Synopsis
Assistant police inspector Aida is assigned to investigate the murder of a former gang member. When a justice ministry official is killed days later in a similar manner, he begins to suspect that something bigger is going on...
Assistant police inspector Aida is assigned to investigate the murder of a former gang member. When a justice ministry official is killed days later in a similar manner, he begins to suspect that something bigger is going on...
Kiichi Nakai Masato Hagiwara Masato Furuoya Shigemitsu Ogi Hidetoshi Nishijima Ken'ichi Endô Daikichi Sugawara Kosuke Toyohara Masayasu Omura Takeji Yoshihara Yasuto Kosuda Ito Yozaburo Kim Soo-jin Hirokazu Inoue Hiromi Kuronuma Yoichi Kobiyama Hiroshi Shimizu Kenji Miura Masashi Arifuku Shotetsu Kyo Susumu Terajima Akira Otaka Ren Osugi Motomi Makiguchi Kazuyuki Izutsu Denden Yoshinobu Tei Keisuke Funakoshi Nao Eguchi Show All…
Mâkusu no yama, 不思議人吃人事件
A fairly stolid police procedural, where most of what happens is just police talking in the office. Also a bunch of random sex. Though there’s an investigation at hand, it’s more just circuitous droning on between the various characters.
Kiichi Nakai is a typical detective archetype with some charisma.
Masato Hagiwara definitely has presence.
Hidetoshi Nishijima was in this film.
The film is all over the place and sort of drags, which really does take away from its decent aesthetics and style and the more impactful moments that come in small bursts amidst all the other filler.
it's not worth watching this on ok.ru in 144p shit-ass quality with annoying russian dub louder than the film itself but do you know what is? 23-year-old masato hagiwara being horny and having shameless sex in every scene he was in.
Exceedingly grim police procedural from former Oshima assistant and director of interest Yoichi Sai, opening on a pair of grisly murders and expanding into increasingly fragmented, unpleasant terrain as the film progresses. Like several other significant Japanese crime films of '95 the film is more invested in exploring a repressive, toxic social climate than it is in resolving the central narrative, which here spirals into confusion and two paired images of total futility.