


And had any director come out of the gate with the bizarre mixture of period fetish torture, extravagant ero-guro stylistics, and sock-puppetry that was Imprint, he would have been hailed the reincarnation of Teruo Ishii and spawned an instant worldwide cult.īut this nostalgia for the genre gems that Miike and so many of his compatriots churned out during the 1990s is a good thing.

If Ichi the Killer seems increasingly distant and Audition but a fading memory, a glance at Miike's filmography will set the balance straight: Big Bang Love, Juvenile A was a work of perverse art made on a V-cinema budget Izo was a slaughterfest that dared massacre even its own audience Sukiyaki Western Django was more retro-genrefied than any grindhouse redux.
KAMISAMA NO PAZURU MOVIE
Zebraman, The Great Yokai War, that TV series about a kid detective and his transforming cell phone - Miike seems to be aiming more for the family matinee crowd than the midnight movie maniacs these days. He who at the dawn of the millennium captured hearts and minds, and turned a few stomachs along the way, with low-budget yakuza and horror pics has these days, say some, answered the lure of big-budget-blockbusterism and neglected his original fanbase. There has been some grumbling from the terraces of late about the recent state of one Takashi Miike, filmmaker.
