Watch Kamikaze 1989 For Free

Best movie of this year hands down!

The Worst Film Ever

Great Film overall

This story has more twists and turns than a second-rate soap opera.

I came into this movie with an open mind because I knew the chances of this movie being an authentic Cyberpunk film was minimal. Boy did this movie suck my prostate clean. It was boring, unimaginative, pseudo- intellectual and above all, GAY! To call this movie Cyberpunk is like calling Friday The 13th a romance movie. It is misleading and stupid. Either that or the morons who think this is CyberPunk haven't the faintest idea WHAT CyberPunk is. In either case this movie IS NOT recommended AT ALL unless you like self indulged, tedious crap!!

You really have to be in a very particular state of mind to appreciate the utter katastraüm that is this film.You can read all over the internet that RW Fassbinder used to direct up to 4 films a year EXCLUDING acting assignments for other directors and it shows perfectly in Kamikaze how little time he had to prepare for an acting job.I think Fassbinder and the gang only wanted to have a good laugh with 90 minutes worth of jokes that only they would understand.Remember that this is NOT a Fassbinder film. Like, if you're going through a "Fassbinder Marathon" (if that would ever be a thing), you wouldn't include Kamikaze. It's a punk film - well, it's only a film - in which he acted (if you want to call that acting).If you're a film fan and/or Fassbinder fan or if you're simply interested in West German indie pop culture, Kamikaze is perfect for you, because it's an orgy of everything and nothing.If you're studying cinema, this is perfect as well because it breaks every technical rule in the history of everything in the space of less than an hour and tells you exactly what you mustn't do if you want to be a merely competent film technician.But, seriously, there's only one advice I can give you: don't watch it sober.

A futurism crime thriller was a different venue for Fassbinder, whose stature had grown lately with films in historical settings. Though he didn't direct "Kamikaze," it was helmed by fellow New German filmmaker Gremm & has the moody complexity for which both directors are known, as well as more action. In the near future, West Germany's economy (remember, the fall of Communism was yet unforeseen) has become the world's largest. Virtually all broadcast & print media are controlled by a single, family-run corporation whose head (Gober) styles himself "The Blue Panther" & carefully crafts an elaborate personality cult, including a line of action comics. You still have a lot to learn, Rupert Murdoch. A terrorism campaign against the company by a nebulous entity called "Krysmopompas" (more impressive than "Osama," more intelligent than "Carlos the Jackal") brings on a police investigation headed by the force's most famous detective, Jansen (Fassbinder), who's never failed to solve a case. Clues indicate that someone well-placed in the corporation is responsible, but Jansen soon learns that the company itself is trying desperately to keep secrets. Is Krysmopompas really just an element of the Blue Panther personality cult? The story from Swedish writer Wahloo's novel "Murder on the 31st Floor" is frighteningly accurate in some of its visions, including the rise of cheap, inane reality TV (the marathon laughing contest is a classic) & the creation of euphemistic, self-serving police propaganda machinery (there's no such thing as murder or suicide anymore, only "accidental death"). The props are gleefully, stylishly cheap & cheesy, including Jansen's pajamalike leopard outfit, which might be some sort of uniform (remember Sylvia Anderson's purple wigs in "UFO?"), the burly assassins in black lingerie, the 3-wheeler choppers of the police & the Superman executive phone. However, they're no more outlandish than those of the wildly popular "Mad Max" films (Tina Turner in chain mail, oh, my!). Fassbinder does a remarkable job of projecting an air of old-fashioned, authoritative competence from Jansen through the futuristic absurdity, in contrast to the bland, painted-smile routine of the other cops & the worried urgings of his dying chief (Marquis). His relationship with his temperamental, long-suffering sidekick Anton (Kaufmann, Fassbinder's frequent collaborator & longtime companion) adds a complex human touch to the film. The brilliant Jansen is curtly condescending & critical ("Don't use unnecessary words, MK1 Anton") while the energetic Anton is alternately effusive & sullen. The portrayals of the media executives & personalities are delightfully bizarre & over-the-top, but probably less enjoyable if you don't understand German. The futurism venue was probably a good one for Fassbinder & Gremm (the latter's copious work remains almost unknown in the US) to venture out of the art-house domain of New German Cinema while keeping much of the technique that they had developed. Despite its similarity to "Soylent Green," "Kamikaze" is far less literal & direct but stylish beyond the point of parody. Hardly the most important work of the New Germans, "Kamikaze" is a valuable film in the near-future genre that died out in the 1980s but is about due for a revisit.

I'm sorry to say that, but i can hardly say it's a good film... The cinematography is dull, the photography is so cheapo that you could think you're in a "Derrick" episode. The scenario losses some parts during the timeline... Even the music (composed by the professional Edgar Froese) is - uhm... Outdated? No 80s revival will save this film from the brink of extinction. The only advantage for its producers is that you CAN'T forget it after a vision. Uhmm... Not for the good, i'm afraid..