Movie Review: Ashura

Ashura-jo no Hitomi

“Ashura,” aka “Blood Gets in Your Eyes”

Japan, 2005

Genre: Action, Fantasy

119 minutes

http://www.imdb.com/title/tt0459744/

Based on a modern kabuki stage play, Ashura is a tale of romance, treachery, and violence. It is a tale about a demon-slayer who runs from his past, only to discover that it has all caught up with him.

Yojiro Takita directs this adaptation of the hit kabuki play, closely following the original story in the film. This works both for and against him at times, which begs the question of his intent for the adaptation. Driven by very beautiful sets and an outstanding score, the actual performances on screen are hammed to a point of absurdity. I imagine that Takita was looking for a larger-than-life story of epic proportions, but the result ends up feeling forced. The characters are written to have depth and sympathy, but end up sounding completely different from one scene to the next, lacking a basic consistency of personality that allows the audience to identify with them. Somegoro Ichikawa’s hero is genuinely charming at times, but overall feels like he’s just playing a cardboard cutout of a heroic stereotype. While such performances might work on stage (especially kabuki, which is generally highly stylized), the film adaptation makes it more cheesy than symbolic.

The production of the film is certainly impressive. As mentioned, the soundtrack is superb, adding life to many scenes that would otherwise have no redeeming value. The sets reveal rather clearly the stage roots of the piece, but this itself is not a fault. Many successful films make use of stylized sets or stage-style locations. However, it should be noted that the decision to do so makes the film feel very cramped, even when using exterior shots. It lacks the sense of wonder or majesty that can really only be achieved by shooting on location. Ashura also makes liberal use of digital effects to reinforce the supernatural fantasy aspects of the story. Stage performances make do with practical effects, and maintain a sense of illusion when doing so. Films, on the other hand, lose that quality with computer-generated imagery, especially with the over-the-top style used by this movie. The monsters seem intentionally fake and cartoonish, spewing fluorescent green blood upon their death. Marching forward with all the subtlety of neon rhinoceros, the look of the film is excessive and gaudy.

Selling itself as a swashbuckling adventure, the film’s fight scenes aren’t terribly done, especially when compared to other Japanese action movies like High-Kick Girl or Shinobi. Still, when looking at the fast-paced and hard-hitting choreography coming from countries from around the world, the fights feel stiff and awkward. Like the rest of the film, Ashura chooses style over substance, leaving the audience with a product indistinguishable from the sea of other C-list action movies in the video store.

Movie Review: SPL

Sha Po Lang

SPL or “Kill Zone”

Hong Kong, 2005

Genre: Crime Drama

93 minutes

http://www.imdb.com/title/tt0478024/

Donnie Yen stars in this police thriller as a new inspector on the force, taking over a retiring officer’s squad. However, not all is as it seems, as he watches the case against the city’s biggest mob boss start to fall apart.

SPL, or “Kill Zone” in America, is hands down one of my favorite films of all time. Full of underhand deals and mystery, Wilson Yip directs a masterpiece of drama and intrigue. Like a Greek tragedy, the cast of characters all have their own flaws, all of which contribute to their own ends. In addition to Donnie Yen, SPL boasts an all-star cast, including Hong Kong veterans Simon Yam and Sammo Hung, and rising action star Jacky Wu Jing.

Not a typical kung fu movie by any stretch, Yen directs a fantastic series of action sequences throughout the film. The first two acts of the film are without of any real fight scenes, but instead use gun fights and chase sequences. Still, by the end of the film, the final fights are well worth the wait. Exhibiting absolutely stunning choreography in his fights against Wu Jing and Sammo Hung, Yen demonstrates his multiple martial arts influences, drawing from non-traditional movie styles like Judo, Wrestling, and BJJ. Yen even admits on the DVD that a great deal of the choreography was inspired by the UFC.

Action aside, the film is a deep and engaging exploration of the themes of fatherhood and how the lives on both sides of the law affect it. From endearment and adoration to estrangement and indifference, SPL runs the gamut of father-child relationships. Like any good tragedy, the flaws of the human condition are explored and exposed for what they are. The film is absolutely amazing in this regard, full of strong symbolism and powerful performances by the cast. Really, the action is secondary to the merits of the film itself, an added bonus to an already gorgeous piece of cinema.

There are a hundred reasons to go track down this movie, and I can’t think of one why you shouldn’t. With great work in both the acting and the action, a moving story, and beautiful photography, SPL needs to be staple viewing material for any fight film fan. Even five years and stacks of other movies later, I can still say that this is one of the best in the genre and best in the industry. If you can find a copy of SPL at your local video store, it is absolutely imperative that you pick this up and give it a viewing.