Bad Lieutenant: Tokyo wraps up a cult classic crime-thriller trilogy.

One of the most unconventional “franchises” in cinema is set to expand with a new entry. This week, a trailer dropped for Bad Lieutenant: Tokyo, a stand-alone sequel in a unique trilogy. Directed by the renowned Takashi Miike, known for his graphic violence and thought-provoking narratives in films like Audition and Ichi the Killer, this latest installment promises to deliver a wild ride. Miike has also dabbled in adaptations, including an Ace Attorney film.

Bad Lieutenant: Tokyo is a crime drama set in Japan, featuring a cast that includes Shun Oguri (Human Vapor, Lupin the 3rd), Lily James (Baby Driver, Cinderella), Shotaro Mamiya (Blue Giant), Jun Kunimura (The Wailing, Kill Bill), Liv Morgan (WWE), and Hiroshi Tachi (Owatta Hito). The screenplay is penned by Miike’s frequent collaborator, Daisuke Tengan (13 Assassins, Audition).

The trailer’s description teases a gripping narrative:

A disgraced Tokyo detective spirals into a world of corruption, addiction, and violence as he becomes entangled in a twisted investigation involving a vengeful ex-Yakuza, an enigmatic FBI agent, and the missing daughter of a powerful American family.

While this marks the third film in the Bad Lieutenant series, it’s not a conventional franchise; each film stands apart, crafted by different directors with distinct visions.

The original Bad Lieutenant, released in 1992 and directed by Abel Ferrara, features Harvey Keitel as a corrupt NYPD detective who indulges in drugs, extortion, and gambling. Initially, it was a niche film, launching in the U.S. with an NC-17 rating due to its explicit content, but it eventually gained a cult following.

In 2009, Werner Herzog’s Bad Lieutenant: Port of Call New Orleans premiered at the Venice International Film Festival. Despite sharing a title, Herzog emphasized that his film is “not a remake,” noting that it only shares a corrupt cop as the central character. Herzog’s take is a bizarre blend of dark comedy and violence, showcasing Nicolas Cage in a wildly unhinged performance. The main connections between the films are the “bad lieutenant” archetype and a heavy presence of cocaine.

However, Ferrara was not pleased with the sequel. Upon the announcement of Port of Call New Orleans, he expressed his disdain for Herzog and the producers, stating they “can die in hell” for proceeding without his approval, and he reportedly did not receive any royalties. Years later, Ferrara mentioned he had reconciled with Herzog, but his initial frustration highlights the unconventional nature of this series.

Edward R. Pressman holds the rights to Bad Lieutenant and has produced all three films. He has plans for several more sequels, each set in different global locations with local production teams and directors. These upcoming films will continue to explore themes of corrupt law enforcement in places like the U.K., Germany, Italy, South Korea, and Argentina.

While the existing Bad Lieutenant films don’t share a cohesive plot, they both delve into the world of illicit dealings through the lens of a corrupt detective. Each film is directed by a unique auteur who brings their own style to the narrative.

Takashi Miike seems like a perfect fit for this spiritual sequel. His body of work is known for its violence and eccentricity, often exploring crime and the yakuza, as seen in his 2002 film Graveyard of Honor. Miike’s controversial storytelling and distinctive style align well with the essence of Bad Lieutenant.

Like its predecessors, Bad Lieutenant: Tokyo will premiere at a film festival, specifically the Toronto International Film Festival in September. While a broader theatrical release date is still under wraps, with Neon as the U.S. distributor, it’s likely to see at least a limited theatrical run.