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Blu-ray Review: RoboCop Trilogy

If nothing else, the trilogy should afford sufficient proof of the immense differences between Verhoeven and the trigger-happy, run-of-the-mill action directors he is often lumped in with.

2.5

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RoboCop Trilogy

To view RoboCop, nothing if not the ultra-violent, anti-capitalist mecha-Christ allegory of 1987, and then watch its two subsequent sequels, released in 1990 and 1993, respectively, is to be smacked in the face by how underappreciated Paul Verhoeven has been for a greater part of his career. Coming off a handful of fascinating Dutch films, including the excellent Soldier of Orange and The 4th Man, Verhoeven set to work on the futuristic RoboCop, from a script by Edward Neumeier and Michael Miner, after being scorned by history. His English-language debut, Flesh + Blood, concerning a gang of mercenaries kidnapping the daughter of a noble lord in early 16th-century Italy, severely underperformed upon its release in 1985. Though not without its positive qualities (it has many of Verhoeven’s chosen themes but handles them with kid gloves), Flesh + Blood has the unmistakable feeling of a transitional work among its reckless medieval violence.

Assumedly still licking his box office wounds, Verhoeven was hesitant to take on RoboCop until his wife convinced him otherwise; it had previously been dumped by Alex Cox in favor of the venomous and virile neo-western Walker. The story of RoboCop still sounds mean and dumb: Murphy (Paul Weller), a cop working in the fictional city of Old Detroit in the near future, is shot to death by an all-powerful drug gang and is subsequently used as the guinea pig for a campaign to create robotic cops launched by OCP, an all-powerful corporation. Placed in a hulking mechanical body, Murphy becomes RoboCop and serves his civil duty without sentimentality until a flash from his memory, helpfully jostled by his ex-partner, Anne (Nancy Allen), sends him on a tear against the gang, their leader Clarence Boddicker (Kurtwood Smith), and his profit-mongering cronies at OCP.

Initially dismissed by The New York Times as nothing more than a violent action spectacle with muddled messages yet simultaneously hailed by Ken Russell as the best science-fiction film released since Metropolis, RoboCop remains a bold and feral black comedy, a bleak satire on corporate excess and capitalism and, finally, a sly doppelganger of America’s favorite film genre. Buoyantly self-aware, the film’s covert critique of action films, in the guise of an action film, reached so far as to cast media vixen Leeza Gibbons as a vacuous newscaster and Ronny Cox, a fatherly presence in the popular Beverly Hills Cop series, as a ruthless corporate agent and a cold-blooded killer. The film’s most pervasive quality, however, is its wild vision of corporate excess and the extinction of the working class, whether it be in the skeletal, emptied factories that serve as action sets or the litany of brilliant commercials for fake products (best in show: a Battleship-type board game called Nuke’Em).

An unqualified box office success, RoboCop was seen, generally, for the same reasons the movies it was making fun of were seen, but its anger landed as loudly as one of its eponymous hero’s mechanical hoofs. The human had become a product, but Verhoeven was viscerally rooting for the rebellious nature of the human race. In comparison, RoboCop 2 was a deranged and cynical cry that wore its dour, acidic politics on its sleeve loudly—a trademark of Frank Miller, the creator of Sin City and the film’s co-writer, along with Walon Green. The sequel, directed by Irvin Kershner, posited our hero (Weller again) at the epicenter of a drug war, facing him off against Cain (Tom Noonan), a lunatic drug czar and creator of a high-grade opiate known as Nuke, but it also saw the CEO of OCP (Dan O’Herlihy), a figure slightly redeemed by the end of RoboCop, turn into a villainous figure along with the rest of the corporate lineup, which included an ambitious new consultant (Belinda Bauer).

Miller’s hyperbolically cruel take on the corporate mindset, not a hard view to take in the harsh daylight of post-Reagan America, was understandable, but his script went on overkill patrol quicker than the bumbling, destructive ED-209 droid. The film was often cartoonish (Cain’s right-hand-man is a murderous prepubescent), but, as handled by Kershner, wasn’t even slightly funny. The tone had swung from self-aware to a certain sentimental self-satisfaction, so much so that RoboCop became a minor character in comparison to the decayed moral landscape. A lively dialectic on the concept of corporate efficiency and humanism had become a tasteless joke told without a lick of comedic sense. Its shots included a few aimed at bleeding-heart liberals (a panel of special interests convinces OCP to turn RoboCop into a tree-hugging role model), but it was all too obvious that the film had perched itself above everyone with an undeservedly smug sense of importance fueling its confused, deplorable politics.

