This is a lean and mean 1970s yakuza exploitation picture that plays with a lot of genre tropes – rival groups, old ways versus young guns, etc. – all capped off by a deeply fatalistic streak. And mannequins!
Faraway signals from way-out cinema
This is a lean and mean 1970s yakuza exploitation picture that plays with a lot of genre tropes – rival groups, old ways versus young guns, etc. – all capped off by a deeply fatalistic streak. And mannequins!
This is an action film featuring the sort of hero who strains spaghetti on his kitchen countertop instead of doing it in the sink, and gets hit by two speeding cars in a row before bounding off into the woods like a fucking deer.
American cowboys have whisky, James Bond has the martini, and Euro-Cops have J&B. The Greek protagonist of 1985’s CRIME KILLER, has ouzo, the anise-flavored liqueur best served before, during, or after a meal.
DANCE OR DIE is that rare American independent film that wants us to look at a table full of narcotics and say, “Ha! Cocaine! No big deal.”
A cinematic hero is only as good as the opposing villain. The films that brought us Skywalker-Vader, Creed-Balboa, and Matrix-Bennett are all examples of how contrasting characteristics bring balance to the contentious relationships between protagonists and antagonists. The characters headlining Kinji Fukasaku’s 1968 crime film BLACK LIZARD may or may not have chairs at the same table as the aforementioned duos, but they are definitely in the same restaurant.
Smoking clowns, unpredictable quips, weird relationship dynamics, alcoholic benders, and murderous sleaze. TO THE DEATH is that rare breed of underground fight film that surprises, confuses, and delights.