequel was inevitable, and Kurosawa responded to public demand as only a true artist would, with the equally impressive Sanjuro, quite different from Yojimbo while allowing Mifune to reprise his signature role with a lighter comedic touch. This time, Sanjuro is recruited by a group of young, idealistic samurai to eliminate corruption in their clan, and in the process he completely subverts their overly reverent notions of "proper" samurai behavior. And while both Yojimbo and Sanjuro were milestones in movie violence (featuring the spurting geysers of arterial blood that would become a staple of chambara from this point forward), the calmer, more comically subdued Sanjuro actually boasts a higher body count, and both films rank among the finest examples of Kurosawa's peerless mastery of action.

The Criterion Collection's double-disc set is a must-have for any serious cinephile. Both films (also available separately) are presented with all-new, fully restored high-definition digital transfers, representing (as in the case of Seven Samurai) a significant improvement over Criterion's previous DVD releases. Both films feature full-length commentaries by Kurosawa scholar Stephen Prince (with eloquent emphasis on camera movement and composition) in addition to retrospective documentaries culled from the priceless Japanese Toho Masterworks series Akira Kurosawa: It Is Wonderful to Create, featuring illuminating interviews with many of Kurosawa's closest collaborators. Theatrical trailers and behind-the-scenes photo galleries are also included, along with new-and-improved subtitles, insightful booklet essays by critics Michael Sragow and Alexander Sesonske, and rarely seen production notes by Kurosawa and members of his casts & crew. With this two-disc reissue, Criterion's previous releases of Yojimbo and Sanjuro should now be considered officially obsolete. --Jeff Shannon

Destroy All Monsters

When a malevolent race of Moonwomen try to put the big hurt on Earth, it's up to (take a deep breath) Godzilla, Rodan, Mothra, Anguilas, Minya, Manda, Baragon, and Spigas to resist their evil mind control and make the world safe for monster (and human) kind! Long unavailable on video, Destroy All Monsters is the crowning achievement of the Japanese monster genre, with wall-to-wall action, cheesily magnificent special effects, and a final nine-to-one battle royale (against the awesome three-headed dragon known to fans as King Ghidorah) that's guaranteed to get even the most passive viewer noisily bopping around the room. A badly dubbed, logic-defying, supremely gonzo blast, presented in a widescreen format that allows the watcher to see every single rubber scale. The original title for this quintessential creature bash translates as Godzilla Electric Battle Masterpiece, which just about says it all. --Andrew Wright

Invasion of Astro-Monster (aka Monster Zero)

(Sci-Fi) Invasion of Astro-Monster/Godzilla vs. Monster Zero -- Aliens from Planet X borrow our monsters for a little extermination project, but they've got something else up their sleeves: world domination! Using mind-control technology, these vinyl-and-sunglasses wearing spacemen turn Godzilla, Rodan and King Ghidorah loose in Japan, demanding Earth's surrender! It's up to American astronaut F. Glenn, his galaxy-trotting buddy Fuji, and nerdy inventor Tetsuo to break the aliens' hold on the monsters and save our planet from certain doom.

Son of Godzilla

The monster-about-town becomes doting dad when he adopts orphan lizard Minilla, the result of a radioactive storm caused by a scientific experiment gone wrong. This decidedly juvenile affair shows signs of the series' cost-cutting measures and Godzilla himself has been redesigned to reflect his new, younger audience, with an oversize head and big, doll-like eyes. This kindler, gentler lizard king proceeds to protect the happy-go-lucky kid from the newly mutated giant insects of the island and teaches him how to breathe fire. Much of the film is played for comedy--Minilla blowing smoke rings instead of flames, skipping rope with Dad's tail, skittering about like a mischievous little kid as put-upon Godzilla tries to keep the tyke focused--and is obviously aimed at Godzilla's enormous adolescent audience. But as always, the picture delivers great monster battles, notably with the mutant spider giant Kumonga. --Sean Axmaker

Throne of Blood - Criterion Collection

A champion of illumination and experimental shading, Kurosawa brings his unerring eye for indelible images to Shakespeare in this 1957 adaptation of Macbeth. By changing the locale from Birnam Wood to 16th-century Japan, Kurosawa makes an oddball argument for the trans-historicity of Shakespeare's narrative; and indeed, stripped to the bare mechanics of the plot, the tale of cutthroat ambition rewarded (and thwarted) feels infinitely adaptable. What's lost in the translation, of course, is the force and beauty of the language--much of the script of Throne of Blood is maddeningly repetitive or superfluous--but striking visual images (including the surreal Cobweb Forest and some extremely artful gore) replace the sublime poetry. Toshiro Mifune is theatrically intense as Washizu, the samurai fated to betray his friend and master in exchange for the prestige of nobility; he portrays the ill-fated warrior with a passion bordering on violence, and a barely concealed conviviality. Somewhat less successful is Isuzu Yamada as Washizu's scheming wife; her poise and creepy impassivity, chilling at first, soon grows tedious. Kurosawa himself is the star of the show, though, and his masterful use of black-and-white contrast-- not to mention his steady, dramatic hand with a battle scene--keeps the proceedings thrilling. A must-see for fans of Japanese cinema, as well as all you devotees of samurai weapons and armor. --Miles Bethany

