Synopsis :
The film is set on the Eastern Front in World War II during the Soviet’s Caucasus operations that forced the Wehrmacht to retreat from the Taman Peninsula on the Black Sea in late 1943.

The film focuses on the class conflict between a newly-arrived, aristocratic Prussian officer who covets winning the Iron Cross and a cynical, battled-hardened infantry NCO. The screenplay was based on the 1956 novel The Willing Flesh by Willi Heinrich, a fictional work that may be loosely based on the true story of Johann Schwerdfeger, a highly-decorated World War II Wehrmacht Oberfeldwebel.

http://nitroflare.com/view/B681246D6114006/Cross_of_Iron__1977_.BDRip.avi
http://www.nitroflare.com/view/C48468F1504E495/Cross_of_Iron__1977_.BDRip.eng.srt

Language:English, Russian, French, German
Subtitles:English (srt.)

Plot:
Inspired by Preston Sturges’s Sullivan’s Travels, I Hate But Love (Nikui anchikusho) is a high-octane romantic comedy and road movie that follows a celebrity dissatisfied with his personal and professional life who impulsively leaves Tokyo to deliver a much-needed Jeep to a remote village. When his controlling girlfriend (also his career manager) follows, the two must reconcile while dodging reporters.
In the high-octane, unorthodox romance I Hate But Love (Nikui anchikusho), a celebrity (played by megastar Yujiro Ishihara), dissatisfied with his personal and professional lives, impulsively leaves fast-paced Tokyo to deliver a much-needed jeep to a remote village. When his controlling manager, the woman he loves (Ruriko Asaoka), follows, the two must reconcile while dodging reporters.

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https://publish2.me/file/537e343b41a22/I.Hate.But.Love.1962.DVDRip.XviD-WRD.mp4
https://publish2.me/file/9d17dc1837483/I.Hate.But.Love.1962.DVDRip.XviD-WRD.idx
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Language:Japanese
Subtitles:English

Plot Outline:
The British Secret Service sends agent 606 (Alberto Lupo) to Cairo, to collaborate with an American colleague in searching for a stolen anti-radar device. Arriving in Egypt, he finds that agent A008 is actually an attractive female (played by Ingrid Schoeller). But they soon find out that the assignment won’t be a picnic, as a criminal mastermind named Kemp has sent his henchmen out to destroy them. Fast-paced espionage/spy thriller from director Umberto Lenzi.

http://nitroflare.com/view/2D03E888A724A44/008_Operation_Exterminate_%281965%29.avi

Language:English Fandub

Based on an unfinished novel, The Assassination Bureau, Ltd by Jack London.

Before the start of World War I, would-be journalist Sonya Winter (Diana Rigg) begins to investigate the Assassination Bureau, a mysterious organization that chooses its targets based on moral issues. In recent years, however, the group has become corrupt and unscrupulous, prompting Sonya to request that the organization assassinate its own leader, Ivan Dragomiloff (Oliver Reed). Amused, Ivan accepts Sonia’s request. But is he really the villain Sonya thinks he is?

http://nitroflare.com/view/0ECD3E5A8DF9863/The_Assassination_Bureau_1969_720p_WEB-DL_AAC2.0_H.264-alfaHD.mkv

Language(s):English, French, Italian
Subtitles:English

Plot: Johnny runs away from Father O’Hara’s orphanage and becomes a roller skating star with the help of Mary Reeves. He becomes involved with women, including Polly, who only love him because he is a champion, not, as with Mary, out of love for him. Then he gets polio. Written by Ed Stephan

http://nitroflare.com/view/686CE0944CB3B21/The_Fireball_%281950%29_WAC_DVDRip_BBM.avi

