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Too much of everything

Best movie of this year hands down!

Best movie ever!

After playing with our expectations, this turns out to be a very different sort of film.

This is an excellent film, flawed in the sense that certain aspects of the fictional revolutionary group appear quite caricatured at times but viewed in relation with director Koji Wakamatsu's newest film "United Red Army" it can be seen to draw a surprisingly accurate picture of the revolutionary nihilism of the Japanese student activists of the time. Other reviewers have compared the film to Godard's early work such as La Chinoise and admittedly the artistic style is quite similar though less refined, and far from being less politically aware than Godard, Wakamatsu was actually much more realistically cynical in his portrait of armed student activist cells whereas Godard's revolutionary themed films displayed a certain hopeful naiveté in the potential of a largely dogmatic and authoritarian movement which was strongly criticized by his contemporaries in the Situationist International. The writer of this film Masao Adachi was certainly not a pretentious intellectual out to exploit sex and revolutionary pop aesthetic as some critics have inferred here; a closer look at his personal history shows that shortly after writing the screenplay he actually moved to Lebanon to join the real life armed revolutionary group the Japanese Red Army where he remained a committed activist for 28 years up until his arrest in the year 2000. As such the film can be a unique and telling account of his own mentality and the personal motivations which led to joining the JRA, as well as his prior knowledge of the less-than-ideal dynamics of the lifestyle he would be choosing. One must keep in mind that at the time Wakamatsu was expected by producers to be making films in the 'pink' genre which would explain the gratuitous sex scenes that could be seen as offensive or pointless to some but the unique beauty of the film far outweigh it's occasional rough edges. Highly recommended, though not for casual viewers of film "for entertainment's sake" alone.

Spoilers herein.I particularly appreciate films whose manner is consistent with its matter. This one is, but the problem is that the overriding notion is deliberate lifelessness. I suppose there is a certain teenage audience for this sort of thing: masochistic narcissism. But once someone has done it -- or even thought about it, it is enough for us all.The idea is life by slogan, by motion. Dry sex. Inherited passion. Emulated life. Confused but committed participants. Pretty tired and tiring stuff. The novelty here is the film is designed the same way as a sort of art-as-politics. Pass on this. It is almost as bad as TeeVee without the plastic giggles.Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life

The film is a dated, incoherent, and pretentious rambling about fictional revolutionary, or rather quasi-revolutionary, terrorist group(s) in Tokyo in the sixties. Although there may be some resemblance to early Godard, Wakamatsu seems to be much less accomplished thinker, revolutionary, or craftsman than the French master of the New Wave. Notwithstanding the typically Asian overacting, all the persons in the "plot" act as detached mechanical puppets (perhaps intentionally?). They are not good in making either revolution or love. The frequent sex scenes were quite irritating not only because the participants recited quasi-political slogans, but also due to sometimes awkward choreography or cuts necessitated by the bizarre Japanese censorship law that does not allow a glimpse of pubic hair on the screen.I wonder if the sign "WEAPON WEARHOUSE" on a weapon warehouse in the film is a joke for insiders or rather a testimony on the level of production values in this movie.

This movie is unique in 2 aspects:1) It is the only Japanese movie I have ever seen that is incredibly awful,2) It is a movie with abundant nudity and sex that is unbelievably boring!The "plot" concerns revolutionaries in Japan in the 60-70s, and their dedication, or lack of, to some unspecified political movement, frequently interrupted with sex. Expect long, pretentious monologues on dedication to the movement, relieved only by unemotional, mechanical sex. One very violent scene of a struggle between 2 factions for stolen bombs, and some random, senseless bombings in ?Tokyo round out the action.Really, spend your 90 minutes elsewhere.