Acting
A secret military project endangers Neo-Tokyo when it turns a biker gang member into a rampaging psychic psychopath that only two teenagers and a group of psychics can stop.
The plot of the series revolves around three youkai, Bem, Bera and Barro, who arrive at a large coastal city and come across an evil atmosphere, which was brought about by immoral behavior by humans and mischief caused by monsters and youkai. They therefore decide to stay in the city, fighting against other monsters and yōkai which attack humans, making a few friends in the way. Even though the three youkai are often abused by other human beings due to their appearance, they still strive in protecting the human populace of the city from other monsters, one day hoping to become human beings in return for their good actions.
A Japanese bullet train is threatened with a bomb that will explode automatically if the train slows below 80 km/h, unless a ransom is paid. Police race to find the bombers so the train crew can learn how to defuse the bomb.
No description available.
After a fishing boat is attacked, the sole surviving crew member realizes it is none other than a resurrected Godzilla. However, efforts to bring the story to light are suppressed by the Japanese government amid growing political tensions between the United States and the Soviet Union, who are both willing to bomb Japan to stop the monster.
As Japan's war of aggression against China intensifies, beginning with the Nanjing Massacre in December 1937, Kohei, who had secretly married Junko, the second daughter of the Godai family, deploys to the front lines, witnessing the atrocities of the Japanese army firsthand. Meanwhile, Shunsuke also takes to the front lines of the battlefield, engaging in a fierce battle against the Soviet army at Nomonhan.
The monologue and mysterious death of a man who survived and returned from Iwo Jima. A newspaper reporter writes an article about "The Man from Iwo Jima" asking the people who were close to him about his character and the painful memories off all those involved.
Based on the Seichō Matsumoto's story The Woman Who Took the Local Paper.
The Story is about three daughters of a "Hatamoto" during the end of the Edo period and the Meiji Restoration.
Originally released in Japan as "The Return of Godzilla" in 1984, this is the heavily re-edited, re-titled "Godzilla 1985". Adding in new footage of Raymond Burr, this 16th Godzilla film ignores all previous sequels and serves as a direct follow-up to the 1956 "Godzilla King of the Monsters", which also featured scenes with Burr edited into 1954's "Godzilla". This film restores the darker tone of the original, as we witness the nuclear destruction of giant lizard terrorizing Japan.
Professor Nishiyama, after studying and interpreting the prophecies of Nostradamus, realizes that the end of the world is at hand. Unfortunately, nobody listens to him until it is too late. As the effects of mankind's tampering of the earth - radioactive smog clouds, hideously mutated animals, destruction of the ozone layer - rage out of control, the world leaders hurtle blindly toward the final confrontation. The film sparked controversy in Japan and was subsequently pulled out of circulation, with no official video release of the uncut film.
When Sokichi stops providing his long-time lover Kikuyo enough money to pay for the care of their three young children, Kikuyo leaves the children with Sokichi - and his very surprised and angry wife Oume - and disappears.
Tadashi Iki returns to Japan from a Soviet gulag 11 years after being captured during the invasion of Manchuria. He is offered a position in the expansive Kinki Corporation, but rival corporations are competing for a government contract to produce fighter planes.
Hanayome wa Jūgo-sai, directed by Mio Ezaki and distributed by Nikkatsu, stars Masako Izumi and Ken Yamauchi. The high-key pink background and casual photographic portrait embody Nikkatsu’s 1960s youth-film aesthetic. Clean, hopeful, and pop-oriented. The large white title, handwritten for a softer impression, injects playful energy that contrasts with the strict vertical text blocks. As Japan’s youth culture blossomed after the 1964 Tokyo Olympics, posters like this captured the spirit of romance and rebellion marketed to teenage audiences. The vivid color palette and carefree composition signal a stylistic shift from postwar black-and-white melodrama to the vibrant optimism of modern Technicolor cinema.
A man is wrongfully accused of murder.
After witnessing a murder, a married woman and a student agree not to meet and see each other out of fear of exposing their affair.
In a near future, mankind has moved from a drained Earth to the Moon. Rebel acts of terrorism lead to conflicts with the Earth Federal Government. A mysterious entity called Dallos appears to restore hope.
Keizo Tsujiguchi believes his wife Natsue was having an extramarital affair when their child was kidnapped and killed. He believes of her extramarital affair she was unable to watch over their child properly and blames her for their daughter's death. To exact revenge on his wife, he then adopts the killer's child without telling the truth to his wife or their newly adopted child.