Language(s):English
Subtitles:None

Reza Motori, who has feigned madness, escapes from an asylum and robs a factory, with the aid of a friend. Afterwards, a young writer, who looks exactly like Reza, visits the asylum in order to write about inmates. There he is mistaken for Reza and detained. Meanwhile, Reza assumes the identity of the writer. Reza falls in love with the writer’s fiancée and decides to give up the money he has stolen from the factory, but his friends prevent him from doing so. Received the best actor and best music prizes at the Third Iranian National Film Festival “Sepas” in 1971.

http://nitroflare.com/view/FE1F10845E556BA/Reza_the_Motorcyclist.mkv
http://nitroflare.com/view/2B4B5FECF8285FC/Reza_the_Motorcyclist-03.srt

Language(s):Persian
Subtitles:English

Plot / Synopsis
Based on actual events that served as the inspiration for the 1963 film of the same name, Takashi Miike’s 13 Assassins follows a group of noble samurai as they seek to slay a tyrannical, politically connected lord before he seizes control of the entire country. Japan, 1844: as the era of the samurai winds to a close, a sadistic young lord uses his powerful political ties to commit heinous atrocities against the common people. Recognizing the dangers to both his country and its citizens should the lord manage to gain any more power, a concerned government official secretly recruits 13 of the most skilled swordsmen he can find to defeat the evil lord once and for all. But reaching their target won’t be easy, because the elusive lord is constantly flanked by legions of fearless bodyguards. Realizing that the bodyguards would decimate his modest task force in a traditional battle, the assassins’ leader (Koji Yakusho) lays an ingenious trap that will give his men the upper hand, and waits patiently for their prey to take the bait. ~ Jason Buchanan, Rovi

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Language:Japanese
Subtitles:English

PLOT SUMMARY
An important John Ford film from the early talkie period (much of the film is silent with sound effects). After an alcohol-feuled shore leave in Singapore, the crew of an American submarine find themselve sinking after running headlong into a ship. Very tense and terse, with John Wayne in a small role as a radio operator. These early Fox talkies are very hard to come by and this title is particularly difficult to run down.

http://nitroflare.com/view/AAD293BEAE31B8D/Men_Without_Women_%281930%29.avi

Language:English

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New York 2095. In a strange pyramid floating in the sky, the gods of ancient Egypt are judging Horus. In the city, a young women with blue hair and tears is arrested, but she has a secret power, even to herself..

4,37GB | 1h 42mn | 1280×688 | mkv

http://nitroflare.com/view/4E46484C1F91F3C/immortal.720p-x264.part1.rar
http://nitroflare.com/view/78C89FC43BD8B56/immortal.720p-x264.part2.rar
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http://nitroflare.com/view/E1A67D96792B595/immortal.720p-x264.part5.rar

Language(s):English, French
Subtitles:No

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Synopsis
Jin, an antagonistic youth, tries to take over a motorcycle gang once its leader, Ken, announces he’s going to retire and settle down with his girlfriend. But things aren’t so easy for Jin. The other gangs have united, and decide that Jin’s reckless ways are a thing of the past, so they band together to take him and his four followers out.

