A Company Man

This is going to be a heavy one.

Ji Hyeong-Do (So Ji-Sub) is a seemingly ordinary salary man; he starts his day with a balanced breakfast, he carries a briefcase and wears a suit to work. Everything about him from his hairstyle to his manner of walking makes him indistinguishable from the average Korean working man. However, Hyeong-Do's job is anything but ordinary. Working as a hit-man for a company specializing in assassinations Hyeong-Do has been with the company for a long-time. Having never failed a mission and always completing his assignments without question, his boss Representative Jeon (Jeon Guk-hwan) plans to leave the company in Hyeong-Do's hands. That is until Hyeong-Do falls in love with a woman named Su-Yeon (Lee Mi-Yeon), a single mom who is also the mother of Hyeong-Do's most recent target. Hyeong-Do is forced to choose between his duty and his heart. When he chooses wrong he finds himself hunted by the very same organization that trained him.

 

He was a model employee.

If you follow me on Twitter you're probably aware that I'm a huge fan of Asian cinema - Korean cinema and shows in particular. Undoubtedly my favorite Korean film (and one of my favorite movies of all-time) is 2010's The Man From Nowhere which has since become the standard by which I judge these films. While 'A Company Man' won't be taking the crown I'd put it right next to 'The Man From Nowhere' as one of the all-time greats given that this movie was filled with drama, suspense, action and very deep characters that made me care about them. The story hooked me in from the word go and I was captivated by this world and the very real sense of pain and loneliness that was felt throughout.

It's hard out here for a killer.

Actor/rapper So Ji-sub plays our lead Ji Hyeong-Do. With 20 years of acting experience under his belt he's no slouch and he does a fantastic job portraying Hyeong-Do. When we first meet Hyeong-Do he appears to be a ruthless assassin, even going so far as to kill an underling with no remorse despite the fact said underling has a family. Orders are orders after all. He is both feared and respected in his organization and his boss likens him to a perfect killer. He's almost mechanical in nature. However this is only on the surface. Beneath that Hyeong-Do is a very lonely man who feels isolated even when he's surrounded by other human beings and it seems his only human contact involves the people he's sent to kill. As time goes on and his missions become more and more complex, we see and understand why he's had enough of this life and wants to move on. He's a quiet character, but the nuances in his body language speak volumes about what he's thinking. Verbally or non-verbally, So Ji-sub commands these scenes.

Learning to be human.

Actress Lee Mi-Yeon plays Su-Yeon a single mother struggling to raise two children on a tailor's salary. Caught between a rebellious, teenage daughter who'd rather make a career out of running the streets and a son whose super secret job happens to be contract killing similar to our main character and Su-Yeon has a lot on her plate. When she meets Hyeong-Do, his support and quiet understanding eases her financial hardships, but more importantly the emotional weight she's carrying. He helps her rediscover what it means to dream again and even brings her closer to fulfilling said dreams. Su-Yeon in-turn helps Hyeong-Do rediscover his humanity and live for something other than killing.

 

Don't cross the boss.

Any corporate structure is bound to have a completed hierarchy and this one is no different. A Company Man has a large assortment of characters connected with the organization - some good, some bad. Jeon Guk-hwan (above right) plays Representative Jeon, the leader of the organization. He's easy-going and friendly, but don't let that fool you. It takes a special kind of crazy to operate a business where the main product is murder. He's the mastermind behind everything and there's no line he won't cross to keep the organization's existence a secret. Serving directly under him is his stooge Kwon Jong-tae played by Kwak Do-won. Do-won does a great job portraying Jong-tae as this character you love to hate. He's scheming, double-crossing, woefully inept, and is basically an amalgam of every bad boss you've ever had. Yoo Ha-bok plays Jin Chae-gook, who was Hyeong-Do's handler before tragic events force him to turn rogue and place him into direct conflict with our lead. There are other characters including Ban Ji-hoon (played by Lee Geung-young) who is a washed-up, old assassin who has nothing in his life but money with no one to spend it on and a fancy car with no one to drive around in. Ban Ji-hoon is particularly interesting because he is in many ways an uncomfortable picture of Hyeong-Do's future. The lives of these characters all intertwine to create a compelling crime drama told through tears, bullets, and bloodshed.

