Tetsuo Bullet Man Blu Ray

[Aleck Cobbs]

Anthonyis a man with an American father and a deceased Japanese mother living and working in Tokyo. One day, his son is killed in a car accident and shortly afterward, Anthony begins to transform into metal. He is shot dead by a hitman accompanied by a mysterious individual who taunts Anthony's dead body. The mysterious man, named Yatsu, is then confronted by a revived and enraged Anthony, and it is revealed that the car accident was in fact Yatsu's deliberate act of murder. Anthony attempts to kill Yatsu using bullets fired from his torso, but fails as Yatsu is able to narrowly escape. Yatsu hacks Anthony's computer to display a cryptic series of scientific documents and tells Anthony to go to his father's house, where he finds a secret room filled with files detailing a mysterious Tetsuo Project. He also learns that his father met his mother while they both researched the project. Anthony's wife Yuriko arrives but before she sees her transformed husband, a team of heavily-armed mercenaries from a private military company hired to cover up the existence of the Tetsuo Project arrive and she is taken hostage. Anthony's transformation finishes its hold and he defeats the PMC team with bullets fired from his body, but refrains from killing them. The severely injured team is extracted, but then killed by Yatsu, this film's version of "The Metal Fetishist".[2][3]

Now believing that he has been possessed by a demon, Anthony attempts to kill himself using a gun growing from his hand but this fails. Anthony and Yuriko then meet up with Anthony's gravely wounded father who explains everything: Anthony's mother was disgusted with the militaristic outcome of the Tetsuo Project, having joined it as a way to help give crippled and sick people new bodies. When Anthony's mother realized that she would soon die from cancer, she insisted that her husband recreate her as a Tetsuo android so that he may still have a child with his recreated wife. That child became Anthony, which means that Anthony and his late son were always part Tetsuo. It is also revealed that anger is the catalyst that causes Anthony to transform into metal, and that Yatsu murdered Anthony's son and wounded his father in order to provoke this transformation. Yatsu, in this version without metal powers, has come to the conclusion that the only way he would prefer to die is by a bullet from Anthony's body as committing murder would push Anthony to consume and destroy the world in Yatsu's stead. Anthony's father bleeds out due to his injuries. Yatsu kidnaps Yuriko and threatens to detonate a bomb he has fashioned into her necklace if Anthony does not shoot him. During an ensuing chase, Anthony's rage becomes out of control and he transforms into a gigantic metal beast with a cannon in its center. Yatsu provokes and threatens Anthony to shoot him. Receiving a vision of the city exploding in a giant ball of light if he does kill Yatsu, Anthony denies this wish and instead consumes Yatsu whole into his metal body, then returns to his human form.

Five years later, Anthony and Yuriko have had a new child and have returned to a normal, contented life. As he stands before a mirror, Anthony hears Yatsu's final words: "[You don't want me inside you.] You don't know what I'll do". However, when a group of young thugs attempt to intimidate Anthony while walking down the street, rather than allow his anger to overtake him, he walks calmly and confidently past them.

Following the release of the Japanese film Tetsuo II: Body Hammer (1992), which saw international attention, director Shinya Tsukamoto was approached by an American produced to do a third Tetsuo film set in the United States, but the initial project fell apart due to issues with budget, communication, and creative differences with producers.[5] Quentin Tarantino was initially attached as producer, but Tsukamoto's "process was too slow" that Tarantino dropped from the project.[5][6]

Tsukamoto also served as a cast member, writer with Hisakatsu Kuroki, editor with Yuji Ambe, and director of photography alongside cinematographers Takayuki Shida and Satoshi Hayashi.[1] Shinichi Kawahara and Masayuki Taneshima served as producers.[1] The film is a presentation of Tetsuo The Bullet Man Group and produced by Kaijyu Theater and Asmik Ace Entertainment.[1][7]

Chu Ishikawa composed the music for the film.[1] The closing credits feature an original track by Trent Reznor of industrial rock band Nine Inch Nails titled "Theme for Tetsuo: The Bullet Man".[8] Tsukamoto has stated that the collaboration with Reznor marked the fulfillment of a long-held ambition to work with the group.[9] Tsukamoto had previously collaborated with Reznor on a Tetsuo-esque commercial for MTV Japan.[10]

Tetsuo: The Bullet Man premiered on 5 September 2009 as part of the Venice International Film Festival, although Tsukamoto was unsatisfied with the cut and later re-edited the film.[11][12] The new cut premiered in the United States on 25 April 2010 as part of the Tribeca Film Festival.[13] In July 2010, IFC Midnight purchased the North American distribution rights and Middle Eastern digital rights from sales agent Coproduction Office.[12]

