The battle goddess has broken into Yun Zhong City! Hua Mulan writes up a consent form as she outrageously uses a death row convict, MuRong Di, to save the princess! As they are forced to a dead end, how will Hua Mulan and her assassin squad fight against their deadly pursuers?

Tax Inspector Madogiwa Taro: Case File 23

Naoko Yamada a a self-proclaimed “super magician” repeatedly finds herself enlisted to help a self-proclaimed “genius physicist” and skeptic named Jiro Ueda as he attempts to expose fraudulent spiritualists and others who seem to have mysterious powers.

News about the disappearance of panties is covered every day." Kyosuke (Ryohei Suzuki) still wears Aiko Completo (Fumika Shimizu) panties to battle evil. Meanwhile, Aiko has mixed emotions and decide to get her panties back from Kyosuke. Kyosuke suffers from...

Nearly everything about Tachiguishi Retsuden defies easy explanation. Like the title, for starters. It literally means something like “The Legendary Masters of Eating While Standing,” while Production I.G. has apparently gone with the more spirited “Tachigui: The Amazing Lives of Fast Food Grifters.” Unlike the majority of his other films, it's a parody. It's animated, but it isn't anime. It's comprised of still photos of actors and settings that have been digitally animated into life, stop-motion style. But that being said, there isn't a whole hell of a lot of motion, either. Major portions of the film consist of long (long) stretches of narraration over grainy, colorized black and white stills. Sounds confusing? I haven't even gotten to the plot. It's like Tampopo meets Jin-Roh, a sprawling (and totally fictional) documentary chronicling dine-and-dashers in Japan's postwar era. The story opens in the tiny standing room only noodle shops that sprang up during the occupation, and ends among the hamburger stands, beef bowl joints, and curry restaurants that serve up the majority of Japan's fast food today. The various protagonists aren't cast as criminals, but as anti-heroes and springboards for social satire. Sounds simple enough on the surface, but this is Mamoru Oshii we're talking about. Their “amazing lives” unfold in an incredibly dense narrative, crammed full of trivia, pop-culture references, and Japanese urban legends, the vast majority completely unknown to foreign audiences.

Ostensibly inspired by a documentary on a German terrorist group, Edward Yang’s austere third feature discovers, hidden within the stillness of human emotion, a terror far more brutal than any moment of physical violence. Bookended by images of guns and corpses, the film’s true focus is on the violence enacted in everyday relationships, whether between lovers, coworkers, or strangers. The narrative weaves intricately among three scattered groups of characters: a doctor and his novelist wife, a mopey female hoodlum, and a love-struck photographer, all threaded together by one prank phone call and a sense of deceit and lingering entropy. Yang said the film was “built rather like a puzzle; the spectator can rearrange it in his head when he gets home.” It is the inescapable feeling, not the telling, of the story that matters. Indeed, the gunshots at the beginning and end seem interchangeable, almost anticlimactic, rendered quaintly obsolete by the film’s painstakingly traumatic layering of human relations and their emotional violence.

Dong Chul can't fight at all, but he's a gangster who can talk. He can't show off his skills as well as before, but his spirit is still alive. But the girl who seems nice on the outside moves next door, and she doesn't feel threatened by him. If he calls her "the girl next door", she gets defensive. But for some reason, he wants to be nice to her!

Se Jin has put herself out on the job market. She has big plans and got the semi-basement room. But a gangster who doesn't even look like one lives next door. This man calls her "the girl next door" as if he knows her. The gangster that talks too much. She doesn't hate him!

A filmmaker stands trial when a costume assistant on his movie accuses him of rape