Kitano, Takeshi

Zatoichi /Sonatine Double Bill

ZATOICHI: THE BLIND SWORDSMAN stars Japanese screen legend Beat Takeshi in an action-packed, award-winning film that has been compared to "Kill Bill Volume One." SONATINE also stars Beat Takeshi in a fast and furious gangland thriller with an edgy "Pulp Fiction" attitude. Both of these films include bonus DVD features, including an introduction to SONATINE by Quentin Tarantino, acclaimed director of such film favorites as "Pulp Fiction" and "Kill Bill" Volumes One and Two.

Dolls

Dolls is a film of extraordinary beauty and tenderness from a filmmaker chiefly associated with grave mayhem and deadpan humor. That is to say, this is not one more Takeshi Kitano movie focused on stoical cops or gangsters. The title refers most directly, but not exclusively, to the theatrical tradition of Bunraku, enacted by half-life-size dolls and their visible but shrouded onstage manipulators. Such a performance--a drama of doomed lovers--occupies the first five minutes of the film, striking a keynote that resonates as flesh-and-blood characters take up the action.

The film-proper is dominated by the all-but-wordless odyssey of a susceptible yuppie and the jilted fiancée driven mad by his desertion to marry the boss's daughter. Bound by a blood-red cord, they move hypnotically through a landscape variously urban and natural, stylized only by the breathtaking purity of light, angle, color, and formal movement imposed by Kitano's compositional eye and rigorous, fragmentary editing. Along the way we also pick up the story of an elderly gangster, haunted by memories of the lover he deserted three decades earlier and generations of "brothers" for whose deaths he was, in the accepted order of things, responsible. Another strand is added to the imagistic weave via a doll-like pop singer and a groupie blinded by devotion to her.

This is a film in which character, morality, metaphysics, and destiny are all expressed through visual rhyme and startling adjustments of perspective. It sounds abstract--and it is--but it's also heartbreaking and thrilling to behold. Kitano isn't in it, but as an artist he's all over it. His finest film, and for all its exoticism, his most accessible. --Richard T. Jameson

Inspired by the everlasting emotions expressed in Japanese Bunraku doll theatre, Dolls weaves three stories delicately intertwined by the beauty of sadness. Bound by a long red cord, a young couple wanders in search of something they have tragically forgotten. An aging yakuza mysteriously returns to the park where he used to meet his long-past girlfriend. A disfigured pop star confronts the phenomenal devotion of her biggest fan

Getting Any?

From the acclaimed director Takeshi Kitano [Fireworks, Kikujiro] comes a bizarre, over the top and absurd comedy full of slapstick silliness and never ending gags. A great satire of Japanese society and popular cinema, Getting Any?, embraces the spirit of Kitano's early stand-up and television work and as such it offers a genuine inside look into his true personality. The story follows the nerdy middle age Asao, a professional daydreamer, whose one and only goal in life is - as the title suggests - to get laid. Asao embarks on a series of slapstick adventures in search of fulfilling his ultimate fantasy - making wild passionate sex with a woman. His holy quest for sex lands Asao in a series of absurd situations, involving robbery schemes, big movie productions, yakuza gang rivalry wars and scientific experiments. Getting Any? may be very episodic and perhaps even pointless in the grand scheme of things, but for those willing to go for it, it's a hoot from start to finish.

Getting Any? (Uncut Edition)

From the acclaimed director, Takeshi Kitano (Fireworks, Kikujiro), comes a bizarre, over the top and absurd comedy, full of slapstick silliness and never ending gags. A great satire of Japanese society and popular cinema, Getting Any?, embraces the spirit of Kitano s early stand-up comedy and television work, and as such it offers a genuine inside look into his true personality.

The story follows the nerdy, middle aged Asao, a professional daydreamer, whose one and only goal in life is - as the title suggests - getting laid. Asao embarks on a series of slapstick adventures in search of fulfilling his ultimate fantasy - making wild, passionate sex with a woman. Asao s holy quest for sex lands him in a series of absurd situations, involving robbery schemes, big movie productions, yakuza gang rivalry wars and scientific experiments. Getting Any? may be very episodic and perhaps even pointless in the grand scheme of things, but for those willing to go for it, it's a hoot from start to finish.

Kids Return

Takeshi Kitano's humorous, offbeat, and ironic tale of lost adolescence and survival. Masaru and Shinji are two delinquent teenage slackers who cut classes, play pranks on their teachers and extort money from their fellow students. After dropping out of school, Shinji takes up boxing. Masaru, the loud mouth, talks his way into the local Yakuza gang. But just as they're about to attain success in their new professions, the past returns to haunt them.

A Scene at the Sea

A deaf garbage collector happens upon a broken and discarded surfboard. The discovery plants in him dreams of becoming a surf champion. Encouraged by his also deaf girlfriend, he persists against all odds. Though trapped in silence, their expression of love is no less profound. A heartrending masterpiece that, as with Kitano's other films (Sonatine, Fireworks), has a sharp eye for human frailties and a love for the courage of the underdog.

Brother

It's hard to describe the hypnotic authority of director and actor Takeshi Kitano. In his first American venture, Brother, Kitano plays a yakuza who's been exiled from Japan after the death of his boss. In Los Angeles, he discovers that his half-brother has become a small-time hood. Kitano quickly takes over, casually setting in motion gang wars and killing sprees. But a basketball game gets as much emphasis as an assassination; Kitano's camera watches a dead body lit up by the flash of gunshots, completely ignoring the shootout that's causing the light. Yet his movies don't seem arty, just efficient--and effective: you may not know whether to laugh or flinch, but you will not stop watching. As an actor, Kitano slouches, twitches, and stares blankly--but you won't stop watching him either. If you like Brother, check out Fireworks and Sonatine; gangsters will never seem the same. --Bret Fetzer

Dolls [Region 2]

Dolls is a film of extraordinary beauty and tenderness from a filmmaker chiefly associated with grave mayhem and deadpan humor. That is to say, this is not one more Takeshi Kitano movie focused on stoical cops or gangsters. The title refers most directly, but not exclusively, to the theatrical tradition of Bunraku, enacted by half-life-size dolls and their visible but shrouded onstage manipulators. Such a performance--a drama of doomed lovers--occupies the first five minutes of the film, striking a keynote that resonates as flesh-and-blood characters take up the action.

The film-proper is dominated by the all-but-wordless odyssey of a susceptible yuppie and the jilted fiancée driven mad by his desertion to marry the boss's daughter. Bound by a blood-red cord, they move hypnotically through a landscape variously urban and natural, stylized only by the breathtaking purity of light, angle, color, and formal movement imposed by Kitano's compositional eye and rigorous, fragmentary editing. Along the way we also pick up the story of an elderly gangster, haunted by memories of the lover he deserted three decades earlier and generations of "brothers" for whose deaths he was, in the accepted order of things, responsible. Another strand is added to the imagistic weave via a doll-like pop singer and a groupie blinded by devotion to her.

This is a film in which character, morality, metaphysics, and destiny are all expressed through visual rhyme and startling adjustments of perspective. It sounds abstract--and it is--but it's also heartbreaking and thrilling to behold. Kitano isn't in it, but as an artist he's all over it. His finest film, and for all its exoticism, his most accessible. --Richard T. Jameson