In the mid-1990s, Japanese filmmaker Kaizo Hayashi took a crack at the Hammer character in a trilogy of offbeat crime capers.
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Layering imagery in its liquid prowling camera, inky shadows and foggy alleys, Terrible exudes effortless cool with splashes of modern ultraviolence, ending in a downbeat cliffhanger and a switch to eye-popping color for a preview of the sequels.
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