By the time RoboCop 3 rolled around, the leftist idealism had mutated once again. Written by Miller once again and directed by Fred Dekker, RoboCop (now played by Robert John Burke) had become the leading soldier for a leftist terrorist organization, after befriending a little girl (Remy Ryan) orphaned by OCP’s militaristic security force. Miller had, in the wake of RoboCop 2’s palpable sadism and heartlessness, gone soft and turned RoboCop into a sentimental figure—an ultra-lefty terrorist revolting against a humorless, uncaring corporation-as-government. Dekker, a toothless practitioner responsible for The Monster Squad, took away the danger of RoboCop 2 and replaced it with big, obvious messages told in a tone suggesting that the series’s main demographic had swung from adults (RoboCop originally received an X rating) to those who had yet to enter high school. Boring and thoughtless, RoboCop 3 put a bland corporation, personified by Rip Torn, Bradley Whitford, and the Japanese character actor Mako, in direct opposition to science, personified by the far more aesthetically pleasing Jill Hennessy, and felt unmoved to complicate this ideal with any concept of character or narrative nuance.

What had begun as a hopeful, high-grade satire, in which the corporation failed to eradicate the persona of the working class, had become a puff piece that stripped that character of his conflicted personality and sold him as a false prophet of immense force, rebellion, and, ultimately, peace. This decline in artistry, given the fundamental limits of the series, could have been seen as inevitable, but this somewhat blunts just how unique a talent Verhoeven is; a nearly identical debacle faced Verhoeven following his fantastic Starship Troopers. Verhoeven is something of the next logical step in a line of directors that reach from Howard Hawks and John Ford to David Cronenberg, Joe Dante, and Richard Kelly—commercially viable directors who imbued tired B-movie structures with their own personal idiosyncrasies. Like those directors, Verhoeven has had some less successful works (Hollow Man springs to mind), but you can always see a singular artist at work in his films, a facet of filmmaking both overlooked and sorely missed in a great deal of the modern marketplace.

Image/Sound

It saddens me to report that the original RoboCop is presented in the same antiquated MPEG-2 transfer that it received upon its release in 2007. Clarity is suitable but soft in several areas, and though the color spectrum is upheld, blacks are noticeably blotchy and gray. Graininess is also an issue but one, I suspect, that is due to the film’s production rather than lack of effort on MGM’s part. The substantially less watchable sequels, ironically, are presented strongly in 1080p/AVC-encoded transfers that vastly improve all the problems with the first film’s transfer. Colors and textures are all exemplary and the clarity of the image is far more detailed and focused. There’s a similar trajectory with the audio track. The first film’s balance of music, atmosphere, and dialogue is efficient, but everything in the subsequent sequels is given a heightened immersive experience. The fight scenes in RoboCop 3, though bloodless and safe, produce show-off levels of clarity.

Extras

Paul Verhoeven’s fantastic commentary from the Criterion Collection DVD version is, sadly, not duplicated here, but then neither is anything else, unless you count HD theatrical trailers.

Overall

If nothing else, The RoboCop Trilogy should afford sufficient proof of the immense differences between Paul Verhoeven and the trigger-happy, run-of-the-mill action directors he is often lumped in with.

Cast: Peter Weller, Nancy Allen, Robert John Burke, Daniel O'Herlihy, Kurtwood Smith, Ronny Cox, Tom Noonan, Rip Torn, Belinda Bauer, Miguel Ferrer, Gabriel Damon Director: Paul Verhoeven, Irvin Kershner, Fred Dekker Screenwriter: Edward Neumeier, Michael Miner, Frank Miller, Walon Green, Fred Dekker Distributor: MGM Home Entertainment Running Time: 323 min Rating: NR, PG-13, R Year: 1987 - 1993 Release Date: October 5, 2010 Buy: Video

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Review: Robert Wise’s The Body Snatcher on Shout! Factory Blu-ray

This sterling Blu-ray transfer is occasion for reconsidering the film as more than a minor entry in producer Val Lewton’s body of work.

