Full Metal Yakuza (1997)

Full Metal Gokudô is a japanese action and science fiction film directed by Takashi Miike. It was written by Itaru Era and based on a story by Hiroki Yamaguchi. Originally released in Japan's direct-to-video market (V-Cinema), the film has gained more popularity because of the reputation of its controversial director. Shot on digital video and produced on a tiny budget, Full Metal Yakuza (aka Full Metal Gokudô) is hardly one of Takashi Miike’s most important films, but it’s an entertaining-enough slice of sci-fi trash. The biggest influence here is of course Robocop – emotionally fragile man-machine seeking vengeance from those who turned him cyborg. But unlike the hero of Full Metal Yakuza, Robocop wasn’t endowed with a huge cock, nor was he told to hold a hand to his head and sing a Russian ballad whenever he was feeling over-emotional. This is one of Miike’s most overtly comic films – the pre-cyborg Kensuke is a bumbling oaf, while Hiraga is a super-camp self-proclaimed genius who seems to have only created his robot for a bit of company. Best of all is the technique that he teaches Kensuke to protect his head in combat, a hilarious mincing girly-skip that causes much confusion amongst his foes.

Download links: 1 2 3 4 5 6 7 8 or 1 2 3 4 5 6 7 8 English subtitle

Colonel Kurtz Dies

"They were going to make me a major for this and I wasn't even in their fucing army any more. Everybody wanted me to do it, him most of all. I felt like he was up there, waiting for me to take the pain away. He just wanted to go out like a soldier, standing up, not like some poor, wasted, rag-assed renegade. Even the jungle wanted him dead, and that's who he really took his orders from anyway."

Blood Simple.

Tetsuo OST

Chu Ishikawa picked up his first synthesizer at the age of 15, and entered the music scene with his first band at the age of 18. The alternative metal percussion unit, Zeitlich Vergelter, received a warm welcome from the indie scene, alongside bands such as the Ruins and the Boredoms. After their break up, Chu continued as a solo percussion artist, and wrote his first soundtrack in 1988 for the cult classic Tetsuo, (directed by Shinya Tsukamoto.) His work was hailed worldwide for its Armageddon-esque feel. He was of course selected to work on the sequel, Tetsuo II:Body Hammer, where Chu pursued the expressions of metal acoustics with his self made instruments. (The soundtracks are compiled in the CD TETSUO/Music by Chu Ishikawa, released October 1992.) For Tsukamoto's new film, Tokyo Fist, he was asked to compose without his precious metals, but nonetheless came through with a brilliant soundtrack.Chu's creative energy is funneled into his newest band, Der Eisenrost, a thrash/industrial metal percussion quartet. Much is in store, as he is currently involved in numerous musical ventures, writing for films, plays, games, and even fashion shows.

Tetsuo: The Iron Man
1. Megatron (05:04)
2. The Sixth Tooth (06:34)
3. Rana-Porosa Porosa I (05:47)
4. Mausoleum (04:16)

Tetsuo II: Body Hammer
5. Lost (06:39)
6. Dinosauroid (03:16)
7. Rana-Porosa Porosa II (01:57)
8. A Burned Figure (04:05)

download or download (pass: deviated)

Neo Yakuza

Gojira (1954)

Godzilla is a landmark japanese science fiction film directed and co-written by Ishiro Honda with special effects by Eiji Tsuburaya, produced and distributed by Toho Company Ltd. It was the first of many "giant monster" movies (known as kaiju) to be produced in Japan, many of which also feature Godzilla. Essentially a Japanese remake of Hollywood's 1953 classic 'The Beast From 20,000 Fathoms', 'Gojira' took the same formula and became so much more than simple giant-monster entertainment. Both films told stories about a pre-historic creature released/mutated by atomic testing. 'The Beast From 20,000 Fathoms' followed the appearance of a dinosaur released by an atomic blast. This dinosaur proceeded to destroy some stuff, turned up in New York, and destroyed New York too. Fun, but that was it, and not much more (I'm not saying its a bad film). On the other hand, 'Gojira' used the same idea, and had a great impact in Japan. Gojira represented a real threat, a danger that Japanese of the time knew all too well. The message behind 'Gojira' was warning of the dangers of nuclear testing and nuclear weapons. Conversely, the message of 'The Beast From 20,000 Fathoms' is one for aspiring comic-book writers: exposure to radiation is a cheap but easy way to explain your character's freaky superpowers.

Download links: 1 2 3 4 5 6 7

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