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Bloody Battle is 10% more futuristic than its predecessor, as measured in the new style fancied in the gangsters of the day — gas masks. The two movies take place in a familiar post-apocalypse, one where it’s likely that down under Master Blaster upholds his power in Barter Town, though Japan has a more cyberpunk feel (if Versus can be said to have a horror movie feel, for example). The war-torn buildings and desolate interiors offer an appropriately impressionistic environment for our formidable heroine Milly, though they also offer the audience’s best guess that Hard Revenge Milly: Bloody Battle is after all, a budgeted affair.

Though a larger world is implied, much of the story unfolds in parking garages and non-descript warehouses, with the occasionally dressed-up set peppered in for world-building’s sake. Fortunately, by the endgame this actually registers as insignificant, because the action these environments house is a specific flavor of stylized ultraviolence, one with flying kung-fu, cool poses, and wacky weapons that inflict impressive spectacle when unleashed on smug, gas-mask-clad do-wrongers.

The action in the film is one end of the Hard Revenge Milly equation that’s so frustrating. The premise of this sequel doesn’t stray far from the original’s plot, certainly not for the purposes of puzzling out what’s so problematic in an otherwise highly entertaining gore-fest. Milly, after massacring the gang that brutally murdered her husband and set her baby on fire, while at the same time tearing her body apart with knives and forcing her to watch, finds herself hunted by friends of the gang — as we learn from the hardly comparable Chan Wook Park’s Vengeance Trilogy, revenge is a cyclical, spiralling affair.

At the same time, Milly is approached by a young woman whose lover was killed, and seeks training for vengeance of her own. It may not sound like much, but keep in mind that the original movie was 45 minutes long, and this one still isn’t quite average feature length, clocking in at 74 minutes.

So what’s the trouble with Hard Revenge Milly?

The opening fight scene embodies a rare and beautiful ideology in action movie filmmaking, where the action hero is depicted as a slasher villain in how he/she dispatches foes. The only contemporary example that springs to mind is the critically discarded Punisher: War Zone, a film that sees Frank Castle slaughtering villains as if they were zombies — heads explode, bodies explode; the carnage is front and center, and there’s a gleeful joy in the application of a crazed badass to the action.

When this badass is essentially the Terminator, the entertainment is in the creativity of the hero killing slimy villains rather than the drama of ‘will the hero prevail?’ since there would clearly never be a question (there never is a question, regardless of what action movie you’re watching, but let’s not parade on the dreams of the Len Wisemans and the McGs of the world*). Punisher: War Zone succeeds where the 2004 Punisher fails (for one) in the villain department, because there’s a nemesis cold war going on — Frank Castle might be crazy, but Jigsaw and Looney Bin Jim are batshit. John Travolta? Not very threatening and surely no threat to Thomas Jane, which deflates the drama of ‘will the hero prevail?’

War Zone goes above and beyond, then, where Castle has gangsters to kill like a regular Jason, but with more RPGs, and these guys are no threat, but also a villainous element that provides any measure of suspense. Hard Revenge Milly: Bloody Battle, as well as its predecessor, have the same pretty Japanese pop-singer dude who happens to be a badass.

It’s odd, because while the end fight of the original is much longer than any other fight scene in the movie, it’s less entertaining because the guy offers a sizable opposition, and this is not what we were being driven toward with Milly tearing through people earlier. What makes this guy special? His kung-fu seems to be pretty good but he looks like everyone else and isn’t characterized appropriately in this regard. The sequel does a little better by having the villain be a cyborg, but any cyber-fuelled cool factor is negated by his villainy stemming purely from his sexual deviance — aka homosexuality. That’s great, guys.

This may sound like a lot of talk for something pretty unimportant, but the in-the-moment result is that Milly gets thrown around a lot by these lame villains where she should be trouncing everyone, save for something actually impressive. Anything other than yet another gangster dude. Like the Bride, Lady Snowblood, or Lady Vengeance, Milly gets her gender-equality fair share of the action movie beating, but to me it doesn’t make a lot of sense given the premise of what these movies are. This might sound like sexism, and it probably is, but this time, I honestly just don’t give a fuck. I don’t want to see a woman nicknamed Hard Revenge Milly getting her arm chopped off and defeated, only to win with further cyborg upgrades further down the road.

Not to mention that Milly technically falls into that more recently popular category of kick-ass females, here dubbed the Dragon Tattoo category, where only rape or violence against the heroine can incite bloody rebirth. That’s not a big deal here, because not only is Milly’s origin story so absurd, the movies are extremely obviously not meant to be taken very seriously.

I mean, look — when Milly cuts some dude’s body with her elbow sword, their high blood pressure sprays in an initially hesitant fountain in the grand tradition of Chinese and I think Japanese cinema. It’s great, silly fun, but it is metered a bit by Milly’s qualified badassery. That said, Bloody Battle is an improvement over an already entertaining original, one that reaches for eleven on the novelty dial in the fight scenes: we never know what her metal body’s gonna drum up next to slice and dice her foe, or what lethal new form this familiar weapon will take, but we know it’s gonna be bloody as hell. Meanwhile the action is intense and fantastical, remaining compelling through the whole of the two films with the promise that they’ll end in brutal, comedic splatter.

This movie is also interesting for its essence as a sequel. This is an instance where the follow-up deconstructs the original, showing the aftermath of the events in the first movie and the effects they have on the heroine. She isn’t just a killing machine, she’s a killing machine with no sense of control and a lost past that she can’t even be sure of. In a peculiar moment, Milly questions her memories in a spot of dialogue lifted straight from Ghost in the Shell. The self-deprecating doctor character plays Batou here, swatting down her Shirowesque cyber-Descartes existential quandaries much in the way the audience might.