4

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The Body Snatcher

Robert Wise’s The Body Snatcher thrives on dramatizing how individual responsibility functions within a larger chain of command. Though the film is set in late-19th-century Edinburgh, the dilemmas faced by medical student Donald Fettes (Russell Wade) are in lockstep with the global catastrophe of World War II, as Fettes struggles to determine whether or not he should obey the unorthodox commands of his mentor, Dr. “Toddy” MacFarlane (Henry Daniell). MacFarlane employs the graverobber John Gray (Boris Karloff) to deliver corpses for his medical experiments, as bodies are in short supply due to legal reasons. While not an explicitly coded story about Nazi war crimes (for one, neither MacFarlane nor Gray profess an ideology of hate), the focus on the shadowy machinations of power is prescient of the rhetoric of the Nuremberg trials, where Nazis who participated in the atrocities committed in Auschwitz and other concentration camps denied their criminal culpability.

Though the stakes of The Body Snatcher are much lower than genocide, one of the film’s primary thematic concerns is the psychological guilt of those who participate in murderous schemes for personal benefit. The medical field becomes a conduit for fascism, as Fettes wants to develop a medical practice devoted to personal care rather than profit, personal agendas, or scientific advancement at all costs. And since these ideas are being explored under the supervision of producer Val Lewton, they’re conveyed in the style of his frightening poetics.

One remarkable scene finds Wise amplifying the claustrophobia of confined spaces through tight framings. In it, MacFarlane’s slow-witted assistant, Joseph (Bela Lugosi), has just announced to Gray his blackmail demands after learning of Gray’s body-snatching practice. Despite the initiative to profit from his knowledge, Joseph is at best inept and seems to be merely imitating the kinds of exploitation he witnesses all around him. Wise flips Lugosi’s popular on-screen persona from suave predator to clueless victim. Karloff gives Gray a snarling confidence that manifests in the steady luring of Joseph toward his death. Confronted with the reality of his actions, Gray immediately locks into a mode of self-preservation, seduction, and murder. Such cold and calculating actions project the underlying terror of how rationality might be abused to harm weak or unsuspecting citizens.

A lesser, plot-driven subplot of the film concerns the efforts of Fettes to restore spinal function to young Georgina (Sharyn Moffett), a paraplegic who arrives with her mother, Mrs. Marsh (Rita Corday), at MacFarlane’s home seeking help. Georgina feels like a redux of the girl from Wise’s prior Lewton production, 1944’s The Curse of the Cat People. Whereas in that film Wise gave profound expression to how a child’s mind is affected by parental abuse, The Body Snatcher reduces Georgina’s emotions to a plot device, as Fettes’s more personal and intimate approach to medicine is meant to impugn MacFarlane’s unfeeling, hard-nosed methods.

Even if the narrative threads aren’t as tightly focused on exploring a complex theme as one might hope, The Body Snatcher nevertheless manages to still send chills, and predominately through Wise’s fleet direction and Karloff’s unflinching embodiment of a real-world monster. As with other Lewton productions, the scares are rooted in how character guilt or corruption gives way to fear rather than vice versa. Indeed, while Karloff receives top billing as the film’s embodiment of terror, it’s actually Daniell’s MacFarlane who pulls the strings. In fact, after MacFarlane believes he’s snipped away all loose ends, it’s his own mind that proves to be the final obstacle that cannot be overcome. Less supernatural than secular, the film challenges viewers to look more closely at how society might be impacted by their own behaviors and actions—especially those conceived of or acted upon when others aren’t watching.

Image/Sound

While the DVD transfer of The Body Snatcher released with Warner Home Video’s The Val Lewton Horror Collection was certainly serviceable, the new 4K scan of the film’s original camera negative absolutely sparkles on this Blu-ray release. From beginning to end, the film’s sumptuous high-contrast, black-and-white images are stable and without discernible fault. Depth of field is sharp and focus remains consistent throughout. To this viewer’s eye, hardly a single shot looks anything less than superb. The DTS-HD monaural soundtrack is clean and highly audible, with dialogue and music perfectly balanced.

