Surprisingly incoherent and boring

Nice effects though.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

Exactly the movie you think it is, but not the movie you want it to be.

A Tokyo businessman, transferred to L.A., molests a teenage girl on a train. It turns out that the girl is the daughter of a vice cop, and not just any old cop, but a very angry Charles Bronson. But ironically, Bronson is assigned to find the businessman's own daughter who has been kidnapped and forced into a teen prostitution ring......It's the last film that Bronson made with Golan-Globus, and my word, this is the most bonkers movie he made in the eighties.The Death Wish movies are just a class act in cheesiness, but this is a more sordid affair, like Bronson saw Eastwoods 'Tightrope' and thought, I can do that, but without all the intimate moments.Here Bronson is a blatant racist, hating everything to do with a certain culture, but all is good when he finds the daughter, at least for a while.For an atypical eighties actioner, it's pretty violent stuff, with Bronson having some sort of fetish for sticking things in places that they shouldn't go, like watches, and other items.The chief of police, just tells him off every now and again, but that doesn't stop him, he goes and blows up a car.if you are a fan of Cannon movies from the eighties, then this will be right up your street.It's full of stereotypes, all cops look like your granddad, and Bronson is the toughest person on the planet.

In some ways I'm glad I saw this film. For one thing, I learned how to pronounce the title correctly. "Kinjite" mean "forbidden" in Japanese and the accent is on the first syllable, not the second.It's an ambitious film too, with a moral lesson built into it, that we are all brothers and sisters under our differently colored skins. Further, Charles Bronson is not his usual typical action hero. He's a flawed detective. He's prejudiced against the Japanese who, he believes, are taking over the country. He steps out of his police car and shouts epithets and orders harshly at a gaggle of polite Japanese tourists whose cars are blocking the street. "You think you OWN the place!," and so forth. The picture was released in 1989. Michael Creighton's novel, "Rising Sun," appeared at about the same time. That was when the mania about Japanese business practices was at its height, and shortly before the Japanese economy imploded and sank to the bottom of the aquarium, where it rests, gasping, today.The plot has two strands that come together towards the end. In Tokyo, a naive, young Japanese businessman, Karuko, lives in a companionate marriage with his sensitive, intelligent wife and innocent ten-year-old daughter, Fumiko. On a crowded subway he watched an attractive lady being felt up by some pervert and she seems distressed, signs he interprets as an orgasm rather than humiliation.Karuko moves with his family to Los Angeles where his daughter is kidnapped, gang-raped, and forced into whoredom by a nefarious Latino named Duke. But before that happens, he finds himself on a bus in Los Angeles seated next to Bronson's fifteen-year-old daughter. Still believing that young girls like to be secretly felt up in public, Karuko slips his hand under her skirt. She shrieks and runs off the bus with her friends. "What happened?", they ask her. "Some Asian guy touched my holy of holies," she says, brushing the incident aside with a quip.Bronson and his partner, played by Perry Lopez, whom you may remember as Lieutenant Escobar in "Chinatown," are assigned to the case. Bronson begs to be reassigned. He hates Asians and wants nothing to do with them. But one of those blustering, no-nonsense superiors chews him out and sets him and Lopez on the case.It's during his interview with Karuko and his wife, when Karuko breaks down and sobs, that Bronson's prejudice begins to melt. Bronson and Lopez finally recapture Fumiko and return her to her family but her shame is boundless and she commits suicide. Now Bronson goes after Duke with a vengeance and the film ends with an explosive and bloody shoot out on the docks at, I think, San Pedro.It's easy to see how this could have been an effective movie, full of action, suspense, and yet provocatively done. But it largely fails. I don't know exactly why. Part of it is probably due to the cheapness of Golam and Globus, the producers. They have a reputation in the industry. They're like characters out of Dickens, chuckling as they count out the pennies they managed to save today. If a scene calls for a full lawn, instead of calling in a greensman, they sprinkle the lawn with green confetti. (That example isn't made up.) Bronson couldn't have cost much. By 1989 he was no longer the strapping ex-miner with the chiseled face and bronze pectorals of his youth. And he was sometimes enjoyable but rarely a performer to be taken seriously. Perry Lopez, with a respectable career in supporting roles behind him, has aged until he's almost unrecognizable -- not his fault, to be sure -- and puts virtually nothing into the role. The Asians can't act, with the exception of Karuko's wife, who is convincing. The role of Duke, played by Juan Fernandez, is strictly one dimensional. He's pure evil. Not colorfully evil. Not suave or anything. Just a tattooed and perverted Beaner as far as this movie is concerned.The plot is clumsy and without subtlety, a disappointment considering its potential. It was written by Harold Nebenzal, whose primary career was in production, not writing. Shifting as it does between Tokyo and LA for the first half hour, with no connection between the two, leaves a viewer feeling as if he's fighting his way through a thicket of thorns, hoping it will all turn out okay in the end. Director J. Lee Thompson, responsible for "The Guns of Navarone" and other epics, was pushing eighty and his best films were behind him.Yet there are some moving moments in it. There can't help but be. Karuko finds himself in a position where he must thank the Bronson family for finding his daughter. He brings a present for Bronson's own blond teen ager, the one he fondled on the bus. And it's an exquisite doll of a Japanese woman in traditional dress, encased in a glass box. He recognizes her and she recognizes him, but neither says a word about the incident.And the scene is which Fumiko takes a lethal dose of pills, then arranges her colorfully clad little body on the bed and waits to die is poignant. She and her kimono remind us of the doll in the glass case, both pretty, both easily shattered.

