A Japanese gangster is exiled to Los Angeles where his brother lives with a small but respectable multi-racial gang, who he inspires to expand their influence.
The boss of a major crime syndicate orders his lieutenant to bring a rogue gang of drug traffickers in line, a job that gets passed on to his long-suffering subordinate.
Beat Takeshi, a prominent actor, meets a lookalike named Kitano, who is a struggling actor, but after the meeting, Kitano's dreams take a violent, surreal turn.
As the police launch a full-scale crackdown on organized crime, it ignites a national yakuza struggle between the Sanno of the East and Hanabishi of the West.
The blind masseur/swordsman comes to a town in control of warring gangs, and while bunking with a farming family, he meets two women with their own agenda.
Dropping out of high school, two friends at first find success, one as a up-and-coming boxer and one as a low level gangster. Yet, their life decisions still find a way of catching up with them.
A young, naive boy sets out alone on the road to find his wayward mother. Soon he finds an unlikely protector in a crotchety man and the two have a series of unexpected adventures along the way.
Obsessed with the idea of owning his first car so he can have sex in it, a young man takes any job he can find and ends up in an escalating series of crazy situations.
A Japanese Yakuza gangster is exiled to the United States. Takeshi settles in Los Angeles where his younger, half brother lives and finds that although the turf is new, the rules are still the same as they try to take over the local drug trade.Written by
Anonymous
Beat Takeshi is a filmmaker so distinct and so completely different from any other filmmaker that you have to be prepared before seeing one of his films to watch something differently than you normally would. Brother is his first overseas production, and to this day his only one, and perhaps its minimal success and marginal fan base is due to its seeming lack of plot, its evasive editing, or something else that Takeshi customarily draws attention to, whether purposefully or not.
Brother is not quite his best film, but you will realize that the focus is not on the story but on the themes of its story. Completely unlike its characters, especially Takeshi's stone cold killer, its story is something to feel your way through. These characters do not feel much. They do. The movie is mostly made up of deadpan scenes of bloody violence, occasional dialogue, and quiet medium closeups. The music, which like in all Takeshi films is lush and emotional, directs our feelings.
Brother is great for fans of crime movies, gangsters, violence overall, Asian cinema, and even action fans, but Takeshi Kitano's style is a strangely deadpan and very personal approach. It's an acquired taste.
12 of 17 people found this review helpful.
Was this review helpful to you?
| Report this
Beat Takeshi is a filmmaker so distinct and so completely different from any other filmmaker that you have to be prepared before seeing one of his films to watch something differently than you normally would. Brother is his first overseas production, and to this day his only one, and perhaps its minimal success and marginal fan base is due to its seeming lack of plot, its evasive editing, or something else that Takeshi customarily draws attention to, whether purposefully or not.
Brother is not quite his best film, but you will realize that the focus is not on the story but on the themes of its story. Completely unlike its characters, especially Takeshi's stone cold killer, its story is something to feel your way through. These characters do not feel much. They do. The movie is mostly made up of deadpan scenes of bloody violence, occasional dialogue, and quiet medium closeups. The music, which like in all Takeshi films is lush and emotional, directs our feelings.
Brother is great for fans of crime movies, gangsters, violence overall, Asian cinema, and even action fans, but Takeshi Kitano's style is a strangely deadpan and very personal approach. It's an acquired taste.