In episode four of our Manhunt series, we explore two films that veer off the beaten path of their genre linenage. From Japan, Cure (1997), an atmospheric and fatalist horror film that helped launched J-Horror and the concept of elevated horror. From the United States, One False Move (1992), a raw and politically charged on-the-run film that still feels edgy and uncomfortable thirty years after its release.

Special Guest: Good friend of the show, and our resident Japan expert, Harry Brammer

Everyone loves a good villain, especially in a horror film. We might even root for them, see Jason Takes Manhattan. But every so often a horror antagonist comes along that we would like to forget. Mamiya is one of those bad guys. Cure plunges us into the existential dread of modern existence: dull grey concrete mixed with blinding fluorescence, devoid of all natural light and warmth. The film ties together a series of seemingly unrelated murders into one terrifying thread: a unknown force compelling ordinary people to commit unthinkable acts. Director Kiyoshi Kurosawa crafts an oppressive world out of everyday urban life. The conjuring of Mamiya seems so simple and casual until a shock of violence erupts. The film's realism anchors the fantasy to make it believable, and then Kurosawa has us in his hands.

One False Move doesn't have good guys or bad guys. The film opens with unspeakable acts of violence and cruelty committed by our supposed protagonists. In this sense, the film is defiantly postmodern as it brackets out any notion of morality or propriety. Directed by Carl Franklin, it weaves a suspenseful and oddly poignant story of feckless fugitives on the run, crossing paths with a small-town sheriff who yearns for excitement. Here, the manhunt is not just a chase but an exploration of racial tension, broken dreams, and the suffocating weight of the past. The chase builds to a showdown that erupts with a flurry of gunfire, and the finale comes quick. But no answers are given, just lives squandered and lost.