Review
Visions of a bleak, post-apocalyptic urban wasteland strewn with twisted hunks of mechanical wreckage. A rasping electronic buzz on the soundtrack. These impressions kick-start into a jarring, rapid-fire sequence of chrome, neon and showers of sparks alongside the howl of roaring motors, as boys in black leather with Be-Bop High School quiffs ride menacingly out into the night in the theatrical debut from arguably the most important director to emerge from Japan during the 80s.
Completed by former punk musician Ishii for his film course graduation from Japan University in Tokyo, this raw-edged biker flick is a tour-de-force of automotive auto-eroticism. Originally shot on 16mm, Toei were so impressed by this violent counter-cultural kick-back against the anodyne fluff that typified early 80s cinema that they blew it up to 35mm for theatrical distribution.
Focusing on the internal conflicts within the Mabiroshi biker gang, set in motion when their leader Ken opts out of the frontline to settle down for a life of domestic bliss with his girlfriend Noriko, the story unfolds almost as a series of fragmented image sequences, its manga-influenced stylistic origins rendered more obvious in scenes such as a muted bar room heart-to-heart as the resigned leader communicates to his girlfriend tacitly in a series of speech bubbles in the form of textual intertitles.
Ken’s departure leaves the rest of the gang floundering with all the direction of a headless chicken, and so into the breach steps Jin. When Jin’s hellraising antics begin to incur the ire of rival gangs, erupting into a full-blown pitched warfare involving chains, chainsaws and anything else that is hard-edged and at hand, Ken is soon hauled back into the fray.
Crazy Thunder Road has little in the way of stylistic precedent in terms of Japan’s previous decade of cinema, though the biker angle had been tackled before by Teruo Ishii’s Detonation! (Bakuhatsu!) trio of films during the mid-70s. Though often reminiscent of Mad Max (George Miller, 1979), Crazy Thunder Road bears more of a relationship with parallel developments in the US underground, notably Sam Raimi’s uncannily similar spirited debut, The Evil Dead (1982). Both films are dazzling showcases of ostentatious film school experimentation coupled with an undeniably accomplished technical proficiency and razor-sharp editing, films which attempt to subdue rather than seduce the viewer. Ishii and Raimi’s films are obvious calling cards to the industry that make a virtue of their minuscule resources to complement the raw-edged aesthetic, demonstrating that when it comes to making fast paced, in-your-face violent action entertainment, technical innovation stretches one hell of a lot further than big bucks.
Undeniably a product of its time, Ishii’s raw biker film lacks the gloss and veneer of later actioners, and its loud and brutally uncompromising kinetics arguably come at the cost of characterisation. However, what it lacks in charm, it more than makes up for in terms of its pure crude energy and a refreshing vitality. Approaching the material with precocious exuberance, this embryonic offering in Ishii’s oeuvre proved sturdy foundations for the director to build his career upon, a career in which the director’s explorations, experimentations and innovations into cinematic technique have continuously marked him out for interest.
taken from midnighteye.com

1.44GB | 01:37:14 | 720×400 | avi

http://nitroflare.com/view/5AEA8136276357D/Crazy.Thunder.Road.1980.DVDRip.XviD.part1.rar
http://nitroflare.com/view/986DBCDF29D129C/Crazy.Thunder.Road.1980.DVDRip.XviD.part2.rar

Language(s):Japanese
Subtitles:English

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Plot:
With Dandy Don Meredith in the cast, the made-for-TV movie Terror Among Us bears a resemblance to the 1970s series Police Story. Meredith plays a police sergeant who is desperately trying to track down serial rapist Ted Shackleford. Newly paroled, Shackleford may very well carry out the threats he’s made on the five women who testified against him. Meredith enlists the aid of parole officer Jennifer Salt to stop the wave of terror before it begins. Terror Among Us first aired January 12, 1981.

1,32GB | 1h 35mn | 640×480 | avi

http://nitroflare.com/view/109CFAEE0B7D28F/Terror_Among_Us_1981_DVDRIP_x264_CG.part1.rar
http://nitroflare.com/view/AA3A84E5BF02985/Terror_Among_Us_1981_DVDRIP_x264_CG.part2.rar

Language(s):English
Subtitles:None

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An American veteran (Weller) of the Dominican Republic intervention (LBJ era) is running a hotel in Miami, and is trying to put the memories of the intervention behind him. He gets involved with a former Dominican Republic general’s wife (McGillis). He then gets duped through a series of intricate plot twists into helping a group of people trying to rip the general off. Based on the novel by Elmore Leonard (IMBD)

701MB | 01s 26min 39sc | 608 x 432 | avi

http://nitroflare.com/view/390C62B66F31A7C/Cat_Chaser_%281989%29_-_Abel_Ferrara_-_Dvdrip_Bivx_Eng_Fr.avi

Language(s):English
Subtitles:None

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Quote:
Like a fish on a dry land, Kristofer is stuck in a dull everyday routine, working as a security guard. He got fired from the freight ship he worked on, when he was caught smuggling alcohol. Faced with money problems, he is tempted to accept the help of his friend, Steingrimur, who manages to pull some strings to get his old job back. He decides to take his chances one last time on a tour to Rotterdam.

