DOCSLIB.ORG

Af7c99ddd192febe3febc8b725b

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Af7c99ddd192febe3febc8b725b Takashi MIIKE SYNOPSIS SELECTIVE FILMOGRAPHY / FILMOGRAPHIE SÉLECTIVE “Kill Kunihide Kiyomaru, and I will pay you 1 billion Yen”. This is the ad placed in all the main newspapers in Japan. In placing the ad, 2013 SHIELD OF STRAW (Wara No Tate) the powerful multi-billionnaire Ninagawa puts an irresistible price 2012 ACE ATTORNEY (Gyakuten Saiban) on the head of the man he believes to be his granddaughter’s killer. 2012 FOR LOVE’S SAKE (Ai To Makoto) Realising he has become a target for millions of people, Kiyomaru 2012 LESSON OF THE EVIL (Aku No Kyoten) turns himself in at the Fukuoka Police Station. Four officers are 2011 NINJA KIDS!!! (Nintama Rantaro) dispatched to bring Kiyomaru back to Tokyo, risking their own 2011 HARA-KIRI: DEATH OF A SAMURAI (Hara-Kiri: Mort d’un samouraï / Ichimei) life, but now any number of assassins lie in wait on the 1.200km 2010 ZEBRAMAN 2: ATTACK ON ZEBRA CITY ( Zeburaman-Zebura Shiti No Gyakushu) journey. The trip becomes a hellish chase, with potential killers at 2010 THIRTEEN ASSASSINS (13 assassins / Jusannin No Shikaku) every turn. Will the police get Kiyomaru to Tokyo to face justice, or 2009 YATTERMAN (Yattaman) will justice of a different nature prevail? 2009 CROWS II (Crows Zero 2 / Kurozu Zero II) 2008 GOD’S PUZZLE (Kamisama No Pazuru) « Tuez cet homme et vous toucherez 1 milliard de yens de 2007 SUKIYAKI WESTERN DJANGO récompense ». Avec cette publicité parue dans tous les journaux 2007 CROWS-EPISODE 0 (Crows Zero / Kurozu Zero) japonais, le milliardaire Ninagawa met à prix la tête de Kiyomaru, 2004 ONE MISSED CALL (La Mort en ligne / Chakushin Ari) l’assassin présumé de sa petite-fille. Des millions d’ennemis 2004 ZEBRAMAN potentiels vont alors se dresser sur la route des policiers chargés 2003 GOZU (Gokudo Kyofu Daig) d’escorter Kiyomaru jusqu’à Tokyo, transformant leur périple en 2001 VISITOR Q une poursuite infernale et entrainant le spectateur au coeur d’un 2001 ICHI THE KILLER (Koroshiya Ichi) western urbain à l’issue incertaine… 2000 AUDITION Starring / AVEC Takao Osawa Nanako Matsushima Goro Kishitani Masatoh Ibu Kento Nagayama Kimiko Yo Tatsuya Fujiwara Tsutomu Yamazaki CREW / ÉQUIPE Un film de/A film by Takashi Miike Ecrit par/Written by Tamio Hayashi D’après un roman de/Based on the novel by Kazuhiro Kiuchi Producteur exécutif/Executive producer Seiji Okuda Producteurs/Producers Naoaki Kitajima, Misako Saka, Shigeji Maeda Directeur de la photographie/DOP Nobuyasu Kita Musique/Composer Koji Endo Décors/Production Design Yuji Hayashida Monteur/ Editor Kenji Yamashita Production NTV, Warner Bros. Pictures Japan, OLM, KODANSHA, YTV, Yahoo! JAPAN, East Japan Marketing & Communications, Inc./ STV, MMT, SDT, CTV, HTV, FBS World Sales Japon/Japan / 2013 / 1:2.35 / 125’ & 116’ Celluloid Dreams I the directors label Asian Territories Sales IN PARIS International Publicity / Presse Française Nippon Television Network Corporation 2, rue Turgot 75 009 PARIS France LE PUBLIC SYSTÈME CINÉMA IN Cannes 1-6-1 Higashi Shimbashi, Minato-ku Tel : + 33 1 49 70 03 70 105-7444 TOKYO Fax: + 33 1 49 70 03 71 13, rue d’Antibes - 06400 Cannes JAPAN [email protected] 4ème étage / 4th floor Tel: 81 3 6215 3028 www.celluloid-dreams.com Tel: +33 (0)4 93 39 66 21 Fax: 81 3 6215 3029 [email protected] [email protected] www.lepublicsystemecinema.fr http://www.ntv.co.jp/english/index.html Celluloid – UConnect IN Cannes Villa Bernard, 35, boulevard La Croisette Bruno Barde NIPPON TV NETWORK IN Cannes 06400 Cannes Céline Petit / [email protected] First line: +33 4 93 68 62 70 Clément Rébillat / [email protected] Riviera Booth A14 Second line: +33 4 93 68 62 93.
