Kane Kosugi, while not given much to do here other than mope, is a very gifted screen fighter and gets to strut his stuff in several energetic fights scenes. However, the film is saved somewhat by a decent cast of action stars and some crisply choreographed fight scenes. While Serbedzija is a great actor his Minister character just feels like a well worn plot device that has been done to death and Kazuya spends just far too much time wandering, moping or doing both in what feels like an attempt to stretch out the runtime. Sure there are a few returning characters, including a glorified cameo from the great Cary-Hiroyuki Tagawa, but ‘Tekken 2’ rarely feels like it’s set in the same universe as ‘Tekken’ (despite some rehashed shots used from the first film). That overview makes ‘Tekken 2’ sound like a potentially decent action flick and in some ways it is but by removing the fight tournament aspect of the original film (and video game series) this sequel never really feels like a Tekken film.
A few fights and kills later, Kazuya realises this and with the help of a hot babe and Tekken alum Bryan Fury (Daniels) sets out to kick some ass. Overpowered and captured, Kazuya is taken before a mysterious figure called The Minister (Serbedzija) who claims he is attempting to rid the world of sinners but has really only kidnapped Kazuya to utilise him as a deadly assassin. Seconds later heavily armed soldiers burst through his door and a fight breaks out. Kazuya (Kosugi – replacing Ian Anthony Dale from the previous film) wakes up in a hotel room with no memory. This sort of sequel/prequel has its moments also but is nowhere near as fun, is often confusing and unfortunately feels like a half arsed attempt to cash in on the first flick. Sure it has its flaws, mainly too much rapid fire editing, but it was decently produced, well cast and delivered just enough fast and furious fight action. See the definitive list of unsimulated sex in film, directed by filmmakers from Lars von Trier to Vincent Gallo, William Friedkin and Abel Ferrera.The first ‘Tekken’ live action film was a fun ride. Imagine…a ‘Shortbus’ intimacy counselor would be like, ‘May he put his arm inside you now? Is that OK?'” Imagine an intimacy counselor on the ‘Shortbus’ set. There’s too many people saying someone’s being exploited and consent-based issues in intimacy. “They’ve given it up, because it’s too scary. “In terms of sex being presented on film, mainstream or even independent film has foresworn it,” Mitchell summarized. I just went with what they wanted to do.”Īnd the depiction of unsimulated sex onscreen has taken many forms across decades and new political landscapes. Sex is our music in ‘Shortbus.’ We really only did one sexual rehearsal. It uses sex as a medium, as a delivery system for ideas and characters and emotions, just like ‘Hedwig ’ uses music.
Mitchell continued, “‘Shortbus’ isn’t about sex. And so I said, ‘I never want you to do anything you don’t want to do, but I do want you to challenge yourselves so we can challenge the audience.'” Mitchell told IndieWire about filming the cult classic, “Certainly, a lot of films had used sex, but they were pretty grim, and I wanted something more fun and funny, but still emotionally deep. In contrast, John Cameron Mitchell set out to “honor” sex as a pastime for real people, much like art, music, or cuisine, in his second feature film, “Shortbus,” the 2006 film now rolling out a re-release restoration nationwide. “This prostitution is not profane it’s a sacred act that we give them.” “Actors are prostitutes because they’re asked to play other feelings,” Breillat exclusively told IndieWire. until 2000.īreillat’s later film, “Romance,” was announced as the first European film with non-simulated sex scenes in 1999, according to Breillat. While the lead actress Charlotte Alexandra was age 20 during production, the film wasn’t released in theaters in the U.S. Sex on film is nothing new, and yet unsimulated intercourse in non-pornographic films has been somewhat of a marvel.Ĭatherine Breillat‘s first film in 1976, “A Very Young Girl,” adapts her own controversial novel about a 14-year-old exploring her newfound sexuality.