The main protagonist, Charles, joins his friends in a meeting about the environment.
Suggesting a distaff spin on Fight Club, 2011’s Kotoko uses Tsukamoto’s disorienting editing techniques to put us squarely inside the headspace of the title character (Cocco), who suffers from schizoid visions of aggressive doppelgangers. Typical of the film’s high-wire act, the comment is clearly said in mockery of both consumerism and feminine concerns, but the image—that of a perfectly aligned Madison Avenue-engineered derrière—is just as clearly appreciative of what youth, fashion, and mass media can accomplish: great ass. Both Ferdinand and Marianne ultimately fail to better themselves romantically, intellectually, politically, or philosophically, and it’s one of Pierrot le Fou’s unique charms—and one reason why the film stands out as a particularly beloved entry among those who adore the French New Wave—that Godard doesn’t regard their situation with emphatic mockery or inordinate reverence. Clumsy melodrama would condescend to Merrick, paying him the insult of pity while compromising the profound lightness of being, and an awareness of seemingly unimaginable pain, that Hurt brings to the role. Tokyo Fist, from 1995, begins by opposing Tsuda (Tsukamoto), another stereotypical salaryman, and his former schoolfriend, Kojima (Kôji Tsukamoto), who’s now a professional boxer. It’s also his most flagrantly fetishistic. For another, he attempts to live his life according to the implications and complications suggested by these books. the poem details Myra hindlys reflection on the crimes committed … The image here is spotless: pristine and healthy, with sharp whites and rich, weighty blacks.

The film’s eroticism is pronounced, starting with a round of sweaty sex between the protagonist and his girlfriend (Kei Fujiwara), followed by a surreal dream sequence where she sodomizes him with an immense serpentine strap-on, much to his chagrin. The film’s conclusion suggests that Parker has attained his hard-won resignation only by envisioning a timeline. For some, it can be a bit much. Cast: Song Kang-ho, Choi Woo-shik, Lee Sun-kyun, Park So-dam, Cho Yeo-jeong, Lee Jung-eun, Jang Hye-jin, Jung Ziso, Jung Hyeon-jun Director: Bong Joon-ho Screenwriter: Bong Joon-ho, Han Jin-won Distributor: The Criterion Collection Running Time: 131 min Rating: NR Year: 2019 Buy: Video, Soundtrack. (He’d be incapable of carrying around a tape-recording of a girl’s name, as Jacques does in Four Nights of a Dreamer.).

In a cramped apartment, a family of four are sent into a panic when the WiFi network they’ve been pirating goes offline. In attempting to bring a gritty realism and distinctly middle-class flavor to the milieu of international spycraft, The Ipcress File directly counters the more fantastical elements of the Bond series and deglamorizes the life and work of an intrepid, continent-hopping secret agent. Bong positions Ki-taek and his family as grifters so adept at pulling off cons as a unit that they successfully convince the Parks to bring them all into their employ, in one capacity or another. Meanwhile, film historian J.E.
Such a story, of an outcast reconciling with society, sounds opposed to the radical interests that Lynch displayed in Eraserhead and would go on to refine in future projects. There is, though, one slight discrepancy between the two releases: The earlier Criterion release applied a green filter to the scene where Jean-Paul Belmondo’s Ferdinand meets Samuel Fuller at a boring bourgeois party, while the new 2K edition lacks the hue. There’s the ubiquitous emotional triangle (love, per se, not necessarily factoring into events), often with the focus on a strong, catalyzing woman caught between two very different men; an abiding interest in perverse, or at any rate extremely fetishistic, forms of eroticism; and a fixation on the human body, prone as it is to endless varieties of usually disturbing metamorphosis, in fraught relationship with its immediate environment. Then, out of nowhere, the accused gangsters break out into an impromptu rendition of “We’ll Meet Again,” a moment that surreally blends menace and mirth. The protagonist of Henry King’s The Gunfighter will seem familiar to audiences of the revisionist westerns that surfaced in the late 1950s and flourished in the ‘60s and ‘70s. The young man says that he is not depressed, that he just wants "the right to be myself. Rounding out a slim but noteworthy package is a booklet featuring K. Austin Collins’s essay “You Can’t Go Home Again,” which beautifully contextualizes The Gunfighter’s melancholia within the framework of postwar America.

When the film’s hero, Harry Palmer (Michael Caine), awakens blurry-eyed, putting on his thick pair of glasses before going about his mundane morning tasks, he feels very much like an ordinary bloke.

He’s sympathetic, sure, but he’s also a petty thief with quite the hot temper, as Dave’s “trainer,” Dugan (Harry Gribbon), who often finds himself the victim of the boy’s slingshot or angry parade of silly faces, can attest to. But the ultra-stylish deployment of these tropes is Tsukamoto’s own, epitomized by his razor-stropped editing techniques, set to the propulsive post-punk soundtrack of Chu Ishikawa, who went on to score most of Tsukamoto’s subsequent films. He highlights the importance of Helmut Käutner’s films in West Germany in the mid-20th century and traces the rise and fall of the Heimatfilm, which eventually led to a resurgence of crime films like Black Gravel in the late 1950s and early ‘60s.

Grain levels are well-managed and flesh tones lifelike. The Criterion Collection’s 2K restoration looks terrific, a serious step up from their already pretty solid 2009 DVD release, which went out of print years ago.

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