 

Giving one HELL of a two weeks notice!

Any Korean crime drama worth its salt better have some good action and 'A Company Man' is no slouch. The film does an excellent job of having fights play out in very close quarters which makes the action more visceral. Hyeong-Do knows how to throwdown and whether he's up against multiple opponents or people older and more experienced than himself he knows how to bring them down all the same. The fight scenes also have an emotional weight because many of Hyeong-Do's enemies are people he's known for years and in some cases decades. There are times when he asks them to stop fighting for their own sake and when they don't he has to put them down. In addition, there's an office shootout that will make fans of Max Payne 3 proud.

The film's impressive score is composed by Mowg whose resume consists of films from east and west including The Last Stand, I Saw the Devil, Memories of the Sword, The Fatal Encounter, and more than a dozen others. His music perfectly captures the tone of each scene and the ending track carries with it this real sense of finality.

What lay at the end of his road?

A Company Man weaves a powerful tale, but it's certainly not a light-hearted one. This isn't your typical bang, shoot em up action movie. It's a gritty romp through the dark world of contract killing where innocent lives are lost in a war between men who can only find peace at the end of a gun. From the opening hit to the final moment when the last shell casing drops, A Company Man gripped me from beginning to end and I highly recommend it.

Casshern (2004)

Mah feels!

Written and directed by Kazuaki Kiriya, Casshern is a 2004 tokusatsu based loosely on the 1973 anime Neo-Human Casshern by Takao Koyama. The film stars Yusuke Iseya as Tetsuya Azuma/Casshern, Kumiko Aso as Tetsuya's love interest Luna Kozuki, Toshiaki Karasawa as the antagonist Burai, Kamen Rider Agito's Jun Kaname as Barashin, singer/musician/actor Akira Terao as Dr. Azuma, and actress Kanako Higuchi as Midori Azuma.

Definitely earns those four stars.

Casshern (2004) takes place in a distant future in the aftermath of a fifty-year war between the Eastern Federation and Europa; a war which has devastated the environment and the human population. A brilliant (see mad) scientist named Dr. Azuma has discovered Neo Cells within the genes of a subspecies of humans. In theory, the Neo Cells would be able to regenerate limbs, organs, and even cure disease. During this time, Dr. Azuma's son Tetsuya enlists in the army and is soon called upon to help put down a resistance movement in Eurasia Zone 7 - where he is killed shortly after. One fateful evening when Dr. Azuma is researching Neo Cells, a lightning bolt strikes the pool of genetic material he keeps in his lab - reconstructing and reanimating the bodies therein -giving birth to the Neo Sapiens in the process. Lead by the powerful and intensely focused Burai, the Neo Sapiens set out to destroy humankind and take their place as the dominant life-form on this planet. Dr. Azuma uses the Neo-Cells to resurrect his son Tetsuya - reborn, rearmed, and rejuvenated Tetsuya now called Casshern is the only thing that stands between mankind and extinction. What follows is a long, complicated, epic that will stir the heart and make you question everything you know about these characters, their motives, and the nature of human existence.

Make It Right

The summary I've written is rather complex and even a bit disjointed because the film is two hours long (longer than that in the original version). Despite its Transformers-esque length the movie doesn't feel like a slog and much of the narrative does thread together more organically even if the plot is often more fantasy than science fiction. From a thematic standpoint Casshern is much, much different from its 1973 predecessor, but this is not a detriment to the film. At its core the film's primary themes deal with war, family, and how trauma affects how humans relate to each other. The film deals with these incredibly complex themes while drawing inspiration from classic literature. For example, the film has elements of Frankenstein given the nature of the Neo Sapiens, the circumstances of their creation, and Dr. Azuma's relationship with them. The Neo Sapiens seek Dr. Azuma's acknowledgement his love even, but it's not something he can give to them because they are abominations.

Film legend Toshiaki Karasawa delivers a powerful performance as Burai.