Extras

Several extras are holdovers from Warner’s 2005 DVD collection, including a feature commentary track by Robert Wise and historian Steve Haberman, as well as the documentary Shadows in the Dark: The Val Lewton Legacy. Each are a wonderful means to comprehend the significance of both this film and Lewton’s legacy, especially if one is just getting acquainted with the extent of the producer’s work. The one new extra is a brief appreciation of The Body Snatcher by Gregory Mank, who spends the bulk of his time talking about why Boris Karloff’s performance is so special. Also included on the disc are a theatrical trailer and a stills gallery.

Overall

Shout! Factory’s sterling Blu-ray transfer is occasion for reconsidering The Body Snatcher as more than a minor entry in producer Val Lewton’s body of work.

Cast: Boris Karloff, Rita Corday, Russell Wade, Henry Daniell, Edith Atwater, Sharyn Moffett, Bela Lugosi Director: Robert Wise Screenwriter: Philip MacDonald, Val Lewton Distributor: Shout! Factory Running Time: 77 min Rating: NR Year: 1945 Release Date: March 26, 2019 Buy: Video

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Blu-ray Review: Edgar G. Ulmer’s Detour on the Criterion Collection

This unbelievably beautiful restoration is a poignant testament to the talent of an obscure artist too often taken for granted.

5

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Detour

There’s a fragility to Detour that only strengthens its spell. Edgar G. Ulmer’s 1945 film is an inventively sparse mixture of docudrama and DIY expressionism: There are no lush sets and camera pirouettes on display here, as Ulmer makes do with found settings, isolated props, and abbreviated, shaky tracking shots that are rich in authentic and incidental textures. There is tension between edits that cobble sometimes mismatched takes together, meaning that one can almost feel the work that’s necessary here to sustaining an illusion with limited means. Detour has a fly-by-night intensity, then, that’s derived by the thinning of the distance between the film’s collaborators and the audience, suggesting the fluid quality of live art, particularly theater and musical concerts, with the gutter vitality of pulp fiction at its most wrenchingly subjective.

In this context, Detour’s tricky narrative resembles an auto-critical study of how to put a scheme over with no money. Al Roberts (Tom Neal) is an aspiring musician hitchhiking from New York City to Los Angeles to see Sue Harvey (Claudia Drake), who left him to try to break into movies. In the sort of observational flourish that’s typical of Ulmer’s films, we see Al playing a piano in an empty bar, with stacked chairs in front of him in the foreground that lend compositional dynamism to the image while casually illustrating his sense of rejection. To put it bluntly, Al may always be relegated to playing after hours rather than primetime, and Sue wants to enter the center ring. Both characters are stunted artists hamstrung by a lack of resources. In the tradition of disenfranchised men in film noir, Al gets into trouble.

Detour opens on Al at a diner, tellingly arguing with a customer over a selection on the jukebox after the film’s main events have already occurred. A shadow creeps over Al, enclosing his face in darkness as he begins to narrate for us, describing how he wound up as a drifter. Ulmer and screenwriter Martin Goldsmith never allow the audience to forget that Al’s telling the story, as he’s almost certainly an unreliable narrator. Al recalls being picked up off the side of the road by Charles Haskell Jr. (Edmund MacDonald), who throws his money around before dying in circumstances so absurd as to lead us to suspect that Al is either hiding something or outright lying. After Haskell dies, Al, in a masterpiece of convenient rationalization, decides that robbing Haskell makes sense, as no one will believe that he didn’t kill the man anyway.

Driving Haskell’s car, wearing the man’s clothes and spending his money, Al gives a ride to Vera (Ann Savage), who’s hitchhiking near a gas station. In another twist so ludicrous that we doubt the veracity of Al’s story, Vera immediately discerns that Al isn’t Haskell, claiming to have recently ridden and fought with him—a development that’s foreshadowed earlier by the scratches on Haskell’s hand. Vera and Al are soon trying to sell Haskell’s car, becoming bound by desperation and sexual tension, as Vera reveals herself to be a formidable, bitter, and merciless opponent. Savage gives the film a jolt of hothouse energy, her curt, pragmatic ferocity serving as a counterpoint for Neal’s commanding recessive-ness.