One of the most celebrated screen adaptations of Shakespeare into film, Akira Kurosawa's Throne of Blood re-imagines Macbeth in feudal Japan. Starring Kurosawa's longtime collaborator Toshiro Mifune and the legendary Isuzu Yamada as his ruthless wife, the film tells of a valiant warrior's savage rise to power and his ignominious fall. With Throne of Blood, Kurosawa fuses one of Shakespeare's greatest tragedies with the formal elements of Japanese Noh theater to make a Macbeth that is all his own—a classic tale of ambition and duplicity set against a ghostly landscape of fog and inescapable doom.

Matango: Attack of the Mushroom People

Directed by Ishiro Honda (The Godzilla Series!) After a yacht is damaged in a storm and it's boarders stranded on a deserted island the passengers; a psychologist and his girlfriend, a wealthy businessman, a famous singer, a writer, a sailor and his skipper take refuge in a mysterious fungus-covered boat. While using the MUSHROOMS for sustenance they find in the ships journal that the mushrooms re poisonous, however some members of the shipwrecked party continue to ingest the mysterious fungi transforming them into hideous ungal monsters. One of the strangest and most horrific TOHO productions to date.

Space Amoeba

Sanjuro - Criterion Collection

Akira Kurosawa's sequel to Yojimbo is more lighthearted and less cynical, a rousing adventure with Toshirô Mifune reprising his role as the scruffy mercenary who becomes an unlikely big brother to a troupe of nine naive samurai. Shuffling into a secret meeting where the proud young men discuss the graft choking their clan, Mifune's Sanjuro scratches his scraggly beard and distractedly rubs his neck like some common peasant while giving them advice on appearances and truths: "People aren't what they seem," he warns the dubious lads. "Be careful." Naturally they aren't, and Sanjuro grudgingly adopts the well-meaning but hopelessly ill-equipped heroes, giving the starry-eyed youths a series of lessons in real-world honor and respect while saving their skins from reckless attacks and impulsive plans. It isn't the subtlest of Kurosawa's films--the repetitious lessons and speeches delivered to the thickheaded samurai are rather obvious--but it's one of his most entertaining. Mifune, gruffly at ease with the boys, is hilariously discomforted in the presence of a cultured lady, who sees through his shaggy exterior and imparts a little wisdom of her own. Mifune bounds into action in a number of impressive sword fights--wonderfully choreographed lightning-quick battles in which Mifune leaps all over the widescreen image--but an increasing sense of waste, of futility, hangs over the action scenes, culminating in a tense but meaningless duel of honor. The accompanying trailer on the DVD features brief behind-the-scenes glimpses of Kurosawa directing Mifune through an action sequence. --Sean Axmaker

Toshiro Mifune swaggers and snarls to brilliant comic effect in Kurosawa's tightly paced, beautifully composed Sanjuro. In this companion piece to Yojimbo, jaded samurai Sanjuro helps an idealistic group of young warriors weed out their clan's evil influences, and in the process turns their image of a "proper" samurai on its ear. Criterion is proud to present Sanjuro in a gorgeous Tohoscope transfer.

Rikyu

Japan's Longest Day

The Dramatic True Story Of The End of WW IIOn August 15th 1945 the Japanese people faced utter destruction. Millions of soldiers and civilians were dead the rest were starving and their cities had been reduced to piles of rubble-two of them vaporized by atomic bombs.The government was deadlocked; some ministers called for surrender and others argued that honor demanded a final battle on home soil. To break the impasse the cabinet took the unprecedented step of asking the Emperor to decide the fate of the nation.Unable to bear the suffering of his people any longer and finally given the power to do something about it the Emperor decreed that Japan would lay down its arms.Much work remained to be done: an Imperial Rescript had to be composed the Emperor had to record it and it had to be broadcast to the nation. And there were many soldiers and civilians who could not accept surrender and would do anything-even commit treason-to avoid it.In a single 24 hour period the fate of 100 million people would be decided.System Requirements:Running Time: 157 MinutesFormat: DVD MOVIE Genre: FOREIGN/LATIN Rating: NR UPC: 737187011498 Manufacturer No: ANM-DV1149