Draped in graffiti, a rickety old subway train makes its way across a rugged slice of New York that looks more like Mad Max than Mad Men. Only seconds into director Shan Nicholson’s documentary Rubble Kings, the audience understands that the residents on display in the film’s South Bronx ghettos live in a place that barely qualifies as America.
Foul-mouthed octogenarian rappin’ n’ scratching grandmothers. Abrasive, gold-laminated 3D holographic shamans. A scene -tealing human-beatbox waitress, buxom yakuza mistresses, sex-crazed adolescents, breakdancing ninja dervishes, and tank-wielding Shibuya henchmen. All these ingredients and more are present in the latest dish of neon-lit lunacy from Japanese provocateur Sion Sono, a filmmaker with a long and distinguished relationship with the London Film Festival following exposure for his earlier cult cuts Cold Fish, Exte: Hair Extensions, and Why Don’t You Play in Hell?. His latest film, Tokyo Tribe, is another one for the midnight movie crowd: a delirious contemporary musical based on the popular manga by Santa Inoue, it’s a phantasmagorical pop art pastiche of the American rhythms of Streets of Fire, West Side Story, and The Warriors.