Detour’s lean 69-minute running time also suggests simplification wrought by economics. Ulmer never resolves the mystery of Al’s trustworthiness, and another death, even less likely than Haskell’s, exacerbates the impression that Al’s attempting to kill his way out of a thicket of escalating crises. The audience is watching either the story of a delusional or unrepentant killer or of a man so profoundly unlucky he might earn words of sympathy from Job. This ambiguity amplifies the tension that’s been created and sustained by Ulmer’s raw yet beautiful style, while complicating the self-pity that often drives crime films.

Detour also pointedly lacks a third act, leaving Al drifting in the narrative ether. Vera tries to blackmail Al into helping her with the sort of conspiracy that drives many noirs, but this development is brutally curtailed, as is Al’s quest to find Sue. The film eats itself alive before the viewer’s eyes, post-modernly reflecting its hero’s doom, which functions as a heightened symbol for the ordinary disappointments of real life. Detour’s struggle to exist mirrors our efforts to do the same, and the film has an aversion to bullshit that’s livelier and more suggestive than anything in most contemporary cinema.

Image/Sound

This new 4K restoration, the result of over a decade of research, is awesomely pristine, rich, and detailed. To those who first came to Detour through subpar VHS editions and online streams and have come to associate it with a lurid crumminess that suggests the film equivalent of a beat-up E.C. comic, the transfer will likely look and sound too beautiful. But one quickly adjusts, as this Criterion edition honors Ulmer’s artistry, emphasizing the beauty he conjured even with a few thousand dollars and a week-long shooting schedule. Close-ups are vivid, revealing people’s wrinkles and creases, and clothing textures are shown to be pivotal illustrations of character. Above all, there’s a silkiness to the image, a velvety sheen that honors its aesthetic virtuosity. Meanwhile, the soundtrack gracefully oscillates between the various sounds of the road and diners and hotels, offering a subtle aural portrait of down-and-out life that contrasts with the dynamic mythmaking of the score. The hisses and pops of prior editions are gone, and so the film sounds as great as it looks.

Extras

Edgar G. Ulmer: The Man Off-Screen, a feature-length 2004 documentary, and a new interview with film scholar Noah Isenberg, author of Edgar G. Ulmer: A Filmmaker at the Margins, cover overlapping ground but are each worthwhile. Both supplements discuss Ulmer’s background as an immigrant from the Czech Republic—though he, like many directors in America who hailed from that part of Europe, claimed to be from the more cosmopolitan Vienna—as well as Ulmer’s early working relationships with legends like F.W. Murnau and legends in the making like Billy Wilder. And both pieces attempt to explain how Ulmer, an intelligent, talented, and cultivated man, failed to achieve the recognition that was enjoyed by, say, Wilder. (Ulmer’s stunning The Black Cat figures into each account.)

The Man Off-Screen offers an appealingly wandering account of Ulmer’s life, with guests like Joe Dante, John Landis, and collaborator Ann Savage celebrating the filmmaker’s inventiveness. Meanwhile, Isenberg offers a concise examination of Ulmer’s aesthetic, suggesting that the filmmaker’s unsatisfied quest for mainstream success benefitted his art. Robert Polito’s essay, included with this disc’s accompanying booklet, examines the creation of Detour with exhilarating precision, while contextualizing the film within the crime genre at large, on the screen as well as on the page. The theatrical trailer and a supplement detailing the origin of Criterion’s extraordinary restoration round out a slim but nourishing package.

Overall

This unbelievably beautiful restoration is a triumph of preservation as well as a poignant testament to the talent of an obscure artist too often taken for granted.

Cast: Tom Neal, Ann Savage, Claudia Drake, Edmund MacDonald, Tim Ryan, Pat Gleason Director: Edgar G. Ulmer Screenwriter: Martin Goldsmith Distributor: The Criterion Collection Running Time: 69 min Rating: NR Year: 1945 Release Date: March 19, 2019 Buy: Video

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Review: Satoshi Kon’s Perfect Blue on Shout! Factory Blu-ray

The film is a prescient vision of a modern world defined by media oversaturation and social media validation.

