DOBERMAN COP
DOBERUMAN DEKA
1977, 90 min, Japan, Dir: Kinji Fukasaku

Based on the manga by Buronson and Shinji Hiramatsu, DOBERMAN COP is a one-of-a-kind cop movie featuring Sonny Chiba as tough-as-nails Joji Kano from Okinawa, who is investigating a savage murder in Tokyo’s nightlife scene. Settling between Fukasaku’s masterful “Battles Without Honor and Humanity” series, this is the yakuza genre elevated to art form, as Joji takes on all kinds of bikers, drug pushers and lowlifes - none of whom suspect that this seemingly naive man will never relinquish his bear-trap grip. With Fukasaku regulars filling out the secondary cast and Chiba at a charismatic peak, it’s a pure shot of adrenaline to the heart, delivered with the force of a chest kick.


THE GUILTY (2018)
DEN SKYLDIGE
2018, Magnolia Pictures, 85 min, Denmark, Dir: Gustav Möller

The night before he is to be reinstated for active duty, dispatch officer Asger Holm (Jakob Cedergren) gets an emergency call from a kidnapped woman. As the line is disconnected, Holm is thrown into a race against time to save the caller, but not everything is what it seems and what he suspects is a kidnapping might be something much, much bigger. One of the big hits out of Sundance, Gustav Möller’s one-location, high-concept thriller set over the course of one night is a brilliant example of how much a terrific actor and a nail-biting script can achieve.


THE QUEEN OF HOLLYWOOD BLVD
2018, 90 min, USA, Dir: Orson Oblowitz

On her 60th birthday, Mary (Rosemary Hochschild) finds her past coming back to haunt her, as a 25-year-old debt means the mob is ready to collect with interest, their sights set on the strip club she has run all her life. There’s only one thing she can do: Mount her defenses and stand her ground in a spiral of violence and revenge that will leave no one in her life untouched. This is an L.A. noir of the darkest order, a one-day odyssey of a character’s reckoning reminiscent of THE FRIENDS OF EDDIE COYLE and TOO LATE. In the middle of it all, photographed spectacularly by Luke Hanlein’s astute eye, towers Hochschild’s tour-de-force performance as an unrepentant sinner who has accepted who she is and has made her peace with it.


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