A Wannabe Tarantino Movie That Fails Even as a Copycat

It started off well enough, and since the actors were all such pros I was invested in the characters. Alas, midway it descended into a wannabe Tarantino film replete with an R&B song blasting while two sexy, young hipsters shoot up a room full of dozens of people. But in a Tarantino movie the violence is aesthetically stylish. In this movie it came off as just plain silly.

Some of the silliness involved a petite 90 pound girl who was bashed in the head with a hammer 6 times but did not die; and later in the movie was shot in the chest 3 times, but still did not die. I began to think of her as "The Immortal Femme Fatale." And that's just one of the film's sillier elements. Trust me, there are bucket loads more.

But of all the silliness, I'd have to say that worst involved the director's attempt to copy certain plot lines from "Reservoir Dogs" and certain scenes from "Pulp Fiction." The imitation was so lame that I began to feel embarrassed for this director. Really, by the end of this movie I was just plain cringing.

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An Intense Movie About Moral Gray Zones

Dog Bite Dog is a movie wherein we see a hitman kill 9 people including:

1 Barrister who was his original paid mark
1 Civilian at a restaurant
1 of the other main character's police partners
1 innocent cabdriver simply to steal his cab
3 cops in an alleyway shootout
2 tugboat operators whom he killed simply to steal their tugboat

Watching him butcher 9 people, I would hate him in one moment, and then see him with his love interest and suddenly want him to live so that he could redeem himself by loving her. There was so much tenderness in a scene of him putting boxer shorts on her to hide her naked ass. He wanted to give her some dignity after being raped by the man whom the hitman had just realized was her father. It was likely the first time the hitman had ever shown affection for another human being. Or received care from someone else, as when she clobbered the cop, Wai, at the landfill to save him.

Then, god, there was a scene of her wiping his arm while he was pumping gas right after his former fight club boss had humiliated him. It was her way of showing that she understood he’d been emotionally hurt and wanted to comfort him. His expression was that of someone who is moved, while also confused by that new feeling. He wasn’t used to feeling such things with another human being.

He wasn’t used to feeling anything nice at all. This was a person who’d grown up scavenging for discarded food at a landfill in Cambodia. As for landfills, it fascinating that he chose another landfill in Hong Kong to seek refuge after almost getting caught by the cops. He didn’t go to some nice park to unwind. Nope, he chose a landfill! That is what spoke of familiarity and home to this guy. I also noted that when the hitman fought with Wai at the landfill he was biting Wai’s shoulder. The director was portraying him as a wild dog biting and chewing on human flesh. Later on, the cops nicknamed him, yep, Wild Dog.

Indeed, he was one of the Dogs in the title, “Dog Bites Dog.” The cop, Wai, was the other dog. Sure, Wai wasn’t as murderous as the hitman at first, but the signs were there that he was on his way to becoming so. Dang, he was breaking laws everywhere right from the start. He was constantly beating the shit out of witnesses. He gave drugs to informants in exchange for info. Presumably, Wai got those drugs from the police evidence room where cops keep drugs they take off drug dealers. Or he bought the drugs from dealers on the street. Either way, he got them illegally.

Overall, Wai was portrayed as violent, unruly and unethical. But he still had a father, his partner and colleagues he cared for, and they all humanized him. By the end he has lost all of them – and is now as alone in the world as the hitman was at the start of the movie. Accordingly, Wai also loses all morality, so much so that he even stabs a pregnant woman to death. He has now become inhuman. That is to say, he is now the Wild Dog.

The hitman, meanwhile, has become human via love for his wife and the impending birth of his child. He now has the family that Wai lost – and lost because the hitman killed all of them except dad, who killed himself. One can justify Wai’s angry lust for revenge. What’s amazing is that even though Wai was justified in wanting to kill the hitman, I wanted the hitman to continue his life as fruit picker with his new wife and baby. It’s a testament to the movie’s brilliance at portraying moral gray zones that I could sympathize with a hitman I’d witnessed killing 9 people.

And this was not some glamorized hitman in a sleek, black Armani suit as we usually see. Or a hitman pulling superhero level judo movies like “Leon the Professional” (ie, the movie where a pedo hitman loves a 12 yr old Natalie Portman). This hitman is filthy and monosyllabic while stuffing food into his gullet like a starved dog, and biting his opponent like a dog. Nothing glamorous about him. Yet, son of a bitch, the director made me care about him anyway!,

It was a risky move for the writers to ask us to sympathize with such a character. And that was what they were knowingly doing by creating his tender, loving relationship with the girl. The writer/director created this moral gray zone by depicting the hitman holding the girl's hand, helping her walk after she'd injured her foot,, feeding her and just being all around attentive. In short, he is in love. It’s not only his first romantic love, but his first experience with any kind of love at all. We know that he never had the love of a family because he had grown up with a scumbag fight club owner. We know this, in turn, because he called the scumbag “dad” and, moreover, the scumbag said that he’d picked the hitman up off the street as a kid like a “stray dog.”

The scumbag and other dead-eyed boy fighters were all the hitman had ever known in his empty, brutal world where the only goal was to fill his belly and sleep somewhere warm. So his first experience with love – an abstract, emotional need rather than a physical need – had to have hit him with the awesome power of a thousand storms. But love ain’t enough to save him when the cop Wai is on the trail.