Our hero Tetsuya and our villain Burai are in some ways both victims of their circumstances, but paradoxically enough are reaping the karma for their own actions towards others. Tetsuya and Burai develop a Cain and Abel-esque relationship even though deep down Burai doesn't want Tetsuya's death he wants Tetsuya's understanding. The language of Kazuaki Kiriya is pain and these characters fight through a profound level of suffering and violence is their only outlet. During his battle with Tetsuya, Burai even admits that he hates mankind so much that he doesn't know how to stop even if he wants to. While Tetsuya himself has to fight for the survival of all mankind even though he's aware that people will never stop fighting wars and will one day destroy each other. Whether they are acting in the name of revenge, love, science, or the future every character is locked in a situation where lose-lose is the only real outcome. Even so they keep moving forward, doing all the good they know how to do until the end. There are some shocking revelations in the movie that may leave you as devastated as the characters themselves.

Casshern Solos

Don't think for a minute that this film doesn't have badass credentials. Casshern is tokusatsu and with that in mind it has some super cool fight scenes. We're talking cinematic speedlines, action poses, some brutal beatdowns, and one particular battle where Casshern single-handedly destroys an army of robots in a fight so over-the-top that it's worth watching the film for that battle alone. Aesthetically, the film is a mix of urbanpunk and Russian Avant-Garde and if like myself you aren't familiar with either of those the film is visually stunning.

Shiro Sagisu composes the film's score which can only be described as fantastic, and Japanese rock band The Black Horn drops a few tracks as well. Casshern may not appeal to everyone. It does take a long-time to get started which might turn off some viewers. Traditionalists may not be pleased with the liberties the film has taken with the source material. Also, the first English release had issues wherein the subtitles would not always display which is a localization issue. These flaws aside, I found Casshern to be a powerful film about war, sacrifice, and humanity that falls just short of a must-own, but is still a great movie.

Kiba Gaiden (2011)

The Dark Knight Kiba

Released in theaters in November 2011, Kiba Gaiden takes place before the last three episodes of the original GARO and is centered on series antagonist Barago (The Dark Knight Kiba) and explores Barago's origins and his call to darkness. Due to this movie's place in the Garo canon it is highly advised that one watch the original series then the gaiden entry as some spoilers are inevitable. I'll start by saying in many ways, you could call this film Amemiya's tour de force as many of the elements in GARO and Garo: Makai Senki are not only on full display but are taken to some very impressive heights. Amemiya did so much, with very little, in a very short amount of time. The results are so well-done and wonderfully imaginative that I found myself consistently impressed throughout.

Life and death are simple concepts.

The film opens with Barago's soliloquy about the darkness in his heart and whether a light was ever there to begin with. The scene then shifts to Amemiya's signature brush work where we see a Horror attack a woman before being slain by Kiba. We are then taken to a dark room which uses a blend of western gothic ornaments with makai symbols where the three main characters in this film take center stage and it is in this scene and many others like it where Amemiya shows how good he is as both the creator of the property and this series. He doesn't spend a large amount of time introducing our characters because with the exception of maybe Elda, we know them from the series. Amemiya also carries over the design elements of the original series, keeping all the franchise's aesthetics in place. In addition, the absence of visible light sources, the presence of dark colors, and sharp almost sinister designs of the objects in the room give the film's opening location a very oppressive atmosphere which made Kaoru's imprisonment feel every bit as discomforting to this viewer as it was to Kaoru herself. Perhaps even more so because while Kaoru is in disbelief that someone closest to her is threatening her life, I was fully aware at this point that Barago was a monster. Of course he wasn't always this way.

Childhood

Barago recounts his childhood which I found added to not only his character development but also Amemiya's creativity. Contrary to most villains Barago did not have a tragic past. Rather his childhood was mostly an idyllic one and very similar to most families in Makai, his mother being a Makai Priest and his father a Makai Knight, and like most children Barago was trained to be strong so as to one day become a Makai Knight himself.

She is more precious to him than any other.

People deal with loss in different ways and when Barago's mother took ill and was claimed by a Horror soon thereafter, in his mind it was because neither he nor his father were strong enough to protect her. Once Barago lost his father it simply meant his father was weak. Barago's psychological approach to dealing with pain and loss revolves around his perception of power and the applications thereof.

