Japanese horror and action master Takashi Miike is one of those directors who’s so prolific that it’s easy to take him for granted; ever since he caught American cinephiles’ attention in 1999 with Audition and Dead or Alive, he’s been cranking out something close to a half-dozen movies each year, releasing his kinetically supercharged orgies of style and violence faster than some viewers can keep up with them. While I wouldn’t try to make the case that all 100-plus Miike productions are masterpieces, when he’s firing on all cylinders – as with Audition, or last year’s First Love – he’s […]