Full Metal gokudô

Guess that in potential this could had been a truly awesome and insane revenge flick but the movie instead goes for a more over-the-top and comedy like approach. It doesn't really has the desired effect, since it more often makes the movie just silly instead of entertaining or funny.

Normally I either really love or truly dislike a Takashi Miike movie but in this case I'm stuck in the middle somewhere. I really didn't hated the movie but at the same time was also never impressed- or entertained enough by it.

Because the movie takes a more comedic approach, it's also being a more simplistic one to watch. It's very straight-forward, without any good depth or underlying emotions to the movie its story and themes. It's why the movie feels like a bit of a bland one, as well as redundant, even for the fans of Takashi Miike movies.

For a Takashi Miike movie it also certainly isn't edgy enough. It sounds weird, with all of the violence and gore in this movie but the movie feels quite tame and like it's holding back with its graphic violence. This is something Takashi Miike normally really never ever does! But it's a movie from before the days he became an established name really, so it perhaps isn't so surprising that this movie doesn't feel as edgy and daring as most of his later work.

Another problem I really had with this movie was its story. To say it bluntly; this movie really seems to be a Japanese remake of "RoboCop". It uses a very similar concept and even some of the characters and sequences seem alike. So originality was also a big problem with this movie. And as a matter of fact, it makes the movie even weaker, considering that it isn't even halve as good or half as edgy and daring as Paul Verhoeven's "RoboCop". It makes this movie feel like a bit of a lame rip-off attempt.

But despite all criticism, this is still a movie you could have some fun with. It's definitely entertaining to watch in parts and with a Takashi Miike movie you are always getting something unique and unusual. The movie is still filled with plenty of moments like that. So despite not being to original with its story, it still is at least being original with some of its scene's.

6/10

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Takashi Miike may well be the savior of modern cinema - more than any other film maker I'm aware of, Miike keeps pushing the boundaries of the art form. He's also got a deliciously sick sense of humour.

Full Metal Gokudo is an early Miike movie (with the rate he produces movies, even 5 years ago is a long way back in his career). It's a made for video ultra-cheapy, probably made in a couple of weeks for a few thousand yen. The basic premise is Robocop meets a Yakuza movie... producing the Full Metal Gokudo himself, a low ranking Yakuza gangster whose body is reanimated by a self-proclaimed genius scientist, to be a crime fighting superhero. Though things don't quite go according to his plans.

Despite the very very low budget and terrible special effects, FMG contains buckets of that Miike imagination and intellect. Subtle, dark humour occasionally gives way to comic absurdity - and occasionally to something much darker and more disturbing. Nothing as sick as you will find in Ichi The Killer or Fudoh, but enough to trouble the more squeamish viewers no doubt. There's a little bit of a heart in the movie too though, for the viewer who can look past the gore and idiocy.

Mostly though, FMG is just a silly comedy. It takes a bunch of mostly loathsome characters and puts them in a ridiculous situation, then has fun seeing how everybody reacts. It's a movie that could only have come from Japan, and probably only from Takashi Miike himself. The ultra low budget means its never going to get mainstream popularity, but it's the perfect material to become a lightweight cult classic.

Full Metal Yakuza (Full Metal Gokudô) 1997 Not Rated

This quaint little movie is one of the first by infamous Japanese director Takeshi Miike. A director known well in Japan for his work on Yakuza (Japanese Mafia) movies—but well known worldwide for his bizarre and shocking "horror" films. This is one of his unusual combination films. It's a Yakuza story, with elements of horror, science fiction, Mafia pictures, and Robocop.

The story revolves around one of Japan's crappiest Yakuza underlings, who, of course, wishes he was more. The head of his, uh, "mafia gang" has taken a liking to him regardless of his grandiose incompetence. Eventually, both are killed, then rebuilt a la Robocop into: "Full Metal Yakuza!" That's right, they're rebuilt into one mostly robotic super-Yakuza warrior—that's primarily the mind and personality of the wimpy warrior. Complete with appetite for nuts-n-bolts dragging around his gigantic penis. Go ahead, reread that sentence. You read right. The new RoboYakuza eats hardware like nuts, bolts, screws, nails, what-have-you for energy. And, he has a huge wang. Well, anyway, he goes around fighting and killing people that were enemies to him and his Yakuza master before they were killed. So it's a revenge story, too. One with cheesy dialog, rampant violence, amusing characters, and laughably horrible special effects. Movies made for PBS don't often look this bad! But the film is decently fun to sit through, so long as you like cheesy Yakuza movies, constant violence, and Takeshi Miike. But keep in mind, this has exceedingly low production value, and is cheesier than Wisconsin. 5/10

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Not all that entertaining, and very low budget, but flashes of Miike's wacky brilliance make this worth seeing for fans of his work. A wanna-be yakuza loser bumbles his way through the lower echelon unpleasantness of a gang, before a very unpleasant incident results in his being transformed into a deadly (if goofy-looking) cyborg fighting machine. Will he get revenge or will he just mope around like some whiner from a French movie and short-circuit in the rain?

People familiar with Ichi will see a lot of the same elements (though Ichi does come from different source material). The protagonist of FMG is a proto-Ichi in many ways, full of angst and completely dysfunctional, stalking around in a plated body-suit and not much of a hero. Any serious pathos or plot development is undercut by the wacky joke bits Miike throws in (like our hero learning stances to deflect bullets). The silliness is definitely fun, but the movie is so schizophrenic that most of the enjoyment is of the "Whoa! Did that just happen?" variety. Dig in if you're a Miike fan, otherwise don't start here.

It is tiresome enough when so-called "professional" critics drag a film over the coals for not being an exact match to other work by the same director. It is oh-so-much worse when the same is done by amateurs who don't even know the full output of the filmmaker under this type of dissection.

With splashy films like Ichi, the Dead or Alive series, and The Happiness of the Katokuris having reached these shores and found their audience, the smaller films have started to tag along. Visitor Q and Audition have been highly praised by many, but these low-budgeters were made after Miike had gotten his quirkiness shaped into a formula. A great formula, in my opinion, but a formula nonetheless.

There are many more early films by Miike headed this way, and many of these, I suspect, will be much like Full Metal Yakuza -- stories told in a straight-up style with a view for pleasing an audience, rather than a cult.

While it is no "American Cyborg," FMY is a rip-snortin' 100% straight-to-video exploitation venture by a skilled filmmaker who manages to more than meet the requirements of the genre. The story concerns a Yakuza who awakes from what had seemed to be certain death to find that he now has a body that is partially steel, partially his own, and partially made from the parts of his dead sempai...can you guess? Yes, we are going to have a revenge tale. And, as silly as it is, it's a lot less goofy (and will no doubt age better) than that overpraised pastiche of revenge tales, Kill Bill.

Grab a six-pack, pop some corn, and forget about meaning while Uncle Takashi spins what is without doubt the best scifi Yakuza tale of the 20th Century.