Set during Japan's Shogun era, this film looks at life in a samurai compound where young warriors are trained in swordfighting. A number of interpersonal conflicts are brewing in the ... See full summary »
A young man, Kazuo, joins a new cult religion even though he sees through the initial recruitment pretense, and participating in the activities of a new social phenomenon, some of whose ... See full summary »
In 1923, the Korean teenager Kim Shun-Pei moves from Cheju Island, in South Korea, to Osaka, in Japan. Along the years, he becomes a cruel, greedy and violent man and builds a factory of ... See full summary »
Detective Azuma is a Dirty-Harry style rogue cop who often uses violence and unethical methods to get results. While investigating a series of drug-related homicides, Azuma discovers that his friend and colleague, Iwaki, is supplying drugs from within the police force. After Iwaki is murdered and Azuma's sister is kidnapped, he breaks all the rules to dish out his particular form of justice. Written by
Todd K. Bowman <email@example.com>
The original script was a comedy. Kitano was then very concerned about the audience recognizing his acting skills and he didn't feel that a comedy would allow him to act nor allow the audience to abstract from his comic TV personality. So he rewrote the script, removed all comedy and turned it into a drama. See more »
[Azuma has run over a man with a car.]
Why'd you hit him?... He might be dead!
[The man appears suddenly and begins smashing out their windows with a bat.]
Does he look dead to you, idiot?!
See more »
There are no opening credits beyond the title. See more »
Kitano cripples the senses and jars the nerves in his films. This is a movie about a two-fisted cop whose blunt face and cliff's edge personality drive every scene, even the ones Kitano is not in. Kitano's character is not reacting to a violent world, but infecting it with his own brand of violence. The "violent cop" has lost his hope, therefore he fears nothing.
Kitano as director gives us a real world of humor and interaction. Events happen, there's no plot. Every scene has this pulse that is raging, the characters even when still seem kinetic as sprinters. Punches, kicks, and bullets explode bodies. Kitano's character clashes with a psychotic hit man, but it is Kitano's cop who is out of control, unstoppable in his desire to inflict justice as he sees it.
There's scenes which cannot be forgotten: Kitano's cop
interrogates a punk drug dealer in a club rest room. These two actors go through a scene in which Kitano slaps this man over and over until he talks. The difference is that Kitano is really slapping this actor, and slapping living hell out of him. Cringe-worthy, and up there with one of the other scenes that illustrates what a hard man Kitano is: stabbed with a knife, Kitano grips the blade as it comes out of him, clinching his fist down on it so he cannot be stabbed again. Blood pours out from between his fingers, he cannot let it go because his fist and knife are one; Kitano understands the brutality of the fight, the reality of two men trying to kill each other, no quips, no words, no yells or curses, just blood and rage; cut to the bone, it's the way the whole film makes you feel.
As far as the recent BROTHER is concerned, it makes perfect sense for Kitano to use similar themes seen in his earlier films. BROTHER is Kitano's first real attack on American audiences. They, en mass, haven't seen his stuff, and if Kitano's going over old ground, he's doing it in HIS style. Better a retread Kitano than most of Hollywood's slobbering star-cramped idiocy.
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