Barago meets Messiah, The Origin of All Horrors

I found Barago's character and indeed the development thereof quite different from many other villains because initially he doesn't seek power just for the sake of it, nor does he subscribe to the "survival of the fittest" or "might makes right" theology of villainy. Power is simply everything and the natural objective of everyone who calls themselves a Makai Knight. Barago's quest for power leads him to break many Makai rules and delve into his share of taboos such as seeking out the power of darkness and even Messiah, both of which being the ultimate evils in Makai teachings. What I also found captivating about Barago is his lack of hesitation when speaking in absolutes. Barago is hands down one of the most powerful characters in Garo if not the most powerful, and his willingness to adopt a mentality of absolutes is rooted in his convictions that anything can be accomplished with strength. Even so, he never boasts about his strength and recalls his accomplishments as mere matters of fact.

He is a nightmare.

The movie has a short, but very effective montage that shows us how much stronger Kiba has gotten overtime. Even if you haven't seen the series, it's easy to see why he is a nightmare to Horrors and Makai Knights alike, demolishing his enemies with unrelenting force and even devouring them and taking their strength for his own. Kiba's theme is played during this montage for that extra touch of badassery and is almost spine-chilling. Whether he is up against Horrors or Makai Knights, Kiba is unfettered, brutal power, and doesn't really have to do much to completely overwhelm his opponent. That is until he faces down Garo and the struggle between the two is a soul-shattering showdown so epic, so over the top the battle alone makes the film a must see.

Dark reflections.

The acting in the movie is mostly good. I say mostly because Mika Hijii who plays Kaoru in both the series and this film doesn't appear to bring her A game. It's possible that she wasn't given much to work with or just didn't have the most screen-time to be anything more than a damsel in distress but I didn't feel as though she gave a believable performance here. I suppose Kaoru as a character is so taken aback by Barago's betrayal that she can't wrap her head around everything that's going on but I just didn't really feel Hijii in this role.

Darker designs.

Leah Dizon plays Elda, Barago's right hand. I felt she received a decent amount of screen-time and didn't phone in her performance at any point I could notice. While her character type was cliche I still remember her quite vividly. I felt that not only was she a good actress but I also have an appreciation for Amemiya for giving her a fully fleshed out and believable origin in her own right which made her feel like a round character.

Stealing the show. Like a boss.

Singer/actor/guitarist Masaki Kyomoto steals the show as Barago. Kyomoto is no stranger to acting as he's been in the business since the 1980s. Much like in Garo where he played two characters, he brings that duality to his role here. Kyomoto portrays a character that is affable and forthcoming, but at the same-time he's very good at keeping Barago's cruelty firmly in mind. Even when he's being gracious there is a cold, oppressive nature about him. When he treats Kaoru or Elda as people it's done in a way where he seems to be merely humoring them even if it's not overt. Kiyomoto has a soft but masculine voice which is very attention getting and I found myself hanging onto his every word. He has a strong onscreen presence and makes very subtle use of his facial expressions and eyes, the latter technique I found particularly captivating because he never seems to look at the other characters even when he's making eye contact with them. It seems as though he's looking through someone, or rather he looks passed them, his eyes always on his ultimate goal and giving no pause to anything in between.

The Lightning Baron will strike down evil.

The film's epic orchestrated score comes across particularly well during the fight scenes. One especially noteworthy piece plays during the battle between Garo and Kiba which makes the battle feel and sound every bit as monumental as it looks. Kiba's theme is a really intense, dark, horrifying piece that makes an excellent use of only a small handful of instruments with some very audible trumpets which is fitting given what trumpets sometimes symbolize. One piece that stood out for me just as much, if not even more than Kiba's theme is the theme of Barago. For all his power and evil, Barago strikes me as a sad character if not in nature then certainly in circumstance and his theme is a very soft, almost quiet piece which mixes violins and pianos and while there's a sinister tone in the reverb I found the theme tragic and moving overall.

Was there ever light in that heart?

