Dead or Alive 2: Birds

Dead Or Alive 2 isn't the regular sequel one might expect it to be. Remember, we're dealing with Miike here-and-frankly, this is so weird that it's hard to really claim it to be a sequel at all. The two main characters from the first piece are being kept here and they both make a great performance here.

The story itself is being brought to life by two contract killers who happen to stumble on each other, who turn out to be friends from childhood. Miike ventures into a quite different visual plot, following both the actual Yakuza violence taking place in Tokyo whilst the story's two protagonists are residing on an island in the countryside where they were brought up. I guess I have to see it one more time to really make up my mind about things, but the first impression was neat, as always with Miike. The landscapes and views being exposed in this film is simply amazing and while the thrills of violence aren't numbering as much as in its prequel, there's a good weight put here to comedy and humor instead. Thumbs up. Can't wait to see the final in the trilogy.

Two hit men (Riki Takeuchi and Sho Aikawa) cross paths while pulling off a job. They decide to run a playground and reminisce about their shared childhood. Quite a bit lighter in tone than the original "Dead or Alive" which the sequel has (apart from the same two lead actors) nothing in common with. When I say 'lighter in tone', I of course mean for a Takashi Miike film. This movie is more about the wonders and joys of children growing up, not yet jaded by how the world really is. Fans of Miike's bizarreness won't be disappointed with it either. I myself like this film more then the first one and is superbly acted.

My Grade: B+

DVD Extras: Theatrical Trailer; and Trailers for "Dead or Alive" "Dead or Alive Final", "Sharkskin and Peach Hip Girl" and "Junk Food"

In no way, other than name, is this a sequel to the previous years, Dead or Alive. We have the same two main actors but here, Sho Aikawa and Riki Takeuchi play different characters who come together after a big gangland hit to, basically, reminisce about their childhood together. There is fierce violence but this has gentle and reflective periods, that reminds one more of Takeshi Kitano's Sonatine than the more usual Miike product. Indeed, whilst this is not easy to follow, with its flashbacks and incomplete tales, it is further made mysterious with magic acts and surreal moments. Nevertheless a likeable film with amazing visuals, just not all of exploding body parts.

Like pretty much every single film that i have seen by this director, this film is worth a watch. There have been times when i realise that i have a penchant for this kind of film and therefore possibly i can enjoy it more than most. Also i enjoy subtitles, and make an effort to understand what is going on..

You should ignore 'Dave Godin's' complaints about the film having UNSUBTLE SYMBOLISM and the characters being ROLE MODELS FOR ARMCHAIR NERDS. I think he is missing the whole point of this series of films and obviously has a sandy vagina - otherwise he wouldn't complain so avidly!

I wouldn't recommend watching this film if you haven't really seen any other stuff similar to it - it is not one of the best! (I say this having not seen it for quite a while) 'Gozu' is probably a better comedy and 'The Agitator' or 'Shinjuku Triad Society' are much better serious films.

Also before trying to rip to shreds Asian movies like this, Old Boy & others, i think you guys should take the initial decision NOT TO WATCH THE FILMS IN THE FIRST PLACE and stick to the films that you know you will like... Star Wars episode III is out 19/05/05 so pre-order your tickets and forget that Takashi Miike ever existed!

The problem it seems for so many Miike viewers is that their expectations build up from viewing earlier films. And then they expect all of his films to meet those expectations. And then whine and bitch when he confounds them. Why can not you all accept each of his films on it's own terms? Why would you expect DOA 2 to be like DOA 1? If you do, you don't know Miike and his approach to movie making.

The DOA TRILOGY is, it seems to me, Miike's meditation on the relationship between seemingly opposing energetic masculine 'forces'. In the films these forces are characterized in various ways: 'good'/'bad', 'light'/'dark', 'white'/'black', 'social'/'antisocial', police/gangs, Yakuza/triad, bla bla bla. And in this respect the trilogy is a meditation on man-to-man relations in general in our world today. In the first film, like positive and negative electrons, the personifications of these forces eventually annihilate one another in a cataclysmic explosion that destroys the planet that really messes with the audience's mind.

In the second film the embodiment of these forces are brought back together to explore the possibility of their working together as a positive conjunction for a 'greater good'. They are also shown here to have originated from more or less the same source. Their relationship here is glossed with 'gay' overtones. (A theme in more than a few of Miike's films.) But it would seem that the 'world' is unable to accept such a relationship, such a 'love' if you will, and the world eventually hunts them down and destroys them. This inevitability suffuses the whole film with a melancholic dread. Even in the lightest (and yes) Funny moments, you are aware that fate is stalking this Appollo/Dionysius pair relentlessly to bring them down. And of course the 'Furies' do descend on them (in a bizarre contemporary incarnation only Miike would have been able to think of!) and do destroy them. Though this time with a whisper and not a BANG. In musical terms DOA 2 can be seen as a kind of 'apache adagio', a dance of death.

So many people commenting on Miike's films here talk about his 'slow' moods as if 'slow' is a bad word. (If you are a speed freak then I guess 'slow' is a bad word in your vocabulary.) But it is to Miike's credit that he so obviously understands that some of the more profound of human experiences are lived in 'slow-motion' and can only be expressed and appreciated artistically in that mode. One has only to see some of his filmed interviews to know just how much he appreciates the 'slow' and 'still' in human experience. He is, after all, the product of a Zen culture. The two protagonists, Takeuchi & Aikawa, obviously know they are doomed. So they are doing their utmost to genuinely savior their remaining days. Much of this time is spent in a lush verdant countryside rather than in the city. And we are given the opportunity to savior their experience with them at their own pace. If one will but go on the trip with them it is a delicious beautiful bittersweet painful sad trip you feel lucky to have been allowed to trail along on.

I would characterize DOA 1 as being a trip for the groin and guts. DOA 2 as a trip for the heart. And DOA 3 as a trip for the mind/intellect. It was a stroke of genius on Miike's part to realize that he could introduce 2 characters in one film. Kill them off at the end of it. And then reanimate them in a second and then a third film with more or less totally different stories. And still have all 3 films truly be about those 2 same characters. And do it in such a way that they only reach full development at the end of the third film. Undoubtedly DOA 1 is the best of the 3 films. And all 3 films can and do stand well on their own. But it is equally true that the WHOLE STORY only gets 'told' by the trilogy.