Load more

Recommended publications
  • On the Rise and Decline of Wulitou 无厘头's Popularity in China
    The Act of Seeing and the Narrative: On the Rise and Decline of Wulitou 无厘头’s Popularity in China Inaugural dissertation to complete the doctorate from the Faculty of Arts and Humanities of the University of Cologne in the subject Chinese Studies presented by Wen Zhang ACKNOWLEDGEMENTS My thanks go to my supervisors, Prof. Dr. Stefan Kramer, Prof. Dr. Weiping Huang, and Prof. Dr. Brigitte Weingart for their support and encouragement. Also to the Faculty of Arts and Humanities of the University of Cologne for providing me with the opportunity to undertake this research. Last but not least, I want to thank my friends Thorsten Krämer, James Pastouna and Hung-min Krämer for reviewing this dissertation and for their valuable comments. TABLE OF CONTENTS INTRODUCTION ...................................................................................................................................... 1 0.1 Wulitou as a Popular Style of Narrative in China ........................................................... 1 0.2 Story, Narrative and Schema ................................................................................................. 3 0.3 The Deconstruction of Schema in Wulitou Narratives ................................................... 5 0.4 The Act of Seeing and the Construction of Narrative .................................................... 7 0.5 The Rise of the Internet and Wulitou Narrative .............................................................. 8 0.6 Wulitou Narrative and Chinese Native Cultural Context ..........................................
    [Show full text]
  • Title Call # Category
    Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine
    [Show full text]
  • Masters Title Page
    MULTICULTURALISM AND ALIENATION IN CONTEMPORARY JAPANESE SOCIETY AS SEEN IN THE FILMS OF TAKASHI MIIKE Steven A. Balsomico A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Ronald E. Shields, Advisor Walter Grunden ii ABSTRACT Ronald E. Shields, Advisor Through his films, Takashi Miike reminds audiences of the diverse populations within Japan. He criticizes elements of the Japanese sociological structures that alienate minorities and outcasts. Through the socialization process, Japanese youth learn the importance of “fitting in” and attending to the needs of the group. Clear distinctions of who are “inside” and “outside” are made early on and that which is “outside” is characterized as outcast and forbidden. In three of his films, "Blues Harp," "Dead or Alive," and "Deadly Outlaw: Rekka," Miike includes individuals who have been situated as outsiders. In "Blues Harp," Chuji, due to his obvious heritage, cannot find a place in society, and thus exists on the fringes. In "Dead or Alive," Ryuichi has felt that the country in which he lives has placed him in a disadvantaged status: therefore, he must strike out on his own, attempting to achieve happiness through criminal means. In "Deadly Outlaw: Rekka," Kunisada, an outsider by blood and incarceration, cannot relate to his peers in the world. As a result, he lashes out against the world in violence, becoming an individual who is portrayed as a wild beast. When these outsiders attempt to form their own groups, they often face eventual failure.
    [Show full text]
  • Film Reviews
    Page 117 FILM REVIEWS Year of the Remake: The Omen 666 and The Wicker Man Jenny McDonnell The current trend for remakes of 1970s horror movies continued throughout 2006, with the release on 6 June of John Moore’s The Omen 666 (a scene­for­scene reconstruction of Richard Donner’s 1976 The Omen) and the release on 1 September of Neil LaBute’s The Wicker Man (a re­imagining of Robin Hardy’s 1973 film of the same name). In addition, audiences were treated to remakes of The Hills Have Eyes, Black Christmas (due Christmas 2006) and When a Stranger Calls (a film that had previously been ‘remade’ as the opening sequence of Scream). Finally, there was Pulse, a remake of the Japanese film Kairo, and another addition to the body of remakes of non­English language horror films such as The Ring, The Grudge and Dark Water. Unsurprisingly, this slew of remakes has raised eyebrows and questions alike about Hollywood’s apparent inability to produce innovative material. As the remakes have mounted in recent years, from Planet of the Apes to King Kong, the cries have grown ever louder: Hollywood, it would appear, has run out of fresh ideas and has contributed to its ever­growing bank balance by quarrying the classics. Amid these accusations of Hollywood’s imaginative and moral bankruptcy to commercial ends in tampering with the films on which generations of cinephiles have been reared, it can prove difficult to keep a level head when viewing films like The Omen 666 and The Wicker Man.