Kiba Gaiden was a very enjoyable film. I didn't think a gaiden about Garo's antagonist would provide so much characterization and such epic thrills when I first heard about it. It's clear that Keita Amemiya doesn't phone it in and I felt he really outdid himself with Kiba Gaiden. While it's not the longest film (run-time is less than 60 mins.) it's definitely unique and more entertaining than many films I've seen that cross the two hour mark. I felt it's also one of the stronger GARO films and with a tokusatsu this good that says quite a bit. There are some interesting twists and shocking turns in this movie which combined with great acting, fantastic fight scenes, and a powerful ending really left an impression. Definite must see.

GARO (2005 - 2006)

GARO The Golden Knight

Since ancient times creatures called Horrors have preyed on mankind. Possessing terrible strength, magical powers, and the ability to shape-shift, Horrors have been the stuff of nightmares. Mankind's only defense against these creatures are the Makai Knights; human beings who possess superb martial arts skills and powerful magic. Over the centuries, the Makai Knights have been successful in repelling these monsters, and to the people of today Horrors and Makai Knights are just obscure myths. However, the threat of Horrors is very much real and now as they stand on the edge of complete annihilation, they will call on Messiah the Origin of All Horrors to exterminate mankind forever. Only one man can stop the Horrors from bringing about their terrible plan. That man is Saejima Kouga. That man is Garo The Golden Knight.

Name: Saejima Kouga, Occupation: Undisputed BADASS

Created in 2005 by Keita Amemiya, GARO is a dark fantasy set in the modern era. More so than its successive series, Garo is a masterful blend of horror, fantasy, drama, and martial arts that creates a tokusatsu that is on par with many Kamen Rider series, and speaking as someone who feels Kamen Rider is the greatest tokusatsu out there that is no small statement. The cast, presentation, and writing go a long way in making this show standout. There is a lot of world building that uses small details like introducing terms such as Makai Knights, hoshi, madou fire, watchdogs and so forth to gradually and effectively build a captivating horror fantasy. I thought taking in all the complex terms and rules of this world would be daunting at first but by the second or third episode I knew a great deal about this world and never felt lost as the series went on. The show follows Saejima Kouga (Garo) who is played by Hiroki Konishi who seems to be channeling his inner-Blade era Wesley Snipes. We get the feeling very early on that despite Kouga's archetypal construction there's more to his character than he lets on. While he's mostly a reserved badass, Kouga usually has a witty quip or cold remark which in addition to suiting a particular situation, also goes a long way in exploring his hidden depths.

Kouga, Gonza, and Kaoru

When he's not cutting down Horrors, Kouga isn't particularly outspoken and I feel that Konishi does an absolutely amazing job with this character in communicating his thoughts and feelings with non-verbals. Whether it's the speed of his gait, his posture, facial expressions, or just certain glares or glances of his eyes, Konishi's acting enables Kouga to speak the most when he's not saying anything at all. It's a quiet performance that's hardly silent. As a character Kouga is all business and has little interest in anything outside of his duties as a Makai Knight and this either by whole or in part has stunted how he associates with other people. In doing so, it builds a believable wall between our male and female leads.

Sleeping Beauty

Played by Mika Hijii, Kaoru Mitsuki serves as our female lead who strangely enough, is effective because she's completely average. Kaoru is a starving artist who is trying to achieve her dream of becoming a world class painter and has to take odd jobs in order to eat and pay her rent to the best of her ability. At her core she's a single woman trying to make it out here. She has an unfortunate encounter with a Horror and while Garo prevents Kaoru from being killed, he doesn't technically save her life. Kaoru gets stained with the blood of a Horror which infects her body and attracts other Horror to her like a beacon. And even if they don't kill her, in 100 days she'll turn into a Horror herself so it goes without saying Kaoru's days are numbered. What's compelling is that despite being hunted by these monsters Kaoru refuses to give up. She keeps aiming for her dream while at the same-time, trying to unravel the mystery of her father's final masterpiece which is an unfinished picture book of a strangely familiar figure in golden armor.

Character development. We don't have this in the states.

Kaoru builds a believable, albeit predictable romance subplot with Kouga which I actually didn't mind much to my own surprise. It doesn't feel shoehorned into the plot and the relationship is a very slowburn as Kouga's character arc has to take him from the person he is i.e. someone who doesn't care about forming bonds and is solely dedicated to being a Makai Knight, to the person he needs to be i.e. someone who is compassionate and understands that the monsters in his own heart are every bit as dangerous as the Horrors themselves. I point this out because it is Kouga's relationship with Kaoru that forces him to reflect on who he is and why he is and opens the door to further characterization and bits about his background. As the story progresses, we encounter other characters including rival Makai Knights.

