Miike News

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Who knew Miike was controversial? Ah, Censorship

This from the SciFi website:

Miike's Horror Tale Axed

S howtime's innovative Masters of Horror series has shown viewers a baby-killing witch, a horny child-murdering she-beast and even a man-eating lesbian bug woman, but apparently there are things even this edgy show won't touch. According to a report in The New York Times, the cable network has decided not to air "Imprint," directed by renegade Japanese filmmaker Takashi Miike, as scheduled on Jan. 27. That episode will be replaced by "Haeckel's Tale," an adaptation of a short story by Clive Barker directed by John McNaughton. All references to "Imprint" were removed from the Showtime Web site, though a trailer for the episode remains on MastersOfHorror.net, the site sponsored by the series's production company, IDT Entertainment, the newspaper reported.

Why? The newspaper reported that "Imprint" may go too far, even for a series that purports to give its classic horror filmmakers creative carte blanche. "I think it's amazing, but it's even hard for me to watch," series creator Mick Garris told The Times. "It's definitely the most disturbing film I've ever seen." It will now be released directly to the DVD market through IDT's home-video subsidiary, Anchor Bay Entertainment, along with the rest of the episodes in the series. No date has been announced.

"Imprint" reportedly tells the story of an American journalist in mid-19th-century Japan who discovers a mysterious island zoned exclusively for dimly lighted brothels. There he finds a hideously deformed, nameless woman who tells terrible stories, which are visualized in disturbing images. They include her collaboration in her mother's work as an abortionist.

Garris said that "Imprint" was not the sort of film that could be trimmed to make it more acceptable. "It is what it is," he said. Masters of Horror airs Fridays at 10 p.m. ET/PT.

[cranefly]

Gee, I'da thought Miike would use a light touch on abortion...

Maybe he could make it up to them with an hour version of Visitor Q.

--cranefly

P.S. Recently bought 2 more Miike's; haven't watched them yet, but looking forward to it.

[Drunk Monk]

Closing this year's SF Indie Fest (starting next week) is Miike's Great Yokai War - a kid's film ala Zebraman. See http://www.sfindie.com/indiefest06/film/..._Yokai_War. For some reason, this movie sounds really, really good to me. I've always thought that the goldmine of Japanese goblin myth has gone mostly untapped. Unfortunately, I can't make it to the festival on 2/12 - I'm just too busy right now.

Also worthy of note at the fest is House of Fury (http://www.sfindie.com/indiefest06/film/...se_of_Fury) - a JCE (Jackie Chan Empire) film starring a friend of mine, Phillip Ng (the credited dude in New Police Story who dies almost immediately - he's also a villian in Dragon Squad). I haven't seen House of Fury, but I'm told it's amusing...

[Drunk Monk]

Ok, I was trippin on the moment when, at the last DOOM gathering, our conversation turned to Miike again, and I brought this up again, out of reflex, and CF looked at me like 'you keep talkin' 'bout this, when you gonna see it?'

Seen.

It's a lot like Zebraman on steriods. Terry Gilliam-esque CGI terminators versus Japanese ghost story fable characters (suited monsters ala Ultraman). Cheesy effects overall. Predictable to a point. I was raised with some of these myths so, like Painted Skin, many of the creatures are recognizable to me, which made it very nostalgic. It had some Miike moments for sure, but very tame, a kid film like Zebraman, but a little intense because some of the Japanese demons are disturbing if you aren't familiar with them. The kappa (precursor to Mutant Turtles if you will) was funny. I'm not sure if it's over-the-top enough for DOOM. It's really only 'out there' because the mythology is unfamiliar. I could have been far creepier, but it tends to go for goofy demon humor like the umbrella demon (a rather lame puppet) saying 'I'm just an umbrella'. Zebraman was stronger overall.

[Drunk Monk]

The Great Yokai War: Guardians

[Drunk Monk]

[Drunk Monk]

Aug 26, 2021 12:16am PT
‘The Great Yokai War: Guardians’ Review: Prolific Japanese Filmmaker Takashi Miike Gets His Family-Friendly Groove on With a Fabulous Fantasy Adventure
Friendly spirits, fearsome demons and two exceptionally talented child actors combine in this splendid, youth-targeted romp.
By Richard Kuipers