    [Show full text]
  • Audition How Does the 1999 Film Relate to the Issues That Japanese Men and Women Face in Relation to Romantic Pairing?
    University of Roskilde Audition How does the 1999 film relate to the issues that Japanese men and women face in relation to romantic pairing? Supervisor: Björn Hakon Lingner Group members: Student number: Anna Klis 62507 Avin Mesbah 61779 Dejan Omerbasic 55201 Mads F. B. Hansen 64518 In-depth project Characters: 148,702 Fall 2018 University of Roskilde Table of content Problem Area ........................................................................................................................................... 7 Problem Formulation .............................................................................................................................. 9 Motivation ............................................................................................................................................... 9 Delimitation ........................................................................................................................................... 10 Method .................................................................................................................................................. 11 Theory .................................................................................................................................................... 12 Literature review ............................................................................................................................... 12 Social Exchange Theory ....................................................................................................................
    [Show full text]
  • Japanese Cinema at the Digital Turn Laura Lee, Florida State University
    1 Between Frames: Japanese Cinema at the Digital Turn Laura Lee, Florida State University Abstract: This article explores how the appearance of composite media arrangements and the prominence of the cinematic mechanism in Japanese film are connected to a nostalgic preoccupation with the materiality of the filmic image, and to a new critical function for film-based cinema in the digital age. Many popular Japanese films from the early 2000s layer perceptually distinct media forms within the image. Manipulation of the interval between film frames—for example with stop-motion, slow-motion and time-lapse techniques—often overlays the insisted-upon interval between separate media forms at these sites of media layering. Exploiting cinema’s temporal interval in this way not only foregrounds the filmic mechanism, but it in effect stages the cinematic apparatus, displaying it at a medial remove as a spectacular site of difference. In other words, cinema itself becomes refracted through these hybrid media combinations, which paradoxically facilitate a renewed encounter with cinema by reawakening a sensuous attachment to it at the very instant that it appears to be under threat. This particular response to developments in digital technologies suggests how we might more generally conceive of cinema finding itself anew in the contemporary media landscape. The advent of digital media and the perceived danger it has implied for the status of cinema have resulted in an inevitable nostalgia for the unique properties of the latter. In many Japanese films at the digital turn this manifests itself as a staging of the cinematic apparatus, in 1 which cinema is refracted through composite media arrangements.