Suzumura Rei The Silver Knight

Played by Dustz lead singer Ray Fujita, Suzumura Rei serves as Kouga's bitter rival, foil, and unwilling ally depending on the situation and his mood which is liable to change in a heartbeat. Rei can best be described as ruthlessly efficient as he'll cut down Horrors (and anyone tainted by Horrors) with merciless ferocity. He develops an interest in Kaoru that some times takes a left turn into creepy land, and he also holds a grudge against the Golden Knight for reasons known only to himself. The script (and the franchise as a whole) gets a lot of mileage out of Rei's character right from his introduction because it shows us that Kouga isn't the only Makai Knight and there are others fighting against the Horrors. It also shows us that different Makai Knights have different regions of the world they're supposed to defend and they're not actually supposed to crossover into each other's jurisdiction. On top of that, the inclusion of Rei helps the plot move closer to the larger conflict.

Power Up!!

As per the norm with tokusatsu the villains of the series tend to be your Monster of the Week variety starting off. Kouga receives assignments from the Watchdogs (his bosses) and intel about Horrors while other times he must hunt them on his own with absolutely no information to go on. These Horrors lure humans often targeting them based on their character flaw such as greed or taking advantage of people's desperation or regret on other occasions. Essentially if there's someone out there that has a psychological, emotional, or spiritual weakness there's a Horror that will prey on them. Some of the scenarios in which people fall victim to Horrors makes perfect sense such as when a Horror poses as a doctor and kills people in his private hospital because it would go unnoticed if there was a mishap on the operating table. Other scenarios do seem contrived such as when one Horror poses as a broker and attacks the people she meets. But she meets people out in the opening, at night. Who meets a broker in the dead of night? I admit these are minor gripes and this is typical of most series of this kind. It's not a jab at the convention but I do wish the reasoning behind some encounters was more creative.

The Dark Knight Returns

Around the halfway point Kouga learns that his father's nemesis Barago is not only alive but in his very city. The conflict between the two not only turns the world of Garo upside down but brings the city to its knees. The action is top notch due in large part to excellent choreography, some creative wire work, and relatively simple use of CG except for the most over the top battles. One of the things I appreciated about this Garo and a major advantage it has over its successive sequels is that it uses costumed stunt men for most of its fight scenes. I feel the action is more effective in this manner not only because its the tradition of tokusatsu but also because by not using CG, the battles look more real and the combat is a lot more interesting because even with the use of wires, there is still a guy in a suit executing these moves rather than a CG model. It also says a lot about the presentation and the remarkable level of care put into this series because Horrors and armor worn by the Makai Knights all look really complicated so there was certainly a lot of effort that went into building this world.

Garo is ready for action!

When CG is used it's done where it makes sense such as in the creation of some two story tall Horrors and fight scenes which could not have been done any other way. Perhaps the most jaw-dropping use of CG combined with live action comes during the series climax which I won't spoil but I will say it was the most stylish, action packed finish I've seen this side of Karas. Simply put, Platinum wishes they made something this over the top.

"He fights battles and doesn't afraid of anything."

The series isn't perfect. Some of the writing toward the end gets inconsistent, for some viewers it may take too long to set up the ultimate conflict, and series villain Barago doesn't get a lot of characterization. While he does get an entire movie dedicated to his story (Kiba Gaiden), I feel that he should have been explored more thoroughly in the series in which he was introduced and not a separate movie. However, what is here is quite good. Opening and ending themes by Jam Project (The Soultaker) along with a fantastic score by Shinji Kinoshita and Kōichi Ōta gives each scene a life and a mood of its own. Garo blends drama, horror, martial arts, and transforming super heroes to create an imaginative series that launched an entire franchise and for very good reason. Like an RKO out of nowhere Garo definitely took me by surprise and it's a series I won't forget anytime soon. While I can't vouch for some of the later entries, the original Garo is very much a must see.