Director Takashi Miike reprises a breathless idiocy of his 2013 cops-and-yakuza strike in a supplement with even some-more action, again starring a enthusiastic Toma Ikuta.
When a Tokyo military dialect infiltrated annoying bumbler Reiji (Toma Ikuta) into a yakuza house on a self-murder goal in a 2013 strike The Mole Song – Undercover Agent Reiji, they couldn’t have illusory he would not usually tarry though develop and come behind for some-more confused punishment in a second installment, The Mole Song – Hong Kong Capriccio. Showing each pointer of apropos a durable franchise, this brash instrumentation of Noboru Takahashi’s manga displays executive Takashi Miike during his decorated best, with immature Ikuta flexing his muscles as a run-down though unassailable favourite fighting for probity in a hurtful world. Its festival run, that began in Macao, continues to widespread a word outward Japan.
Ask not for logic.
After slapping together quickie visible extravaganzas and blood baths during a rate of dual or 3 a year, Miike has reached a indicate where he can facilely brew genres, raise on a vast and still make it recurrent viewing. Following a stupid summation of highlights from a initial film, we find Reiji drifting by a air, unresolved on for dear life to a bottom of a enclosure full of sorrow gangsters, as a helicopter transports them to certain death. The assembly grasps all this in a matter of seconds, though can’t rip their eyes divided from one detail: a newspaper fig root strategically covering Reiji’s privates (for some reason, everybody is naked).
Shot like an movement scene, it’s laugh-out-loud humorous and sparkling during a same time, quite when a captives strech their destination: a “yakuza barbecue,” in that a enclosure is solemnly lowered onto a glow to grill a gangsters, while a opposition house does an absurd folk dance around them.
Plotting how Reiji manages to shun from this and a dozen other unfit situations would give Agatha Christie a headache, though Kankuro Kudo’s ever-clever screenplay creates it seem like child’s play. Apart from estimable amounts of reticent luck, Reiji can count on his aged group on a military force to come to his aid, as good as a trainer he works for undercover, and his indestructible mafiosi companion Papillon (the pleasant Shinichi Tsutsumi, wearing his heading moth tux from a initial film).
Reiji can’t wait to finish his goal and be backed on a force, where he hopes to be reunited with adore seductiveness Junna, to whom he mislaid his decency in partial one. The categorical barrier to this devise is a self-righteous new military arch Kabuto, who insists there’s no branch behind for a mole; instead of operative to get him out of his predicament, he actively plots to entangle him serve in a underworld. But horrible and vicious as it is, a dim side is a distant some-more colorful place than a military corps, and offers a misfit like Reiji a lot some-more understanding.
Plus there’s Karen (Tsubasa Honda), a boss’ daughter, to demeanour after. Sexy and sadistic, she torments Reiji mercilessly before being taken warrant by a Hong Kong-based Dragon Skulls in a pierce to force her father to renounce as conduct honcho. Reiji attempts to rescue her in a subsequent set piece, that brings some good fighting into play.
After a comparatively still interval, a movement revs adult for a Hong Kong climax. Karen has been abducted by Hu Fen, a wily cat lady with a whip (actress Nanao, looking more maitresse than villainess), and has been taken to a swanky H.K. hotel to be auctioned off to a tip bidder along with a brood of pleasing girls. Enter Reiji cross-dressed as one of a sales items. Unmasked, he stages a inhuman martial humanities conflict with Hu Fen, brandishing a dirty toilet plunger in a stage firm to be remembered.
The final riot on tip of a soaring building facilities a hulk tiger and a parachute. ‘Nuff said.
Shooting on soundstages in extravagant, ornate colors that seem to quote aged Chinese films and in a reduction of feign languages meant to pass as Cantonese in a H.K. scenes, Miike and his consultant tech staff apparently have a turn creation a crush of film conventions. Unlike many of his some-more slipshod efforts, there’s zero cheap-looking in a tech work and a unashamed arrangement of vulgarity, stupid costumes and bosses dressed as drifting squirrels.
The cheerful expel is endearing all round, even a baddies. Ikuta, who left an sense as a supportive transgender heroine Rinko in Naoko Ogigami’s Close-Knit, is really most during home in an over-the-top role, branch his Ben Stiller-ish nerd into a stubborn, brave, frosty blond favourite who looks good in and out of his eye-catching wardrobe.
Production company: Oriental Light and Magic
Cast: Toma Ikuta, Shinichi Tsutsumi, Eita, Tsubasa Honda, Arata Furuta
Director: Takashi Miike
Screenwriters: Kankuro Kudo, formed on Noboru Takahashi’s manga
Producers: Juichi Uehara,Misako Saka, Shigeji Maeda
Director of photography: Nobuyasu Kita
Production designer: Yuji Hayashida
Music: Koji Endo
Editor: Kenji Yamashita
Sales: Pony Canyon
Venue: Shanghai Film Festival (New from Auteur)