JUNJI SAKAMOTO: KT (Japan/Südkorea 2001)        FESTIVAL   BERLINALE 2002 WETTBEWERB      

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JUNJI SAKAMOTO: KT (Japan/Südkorea 2001) INFO

Japan/Südkorea 2001, 125 min
Regie: Junji Sakamoto


Samstag, 16. Feb, 2002 12:30 Uhr Berlinale-Palast

Samstag, 16. Feb, 2002 19:30 Uhr Berlinale-Palast

Sonntag, 17. Feb, 2002 12:00 Uhr Royal Palast

Sonntag, 17. Feb, 2002 18:30 Uhr Royal Palast

Sonntag, 17. Feb, 2002 22:30 Uhr International

Junji Sakamoto begann als Regieassistent von Sogo Ishii (Die Familie mit dem umgekehrten Düsenantrieb, Electric Dragon 80.000 Volt) und drehte eine Reihe von Filmen, in denen das Boxen im Mittelpunkt steht (von Knock out! bis Tokarev). Als bedeutender Regisseur gilt er, bisher jedenfalls, nicht. Filmografie (Ausschnitt):

Knock Out! (Dotsuitarunen, 1989)
Tekken (1991)
Tokarev (1994)
Boxer Joe (1995)
Face (Kao) (2000)
Another Battle (2000)


Midnighteye-Kritik (Ausschnitt) von Tom Mes zu Another Battle  (Japan 2000)
When the story shifts to the present day we get one terrific sequence oozing yakuza cool, but from there the film quickly grinds to a halt. The estranged friends don't even meet until well over an hour into the film and instead what we get is endless yakuza talk over who should be boss of what outfit and who has to be killed in order to get there. This definitely isn't Battles Without Honour and Humanity, but rather Battles Without Action and Excitement: the first action scene is in fact the film's finale. But with all the tedium that preceeds it, you might not last that long.
vollständige Kritik

Kritik von Joshua Tanzer (Ausschnitt) zu Face (Kao) (Japan 2000)
"Face" is just the kind of movie for which cliches like "a triumph of the human spirit" were invented. Sometimes it feels trite, but other times it draws you into this woman's rebirth. Killer or not, you still have to root for her not only to escape but to find a safe home and a happy life. The ending, with its final twist as she's hunted down in a remote island village from which there's no escape, is corny but irresistible.
vollständige Kritik