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
Commenting on the differing styles of filmmaking, Takeshi Kitano said that American productions are more focused on the business side and are less sentimental. Kitano cited their strong pride in their professionalism as a positive aspect. See more »
The car that explodes is a Lexus. When the gang see the flaming wreck, it's a different car. See more »
I love you Aniki! Wherever you at, man!
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This is the 4th Kitano film I've seen recently. It has most of the characteristics of the other films - the sudden, shocking violence, the impassive silences, the same supporting actors, the obligatory seaside scene. But the shift to an American location weakens it, despite the excellent contributions of the US actors, especially Omar Epps.
But the core, unmissable qualities of a Kitano film remain. Takeshi Kitano must be the natural successor to Clint Eastwood as an anti-hero. Most of the stylised violence takes place off-screen, with a flash of humour, then the after-effects vividly on display. The sound-track from Joe Hisaishi matches the screen action perfectly, at times an aggressive supplement to the violence, at other times hauntingly peaceful.
The ending is the film's weakest part, as though Kitano pandered to imagined (or real) American requirements. The out-of-town setting and road movie elements fit uncomfortably with the rest of the film. But if this is the compromise needed to get Kitano to make more films out of Japan, it must be worthwhile.
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