#crime-thriller

#crime-thriller

Amidst the crumbling post-war city is Murakami (Toshiro Mifune), a recently-promoted homicide detective. In the overwhelming sticky heat, he's on an overcrowded bus, the waft of stale perfume and a screaming baby creating an unbearable atmosphere. As he finally exits, he realizes his gun has been stolen. Despite chasing the assailant, Murakami comes up short, unable to get his weapon back.

These are pairings of crime books that are going to tell a similar story that we can tell over two different time periods. You have mirror crime stories and mirror family stories, all intertwining effortlessly, and I think that's also what sets it apart from other shows.

The only way to watch today is either a little bit sleepy, a little bit hungover, a tiny bit high, or all three. It was a provocative, pseudo tongue-in-cheek movie in 1996 when it was released on January 18, and 30 years later, it feels like a surreal fever dream. In some ways, you could say is the most patient B-movie of all time, waiting for nearly an hour to actually reveal its supernatural, bloodthirsty premise.

The corpse of a man killed trying to rob the place days earlier lies in the dirt nearby, covered by a hunk of cardboard. The local cops roll up before Armando can depart and harass him, presumably because he's driving a Beetle and has a beard. Armando keeps his cool and continues on his way, Chicago's "If You Leave Me Now" coming out his car's speakers as he arrives in the northeastern city of Recife,

Nonstop gonzo mayhem is on show in this pulp shocker from 1980, beginning with an amazingly reckless, fender-mangling, passerby-endangering car chase which more or less takes up the first 20 minutes. It's a gritty New York sleazesploitation crime thriller with some gobsmackingly over-the-top punch-ups and shootouts; some of the attitudes to ethnicity and sexual politics can only be described as of their time. Those who prefer 21st-century standards of good taste had better look away now.

This Macau-set cops-and-robbers thriller even has a little fun by introducing him as a retired cop turned dog walker called Wong, surrounded by a motley pack of pooches that he marshals expertly through the streets. Once the best surveillance man on the force, Wong's observational skills have not faded a jot, as he proves by recounting exactly which of his doggie charges pooped in what order. More importantly, he can still take on young ruffians a third of his age,

The Better Sister tries to position itself as a fresh take on the classic murder mystery, but ultimately feels stale and redundant.