Hey, here's a few questions for everyone who's seen "Kinjite Colon Forbidden Subjects"!Is it really possible to stick your hand up the skirt of a random woman on a crowded subway train, fondle her to orgasm and not get caught because she's too shy to say anything...? And have no one else on the train notice?If you're an American girl who has the same thing happen to her on a bus and you freak out, call the police, file a report and tell your cop dad Charles Bronson, why would you NOT say anything when the very man who molested you shows up in your living room?!?Would a black man really die after being dropped over a third-story balcony into a swimming pool? Even if he did, would his corpse- upon floating to the surface- somehow be that of a WHITE MAN who looks nothing like him? Were the filmmakers really unable to find a black stunt professional?Did the producers really give Bronson's police partner the old "I'm playing it safe so I can retire with a pension" storyline only to kill him violently in what was surely the most clichéd plot device in the history of motion pictures?!?Was Peggy Lipton playing a mute in this movie or simply mentally retarded? Does anyone know any reason WHY her character was included in the film?Why in God's name would Bronson- whose arch-enemy in the film is a notorious street pimp who deals only in underage girls- not go directly to see him after he is assigned the case of finding a missing underage girl?Did anybody else notice 16 year-old Amy Hathaway's puffy nipples popping through her flimsy red bathing suit while she seductively posed for pictures after her swim meet? Is this movie about the horrors of sexualizing children or some kind of recruitment film?Are we really supposed to believe that someone even as tough as Charlie B. could make another human being swallow a Rolex watch? Did anybody else see said watch slip clumsily into Bronson's over-sized blazer sleeve in the laziest sleight-of-hand botch ever recorded to film?If you were a little girl rescued from sex slavery would you tell the police afterward everything you know about the criminals in order to ensure their capture? Or would you encode your knowledge in a haiku and off yourself with a heroin overdose? If so, where would you get said heroin? Did the cops let her keep it as a souvenir of her joyful time as a sex slave?Does this movie really open with Charles Bronson sodomizing a pedophile with a twelve-inch electric dildo?Am I the only person who noticed that the priest was subtly suggesting that Bronson was over-reacting to his daughter's bus fondling because Bronson was actually in love/lust with his own daughter?!? And am I the only person that noticed Bronson AGREED with this theory?!? And that this storyline is never referenced again?!?Well, my friends, the answer to all these questions (and more) can be found in the mind-bogglingly bizarre movie "Kinjite: Forbidden Subjects." But beware... this movie may leave you with one or more scars and a lifetime of lingering perversions... and now if you'll excuse me I have to catch a Japanese subway for the high school swim meet.GRADE: C(And a note to my fellow IMDb reviewers: You do understand that this was a movie, right? Fiction? Entertainment? Save the moralizing and self-righteous indignation for events that Actually Happen. You know... in Real Life. And is it just me or does it seem like the same people who are most disgusted by child molestation and statutory rape the same ones who let their young daughters out of the house dressed like whores? And the same ones who have the secret stash of kiddie porn on their computer? Lighten up, people. It's a movie. The popcorn's on me.)

despite the fact that most critics hailed this movie as trashy and sleazy i thought it was a slick and well-made film. again this vehicle stars bronson as a worn out cop hot on the trail of a small time pimp by the name of duke and trying to put him out of business. while the movie tries to send out a strong message, i felt the subject matter could have been handled better if the script had been revised a few more times. there were too many story lines being told at one time and by the end of the movie, i think the writers were trying to tie up all the loose ends. i did however was entertained by several scenes from the film. the first was the opening sequence where bronson and his partner bust into an apartment complex after being tipped off that a supposed under aged prostitute is entertaining a client. in typical bronson style, he punches, kicks and beats up the john to teach him a lesson about abusing and taking advantage of young girls being forced into the sex-trade. but the best scene is where bronson trails the pimp, duke, one night and takes him hostage. duke tries to bribe bronson into leaving him alone by offering him a diamond studded watch. bronson doesn't bite but with a dead pan expression says, 'i'd like to shove this up your ass, but i don't want to get my hands dirty'. he than menacingly orders duke to open his mouth than forces him to eat the watch. funny stuff. i highly recommend getting the 4-dvd pack of bronson's collaboration with director j. lee thompson. lots of violence, nudity to keep viewers interested.