Kinjite: Forbidden Subjects

When great director/actor combinations are talked about the team of J. Lee Thompson and Charles Bronson is not usually mentioned. Probably because the output of nine joint ventures between the two of them runs the gamut from the really good action entertainment to the mediocre. Unfortunately Kinjite: Forbidden Subjects falls in the latter.

That's sad because Kinjite could have been a whole lot better. But for the life of me I don't understand why it was necessary to make the father of the missing Japanese girl, a guy used to getting some cheap jollies because the romance in his marriage has run out. That might have been good for another film altogether, but it served no purpose here.

A straightforward cop drama with Charles Bronson as a vice cop who's seen a bit too much in his line of work and has a strong prejudice against orientals. That part could also have used a little explaining as well. But he's going to have to overcome it if he and patient partner Perry Lopez are going to locate a captured Japanese school girl.

Bronson's time in the vice squad have told him exactly where to look for the kidnapper. A stylish, murderous pimp played by Jaime Fernandez is the guy and he and Bronson have some history. In fact in the film's best scene, Bronson made him eat an expensive rolex watch and set his car on fire.

At one point Fernandez happens to spot Bronson and Lopez in an all night delicatessen and this being after his rolex snack, he sprays the place with an Uzi killing everyone, but Bronson and Lopez. I really think that little incident would have had more than a couple vice cops from the LAPD after Fernandez. But that's another terribly big hole in the plot.

Still there is a very rough justice in the end for Fernandez. I wish the whole film had been better though. This was the last film of the Bronson-Thompson team and J. Lee Thompson's last as a director. He should have gone out with something better.

Repugnant Bronson thriller. Unfortunately, it's technically good and I gave it 4/10, but it's so utterly vile that it would be inconceivable to call it "entertainment". Far more disturbing than a typical slasher film.

OK, this isn't the best movie ever made, but it does have some positive qualities. Nicole Eggert has a medium to small size part, but looks GREAT! This was the stage of her career where she looked the very best; long before the Gen-X style took her over and she got those ridiculous breast implants. Amy Hathaway is also in this movie as Charles Bronson's daughter. She is very beautiful - though a bit young in this. Don't take it too seriously and enjoy the eye candy!

Lt. Crowe is a no nonsense aged cop who almost goes over the edge after his daughter is molested by an unidentified Asian male. As he battles to curb his anger and racial prejudices, Crowe knows he must focus on the job at hand, the safe return of a kidnapped child, and the arrest of a child prostitute pimp...........vengeance and duty are about to become an uneasy alliance.

Showing his aged years and looking frazzled around the edges, this is actually one of Charles Bronson's best performances. Casting Bronson as Crowe now looks like an inspired decision, Crowe is a man getting old as the world around him changes its ideals and principals, with Bronson stepping into character and grasping the irony of his career overview. Not that there is anything remotely sad about the work here, it's a Bronson film with Bronson kicking arse, his character's conflicting beliefs allowing Bronson put some emotional blood into Crowe's sinewy veins.

Personally, what i find most engaging with Kinjite is its duality centre, we root for Crowe as he thunders on in pursuit of the vile bastards who exploit children for their own and monetary ends, yet the confusion reigns as Crowe's racist slant towards Asians reaches fever pitch. It's safe to say that a lot of Bronson pictures are beef for beefs sake, but this really isn't an excuse for just throwing punches, or a Bronson working for food scenario. Don't get me wrong here, i would be a liar if i said this wasn't seeping with 80s sweat, it so is an 80s movie, but it's got balls the size of Bronson himself and perfectly captures the point of change for society and leading man alike.

Underseen, undervalued and most definitely worth a look, 6/10.

It's been a couple days since I watched it, and I just had to let it sink in. Fans of the Bronson/Thompson pairing will know what to get (being no restrictions within a Cannon production), but for some particular reason it didn't hit home for me. Well not straight away. This is probably the pairs' most daring work (yeah more so than "The Evil That Men Do (1984)"), and fittingly the last they would make together in a technically well-made fable. What ruffled a lot of feathers when this came out was the exploitative topics at hand (child prostitution, repressed sexual desire and drug addiction), and the way they were handled and brought across. They are gruelling, stomach churning and sleazily downbeat, but never did it struck those cords with almighty, gut-busting force. The ugliness of these facets definitely creeps in, but the emotional drive while being there, feels quite thin with an uneasy and bitter underbelly taking hold.

Thompson's sufficiently polished direction (though a more raw edge to it would've been better) paints a rotten, grimy and scummy texture through heavy atmospheric vibes than anything visually punishing. Gideon Porath's leering cinematography streamlined the feature. For a Bronson film, action makes little head-way. Quite strange, but its slow going pace lets the basic premise evolve, with its two separate stories eventually interlocking with each other with a neat slice of irony and karma, which made the material not so predictable and largely authentic. However don't worry too much, as Bronson does gets his hands dirty, just the way we like it too. Serving out his 'own' unpleasant justice in few memorable sequences!

Some might say that Bronson in the latter end of his career (mainly through the 80s) made a living out of the same character and motivation. But an earnestly scathing script, helps give Bronson something interesting to work with (even a bit of western and eastern cross-culture differences plant themselves in early, and play a bigger part to story's progression) and makes for a weathered, but righteously hard-hitting performance of a multi-facet character. In support; Juan Hernandez's seedy pimp is a disturbingly slimy portrayal and James Pax's square Japanese businessman with an uncontrollable sexual urge effectively counter-punches Bronson and Hernandez's characters. None of these are clean characters, even though Bronson has the badge. He shows his insecurity, of the subject and uses it to make his actions justified. In the lesser co-starring roles is an exceptional Peggy Lipton as Bronson's wife. Perry Lopez is good in the loyal, but tired cop partner. An imposing Sy Richardson plays one of Hernandez's goons. Amy Hathaway shines as Bronson's on screen daughter and Kumiko Hayakawa impresses with a movingly gusty turn as the young kidnapped girl. As for Greg De Belles' funky music score, I found it sloppy and unsuited instead of sapping bleakness. I just wanted the musical pieces to get under my skin.

The dark, unsparing perverse tone doesn't make it enjoyable entertainment. However it really does linger on the mind, and holds a steady curiosity to it.