    [Show full text]
  • Filmography of Case Study Films (In Chronological Order of Release)
    FILMOGRAPHY OF CASE STUDY FILMS (IN CHRONOLOGICAL ORDER OF RELEASE) Kairo / Pulse 118 mins, col. Released: 2001 (Japan) Director: Kiyoshi Kurosawa Screenplay: Kiyoshi Kurosawa Cinematography: Junichiro Hayashi Editing: Junichi Kikuchi Sound: Makio Ika Original Music: Takefumi Haketa Producers: Ken Inoue, Seiji Okuda, Shun Shimizu, Atsuyuki Shimoda, Yasuyoshi Tokuma, and Hiroshi Yamamoto Main Cast: Haruhiko Kato, Kumiko Aso, Koyuki, Kurume Arisaka, Kenji Mizuhashi, and Masatoshi Matsuyo Production Companies: Daiei Eiga, Hakuhodo, Imagica, and Nippon Television Network Corporation (NTV) Doruzu / Dolls 114 mins, col. Released: 2002 (Japan) Director: Takeshi Kitano Screenplay: Takeshi Kitano Cinematography: Katsumi Yanagijima © The Author(s) 2016 217 A. Dorman, Paradoxical Japaneseness, DOI 10.1057/978-1-137-55160-3 218 FILMOGRAPHY OF CASE STUDY FILMS… Editing: Takeshi Kitano Sound: Senji Horiuchi Original Music: Joe Hisaishi Producers: Masayuki Mori and Takio Yoshida Main Cast: Hidetoshi Nishijima, Miho Kanno, Tatsuya Mihashi, Chieko Matsubara, Tsutomu Takeshige, and Kyoko Fukuda Production Companies: Bandai Visual Company, Offi ce Kitano, Tokyo FM Broadcasting Company, and TV Tokyo Sukiyaki uesutan jango / Sukiyaki Western Django 121 mins, col. Released: 2007 (Japan) Director: Takashi Miike Screenplay: Takashi Miike and Masa Nakamura Cinematography: Toyomichi Kurita Editing: Yasushi Shimamura Sound: Jun Nakamura Original Music: Koji Endo Producers: Nobuyuki Tohya, Masao Owaki, and Toshiaki Nakazawa Main Cast: Hideaki Ito, Yusuke Iseya, Koichi Sato, Kaori Momoi, Teruyuki Kagawa, Yoshino Kimura, Masanobu Ando, Shun Oguri, and Quentin Tarantino Production Companies: A-Team, Dentsu, Geneon Entertainment, Nagoya Broadcasting Network (NBN), Sedic International, Shogakukan, Sony Pictures Entertainment (Japan), Sukiyaki Western Django Film Partners, Toei Company, Tokyu Recreation, and TV Asahi Okuribito / Departures 130 mins, col.
    [Show full text]
  • Metropolis Filmelméleti És Filmtörténeti Folyóirat 20. Évf. 3. Sz. (2016/3.)
    900 Ft 2016 03 Filmfesztiválok filmelméleti és filmtörténeti folyóirat 2016 3. szám Filmfesztiválok Fahlenbrach8_Layout 1 2016.05.08. 4:13 Page 26 c[jhefeb_i <_bc[bcb[j_ i \_bcjhjd[j_ \ebo_hWj t a r t a l o m XX. évfolyam 3. szám A szerkesztõbizottság Filmfesztiválok tagjai: Bíró Yvette 6 Fábics Natália: Bevezetõ a Filmfesztiválok összeállításhoz Gelencsér Gábor Hirsch Tibor 8 Thomas Elsaesser: A filmfesztiválok hálózata Király Jenõ A filmmûvészet új európai topográfiája Kovács András Bálint Fábics Natália fordítása A szerkesztôség tagjai: 28 Dorota Ostrowska: A cannes-i filmfesztivál filmtörténeti szerepe Vajdovich Györgyi Fábics Natália fordítása Varga Balázs Vincze Teréz 40 Varga Balázs: Presztízspiacok Filmek, szerzõk és nemzeti filmkultúrák a nemzetközi A szám szerkesztõi: fesztiválok kortárs hálózatában Fábics Natália Varga Balázs 52 Fábics Natália: Vér és erõszak nélkül a vörös szõnyegen Takashi Miike, az ázsiai mozi rosszfiújának átmeneti Szerkesztõségi munkatárs: domesztikálódása Jordán Helén 60 Orosz Anna Ida: Az animációsfilm-mûvészet védõbástyái Korrektor: Jagicza Éva 67 Filmfesztiválok — Válogatott bibliográfia Szerkesztõség: 1082 Bp., Horváth Mihály tér 16. K r i t i k a Tel.: 06-20-483-2523 (Jordán Helén) 72 Árva Márton: Paul A. Schroeder Rodríguez: Latin American E-mail: [email protected] Cinema — A Comparative History Felelõs szerkesztõ: 75 Szerzõink Vajdovich Györgyi ISSN 1416-8154 Kiadja: Számunk megjelenéséhez segítséget nyújtott Kosztolányi Dezsõ Kávéház a Nemzeti Kulturális Alap. Kulturális Alapítvány Felelõs kiadó: Varga Balázs Terjesztõ: Holczer Miklós [email protected] 36-30-932-8899 Arculatterv: Szász Regina és Szabó Hevér András Tördelõszerkesztõ: Zrinyifalvi Gábor Borítóterv és KÖVETKEZÕ SZÁMUNK TÉMÁJA: nyomdai elõkészítés: Atelier Kft. FÉRFI ÉS NÕI SZEREPEK A MAGYAR FILMBEN Nyomja: X-Site.hu Kft.
