'Fudoh' shows was based on a manga and it shows. The aesthetic of violence sprinkled with zany moments and some very otaku specific weird elements make that very clear. But it is still a self sufficient movie and a very unique one at that. It launched Miike as an extravagant director of great caliber.The cult appeal assures it something a niche place in exploitation and revenge cinema. Plot-wise 'Fudoh' is about the relentless pursuit of vengeance that justifies the buckets of blood, the child assassins, the vagina darts (it makes sense, even) and other diverse methods of killing. But it is also a story of personal charisma and a family drama. Miike's dark humor makes a few striking appearances such as when a half Korean character goes into a fit over kimchi prepared in Japanese style.The full title points to a generational conflict and indeed 'Fudoh' is something of a rebellion against adults and their degenerate ways, a topic that manga/anime often insist on. But there is no bright eyed youthful idealism here. Riki and his companions are fully conscious that to carry out their plans they need leave a trail of blood on their wake. The hyper violence for which Miike is so well known is already fully articulated in this movie and it reaches levels of stylistic prowess in a few sequences, namely the shoot out at the beginning.Above all 'Fudoh' is entertaining. Fans of extreme cinema cannot fail to appreciate it and in hindsight it is very curious given the predominance that Miike achieved with his career. As a movie that points to later developments it has a redoubled interest.

Fudoh: The New Generation was Takashi Miike's first cross-over success in the West (whether in America or just on the festival circuit I can't say), and it's no wonder- it's the perfect calling card, a work of ferocious energy and sincerity with comedy and drama, extreme violence and heart, kitsch and the bizarre. A lot of things that one would expect to find in the given Miike yakuza can be found here in spades: a blood battle involving brothers, the corrupt old incumbent yakuza, the vicious and surreal thugs out to get their just deserts, and of course in style with carefully composed shots and startlingly edited scenes of action, with deliberate scenes of dialog and actors staring at one another. It shouldn't work, but it does, and to a point that had me laughing, gasping, and sure that even if things worked out "alright" (and alright in the sense of a bloody tale of twisted revenge) it would leave a lasting impression, long after seeing nearly a couple dozen other Miike films.It's emotional core, for one thing, is exceptional for a Miike film, which helps in springing out the demented comedy, as unlikely as that is. A yakuza kills one of his sons to pay a debt to a gangster- a debt which he crazily relishes as he plants his son's head on the table and laughs maniacally- leaving the living son completely bewildered but swearing on his late brother's honor. Cut to ten years later, as the father barely acknowledges he ever had another son, and Riki Fudoh is now gathering up a small army of outcast teens like him (one girl who can shoot out darts from her privates, little kids with handguns, a big huge lummox who killed his parents, and a hermaphrodite, cause, why the hell not) to get payback by killing off as many yakuza as possible. Crazy? It just might work, after the vicious, grotesque deaths of four council members (the car scene especially is vintage Miike).You don't have to be completely queued to the artistic aesthetic Miike had with Gozu, or always have a smile on your face ala Katakuris, but Fudoh marks its place in the upper-level of the director's oeuvre by allowing for the low-budget cast to shine through. This goes for scenes that could, by any other director, be deemed unnecessary or even just cruel (i.e. the death of one of the girls by the hands of the North Korean killer Fudoh Sr hires to kill his son, and the hermaphrodite sex scene). In Miike's hands, he treats them like it SHOULD be considered art, not simply exploitation of genre or going for dopey extremes with exit wounds and vaginas. And it is, for those who want it, a success as a comedy, one that allows you to laugh your head off at the kinds of things that would give the squeamish nightmares for weeks. And for those looking for a work that goes even further than Hamlet, here it is! And, of course, where would a great Miike flick be without a sneering Riki Takeuchi? It's a lot of fun and a truly substantial dramatic effort too, and it's not a bad place to go if you're just getting into the director's elephantine body of very contemporary work.

After being blown away by Audition I thought I'd better get more acquainted with Miike. After reading reviews and reader comments I decided to go back a little and start with Fudoh. In short, I can't believe this movie was made by the same director as Audition. There's no need to go into details of the film really given all the other reviews, just suffice it to say, if you're expecting Audition quality material, forget it. If you're looking for the Japanese equivalent of a straight to video b-movie action pic, with a script that occasionally flirts with intelligence, you might like it. I didn't.4 of 10

10 years after Fudoh senior has to kill one of his sons after his disrespects the Yakuza, his other son plots to avenge his brother.He organizes his own band of teenage killers to topple his father's organization. Filled to the brim with Takashi Miike's now trademark bizarre characters and over-the-top violence, this is a fun little flick, if a tad repetitive in parts. Not among Miike's best, but certainly up there. It was followed by two straight to video sequels neither of which had Miike's involvement and are worse off because of it.Eye Candy:Both Marie Jinno and Miho Nomoto shows tits and ass My Grade: B- DVD Extras: I didn't get the recent special edition so, just Trailers for "Wild Criminal", "Score", and "Blood". Not even a menu screen