756MB | 1:22:21 | 640×272 | avi

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Language(s):Icelandic and some English
Subtitles:soft English and Icelandic .idx/sub

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IMDB:
College assassination game turns deadly as someone starts playing for real.

http://nitroflare.com/view/446496E418C2913/TAG.The.Assassination.Game.1982.VHSRip-CG.avi

https://publish2.me/file/ad66acb559570/TAG.The.Assassination.Game.1982.VHSRip-CG.avi

Language:English

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Long is a Taiwanese killer known for his sword skills. After Long fails a Tokyo mission, he moves to a small town where no one knows about him.

675MB | 2h 3mn | 720×300 | mkv

http://nitroflare.com/view/44FE0D281D2D2FF/mr.long.2017.dvdrip.x264-bipolar.mkv

Language(s):Japanese
Subtitles:English

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FROM IMDB

Author: Lalit Rao from Paris, France

French cinema of nineteen eighties was known for its numerous popular films which gave a new dimension to box office collections.”Pour La Peau D’Un Flic” is one such film which is not so much known by ordinary film viewers both in France and elsewhere.This might have something to do with the manner in which this film was distributed. It is sure that loyal Alain Delon fans would be aware that this film marked the beginning of his directorial career in 1981.Alain Delon gives one of his career’s finest performances as a detective who would go to any length in order to bring cold blooded criminals to justice.As a film director he has not fought shy of portraying what ails police forces in France.In “Pour La Peau D’Un Flic”,policemen are shown as real human beings with their fair share of weaknesses.Alain Delon’s acting performance has too many shades of similarities with American actor Al Pacino although it would be politically incorrect to suggest such a comparison.This is a good film for all those people who would like to see Alain Delon both as an actor as well as a director in a same film.

2.05GB | 01:42 | 720×448 | avi

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Language(s):French
Subtitles:English,Romanian

‘Guns’ Donovan prefers carousing with his pals Doc Dedham and ‘Boats’ Gilhooley, until Dedham’s high-society daughter Amelia shows up in their South Seas paradise.

Excitement on Haleakoloha:’Donovan’s Reef’ Opens at Three Theaters John Ford Production Stars John Wayne
ONLY an ancient hermit would believe that the director John Ford and his writers, Frank S. Nugent and James Edward Grant, were serious in their approach to “Donovan’s Reef,” which turned up yesterday like a welcome port in a storm at the Paramount, Trans-Lux 52d Street and Brooklyn’s Metropolitan Theaters. For this running account of Pier 6 brawls, miscegenation, romance and religion that disrupt the idyllic life on a post-World War II South Sea island paradise is sheer contrivance effected in hearty, fun-loving, truly infectious style.

Mr. Ford has been involved with movies for 45 years, and his associates, including his principals, are no tyros either, so they cannot be blamed for using what would be film clichés in less practiced hands to fashion a fable to tickle the funny bone and give us a picturesque change of venue at little expense.

They have taken us to the verdant atoll of Haleakoloha—the film actually was shot in vivid color on extremely photogenic Kauai, Hawaii—where an icy Boston heiress has gone to search out her seemingly errant father. That staid lady not only discovers the beauties of the palm-studded island but also romance in the guise of John Wayne, an erstwhile heroic hand on a Navy destroyer who decided to stay on after the war and is now the owner of the island saloon of the title, among other properties.

Revealed also are such facts as her father’s desertion of a cold Bostonian wife for a warm Polynesian princess, now deceased, by whom he has become the sire of three cute kids, and his humanitarian work as the sympathetic, self-effacing medico for all the natives. There is Dorothy Lamour, again familiarly attired in sarong and muu-muu, who is the love life of Lee Marvin, Mr. Wayne’s friendly enemy in brawls; Cesar Romero, a musical-comedy governor of this colorful back-wash, and a kindly priest, who teaches Brahms to the kids and the catechism to the islanders.