    [Show full text]
  • 756 La Carga
    Ciclo de Otoño 2020 Sesión 771 Teatro Apolo lafactoria-almeria.com facebook.com/factoriaVO35 [email protected] First Love una película de Takashi Miike Ficha Título Hatsukoi original Dirección Takashi Mike Guión Masaru Nakamura Productor Olm, Recorder Picture a Company Montaje Akira Kamiya Fotograf Nobuyashu Kita Música Koji Endo ía País Japón Año 2019 Duración 108 minutos Idioma Japonés Estreno 10 de julio 2020 Calificaci Mayores de 18 años en ón España Reparto Masataka Kubota, Sakurako Konishi, Becky, Jun Murakami, Nao Ohmori Sinopsis Un joven boxeador y una prostituta quedan atrapados entre mafias y tráfico de drogas durante una noche en Tokio. 2020 La Factoría-Almería Takashi Miike (Japón,1960) pasó su juventud en el distrito coreano de Osaka en Japón, graduándose en el Instituto de Cine de Yokohama. Después de cierta experiencia en televisión, Miike fue reclutado por Imamura, quién lo convirtió en su asistente de dirección en "Zegen" y "Black Rain". Las primeras películas de Miike se hicieron directamente en video gracias al sistema V-cinema, que era una forma para que los estudios japoneses desarrollaran jóvenes cineastas sin desarrollaran jóvenes cineastas sin utilizar grandes presupuestos. Desde entonces ha dirigido más de 100 largometrajes entre finales de los 90 y 2019. En su trabajo, se puede ver a Miike pervirtiendo al Yakusa Eiga (género de la mafia), así como a la comedia burlesca ("Yatterman"), al drama íntimo ("Visitor Q"), al western ("Sukiyaki Western Django"), a la película de terror ("One Missed Call"), a la adaptación de manga ("Crows Zero 1 y 2" , "Ichi The Killer", "Terra Formars"), a las Tokusatsu - películas de superhéroes de estilo japonés ("Zebraman") y el género de acción ("Dead or Alive 1, 2, 3").
    [Show full text]
  • (Revised0507)JAPAN BOOTH 2013 Cannes FIX
    CONTENTS INTRODUCTION Contents Introduction 1 Introduction Japan Booth is organized by JETRO/UNIJAPAN with the support from Agency for Cultural Affairs (Government of Japan). 2 Geneon Universal Entertainment Japan, LLC 3 Gold View Co., Ltd. 4 Happening Star Project JETRO, or the Japan External Trade Organization, is UNIJAPAN is a non-profit organization established 5 MODE FILMS INC. a government-related organization that works to pro- in 1957 by the Japanese film industry under the mote mutual trade and investment between Japan and auspice of the Government of Japan for the purpose 6 Nikkatsu Co. the rest of the world. of promoting Japanese cinema abroad. Initially named 7 Office Walker Inc. Originally established in 1958 to promote Japanese ex- ‘Association for the Diffusion of Japanese Film Abroad’ 8 Omgact Entertainment LLC ports abroad, JETRO’s core focus in the 21st century (UniJapan Film), in 2005 it joined hands with the has shifted toward promoting foreign direct investment organizer of Tokyo International Film Festival (TIFF), to 9 Open Sesame Co., Ltd. into Japan and helping small to medium-sized Japa- form a combined, new organization. 10 Production I.G nese firms maximize their global business potential. 11 SDP Inc. 12 Sedic International Inc. 13 Showgate Inc. 14 Tsuburaya Productions Co., Ltd. Category Action Drama Comedy Horror / Suspense Documentary Animation Screening schedule Day Starting Time Length of the Film Title Place 1 Geneon Universal Entertainment Japan, LLC Gold View Co., Ltd. The Chasing World: The Origin Belladonna Of Sadness AD 3000. 1 in 20 has the family name "SATO" in Japan. The A story about a young and beautiful woman, who has lived a life 150th king implements a horrific policy to reduce the number of of hardships.
