Doa Dead Or Alive 2 Movie – Starring: Shou Aikawa, Riki Takeuchi, Noriko Aota Released: December 2, 2000 Director: Takashi Miike Genre: Crime, Drama, Comedy, Thriller Country: Japan Group Rating: Bang for your Money:
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Doa Dead Or Alive 2 Movie
All the “things” about Miike Takashi, I think most people who know two things about him know (if they only know one thing, he’s a prolific producer, probably making dozens of movies every year for decades). . in the genres he works in, he likes to do weird and unexpected things that take the audience out of our comfort zone. As usual, it mostly means ‘doing stupid, bad, violent things’, as it remains his most famous film in England nearly a quarter of a century later. hybrid
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, one of the first participants in the international trend towards extreme horror content in disturbing psychological thrillers that made up the majority of horror films in the 2000s.
Miike isn’t really a “horror director” – he really isn’t, even though his filmography is so deep and wide.
Director, but he’s tried everything – including light-hearted family films – and I think it’s good to be reminded every now and then that pushing the boundaries in art doesn’t mean filling it with adult-only horror content. I will then clarify our current topic
An adult-only offering, but a bit random, and that in itself is not a spoiler. This movie is from the 2000s
Doa 2 Hardcore [slus 20071] (sony Playstation 2)
, the middle part of a trilogy of films of the same name (the first two and the two
Movie theater; the third doesn’t even get that modest nod of solidarity) and on paper it looks like another of the high-concept gangster pictures that have sprung up around the world in the last decade.
Or others in the ongoing gang war. But when it comes to shooting, some will be the first to hit the target. As Mizuki digs into it a bit, he discovers that there is another person hired to do the same job.
So far so many high energy role models: a dueling assassin, hired to do the same job and therefore in competition. And it didn’t happen
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When Mizuki A learns that Mizuki B is actually her childhood friend Shuuichi (Takeuchi), they have to joke less. Criminals encountering shadowy echoes of their past are a long-standing staple of the gangster genre. Nowhere
When Mizuki and Shuuichi take the ferry to the island where they lived as children, suddenly something happens that is very strange and unusual for the film itself: whether it is nostalgia and the children we were or not turns into a quiet, thoughtful. Drama. proud to be an adult.
So back to my original point: Miik’s wisdom as a delinquent artist does not lie in his ability to insert increasingly vulgar, shocking, Saronic nihilist material into a gangster picture. By 2000, gangster pictures weren’t doing well at all
Placing all these gangster illegalities in the context of a warm human story, with an unmistakable moral warning on top. Fortunately, it doesn’t have to be stuck. The movie is amazing
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It is more clear and vivid because the film contains many ironic gestures. Most notably, the film reaches its climax when it cuts between a play staged for a screaming child audience and several violent deaths.
. For added dimension, the children’s show is full of lewd sexual imagery (although I’m not entirely sure a Japanese viewer will find it as lewd as an American viewer). So this sarcastic, sarcastic confrontation is wrapped around another sarcastic, sarcastic confrontation.
, the slight contrast between the maniacal actors stealing squealing children and the spectacular, extreme violence is kind of obvious—like I said,
, and I don’t think Miike did it by accident. And he certainly doesn’t do it to be superior. There’s a lot of frenetic energy here, and the actors playing the characters really pull it off. But it’s not just a ‘cool’ gesture, there’s something about it that feels a little awkward and ugly, and I feel like the earlier parts of the movie have set us up for that. Finding something dark and morbid rather than sarcastic and vicious. So anti-slip: h
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The conflict is not between death and children’s entertainment, but between such elegant filmmaking and the bland, dull sentimentality of the film’s excessive length.
It’s surprising how many of these moments allow the story to pause, allowing Mizuki and Shu to reconnect on the island and find their old childhood friend Kohei (Endo Kenichi) and his pregnant wife, wallowing in their childhood memories. Visit Chieko (Aota Noriko) and the orphanage where they grew up. A lot of it involves grainy flashes, and a lot of it involves cinematographer Tanaka Kazunari editing the film to give the whole thing a strong yellow tint, the warm, fuzzy tone of old photos that, when blurred, loses its character. The strongest recurring motif in the film is the bonding over eating noodles, which we see through a montage before the characters meet again.
Movie theater; I couldn’t figure out if the audience would have had a preconceived idea of Miike in 2000 that would have given them the same sense of surprise. But still,
It was already there by now, so at the very least, this shameless, unapologetic subversion of cuteness and sentimentality should have been as distracting as I found it.
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It’s perhaps as brilliant in its own way as the films it indirectly opposes: it’s sketchy in a different way, but still sketchy. But it is
It’s all here, in part because the film’s focus is the delightful golden hour transitions through nourishing nostalgia, while the film’s edges are still a luminous spectacle. It’s an extremely violent film, in the true sense of the word “fast”: there’s a particularly striking angle in the shot of the man we see at the beginning of the film, where the blood from the big stage falls directly into the camera lens. It’s also one character’s giant, three-foot-long, line-thick penis in the film, which barely moves as the film tries to use pixelation to prevent us from seeing it. In other words, there’s a lot of offensive secondary humor (and hell, calling it “humor” is asking too much. But Pixel Dick is definitely an intentional joke). There’s a lot of sick stuff here, and I think Miike is comfortable and fun to include that stuff because he’s trying to “do something” with it. That said, something does: the contrast between this over-the-top, nonsensical material and the core of friendship and humanity that inhabits this central plot is never more strange than unnecessary.
And finally, Miike teases us one last time, denying that feeling too with a quiet ending
A kind of pyrotechnics screams for a finale that obliterates everything but the cold facts of violence and pain.
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He always wanted to draw us in with that steely demeanor he contained: all his warm charm and goofy helpfulness were present in one fell swoop, with equal skill. And, of course, it’s all about declaring that a life lived in violence is destroyed by that violence, but sometimes the film takes us to the last word rather than what is really being said: about the comprehensive route. And it’s a very dizzying, emotionally compelling journey. DOA: Dead or Alive is unfiltered cinematic nonsense. The movie isn’t so much brain dead as it is zombies looking for brains to feast on. Filled to the gills with pointless fluff
As far as video game adaptations go, Corey Ewen’s DOA is one of the worst adaptations, but it’s also one of the best. I won’t lie, it’s not a good movie. Still, part of me wishes more bad movies were as funny and silly as DOA.
I was trying to describe the plot to you, but that means everything that happens in DOA is important.
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