Kantô mushuku

Kantô mushuku

Three schoolgirls are infatuated with a yakuza, Katsuta, of the Izu Clan. They meet another yakuza, `Diamond` Fuyu, of the rival Yoshida clan. As he gets a tattoo, two of the girls become ...

Handsome young Katsuta tries to follow the yakuza code, but even his boss doesn't believe in it. Diamond Fuyu is less ethical, and allows the idiotic Tetsu to trick a schoolgirl he fancies, Hanako, into a type of bonded prostitution. Because of gang conflict, the Izu family (to whom Katsuta belongs) has their last gambling den taken over, and he seeks revenge. This brings him back into contact with a former lover who is also a card trickster - she is also Diamond Fuyu's sister, and is now married to Okaru-Hachi, who has mastered a clever card cheating trick called Okaru, which involves the deft use of mirrors. . You can read more in Google, Youtube, Wiki

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Kantô mushuku torrent reviews

Grant S (au) wrote: Dull. Basically a mostly-unfunny sex-farce. Not very edgy either, despite its pretentions to being so.Certainly not worth watching.

Kristopher G (br) wrote: Well, since that Newt Gingrich stars in this movie, I can definitely see someone who wants to see this. However they wouldn't have a very big IQ.

Josh G (kr) wrote: What really drew me to Protagonist, directed by Jessica Yu (Ping Pong Playa), was its central conceit. Taking stories from four different men with wildly unrelated experiences - one an ex-gay minister, one a martial arts enthusiast, one a former bank robber, and the last a former terrorist - and winding their thoughts together to deliver more profound ruminations on such lofty topics as certainty, self-image, community, and masculinity, it was easy for me to imagine that the film would be an unofficial follow-up to Errol Morris' stunning documentary Fast, Cheap, & Out of Control.So if my judgment of Yu's film is wrapped up in what it lacked compared to Morris' work, I apologize in advance. However, throughout the entire runtime of Protagonist, I could not get out of my head these thoughts about how Yu fails in comparison to Morris. One of the magnificent things about FC&OOC is that although it had some ideas about where the four subjects' thoughts can be strung together, it leaves a lot of the heavy lifting to the audience. The movie gives its viewers wood and nails, but allows you to build bridges of your own design between the men on-screen.Yu's film does not allow its audience that luxury. The entire film is framed with a contrived marionette show which sometimes acts out the memories of the interview subjects, but mostly just provides a way for the movie to direct the audience's thoughts. "Okay," the movie seems to be saying, "Now think of these next few answers within the context of the 'cost' of these men's decisions." I understand that there is a great skill involved in taking seemingly disparate experiences and sorting them together in order to create a larger picture - that is certainly impressive in its own right, and I would be lying if I said that Yu's ultimate thoughts on the above mentioned topics aren't engrossing. But it's hard to stay in-the-moment when you're drawn out by the staged interludes.I'm not the only one with these concerns. The A.V. Club's review of the film seems to share my feeling of being rubbed the wrong way: "Where some documentarians approach their subjects and say, 'Tell me your story,' Yu seems to say, 'Let me tell you what your story is.' Again, let me be clear: this does not mean that the film is useless altogether. Though the stories of the four men do not seem to be driven naturally from one plot point to the next, they nevertheless all seem eager to speak about the dramatic turns that their lives have taken. Each has come to a realization about themselves long before the cameras began rolling, they all feel very comfortable explaining their journey. Each man grew up with this intense desire to have control of their own destiny (hence the overwrought marionette symbolism), but find that in their attempts to exert control, they have lost themselves to the temptations of false idols. Before you can know who to follow to find the "truth", you must first know yourself or else know that you know nothing. But then, the movie is nudging you in the side and whispering, "Now think of this in terms of Reversal." Thanks a lot, movie, I definitely would have never made that connection without your help. Now think about that last sentence in the context of Sarcasm.The lines of thought that the documentary tackles are intriguing, but not absorbing. Maybe I'm not drunk enough for it, but it's hard for me to imagine the need to pause Protagonist every few minutes to explain some deeper connection that I've made to the meaning of life in the same way that I do when I watch FC&OOC. Because the scope is much more limited, it's easier to be distracted by those blatant framing devices. Altogether, Yu has crafted an enjoyable documentary, but it's certainly too measured and contained to elicit any greater truths. In short, it's missing the quality that made Morris' film so free-wheeling and fantastic: this movie is not out of control.

Tim B (fr) wrote: This is a thought provoking and well formatted little indie number. The first positive aspect being that the script is smart, thought-provoking and believable. Even thought the themes at play were extremely dark in nature, it was always handled in the grey matter. I dug that for sure in the fact that it asks the audience to question themselves and partly participate in the movie as it plays out. It was very believable in convincing the audience it was real thanks to the format it was shot in. I was convinced that this was amateurishly shot. Well done. Finally, Kevin Howarth is the best piece of casting I could imagine for this type of movie. He had to carry this movie on his shoulders for most of the time and he came through on every front. He creeped me out, made me think, and charmed the hell out of me. all at once It had a perfect balance of decent gore and implied moments that let you imagine the horrors of the crimes Max was committing. The down part to this being that I've probably watched one too many horror movies in my lifetime. I really didn't get "shocked" by the whole ordeal, I was either laughing or fascinated. I'm sure that's not what the movie was trying to get out of me. There are also a few minor parts where you have to use suspension of disbelief for the plot's sake. But this still a smart, inventive, thought provoking and involving little horror flick that should be seen. Worth it if you dig your horror and having your brain go in some over time.

German B (de) wrote: Una pelicula oscura pero que gira alrededor de la identidad de cada persona frente a la despersonalizacin de las empresas.

Brandon B (mx) wrote: Classic Hip-Hop Cinema

Nathan M (ca) wrote: The most brutal and horrifying film I have ever seen; it's a disturbing look at the darker side of human nature, the disgraceful things people are capable of, and the violent consequences of those actions. I loved it.

Marilee A (us) wrote: Reminds me of an 18th Century Daniel Boone meets Sadie Hawkins Day.Shotgun Wedding comedy.Cute

John R (us) wrote: 090111: Middle of the road and therefore middle of the scale. Nothing really stands out here but not a waste of time either.

Benjamin O (de) wrote: Musical babynapping.

Frank O (fr) wrote: An interesting character study with good performances by Sean Penn and Frances McDormand.

Robert C (fr) wrote: I rewatched this a few years ago. It has aged well. People were too harsh on this film. Methinks they had too much baggage going in due to historical reasons and M.Blanc. Oldman was great in this. Great casting on his part.