4

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Perfect Blue

Satoshi Kon’s Perfect Blue is a prescient vision of a modern world defined by media oversaturation and social media validation. In the film, Mimi (Junko Iwao), a J-pop girl-group singer who decides to give up music for acting, finds herself targeted by a stalker who threatens to ruin her if she doesn’t return to her old gig. More than just a stalker thriller, however, Perfect Blue unfolds as an extended study of Mimi’s fraying mental health as she begins to question her own identity as more and more crimes happen around her, with evidence pegging her as a suspect.

One avenue in which Mimi’s sense of self is undermined is, of course, the internet. Early on in Perfect Blue, she’s pointed to a website where she supposedly keeps a diary for her fans. Yet Mimi, who can barely even operate a computer, didn’t write the site’s entries, and she panics over the false confessions being posted on the web under her name. In the film, the internet is amusingly shown in its early days; URLs are absurdly long jumbles of letters and numbers, and sites are mostly text-based with maybe a background image added for flavor. Even here, however, the power of the web to enable false identities to propagate and be taken as legitimate is shown to be considerable, and Mimi is helpless to counter the lies put out by whomever has control of “her” site.

Resentment of Mimi’s abandonment of pop drives Perfect Blue’s violence, which befalls those helping the star’s pivot to acting. Kon’s depiction of violence is brutal, delivering a lot of ripped flesh and gushing blood. At one point, a photographer is stabbed in the eye with a screwdriver, while the climactic confrontation ends with so much blood that it seeps out of the victim’s body in a thick wall of sludge. Kon is circumspect only when it comes to the true source of the film’s crimes—obscuring, misdirecting, and withholding the identity of the killer at almost every turn. Throughout, we only see the murderer’s hands wielding weapons, and no clues are offered by the blurred, scrambled perspectives of the dying victims.

Kon also uses this disjointed perspective to illustrate how Mimi’s sense of self slips away from her, not only from the paranoia mounting around her, but also from the regular degradations that the entertainment industry foists on her. Having left the world of pop and its machinations behind her, Mimi finds herself now at the hands of the masculine world of film. Her aspirations to be a serious actress lead her to taking the role of a rape victim in a production called Double Blind, and soon she’s suffering through uncomfortable scenes where she feels violated by the aggressiveness of the film’s scenarios. (She also gets booked with shocking speed for a nude photo shoot to emphasize she’s no longer a “good girl.”)

Much of Perfect Blue’s turmoil comes not from Mimi struggling to clear her name of murder accusations, but from her attempt to control her own narrative, to put forward an image that isn’t co-opted, as much by the killer as the normal power players in show business. Her inability to decide what kind of person she wants to be is as disturbing as the bloodletting that occurs all around her, and is one facet of what’s allowed Perfect Blue to endure as a masterful articulation of powerlessness in the age of media saturation.

Image/Sound

Shout! Factory’s release of Perfect Blue comes with a remastered presentation of the film, and comparing it to the old, standard-def version (also included here) reveals that the new transfer boasts richer color depth and sharper contrast. Yet the integrity of Satoshi Kon’s most minute aesthetic choices, like the way the grimy backgrounds and deliberately fuzzy line details contribute to the film’s hallucinatory edge, have not been compromised. The surround sound remix for both the English and Japanese language tracks ably distribute the dissonant sounds of violence (glass shattering, blood spurting) and Masahiro Ikuni’s score of unnerving drones and frenetic breakbeat production across the channels into a suffocating cacophony.

Extras

The most substantial feature included here is a 40-minute lecture on the film given by Kon himself, and in which he offers his interpretation of the material and insights into his filming process. Elsewhere, there are brief interviews with both the Japanese- and English-language cast in which they give their thoughts on the film, and both a recording session and ad hoc music video for the “Angel of Your Heart” song that plays during the photographer’s murder.

Overall

Perfect Blue looks excellent on Shout’s disc, though it retains the grimy, slightly indefinite features that contribute the film’s brilliant depiction of blurred reality and illusion.

Cast: Junko Iwao, Rica Matsumoto, Shinpachi Tsuji, Masaaki Ōkura, Yōsuke Akimoto Director: Satoshi Kon Screenwriter: Sadayuki Murai Distributor: Shout! Factory Running Time: 81 min Rating: R Year: 1997 Buy: Video, Soundtrack, Book

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