Yojimbo and Point Break
Yin: It’s a tough call, but Yojimbo might be my favorite Kurosawa film. It’s basically a Japanese gangster movie with swords. Unlike the stoic heroism and sacrifice of Kurosawa’s other samurai classics, Yojimbo has a cynical swagger, the type of which Tarantino’s later revenge epics try to emulate. The story is based on noir guru Dashiell Hammett’s The Glass Key and Red Harvest, but it becomes its own thing inspiring and influencing everyone from Sergio Leone, John Milius, David Lynch (Lynch stole the image of the severed hand in the dog’s mouth in Wild At Heart from Yojimbo), and The Coen Brothers whose film Miller’s Crossing (also highly recommended) is also based on Hammett’s The Glass Key. Awesome, timeless filmmaking. I’m a sucker for samurais and ronins.
Yang: Point Break is a modern day Kurosawa with surfboards, machine guns, bank robbers, pop zen new age glibber-glabber, and, much like Top Gun and Road House, not so veiled male homoerotism (I mean, come on… Keanu’s female love interest is androgynous and boyish, and Keanu’s scenes with Swayze are more romantic than the love stuff with the woman.) Containing some of the craziest action scenes every filmed, a surprisingly original story, timeless dialog, Keanu’s best ever performance, and a solid, crowd pleasing, yet sort of tragic climax, it’s the best film Katherine “I usually have no clue how to end my movies” Bigelow will ever make. Great soundtrack by Mark Isham too. And Keanu’s character has the best movie name of all time: “Johnny Utah.”