The film received "largely negative reviews and reactions" following its premiere at Venice.[15] Leslie Felperin of Variety praised the film's "retro" special effects, frantic editing, and loud sound and music, but criticized the familiar plot.[1] Ray Bennett of The Hollywood Reporter took issue with the dialogue and acting, but similarly favored the sound and editing.[16]

Director, writer, producer, editor, actor and so on, one man army, Shinya Tsukamoto, followed this breathless manic vision with a loose sequel, Tetsuo: Body Hammer, a couple of years later. In colour, with the same extreme invasion of the senses. The budget was bigger and the man/monster/machine quite simply fantastic, as two metal weapon body brothers collide after many years. The fan base loved it as much as the first!

In the aftermath, Anthony and Yukiro are like zombies. He has shut down his emotions, she is prone to anger. As he walks the busy streets, the camera runs around fast closing the crowds around him like a fleshy fist. His face remains dead. Down a back street, whilst looking at a photo of Tom, he hallucinates a man kicking a wall until his ankle breaks, and his own hand made of metal.

Next a SWAT arrive to kill him and his wife. However, their bullets do nothing but piss him off. The more they empty bullets into him, the more he grows into a massive nest of guns himself. He decimates all the soldiers, very quickly accompanied by wobble-cam vision. The stranger waits for survivors and kills them himself. He is the informant.

Jay Creepy was raised in the age of video nasties and late night TV horror classics on UK telly. He had his first taste of the genre aged 7, circa 1981, then began watching and reading as much horror as he could. He is a writer, actor, small time director and vocalist, who openly, without apology, adores horror in many forms, particularly from the '60s and '70s. Jay has a fondness for low budget movies that show a pure heartfelt labour of love, plus the extreme side of films, metal and wrestling. Jay's top 10 films: 1. Zombie Flesh Eaters, 2. Freaks, 3. The Killing of America, 4. Night of the Living Dead, 5. Psychomania, 6. Enter the Dragon, 7. Anthropophagus, 8. Nekromantik, 9. The Omega Man, 10. From Beyond the Grave.

The power of a landscape does not derive from the fact that it offers itself as a spectacle, but rather from the fact that, as mirror and mirage, it presents any susceptible viewer with an image at once true and false of a creative capacity which the subject (or Ego) is able, during a moment of marvelous self-deception, to claim as his own. Henri Lefebvre

I was born and grew up in Tokyo, so I grew up with those buildings. I was small, and buildings were small at first. Then buildings became bigger as I grew up. That strange intimacy to the buildings and the city is analogous to the mixed feelings for the parents: affection and fear are two sides of the same coin. Shinya Tsukamoto

This paper looks at the relationships among walking, violence, and globalization in Tokyo. I will juxtapose the representation of space of Tokyo, the official account of an efficient, affluent informational city of the future, with the representational space, the private account dramatizing walking in Tokyo in Shinya Tsukamoto's films Tetsuo: The Iron Man series and Tokyo Fist. In this social/urban account, I will examine some significant urban restructuring projects during Tokyo's formation into a global city in the 1980s to demonstrate how the Tokyo metropolis invites its inhabitants to identify with the new image of the city and find their sense of self firmly anchored in the global city. In other words, the global city prescribes a model relationship between the inhabitants and the space to its best advantage. In this sense, Tokyo is Henri Lefebvre's capitalist abstract space par excellence, which promotes the flexible accumulation of capital at the cost of the inhabitants' everyday-life space by means of mimesis. Following Plato's use of the term as a means of aesthetic education for the elite class, imposing models for the guardians to emulate so as to reproduce ideal social relations, Lefebvre employs mimesis to elucidate the predicament facing the occupants of the abstract space. According to Lefebvre, the operative logic of the abstract space is twofold: the elevated subjectivity and civic consciousness shaped by the global city are inextricably bound up with the abstraction of the bodily experiences of the city-users. Deprived of the space of the body, the city-user becomes a body in an ever-fragmentary space, a space that reduces the totality of life to the visual. With an emphasis on the function and effects of mimesis, my discussion of the urban plans and assorted building projects of Tokyo in the 80s aims to show the model subject position projected for Tokyoites to emulate by urban plans and the construction boom, both as instruments of the abstract space. The ideal inhabitants of the new Tokyo are defined as proud users of the global city even if their concrete space of everyday life becomes compressed and abstracted at a galvanizing speed1.

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