Philosophical questions about revenge are paid equal lip service, but it amounts more to an intriguing setup to a theoretical third installment than an actually compelling discussion. Milly might be cursed by her vengeful journey, which infects others and only begets violence and death, but we’d rather see her kick some ass than mope around like the Major.

Or get her ass kicked by the villains, for God’s sake. Somebody needs to give this director, Takanori Tsujimoto, a bigger budget and put the lead, Miki Mizuno, in more action movies — they make a great team.

 

*Because I like Len Wiseman for some reason and I really enjoyed Terminator Salvation for some reason

It’s the inexplicable and unexplained post-apocalypse, where we’re told that Japan is nothing but a wind-swept plain. Elsewhere, in the two abandoned buildings of this plain, Milly seeks hard revenge for the murder of her family and the fleshy parts of her body.

Hard Revenge Milly is a smart action movie. Not only does it grab the attention immediately with some sword-thanked arterial spray, it deals directly with the genre’s #1 problem — action movies can be unbelievably, shockingly boring. It does this by its runtime, which is roughly 43 minutes (it lasts the whole way, through the credits and after), effectively minimizing the exposition and everything between the fights that is empty content. There is almost no actor who can carry a movie without playing a character, which is why Arnold Schwarzenegger movies (barring End of Days) will always be great, and that’s often what happens in action movies across the globe. The effort given toward an original, compelling story is akin to the writer sullenly kicking an empty soda can across a dusty road.

Whether it’s reliant on special effects or physical combat, action can be pretty expensive, and cannot realistically fill 100% of the movie. Usually, unless it’s a John Woo flick, the action will be peppered in. To be fair, a lot of Hard Revenge Milly is talking and her waiting around for the action. Fortunately the action feels like live-action anime, which may sound pretty crass or cliche, but the end result is that while the choreography may not be as complex or impressive as we’ve seen elsewhere, there’s a fantastical logic to the martial arts that makes it difficult to keep up with, but what we do know is that those violent flashes sure look cool.

As we learn from Versus, there’s a tendency with these overly violent, stylized action movies coming out of Japan (perhaps taking inspiration from Versus) to favor how things look over the movement, such that still frames taken from any point in a fight scene will be well composed and super cool looking. This is where the anime comparison comes in — as early Japanese animation featured a lot of drawn still frames being physically manipulated for the camera, a style that’s been updated over the years to largely the same effect, where there’s detailed characters jumping through the air but moving somewhat stiffly when compared to the detail-lite but smoothly animated Disney cartoons.

With Hard Revenge Milly, there’s probably twenty total minutes of violence, but it’s pretty fun to watch for just such animated reasons. In one instance she does this kick thing and kind of flies off the guy, only to follow up with another attack in the next shot, sans any sense of momentum… or reality. She’s also got a sword — which extends from a pretty odd spot on her arm — that magically grows when convenient, like John Cho’s in Trek ’09. That’s the true joy in a movie like this, though the inventiveness of dismemberment tactics and the absurdity of the violence. Martial arts killers in Japan have an extra talent to turn people into geysers, which never gets old. Thankfully, because this movie isn’t really a movie but a short film, it doesn’t get old, which makes me wonder about the sequel, Bloody Battle.

Futuristic cell phones

There’ll be a review shortly for that one because there’s more I wanted to say about villains and feminism and stuff.

 

Tarantino is famous for cool dialogue and infamous for his passion for cinema. His next movie, Django Unleashed, just seems so obvious that I face-palmed when I read the title – it might seem he’s been on an homage kick as of late, and this just falls in line, but no, appreciating the history of film has been a constant in the filmmaker’s career. Those two elements, dialogue and cinemaphilia, are what make the writer/director great in my eyes, and often intermix, whether it’s Samuel L. Jackson talking about John Woo movies or the girls in Death Proof arguing over Vanishing Point/Pretty in Pink, it’s all great stuff, and it seems to come so naturally to the guy.

Part of what makes his dialogue so good is not what typically makes writing great. Tarantino dropped out of high school halfway through, so I imagine his literary background is relatively small in comparison with other writers of his kind. He also said “hell no” to film school, but I don’t know what they teach in film school. So his diction and syntax and all that conventional mechanical stuff isn’t what makes Tarantino’s writing, what makes his writing is his talent to create cool characters. Jules in Pulp Fiction, The Bride in Kill Bill, Jackie Brown, Aldo Raine in Inglourious Basterds, and of course Zoe Bell as Zoe Bell in Death Proof all have mythological depth in terms of cinematic and genre language.

That, and they’re just really cool characters, and once Tarantino takes the massive effort to construct a very cool character, it becomes easy for him to make them say things that are equally cool, which is the part that translates directly to the screen – and it seems effortless. For the audience, these guys are just fun to watch.

However.

As of late, Tarantino has caught a lot of flack I feel, and I’m beginning to notice that each successive film he makes gets worse and worse paced. Reservoir Dogs ran at a fairly brisk pace, but Inglourious Basterds and Death Proof were bizarre with their unbalanced chapters. I feel like as Tarantino delves deeper and deeper into genre revisionism, he alienates certain audiences (not so many ‘got’ Death Proof, but Inglourious had general appeal for the most part) and it doesn’t help that the movies drag, and some of the dialogue bits are just too much.

So I’ll start this with what some consider to be his greatest movie, Pulp Fiction, and work my way up to Inglourious Basterds, which I just watched back-to-back with… Ponyo?

I liked Ponyo.

As a not so avid viewer of the films of Hayao Miyazaki, I haven't quite been desensitized to his message, so I ended up enjoying this quite a bit

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