Of course, there is a modicum of obvious obfuscation as Mr. Wayne and his cohort try to keep the truth from the visitor, who, they imagine, will not quite understand. Eventually, and to no one’s surprise, they all find that she is indeed warm and understanding. Honesty and altruism win out before the varicolored dusk sets over the frangipani and the lagoon. More important, Mr. Ford and his devoted team are not overlooking that movies should move even though the dialogue is colloquial, funny and manly.

Everyone, from Elizabeth Allen, as the starchy Bostonian whose reserve melts after being exposed to the amorous assaults of Mr. Wayne and the charms of the happy folk around her, to Miss Lamour, is constantly involved in physical action. Mr. Wayne belts Mr. Marvin, the Messrs. Wayne and Marvin good-naturedly take on an Australian Navy crew; the kids go water skiing; Mr. Wayne is forever tearing around Haleakoloha in a jeep, and Miss Lamour is tossed into a pool. Miss Allen gets a watery greeting at the outset when she lands in the lagoon on missing her step off the schooner that brings her to her destination. She is never the proper Bostonian after that.

Mr. Ford, to summarize, is kidding, but he also has his viewers in mind and he does not shortchange them. Everything ends as happily as a trite travelogue, and his cast behaves in customary but satisfying style.

Mr. Wayne, in yachting cap and dungarees, is no different from Mr. Wayne at ease with 10-gallon hat and six-shooters. He is still as massive as a moose, tough, laconic and as handy with a dame as he is with a left cross.

Miss Allen, a graduate of Jackie Gleason’s television series — remembered for the classic line, “And away we go!” — is a lissome, brunette beauty who takes to this uninhibited stuff like a duck to water. As Mr. Wayne’s longtime sparring partner, Mr. Marvin makes an agreeable, easygoing foil.

Miss Lamour’s contribution is slight, but she obviously appreciates the free-and-easy spirit of the whole wacky affair. Jack Warden is merely serious as the dedicated doctor, and Jacqueline Malouf, Cherylene Lee and Tim Stafford, as his happy, half-caste offspring, are winning youngsters. There is no Haleakoloha, but they and Mr. Ford certainly make it an unbelievable but explosively nice place to visit.
A. H. Weiler, NY Times, July 25, 1963

675MB | 1h 44mn | 608×352 | avi

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Language:English
Subtitles:English

Overview:
As steady hands carefully wire a bomb and meticulously set the timer to the eerie sounds of children singing in the background, and as the deadly device explodes, rupturing a building into fragments and splintering the tranquility of the theatre. Elite assassins Mike Locken and George Hansen take on jobs too risky for even the CIA to handle. They’re best friends, superior marksmen and on the A-list when it comes to killing. But when one high-powered hitman betrays another, the intrigue, the violence and the trills become more than just a dangerous game of who-kills-whom first…It becomes a very personal war!

TRIVIA

• This film was the last collaboration between Sam Peckinpah and composer Jerry Fielding with Fielding stating that it was time for them to end their creative partnership.

• In preparation for the film, Robert Duvall and James Caan took lessons in mastering their characters’ skills with Duvall taking lessons in using a rifle with infra-red scope and Caan learning to disarm the film’s villains with the use of a cane.

• In a 1975 interview with the “Los Angeles Herald-Examiner,” Sam Peckinpah said that his preparation consisted of watching Bruce Lee movies.