[color=var(--color-brand-secondary-50)]
[color=var(--color-brand-secondary-50)]Courtesy of Fantasia[/color][/color]
A cavalcade of creatures from Japanese folklore come alive in “The Great Yokai War: Guardian,” a hugely enjoyable fantasy-adventure directed by the famously prolific and supremely versatile Takashi Miike (“Audition”, “13 Assassins”). Starring amazingly talented child actors Kokoro Terada and Rei Inomata as brothers summonsed by peace-loving spirits to stop an angry demon from engaging in the time-honored Japanese monster movie tradition of destroying Tokyo, this smashing piece of young-adult entertainment should be a big hit in Japan, where it’s sure to get plenty of love from older adults as well. With its standout visuals and uplifting messages about trust, friendship and acceptance, “Guardians” should attract the interest of specialized overseas distributors following its international premiere as the closing-night attraction of Fantasia 2021.
Miike is most closely associated with extremely violent crime stories such as “Audition” and blood-soaked costume action-thrillers like “Blade of the Immortal.” Less well known outside Japan are his family-friendly hits such as “Ninja Kids!!!” and “The Great Yokai War” (2006). No knowledge of the first “Yokai War” film is required to enjoy this second chapter, which is directed with infectious exuberance by Miike. Anyone could be forgiven for thinking “Guardians” is the work of a talented and super-enthusiastic newcomer rather than a veteran who’s notched 111 directing credits since 1991.
Roughly translated as “strange apparition,” Yokai is the collective name for Japanese supernatural entities. Sometimes hostile to humans and sometimes friendly, these creatures are staples of comics, video games and movies (notably Studio Ghibli films), and have a strong presence in many other areas of Japanese culture and society.
Before unveiling the wondrous world where the Yokai dwell, Miike and scriptwriter Yusuke Watanabe (“Dragon Ball Z: Battle of Gods”) establish the film’s simple and powerful emotional terrain. Kei Watanabe (12-year-old Kokoro Terada, “Grandma Is All Good”) is a typical fifth-grader who wants to be accepted by his peers and fights with little brother Dai (Rei Inomata). They’re adored by widowed mother Reika (Nanako Matsushima) and remember their late father as a loving man who taught the importance of kindness and co-operation.
The film zooms into high gear and barely looks back from the moment Kei and Dai are whisked into a magical land inhabited by stunningly designed and costumed creatures whose carnival midway-like meeting place looks like the best theme park ever built. The boys are told by friendly, bubble-headed Yokai leader Nurarihyon (Nao Ohmori, who played the lead role in Miike’s “Ichi the Killer”) that destiny has brought them here. As the last descendants of legendary demon hunter Watanabe no Tsuna (Kazuki Kitamura), Kei and Dai have been nominated by peace-loving Yokai as their only hope of defeating Yokaiju, a mighty sea demon currently on a collision course with Tokyo.
It’s not just Tokyo in the firing line. In a gorgeously filmed and wittily scripted flashback, we witness a meeting of the World Yokai Summit in Beijing, with creatures including Yeti, Medusa and Frankenstein’s monster in attendance. A serious rift has occurred between pacifist Yokai and a rebel faction led by Inugami Gyobu (Takao Osawa), a big, hairy, demon biker dude who rides a flame-throwing motorcycle. He and tough sidekick Ibarakidoji (Sumire), a warrior with coiffure and wardrobe in the style of 1980s glam metal bands, want Yokaiju to stomp all over Tokyo, and much more besides. Ongoing discussions between pro-peace and pro-war Yokai are written with sharp satirical humor that pokes fun at the conduct of real world politicians and institutions.
Such debates about human-Yokai relations add another satisfying layer to a captivating story that finds Dai becoming separated from his brother and placed in mortal danger alongside supposed protector Amanojaku (Eiji Akaso), a horned beastie with a flip phone and a flip-flop attitude toward telling the truth. Right on cue, Kei finds a magic sword and instantly becomes one of the most adept and inspiring young warriors you’ve ever seen.
Kei’s action-packed mission to save his brother and restore harmony between spirit and human worlds is beautifully imagined and emotionally rewarding. The smile and determination on Kei’s face as he rides a magic dragon and undertakes the adventure of a lifetime is simply irresistible. It’s almost impossible not to be affected by the lads’ sincere appeals for everyone to settle differences and respect each other. There’s a lovely connection to the boys’ exalted lineage in the fetching form of Ms. Fox (Hana Sugisaki), a clever cookie who shared a special moment with Watanabe no Tsuna many centuries ago.
En route to the awe-inspiring conclusion, audiences will be delighted and entranced by Yokai such as slinky, ice-breathing dame Yukionna (Yuko Oshima), Hell Boy-like tough guy Shojo (Koji Okura) and Ubume (Sakura Ando), a long-haired lady with a baby who looks like she just emerged from the well in the “Ring” movies.
Although some effects work is wobbly and the pace slackens just a tad in the middle, “Guardians” wins through with the type of energy, imagination and pure storytelling joy that’s often lacking in highly sanitized and cautiously constructed children’s and young-adult adventure films made elsewhere.
Huge credit goes to Miike’s direction of the extraordinarily talented youngsters, both of whom perform like seasoned pros of character-driven action-thrillers. The entire cast appears to be having a ball, and the technical contributions of DP Hideo Yamamoto (“Hana-bi”), production designer Yuji Hayashida (“Tokyo Tribe”) and composer Koji Endo (“Blade of the Immortal”) are imbued with the same kind of “let’s put on a great show” feeling.

‘The Great Yokai War: Guardians’ Review: Prolific Japanese Filmmaker Takashi Miike Gets His Family-Friendly Groove on With a Fabulous Fantasy Adventure
Reviewed online in Sydney, Aug. 24, 2021. (In Fantasia Film Festival – closer.) Running time: 116 MIN. (Original title: “Yokai daisenso gadianzu”)

• [b]Production:[/b] (Japan) A Toho, Kadokawa release of an OLM Inc. production. (World sales: Kadokawa, Tokyo.) Producers: Misako Saka, Yoshikazu Tsubaki. Executive producers: Hiroshi Aramata, Tsuguhiko Kadokawa. Co-producer: Shigeji Maeda.
  
  
• [b]Crew:[/b] Director: Takashi Miike. Screenplay: Yusuke Watanabe. Camera: Hideo Yamamoto. Editor: Naoichiro Sagara. Music: Koji Endo.
  
  
• [b]With:[/b] Kokoro Terada, Rei Inomata, Hana Sugisaki <span style="font-size: 16.0pt;">Takao Osawa, Nao Ohmori, Eiji Akaso, Nanako Matsushima, Sumire, Sakura Ando, Yuko Oshima, Kazuki Kitamura, Koji Okura</span>
  
  
• [b]Music By:[/b] Koji Endo
  

[Dr. Ivor Yeti]

You get a screener for this? Looks fun.

[Drunk Monk]

Not yet. Hopeful.

[Drunk Monk]

Miike's next - a horror series on Disney+ Korea, which will come to Hulu here.

It's called Connect

[thatguy]

Miike did a "Shot on iPhone" ad:


BtS


--tg