    [Show full text]
  • 085765096700 Hd Movies / Game / Software / Operating System
    085765096700 --> SMS / CHAT ON / WHATSAPP / LINE HD MOVIES / GAME / SOFTWARE / OPERATING SYSTEM / EBOOK VIDEO TUTORIAL / ANIME / TV SERIAL / DORAMA / HD DOKUMENTER / VIDEO CONCERT Pertama-tama saya ucapkan terimaksih agan2 yang telah mendownload list ini.. Harap di isi dan kirim ke [email protected] Isi data : NAMA : ALAMAT : NO HP : HARDISK : TOTAL KESELURUHAN PENGISIAN HARDISK : Untuk pengisian hardisk: 1. Tinggal titipkan hardisk internal/eksternal kerumah saya dari jam 07:00-23:00 WIB untuk alamat akan saya sms.. 2. List pemesanannya di kirim ke email [email protected]/saat pengantar hardisknya jg boleh, bebas pilih yang ada di list.. 3. Pembayaran dilakukan saat penjemputan hardisk.. 4. Terima pengiriman hardisk, bagi yang mengirimkan hardisknya internal dan external harap memperhatikan packingnya.. Untuk pengisian beserta hardisknya: 1. Transfer rekening mandiri, setelah mendapat konfirmasi transfer, pesanan baru di proses.. 2. Hardisk yang telah di order tidak bisa di batalkan.. 3. Pengiriman menggunakan jasa Jne.. 4. No resi pengiriman akan di sms.. Lama pengerjaan 1 - 4 hari tergantung besarnya isian dan antrian tapi saya usahakan secepatnya.. Harga Pengisian Hardisk : Dibawah Hdd320 gb = 50.000 Hdd 500 gb = 70.000 Hdd 1 TB =100.000 Hdd 1,5 TB = 135.000 Hdd 2 TB = 170.000 Yang memakai hdd eksternal usb 2.0 kena biaya tambahan Check ongkos kirim http://www.jne.co.id/ BATAM GAME 085765096700 --> SMS / CHAT ON / WHATSAPP / LINE HD MOVIES / GAME / SOFTWARE / OPERATING SYSTEM / EBOOK VIDEO TUTORIAL / ANIME / TV SERIAL / DORAMA / HD DOKUMENTER / VIDEO CONCERT Pertama-tama saya ucapkan terimaksih agan2 yang telah mendownload list ini.. Movies 0 GB Game Pc 0 GB Software 0 GB EbookS 0 GB Anime dan Concert 0 GB 3D / TV SERIES / HD DOKUMENTER 0 GB TOTAL KESELURUHAN 0 GB 1.
    [Show full text]
  • THE MOLE SONG -Undercover Agent REIJI
    映画『土竜の唄』 THE MOLE SONG -Undercover Agent REIJI- Starring Directed by Written by Toma Ikuta × Takashi Miike × Kankuro Kudo A very unpredictable undercover cop comedy -- where something crazy happens every five minutes! A star-studded cast goes wild on the screen!! You’ve never seen them like this before! Featuring… Shinichi Tsutsumi, Riisa Naka, Takayuki Yamada, Takashi Okamura, Yusuke Kamiji! And…! Mitsuru Fukikoshi, Kenichi Endou, Sarutoki Minagawa, Ren Ohsugi, Koichi Iwaki!! Due for release in February 2014 ■ What is “The Mole Song…?” The Mole Song is a comic series by the talented Noboru Takahashi, which was featured in Weekly Young Sunday Comics Magazine (Shogakukan) along with his other hit mangas, “Dr. Kotoh” and “Kurosagi.”When Young Sunday was discontinued, the series moved to Big Comic Spirits Weekly. The story is ongoing with the plot continuing to intensify and its passionate fan base continuing to grow. The blockbuster comic book series is now in its 35th volume and has sold over 4 million copies. Its film adaptation is one of the most highly anticipated of the many Shogakukan titles published today. ■Story Rookie Reiji Kikukawa graduated with the lowest score in police academy history. Since becoming a neighborhood policeman, he is busy writing letters of apology on a daily basis. One day, Reiji is called in to see the Chief of Police, Sakami, who summarily fires him. Outwardly, he is dismissed for dishonorable conduct, but he is secretly ordered to infiltrate a crime syndicate and arrest the big boss as an undercover cop – “The Mole.” Their target is Shuho Todoroki, head of Sukiya-kai, the largest yakuza clan in the Kanto Area.
    [Show full text]