1.38GB | 2:03:05 | 640*272 | avi

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http://nitroflare.com/view/9320DEB242B4B64/The.Killer.Elite.1975.DVD.XviD-CG.Trailer.avi

Language(s):English
Subtitles:English, French

Pieces of the Action

A low-budget no-brainer, Run Lola Run is a lot more fun than Speed, a big-budget no-brainer from five years ago. It’s just as fast moving, the music is better, and though the characters are almost as hackneyed and predictable, the conceptual side has a lot more punch. If Run Lola Run had opened as widely as Speed and it too had been allowed to function as everyday mall fodder, its release could have been read as an indication that Americans were finally catching up with people in other countries when it comes to the pursuit of mindless pleasures. Instead it’s opening at the Music Box as an art movie.

Why try to sell an edgy youth thriller with nothing but kicks on its mind as an art movie? After all, it’s only a movie–a rationale that was trotted out for Speed more times than I care to remember. The dialogue of Run Lola Run is certainly simple and cursory, but it happens to be in subtitled German–which in business terms means that it has to be marketed as a film, not a movie. And of course nobody ever says “It’s only a film,” just as no one ever thinks of saying “It’s only a concert,” “It’s only a novel,” “It’s only a play,” or “It’s only a painting.” Because they’re omnipresent, movies almost oblige us to cut them down a peg or two just so we can breathe around them.

“It’s only a movie” is another way of saying “So what?”–a way of protecting ourselves from the high claims made for cheesy products shoved so aggressively into our lives. Nothing if not aggressive, Run Lola Run is a movie in every sense of the word, but our cultural planners have deemed that it has to wend its way toward us as a foreign picture. But foreign in what sense, particularly given its devotion to the Tarantino model of narrative organization? Frankly, the only thing that keeps it foreign is industry shortsightedness and perhaps our own knee-jerk responses.

***

Don’t be put off because Run Lola Run begins with two weighty quotes, one of them from the last of T.S. Eliot’s Four Quartets, “Little Gidding.” I didn’t quite catch what it said–the person seated in front of me decided to stretch at that point–but I can’t believe it has any serious bearing on what follows. I take it to be a quintessentially Germanic reflex gesture claiming some sort of significance, like the elaborate presentation of a Gothic clock that follows, or the pixilated city crowd that comes next, or the narration about “man” as “the most mysterious species on our planet,” which reminded me of Edward D. Wood’s early musings in Glen or Glenda? Yet the jazzy visual effects and punchy sounds accompanying the clock, the crowd, and the subsequent credits are the basic text here, and all the ponderous trimmings are basically fashion statements, not pertinent commentaries on what’s to come.

When the minimal plot finally slides into view, Lola (Franka Potente)–a Raggedy Ann punk with blazing orange red hair–gets a frantic phone call from her boyfriend, Manni (Moritz Bleibtreu). Some pithy flashbacks in black and white explain the cause of his panic: he just picked up 100,000 marks’ worth of drugs for his boss (Manni’s narrative), but she wasn’t there to pick him up because her moped got stolen (Lola’s narrative). So instead he took the subway, and his bag of drugs got lifted by a tramp (Manni’s narrative). It’s 20 minutes to noon, and his boss, who’s meeting him at noon in front of the phone booth he’s calling from, will kill him if he doesn’t have the 100,000 marks. His only recourse is to hold up a nearby supermarket.

She says she’ll get the money somehow and bring it to him in time. Tossing the red phone receiver into the air, she darts out of her apartment before it can land, whizzing past her mother. The camera spins 360 degrees around her mother to catch an animated cartoon on a TV set that shows a cartoon Lola running down the stairs, followed by a live-action Lola emerging from the apartment house and racing across town.

Most of the remainder of the movie gives us three successive versions of Lola’s 20-minute race against the clock, with radically different outcomes deriving in each case from various chain reactions as she runs across the city to her father’s bank. In the first two versions, for instance, she collides in a different way with a woman pushing a stroller, and the third time she just misses doing so. Waiting at the phone booth, Manni also goes through three alternate sets of adventures that are intercut with Lola’s progress. (Some less successful interludes–prefaced by the title “and then…”–offer rapid digressions about minor characters in the form of successive snapshots.)

