Vengeance as a core theme is no stranger to Asian cinema, and it’s been employed by directors working in genre cinema (Shunya Ito’s FEMALE PRISONER #701: SCORPION) as well as those catering to the arthouse crowd (Akira Kurosawa’s THE BAD SLEEP WELL). Quentin Tarantino’s KILL BILL films were an amalgam of Asian revenge films; everything from Hong Kong Kung-Fu flicks of the 70s to Toshiya Fujita’s LADY SNOWBLOOD series.
It doesn’t take much more than a precursory glance at Hollywood’s output in recent years to conclude that there’s without question a shortage of original ideas. Reboots of old franchises (STAR TREK), endless, pointless sequels (THE SISTERHOOD OF THE TRAVELING PANTS 2), and even toy and board game-based movies (GI-JOE, MONOPOLY) are being green-lit by studios more than willing to dump millions into their productions. But by far the most egregious offense is the ever-increasing trend of remakes, particularly of films from Asia. To look at the situation, you’d think there wasn’t a single original screenplay to be found in all of the US.