Dororo
Country and year: Japan (2007)
Director: Akihiko Shiota
Stars: Satoshi Tsumabuki, Kou Shibasaki
Review by: Jeff
Four stars out of four stars

Dororo features everything one could reasonably hope to find in an action blockbuster: action, suspense, an engaging plot, and mind-bending weirdness. Although I did not take notes during the screening of the film, my recollection of the plot (much of which is told in flashback) is as follows: A warrior seeks to become the dominant ruler of Japan by striking a deal with the dozens of demons who occupy a temple. In exchange for the warrior’s infant son, the demons will grant the warrior military victory. Each of the demons removes a different internal or external organ from the infant, whose mother then sends him in a basket down the river, much like Moses in ancient Egypt. A magical hermit rescues the infant, and grows replacement organs for him. The infant grows up to be a warrior himself (now played by Satoshi Tsumabuki), who is charged with the mission of slaying each of the demons who has stolen his organs, and accompanied by a scrappy female pickpocket who also lacks a name (played by Kou Shibasaki). Every time a demon is defeated, our protagonist recovers one of his original organs, and comes closer to reaching the inevitable confrontation with his evil father. (It gives nothing away to acknowlege this event, which is telegraphed from the beginning of the film.)

As one can tell from the above plot description, Dororo is one loopy movie, albeit one told with a completely straight face. To wit: the organless infant protagonist resembles Dr. Bunsen Honeydew from The Muppet Show. Moreover, many of the demons are also fabulously, imaginatively rendered, in a style that is reminscent of the Yokai Monsters, but updated to reflect the capabilities in scale and fluidity of movement that are offered by CGI. The scenes in which our hero fights the demons are quite thrilling. Although I don’t generally enjoy CGI-heavy action scenes, the fights in Dororo are expertly choreographed by Tony Ching Siu Tung (of A Chinese Ghost Story fame). In a touch obviously inspired by Kill Bill, many of the action scenes are set to music that is alternately reminiscent of the Gipsy Kings and Ennio Morricone. The final confrontation between father and son is also quite rousing and satisfying.

Kill Bill and Yokai Monsters are far from the only films wittily referenced in Dororo. The initial appearance of our protagonist occurs in a rough-and-tumble bar that clearly is meant to invoke the cantina scene in Star Wars. Additionally, one of the best scenes in the film involves our hero’s confrontation with a vampiric demon in female form who resembles the ghosts in classic Japanese horror films such as Kuroneko. Lord of the Rings is another obvious reference point. However, mostly as a result of its unique plot, the film feels like more than the sum of its fun reference points and exciting action scenes. Indeed, the film’s only major deficit is that Kou Shibasaki’s performance mostly consists of overbearing, allegedly “cute” mugging for the camera, but that is probably precisely the performance that the filmmakers wanted. All of the other cast members acquit themselves pretty well. Satoshi Tsumakuki lacks gravitas, but gives a likable enough performance, and does a fine job with the action scenes.

Dororo will be released on Region 1 DVD on September 23, 2008.

Sparrow
Country and year: Hong Kong (2008)
Director: Johnnie To
Stars: Simon Yam, Kelly Lin
Review by: Jeff
Three stars out of four stars

Sparrow has been hyped by many to be a quasi-musical and as such a major departure for the prolific Johnnie To, who in recent years has brought us such hard-boiled efforts as the Election films and Mad Detective. Indeed, the opening sequence of the film, in which the titular animal files into Simon Yam’s apartment, and he attempts to catch it, is practically balletic. However, following that striking sequence, the film settles into a seriocomic tone that is not that different from that of many other Hong Kong crime films, To’s included. In fact, Sparrow is a modest, lighthearted crime film, albeit one made with the very highest level of craftsmanship.

The film’s threadbare plot tells the story of a tight-knit band of pickpockets, led by Simon Yam. These gents find themselves caught up in a scheme hatched by a femme fatale, played by the lovely Kelly Lin, who is the bored mistress of a very powerful older gent with a shady past. She convinces the pickpockets to help her pull off a major heist of the old man’s treasure, thereby freeing her from his grasp. Of course, things do not go as planned.

As one might except, the main pleasures of Sparrow have little to do with the plot. The film’s chief attraction is a dazzlingly choreographed duel between rival pickpockets that is a masterpiece of editing. Film students undoubtedly will be studying this sequence for years to come. Also of note is the film’s lovingly photographed depiction of Hong Kong. Indeed, many of the film’s best sequences were shot on location in Hong Kong, and the city gives these scenes a real energy. Simon Yam also turns in a typically charismatic performance; the man has truly been on a roll since he broke out of the Category 3 ghetto and started playing major roles in To’s recent films.