Which 20-minute stretch “really” happens and which two are speculative? From the outset, writer-director Tom Tykwer makes such a question both unanswerable and meaningless. The arching trajectory of the phone receiver and the TV-cartoon Lola rushing down the stairs signal that this is theme and variations, a stylistic exercise, not even a loose approximation of anything that could conceivably happen to anybody. And this hyperbole only gives Tykwer further license to exaggerate one outrageous confluence or coincidence after another, confident that no one could object. Both the exhilaration and the hollow affectlessness of everything that follows proceed directly from this game plan. Given that “it’s only a movie,” the two qualities can even be said to fit hand in glove.

***

1.45GB | 1:19 | 720×384 | avi

http://nitroflare.com/view/D34B58DB1D164E1/Run.Lola.Run.1998.part1.rar
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Language(s):German
Subtitles:English,Turkish

– from Variety-

“POWERED BY
A Tetsuo Group presentation of a Kaijyu Theater, Asmik Ace Entertainment production. (International sales: the Coproduction Office, Paris.) Produced by Shinichi Kawahara, Masayuki Tanishima.
Directed by Shinya Tsukamoto. Screenplay, Tsukamoto, Hisakatsu Kuroki.

With: Erik Bossick, Akiko Monou, Shinya Tsukamoto, Stephen Sarrazin, Yuko Nakamura, Tiger Charlie Gerhardt.
(English dialogue)

Twenty years after making his breakout cult hit, “Tetsuo,” and 17 years after its sequel, “Tetsuo II: Body Hammer,” multihyphenate filmmaker Shinya Tsukamoto busts out the big guns again with “Tetsuo the Bullet Man.” Contempo-set pic doesn’t bring much new to the half-man-half-machine concept, but with its delirious editing and eardrum-crunching soundtrack, it punches above its weight and musters a certain retro charm with its old-school effects, all done on about one-hundredth of the budget of a “Transformers” movie. Fans of the franchise will have this in their sights and show support, but crossover potential looks iffy.
Half-American, half-Japanese Anthony (Erik Bossick) has always strived to keep a tight rein on his anger by singing nursery rhyme “Hush, Little Baby” whenever he’s agitated, a trick his mother taught him before she died. Now a salaryman in Tokyo, he lives with his wife, Yuriko (Akiko Monou), and son, Tom (Tiger Charlie Gerhardt).

But when a mysterious driver (helmer Tsukamoto himself) deliberately murders Tom by running him over, Anthony starts to get in touch with his anger in a way most bereavement therapists wouldn’t approve of: His body begins to turn into black, living metal, sprouting weapons and all kinds of spiky bits. A huge Gatling gun, for instance, grows out of his chest, which comes in handy when a bunch of uniformed hitmen try to kill him.

Turns out Anthony’s father, Ride (Stephen Sarrazin), a former biochemist, is to blame, a fact Anthony uncovers by digging around in his dad’s basement, where he makes an even more alarming discovery about his late mom.

Thesps deliver their lines entirely in English, and often sound stilted in the quieter moments, but hey, that kind of goes with the machine-people theme. On the other hand, the script’s emphasis on familial, especially parental love makes for a gentler, kinder Tetsuo movie, entirely lacking in the creepy sexual dimension of the first two pics.

Co-editors Tsukamoto and Yuji Ambe show nimble, frenetic fingers in the editing suite as they slice and dice the action sequences and the pic’s frequent trippy interludes into thousands of cuts, all the better to distract from the lack of sets. Sound design pushes the dial well past 11, adding undeniable visceral impact.

Camera (color, HD), Tsukamoto, Takayuki Shida; editors, Tsukamoto, Yuji Ambe; music, Chu Ishikawa; production designer, Tsukamoto; costume designer, Mari Sakura; sound (Dolby Digital), Hirokazu Kato. Reviewed at Venice Film Festival (competing), Sept. 4, 2009. Running time: 79 MIN.”

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Language:English