Vivi O Morti Criminali - Dead Or Alive Full Movie Online Free

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Vivi O Morti Criminali - Dead Or Alive Full Movie Online Free ->>> DOWNLOAD

Original Title: Dead Or Alive

Genge: Action,Comedy,Crime,Drama,Thriller

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Without a home and feeling no obligation to Japanese society or Yakuza, Ryuichi (Takeuchi Riki) and his small group decide to make their own place by trying to take over the Shinjuku underworld and the drug trade from Taiwan. As they plan an all-out-assault on the remaining Chinese and Japanese mafia kings, only Detective Jojima (Aikawa Sho) stands between them and complete domination.
In Japan, after a massacre of Japanese and Chinese gangsters, the tough and persistent Detective Jojima is in charge of the investigations, while dealing with a personal family problem. His daughter needs to be submitted to a surgery and he needs to raise twenty millions yens urgently. He finds that the Chinese descendant Ryuichi has associated to a Taiwanese drug dealer and is eliminating the competition. In the end, their confrontation becomes a personal issue for both.
Takashi Miike is a director you could call terrible. After all, in "Dead or Alive" he stages cheap thrills like bestiality and gives what could have been a serious gangster movie an opening which has a visual quality not unlike someone vomiting all over a music video. You could do far worse, though, than see those elements as intergral to the atmosphere rather than just being placed there to get a visceral reaction out of the audience.

The plot, as most plots are, is not notable for it's uniqueness. A group of Japan-born Chinese attempt to oust the yakuza from Yokohama while a dedicated cop searches for their leader. Mixed in are typical crime drama sentiments, like the "stoic cop who ignores his family but really loves them in his own way" and "hooker/hitman/bad guy with a heart of gold." Little moments turn the cliches of this genre into something better, like the scene where Inoue brings his kid to meet Jojima at the Chinese restaurant. Separately it would have been a run of the mill information shakedown and then the requisite set up for tragedy later in the film between Inoue and his son. Together, they are transformed.

Also, there is the absurd at work. Miike and his crew put together scenes in "Dead or Alive" that are simply bizarre, but funny at the same time. In that Chinese restaurant scene Jojima asks the head cook for information, and the cook replies that he is five-thousand years old. What the hell is that line doing in a gangster movie, anyway? What the hell is it doing in any movie? Who knows, but it's a fine example of the craziness that makes Miike's Yokohama tick, one of a myriad of strange moments that somehow belong in this movie and make it more unique.

Acting and direction work in concert here as Miike holds some shots for what feels like an eternity. He distances the camera from the scene to leave things dispassionate, but gives the actors a lot of time to, well, act. The characters acquire a quiet life (or not so quiet, in the case of the goggle wearing gangster) of their own.

Framing that singular Japanese Noh aesthetic of long, shuffling shots with the gaudy commercialism of mainstream Japan, Miike underscores the dichotomy in the movie, the normal cops and robbers story that is simultaneously utterly strange. A word here about the finale: to detractors of the film's ending I point out that without that ending, "Dead or Alive" would been seen as nothing more than a perverse knock off of a Kitano gangster movie. With that ending, though, resonating with all the other craziness in the film, Miike gives us something to justify the film's existance. The first dive into the zany DOA universe brings us deep into mafia territory, where the Yakuza and the Triads attempt to cooperate only for a ragtag group of assassins led by Ryuuichi (Riki Takeuchi) try to derail the talks and gain power themselves. Out to stop them is well-meaning super-cop Shô Aikawa (Jojima), who has to simultaneously deal with the fatal sickness of his daughter requiring immediate expensive treatment. All else in Miike's whacked up scenario is pure unabated craziness.

The to-see movie of Takashi Miike, machine-gun director and infant terrible of art-house purists. The first of his DOA saga is perhaps the most obscene, drastic, but at the same time oddly mundane with animal sex, bathing in poop and other such monstrosities being present casually and without much warning.

To a large extent DOA: Hanzaisha seems to be a trademark Miike movie with colourful characters populating world being a weird collage of ultra-realism and comics with a subtle cerebral taste that transcends him being just another gonzo director. Probably one of Miike's most fulfilling movies.

What always surprises me most about Miike is his capability of churning out over half a dozen movies per year, keeping exceptionally high production value and with remarkably tight scripting. He does make the odd stinker now and again, but the movies that disappoint like Sukiyaki Western Django, Missed Call or Thirteen Assassins, but even in those the quality, class and cannonades of originality of its director is apparent. DOA is abundant with ideas and has high rewatchability, because of this probably becoming one of Miike's most lasting legacy. Strangely auteur for something this repulsively overboard "DOA" ends with an absolutely hilarious bang, which contradicts the more somber, down-to-earth tone of the movie, despicably (and graciously) taking audiences with him into the audacity of his no-holds-barred approach. A soulless compilation of thrills.
In the US an edited R-Rated version was released alongside the uncensored Unrated version.
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