The hitman gained a family right as Wai lost his family, such that it was now Wait’s turn to live in a violent, soulless world working at a fight club. He even got one of the number tattoos on his neck that designated orphaned males after Pol Pot's Cambodian holocaust, and thus he blended in with the real men of the Cambodian Lost Generation. In other words, he had traded places with the hitman both literally and figuratively. He had nothing to live for except revenge.. And he was going to get revenge, even if he had to die for it. Which, of course, he did at the end

Now, about the ending. The girl dies at 9 months pregnant, so the hitman cuts the baby out of her stomach, then dies himself with the baby in his arms. That would’ve been perfection….. if, that is, the writer/director had indicated that someone was nearby to save the baby. As it stood, that newborn was alone under the hot sun at an empty temple grounds while all the adults are dead and, as such, would also be dead within hours. I wish they had written a bit with a car driving by and noticing the dead bodies, whereupon the driver would go to save the infant.

If that infant survived, it would have been the perfect ending for this movie. Because it would have symbolized how there was no hope for the current generation, while there was glorious hope for their offspring. We already knew that the hitman believed this, because it’s why he cut his baby out in the first place. He NEEDED to see that his child was alive before he, himself, died. Cutting that baby out was so unexpected and original! I’ve never seen this in a movie before.

I also LOVED the way the hitman held the infant up to the sky, as if offering his gratitude to the heavens for its birth. The shot of him holding the baby against a sky shooting sunbeams imparted a message of hope. Then, man-oh-man, the very final shot of the infant’s fist rising up toward the sun outdid that with an even more powerful message of hope. Well, it COULD have been full of hope if only the viewer had just one teensy indication that someone was going to save that infant

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A Charming Movie About Likeable Losers

The film is not a mass market, crowd pleaser because it has no major plot arc. It is, after all, about two slackers who just do handyman jobs. Thus, the pace is as meandering as their lives. But that is also it's charm. Because they are likeable losers and their conversations, antics and encounters with clients are all quite entertaining and funny. Moreover, it's endearing to observe them slowly -- and unwittingly -- develop a little bromance.

The most wonderful thing, however, is how they also unwittingly change their clients' lives in tiny, tender, ways. And it surprises you with moments of depth, such as when one lead tells a neglected child that life doesn't always have to be so cold because, as he puts it, "You can give the love that you did not get. You can offer love to someone else as long as you are alive." There are also bits of warm wisdom, as when a minor character tells one of the leads, "You don't look too good. Remember, smiling is the door to heaven."

Many comments here compared it with the sequel, which was created as a 12 part series. The series stars the same two leads, but it's written and directed by a different person and, hence, the sensibility is quite different. The main difference is that the series has a lighter sensibility designed for broader appeal, while this has the sensibility of an Indy film. In other words, the series lacks the darker, deeper qualities of the original film. I still recommend the series, but the film is superior, and you should either choose the film over the series, or watch the film first.

After all, it is a film with an abundance of depth, tenderness, careful character development, brilliant chemistry between the leads, offbeat humor, and true heart. If the best a person can say of a film is that they were "moved by it," well, I must say that I was genuinely moved by this film.

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It's Got a Certain Hipster Nihilism, But It Works

Let it be said that "Tokyo Rampage" is largely about style. Now, this could easily mean that a movie is superficial. However, the style here is slickly appealing and, moreover, part of the movie's theme about socio-cultural vacuity. In short, it works.

As for the story itself, there's a certain hipster nihilism which would -- just like the movie's surfeit stylishness -- seem a negative element. Yet, no, it's actually handled in a way that's purposeful and, hence, intriguing. Indeed, I enjoyed the ride because I had decided early on that the inscrutable, psychopathic lead's maddeningly repeated line, "Not needed," made him the homicidal cousin to Bartleby in Herman Melville's famous short story, "Bartleby the Scrivener." I am referring, of course, to the inscrutable Bartleby's maddeningly repeated line, "I prefer not to."

Like Bartleby, this character is a blank, and his mission to murder every "Not needed" person in his path does not make us hate him, because one cannot hate a blank space. Meanwhile, the audience is intended to empathize with the other lead, the psychopath's boss (the one sympathetic character in the whole movie), and for the boss the line, "Not needed" eventually begins to register as an existential crisis.

The viewer, just as the boss, begins to squirm under the same frustrating fear and bewilderment each time they hear the line, "Not needed." It's when you realize that you are just as effected by this line as he is that you also realize, son of a bitch, this bizarre, disturbing movie worked. In other words, it achieved precisely what it had set out to achieve.

Oh, and watch for the visuals -- such as the bathes of tomatoes, the swooping down of death crows, and the falling of knives. But especially the falling of the knives. That scene is worth the whole movie alone.

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Creepy, Disgusting People Do Creepy, Disgusting Things

A middle aged cop continually has sex with a 15 year old girl as they, um, "fall in love." We're supposed to accept that this is ok, and that it truly is "love" because the 15 yr old girl is weird as fuck and spouts gibberish about Chinese proverbs related to the Chinese symbol tattooed on the cop's back. But the film does nothing to denote any kind of love between the two, and the constant tattoo gibberish simply comes off as an excuse to show an old man diddling a little girl.

Others in the town know about the affair and a cop at the precinct simply jokes to the main character cop, "So you've moved on from married women to school girls, huh?" The 15 yr old girl's grandfather (and her caretaker), not only approves of the relationship, but gives his blessing and asks the cop to take good care of his granddaughter after he dies. In other words, the affair is played as ok within the social context of the characters' world as another way of making the viewer accept it. Note to the director: it did not work. Because the viewer still does not accept it. Indeed, the viewer is still repulsed by this affair.

All of the characters are unrealistically weird, and have backstories of parents who are either suicidal or sexually abusive. The 15 year old girl's brother is mentally disabled and her grandfather is an undertaker. Her job is to put makeup on corpses, and we see her doing this a number of times. The movie is packed with such scenes that are designed to be meaningful but are, instead, simply disturbing. This makes it worse than pretentious, because even the pretentiousness falls flat. Ultimately, it's just a movie where creepy, disgusting people do creepy disgusting things.

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